Anne Wellings on fri 12 apr 02
I have a 7 cu. foot electric kiln on a wood floor. I'm sure the way I deal
with it isn't the best, but it works in a pinch. I have piled up two layers
of old soft brick pieces under the kiln so that none of the floor is
exposed. These are mainly sections of a broken kiln lid with other soft
brick pieces from a blown-out gas kiln arch on top of that, so it's all
recycled materials and nothing I spent money for. I have felt the floor
often to see if it's getting hot, and it doesn't. However, I know it would
be better if this arrangement extended further out from the base of the
kiln, so I am just very careful and never fire the kiln unattended or
without a fire extinguisher nearby. (Hot peep plugs can fall out, etc.)
I'll be moving my kiln soon to a place with a linoleum floor, which I guess
is better, but I will still pile up the soft brick under the kiln. Or maybe
I'll try one of the suggestions below.
Anne
On Thu, 11 Apr 2002 11:05:29 -0400, Patrick Rowe wrote:
>You can buy a heater pad at the hardware store. As long as the kiln is
>sitting on the manufacturer's stand on top of the heater pad you shouldn't
>have any problem. I know potters who do this.
>Patrick Rowe
>
>-----Original Message-----
>From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
>Behalf Of william schran
>Sent: Thursday, April 11, 2002 9:58 AM
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: Kiln Question / This Forum
>
>
>Kristin - Simple answer to putting kiln on wood floor - NO! Perhaps a
>sheet of cement board or fire resistant drywall & a layer of cinder
>blocks laid sideways.
>Bill
>
>___________________________________________________________________________
_
>__
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
>
>___________________________________________________________________________
___
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Robert Briscoe on sat 13 apr 02
Anne, this is a truly bad idea. On the premise that the floor is checked
and it is not getting warm, the idea at first sounds reasonable. I was
in a four person studio many years ago with a bisque only electric kiln
sitting on a thick layer of insulating firebricks. This kiln was fired
fairly regularly by us and checked fairly often, but the wood floor had
dried out to an almost spontaneous combustion state. One night before
leaving I smelled a very slight smell of something smoldering. I looked
everywhere and could not find a source. The kiln had been off for
several hours. Still smelling the faint odor I looked in the basement
one more time and when I got directly under where the kiln was, the
floor was a glowing circle, funny about the diameter of the kiln
upstairs! We moved the red hot kiln and poured much water on the embers
to successfully put out this dangerous situation, made more critical by
the fact that two renters lived on the third floor. Please put this kiln
on a stand with air between it and the wood or linoleum. I would also
recommend a non-combustable reflective shield about 1 inch above a layer
of insulating firebricks on the floor and a several inches below the
kiln bottom. Sincerely, A very lucky, Robert Briscoe
Automatic digest processor wrote:
>
> There are 91 messages totalling 3905 lines in this issue.
>
> Topics of the day:
>
> 1. Show Display Question (6)
> 2. Burnishing vs Sanding (2)
> 3. Mouth powered glaze sprayer
> 4. Globar Kilns (2)
> 5. underglazes question (3)
> 6. Precious Metal Clay (3)
> 7. Kiln on Wood Floor
> 8. Advice on starting out / elec. kiln question
> 9. saggars/foil
> 10. Ferguson Workshop at Fired Up Suggestions (2)
> 11. smoke firing pots in electric or pit
> 12. pit fire clays: results and questions
> 13. Types of beauty [was Postmodernism]
> 14. : Potters stools-- will any of them help that hunched over posture?
> 15. CraftsReport
> 16. Aesthetic experience
> 17. Fiber Downdraft (6)
> 18. dipping tongs / rusting tongs
> 19. Remodel studios, ?'s
> 20. THE NEW WAY OF TEA
> 21. Kiln Question / This Forum
> 22. Electric with Computerized Controls (2)
> 23. : : Potters stools-- will any of them help that hunched over
posture?
> 24. electric kiln hinge repair
> 25. Need Opinions on extruders:2nd opinion on North Star
> 26. remodelling studio (2)
> 27. Firing 14" Bottom Diameter Pots (2)
> 28. A Geologist's take on ceramic petrology
> 29. high temp. foil
> 30. Eclipse burner? (2)
> 31. Pork kilns in Alaska
> 32. will a kick wheel bench cause that hunched over posture?
> 33. Blower attatchment?
> 34. paint stripper/ heat gun / fast drying clay
> 35. ITC/KILN WASH (2)
> 36. Postmodernism
> 37. Now what did happen here?/refires (5)
> 38. Kiln Question / This Forum/ Don't trust the I'm always around to fire
> method
> 39. Treadle Wheels (2)
> 40. Dipping Tongs
> 41. thermal shock test (3)
> 42. Used Pottery Wheel Desired in SoCal
> 43. 16% rutile too much?
> 44. Need Opinions on extruders (2)
> 45. Birch bark look alike glaze
> 46. ThornleyCopy:Distribution List Attached is the SCS2 Troubleshooting
> 47. fired in place sculpture
> 48. Kiln Question / This Forum/ Don't trust the I'm always around
> to fire method
> 49. shipping advice needed
> 50. Asia House, Japan House..ooooooh!
> 51. wheel and giffen grip
> 52. Paul Taylor // Ceramic Sand
> 53. Show Display/long&personal (2)
> 54. cannot resist/tatoo
> 55. pencils
> 56. Workshop Suggestions - no reason to blow up work
> 57. Fractured my tailbone
> 58. Kiln Question -- what about the ceiling?
> 59. 16% rutile too much
> 60. Dipping Tongs (polly)
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
> ----------------------------------------------------------------------
>
> Date: Thu, 11 Apr 2002 22:07:13 -0700
> From: Tony Ferguson
> Subject: Re: Show Display Question
>
> Eddie,
>
> I would suggest the work you have represented in the slides is the work
you
> have in your booth. I never quite understand folks who have 2 or more
> different types of work in their booth let alone another firing process.
I
> think you should pick one or the other based on your slides and be
confident
> that you have done the best you can do. Then, focus on how you can best
> display what you have. I think it could be said that works on pedistals
> sell more than works packed together on shelving. Perhaps a combination is
> best to cover a body of work that has range of prices. Good skill to you.
>
> Thank you.
>
> Tony Ferguson
> Stoneware, Porcelain, Raku
> www.aquariusartgallery.com
> Web Site, Marketing & Photographic Services for Artists
> Workshops available
> 218-727-6339
> 315 N. Lake Ave
> Apt 312
> Duluth, MN 55806
>
> ----- Original Message -----
> From: "Eddie Krieger"
> To:
> Sent: Thursday, April 11, 2002 7:02 PM
> Subject: Show Display Question
>
> > I'm spooked about my display after reading some of the postings here.
The
> > talk about a "cohesive body of work" has me worried.
> >
> > Is it wrong or a mistake to mix Raku and functional work in the same
> booth.
> > I'm about to work to good shows and I'm concerned now about what I've
been
> > doing. The Raku stuff seems to add pizzazz (sp) to the display with
it's
> > more decorative quality even with it's contrast to the other pots.
> >
> > Would love to have some feelings on show displays. Would also like to
> know
> > how much value those who do shows put on the display. I've been working
> my
> > tail off at trying to have a really attractive arrangement and hope I'm
> not
> > spinning my wheels. What makes a great display?
> >
> > Any help appreciated!
> >
> > Eddie Krieger
> > Dry Creek Pottery
> > Abilene, Tx
> >
> >
>
____________________________________________________________________________
> __
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Fri, 12 Apr 2002 13:47:57 +1000
> From: LOGAN OPLINGER
> Subject: Re: Burnishing vs Sanding
>
> Hello Martin,
>
> I have not seen your original post in its entirety, so I may be responding
out of context to Bruce's reply to you.
>
> With some white grogged stoneware clay I've been using recently, if I want
a smooth, satiny finish, I will first prepare slip that has the grog removed
by settling. Then I wait for the pot to dry to a soft leather hard, then
smooth the surface with a flexible stainless steel rib. This compresses
grog particles into the clay. I then let the pot dry almost completely, and
brush on three or four layers of the slip, wait for it to harden a bit then
smooth the slipped surface again with the stainless rib. Finally, I burnish
the surface with a piece of polished stone or glass. When the pot is bisque
fired, It will lose its shine, but have a very smooth even satiny surface.
>
> I have not yet tried applying the 'terra sig' to the bisqued surface yet.
That is the next step into my exploration.
>
> Regards,
>
> Logan Oplinger
> --
>
> _______________________________________________
> Sign-up for your own FREE Personalized E-mail at Mail.com
> http://www.mail.com/?sr=signup
>
> ------------------------------
>
> Date: Thu, 11 Apr 2002 23:11:30 -0500
> From: Celia Littlecreek
> Subject: Re: Mouth powered glaze sprayer
>
> I think I have one of these, but I'm not sure. The one I have looks kind
of
> like those bendable straw, but I can't figure out where the glaze comes
out
> of the bottle. Can you please elaborate.
>
> ----- Original Message -----
> From: "Chris Jones"
> To:
> Sent: Wednesday, April 10, 2002 8:51 PM
> Subject: Re: Mouth powered glaze sprayer
>
> > I have used a similar device that worked well and gave quite a
> > headrush....hehe. I think Axner's carries it. It consisted of a tin like
> > metal screw-on top with a tube/mouthpiece and a metal tube that went
into
> > the container. That screwed on to a plastic bottle/container. Really
easy
> to
> > use and did spray larger particle glaze without much trouble.
> > Thank you,
> > Chris Jones
> >
> > Visit www.jonespottery.net
> >
> >
>
____________________________________________________________________________
> __
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
> >
>
> ------------------------------
>
> Date: Thu, 11 Apr 2002 20:57:56 -0700
> From: Fredrick Paget
> Subject: Re: Globar Kilns
>
> Tig-
> Those globar kilns were made by the old defunct Alpine Kiln Co. I have
seen
> a picture of one in Sanders book "Glazes for Special Effects" and I hear
> that there is one at the University of SanFrancisco that is not in working
> condition.
> Those Globar rods are silicon carbide rods and the kilns would go to about
> cone 17 and can stand reduction firing with introduced fuels.
> Since the resistance of the rods is very low it was necesary to feed in a
> very high current at a low voltage to get the power needed. Also the
> voltage had to be adjustable. The rods resistance changes a good deal as
> they heat up and also as they age. This was done with a very large and
> expensive tap changing transformer with its asociated tap changing switch.
> Kilns using Globar rods with a spiral cut tube type of rod have a higher
> resistance and can be run off line voltage but the resistance changes
still
> occur so they need a sophisticated electronic controller.
> Contemporary Kilns in Novato, California will make you one custom built to
> order. I hope you can afford it.
> Fred
>
> >Back when I had more of my hair and less of my waist, at the University
of
> >Florida, we used a Globar kiln for firing bisque. I remember it was
> >front-loading, and of substantial size. The heating elements were rods
> >about 1/2" in diameter, as I recall.
> >
> >Does anyone know if this type of kiln is still manufactured? Still as a
> >"Globar?"
> ,,,,
> >Thanks for any help,
> >
> >Tig
>
> From Fred Paget, Marin County, California, USA
>
> ------------------------------
>
> Date: Fri, 12 Apr 2002 00:25:52 -0400
> From: Michele Williams
> Subject: Re: underglazes question
>
> > Why use a relatively expensive commercial underglaze, when for far less
> > money you can mix up slips colored with oxides or mason stains?
>
> 1. Because you're at a school where you only have so long to complete X
> number of projects that meet Y number of criteria, and mixing stuff slows
> you down
>
> 2. Because you don't have all the ingredients and may never have them
>
> 3. Because you don't know what you're doing when you try to mix up all
this
> stuff that is foreign to beginners in the art of ceramics
>
> 4. Because you have NO idea what kind of result you're going to get
without
> testing first and our society has not been cultured on patience or
anything
> like it
>
> 5. Because commercial products at least come with a color chart and you
can
> say, "Oh, there, I like that one."
>
> 6. Because naively you think commercial products are going to come out
just
> like the little ol' color chart (that the printer's color filter printed
out
> all wrong!)
>
> 7. Because you've never done it and truth be told, you're kind of scared
> you'll make a mistake (like you'd die from an underglaze mistake)
>
> 8. Because you are lazier than egg whites and won't stand up alone
without
> a beating, never mind take initiative
>
> 9. Because it's there
>
> Did I miss anything?
>
> ------------------------------
>
> Date: Fri, 12 Apr 2002 00:38:56 -0400
> From: "Brant Palley NMCLAY.com"
> Subject: Re: Precious Metal Clay
>
> You can throw pmc, Rio Grande has a pot around 3" tall that was thrown. I
> would recommend throwing PMC original as it has the most water and binder.
> PMC can be thrown on a potter's wheel just like earthen clay and will
> create a vessel with all the finger marks and textures characteristic of
> ceramic ware. It is also possible to attach PMC elements to a bisqued
> ceramic piece to create precious metal details such as rims, medallions
> and handles.
> Your pot will shrink around 30%, but you just take advantage of the
> shrinkage to miniaturize the detail. Learn more about PMC, the clay made
> of pure silver at...
>
> http://www.Silver-Clay.com
>
> brant@nmclay.com
>
> ------------------------------
>
> Date: Fri, 12 Apr 2002 00:43:33 -0400
> From: Anne Wellings
> Subject: Re: Kiln on Wood Floor
>
> I have a 7 cu. foot electric kiln on a wood floor. I'm sure the way I deal
> with it isn't the best, but it works in a pinch. I have piled up two
layers
> of old soft brick pieces under the kiln so that none of the floor is
> exposed. These are mainly sections of a broken kiln lid with other soft
> brick pieces from a blown-out gas kiln arch on top of that, so it's all
> recycled materials and nothing I spent money for. I have felt the floor
> often to see if it's getting hot, and it doesn't. However, I know it would
> be better if this arrangement extended further out from the base of the
> kiln, so I am just very careful and never fire the kiln unattended or
> without a fire extinguisher nearby. (Hot peep plugs can fall out, etc.)
>
> I'll be moving my kiln soon to a place with a linoleum floor, which I
guess
> is better, but I will still pile up the soft brick under the kiln. Or
maybe
> I'll try one of the suggestions below.
>
> Anne
>
> On Thu, 11 Apr 2002 11:05:29 -0400, Patrick Rowe wrote:
>
> >You can buy a heater pad at the hardware store. As long as the kiln is
> >sitting on the manufacturer's stand on top of the heater pad you
shouldn't
> >have any problem. I know potters who do this.
> >Patrick Rowe
> >
> >-----Original Message-----
> >From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
> >Behalf Of william schran
> >Sent: Thursday, April 11, 2002 9:58 AM
> >To: CLAYART@LSV.CERAMICS.ORG
> >Subject: Re: Kiln Question / This Forum
> >
> >
> >Kristin - Simple answer to putting kiln on wood floor - NO! Perhaps a
> >sheet of cement board or fire resistant drywall & a layer of cinder
> >blocks laid sideways.
> >Bill
> >
>
>___________________________________________________________________________
> _
> >__
> >Send postings to clayart@lsv.ceramics.org
> >
> >You may look at the archives for the list or change your subscription
> >settings from http://www.ceramics.org/clayart/
> >
> >Moderator of the list is Mel Jacobson who may be reached at
> >melpots@pclink.com.
> >
>
>___________________________________________________________________________
> ___
> >Send postings to clayart@lsv.ceramics.org
> >
> >You may look at the archives for the list or change your subscription
> >settings from http://www.ceramics.org/clayart/
> >
> >Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Fri, 12 Apr 2002 01:43:09 -0400
> From: Anne Wellings
> Subject: Re: Advice on starting out / elec. kiln question
>
> I would add my encouragement about installing a used kiln that needs work.
> I was given such a kiln, an old 7 cu. foot Olympic. I am not experienced
in
> electrical work, but approach it the same way I've approached working on
my
> cars over the years. I use common sense and don't attempt anything that is
> too complicated for me to understand.
>
> While you do have to keep in mind certain dangers such as frayed wires,
> melting connectors between the rings, damaged elements, using the right
> circuit breaker and wiring to the kiln, etc., I have found the kiln to be
a
> simple enough device that I can work on it myself. (There is a lot of
> electrical stuff in houses that I would never, ever attempt.)
>
> By myself, I have replaced a circuit breaker and a 220 receptacle for the
> kiln, having determined from a book that the existing wire to the
> receptacle was big enough.
>
> Then, with the kind advice of the folks at my ceramic supply house, who
> even pre-cut the wires to the right lengths for me, I was able to replace
> the switchblock and hardwire the rings of my kiln together to eliminate
the
> problem of melting connectors, plus I replaced the cord and plug. (I know
> it would be safer to hardwire the kiln to the power source, but haven't
> done it. I feel the plug throughout a firing to make sure it's not getting
> too hot.)
>
> Then, I replaced two elements and the wires that connect them to the
> switches, using a heavy-duty crimping tool from an electrical supply
house.
> I have a spare switch in case one blows and know it will be a piece of
cake
> to replace. Plus I have done things like replace the hardware that holds
up
> the lid, which involves drilling into brick, etc., and moving around
> various degrees of deteriorated brick in the top ring to more strategic
> locations.
>
> The kiln has fired beautifully for me, considering its age. It would be
> better to have a new one, but if you can't afford it and someone gives you
> one, go for it. Just make sure that, if you attempt to work on it, you've
> cut the power to the kiln and you have at least one friend who knows more
> than you do, just in case. Get the tools you need, take it slow and one
> step at a time. If I can do it, you can.
>
> It is likely that any used kiln you are considering buying is in better
> condition than this one was when I got it.
>
> Anne
>
> On Thu, 11 Apr 2002 08:42:47 -0700, Kathy Maves
> wrote:
>
> >Hi Kristin,
> > How exciting to be so close to getting your first
> >kiln! I recently installed an electric kiln in my
> >house. I love it! I've learned so much from it that
> >I'd not learned from gas, salt, wood, reduction.
> > Yes, you can install a kiln over a wooden floor, just
> >find something to put under it. Cinder blocks would
> >would great, but they may make the kiln height
> >cumbersome. Most kilns come with a metal frame kiln
> >stand, about 6 inches high. Maybe some thinner brick?
> > About the ventilation system, I spent a good deal of
> >time figuring out how to build a homemade vent.
> >Eventually, I realized that I could not build one for
> >what I could buy one for ($280.) If you're firing and
> >living in the same air space ventilation needs to be
> >adequate.
> > Also, don't forget the cost of wiring it in. The
> >materials cost us a little under $100. We did the
> >wiring ourselves. With 100amp service out here, the
> >lights dim when I fire, and the dryer is forbiden.
> > There have been lots of threads about used kilns so
> >I'll make my two cents short. It's very difficult to
> >ascertain what repairs are needed on a used kiln
> >without a few well documented firings. Before you buy
> >used, calculate how much it would cost to replace all
> >elements, thermocouple, computer parts, and whatnots.
> >Add that to the price of the used kiln. Compare it to
> >the price of a new kiln. Still happy? Then you know
> >it's a good deal.
> >Good Luck,
> >Kathy
> >kathymaves@yahoo.com
> >Barronett, Wisconsin
> >
> >__________________________________________________
> >Do You Yahoo!?
> >Yahoo! Tax Center - online filing with TurboTax
> >http://taxes.yahoo.com/
> >
>
>___________________________________________________________________________
> ___
> >Send postings to clayart@lsv.ceramics.org
> >
> >You may look at the archives for the list or change your subscription
> >settings from http://www.ceramics.org/clayart/
> >
> >Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Fri, 12 Apr 2002 08:30:23 +0200
> From: Russel Fouts
> Subject: Re: saggars/foil
>
> Ron
>
> >> My students and I have used heavy duty alum. foil from the grocery
store for cone 06 firings. The key is to use a double layer of foil, course
sawdust, rock salt and several handfuls of cat food. We have also tried
garbage ( leftover raw veggies, banana peels etc.) but not as successful as
cat food. The foil will still be in a film that breaks as soon as you touch
it when you open the kiln but if you have packed it fairly tight you will
get great colors. Oak leaves also work well! I also spray future floor wax
on the finished pieces that is diluted 1/2 with water. <
>
> I think you may have tested what I mentioned earlier. Doing workshops in
> the states I discovered that you can easilly get a thicker grade of
> aluminium foil than I can get here. It's pretty stiff. In the workshops,
> I recommend doubling it up, mainly because people are inexperienced with
> wrapping and are more likely to tear the foil. I think this heavier
> foil, especially if it's doubled, might stand up to higher temperatures.
>
> Mine, on the other hand, if I go over 650c it developes holes. Even when
> doubled.
>
> Are you sure that fragile film you describe isn't letting out some of
> the volitile materials? I'm assuming that you're doing this in an
> electric as well.
>
> Russel
>
> -----------------------------
> --
>
> Russel Fouts
> Mes Potes & Mes Pots
> Brussels, Belgium
> Tel: +32 2 223 02 75
> Mobile: +32 476 55 38 75
> Email: Russel.Fouts@Skynet.be
> Http://www.mypots.com
> http://www.Japan-Net.ne.jp/~iwcat
>
> "There is a theory which states that
> if ever anyone discovers exactly what
> the universe is for and why it's here,
> it will instantly disappear and be
> replaced by something even more bizzarly
> inexplicable."
>
> "There is another theory which states
> that this has already happened!"
>
> Douglas Adams' The Hitch Hiker's Guide to the Galaxy
>
> ------------------------------
>
> Date: Fri, 12 Apr 2002 02:38:34 EDT
> From: Jim Shea
> Subject: Re: Ferguson Workshop at Fired Up Suggestions
>
> Tony,
>
> Given the short period of time in a workshop and the rush to get
them
> done, it's not unusual for pieces to blow up or crack and people should be
> made aware of that. Stress that they will be fired with as much care as
> possible, but make sure they understand that it can happen. Also make
sure
> that they understand why it happens. I've never been to a workshop that
> included firings where some of the fresh work didn't crack or blowup.
People
> get upset, but mostly it's disappointment, not anger and resentment.
People
> develop bad feelings when they don't get what they think they are entitled
> to.
>
> Workshops should be about learning new techniques, looking at your
own
> work in a new way, and just having a great time with interesting people.
> Unfortunately, some people have a hard time realizing that the best thing
> they get out of a workshop is what they've learned and how it will affect
> their future work. Everyone wants some nice pots to take home, but some
> people seem to feel that they are entitled to anything they want. And
what
> they want are pots. Lots of pots. These are the people who need to know
up
> front what the ground rules are. Others may just not think about the
limited
> amount of time and assume that all the pots that they make will be fired.
> If everyone is told what they are "entitled to" at the start of the
> workshop (phrased far more diplomatically, of course) it will dramatically
> lessen the likelihood of problems.
>
> The time while you are firing can be a really creative time for the
> students if properly presented. It's a time to experiment and be wildly
> creative. There's no pressure to create a finished, beautiful piece.
It's
> the time to work on ideas and skills, not pots. The fact that they are
using
> clay to flesh out these ideas isn't important. If you've shown them some
new
> techniques, that's the perfect time to work on them. They can try to make
> pots that are taller, smaller, rounder, skinnier, whatever, than they ever
> have before. Give them an assignment that requires them to work in teams
and
> produce work that is a collaboration. The tangible results of the
workshop
> are already in the kiln firing. It's the perfect time to work on
intangible
> ideas, not finished product.
> If an idea turns into a nice pot, these pots can generally be
safely
> taken home leatherhard, if the people are local.
>
> I've never been to a workshop where the potter had an actual
written
> schedule. Having one would be helpful, especially given the tight
timeline
> that you will be working under. You sound like you're well prepared and
I've
> probably just wasted your time telling you things you already know. I've
> attended some great workshops and have given a lot of thought about what
made
> them great. Maybe that's because I've also been to some duds. The best
ones
> have sent me home thinking about my work and where it's going, not the
> presenter's work.
>
> Jim
>
> The best workshops I've been to (in no particular order) :
> Linda Christianson
> Matthew Metz/Linda Sikora
> Bob Briscoe
> Jeff Oestreich
> Susan Beecher
>
> ------------------------------
>
> Date: Fri, 12 Apr 2002 08:44:32 +0200
> From: Russel Fouts
> Subject: Re: smoke firing pots in electric or pit
>
> Ababi
>
> >> My question is a a result of the not clear assisting of my translation
tool. If I use a metal can or pail that closes well with it's lead, or a
kiln shelf Do I still have to add ceramic fibber?, Or to close it with a
coil of clay? <<
>
> I tried using cookie tins, these seal pretty tightly and I added a
> couple layers of foil over the openinging (under the lid) to seal them a
> bit better. I actually had trouble getting the lids off because of this.
>
> In one cookie tin I put about 1/2 page of newsprint, in the other I put
> 4 splinters of very thin crate wood about 5cm long each. Then did my
> usual firing to 500c at 50% (that's the kind of controller I have). It
> took about 3 hrs (1.5 up 1.5 to cool).
>
> I don't know how much smoke escaped (I have an Envirovent) I wasn't
> there but I doubt that it was much if any at all. There was so little
> combustable in the cans.
>
> Got BLACK, as expected.
>
> Only thing I would change is to fire the cookie tins on their own first
> to burn off all the paint.
>
> Anyone have an idea of the temperature limit of a cookie tin? I think
> they're probably steel.
>
> Another technique to add.
>
> Russel
>
> -----------------------------
>
> --
>
> Russel Fouts
> Mes Potes & Mes Pots
> Brussels, Belgium
> Tel: +32 2 223 02 75
> Mobile: +32 476 55 38 75
> Email: Russel.Fouts@Skynet.be
> Http://www.mypots.com
> http://www.Japan-Net.ne.jp/~iwcat
>
> "There is a theory which states that
> if ever anyone discovers exactly what
> the universe is for and why it's here,
> it will instantly disappear and be
> replaced by something even more bizzarly
> inexplicable."
>
> "There is another theory which states
> that this has already happened!"
>
> Douglas Adams' The Hitch Hiker's Guide to the Galaxy
>
> ------------------------------
>
> Date: Fri, 12 Apr 2002 02:46:25 EDT
> From: Jeff Tsai
> Subject: Re: pit fire clays: results and questions
>
> I am about to be very unscientific, so bare with me.
>
> These are just things that I have noticed, more or less, in pit fires I've
> done.
> The best surviving shapes have always been, for me, rounder. I don't have
a
> clue why. Cylindrical and flared forms have cracked more often for me, I
have
> no answer why.
>
> Thicker work cracks more easily, and pieces exceeding 10" in diameter.
>
> Here is a completely baffling one, Almost every high grog stoneware clay
I've
> ever used has had significant cracking. However, I have never lost a
> porcelain or bee-mix pot in a pit fire to cracks. I also use a fine
particle
> earthenware (mostly talc and ball clay) with little to no loss of work (I
> figure the talc in the eathenware helps this). This goes against
everything I
> have been taught is true, but I also tend to throw thinner with my
porcelain
> and eathenware clays.
>
> Here is a little bit more scientific of an answer. Liner glazes can,
> especially if thickly applied, cause cracking. When only the interior of
the
> work has glaze, there is some tension caused by the thermal expansion of
the
> glaze during firing. Since the same tension doesn't exist on the exterior
of
> the clay, this can cause small cracks to form, usually around the rim.
Again,
> this is not scientificly based (at least not for me) it is something I
have
> experienced through experimentation. It tends to happen with my low fire
pit
> work, but, oddly enough, my high fire soda or wood work that uses only
liner
> glazes don't have this problem, why, I don't know.
>
> Hope you figure it out, and maybe get a few more informative responses.
>
> -jeff
>
> ------------------------------
>
> Date: Fri, 12 Apr 2002 01:23:29 -0600
> From: Brian Molanphy
> Subject: Types of beauty [was Postmodernism]
>
> martin wrote, in part:
>
> '...the place of beauty in art, one of the oldest
> discussions ever since humans began making art, which means almost ever
> since there were humans on earth.'
>
> human beings have been on the earth for millions of years. the oldest
known
> object which is conceivably (not definitely) a work of art is about 70,000
> years old. i think it is a bit of yellow rock with scratches.
>
> brian
>
> ------------------------------
>
> Date: Fri, 12 Apr 2002 02:59:17 -0600
> From: Klyf Brown
> Subject: Re: : Potters stools-- will any of them help that hunched over
posture?
>
> Ivor,
> You have a very good point there. What we need is for one of our
> bright potter/engineer/machinist (Des down under comes to mind) to
> come up with a hydrolic base for wheels. Jack it up to standing height
> for centering and opening, plates and small pieces, and lowering it for
> throwing those tall forms. It could be done, should only add a couple
> of hundred bucks to the price of the wheel.
> Klyf Brown in New Mexico usa
>
> > I'm uncertain that elevating the wheel and standing is the best
> solution. It
> > may be effective if people are thro
Anne Wellings on sun 14 apr 02
Thanks, Robert,
I guess I should have been more clear in my description by saying that the
kiln is indeed sitting on an official metal kiln stand, and the layers of
soft insulating firebricks are piled up on the floor under that, with
several inches of air space between the bricks and the bottom of the kiln.
I guess I assumed everyone used kiln stands and it didn't occur to me that
anyone would use the soft bricks themselves as a stand, especially on a
wooden floor.
However, your account is a true horror story, and it's good that you told
it. I now feel like going under my house and checking the bottom of the
floorboards for any sort of circular discoloration. Also, your idea of the
non-combustible reflective shield is very good, as are some of the other
suggestions given recently.
When I move my kiln, I will give serious thought to a different plan.
Anne
On Sat, 13 Apr 2002 10:54:24 -0500, Robert Briscoe
wrote:
>Anne, this is a truly bad idea. On the premise that the floor is checked
>and it is not getting warm, the idea at first sounds reasonable. I was
>in a four person studio many years ago with a bisque only electric kiln
>sitting on a thick layer of insulating firebricks. This kiln was fired
>fairly regularly by us and checked fairly often, but the wood floor had
>dried out to an almost spontaneous combustion state. One night before
>leaving I smelled a very slight smell of something smoldering. I looked
>everywhere and could not find a source. The kiln had been off for
>several hours. Still smelling the faint odor I looked in the basement
>one more time and when I got directly under where the kiln was, the
>floor was a glowing circle, funny about the diameter of the kiln
>upstairs! We moved the red hot kiln and poured much water on the embers
>to successfully put out this dangerous situation, made more critical by
>the fact that two renters lived on the third floor. Please put this kiln
>on a stand with air between it and the wood or linoleum. I would also
>recommend a non-combustable reflective shield about 1 inch above a layer
>of insulating firebricks on the floor and a several inches below the
>kiln bottom. Sincerely, A very lucky, Robert Briscoe
>
>> >
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