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#21
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In article , Bob Masta
writes 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, 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. This probably true, and consequently any damage would be minimised if not corrected in the latter stage of the same firing. Frankly I don't know for certain but I suspect it is so; we operate a firing service for customers who don't have their own kilns, and sometimes the larger sculptural pieces do contain paper which has not been completely removed, which results in a seriously smokey workshop, but it doesn't seem to affect the kiln elements adversely. However prolonged reduction would damage them. 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). Interestingly I have noticed that the atmosphere in a kiln at the end of any stoneware electric kiln firing is almost in reduction, certainly past being neutral, and if ash glazes are used in any quantity it is positively reduced; a friend who uses ash glazes exclusively goes through elements way faster than we do. Steve Bath UK 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 -- Steve Mills Bath UK |
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#22
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snip
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 Why use rubber? I found a printer who (like nearly all printers) had given up using letterpress and had changed to litho. He had trays (cases) of metal type, from which he was (somewhat reluctantly) prepared to let me have the 36 point characters I needed to make a "Jake" stamp for my pots. So I suggest you look for small print houses in your area, and chat up the proprietors. I have also tried the cheap plastic letters which are used by cake decorators: sprinkle with flint, press out the letters you want from a thin slab, and use as sprigs. But I shall look for a UK source of alphabet soup! Jake Loddington POULTON-LE-FYLDE, Lancs. UK |
#23
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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: Steve's idea was great! You can even leave the letters in to burn out. Let me check sources later today, when the power comes back on (GRRR! Thank the gods for laptops!) and I'll get back to you on the rubber letters. 1cm is roughly 3/8", so I should be able to find some. If you are interested, I just ordered a set of steel stamps (3/8" high) used for stamping letters and numbers into mild metals. Cost was about $12.00 US. Very reasonable, and will last forever. I can post a picture if you like. the 1/16, 1/8, and 1/4 inch varieties were even less expensive, and all carried a lifetime warranty. Regarding Bob's post: Saggar firing is a great idea. I've always been too lazy (I'll admit it) to throw a saggar, and usually combust fire the piece by itself. I suppose I should do, though, as it will allow me a bunch of different tests all at once. Thanks for the kick in the butt :) Also, regarding the comment: "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? " Yes, it's being done all over the country now. It's called "carbon trapping" and is done with "shino" glazes (usually in wood or gas firing situations) Seems to be the "thing" this year. Problem with carbon trapping is that it can lead to pinholing and crazing in the glazes. Mostly meant for decorative pieces, or the outside of functionals, like cups, where one does not have to worry about leaching, food safety etc. Some very interesting "meaty" textures coming out of shinos. Very "fat" glaze surfaces from what i see (fat as in thick, like congealed gravy) Best to all, Wayne Seidl |
#24
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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 -- There is a huge scrapbook-stamping craze going on here. One possible source is STAMPINGTON. SOMERSET STUDIO may be a possible. You should be able to type "rubber stamps" + "art" into google and get enormous numbers of sites. Some of those are bound to have what you need. burning things in the kiln: I don't just pack it with stuff, but I've have no trouble from hamster litter. I frequently leave paper towel wads inside closed forms when I've used them for reinforcement. I have also transferred fragile items into the kiln on a bed of five or six yellow pages with no bad results. I wouldn't advise going wild, but what use is art if you can't do what you like? I feel the same about my 2-D collages. If paper towels give the right texture, or newspaper, or whatever, go ahead! Linda D in TX |
#25
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I have used leather tools for stamps as well as rubber stamps, cookie stamps,
old printing press lino type, wooden stamps for printing on fabric from Cost plus Imports, among other things to texture the surface of a pot or to write a word or phrase onto a mug. When glazing, an oxide, stain or engobe can be rubbed into the indentation and then a glaze applied over this to accentuate the design... Slgraber wrote: 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 |
#26
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My wife and I have different styles for texturizing pieces. She likes an
additive/imprint/filigree style (heavy altering as well), while I prefer applying texture on the wheel. She has used lace (cotton) and other materials like fish net and leaves to imprint, cuts holes for depth and adds slip for highlights. I like to use ribs and turning tools to suit my current style (which constantly changes). I would like to thank Steve Graber for the photos of his texture tools. I've started manufacturing some from a paint roller handle and scrap wood. "Lindsay MacArthur" wrote in message ... 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 |
#27
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Have you tried using textured vinyl wallpaper? Just a light coating of Pam
or WD40 (don't like the smell) keeps the paper from sticking. Very simple and always successful. Betsy "Lindsay MacArthur" wrote in message ... 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 |
#29
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i saw a sculpture workshop where the lady used saw dust mixed with porcelain.
she didn't use glaze, and only single fired pieces. the saw dust was to make the finished piece lighter. she got slight green "celadon" from the fired pieces - cone 10/11. steve Subject: Fun with Texture From: (Bob Masta) Date: 1/31/2004 7:08 AM Pacific Standard Time Message-id: 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 steve graber |
#30
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i used those larger plastic buckets as a form for sagars. i pressed clay into
them on the side walls and floor. it's a simple way to get a large sagar form without throwing that large. the dry clay separates from the plastic walls naturally. steve ""Regarding Bob's post: Saggar firing is a great idea. I've always been too lazy (I'll admit it) to throw a saggar, and usually combust fire the piece by itself. I suppose I should do, though, as it will allow me"" steve graber |
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