dianamp@COMCAST.NET on sat 25 sep 10
HI Clayart:
I hope someone on Clayart has knowledge of cabinets that force dry ceramic =
ware.
I know Pewabic has one, a large metal walk in. Theirs is bigger than I need=
.
I don't know if theirs is prefab or if it was built for them. I think it wa=
s pretty expensive.
I presume it uses a combination of de humidifier and some heat source.
I also read about a cabinet someone built at Penland that is a force dry ca=
binet.
I would like to know more about that one, and if possible, who built it.
Or a photo of it if someone has one.
Does Bailey make one?
Actually, I'd rather buy one than build one, but that might not be possible=
!!
Any information will help.
Thanks very much.
Diana Pancioli
Eastern Michigan University
KATHI LESUEUR on sat 25 sep 10
Diana,
Why not take a trip over to Motawi Tileworks and look at their dryer. =3D
I'm sure it's larger than you need, but they can probably set you in the =
=3D
right direction. I've always found the people at Motawi very friendly =3D
and helpful.
KATHI LESUEUR
http://www.lesueurclaywork.com
On Sep 25, 2010, at 1:30 PM, dianamp@COMCAST.NET wrote:
> HI Clayart:
>=3D20
>=3D20
> I hope someone on Clayart has knowledge of cabinets that force dry =3D
ceramic ware.
>=3D20
>=3D20
> I know Pewabic has one, a large metal walk in. Theirs is bigger than I =
=3D
need.
> I don't know if theirs is prefab or if it was built for them. I think =3D
it was pretty expensive.
>=3D20
>=3D20
> I presume it uses a combination of de humidifier and some heat source.
>=3D20
>=3D20
> I also read about a cabinet someone built at Penland that is a force =3D
dry cabinet.
> I would like to know more about that one, and if possible, who built =3D
it.
> Or a photo of it if someone has one.
>=3D20
>=3D20
> Does Bailey make one?
>=3D20
>=3D20
> Actually, I'd rather buy one than build one, but that might not be =3D
possible!!
>=3D20
>=3D20
> Any information will help.
>=3D20
>=3D20
> Thanks very much.
>=3D20
>=3D20
> Diana Pancioli
> Eastern Michigan University
>=3D20
Lynn Goodman Porcelain Pottery on sat 25 sep 10
Hi Diana,
Many years ago (back when the dinosaurs roamed) I taught at a summer
camp that had a really clever drying cabinet. They stacked a couple of
crates and wired them together; they covered every inside surface with
aluminum foil. Then they added in some shop lights (the type without
clamps on them) minus the shades--one on every vertical wall, for a
total of 6 receptacles. (Because they used crates, all they had to do
was push the lights through the foil and thread the cords through to
the outside.) They used 100 watt bulbs in every light.
I used to put wet ware into the drying cabinet overnight--everything
was DRY the next morning. We are talking about little kid-solid stuff.
Dry.
I figure it's worth a try.
Lynn
On Sep 25, 2010, at 1:30 PM, dianamp@COMCAST.NET wrote:
>
> I hope someone on Clayart has knowledge of cabinets that force dry
> ceramic ware.
>
Lynn Goodman
Fine Porcelain Pottery
Cell 347-526-9805
www.lynngoodmanporcelain.com
Vince Pitelka on sat 25 sep 10
Diana Pancioli wrote:
"I hope someone on Clayart has knowledge of cabinets that force dry =3D
ceramic ware.
I know Pewabic has one, a large metal walk in. Theirs is bigger than I =3D
need.
I don't know if theirs is prefab or if it was built for them. I think it =
=3D
was pretty expensive."
Diana -=3D20
I think that the dehumidifier would be a mistake. I think that the =3D
secret to fast drying with no cracks is to heat the ware up in a =3D
super-humidified atmosphere and then let the humidity dissipate slowly. =
=3D
The best drying cabinet I have seen was at John C. Campbell Folk School. =
=3D
Their cabinet accepted a full-size Brent ware cart, and had several =3D
short sections of electric baseboard heater along the lower walls of the =
=3D
cabinet, and a few small vent holes bottom and top. That way, natural =3D
convection circulated a small amount of air. The heat would allow some =3D
moisture to evaporate from the wares, humidifying the atmosphere, and =3D
the humidity would dissipate slowly through convection, as a small =3D
amount of air escaped from the top of the cabinet. In this cabinet we =3D
were able to dry all sorts of wares, thick and thin, overnight with no =3D
cracking at all. =3D20
I remember that the late Oregon potter Joel Cottet had a special =3D
steam-injection kiln built by California Kiln Company. He loaded his =3D
gigantic wheel-thrown tables, chairs, and hot tubs into this huge kiln, =3D
and the early firing cycle included steam injected into the kiln so that =
=3D
the humidity was very slowly lowered as the temperature began to climb. =3D
This is an industrial approach used to avoid cracking when firing large, =
=3D
thick wares.
- Vince=3D20
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu=3D20
http://iweb.tntech.edu/wpitelka
Bonnie Staffel on sun 26 sep 10
Hi all,
=3D20
what a nice remembrance about the Campbell folk school. During my tenure =
=3D
as
Program Director, I also taught some classes in the pottery studio. =3D
Since
the class was just five days long, I noticed that adjustments had to be =3D
made
about the drying of the pots so that they could be finished by Friday
afternoon for the "show and tell" program with finished pots at the end =3D
of
the week. This challenged me to search out ways to dry the clay wares
quickly and safely. I then designed a drying cabinet with a heater in =3D
the
bottom, slats for shelves and holes in the top for the heat and moisture =
=3D
to
slowly escape. I designed it to use 4 X 8' marine plywood sheets and a
bathroom ceiling heater in the bottom. So it was 8' tall, 2' deep, the =3D
board
cut in half vertically for the doors. Very simple structure and adequate =
=3D
for
most home studios. I still have the plans in my archives. The schedule =3D
was
to make pots Monday and Tuesday, dry overnight and load the bisque kiln
Wednesday morning. fire the kiln, and glaze Thursday and fire overnight
Thursday night. The anticipation on Friday to open the kiln on Friday
afternoon was always exciting. While waiting for the kiln to cool we
discussed the week's work and answered the many questions raised from =3D
their
experience. It was a break for me from the office work to teach except =3D
the
"boss" expected me to carry out my regular daily duties of the Program
Director as well.=3D20
=3D20
My point is that the drying box now used at the Campbell School doesn't
sound like the one I built. However, it is great that the idea was =3D
improved
upon and the administration supported the idea. Money was tight when I =3D
was
at the school, so every expenditure was closely looked at. Even the =3D
wood/gas
kiln was one that I opted to have made and went about getting donations =3D
of
wood from local pallet companies and many other businesses contributed =3D
to
the plan with bricks and mortar. I had to do a lot of hard selling to =3D
the
director to make him see that this was the wave of coming classes. We
planned the event of the building to be an Elderhostel class with a =3D
longer
period of time for the project. I hired Tracy Dotson to oversee the work =
=3D
and
planning the kiln. I thought at the time that a double catenary arch =3D
kiln
would work so as to have bisque in the second chamber. The gas assist =3D
was
added to candle the kiln overnight. This occurred in the late 70s before =
=3D
the
wood firing caught on in small schools. You should have seen the =3D
over65ers
build that kiln. Our first wood firing turned out to be successful. =3D
Keeping
up with the school over the years since I returned to northern Michigan, =
=3D
I
believe that the original kiln has been altered to improve the design =3D
and
firing plan. I am so proud that my involvement proved to be a good =3D
choice.=3D20
=3D20
At any rate, Ron Hill, the director who was hired to make the school a
profitable "non-profit" organization, made it happen. He had quite a
struggle with the board to get his plans working. His background was as =3D
city
manager of Murphy so brought his business ability to make the school =3D
grow. I
brought to the school my years of experience with many crafts, also my
networking gave me talented instructors to teach the variety of classes =3D
that
we introduced at the school. One of my projects was to bring the studios =
=3D
up
to par so that they would give the students a great experience. We made =3D
many
changes, tried a lot of ideas, and when we left the school, the income =3D
put
the whole operation in the black. Francis Whitaker was a great =3D
blacksmith
who taught at the school, so his input furthered the growth of the metal
working classes. I also hired my long time friend, Ed Gray, to teach the
copper working arts a number of times during the year. I also hired
instructors from the numerous talented artists in the southeastern and
mountain area. The Fiber Arts building was a great studio that was used =3D
for
a variety of crafts. Little by little each studio was improved as grant
money became available.=3D20
=3D20
I will never forget the experience of working at the Folk school. It =3D
changed
my life and opened opportunities and hidden talent that I feel I was
preparing for my whole life in studying the arts. The opportunity to =3D
teach
in Denmark through the affiliation of the school with the Danish Folk
schools was another memorable experience where I introduced new ways of
working in clay including primitive firing methods.=3D20
=3D20
At any rate the succeeding administration has built on our efforts to =3D
make
the school one to consider study of the arts, crafts, music and dance
programs offered. On top of that, one can eat the wonderful meals that =3D
are
served in the new dining hall we had built during our tenure. I miss the
friends I made while at the school. But on top of that, I have great =3D
pride
in our part in the regrowth of the school. Thanks for sharing my trip =3D
down
memory lane.
=3D20
Warm regards,
=3D20
Bonnie Staffel
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD Throwing with Coils and Slabs
DVD Introduction to Wheel Work
Charter Member Potters Council
=3D20
David Finkelnburg on sun 26 sep 10
Diana,
You are looking for what industry calls a periodic dryer. You may wan=
t
to talk with these folks: http://www.kilnman.com/Dryer/PP.html Kemac and
Progetti build these, but in Europe. :-( Do follow Kathi's suggestion to
talk to the Motawis.
Forced drying is a two step process as Vince notes. First the ware is
heated. Meanwhile air is recirculated within the box by a fan to keep
humidity uniform. Once the entire load is heated (but still safely below
the boiling point of water) then a small amount of air is pulled in from
outside the box and the same amount of air is allowed to escape continually
until the humidity drops and the ware is dry. This way the center of the
ware is actually warmer than the air coming in. Moisture is continually
driven from the center of the ware to the surface by this temperature
difference, quickly drying the ware without the problem of the surface
shrinking faster than the center.
Good controls are the most important part of a forced dryer. There mus=
t
be at least a thermocouple to control temperature and a valve to control
makeup air volume. Humidity should be monitored and controlled. As Vince
mentioned, the ideal forced dryer is designed so ware is simply rolled in o=
n
a cart or carts.
A dryer will have a high volume of recirculated air within the box, at
least one time per minute up to 8 times per minute, to keep humidity
constant all over in the box. The air from the fan comes out through a
sheet of metal with many holes in it so air is distributed evenly. Air
speed is not necessarily high anywhere, just lots of air moving around so
there are no dry or wet spots in the box.
Good drying!
Dave Finkelnburg
http://www.mattanddavesclays.com
-----------------------------
On Sat, 25 Sep 2010, Diana Pancioli wrote:
I hope someone on Clayart has knowledge of cabinets that force dry ceramic
ware....
ivor and olive lewis on sun 26 sep 10
Dear Diana Pancioli,
I think it would be difficult to find satisfactory technical and scientific
information about the drying wet or damp clay products in literature writte=
n
for the studio potter.
Perhaps the best source of information would be W. E. Brownell, "Structural
Clay Products" 1976. Ch 5, Drying Process. Pp 101-124. ISBN 3-211-81382-9.
Brownell starts with an examination of the factors that influence the
removal of free water from plastic clay then continues by showing how this
knowledge can be exploited to improve drying efficiency..
Best regards,
Ivor Lewis,
REDHILL,
South Australia
David Woof on sun 26 sep 10
Diana=3D2C
Just a side note in support of Vince saying the dehumidifying dryers are a =
=3D
mistake. When considering cost effectiveness and energy consumption=3D3B =
ru=3D
nning a dehumidifying unit is like running your refridgerator with the door=
=3D
removed. The JC Campbell design seems easy enough to duplicate=3D2C adapt=
=3D
=3D2C or improvise.
=3D20
David Woof
______________________--
1a. Re: Drying Cabinets
Posted by: "Vince Pitelka" vpitelka@DTCCOM.NET=3D20
Date: Sat Sep 25=3D2C 2010 5:12 pm ((PDT))
Diana Pancioli wrote:
"I hope someone on Clayart has knowledge of cabinets that force dry ceramic=
=3D
ware.
I know Pewabic has one=3D2C a large metal walk in. Theirs is bigger than I =
ne=3D
ed.
I don't know if theirs is prefab or if it was built for them. I think it wa=
=3D
s pretty expensive."
Diana -=3D20
I think that the dehumidifier would be a mistake. I think that the secret t=
=3D
o fast drying with no cracks is to heat the ware up in a super-humidified a=
=3D
tmosphere and then let the humidity dissipate slowly. The best drying cabin=
=3D
et I have seen was at John C. Campbell Folk School. Their cabinet accepted =
=3D
a full-size Brent ware cart=3D2C and had several short sections of electric=
b=3D
aseboard heater along the lower walls of the cabinet=3D2C and a few small v=
en=3D
t holes bottom and top. That way=3D2C natural convection circulated a small=
a=3D
mount of air. The heat would allow some moisture to evaporate from the ware=
=3D
s=3D2C humidifying the atmosphere=3D2C and the humidity would dissipate slo=
wly =3D
through convection=3D2C as a small amount of air escaped from the top of th=
e =3D
cabinet. In this cabinet we were able to dry all sorts of wares=3D2C thick =
an=3D
d thin=3D2C overnight with no cracking at all.=3D20
I remember that the late Oregon potter Joel Cottet had a special steam-inje=
=3D
ction kiln built by California Kiln Company. He loaded his gigantic wheel-t=
=3D
hrown tables=3D2C chairs=3D2C and hot tubs into this huge kiln=3D2C and the=
early=3D
firing cycle included steam injected into the kiln so that the humidity wa=
=3D
s very slowly lowered as the temperature began to climb. This is an industr=
=3D
ial approach used to avoid cracking when firing large=3D2C thick wares.
- Vince=3D20
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net=3D3B wpitelka@tntech.edu=3D20
http://iweb.tntech.edu/wpitelka
=3D20
=3D20
=3D
Mayssan Farra on sun 26 sep 10
Hello Clayart:
How about just putting the ware in the kiln for a long preheat cycle.
I have not tried it but both Robert "Boomer" Moore and Beth Cavener Stichte=
r
said in their workshops that they load the wares wet. Moore wet as in fresh=
ly
thrown and Cavener Stichter as almost leather hard.
That might simplify things and one less thing to take up studio space.
Mayssan Shora Farra
In Charleston WV "still" enjoying a day of indoor tasks although none are c=
lay
related.
http://clayette.blogspot.com
----- Original Message ----
> From: Bonnie Staffel
> To: Clayart@LSV.CERAMICS.ORG
> Sent: Sun, September 26, 2010 11:13:53 AM
> Subject: Re: [Clayart] Drying Cabinets
>
> Hi all,
>
> what a nice remembrance about the Campbell folk school. During my tenure=
as
> Program Director, I also taught some classes in the pottery studio. Sinc=
e
> the class was just five days long, I noticed that adjustments had to be =
made
> about the drying of the pots so that they could be finished by Friday
> afternoon for the "show and tell" program with finished pots at the end =
of
> the week. This challenged me to search out ways to dry the clay wares
> quickly and safely. I then designed a drying cabinet with a heater in th=
e
> bottom, slats for shelves and holes in the top for the heat and moisture =
to
> slowly escape. I designed it to use 4 X 8' marine plywood sheets and a
> bathroom ceiling heater in the bottom. So it was 8' tall, 2' deep, the b=
oard
> cut in half vertically for the doors. Very simple structure and adequate=
for
> most home studios. I still have the plans in my archives. The schedule w=
as
> to make pots Monday and Tuesday, dry overnight and load the bisque kiln
> Wednesday morning. fire the kiln, and glaze Thursday and fire overnight
> Thursday night. The anticipation on Friday to open the kiln on Friday
> afternoon was always exciting. While waiting for the kiln to cool we
> discussed the week's work and answered the many questions raised from th=
eir
> experience. It was a break for me from the office work to teach except t=
he
> "boss" expected me to carry out my regular daily duties of the Program
> Director as well.
>
> My point is that the drying box now used at the Campbell School doesn't
> sound like the one I built. However, it is great that the idea was impro=
ved
> upon and the administration supported the idea. Money was tight when I w=
as
> at the school, so every expenditure was closely looked at. Even the wood=
/gas
> kiln was one that I opted to have made and went about getting donations =
of
> wood from local pallet companies and many other businesses contributed t=
o
> the plan with bricks and mortar. I had to do a lot of hard selling to th=
e
> director to make him see that this was the wave of coming classes. We
> planned the event of the building to be an Elderhostel class with a long=
er
> period of time for the project. I hired Tracy Dotson to oversee the work=
and
> planning the kiln. I thought at the time that a double catenary arch ki=
ln
> would work so as to have bisque in the second chamber. The gas assist wa=
s
> added to candle the kiln overnight. This occurred in the late 70s before=
the
> wood firing caught on in small schools. You should have seen the over65e=
rs
> build that kiln. Our first wood firing turned out to be successful. Keep=
ing
> up with the school over the years since I returned to northern Michigan,=
I
> believe that the original kiln has been altered to improve the design an=
d
> firing plan. I am so proud that my involvement proved to be a good choic=
e.
>
> At any rate, Ron Hill, the director who was hired to make the school a
> profitable "non-profit" organization, made it happen. He had quite a
> struggle with the board to get his plans working. His background was as =
city
> manager of Murphy so brought his business ability to make the school gro=
w. I
> brought to the school my years of experience with many crafts, also my
> networking gave me talented instructors to teach the variety of classes =
that
> we introduced at the school. One of my projects was to bring the studios=
up
> to par so that they would give the students a great experience. We made =
many
> changes, tried a lot of ideas, and when we left the school, the income p=
ut
> the whole operation in the black. Francis Whitaker was a great blacksmit=
h
> who taught at the school, so his input furthered the growth of the metal
> working classes. I also hired my long time friend, Ed Gray, to teach the
> copper working arts a number of times during the year. I also hired
> instructors from the numerous talented artists in the southeastern and
> mountain area. The Fiber Arts building was a great studio that was used =
for
> a variety of crafts. Little by little each studio was improved as grant
> money became available.
>
> I will never forget the experience of working at the Folk school. It cha=
nged
> my life and opened opportunities and hidden talent that I feel I was
> preparing for my whole life in studying the arts. The opportunity to tea=
ch
> in Denmark through the affiliation of the school with the Danish Folk
> schools was another memorable experience where I introduced new ways of
> working in clay including primitive firing methods.
>
> At any rate the succeeding administration has built on our efforts to ma=
ke
> the school one to consider study of the arts, crafts, music and dance
> programs offered. On top of that, one can eat the wonderful meals that a=
re
> served in the new dining hall we had built during our tenure. I miss the
> friends I made while at the school. But on top of that, I have great pri=
de
> in our part in the regrowth of the school. Thanks for sharing my trip do=
wn
> memory lane.
>
> Warm regards,
>
> Bonnie Staffel
>
> http://webpages.charter.net/bstaffel/
> http://vasefinder.com/bstaffelgallery1.html
> DVD Throwing with Coils and Slabs
> DVD Introduction to Wheel Work
> Charter Member Potters Council
>
>
>
>
>
>
dianamp@COMCAST.NET on sun 26 sep 10
Wow!! Hurrah Clayart!!
THANKS for so many responses.
The expertise in this group is fabulous!
Now I have lots of good ideas to take to administration,
to see which way they want to go, if any.
I will let you know what happens.
Sincerely,
diana pancioli
jonathan byler on mon 27 sep 10
I did some research on this but never got around to doing anything
about it. here are my findings:
temperature in the box should not exceed about 110 deg F. if you get
to hot, the clay cannot be recycled properly. something about it
losing the ability to become plastic again if you want to break up any
failed work to be slaked down and recycled.
you basically want to have at first close to 100% humidity and ramp
that down as low as possible as the process goes on. I read
somewhere, can't remember now, that you could do this safely without
having ware crack over about a 24 hour period, but if you had uniform
wall thickness, etc, you could probably speed this up. the best way
would be to have the air recirculating through the cabinet in a closed
loop with some sort of dampers to let fresh air in and humid air out.
Ideally these dampers would be controlled by some kind of humidistat
so that the humidity can be set and left constant for an hour or so,
then ramped down a bit, then some more, etc. the heat is necessary to
drive the water from the work, the humidity allows the work to dry out
EVENLY from the inside out.
*even* drying is the key to reducing cracks, and stresses in the
clay. the speed of drying is only relevant in that it helps to dry
things slowly when you don't have control of the atmosphere and the
air blowing around in the drying box.
certainly one could build a relatively simple manually operated box
and get decent results, but it would surely be a good thing to have
the heater controlled by a thermocouple, and to have some way of
reading the relative humidity in the box so that you could have some
control over that with your manual dampers. you can probably build
something very nice out of outdoor grade plywood painted inside with
epoxy paint or some other kind of water resistant paint. everything
in the box needs to be corrosion proof, or you won't have your box for
long.
On Sep 27, 2010, at 6:10 PM, David McBeth wrote:
> Diana - You might also check with the studio techs at Haystack and
> Arrowmont. Both facilities have "home"made drying booths that seem to
> work very well. The key seems to be circulation of air and heat. The
> Haystack drying booth, as I recall, uses heat lamps and natural
> convection. The Arrowmont drying booth use heat and fans.
>
> Dave
>
Larry Kruzan on mon 27 sep 10
Hi Mayssan and all,
I am curious about this method - and hesitant, that's a LOT of moisture
going into the brick and everything else. Certainly you would leave the lid
propped open for steam to escape just as we do here during the early part o=
f
a bisque firing - but, My opinion is that it would lead to corrosion
problems, perhaps shortened element and thermocouple life.
Two things electronics hate are Moisture and heat. The combination is death
to most electronics. I'm always amazed at how durable the electronics in ou=
r
kilns are.
Like most of us, I have "warmed up" suspect pots for a while before going
over 200 degrees, just to be safe. That's not that same as force drying
dripping wet pots all the way to dry. Shutter.
I wonder how "Mr. Kiln" Arnold Howard would see this??? If anyone would kno=
w
for sure he must.
Larry Kruzan
Lost Creek Pottery
www.lostcreekpottery.com
-----Original Message-----
From: Clayart [mailto:Clayart@LSV.CERAMICS.ORG] On Behalf Of Mayssan Farra
Sent: Sunday, September 26, 2010 4:44 PM
To: Clayart@LSV.CERAMICS.ORG
Subject: Re: Drying Cabinets
Hello Clayart:
How about just putting the ware in the kiln for a long preheat cycle.
I have not tried it but both Robert "Boomer" Moore and Beth Cavener Stichte=
r
said in their workshops that they load the wares wet. Moore wet as in
freshly
thrown and Cavener Stichter as almost leather hard.
That might simplify things and one less thing to take up studio space.
Mayssan Shora Farra
In Charleston WV "still" enjoying a day of indoor tasks although none are
clay
related.
http://clayette.blogspot.com
----- Original Message ----
> From: Bonnie Staffel
> To: Clayart@LSV.CERAMICS.ORG
> Sent: Sun, September 26, 2010 11:13:53 AM
> Subject: Re: [Clayart] Drying Cabinets
>
> Hi all,
>
> what a nice remembrance about the Campbell folk school. During my tenure
as
> Program Director, I also taught some classes in the pottery studio. Sinc=
e
> the class was just five days long, I noticed that adjustments had to be
made
> about the drying of the pots so that they could be finished by Friday
> afternoon for the "show and tell" program with finished pots at the end
of
> the week. This challenged me to search out ways to dry the clay wares
> quickly and safely. I then designed a drying cabinet with a heater in th=
e
> bottom, slats for shelves and holes in the top for the heat and moisture
to
> slowly escape. I designed it to use 4 X 8' marine plywood sheets and a
> bathroom ceiling heater in the bottom. So it was 8' tall, 2' deep, the
board
> cut in half vertically for the doors. Very simple structure and adequate
for
> most home studios. I still have the plans in my archives. The schedule
was
> to make pots Monday and Tuesday, dry overnight and load the bisque kiln
> Wednesday morning. fire the kiln, and glaze Thursday and fire overnight
> Thursday night. The anticipation on Friday to open the kiln on Friday
> afternoon was always exciting. While waiting for the kiln to cool we
> discussed the week's work and answered the many questions raised from
their
> experience. It was a break for me from the office work to teach except
the
> "boss" expected me to carry out my regular daily duties of the Program
> Director as well.
>
> My point is that the drying box now used at the Campbell School doesn't
> sound like the one I built. However, it is great that the idea was
improved
> upon and the administration supported the idea. Money was tight when I
was
> at the school, so every expenditure was closely looked at. Even the
wood/gas
> kiln was one that I opted to have made and went about getting donations
of
> wood from local pallet companies and many other businesses contributed t=
o
> the plan with bricks and mortar. I had to do a lot of hard selling to th=
e
> director to make him see that this was the wave of coming classes. We
> planned the event of the building to be an Elderhostel class with a
longer
> period of time for the project. I hired Tracy Dotson to oversee the work
and
> planning the kiln. I thought at the time that a double catenary arch
kiln
> would work so as to have bisque in the second chamber. The gas assist wa=
s
> added to candle the kiln overnight. This occurred in the late 70s before
the
> wood firing caught on in small schools. You should have seen the
over65ers
> build that kiln. Our first wood firing turned out to be successful.
Keeping
> up with the school over the years since I returned to northern Michigan,
I
> believe that the original kiln has been altered to improve the design an=
d
> firing plan. I am so proud that my involvement proved to be a good
choice.
>
> At any rate, Ron Hill, the director who was hired to make the school a
> profitable "non-profit" organization, made it happen. He had quite a
> struggle with the board to get his plans working. His background was as
city
> manager of Murphy so brought his business ability to make the school
grow. I
> brought to the school my years of experience with many crafts, also my
> networking gave me talented instructors to teach the variety of classes
that
> we introduced at the school. One of my projects was to bring the studios
up
> to par so that they would give the students a great experience. We made
many
> changes, tried a lot of ideas, and when we left the school, the income
put
> the whole operation in the black. Francis Whitaker was a great blacksmit=
h
> who taught at the school, so his input furthered the growth of the metal
> working classes. I also hired my long time friend, Ed Gray, to teach the
> copper working arts a number of times during the year. I also hired
> instructors from the numerous talented artists in the southeastern and
> mountain area. The Fiber Arts building was a great studio that was used
for
> a variety of crafts. Little by little each studio was improved as grant
> money became available.
>
> I will never forget the experience of working at the Folk school. It
changed
> my life and opened opportunities and hidden talent that I feel I was
> preparing for my whole life in studying the arts. The opportunity to
teach
> in Denmark through the affiliation of the school with the Danish Folk
> schools was another memorable experience where I introduced new ways of
> working in clay including primitive firing methods.
>
> At any rate the succeeding administration has built on our efforts to
make
> the school one to consider study of the arts, crafts, music and dance
> programs offered. On top of that, one can eat the wonderful meals that
are
> served in the new dining hall we had built during our tenure. I miss the
> friends I made while at the school. But on top of that, I have great
pride
> in our part in the regrowth of the school. Thanks for sharing my trip
down
> memory lane.
>
> Warm regards,
>
> Bonnie Staffel
>
> http://webpages.charter.net/bstaffel/
> http://vasefinder.com/bstaffelgallery1.html
> DVD Throwing with Coils and Slabs
> DVD Introduction to Wheel Work
> Charter Member Potters Council
>
>
>
>
>
>
=3D=3D=3D=3D=3D=3D=3D
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David McBeth on mon 27 sep 10
Diana - You might also check with the studio techs at Haystack and
Arrowmont. Both facilities have "home"made drying booths that seem to
work very well. The key seems to be circulation of air and heat. The
Haystack drying booth, as I recall, uses heat lamps and natural
convection. The Arrowmont drying booth use heat and fans.
Dave
On 9/25/10, dianamp@comcast.net wrote:
> HI Clayart:
>
>
> I hope someone on Clayart has knowledge of cabinets that force dry ceram=
ic ware.
>
>
> I know Pewabic has one, a large metal walk in. Theirs is bigger than I n=
eed.
> I don't know if theirs is prefab or if it was built for them. I think it=
was pretty expensive.
>
>
> I presume it uses a combination of de humidifier and some heat source.
>
>
> I also read about a cabinet someone built at Penland that is a force dry=
cabinet.
> I would like to know more about that one, and if possible, who built it.
> Or a photo of it if someone has one.
>
>
> Does Bailey make one?
>
>
> Actually, I'd rather buy one than build one, but that might not be possi=
ble!!
>
>
> Any information will help.
>
>
> Thanks very much.
>
>
> Diana Pancioli
> Eastern Michigan University
>
--
David McBeth
Professor of Art
Department of Visual and Theatre Arts
University of Tennessee - Martin
731-881-7416
Arnold Howard on tue 28 sep 10
From: "Larry Kruzan"
> Like most of us, I have "warmed up" suspect pots for a
> while before going
> over 200 degrees, just to be safe. That's not that same as
> force drying
> dripping wet pots all the way to dry. Shutter.
As long as the kiln is well vented and the temperature is
kept at 200F, you can successfully dry out wet greenware in
the kiln. We don't recommend it, though, because it is more
expensive than using a drying cabinet.
Also, if the kiln is heated past 200F while the ware is
still wet, the moisture is driven into the firebricks. This
slows down the kiln dramatically and causes the case, switch
box, and steel base to rust.
Sincerely,
Arnold Howard
Paragon Industries, L.P., Mesquite, Texas USA
ahoward@paragonweb.com / www.paragonweb.com
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