claybair on wed 20 oct 04
The argument can go on forever as to
how much it takes to be a real potter.
I think it all comes down to passion.
I became a potter the moment I was handed
a small ball of clay as I sat on a preschool chair
in a Rec. center...... Note I didn't say I was
good or skilled but from that moment I was on a
furious quest to learn and develop my skill and style.
Various circumstances such as
financial, physical, environmental etc.
temper education, equipment, supplies.
Passion is the key
to overcoming and/or adapting
despite all barriers.
BTW Louis.... I don't care for your "clayed"
moniker......
I think I'll dub you "Clay Boy 2" as
Tony C. has to be "Clay Boy"
Now how's that for political correctness!:-O
Gayle Bair
Bainbridge Island, WA
http://claybair.com
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG]On Behalf Of Louis Katz
Sent: Wednesday, October 20, 2004 1:10 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: A Kiln of Our Own
What about itinerant potters? They may not own wheels let alone kilns.
Not potters? Not working? What about potters doing production for a
distribution compnay, not communal and often they don't own nothing.
What about people who find various kilns and their differences part of
their creative process. I am glad you brought up communal kilns, you
give up control. You put someone in charge of firing a part of a wood
kiln, you give up control. I don't believe in this purist stuff. I
don't buy the pure line here. It never exists.
ie.
You are not a potter until you dig your own clay.
It is not your kiln till you form your own bricks.
You better mine and grind your own spar.
Yes these are part of the creative process. Or at least could be.
But if you think a painter should mix his own paint, I will say they
should at least consider it. I pick on painters often.
You aren't an educator unless you own your own school, just a tool of
the administration.
Encaustic on pots by Rick Pope. Used mason stains as pigments, Ever
seen them? Gorgeous.
By the way I try not to call myself a potter, and I hate Ceramist, let
alone Ceramicist, sounds snooty. I use clayer.
Louis
> You are not a working potter until you own a kiln. Period.
____________________________________________________________________________
__
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.
Kathy Forer on wed 20 oct 04
On Oct 20, 2004, Louis Katz wrote:
> By the way I try not to call myself a potter, and I hate Ceramist, let
> alone Ceramicist, sounds snooty. I use clayer.
Clayer, I like that! Clay person, clayple
> I don't believe in this purist stuff. I
> don't buy the pure line here. It never exists.
There's an awful lot to be said for knowing where to find what you want=20=
when you need it. Basically the foundation of a strong general=20
education. The worlds of clay, glaze, brick and spar are so nearly=20
infinite and self-replicating that much of what we do is make multiple=20=
choices. We don't really get into essays until we've limited those=20
choices, set priorities. It can be intensive or expansive, we each=20
determine the form and change it to respond to circumstances. The=20
purity of intention is more fundamental than purity of method or=20
materials.
Curious, I did a google on "purity of intention" because it sounds=20
loaded with more than what I meant simply. It appears to be a phrase=20
used across a range of religions and secular thought. Judaism=20
"lishmah," Catholic catechism, Islam "al-Ikhlas" and Kierkegaard's=20
"Purity of heart is to will one thing."=A0 Buddhism, Hinduism, Taoism =
and=20
Clayism also have similar concepts of "integrity."
It's an wholeness of path and commitment to organic development as well=20=
as acceptance and acknowledgment of structured disciplines and=20
processes. It doesn't mean we each have to know every little thing=20
about every little thing. That's why there are other people in the=20
world, but also why the wheel is invented and reinvented continually.
Kathy=20=
ASHPOTS@AOL.COM on wed 20 oct 04
well David,, i have a bunch of kilns,, finishing the new/old kiln shed and im
already planning on my next kiln,, i think i have 6 kilns,, just cant have
enough kilns,, also ,,, i have 6 tractors,, cant get enough of them also,, used
one of them today,, didnt use any of the kilns , but did order more clay
Also,, im totally out of mugs,, sold the last batch at Kentuck..
Mark ,, out of mugs also out of Ikabanas, sold the last one of them 12:15
Saturday at Kentuck,, cant ever make enough of them,, they arent on my website,,
actually im sold out of everything,, hope that happens to u at the Texas Clay
Fest
David Hendley on wed 20 oct 04
The subject line of this e-mail is morphed from a great 1993 movie
starring Kathy Bates, "A Home of Our Own". As a single mother
with a bunch of kids and no money, she decides she has to move
out of the city and build her own house in the country. Although
the story is a little "Hollywood-ized", watching it is a truly
inspirational way to spend two hours.
You are not a working potter until you own a kiln. Period.
You can own a "piece" of a kiln in a communal or studio situation,
but if you use an institutional kiln you are a "student" or a "teacher"
by definition.
A mechanic is not a mechanic until (s)he owns the tools.
A carpenter is not a carpenter until (s)he owns the tools.
I know this declaration will be taken as a personal affront by
some, but it only makes sense - if your clay work is truly
your priority, you will have the tools to do it even if it means
materially sacrificing in other areas or even drastically altering
you lifestyle.
Now, there is nothing wrong with being a student, a hobbyist,
or a teacher, and all can be very rewarding. But if you want
to be a potter, you must own a kiln.
It can be so comfortable and inexpensive to just continue
taking clay classes at a community college, but you will never
mature as a potter until you have your own complete studio.
I used to berate Artimator about this all the time - his work
showed such promise, but he refused to take the next step
and set up his own studio.
The more things you do for yourself, the more distinctive
your work will be and the more you will grow. Every
step in the process and every tool used contributes to
the finished work. The risk of jumping out on your own
seems so great because the rewards are so great. If five
kids and a middle-aged woman can build a house, you can
find a way to build a real pottery studio.
David Hendley
Working hard to make sure there is no mug left behind
david@farmpots.com
http://www.farmpots.com
Kate Johnson on wed 20 oct 04
Heh. David, you're right. I won't feel like a Potter until that day. I
don't LIKE having to depend on someone else, even as terrific and helpful as
he is. Right now I just make pottery.
>
> You are not a working potter until you own a kiln. Period.
> You can own a "piece" of a kiln in a communal or studio situation,
> but if you use an institutional kiln you are a "student" or a "teacher"
> by definition.
> A mechanic is not a mechanic until (s)he owns the tools.
> A carpenter is not a carpenter until (s)he owns the tools.
> I know this declaration will be taken as a personal affront by
> some, but it only makes sense - if your clay work is truly
> your priority, you will have the tools to do it even if it means
> materially sacrificing in other areas or even drastically altering
> you lifestyle.
Well, I've got a LOT of the tools, just not the huge one. My house
looks like a potter's studio, except for that one biggie...one day, though!
It WILL happen.
Right after I figure out what to do with the dry rot/insect damage in that
room, the spongy floor, the woodchuck that keeps tunnelling underneath, the
plaster that is cracking alarmingly since last year, the toilet that's
listing sideways, the hole in the floor behind the tub, the washing machine
that's quit rinsing, the sewer line that keeps backing up, the leaky roof,
the dying refrigerator, the leaning back porch, and the income that's down
by almost a third in the last few years. (O the life of a
suddenly-single old broad!)
Till then I'll just keep happily making pottery!
And painting, and writing, and.............
Regards,
Kate Johnson
Graphics/Fine Arts
http://www.cathyjohnson.info/
http://www.epsi.net/graphic/
http://www.ebsqart.com/Artists/cmd_1494_profile.htm
Arnold Howard on wed 20 oct 04
You can become a kiln owner for even a small investment. I have seen used
kilns that sold for a song and still had years of life left in them. Or you
can buy a small 120 volt test kiln. Kiln manufacturers also sell "scratch
and dent" kilns for half price.
Sincerely,
Arnold Howard
Paragon Industries, L.P., Mesquite, Texas USA
arnoldhoward@att.net / www.paragonweb.com
From: "David Hendley"
> You are not a working potter until you own a kiln. Period.
> You can own a "piece" of a kiln in a communal or studio situation,
> but if you use an institutional kiln you are a "student" or a "teacher"
> by definition.
> A mechanic is not a mechanic until (s)he owns the tools.
> A carpenter is not a carpenter until (s)he owns the tools.
Sue Beach on wed 20 oct 04
When I first discovered clay, I was living in a rented house with no way ( I
thought) to work in clay. I started with a class in the back room of a local
art store and spent every extra hour I could working on their wheels and
learning. I bought a few premixed glazes. They fired my pieces & charged per
piece. I have kept a couple of those pots to remind me how far I've come and
give me hope that I can still get better (I've got a LONG way to go as a potter).
My husband ignored me when I said we couldn't afford a wheel, didn't have space
for a wheel. He proceeded to build one for me - a wonderful kickwheel that I
have come to love. We put it in a corner of our garage and I began to feel like
a potter. He called the father of an old friend who was the former head of the
ceramics program at the local university and I began attending a weekly informal
"class" with Marv in the basement of another aspiring potter. Linda had her own
kiln. So I spent a year or more hauling my pots from my garage to her basement
for firing, then home to glaze, then back to her basement to fire them. I
started saving for a kiln of my own.
We eventually bought an electric & installed it in the garage of the rental
home. So I had a corner of the garage with a wheel, a kiln, a table, some
shelves. It was wonderful.
A few years passed & we began to look for a house to buy. Of the many things we
were looking for in a home, 2 were paramount: a room Ron could make into a music
studio and a space where I could set up my pottery. We found a property with a
room for his studio and with an outbuilding that had been the former owner's
woodshop. I've been working in my pottery now for 2+ years & it is wonderful to
have such a space. My work is slowly becoming my own.
I know this is a long way to say it, but David is right. If the passion is
there, the way opens. I suspect many others on ClayArt have traveled a similar
path.
Sue Beach
Muncie, IN USA
Potters Council member
Quoting David Hendley :
(snip)... if your clay work is truly
> your priority, you will have the tools to do it even if it means
> materially sacrificing in other areas or even drastically altering
> you lifestyle....
Laurie Kneppel on wed 20 oct 04
Mel and David's posts on the subject of kiln ownership are right on.
I hope you don't mind if i pass along the gist of your messages to a
clay artist i know who is on the brink of realizing the necessity of
kiln ownership and just needs a little tiny push.
I bought my first kiln before I ever even bought my own wheel, slab
roller, extruder or anything else.
If you are lucky, while you are still at the "student" stage, a
kiln-owning potter you meet will notice your commitment to clay and
will guide you to used kilns for sale that s/he knows about. They may
even offer to help teach you to fire it or help teach you to fix it up
if it needs it. I learned how to replace elements before I learned to
fire my first kiln. It is surprising to a "newbie" to discover how
many of these folks are out there in their world.
Later on, as you add to equipment that you own, you will find that it
becomes easier to find good used equipment for sale. And, just as
important, you will learn what you might be better off buying new.
I like this discussion. I have heard over and over newer-to-clay people
ask if they should get a wheel first or a kiln. I always tell them to
get the kiln first. They can only stay in school for so long! And once
they take control over that part of the process there is usually no
stopping them!
Laurie - proud owner of three kilns - Skutt, Geil and homemade raku
Sacramento, CA
http://rockyraku.com
Potters Council, charter member
Sacramento Potters Group, member
Louis Katz on wed 20 oct 04
What about itinerant potters? They may not own wheels let alone kilns.
Not potters? Not working? What about potters doing production for a
distribution compnay, not communal and often they don't own nothing.
What about people who find various kilns and their differences part of
their creative process. I am glad you brought up communal kilns, you
give up control. You put someone in charge of firing a part of a wood
kiln, you give up control. I don't believe in this purist stuff. I
don't buy the pure line here. It never exists.
ie.
You are not a potter until you dig your own clay.
It is not your kiln till you form your own bricks.
You better mine and grind your own spar.
Yes these are part of the creative process. Or at least could be.
But if you think a painter should mix his own paint, I will say they
should at least consider it. I pick on painters often.
You aren't an educator unless you own your own school, just a tool of
the administration.
Encaustic on pots by Rick Pope. Used mason stains as pigments, Ever
seen them? Gorgeous.
By the way I try not to call myself a potter, and I hate Ceramist, let
alone Ceramicist, sounds snooty. I use clayer.
Louis
> You are not a working potter until you own a kiln. Period.
sincultura13 on wed 20 oct 04
AND, let's not forget that it works the other way around.... Having
a Kiln and a wheel doesn't make you a working potter either... ;)
I felt a little like a potter today though... I got invited to my
first fair! Well not really a fair... more like a couple of hours of
artisans selling crap before a classical music concert... HAHA!
regards,
sincultura
--- In clayart@yahoogroups.com, Louis Katz wrote:
> What about itinerant potters? They may not own wheels let alone
kilns.
> Not potters? Not working? What about potters doing production for a
> distribution compnay, not communal and often they don't own
nothing.
> What about people who find various kilns and their differences
part of
> their creative process. I am glad you brought up communal kilns,
you
> give up control. You put someone in charge of firing a part of a
wood
> kiln, you give up control. I don't believe in this purist stuff. I
> don't buy the pure line here. It never exists.
> ie.
> You are not a potter until you dig your own clay.
> It is not your kiln till you form your own bricks.
> You better mine and grind your own spar.
> Yes these are part of the creative process. Or at least could be.
> But if you think a painter should mix his own paint, I will say
they
> should at least consider it. I pick on painters often.
> You aren't an educator unless you own your own school, just a tool
of
> the administration.
>
> Encaustic on pots by Rick Pope. Used mason stains as pigments, Ever
> seen them? Gorgeous.
>
> By the way I try not to call myself a potter, and I hate Ceramist,
let
> alone Ceramicist, sounds snooty. I use clayer.
>
> Louis
>
> > You are not a working potter until you own a kiln. Period.
>
>
_____________________________________________________________________
_________
> Send postings to clayart@l...
>
> 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@p...
Kate Johnson on thu 21 oct 04
>I agree with the importance of owning a kiln. I do not have a large or
> expensive kiln. But, it is a tough one to fire. And have I learned!
> Lessons are always better when they are hard.
Hi Paul and list--
As I said, I won't feel like a _professional_ potter until I have my own
kiln, but help me out here, I'm not sure I'm understanding the distinction
in this case. Yep, I use the one at school...I help load it and unload it,
when I can. But--it's an electric, programmable Skutt. You set the time
you know your clay needs, punch in the program, punch in the progression,
hit start. So till I'm pushing a button at my house instead of
school......?
I may not be understanding the mystique here...if it were a woodfired kiln
or a gas-fired kiln aiming for reduction, you bet. That's a mystery to me!
But...wouldn't I pretty much use the same finger to punch that start button,
with the same program, if I had that kiln at home? (And yep, that's what I
want--I'm used to it!)
Maybe I'm underestimating the problem...?
Best--
Kate
Leonard Smith on thu 21 oct 04
>
> AND, let's not forget that it works the other way around.... Having
> a Kiln and a wheel doesn't make you a working potter either... ;)
At last count I have 5 kilns at the moment, and I have built a few more over
30 years or so, so does that make me a Potter, Potter, Potter, Potter,
Potter?
And what about my friend Steve Harrison last time I visited he had more
kilns than I could count and I know of no one who has built more of them.
>Leonard Smith
Rosedale Street Gallery
2A Rosedale Street
Dulwich Hill NSW Australia 2203
Email: leonardsmith@optusnet.com.au
http://www.rosedalestreetgallery.com
ASHPOTS@AOL.COM on thu 21 oct 04
Ive been a potter for a while,, i always called myself a potter.. I dont
have a Masters in pottery just a four year degree in Fine Art.. I had to make ART
when i was in college.. I really wanted to just make pots.. I cant teach at a
college because i dont have a Masters Degree,, their loss,,,
Youd think that life experiance would count for something..I did have a
formal training as a potter , i guess that doesnt count either,,
Im a potter.. if you make pots , vessels , containers, you are a potter!!!
If you dont fall into those catagories you are a clay artist,, I dont like to
be called a Artist,, im a potter
well off to Chattanooga to water plants in the Tenn Aqarium, my volunteer job
just my $.02 this morning
Mark on Lookout Mtn
Rising Fawn Ga
Paul Vernier on thu 21 oct 04
I agree with the importance of owning a kiln. I do not have a large or
expensive kiln. But, it is a tough one to fire. And have I learned!
Lessons are always better when they are hard.
Learning all other aspects of pottery without knowing how to fire, is like
Learning to skydive and not learning to land. OK, I exaggerate.
7 years of learning and so hungry for more. This is great!
Paul in very wet Santa Cruz (3 inches of rain in 4 hours, sun is out. Get
that kiln loaded!)
Lee Love on thu 21 oct 04
Louis Katz wrote:
> What about itinerant potters? They may not own wheels let alone kilns.
> Not potters? Not working?
I'll have to say, when you are serious and firing in a communal
kiln, you often find yourself doing a lot of the dirty work that other
folks would rather not do. Sometimes you feel like a salmon swimming
upstream with lamprey sucking at your belly. At the university,
many of the BFA students seemed to be taking ceramics classes, hoping
for an easy way to fulfill their 3D requirements. They didn't like
getting dirty. They were "artiste" and found it beneath themselves to
clean kiln shelves or fire kilns. Having grown up as a blue collar kid,
I had to pinch my nose and shut my mouth around them.
But, one of my important inspirations is the buddhist nun,
Rengetsu. She was an itinerant women (haha P.M.!) potter, poet,
painter and calligrapher in Kyoto. She handbuilt her pots and often
wrote her poetry on them. Fired them in other people's kilns. Can
read about her and see some of her work at the links below:
http://www.amazon.com/exec/obidos/tg/detail/-/0834803038/002-2158685-4132010?v=glance
http://www.art-antiques.ch/objects/820.html
http://www.art-antiques.ch/objects/408.html
> By the way I try not to call myself a potter, and I hate Ceramist, let
> alone Ceramicist, sounds snooty. I use clayer.
I call this "The MFA disease." It is the rare
person who gets an MFA and can still call themselves a potter. ;-)
--
Lee in Mashiko, Japan http://mashiko.org
http://www.livejournal.com/users/togeika/ WEB LOG
http://public.fotki.com/togeika/ Photos!
Ivor and Olive Lewis on fri 22 oct 04
Dear Leonard,
I still like the sound of Pyromaniac Mud Monkey.
Years ag when I was still teaching and had evening classes I was often
asked "Which wheel should I buy" We has three or four makes in the
room at the time, all different and access to one or three other makes
across at the College. Plenty for a person to try out and find their
measure on. But I would alway ask "Having a wheel you will be making
dozens of pots, you will have to fire them". My recommendation was
always, still is, to make sure there is a Kiln there first.
Best regards,
Ivor Lewis.
Redhill,
S. Australia.
Jennifer Boyer on fri 22 oct 04
I think the discussion got a bit stuck on this kiln issue, when Mel's
original post mentioned all the other parts of a studio as well: clay
body, glaze palette, firing etc etc. Making the whole mosaic come
together for you.
I just hope that this discussion doesn't lead beginning potters
(working at community clay centers) to feel a need to work at home
ASAP. DON'T! It takes a long time to master the basic skills involved.
Just because you can throw a pot doesn't mean you're ready to go it
alone. Stay around experienced folks and soak in as much as you can:
try to get experience with glaze chemistry concepts, kiln firing,
studio safety issues. Also a group situation allows you to discuss your
pots and other folks' pots. A good thing.
When I set my studio up in 1976 I had worked in clay 10 hrs a day for 1
1/2 years in college and apprenticed to a potter for 9 months. I had
built kilns, fixed propane leaks, changed elements, made clay and
glazes from scratch, worked in a busy production pottery. I had a good
idea of what the life of a potter would be like. Credit that to the
education program at Goddard College, which is no longer in existence
as it was, unfortunately.
When you set up a studio you have enough of a trial by fire waiting:
marketing your work. Yikes!
Jennifer
On Oct 21, 2004, at 10:49 PM, Kate Johnson wrote:
>> I agree with the importance of owning a kiln. I do not have a large or
>> expensive kiln. But, it is a tough one to fire. And have I learned!
>> Lessons are always better when they are hard.
>
> Hi Paul and list--
>
> As I said, I won't feel like a _professional_ potter until I have my
> own
> kiln, but help me out here, I'm not sure I'm understanding the
> distinction
> in this case. Yep, I use the one at school...I help load it and
> unload it,
> when I can. But--it's an electric, programmable Skutt. You set the
> time
> you know your clay needs, punch in the program, punch in the
> progression,
> hit start. So till I'm pushing a button at my house instead of
> school......?
>
> I may not be understanding the mystique here...if it were a woodfired
> kiln
> or a gas-fired kiln aiming for reduction, you bet. That's a mystery
> to me!
> But...wouldn't I pretty much use the same finger to punch that start
> button,
> with the same program, if I had that kiln at home? (And yep, that's
> what I
> want--I'm used to it!)
>
> Maybe I'm underestimating the problem...?
>
> Best--
> Kate
>
> _______________________________________________________________________
> _______
> 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.
>
>
************************
Jennifer Boyer
Thistle Hill Pottery
Montpelier, VT
http://thistlehillpottery.com
Hal Giddens on fri 22 oct 04
I bought a wheel first and then later bought a kiln. I was taking a two
hours class once a week and since we had only 3 wheels and 9 to 10 people
in the class each person could only spend 1 hour on the wheel each week.
That was not enough time for me to make any progress throwing. The cost
for me throwing at home was only the cost of the wheel, clay and bats. I
fired my pots at the class and spend most of that year learing about
glazes and kilns. After owning the wheel for a year I was able to finally
throw halfway decent and felt that I was good enough at it to take the
next step, so then I bought a kiln. In my circumstance it was a nobrainer
decision to buy the wheel first and then the kiln and that is what I would
do again if I had to do it over. When I bought the kiln I also had to pay
to have the electrical wiring run and also the expense of buying all the
glaze materials, containers, scales and etc. That was much more that the
cost of the wheel.
I don't buy into the idea that there is only one way to be a potter. Also
if what some had said, then a chef does not own his creations unless he
grows and/or raises all the food, does all the food processes including
butchering the meat, does all the cooking and serving the food to his
customers.
Remember the brain can be used for creaivity not just copying others or
following what the experts say. Experts are great but somtimes personal
opinion gets in the way of the facts.
Just my opinion, not a fact.
John K Dellow on sat 23 oct 04
Ivor and Olive Lewis wrote:
>Dear Leonard,
>I still like the sound of Pyromaniac Mud Monkey.
>Years ag when I was still teaching and had evening classes I was often
>asked "Which wheel should I buy" We has three or four makes in the
>room at the time, all different and access to one or three other makes
>across at the College.
>
Iva,
did you ever take a hard look at the ergonomics of those wheels. most teaching instutions I have seen in Australia have the ring/cone venco wheels which have a very high foot pedal on the right side. I have seen students give up throwing classes because of lower back and hip problems,even with a brick under each foot. the only modern wheel produced in Australia ,but now out of production , was the Mini Merv made in Queensland . I did try a local konck off shimpo in South Australia about 1980. The reasion I use the Mini Merv for my table ware is the foot pedal is actavated by the heel , leaveing the ball of the foot on terra ferma.Also the old friction wheel is a bit jittery for fine work, ok for planters :).
John Dellow "the flower pot man"
From the land down under
Home Page http://www.welcome.to/jkdellow
http://digitalfire.com/education/people/dellow/
Lee Love on sat 23 oct 04
Kate Johnson wrote:
> But...wouldn't I pretty much use the same finger to punch that start
> button,
> with the same program, if I had that kiln at home? (And yep, that's
> what I
> want--I'm used to it!)
>
You hit it on the nose Kate. Firing using a controlled,
industrial approach, (I imagine) is like making love to an inflatable
doll. ;-)
Firing in wood, if you want good results, you have to listen
to what the kiln wants to do. Firing a wood kiln is a love affair and
is a reciprocal
relationship.
I put up photos of a hybrid oil/wood kiln that belongs to a
local Mashiko potter. It is a factory built kiln, cost about
$40,000.00 brand new. It is similar to the first chamber of a
noborigama (also similar to the Ruggles and Rankin single chamber
cantenary kiln.):
http://public.fotki.com/togeika/wood_kilns/aut_0073.html
There are five photos, click next to see them all.
--
Lee in Mashiko, Japan http://mashiko.org
http://www.livejournal.com/users/togeika/ WEB LOG
http://public.fotki.com/togeika/ Photos!
John Hesselberth on sun 24 oct 04
On Friday, October 22, 2004, at 10:10 PM, Lee Love wrote:
> You hit it on the nose Kate. Firing using a controlled,
> industrial approach, (I imagine) is like making love to an inflatable
> doll. ;-)
Hi Lee,
You may be a little out of date with what is going on the world of
computer-controlled electric kilns. Differing firing
profiles--particularly paying attention to the cooling cycle--can make
huge diffences in the resulting glaze. Using a controller to help this
overcomes the biggest deficiency in affordable electric kilns--thin
walls. Having your own kiln, of course, allows much more opportunity to
experiment and find the firing profile that is right for you, your
glazes, and the effect you are trying to achieve. Other potters in a
community studio situation generally don't like you experimenting with
the generic studio firing profile--and it generally gives totally
boring glazes which gives electric kilns their current reputation.
You can see a simple demonstration of how much difference fiddling with
the cooling rate makes at:
http://www.masteringglazes.com/Pages/faqframe.html
Read question 2 and then look at the test tiles.
Regards,
John
John Hesselberth
http://www.frogpondpottery.com
http://www.masteringglazes.com
Kate Johnson on mon 25 oct 04
> Kate Johnson wrote:
>
>> But...wouldn't I pretty much use the same finger to punch that start
>> button,
>> with the same program, if I had that kiln at home? (And yep, that's
>> what I
>> want--I'm used to it!)
>>
> You hit it on the nose Kate. Firing using a controlled,
> industrial approach, (I imagine) is like making love to an inflatable
> doll. ;-)
Giggle! Yeh, it's kind of sterile-if-dependable. Sort of like the
difference between when I do calligraphy using a goose-quill pen I've cut
and cured, with ink I've made myself from walnut hulls and vinegar to do an
illuminated manuscript, and a manuscript I produce on my computer, using
Word Perfect. May have the same words in it, but...somehow it just ain't
the same.
>
> Firing in wood, if you want good results, you have to listen
> to what the kiln wants to do. Firing a wood kiln is a love affair and
> is a reciprocal
> relationship.
Exactly. I am in awe of that whole process, and have been trying to find a
way to take part in that process for years now. Wish my potter friend who
owns one wasn't SO far away, but I'm thinking about begging her to let me
help anyway. I want to do a pit firing, too, and we've done raku,
but...the pots were bisque fired in the electric kiln. Basically we just
got the iridescence using raku technology, and figure there was a whole lot
more to it than that.
I don't think most wood firing IS a one-woman process, is it? I'm
understanding that it takes many hours with lots of people to keep the fire
going at heat. (Shouldn't have loaned out my book on firing that way, or
without a kiln, can't even remember what it was called it's been gone so
long, now.)
Anyway, THAT mystique I get. THAT is magic, alchemy, amazing stuff. Even a
gas-fired kiln that lets you do wonderful reduction firing is magic to me.
The Skut is an efficient firing machine that takes a computer program and
one finger, near as I can tell.
That said, it's still probably what I'll get, because I live in town and the
arthritis is kicking my behind!
> I put up photos of a hybrid oil/wood kiln that belongs to a
> local Mashiko potter. It is a factory built kiln, cost about
> $40,000.00 brand new. It is similar to the first chamber of a
> noborigama (also similar to the Ruggles and Rankin single chamber
> cantenary kiln.):
>
>
> http://public.fotki.com/togeika/wood_kilns/aut_0073.html
It looks GREAT!
Best--
Kate
Kate Johnson on mon 25 oct 04
. Having your own kiln, of course, allows much more opportunity to
> experiment and find the firing profile that is right for you, your
> glazes, and the effect you are trying to achieve. Other potters in a
> community studio situation generally don't like you experimenting with
> the generic studio firing profile--and it generally gives totally
> boring glazes which gives electric kilns their current reputation.
Wow, John, THANK YOU for the redirect to your tile demo. I really really
need to get your book back, TOO. (I've got to stop loaning things
out...
>
> You can see a simple demonstration of how much difference fiddling with
> the cooling rate makes at:
>
> http://www.masteringglazes.com/Pages/faqframe.html
>
> Read question 2 and then look at the test tiles.
Amazing and exciting. I WANT MY OWN KILN.
Best--
Kate
| |
|
