KarateHiro on mon 16 mar 98
This one, I assure you, is the last of the six series on ITC and Common Sense:
The basics, beyond basics, insulated, potter's, sicence, and controlled (this
one). My hope is that any new materials to be promoted on this list should
undergo a similar scrutiny. I also express my gratitude to Ellen Baker and
Marshall Talbott for the thought-provoking posts on the subject to this list
that directly triggered mine.
I go on to work with tax matters tomorrow, Monday, so I must be away for a
while. So, no more lengthy posts. Just lurking. After that in April/May I hope
to go to Japan and the Orient for short visits as a budget traveler. You know,
just for fun. Giving away some of my pots over there does not hurt. Ouch, the
tax people assess that such free gifts must be declared at the fair market
value as sales. No free lunch here. My pots can command high prices over
there, needless to say. But, what a damage! Although some currencies have
been devalued ridiculously low over there, still, those tax rates are so high,
if judged against my common sense. I should quit working for the government,
soon.
Well, well. ... ... come on. I am just kidding. Don't take this at face value.
Revenue people are employees, and must follow orders from above. Our own
elected politicians inflict harm on us from the above. So, we have to be
vigilant, as always.
So far, I have talked about the ITC and high-fire or low-fire situations. It
has absolutely nothing to contribute, as far as I am concerned, that could
help us make better pots. Or, let crumbling kilns function beyond natural age.
If I have a need, I would build or buy a new one. More efficient, better made,
and cheaper to operate. No need to fix the old ones up, anyway. For reasons I
made clear, ITC cannot possibly help the finished product, except as a special
spray or glaze material. That is my opinion. I speak my mind with tongue in my
cheek.
(2) Medium-Fire Potters/Kilns. I included raku in this category, for
historical reasons. Nowadays, it's easy for us to get to the higher
temperature range, due to the technological and natural gifts we can enjoy in
North America. Still, we must remember it has been a long way: we have not
reached the current state of affairs overnight. Things may not last forever,
moreover. We should take advantage of what's available now. Enjoy things while
we can. We may be gone tomorrow, who knows.
As I understand it, those who practice oxidization do so for the degree of
control the technique could afford them. The results (pots) are more
predictable. Those who practice reduction, on the other hand, for some
unexpected results (better than ordinary or far worse, take your pick). The
control of firing is not as much in their mind.
Both ways, however, and to some extent, the fuel savings could have been a
major factor in such a decision. to fire routinely at this range. Yes, since
to stay in this mode of operation implies direct savings in energy. Low cost
production is a major motivator in this case, and I don't blame them. I pity
them as much as I do those Japanese potters who must contend with high energy
prices. Too bad. I like high fires. Again my personal opinion. Each according
to taste. A personal decision.
So, here's what I think. The medium range is no longer the cutting-edge
extravaganza. But it consumes energy at an alarming rate. If you think ITC can
conserve the fuel consumption, go ahead. Just keep your mind and eyes open for
other "proven" alternatives like wrapping up the kiln a la Hendley, for
example. But, please, do not preach others to do the same. As if it's the
gospel according to you.
Before using electric kilns with ITC, at any rate, I would pursue the gas
route. Simple brick made chambers should be adequate to bisque your wares. In
the backyard, to boot. You roast your pots as if you make smoked salmon.
Bisquing hardly produces any noxious smokes. Should attract far less attention
than smoking your fish or meat. So on and so on. But, please do not quote me
if you get into trouble with zoning laws.
The gas alternative should save you a bundle. If you stick to the electric
one, and keen about saving energy, however, think about the Japaense
alternative of using gas at some stage in firing. This may require
modification to your elements and firing schedles. Still, it may be worth it
to consider such a move. If too much work and ITC can do it for you, all the
better. That's your choice. But, remember, the savings become less as your
firing temperature you ultimately set gets lower and lower.
If you are into terra sig or fine drawings, the fuel savings are a minor
consideration, not anything as important, relative to other issues, I guess.
Getting good paintings on finished products, and repeatability or replication
of firings override fuel savings considerations. Delft wares and a lot of
other alternatives here. Covers a lot of technical grounds. Fuel is not an
important factor, as far as I am concerned. Lots of other details to master
and control. My artistic expression, shall I say, is the determining factor or
worrisome concern. A bit more fuel? That's acceptable. (I would avoid it if I
can, naturally.) But, there are a lot of other things which I have to tend
to. Like assuring consistency in my glaze materials. I cannot afford any risks
coming from the pinholes in my white glaze that forms the basis of my
art/craft in majolica, for instance. A few pennys more. I'll take it. Don't
tell me the savings. I am proactive. A better firing. And nicer pots (not
forms but the pretty dress). That is all I ask.
To put it bluntly, the giant toaster ovens are not the best way to cook your
own bacon. There are better ways. But it takes some doing before you can bring
your own bacon home. A lot of other stuff. Once I am set in my own ways,
moreover, it is hard to change things or set ways. That is up to me. Perhaps I
am too old for a change. I have nothing to do with the newer technologies.
ITC, to me, belongs to the same category. At any rate, what you do with it is
your own business. More power to you!
What about older electric kilns? Need ITC to repair it?. If they get old, I
simply pass it on to novice potters who can make a far better use of it than I
would, at half price. I will get a new one. Why not? I can control things
better that way. All sorts of automatic controls are in the offing. I have
passed the stage where I really get welded to that old one. I use nuts and
bolts these days, remember? The money talks.
What about protecting the kiln wall and prolonging its life? Are you kidding?
I want to protect my glazed ware. Accidental brushing or hitting of the kiln
wall is common occurence. I want soft bricks there. No ITC hardened stuff.
That could literally ruin my semi-finished, laboriously glazed ware. Even for
greenwares, the soft bricks are better, since I must move things around to get
the best and most efficient firings. I hate to lose an edge or a rim from
hitting the ITC hardened kiln wall. Who in the right mind as a potter would
promote the ITC's virtues for prolonging the kiln life? I am talking about my
own pots. They are far more important than kiln walls. I am simply apalled by
the promoters' idea of the kiln protection. What do you think we are? A bunch
of robots?
The soft bricks come in all varieties and qualities. It they had to be
protected by ITC, and if it works, it is analogous to protecting cheap
hardbrick with it, and pass it on as if it is really hard bricks we are
getting. I say, "No thank you" to that kind of presentations. Remember,
there are genuine kiln makers who sell direct to their prospective customers.
Long history and quality designs at a reasonable price. There are those who
are just re-sellers, as well, along with all other stuff they have on their
catalogues. Nothing wrong about promoting someone else's kiln designs. Or,
any space age materials. No laws against that. For kilns, they may have their
own labels worth a buck or so. We do not know exactly what goes on behind the
scenes.
All I know is that not all bricks in electric kilns may not be the same.
Different cone ratings and wall thicknesses. No specifications on them to
speak of. And different designs. Some older kilns I have came with shoddy
construction. That I guarantee one hundred percent (100%). From my personal
run-ins. I have four or five of them around. Some came with beautiful-looking
non-funtioning setters. My electrician friend fixed that ok. He said stupid.
Crossed wires. Literally. Maybe the kiln maker knew better. The price is no
indicator of quality. Just be careful. Buyers beware.
So, where does that leave us? Back to the starting point.
No kidding. No progress after all those posts? Yes. I knew that before I
started. I must have been insane. To be crucified by my spouse for sure. So
much time to put my thoughts in words. I have limited words. But no shortage
of ideas and thoughts.
If you hear someone say that ITC is an industrial product, and if you believe
it, that is just fine. Why a studio potter should use an industrial product?
That should be your next question. If you want to be an industrial producer of
pots, that is also fine. But it does not mean that using the ITC will make you
one. Boy, those people have guts.
Historically, some industrial products, from which we benefited immensely,
also gave us a lot of troubles at inopportune (bad) times. We as studio
potters normally find this out a tad late, just a little late, after suffering
untold damages or unexpected losses.
Why don't we just wait for a while? After all, there is no rush. A little
waste in fuel or a little premature aging of our kilns, even if all the claims
turn out just so and right. So what? We can take that in a stride. Meantime,
just ask questions with a cutting edge. Do extra research by asking proper
questions, do spend some time on it, and find out how relevant the so called
"experts" opinions are. And I have seen some already on this list. So far, no
answers. Sad to say. I may have mised some, but true.
According to Ellen Baker (orion@telcomplus.net), "If you are a wise man, you
should understand how easily a fool can lead other fools. Many--most--of the
"popular experts" teach mostly nonsense. They don't begin to understand what
they don't understand. Is it wrong to follow a fool if you believe he is a
great man? It may not be wrong, but it is still pitiful to follow a fool."
Well, I like to be considered a fool in this context. I need the followers.
But I have no followers, as far as I know. So I may not belong to this
category of fools. And I also like to be regarded as a wise man.
I don't know of any other greater fools that follow me up on this one, either.
So I continue my own ways in search of truth. That's how it is. Ironic, since
I no longer believe in hell. But I endorse Ellen Baker"s technical writings. I
don't know her personally. I have never met her, but she can be trusted,
judging from her posts. Incidentally, those fools must hate her writings. And
I know why without reservation.
Other popular experts may be like someone who advised me to total up columns
of numbers to speed up my tax work, no sweat, just some hard work. No row
numbers to add up and check if these two sets match. Just columns of numbers.
How stupid one can get? But that was how things were. If you did not
understand this, just follow me in the fool's path. That is called cutting
corners by tax collectors. You may be fit for a mutual admiration society. And
I would dearly love to have you aboard, welcome you with open arms. No
checking on the totals derived from rows and columns. That surely makes for a
really easy life. At one time, I spent hours doing such mundane checkings. And
I got paid for that. That's bookkeeping 101. How about that? To trust such
advice on pottery matters surely makes me a fool and an idiot.
There is a Japanese proverb. If you have not climbed Mt. Fuji not even once in
your lifetime, you are a fool. (You don't know what you are missing.). But if
you do climb Mt. Fuji more than once, you are a greater fool (it was that
tough, tortuous, ardous and agonizing an experience. Why repeat it?). If you
climb it the third time, you are ... ... ..... Well, I have posted five times
to the list on ITC. What do you think? An idiot? I have surpasssed all those
marks. The Guiness records? The truth hopefully is that I can now take
anything thrown at me. Ha,ha. Really, I am just an eccentric. I was born on an
island, you see. That history has a long, long tradition and memory.
My warning on ITC. It is up to you to differentiate what's what, chaffs from
kernels, if you really know what you get. If I am interested in controlling my
own fate, I would not bet on a material whose composition is a personally kept
secret, and which formula could be changed at any time, with or without any
advance warning. And sold through intermediaries by non-potters, endorsed by,
let us say, some fools with a lot of followers. I toss the buck here to Ellen
Baker, I am a chicken shit and cannot take the heat..
Whatever. My responsibilities regarding the material as a maker/vendor are
quite remoted. By law, that is. Not by personality or soft talks. How do you
think you can obtain reddress, if something goes wrong? F..d up. All sk..d.
We have had enough experience on clays sold by reputable firms which changed
the formula (they claimed they did not know that). All we know is that these
companies would change the formula if they find a low cost alternative
(formula or new source of supply) before blinking or batting their eyes. A
harsh statement? No. Many good potters had such bad experiences and I have
witnessed them all (so it seems).
It is difficult to find a good alternative for a good product. But. ... I
know a company that almost went bankrupt when the key supplier of just one
input material changed the source without any notice. A textile printing firm
that suddenly discovered lousy patterns and paintings coming out of the run.
The same inputs, dyes, fixing agents, screens, trained workers and so on, the
same brand name products and the same formula for processing. Imagine the cost
of those cloth. White to be printed in gorgeous colors. Reams after reams of
it. Where did we go wrong? Not our lousy quality control, after all, as it
turned out. One by one the posibility had to be eliminated. Very laborious.
They discovered, belatedly, that one material was produced in a different
location in a different factory and supplied to them under the same packaging
using the same brandname and so on, from an internationally recognizeable firm
which is all too familiar to us. Teh company had been trusted to the T. And
the material was a critical input item to produce a quality item, and this
took place without any warning. Not required by law, since there was no change
in the chemical formula or product specifications. It was just an internal
matter, a private secret. A local American company controlled by a
multinational. So no one was wiser
To find out the real cause of their process troubles took them seven months,
and they could not get any compensations for the damage. I know. I spent a
part of my youth trying to find out such things. You need a really deep pocket
to survive such an ordeal. This is a first-hand story. And the money involved
far surpassed the scale of any studio potter's. No telling if it is true or
not, from your perspective. But the damage was caused by one supplier. Why
trust our fate on something new whose origins are not specified clearly? Or,
waste our precious money on such matters when other alternatives are
available.
(Come to think of it, spraying the kiln really did not affect our pots, did
it?)
I have been truthful. ... ... I hope you learned something from my posts. Or,
better still, provoked your ideas and thoughts to post. My greetings to you
all.
Hiro Matsusaki
Copyright March 15, 1998. All rights reserved.
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