Pres

"Climate Change" : Goldfinch,  budding lilac tree, & post-snow/freezing rain iced branches 1/24/24, in NH. I do some photography.  

It really depends on the humidity level where you live.   I live in Kansas very hot, windy and can be humid or dry.   I took a summer throwing class,  we would take a freshly thrown piece outside  and place it in the sun.   The wind was always blowing,  we would take breaks and turn the pot  until  it was stiff enough to cut off the bat.   Trim the pot and start the drying with bottom up,  by the time class was over they were almost totally dry.   A humid day took much longer.    Denice

My guess is the handle got bumped and hence the crack . If it was fine for years of use then cracked it got bumped . If it cracked right away(1st month) its a poor connection

The original recipe for Magic Water by Lana Wilson is: 1 gallon water 3 Tablespoons liquid sodium silicate 1 1/2 teaspoon soda ash  -OR-
1 gallon water 9.5 grams sodium silicate 3 grams soda ash You will find many variations of  this on the web if you do a search. I use the one listed above.  
 
best,
Pres

The original recipe for Magic Water by Lana Wilson is: 1 gallon water 3 Tablespoons liquid sodium silicate 1 1/2 teaspoon soda ash  -OR-
1 gallon water 9.5 grams sodium silicate 3 grams soda ash You will find many variations of  this on the web if you do a search. I use the one listed above.  
 
best,
Pres

When I was teaching HS, in the Summers I ran classes for younger children in Ceramics. I had morning sessions of 2-3 hrs. We would handbuild, and I would have the kids pots in the kiln that afternoon for the bisque firing! No big secret, as I had what was known as a downdraft table (2) in the room. As soon as the students finished their constructions we would put them on the table which would be running. In about 1/2 and hour the pieces would be cheese hard, then 15 minutes later leather hard. This depending on the size of the pieces.  These tables are often used in wood working shops and industry to keep dust and fibres out of the air. If you can find one or build one they are awesome for quick work. Otherwise set up an area with lots of fans and place the pots in it upside down.
 
best,
Pres

Thanks! I have a dehumidifier and I was thinking of putting the pieces insiede a box and let it slowly suck the humidity out of them. 
I love your idea, Pres! But I dont have that kind of table, I think doing some experiment with a fan could help me.
 
Thanks Hulk, yes, I mean two hours. I will try what you suggested!
 

When I was teaching HS, in the Summers I ran classes for younger children in Ceramics. I had morning sessions of 2-3 hrs. We would handbuild, and I would have the kids pots in the kiln that afternoon for the bisque firing! No big secret, as I had what was known as a downdraft table (2) in the room. As soon as the students finished their constructions we would put them on the table which would be running. In about 1/2 and hour the pieces would be cheese hard, then 15 minutes later leather hard. This depending on the size of the pieces.  These tables are often used in wood working shops and industry to keep dust and fibres out of the air. If you can find one or build one they are awesome for quick work. Otherwise set up an area with lots of fans and place the pots in it upside down.
 
best,
Pres

When working with students in the early years I had quite a bit of trouble with students not getting tight joins in slab construction, coil or when joining handles. At the time we were using slip as I did not know anything else for a proper join. I was teaching about compression to make certain the pieces stayed together, but still had problems with the joins students made. In the late 80's I came across reference to "magic water" in a Ceramics Monthly. It took me a while to decide to try it, but when I did I found that overnight my problems with joins in the student pots dropped dramatically. I also found that the joins were cleaner, and overall there were fewer gaps in all of the constructions. If you are not using it. . . I would recommend it.
 
 
best,
Pres

When working with students in the early years I had quite a bit of trouble with students not getting tight joins in slab construction, coil or when joining handles. At the time we were using slip as I did not know anything else for a proper join. I was teaching about compression to make certain the pieces stayed together, but still had problems with the joins students made. In the late 80's I came across reference to "magic water" in a Ceramics Monthly. It took me a while to decide to try it, but when I did I found that overnight my problems with joins in the student pots dropped dramatically. I also found that the joins were cleaner, and overall there were fewer gaps in all of the constructions. If you are not using it. . . I would recommend it.
 
 
best,
Pres

Diving,.taking underwater photos,tuna fishing,building, electrical work, solar ,Topside photos, gardening ,Nature,Outback camping. Travel . Lifes short

Mosaics, and I just realized I should be glazing and firing scraps of slabs with all my colors to use in mosaics, duh..  Kayaking, especially on rivers, we love the Rio Grande and other Texas rivers.  Have also spent a good many fall weeks on Lake Powell in Kayaks, and the San Juan river, plus the Missouri River in Montana.  Which is to say, we love to travel, especially in the west, getting off road and into the back country.  My husband works in wood, and I help him design boxes and clocks.  The clocks are my favorites.
Now that spring is in sight, I am starting seeds and even planting some things, .like swiss chard and lettuce and other greens.

That's how I feel too and probably why I have stuck with ceramics for so long. So much too learn and experiment with, one lifetime is barely enough time to scratch the surface. I am especially interested in the chem side of ceramics because I always want to know the why of things or what happens if ...
Ever since I can remember I have had my hands in something. Started with textiles (batik, weaving, sewing) then wood (furniture) then clay. 
Thanks for posting my question Pres.

Hi folks, yesterday, @Minposted in the Question of the Week pool. . . .a suggestion for QOTW would be what other creative things are you involved with? This in response to a posting by @Hyn Patty where she says I have a million other things I do. 
QOTW  What other creative things are you involved with?
Myself, being retired, I have quite a bit more time on my hands than many of you. Because of this my regular activities changed and expanded. Where I used to bowl 1 night a week, now I bowl 3-4 afternoons a week depending on what week it is. I also exercise quite a bit, kayak when the weather is good, paint, draw, and other artistic venues. I often work in the HS Ceramics studio in the Winter aiding the Art teacher with the adult Ceramics class I started when I was teaching. We travel, next trip a cruise at ports in Japan with excursions, and then one later in the year to Greece. Yeah, I stay busy.
 
best,
Pres

I like to say “even potters need a hobby,” and mine is bookbinding! I make hand-bound notebooks, sketchbooks, and journals. I love paper, cloth, adhesives, and sewing. My graphic design training taught me about pages/sheets/signatures, so I get to use my previous career’s knowledge. 

Hi folks, yesterday, @Minposted in the Question of the Week pool. . . .a suggestion for QOTW would be what other creative things are you involved with? This in response to a posting by @Hyn Patty where she says I have a million other things I do. 
QOTW  What other creative things are you involved with?
Myself, being retired, I have quite a bit more time on my hands than many of you. Because of this my regular activities changed and expanded. Where I used to bowl 1 night a week, now I bowl 3-4 afternoons a week depending on what week it is. I also exercise quite a bit, kayak when the weather is good, paint, draw, and other artistic venues. I often work in the HS Ceramics studio in the Winter aiding the Art teacher with the adult Ceramics class I started when I was teaching. We travel, next trip a cruise at ports in Japan with excursions, and then one later in the year to Greece. Yeah, I stay busy.
 
best,
Pres

Clay is a major creative activity for me.
The first thing that came to mind (yesterday) was problem solving.
My last full time working gig (and the two full time working gigs afore the last, similar) was all about problem solving - software, configuration, communication protocols analysis, et cetera - I miss it, somewhat.
Immersion in detail, research, analysis, application, testing, documentation - the time just flew by.
...and, every once in a while, someone appreciated the work.
I'm posing that defining "the problem" and "problem space" - where we believe the problem exists - is a creative exercise, where imagination, flexibility, and plastic points of view can be as/more important than grinding through all the possibilities.
Grinding is, however, required.
Grind.
Retirement is nice.
Now my main "others" include home construction/maintenance/improvement projects at our and our son's houses, biking, swimming, reading, and volunteer gigs.
...not so much "creative" in the typical sense.
What I'm going to take with me when (aaah, in a half hour or so...) I get up (from this recliner, heh) to face the current home improvement project, we're creating all the time. Our lives.

Hi folks, yesterday, @Minposted in the Question of the Week pool. . . .a suggestion for QOTW would be what other creative things are you involved with? This in response to a posting by @Hyn Patty where she says I have a million other things I do. 
QOTW  What other creative things are you involved with?
Myself, being retired, I have quite a bit more time on my hands than many of you. Because of this my regular activities changed and expanded. Where I used to bowl 1 night a week, now I bowl 3-4 afternoons a week depending on what week it is. I also exercise quite a bit, kayak when the weather is good, paint, draw, and other artistic venues. I often work in the HS Ceramics studio in the Winter aiding the Art teacher with the adult Ceramics class I started when I was teaching. We travel, next trip a cruise at ports in Japan with excursions, and then one later in the year to Greece. Yeah, I stay busy.
 
best,
Pres

Hi folks, yesterday, @Minposted in the Question of the Week pool. . . .a suggestion for QOTW would be what other creative things are you involved with? This in response to a posting by @Hyn Patty where she says I have a million other things I do. 
QOTW  What other creative things are you involved with?
Myself, being retired, I have quite a bit more time on my hands than many of you. Because of this my regular activities changed and expanded. Where I used to bowl 1 night a week, now I bowl 3-4 afternoons a week depending on what week it is. I also exercise quite a bit, kayak when the weather is good, paint, draw, and other artistic venues. I often work in the HS Ceramics studio in the Winter aiding the Art teacher with the adult Ceramics class I started when I was teaching. We travel, next trip a cruise at ports in Japan with excursions, and then one later in the year to Greece. Yeah, I stay busy.
 
best,
Pres

When I am webbing cermaic info I get hits from ICAN but what I need mostly comes from older forum not simi dead (no new info)  called clay art which I was part of as well. More technical high fire info on kiln building and coastings and equipment -less hobby oriented 
Pres Thanks for the weekly work on these questions

There's almost always several ICAN hits whenever I start a general search on topics ceramic*.
I'm continually intrigued by how much traffic this Forum seems to get, many many Guests (readers who haven't yet registered) always reading topics here.
 
*Specific, err, not remembering just now!

Peep holes of newer kilns are smaller, However I still check color from time to time using a mirror on a stick with a flex arm. This allows me to get the right angle to see inside especially if looking for a cone. In truth though this is not needed on my new kiln as I find it fires SPOT ON!
 
best,
Pres

Cones react to heatwork, which is temperature over time. But just because the cone melted doesn't meat your glaze will be happy, because firing too fast can cause problems. When glazes melt, they bubble up and then settle down and smooth over. If you're firing too fast they may not have time to smooth over, and they end up cooling with bubbles. You can also get bubbles from over- firing, however in my experience glazes are more likely to simply run when over-fired, unless it's an unstable glaze to start with, or two layered glazes that don't agree with each other. Warping can be caused by over-firing, but it could be related to the construction of the piece, thickness issues, etc.
Witness cones are the most accurate method of measuring heatwork, so trust what the witness cones say. The reason we use 3 is so we can see just how under- or over-fired it is. Was it a half cone or a full cone too hot? Having the next cone will help us answer that.

A for effort Pres! Appreciate that it must be hard coming up with a new question every week.

Hopefully this is more helpful than mysterious. Our clays without fluxes would not melt at a reasonable kiln temperature. So proper full melting is achieved using fluxes and raising the energy of the fluxed mixture enough to get everything to melt. The melting process is not instant so it takes a combination of time and temperature to get this to happen. This predictable melting takes place in the last 200  f of the firing. Cones are made of glaze (including flux) and made to bend with the proper amount of temperature and time at their stated cone value.
So a very cool way to measure this total amount of heatwork quite accurately, with one requirement. The final segment speed matches what is written on the Orton cone chart. The final segment is an educated guess as to when we have enough energy to begin these fluxed reactions. Current Orton cone charts I believe set this in the final 200 degrees of the firing, then establish based on the speed being fired what the finishing peak temperature will be.
So the most important part is the final 200f and the speed you go in the final segment. 108 degrees per hour gets you the center column of the chart. Overall though, the faster you fire the more uneven a kiln can fire. Slower rates generally lead to potentially more even firings than very fast rates. For cones though and finishing, the final 200f is most important.
Oh before kiln sitters and cones etc… potters learned by color of the firing. @Pres can still do this I think (appropriate IR eye protection) sadly in the old days this was a really good skill but without eye protection a likely short lived one.