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Found 18 results

  1. From the album: LeeU Hidden Mask Series

    Fired in the angama kiln of the New Hampshire Institute of Art .
  2. From the album: LeeU Hidden Mask Series

    This piece was fired in the anagama kiln at the Sharon Art Center in NH.
  3. From the album: LeeU Hidden Mask Series

    This piece was fired in the anagama kiln at the Sharon Art Center in NH. It is porcelain with a celedon glaze on the facial planes and a temmoku on the stamped area. The orange on the right side is on unglazed clay and is an attribute of the firing.
  4. “High Risk High Reward†Woodfiring the Fushigigama A group exhibition of selected works by the people who have participated in the firings of the New Hampshire Institute of Art's Fushigigama anagama-style kiln over the past 3 years. Work is included from faculty, undergrad and grad students, community education students, and some others who have been invited to fire work in the kiln. Fushigigama is an anagama style kiln designed by NHIA Professor John Baymore, and built by members of his kiln building class in a two week period during the summer of 2014. While still being an a
  5. Guest

    FiredBottle Summer2017 1024

    From the album: Images For Misc. Posts

    This is the bottle form right after unloading from the firing.
  6. From the album: Images For Misc. Posts

    This is the bottle that is shown in a discussion thread sitting in the anagama with the coating of oribe glaze applied over the modified clay body.
  7. From the album: Images For Misc. Posts

    The last step of Fushigigama has ports to introduce hardwood charcoal (not charcoal briquettes!) directly onto the load of ware. This is done at the peak of the firing just after ceasing stoking wood and just before sealing up the kiln. Here you can see the general process.
  8. From the album: John Baymore's Clay Work

    My wood fired vase form which will be inculded in the coming 2017 ISCAEE symposium's exhibition at the University for the Creative Arts in Farnham, England in July. Looking forward to presenting and attending the symposium. We have numerous NHIA faculty, students, and alums attending the symposium.

    © 2017- John Baymore - all rights reserved

  9. From the album: Images For Misc. Posts

    View in one of the side stoke ports during the firing. Note the wood laying right on the pieces.
  10. From the album: Images For Misc. Posts

    The early stage of the summer 2017 Fushigigama firing.
  11. Guest

    FushigigamaLoad Summer2017

    From the album: Images For Misc. Posts

    Front step loading of the summer 2017 firing of Fushigigama.
  12. Hello, I'm Sarah and this is my first post. I hope I am posting correctly. I graduated from university in the UK two years ago from a mixed media degree where I specialised in Ceramics. Since graduation I have worked with a local potter as an apprentice and volunteered to wood fire with some potters. I have also been having one to one throwing tuition for over a year and getting to the stage of starting my own business and I have just purchased my first gas kiln. My website and blog are www.sarahgeeceramics.co.uk I am particularly looking for an apprenticeship or support somewhere to work
  13. From the album: experiment in woodfire bisque

    Cones 019, 08, and 05 were put in the kiln to indicate firing temperature. 019 is completely melted.
  14. New Hampshire, Deerfield--Early May 2016--wood-fired kiln opportunity. Active membership in the NH Potters Guild required--dues are still only $20!! The kiln is fired 4X April through October. Work must be bisqued first. There is a cost for every firing, about $5-$50 based on the volume of work fired. The fee is used to replace cordwood, kiln furniture, repairs etc. Contact: Wendy Jackson wendyjacksonpottery@yahoo.com or Lydia Gray lydiagray@verizon.net -- feel free to mention that you saw the notice on the Ceramics Arts Daily Community Forums. Kiln will be loaded on May 5th.
  15. Hello All, I'm in the process of setting up my studio for the first time in many years, and the first time where I'm not in a rural setting with access to a high fire wood kiln. I'm wondering if anyone has advice for a low profile solution to firing in a city setting? I'm thinking Raku might be the way to go, but am open to ideas, kiln designs, or general advice. I'm partial to firings with a fair amount for unpredicability in the finished result--most of my experience has been in the cone 10+ range so I'm trying to find a happy medium between a week long anagama, and a cone 06 oxidation
  16. Recently I have been making a series of textured pieces. I plan to fire some of them in a wood kiln and some in a soda kiln. I am wondering if I can use oxide washes to bring out the textures. Do I need to worry about the oxides running when hit with lots of soda and/or wood ash? If anyone has a pic of pots they've done this way I'd love to see them! Thanks! Elizabeth "Never be deluded that a knowledge of the path can be substituted for putting one foot in front of the other." M.C. Richards
  17. As some of you may know from my other thread.. i'm working on building my own propane kiln and a woodfire kiln so i can have access to multiple firing methods at my home. I also wanted to be able to cast my own metal molds so i could press clay easily, so i built a crucible with an empty propane tank (it never had anything flammable in it), a couple bags of quicrete, a 2 and one half foot steal pipe and a bellows (hair dryer works good to). it works GREAT(i'll give greater details if anybody is interested)! But that's not why i'm writing this thread. While watching videos on YouTube.
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