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#11
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#12
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If you are slab building, using stamps that you have made, or rolling leaves
onto your clay. Fern leaves work very nicely, pine branches, etc. Look around your back yard and you will find all sorts of things to roll onto the slab. If you are near the ocean, drift wood has some interesting textures. Sea shells too. It is all fun. Making the item plus collecting things to texture the clay. |
#13
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Lcdumas wrote: Something that makes a nice surface is to embed hamster litter into the clay and then let it burn out in the kiln. Linda D But isn't it bad for your electric kiln to create all this smoke in it? It's ok if you fire with gas or oil, but i was told, not to do it in an electric kiln. Monika -- Monika Schleidt www.schleidt.org/mskeramik |
#14
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Every time a kiln is fired a microscopically thin layer of oxide is
added to the surface of the element, and a similar amount of the element core is diminished. This eventually leads to there being more oxide than element core and firings begin to take longer and longer! Curiously this layer of oxide also acts as a protection from the highly corrosive atmosphere in a firing Kiln. With a partial or positive reduction firing the layer of oxide can be stripped from the element, probably shortening its life. There are 2 ways of dealing with this potential hazard, one is to fire the pieces in a fireclay box or Saggar, sealing the lid with clay/sand mix or bits of ceramic fibre, the other is to follow a very smokey or reduction firing with a short firing to red heat (say 700oC) of the empty kiln to re-establish the oxide layer. As a matter of interest it is also a good idea to fire the kiln empty each time new elements are fitted to give them the same protection. Steve Bath UK In article , Monika Schleidt writes Lcdumas wrote: Something that makes a nice surface is to embed hamster litter into the clay and then let it burn out in the kiln. Linda D But isn't it bad for your electric kiln to create all this smoke in it? It's ok if you fire with gas or oil, but i was told, not to do it in an electric kiln. Monika -- Monika Schleidt www.schleidt.org/mskeramik -- Steve Mills Bath UK |
#15
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"Monika Schleidt" wrote in message ... Lcdumas wrote: Something that makes a nice surface is to embed hamster litter into the clay and then let it burn out in the kiln. Linda D But isn't it bad for your electric kiln to create all this smoke in it? It's ok if you fire with gas or oil, but i was told, not to do it in an electric kiln. Monika -- Monika Schleidt www.schleidt.org/mskeramik Monika: Technically, I suppose, it is more harmful to the kiln electric heating elements to fire with combustibles as oposed to a gas or wood kiln. However, many people here (US) regularly do so. With that, a qualifying statement: I did NOT say it was ok to load the kiln with pots, wood, paper or anything else, and turn the elements on high to simulate pit firing :) Yes, it's been tried. Burned down someone's garage in the process. A bit of combustible material in or on a pot is not going to do much except create some smoke (and a reduction atmosphere). Since most electric kilns are located _indoors_, that could pose a serious health problem, or, as I found out, a problem with the neighbors calling the fire department thinking my house was on fire. When I fire with combustibles (usually grasses or leaves impressed into clay during the bisque) I always make sure to vacuum the kiln completely afterward, so that it's clean again. Wait until it's completely cool of course, no sense in having the vacuum burst into flames (...oh the stories I could tell you g) You might also check to see that no contamination of the brick occurs, as it can with some more "exotic" elements (like synthetic fabrics, plastic sequins etc.) Some people pick up a "well-used" kiln, and use that one exclusively for combustible experiments, leaving the "good" kiln for pure electric firing. Once in a while won't hurt the elements... much. Wayne Seidl |
#16
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I approach textures in a different way, and I thought that most potters
do(?), and that is: when I want to convey something, I search for the texture and shape to do it. For example I am often inspired by corals and ocean life, and I have mixed rice and sand in slip for rough texture, used linocutters, or different brushes to apply slip... any odd number of things, but the question usually is: how to convey a particular thought or idea, not how to utilize pretty texture. I' don't know, it works for me. You can see my work he http://home.iprimus.com.au/vandvin Andrea used"Lindsay MacArthur" wrote in message ... What about embedding---both things that burn off as well as things that stay in the piece? What items have people experimented with? On Wed, 28 Jan 2004 15:01:10 -0500, Lindsay MacArthur wrote: I mainly make functional stoneware pieces fired to ^6 in an electric kiln. I want to experiment with some fun textering and embedding and was looking for ideas. For example, I know a potter who occasionally fires some pieces wrapped in gauze and has even done a couple of pieces where she wrapped slip dipped gauze around a balloon, popped the balloon when slip was dry and fired the piece like that. So, if you have any fun ideas please share :-) LMac |
#17
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i've been doing textured pieces almost to a sickness for 18 years... i can't
walk thru a store without seeing various things that would make great texture tools. at the cylinder stage i run these tools up the side of a pot, and then expand the pot from the inside. the texture grows & stretches into the final piece. try pastry cutters, paint rollers, toy truck tires, gears, saw blades, cake decorating tools, etc. one great extra is textured pieces don't let runny glazes run as much and you can get some fun reactions of piled on runny glazes. see ya steve Subject: Fun with Texture From: Lindsay MacArthur Date: 1/28/2004 12:01 PM Pacific Standard Time Message-id: I mainly make functional stoneware pieces fired to ^6 in an electric kiln. I want to experiment with some fun textering and embedding and was looking for ideas. For example, I know a potter who occasionally fires some pieces wrapped in gauze and has even done a couple of pieces where she wrapped slip dipped gauze around a balloon, popped the balloon when slip was dry and fired the piece like that. So, if you have any fun ideas please share :-) LMac steve graber |
#18
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rice & saw dust & others like that burn out well. a crusty surface is left.
i used alphabet soup dry letters to make a few clay business cards. see ya steve Subject: Fun with Texture From: Lindsay MacArthur Date: 1/29/2004 8:02 AM Pacific Standard Time Message-id: What about embedding---both things that burn off as well as things that stay in the piece? What items have people experimented with? On Wed, 28 Jan 2004 15:01:10 -0500, Lindsay MacArthur wrote: I mainly make functional stoneware pieces fired to ^6 in an electric kiln. I want to experiment with some fun textering and embedding and was looking for ideas. For example, I know a potter who occasionally fires some pieces wrapped in gauze and has even done a couple of pieces where she wrapped slip dipped gauze around a balloon, popped the balloon when slip was dry and fired the piece like that. So, if you have any fun ideas please share :-) LMac steve graber |
#19
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On Sat, 31 Jan 2004 11:13:56 +0000, Steve Mills
wrote: Every time a kiln is fired a microscopically thin layer of oxide is added to the surface of the element, and a similar amount of the element core is diminished. This eventually leads to there being more oxide than element core and firings begin to take longer and longer! Curiously this layer of oxide also acts as a protection from the highly corrosive atmosphere in a firing Kiln. With a partial or positive reduction firing the layer of oxide can be stripped from the element, probably shortening its life. There are 2 ways of dealing with this potential hazard, one is to fire the pieces in a fireclay box or Saggar, sealing the lid with clay/sand mix or bits of ceramic fibre, the other is to follow a very smokey or reduction firing with a short firing to red heat (say 700oC) of the empty kiln to re-establish the oxide layer. As a matter of interest it is also a good idea to fire the kiln empty each time new elements are fitted to give them the same protection. Here's a follow-on question for Steve and Wayne: I've always assumed that the burn-out items would be pretty much gone well before the end of the bisque firing, and that any "reduction" atmosphere was happening too early in the cycle to be useful for anything. But I must admit I've never done any tests, like opening the kiln mid-cycle and extracting the piece. (I'm not into raku.) All I know is that after a C/04 cycle there is only ash left. If the reduction atmosphere persisted up into the glaze-melt range, I imagine there would be some neat effects from embedding the combustibles in the glaze layer. Anyone every heard of this? Perhaps this could be done with a well-sealed saggar, but I've always assumed not out in the open in a conventional electric kiln (element damage or no). Always looking for new things to try... Bob Masta dqatechATdaqartaDOTcom D A Q A R T A Data AcQuisition And Real-Time Analysis www.daqarta.com |
#20
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wayneinkeywest wrote: Monika: Technically, I suppose, it is more harmful to the kiln electric heating elements to fire with combustibles as oposed to a gas or wood kiln. However, many people here (US) regularly do so. With that, a qualifying statement: I did NOT say it was ok to load the kiln with pots, wood, paper or anything else, and turn the elements on high to simulate pit firing :) Yes, it's been tried. Burned down someone's garage in the process. A bit of combustible material in or on a pot is not going to do much except create some smoke (and a reduction atmosphere). Since most electric kilns are located _indoors_, that could pose a serious health problem, or, as I found out, a problem with the neighbors calling the fire department thinking my house was on fire. When I fire with combustibles (usually grasses or leaves impressed into clay during the bisque) I always make sure to vacuum the kiln completely afterward, so that it's clean again. Wait until it's completely cool of course, no sense in having the vacuum burst into flames (...oh the stories I could tell you g) You might also check to see that no contamination of the brick occurs, as it can with some more "exotic" elements (like synthetic fabrics, plastic sequins etc.) Some people pick up a "well-used" kiln, and use that one exclusively for combustible experiments, leaving the "good" kiln for pure electric firing. Once in a while won't hurt the elements... much. Thanks Wayne and Steve, this is good news. I was always tempted to put something or other combustible into the clay, but was always afraid to do in the elements. As long as i keep this away from my 22 potters kids, there won't be any harm done. I think Steve Graber's idea with alphabet soup letters is also grand! Another thing that comes to my mind in this connection: i have some rubber alphabet stamps, about 1 cm tall, which look very good imprinted in the clay and the kids love them. Unfortunately they are slowly deteriorating, (they are about 30 years old, still from the time when my own kids were little in the US) and i have been looking everywhere to replace them. They are just not to be had in Austria. Do any of you know of a source for rubber stamp letters about that size? Monika -- Monika Schleidt www.schleidt.org/mskeramik |
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