Ron Collins on tue 11 dec 01
Sometimes, I think we get somewhat spoiled by having access to any =
chemical, any glaze known to work, any result, either in an efficient =
gas kiln, or an electric kiln, where most anything is possible. We =
design the pieces first, and it is secondary the methods used to make it =
work. Anything that we see or think of , we can make work.......We can =
find and buy anything that we need. We forget that there are still =
places where you have to consider the clay near you, the firing system =
that you can do and afford and understand, and making pieces that will =
work with your nearby clay and your available and possible firing =
system. Things are still that way here, believe it or not, where you =
work with what's nearby, and tailor you work to fit the circumstances, =
not the other way around. =20
As a potter, it's a pure joy--combining the available materials, the =
available firing options, and then making things that work in that =
scenario. A creative challenge. With that said......
Lowell's sawdust injection kiln firing system is just more fun than =
anything....build a little fire in the bottom with wood, then let it rip =
with sawdust....no money spent, and fun to watch and do.....have done =
both cone 6 and cone 04. Obviously, we need to fire our porcelain to =
around cone 9 or so to get the ash to melt. So, it's a learning =
experience. At cone 04, I fired earthenware, and yes, you have to =
design both your pieces and outside surfaces to accommodate lots of =
unmelted and unburned ash/sawdust, so it's fun to change the way of =
working to having things only glazed on the inside, and fired upside =
down so junk won't attach to the melted glazes at 04. More creative =
slips and Alisa's "Desert Wash". I got some great looking things at 04, =
believe it or not. Cleanly glazed on the inside, with interesting slips =
on the outside. Took an hour after starting the sawdust. And the =
firing cost nothing, really. An hour's worth of electricity to run a =
small 1/2 horse motor. =20
At cone 6, it's easy to see that you either go to higher, and melt the =
ash into the glaze, or you've got the cone 04 challenge all over again. =
So, it is good at 04, and at 9/10. It is just necessary to design your =
work with this, to accommodate the kiln and it's way of working and =
firing. In a month or two, I'll write a little more about what we have =
found to work.=20
But after seeing this way of firing in action, I love the =
simplicity and self-sufficiency of the process. =20
It is a wonderful feeling to know that no matter what happens, that =
I can make lovely, functional work, and never again have to come up with =
5-10 thousand dollars to set up a studio in the middle of nowhere. A =
"rich bitch" in terms of what I have to use here in my studio for my own =
work and my own ego, there is no more fun anywhere than digging your =
own, crushing your own, and firing it in your own ....Thanks, Lowell =
Baker, for adding the missing part, Melinda Collins, Antigua, Guatemala =
(we may can fire a lot "cleaner", but having to do this after Lowell =
went home, as we couldn't find the needed materials, and had to have =
them made, we are struggling on our own, and may not know as much as =
we will later)
=20
Ann Brink on wed 12 dec 01
Melinda- thanks for sharing your slice of reality and your "Potter's Way"
with us. (sounds like a good book title, eh?)
Your paragraph below made me reflect on life in general...limitations, and
working around them, and, as you say- receiving the most satisfaction from
creative solutions. Limitations give one focus, at least!
Melinda wrote: "We forget that there are still places where you have to
consider the clay near you, the firing system that you can do and afford and
understand, and making pieces that will work with your nearby clay and your
available and possible firing system. Things are still that way here,
believe it or not, where you work with what's nearby, and tailor you work to
fit the circumstances, not the other way around.
As a potter, it's a pure joy--combining the available materials, the
available firing options, and then making things that work in that scenario.
A creative challenge"
Best regards,
Ann Brink in CA, relieved that I can receive replacement kiln parts in a few
days time- Maybe Melinda could too, but with huge shipping charges I
suspect.
LOWELL BAKER on mon 31 dec 01
0100,0100,0100I have to admit that I lost your questions so I am doing this from
memory.
First of all you should have dry sawdust for that small kiln. If you
are not blowing a lot of unburner pieces out the top you are doing
fine. You do not need a larger blower. If anything you might need
a smaller one.
The kiln should produce a slight roar when it is working properly.
Once you get to red heat there should be very little unburned
sawdust coming out the top. The flame should clear to one that is
almost invisable and you should have very little smoke at the blow
hole on top of the kiln. The flame will be about three feet long out
the top during the day and you will see more at night. There might
be some smoke up in the air ten feet or so. If you have smoke or a
lot of dark flame once the kiln is hot you are feeding too much fuel
or the fuel is too wet. If this is the case and you cannot clear the
flame by adding more air than you will need to reduce the diameter
of the pipe going into the kiln and/or get dry fuel. I believe you are
closer than you think to having it working.
I would start by cutting back not adding more fuel.
How are you picking up the sawdust? Can you simply handfeed
small amounts until you get a rhythm. One handful every 2
seconds should fire that kiln. I know that doesn't sound like a lot,
but it will work.
Write me back and I won't loose your note this time.
Have a happy new year.
We are working on our house, removing large trees from the yard
and working on Jackson's truck. It has been non-stop here since
we got home.
Lowell
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