Lorene McIntosh on sun 4 jan 04
Aaaaaaaack!!! I don't know! Well....I know some of it. It is an electric
Skutt kiln with a computer. I am teaching K-12 art so there will be a
variety of work but I will keep it small and simple to start with. The cla=
y
I ordered is low fire as I was told it would be easier to work with for
kids. =20
I have found some random lesson plans. They haven=B9t had art in this school
for about 3 years (they have trouble getting someone to come here - at the
moment it's 24 below and it's very remote) and their knowledge of the basic
elements and principles is mostly non-existent so I=B9m keeping things simple
and stressing the elements/principles. The kiln is brand new =AD never been
fired - has been sitting there for 3 years. I don=B9t see any shelves for
it?! It should have shelves, no? It has a computer and I was told that wil=
l
make it much easier. It is a Skutt model um... 1210 I think (can check
model number tomorrow).
I think I=B9m most nervous about glazing, firing and the high school level. =
I
ordered low fire clay and non-toxic glazes. How do you keep young kids fro=
m
mixing the glazes. I mean, with tempera they each get a little palette and
there is a lot of waste but they learn about color and I just throw it out.
Glaze is pretty expensive to pour into a palette and toss. Also, they can=B9=
t
mix colors anyway because what you see is not what you get! I=B9m assuming I
should not have the young kids use glaze at all but let them paint them (do
I just bisque fire then?) and perhaps spray with permanent coating to
protect afterwards. Still, how to deal with the jr & sr high? I can let
things touch in the bisque firing but not glaze firing right? So, I can
just stack things in a logical manner for bisque? Larger more stable thing=
s
at the bottom... Glaze cannot be on the bottoms of pieces and they cannot
touch each other right? What is kiln wash? I don=B9t see any shelves around
anywhere but assume there should be some. Are they full shelves that go al=
l
the way across or are they more open so the heat can move around? Does the
kiln need to be full or can it be partly loaded? We have very small classe=
s
here. What is =B3full=B2 anyway. I=B9m in a whole lot of trouble aren=B9t I? I
have a 3-D high school elective class that is chomping at the bit to get
started with clay. I think this summer I could find some workshops or
somewhere to take some classes....just gotta get through this semester
somehow. Argh!... My BFA is in drawing and painting and I told them when I
was hired that I don't know much about clay. They are very supportive and
willing to let me go slowly and learn. I'm a tad bit panicky - can you
tell?! :-) =20
=B3Lorene in the woods in the dark=B2
> At 03:55 PM 1/4/04 -0600, you wrote:
>> ...I really need help now though. I have never loaded or fired a kiln.
>=20
>=20
> OK, lets start with the basics: what kind of kiln
> is it, and what kind of work do you want to fire?
> Size of work, thickness, clay temperature, clay
> texture, what kind of surface finishes...all these
> can make some difference (or not). Let us know, and
> we can be much more focused with our suggestions!
>=20
Lorene McIntosh on sun 4 jan 04
Thanks Tony for the info on the workshop next fall. I have bookmarked the
site and also put it on my calendar for next summer to see if there is still
space.
I really need help now though. I have never loaded or fired a kiln. I've
never even seen it done. I have to start teaching ceramics Spring semester
- 2 weeks till then! I am learning as I go how to work with clay from books
and the internet - BTW Marvin Bartel...superb info. This clay list is a
good source of support and encouragement even though I haven't got a clue as
to what most of it is even about. I wrote to Rainy River Community College
in International Falls and they did not respond - will try again or maybe go
there or call. Yeesh.
I am ordering a wheel so that I can work in my home studio (I think I've
decided on the Pacifica G400) and hope to be able to keep the clay dust out
of the oil paint . I will get through this semester somehow but
I think I need some hands on training and I am literally "alone in the
woods" here.
Lorene
Snail Scott on sun 4 jan 04
At 03:55 PM 1/4/04 -0600, you wrote:
>...I really need help now though. I have never loaded or fired a kiln.
OK, lets start with the basics: what kind of kiln
is it, and what kind of work do you want to fire?
Size of work, thickness, clay temperature, clay
texture, what kind of surface finishes...all these
can make some difference (or not). Let us know, and
we can be much more focused with our suggestions!
-Snail
Carol Tripp on mon 5 jan 04
Lorene wrote, in part:
>I really need help now though. I have never loaded or fired a kiln. I've
>never even seen it done. I have to start teaching ceramics Spring semester
>- 2 weeks till then! I am learning as I go how to work with clay from
>books
>and the internet - BTW Marvin Bartel...superb info.
Hi Lorene,
What kind of kiln are you trying to fire; gas or electric? Oxidation,
reduction? Cone?
Please give some specifics.
Best regards,
Carol
Dubai, UAE
PS I learned how to fire my electic kiln from books and Clayart so it can be
done!
_________________________________________________________________
Tired of spam? Get advanced junk mail protection with MSN 8.
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Patty Alander on mon 5 jan 04
Hi Lorene,
I understand your panicky feeling, but relax - kids are naturals with
clay. I've been teaching 1st - 5th graders for 7 years and in all that
time I've only had one kid who didn't just pick up the clay and know
what he/she wanted to do with it. We go over how to attach clay so that
it stays attached - pinch it together and add clay if necessary, and I
tell them nothing thicker than an inch - if it's thick we hollow it out.
You can fire thicker pieces but it takes more time and attention.
There's a lot of info in the archives on teaching children.
There's nothing wrong with painting bisque, but the kids can certainly
handle glazing, too. I open up the glaze containers and put a brush in
each one - it's rare that the glazes get mixed up and the few times it
has happened it wasn't a big deal. For the younger ones I draw a pencil
line a bit over 1/4" up from the bottom of each piece so they know how
close to the bottom to glaze. Tiles and other flat pieces only get
glaze on the top. I don't get too hung up on it because I always have a
sponge ready before putting them in the kiln - always check underneath
the piece - the kids have a knack for setting their bisque on drips of
wet glaze while they're painting.
We'll be able to help you more with firing when we know more about your
kiln - it's easy to fire with a computer. All the pieces must be
completely dry before a bisque firing. Sometimes this may mean leaving
the kiln on at 200 degrees for a few hours before firing. Check to see
if the kiln is vented to the outside - this is important. You can't be
in the room while firing an un-vented kiln.
There are several good books on teaching clay to kids - if you're
interested e-mail me off list - I have the books at the studio. There
are quite a few videos that would be helpful, especially if you can't
find a local workshop. I live in the middle of nowhere but have been
able to get some through interlibrary loans.
Once you fire the kiln a few times you'll feel much more relaxed about
the whole thing!
Good luck,
Patty
Kathy Forer on mon 5 jan 04
Sounds like you're about to have a wonderful adventure!
Maybe you need to hold off on the firing until you feel more=20
comfortable. No need to fire right away. Young kids love clay and don't=20=
really need it to be fired, though their parents like that. We never=20
had a kiln but learned coil, modified throwing (on 10" tabletop=20
turntables), slab and handbuilt. Also carved clay when it was drying.=20
Wonderful teacher, no kiln! Paint. (or single glazes at first,=20
well-controlled, no fun)
Are you the only teacher for k-12???
If the older kids want to fire, maybe there's one in particular who can=20=
be a helper. Probably try an inaugural firing. Give it at least a month=20=
or two first. You'll be an old hand by then. Step by step, space all=20
your questions out. "Work small, work smart." It might be easier than=20
you think. Haste makes waste. Rome was not built in one day.....
Kathy F.
On Jan 4, 2004, at 10:41 PM, Lorene McIntosh wrote:
> I think I=92m most nervous about glazing, firing and the high school=20=
> level. I
> ordered low fire clay and non-toxic glazes. How do you keep young=20
> kids from
> mixing the glazes. I mean, with tempera they each get a little=20
> palette and
> there is a lot of waste but they learn about color and I just throw it=20=
> out.
> Glaze is pretty expensive to pour into a palette and toss. Also, they=20=
> can=92t
> mix colors anyway because what you see is not what you get! I=92m=20
> assuming I
> should not have the young kids use glaze at all but let them paint=20
> them (do
> I just bisque fire then?) and perhaps spray with permanent coating to
> protect afterwards. Still, how to deal with the jr & sr high? I can=20=
> let
> things touch in the bisque firing but not glaze firing right? So, I=20=
> can
> just stack things in a logical manner for bisque? Larger more stable=20=
> things
> at the bottom... Glaze cannot be on the bottoms of pieces and they=20
> cannot
> touch each other right? What is kiln wash? I don=92t see any shelves=20=
> around
> anywhere but assume there should be some. Are they full shelves that=20=
> go all
> the way across or are they more open so the heat can move around? =20
> Does the
> kiln need to be full or can it be partly loaded? We have very small=20=
> classes
> here. What is =93full=94 anyway. I=92m in a whole lot of trouble =
aren=92t I?=20
> I
> have a 3-D high school elective class that is chomping at the bit to=20=
> get
> started with clay. I think this summer I could find some workshops or
> somewhere to take some classes....just gotta get through this semester
> somehow. Argh!... My BFA is in drawing and painting and I told them=20
> when I
> was hired that I don't know much about clay. They are very supportive=20=
> and
> willing to let me go slowly and learn. I'm a tad bit panicky - can =
you
> tell?! :-)
Snail Scott on mon 5 jan 04
At 09:41 PM 1/4/04 -0600, you wrote:
>...I
>ordered low fire clay and non-toxic glazes. How do you keep young kids=
from
>mixing the glazes...
When I taught little kids (1st-5th grade in one class)=20
I set up 'glaze stations'. Taped the jars down next to=20
a fired sample of the glaze. Each color had its own=20
brushes. They had to carry their stuff to each glaze,=20
instead of the glaze to their stuff. Not too many colors,=20
maybe six. If they don't have it, they won't miss it. I=20
tried to have them just paint their projects (Why not?=20
I paint my own!) but they begged to do functional work,=20
so I relented.=20
If your crop of kids can be dissuaded from functional=20
pottery, paint will certainly be easier to handle and=20
cheaper, too. And not all of mine chose to make pots,=20
but they did seem to love the chance to use glaze. It=20
was different and new; they'd used paints before. (If=20
you do use paint, just get a glossy spray sealant to=20
coat them after they dry.)
They coped pretty well with the fact that the jar colors=20
wouldn't match the final color, and were fascinated when=20
I explained it in terms of being chemistry, and that=20
glazes and clay are both made of different kinds of rocks=20
and dirt dug out of the ground, and that different rocks=20
ged ground up to make different colors, but the colors=20
change after they get really, really hot - WAY hotter=20
than their oven at home, so hot they glow while they're=20
being fired. (Wow!) ;)=20
(I think if field trips hadn't been so difficult to=20
arrange, they'd have loved digging their own clay.)
I also told them they couldn't have bright red unless=20
they decided to give up two other colors. I said we only=20
had a certain amount of money for the glazes, and red=20
was much more expensive than the other colors, because=20
the rocks to make red couldn't just get ground up like=20
some other rocks, they also had to have other stuff done=20
to them to make them a nice red. So they could vote - to=20
have red, but not some other colors, or to skip the red.
(I has mixed feelings about talking budget with the kids,=20
but it made them feel grown-up and in control, I think.)=20
They voted to skip the red, and loved being allowed to=20
decide.=20
After school, I heard a first-grader explaining=20
to her dad about how clay and glaze were made out of=20
ground-up rocks, even the dishes they ate off of at home,=20
and that different kinds of rocks make different colors,=20
and that they decided not to have red, 'cause red is a=20
hard color to make, so it costs more, but they'd have=20
lots of other colors, and she could make REAL dishes=20
that they could eat real food off of and everything! :)
(I think many kids do so much 'pretend' and 'practice'=20
that doing a 'real' thing is a special treat.)
>...I can let
>things touch in the bisque firing but not glaze firing right?
Right. Just don't let things nest tightly inside one another,=20
since contraction during cooling can crack them when the=20
outer one cools before the inner one. You can stack them
on one another if they'll bear the weight, though. You can=20
get many more pieces into a bisque firing, so you'll do=20
fewer of them than glaze firings.=20
To get good colors from low-fire glazes (especially red),=20
it's best to bisque-fire first, to a higher temperature=20
than the glaze firing (usually ^04), to burn off the gases=20
that can mess up some glazes later, but if time and space=20
are limited, you can usually get away with doing a load=20
together, to the glaze temperature (usually ^06). You can=20
even single-fire if necessary (glaze the unfired clay, and=20
fire once to ^06), though as I said, some colors will burn=20
out, especially the reds, oranges, etc.
>Glaze cannot be on the bottoms of pieces and they cannot
>touch each other right? =20
Right.=20
>What is kiln wash? =20
It is a mixture of silica and alumina hydrate (usually);=20
you make it easily, or buy it pre-mixed in jars from most=20
suppliers. It is painted onto the top surfaces of the=20
shelves, but not on the bottoms or sides. If glaze should=20
accidentally drip onto the shelf, the kiln wash will allow=20
it to be chipped off. Without kiln wash, the drips will=20
bond firmly to the shelves and have to be ground off.=20
Definitely use kiln wash! Apply it in several coats with=20
a big, cheap brush or a small roller. It should be about=20
the consistency of cream. Dampen the shelves with a spray=20
bottle of water to get a smoother first coat.
>I don=B9t see any shelves around
>anywhere but assume there should be some. Are they full shelves that go=
all
>the way across or are they more open so the heat can move around? =20
Shelves are indeed necessary for your situation, as well=20
as posts of varying heights. Shelves are most commonly=20
half-width, not full circle. If you place your posts at=20
four equally-spaced points around the perimeter of the=20
kiln (about 3" in from the walls) then each shelf will
have three point of support - one in the middle of its=20
round edge, and one near each point, which it will share=20
with the other half-shelf. (Some people use three separate=20
posts for each half-shelf, with no sharing, but this =20
requires more posts and makes for a less stable stack.)
With an electric kiln, there is no real need to worry=20
about air flow, since there is none; no need to stagger=20
the shelves. The main reason that half-shelves are more=20
popular is that they're easier to move and load, but=20
they do also allow you to stagger the height of half=20
the level if a few pieces are exceptionally tall and=20
having the whole shelf-level at that height would be a=20
waste of space. (If you do this, you'll use the three=20
separate posts as I mentioned above, with no sharing.=20
Because this IS more unstable, keep such arrangements=20
to the top levels of the kiln, and keep the lower=20
shelves in one plane, sharing posts.) Try to avoid=20
having shelves stacked too tightly at the bottom or=20
top, though - these areas can be a little cold, owing=20
to the heat loss through the floor and lid in most=20
models, which have no elements there. I'd make sure=20
the second shelf is at least 6" off the bottom, and=20
the same for the top, so they get enough exposure to=20
the wall elements.
>...Does the
>kiln need to be full or can it be partly loaded?...What is =B3full=B2=
anyway...=20
The kiln can be fired partly full; it's a waste of power,=20
is all. If you do fire a partial load, try to put the=20
work evenly spaced toward the middle, not all sitting on=20
the bottom. 'Full' can be very full. A 1/4" between=20
glazed pieces or kiln furniture (shelves & posts) is=20
more than sufficient both sideways and vertically.
I don't use a computer controller myself, so I'll let=20
someone else discuss that, but with any sort of kiln,=20
especially a new, newly-repaired or unfamiliar kiln,=20
you should absolutely use witness cones, to calibrate=20
your results. Since this is a school, you may not be=20
able to be on premises at the end of a firing, but=20
afterwards, you'll be able to tell how hot the kiln=20
really got, and how accurate your controller is.=20
(Controllers work by temperature, using a pyrometer.=20
They are very convenient, but malfunctions can happen=20
and pyrometer thermocouples wear out, and cones will=20
give you a good 'reality check'.) Cheap insurance.
By the way, this is just my opinion, but I hate the=20
low-fire clay that kids are given. I think a medium-
gritty stoneware is easier to use and more forgiving=20
of inexpert joining. (You won't get vitrified functional=20
ware using stoneware clay that's only been fired to=20
low-fire glaze temperatures, but if they don't use it=20
for flower-vases, it will work.) Even better, if you=20
can dodge being asked for bright cartoon colors, you=20
can get commercial stoneware glazes for mid-range=20
temperatures that are attractive and convenient. Many=20
are even available as dry mixes (just add water and=20
bentonite to suit), which will save shipping costs. I=20
would strongly recommend against having two different
temperatures of clay in one studio, especially in a=20
school, but if you had to pick just one, I'd go for=20
a mid-range stoneware. The older kids will prefer it,=20
and the younger ones don't need to be told there was=20
an alternative. Have 'em all do stoneware, at about=20
^5 or so. This would be bisqued to the same cone=20
as low-fire clay (^04) but the final firing (with=20
glaze or without) is to ^5. If you really want to use=20
low-fire glaze, yo can still do a low-temp glaze=20
firing, to ^06, it's just that the clay won't be quite=20
as strong as a low-fire clay at the same temperature,=20
and the glazes will craze a little more. (They'll tend=20
to craze some, anyway, on low-fire clay.) And any=20
stoneware clay can still be bisque-fired and painted,=20
just like a low-fire clay, if you'd rather keep the=20
younger kids on paint. I'd choose a whitish or buff=20
clay, though, in either case; red clay can stain and=20
make you very unpopular with the parent who does the=20
laundry!
-Snail
p.s. - you've probably got this figured out already,=20
but cone numbers are like negative and positive numbers.
They start in the '0's', which are like negative=20
numbers, so ^020 is a really low temperature, ^019 is=20
hotter, ^018 is hotter still, and so on, up to ^01.=20
Then the 'positive' numbers start with ^1, ^2 and so on=20
getting hotter, up way past the temperatures that=20
ceramic artists use. So, ^06 is cooler than ^04, but=20
^6 is hotter than ^4.=20
-S.
LaurieJean gombar on mon 5 jan 04
Hi!
I did not catch the original post... But I will add one suggestion. If
you are worried about having large or pint sized jars of glaze or
underglaze out.... Use some pill containers instead. I do that. If I
want to mix an underglaze color, or just have a little bit of black out,
I hold some in a pill container, the child proof kind... So if there is
a spill, I am only spilling a little bit. And I can mix a color and
keep it there. I would not worry too much about them mixing a little,
seeing what comes out is part of the fun of it. I then put the cap back
on and they stay good until next time.
LJ
underglaze that was not screwed on tightly enough... UG in hair, all
over face, clothes, floor... My bra got stained green. Fortunately,
none of it landed on pots. Made good on it, rescued most of the
underglaze and painted a mug (inside and out)... Etched out a face and
wrote on the other side, "LJ's green face mug" I will always remember
with that one in the cabinet>
Christine Caswell on tue 6 jan 04
Hi Lorene,
I have been teaching middle school for a few years and have some experien=
ce
with elementary and high school as well. Other than being nervous about
firing and how to deal with glazing are you comfortable? Do you know the
basics of wedging, pinch, coil, slab, scoring, etc? Are you looking for
project ideas? I'd be happy to share some lesson plans if that would hel=
p.
Some details that might help:
My first year teaching I recycled all of the clay myself and found it to =
be
a huge amount of work. I have finally worked out a quick and easy way to
get the kids to recycle for themselves. Many people completely dry clay
before recycling and then soak it. I have found that is unnecessary in a
classroom setting. The kids take the clay they need and at the end of th=
e
class period they rip up any scraps into "gumball sized" pieces and put t=
hem
into an empty claybag. When they leave I add a small amount of water to =
the
bag ( it is a good idea to turn the bag over once or twice so that the cl=
ay
on the bottom doesn't become way too slimy leaving the clay in the top of
the bag sort of dry) and the following day it is ready to wedge- I also
taught the kids to do this for themselves.
I store work in progress in large trashbags obtained from the custodians =
and
keep them in a couple of my storage cabinets to avoid damage. At the end=
of
class the kids bring me their work and I help them put it away in this ba=
g,
(sometimes I designate a student for this job), and then I spray a bit of
water in there with a spray bottle and close it up tightly.
I no longer bisque in middle school. I was having to fire far too often =
and
found little difference in the final product. I use low fire white
earthenware and Amaco lead-free cone 05 glazes. It would be a good idea =
to
teat this yourself first with your clay and glazes first. I have test ti=
les
on the cupboard door where the glazes are stored so the kids can see how =
the
colors will look. I know some teachers who glue test tiles to the lids o=
f
the glazes.
It takes a while to figure out what works in your situation and in your
classroom. I would be happy to share other things that have worked in my
classroom if you need some help. Feel free to write anytime.
Best of luck,
-Christine Caswell
cmc@maine.rr.com
----- Original Message -----
From: "Lorene McIntosh"
To:
Sent: Sunday, January 04, 2004 10:41 PM
Subject: Re: Need help with basics/Northern MN
Aaaaaaaack!!! I don't know! Well....I know some of it. It is an electri=
c
Skutt kiln with a computer. I am teaching K-12 art so there will be a
variety of work but I will keep it small and simple to start with. The c=
lay
I ordered is low fire as I was told it would be easier to work with for
kids.
I have found some random lesson plans. They haven=B9t had art in this sc=
hool
for about 3 years (they have trouble getting someone to come here - at th=
e
moment it's 24 below and it's very remote) and their knowledge of the bas=
ic
elements and principles is mostly non-existent so I=B9m keeping things si=
mple
and stressing the elements/principles. The kiln is brand new =AD never b=
een
fired - has been sitting there for 3 years. I don=B9t see any shelves fo=
r
it?! It should have shelves, no? It has a computer and I was told that w=
ill
make it much easier. It is a Skutt model um... 1210 I think (can check
model number tomorrow).
I think I=B9m most nervous about glazing, firing and the high school leve=
l. I
ordered low fire clay and non-toxic glazes. How do you keep young kids f=
rom
mixing the glazes. I mean, with tempera they each get a little palette a=
nd
there is a lot of waste but they learn about color and I just throw it ou=
t.
Glaze is pretty expensive to pour into a palette and toss. Also, they ca=
n=B9t
mix colors anyway because what you see is not what you get! I=B9m assumi=
ng I
should not have the young kids use glaze at all but let them paint them (=
do
I just bisque fire then?) and perhaps spray with permanent coating to
protect afterwards. Still, how to deal with the jr & sr high? I can let
things touch in the bisque firing but not glaze firing right? So, I can
just stack things in a logical manner for bisque? Larger more stable thi=
ngs
at the bottom... Glaze cannot be on the bottoms of pieces and they canno=
t
touch each other right? What is kiln wash? I don=B9t see any shelves ar=
ound
anywhere but assume there should be some. Are they full shelves that go =
all
the way across or are they more open so the heat can move around? Does t=
he
kiln need to be full or can it be partly loaded? We have very small clas=
ses
here. What is =B3full=B2 anyway. I=B9m in a whole lot of trouble aren=B9=
t I? I
have a 3-D high school elective class that is chomping at the bit to get
started with clay. I think this summer I could find some workshops or
somewhere to take some classes....just gotta get through this semester
somehow. Argh!... My BFA is in drawing and painting and I told them when =
I
was hired that I don't know much about clay. They are very supportive an=
d
willing to let me go slowly and learn. I'm a tad bit panicky - can you
tell?! :-)
=B3Lorene in the woods in the dark=B2
> At 03:55 PM 1/4/04 -0600, you wrote:
>> ...I really need help now though. I have never loaded or fired a kiln.
>
>
> OK, lets start with the basics: what kind of kiln
> is it, and what kind of work do you want to fire?
> Size of work, thickness, clay temperature, clay
> texture, what kind of surface finishes...all these
> can make some difference (or not). Let us know, and
> we can be much more focused with our suggestions!
>
_________________________________________________________________________=
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John Norris on tue 6 jan 04
Loreen-
I have two sets of lessons (21 pages total) that I used teaching college
and adult school available for free at my website:
http://home.comcast.net/~john_norris_net/handouts/handindex.html
Someone on ClayArt passed around a questionaire last year (sorry I don't
have her name) but it included the following:
If you were going to teach a clay lesson to children, what would you
have them make?
Hmmm...just one lesson?...
I would have each make a series of 5 special beads (for a necklace.)
I would then pitfire the pieces green while they watched. I'd have
them assemble them and wear them. I like this because:
1. It shows that you do not need any special equipment to make
ceramic art.
2. It breaks up the usual pottery/utility thinking about clay medium.
3. Allows for personal expression.
4. Easy enough for most to be successful.
5. Quick results. One gets to see the whole process as a continuum.
6. Multimedia (include a string.)
7. How to think in a complex spatial relationships.
Hope that helps you and any other folks,
John
http://john-norris.net
Carol Tripp on tue 6 jan 04
Lorene,
Snail and others answered many of your questions.
My 2cents:
Find the directions for the Skutt kiln and computer controller which is at
your school. If these are lost, call Skutt. I have heard they are very
helpful and I am sure they will send you new instructions. If you have the
instructions, read them. Any questions - call Skutt and someone can walk
you through the process. (Don't fret if the controller instructions are
clear as mud. That's the normal state of affairs. It's not you!)
The field of pottery is vast and complicated. Start simple and work up. I
began with a book by Richard Zakin called Electric Kiln Ceramics; a guide to
clays and glazes. This is a very basic book with lots of info distilled
down to beginners' level. However, it contains nothing about firing with a
controller. (Call you friend at Skutt.) And the glazes aren't very
durable. You aren't making glazes (yet) so that's ok. One step at a time.
Oh, and did someone mention buying self supporting cones? They cost a tad
more than the ones needing a kiln pack, but what price sanity?
Keep it simple. Swim fast. And teach everyone to clean up after themselves.
And is your tetanus shot up to date? Find out because you need to be
current on this.
Best regards,
Carol
Dubai, UAE
_________________________________________________________________
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KEF on wed 7 jan 04
I ran across this on the Clayart Yahoo Groups site and you may find it
helpful:
Ceramics and Pottery
Online activities, lesson plans, handouts, worksheets, presentations to use
when teaching ceramics.
http://pottery.netfirms.com
posted by kmartist1
kterpstra on wed 7 jan 04
Hi Lorene,
I've been quickly skimming the clayart digest these days and miss a lot
of what's going on but your subject heading caught my eye. I'm still
thinking about it. I'm glad so many clayarters are coming to the rescue
providing you with kiln, glaze, and syllabus advice. That's what this
list is all about! I have to admit, I've been one of the ones tempted
to leave clayart because of all the OT's. By the time I'm finished
reading or skimming through, I have no time to respond. I'm sure this
will change though since I'm never busy with the same projects over a
long period of time. This has been one of my busiest times. I can't
leave the list.Clayart is a godsend.
I live fairly close but yet too far away to get in the car and give you
a hand for the day. However I'm trying to think of something feasible
like a couple of my Art Ed. students doing a road trip. They volunteer
every chance they get to do a workshop or help anyway they can with the
local art teachers around La Crosse (WI). The students are happy to
gain extra classroom experience and know that it's a great addition to
their resume. Maybe there are other clayarters closer than I am who can
volunteer a day or send a student or two?
I'm also glad that I read where your administration is supportive and
patient with you. Maybe they could come up with a few $$$ for at least
expenses for someone to give you a hand with something you need help
with. I have taken posts from some of the big guns on clayart to help
convince our administration that something needed to be changed (our
ancient walker pugmill for instance).
Your post also makes me wonder about curriculum in college art ed.
programs. Our program requires students to take at least one semester
of every media offered. We have a very small art ed program but I'm
always amazed at how some of my students say they land a k-12 job
because they know how to fire a kiln. In fact, just this year a student
of mine landed a full time ceramics only teaching job in a high
school---a gold mine of a job!!! I'm wondering how many art ed.
programs are out there without ceramics required or even included?
Maybe a discussion on clayart could somehow clean up a few curriculum
problems? One thing I make sure of with the art ed students: even if
they are taking only one semester, they MUST know the electric kiln like
the back of their hand.
Making contacts on clayart should be invaluable to you. There are
several teachers on the list whom you may connect with and will mentor
you along the way. As someone else told you earlier, "the first years
are the hardest." A mentor relationship will ease the pain of the
"first year from hell" as they call it. You know the students will
absolutely have a blast with the material. Make sure you are having as
much fun teaching it and "playing" along side of them. That in its self
with keep things going smoothly.
I will be off list for the next ten days as I'm going out to work on
some large collaborative sculpture for a show in Aug. and a book I'm
working on with nils lou. You'll hear more about it later and a bit of
what we're doing will be in next month's CM. .sorry about the plug ;)
Anyway, Lorene, best wishes for this year in the classroom and email me
privately if you wish. I'll be back the 18th.
Karen Terpstra
La Crosse, WI
wayneinkeywest on wed 7 jan 04
One of the first messages I remember reading
on clayart was Mayor Mel talking about putting
a few kernels of corn into the clay...
just to remind the kids what they were working
with. That sure stuck with me,
and will with your kids, too. Grass seed would
probably work, too.
Just a thought,
Wayne Seidl
Lorene McIntosh on sat 10 jan 04
Hi Kathy,
I'm very excited about this new adventure. Can't hold off firing for too
long, the kids have been waiting (some very impatiently) since September. =
I
had to get the kiln vented to outside and then we needed some more
electrical work. Now I find there are NO SHELVES. I think we're getting
close now though. I have been hesitant to start anything until we can fire
because it's very fragile until it's been fired, no? I don't want to get
too far ahead, storing greenware all over and then find out we can't fire
for some reason.
Yep, I'm the only art teacher for K-12 and I'm new. That in itself is a bi=
t
overwhelming but I'm having the best time of my life. Now that I've found
this amazing listserve it's getting even better.
Thanks,
Lorene
On 1/5/04 11:31 AM, "Kathy Forer" wrote:
> Sounds like you're about to have a wonderful adventure!
>=20
> Maybe you need to hold off on the firing until you feel more
> comfortable. No need to fire right away. Young kids love clay and don't
> really need it to be fired, though their parents like that. We never
> had a kiln but learned coil, modified throwing (on 10" tabletop
> turntables), slab and handbuilt. Also carved clay when it was drying.
> Wonderful teacher, no kiln! Paint. (or single glazes at first,
> well-controlled, no fun)
>=20
> Are you the only teacher for k-12???
>=20
> If the older kids want to fire, maybe there's one in particular who can
> be a helper. Probably try an inaugural firing. Give it at least a month
> or two first. You'll be an old hand by then. Step by step, space all
> your questions out. "Work small, work smart." It might be easier than
> you think. Haste makes waste. Rome was not built in one day.....
>=20
> Kathy F.
>=20
>=20
> On Jan 4, 2004, at 10:41 PM, Lorene McIntosh wrote:
>=20
>> I think I=B9m most nervous about glazing, firing and the high school
>> level. I
>> ordered low fire clay and non-toxic glazes. How do you keep young
>> kids from
>> mixing the glazes. I mean, with tempera they each get a little
>> palette and
>> there is a lot of waste but they learn about color and I just throw it
>> out.
>> Glaze is pretty expensive to pour into a palette and toss. Also, they
>> can=B9t
>> mix colors anyway because what you see is not what you get! I=B9m
>> assuming I
>> should not have the young kids use glaze at all but let them paint
>> them (do
>> I just bisque fire then?) and perhaps spray with permanent coating to
>> protect afterwards. Still, how to deal with the jr & sr high? I can
>> let
>> things touch in the bisque firing but not glaze firing right? So, I
>> can
>> just stack things in a logical manner for bisque? Larger more stable
>> things
>> at the bottom... Glaze cannot be on the bottoms of pieces and they
>> cannot
>> touch each other right? What is kiln wash? I don=B9t see any shelves
>> around
>> anywhere but assume there should be some. Are they full shelves that
>> go all
>> the way across or are they more open so the heat can move around?
>> Does the
>> kiln need to be full or can it be partly loaded? We have very small
>> classes
>> here. What is =B3full=B2 anyway. I=B9m in a whole lot of trouble aren=B9t I?
>> I
>> have a 3-D high school elective class that is chomping at the bit to
>> get
>> started with clay. I think this summer I could find some workshops or
>> somewhere to take some classes....just gotta get through this semester
>> somehow. Argh!... My BFA is in drawing and painting and I told them
>> when I
>> was hired that I don't know much about clay. They are very supportive
>> and
>> willing to let me go slowly and learn. I'm a tad bit panicky - can you
>> tell?! :-)
>=20
> _________________________________________________________________________=
_____
> Send postings to clayart@lsv.ceramics.org
>=20
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>=20
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
Lorene McIntosh on sat 10 jan 04
Wow! Even I find your description of chemistry/dirt/rocks/dif colors
fascinating. I'm sure the kids will go nuts!
I can convince the younger kids that they will be able to do functional
pottery when they get into the upper classes or else see how it goes and
maybe we CAN do it. ALL the kids are so happy to have art back after 3
years (a lifetime to kids!) that they are pretty easy to deal with and very
easy to please. The administration has been super supportive too. I'm
feeling sooooo much better after finding all of you.
Re: digging their own clay. I have thought about that. The Rainy River
area where I am now is a very wet place. Lake of the Woods, Rainy Lake and
rivers criss-crossing everywhere. I've thought about asking around to see
if there is a place to dig our own. This is NOT something I can do anytime
soon with everything else we're trying to sort through but down the road.
(Thirty degrees below zero puts it off a ways anyway!)
Thanks for all the great ideas!
Lorene=20
On 1/5/04 1:44 PM, "Snail Scott" wrote:
> At 09:41 PM 1/4/04 -0600, you wrote:
>> ...I
>> ordered low fire clay and non-toxic glazes. How do you keep young kids =
from
>> mixing the glazes...
>=20
>=20
> When I taught little kids (1st-5th grade in one class)
> I set up 'glaze stations'. Taped the jars down next to
> a fired sample of the glaze. Each color had its own
> brushes. They had to carry their stuff to each glaze,
> instead of the glaze to their stuff. Not too many colors,
> maybe six. If they don't have it, they won't miss it. I
> tried to have them just paint their projects (Why not?
> I paint my own!) but they begged to do functional work,
> so I relented.=20
>=20
> If your crop of kids can be dissuaded from functional
> pottery, paint will certainly be easier to handle and
> cheaper, too. And not all of mine chose to make pots,
> but they did seem to love the chance to use glaze. It
> was different and new; they'd used paints before. (If
> you do use paint, just get a glossy spray sealant to
> coat them after they dry.)
>=20
> They coped pretty well with the fact that the jar colors
> wouldn't match the final color, and were fascinated when
> I explained it in terms of being chemistry, and that
> glazes and clay are both made of different kinds of rocks
> and dirt dug out of the ground, and that different rocks
> ged ground up to make different colors, but the colors
> change after they get really, really hot - WAY hotter
> than their oven at home, so hot they glow while they're
> being fired. (Wow!) ;)
>=20
> (I think if field trips hadn't been so difficult to
> arrange, they'd have loved digging their own clay.)
>=20
> I also told them they couldn't have bright red unless
> they decided to give up two other colors. I said we only
> had a certain amount of money for the glazes, and red
> was much more expensive than the other colors, because
> the rocks to make red couldn't just get ground up like
> some other rocks, they also had to have other stuff done
> to them to make them a nice red. So they could vote - to
> have red, but not some other colors, or to skip the red.
> (I has mixed feelings about talking budget with the kids,
> but it made them feel grown-up and in control, I think.)
> They voted to skip the red, and loved being allowed to
> decide.=20
>=20
> After school, I heard a first-grader explaining
> to her dad about how clay and glaze were made out of
> ground-up rocks, even the dishes they ate off of at home,
> and that different kinds of rocks make different colors,
> and that they decided not to have red, 'cause red is a
> hard color to make, so it costs more, but they'd have
> lots of other colors, and she could make REAL dishes
> that they could eat real food off of and everything! :)
> (I think many kids do so much 'pretend' and 'practice'
> that doing a 'real' thing is a special treat.)
>=20
>=20
>=20
>> ...I can let
>> things touch in the bisque firing but not glaze firing right?
>=20
> Right. Just don't let things nest tightly inside one another,
> since contraction during cooling can crack them when the
> outer one cools before the inner one. You can stack them
> on one another if they'll bear the weight, though. You can
> get many more pieces into a bisque firing, so you'll do
> fewer of them than glaze firings.
>=20
> To get good colors from low-fire glazes (especially red),
> it's best to bisque-fire first, to a higher temperature
> than the glaze firing (usually ^04), to burn off the gases
> that can mess up some glazes later, but if time and space
> are limited, you can usually get away with doing a load
> together, to the glaze temperature (usually ^06). You can
> even single-fire if necessary (glaze the unfired clay, and
> fire once to ^06), though as I said, some colors will burn
> out, especially the reds, oranges, etc.
>=20
>=20
>> Glaze cannot be on the bottoms of pieces and they cannot
>> touch each other right?
>=20
> Right.=20
>=20
>> What is kiln wash?
>=20
> It is a mixture of silica and alumina hydrate (usually);
> you make it easily, or buy it pre-mixed in jars from most
> suppliers. It is painted onto the top surfaces of the
> shelves, but not on the bottoms or sides. If glaze should
> accidentally drip onto the shelf, the kiln wash will allow
> it to be chipped off. Without kiln wash, the drips will
> bond firmly to the shelves and have to be ground off.
> Definitely use kiln wash! Apply it in several coats with
> a big, cheap brush or a small roller. It should be about
> the consistency of cream. Dampen the shelves with a spray
> bottle of water to get a smoother first coat.
>=20
>=20
>> I don=B9t see any shelves around
>> anywhere but assume there should be some. Are they full shelves that go=
all
>> the way across or are they more open so the heat can move around?
>=20
> Shelves are indeed necessary for your situation, as well
> as posts of varying heights. Shelves are most commonly
> half-width, not full circle. If you place your posts at
> four equally-spaced points around the perimeter of the
> kiln (about 3" in from the walls) then each shelf will
> have three point of support - one in the middle of its
> round edge, and one near each point, which it will share
> with the other half-shelf. (Some people use three separate
> posts for each half-shelf, with no sharing, but this
> requires more posts and makes for a less stable stack.)
> With an electric kiln, there is no real need to worry
> about air flow, since there is none; no need to stagger
> the shelves. The main reason that half-shelves are more
> popular is that they're easier to move and load, but
> they do also allow you to stagger the height of half
> the level if a few pieces are exceptionally tall and
> having the whole shelf-level at that height would be a
> waste of space. (If you do this, you'll use the three
> separate posts as I mentioned above, with no sharing.
> Because this IS more unstable, keep such arrangements
> to the top levels of the kiln, and keep the lower
> shelves in one plane, sharing posts.) Try to avoid
> having shelves stacked too tightly at the bottom or
> top, though - these areas can be a little cold, owing
> to the heat loss through the floor and lid in most
> models, which have no elements there. I'd make sure
> the second shelf is at least 6" off the bottom, and
> the same for the top, so they get enough exposure to
> the wall elements.
>=20
>=20
>> ...Does the
>> kiln need to be full or can it be partly loaded?...What is =B3full=B2 anyway=
...
>=20
> The kiln can be fired partly full; it's a waste of power,
> is all. If you do fire a partial load, try to put the
> work evenly spaced toward the middle, not all sitting on
> the bottom. 'Full' can be very full. A 1/4" between
> glazed pieces or kiln furniture (shelves & posts) is
> more than sufficient both sideways and vertically.
>=20
> I don't use a computer controller myself, so I'll let
> someone else discuss that, but with any sort of kiln,
> especially a new, newly-repaired or unfamiliar kiln,
> you should absolutely use witness cones, to calibrate
> your results. Since this is a school, you may not be
> able to be on premises at the end of a firing, but
> afterwards, you'll be able to tell how hot the kiln
> really got, and how accurate your controller is.
> (Controllers work by temperature, using a pyrometer.
> They are very convenient, but malfunctions can happen
> and pyrometer thermocouples wear out, and cones will
> give you a good 'reality check'.) Cheap insurance.
>=20
> By the way, this is just my opinion, but I hate the
> low-fire clay that kids are given. I think a medium-
> gritty stoneware is easier to use and more forgiving
> of inexpert joining. (You won't get vitrified functional
> ware using stoneware clay that's only been fired to
> low-fire glaze temperatures, but if they don't use it
> for flower-vases, it will work.) Even better, if you
> can dodge being asked for bright cartoon colors, you
> can get commercial stoneware glazes for mid-range
> temperatures that are attractive and convenient. Many
> are even available as dry mixes (just add water and
> bentonite to suit), which will save shipping costs. I
> would strongly recommend against having two different
> temperatures of clay in one studio, especially in a
> school, but if you had to pick just one, I'd go for
> a mid-range stoneware. The older kids will prefer it,
> and the younger ones don't need to be told there was
> an alternative. Have 'em all do stoneware, at about
> ^5 or so. This would be bisqued to the same cone
> as low-fire clay (^04) but the final firing (with
> glaze or without) is to ^5. If you really want to use
> low-fire glaze, yo can still do a low-temp glaze
> firing, to ^06, it's just that the clay won't be quite
> as strong as a low-fire clay at the same temperature,
> and the glazes will craze a little more. (They'll tend
> to craze some, anyway, on low-fire clay.) And any
> stoneware clay can still be bisque-fired and painted,
> just like a low-fire clay, if you'd rather keep the
> younger kids on paint. I'd choose a whitish or buff
> clay, though, in either case; red clay can stain and
> make you very unpopular with the parent who does the
> laundry!
>=20
> -Snail
>=20
> p.s. - you've probably got this figured out already,
> but cone numbers are like negative and positive numbers.
> They start in the '0's', which are like negative
> numbers, so ^020 is a really low temperature, ^019 is
> hotter, ^018 is hotter still, and so on, up to ^01.
> Then the 'positive' numbers start with ^1, ^2 and so on
> getting hotter, up way past the temperatures that
> ceramic artists use. So, ^06 is cooler than ^04, but
> ^6 is hotter than ^4.
>=20
> -S.
>=20
> _________________________________________________________________________=
_____
> Send postings to clayart@lsv.ceramics.org
>=20
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>=20
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
Lorene McIntosh on sun 11 jan 04
Outstanding site! I have to adapt for all ages and this gives a good
overview and outlines things in a logical manner.
THANKS!
Lorene
On 1/6/04 11:19 PM, "KEF" wrote:
> I ran across this on the Clayart Yahoo Groups site and you may find it
> helpful:
>
> Ceramics and Pottery
> Online activities, lesson plans, handouts, worksheets, presentations to use
> when teaching ceramics.
> http://pottery.netfirms.com
> posted by kmartist1
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
Lorene McIntosh on sun 11 jan 04
Beautiful - well organized and ready to go - THANK YOU!!! I can adapt these
to all the ages and it will teach me too. I've got to stay at least one day
ahead of them :-)
Lorene
On 1/7/04 1:59 AM, "John Norris" wrote:
> Loreen-
>
> I have two sets of lessons (21 pages total) that I used teaching college
> and adult school available for free at my website:
> http://home.comcast.net/~john_norris_net/handouts/handindex.html
>
> Someone on ClayArt passed around a questionaire last year (sorry I don't
> have her name) but it included the following:
>
> If you were going to teach a clay lesson to children, what would you
> have them make?
>
> Hmmm...just one lesson?...
>
> I would have each make a series of 5 special beads (for a necklace.)
> I would then pitfire the pieces green while they watched. I'd have
> them assemble them and wear them. I like this because:
>
> 1. It shows that you do not need any special equipment to make
> ceramic art.
>
> 2. It breaks up the usual pottery/utility thinking about clay medium.
>
> 3. Allows for personal expression.
>
> 4. Easy enough for most to be successful.
>
> 5. Quick results. One gets to see the whole process as a continuum.
>
> 6. Multimedia (include a string.)
>
> 7. How to think in a complex spatial relationships.
>
> Hope that helps you and any other folks,
>
> John
> http://john-norris.net
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
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