Kate Johnson on wed 18 may 05
Hi all--
I know that you often get different effects according to where your work is
placed in the kiln anyway, so I'm curious as to how important it is to fire
all of a "matching" set of dinnerware in a single load. I'm using the same
clay, same slip, and same glaze, but I can't decide whether to wait to fire
till I have it all done, or do it as it fits in the kiln?
(The "all the eggs in one basket concept" bothers me.)
I'm reasonably sure there would be some degree of variation
anyway...opinions? It doesn't have to actually match, I just would like it
to harmonize...
Thank you!
Best--
Kate Johnson
graphicart@epsi.net
http://www.cathyjohnson.info/
Art, History, Nature and More at Cathy Johnson's Cafepress--
http://www.cafepress.com/cathy_johnson/
Graphics/Fine Arts Press--
http://www.epsi.net/graphic/
Paul Herman on wed 18 may 05
Hi Kate,
Were it my dinnerware set, I wouldn't necessarily try to get it all in
one firing. Handmade pottery has differences from piece to piece anyway,
one of it's attributes. If your customers wanted them all exactly the
same they would probably be looking somewhere else.
One thing I do when making sets of plates is to put in a couple of
extras. If it's a set for eight or ten two extras is good. When one or
two warp/crack/pluck/blister or just come out substandard, you're
covered.
Vive le difference,
Paul Herman
Great Basin Pottery
Doyle, California US
http://www.greatbasinpottery.com/
----------
>From: Kate Johnson
> Hi all--
>
> I know that you often get different effects according to where your work is
> placed in the kiln anyway, so I'm curious as to how important it is to fire
> all of a "matching" set of dinnerware in a single load. I'm using the same
> clay, same slip, and same glaze, but I can't decide whether to wait to fire
> till I have it all done, or do it as it fits in the kiln?
>
> (The "all the eggs in one basket concept" bothers me.)
>
> I'm reasonably sure there would be some degree of variation
> anyway...opinions? It doesn't have to actually match, I just would like it
> to harmonize...
>
> Thank you!
>
> Best--
> Kate Johnson
Lee Love on thu 19 may 05
Kate Johnson wrote:
>
> I'm reasonably sure there would be some degree of variation
> anyway...opinions? It doesn't have to actually match, I just would
> like it to harmonize...
Kate, it is extremely important in a wood fired kiln.
I've mentioned before, even in my teacher's gas kiln, the ash glaze is
adjusted according to the thickness of the work (more water added for
thicker work, thin work glazed first) but is also adjusted by kaolin
amount, according to where in the kiln the ware is place. The kaolin
varies from 5% to 25% in the hottest part of the noborigama. So, of
course, when my teacher's plate sets are put in the kiln (each plate in
the set has a different enamel design) , they are always placed on the
same level in the kiln. Actually, all sets are put in the kiln hear the
other pieces in the set. After a deshi (apprentice) is there a while,
one of their jobs after unloading a kiln is matching up sets according
to their color. We usually stacked plates in stacks: light colored,
medium colored and dark colored. When you watch a new deshi start, you
can see that one of the reasons they get to sort stuff is so they can
train their eye.
--
李 Lee Love 大
愛 鱗
in Mashiko, Japan http://mashiko.org
http://hankos.blogspot.com/ Visual Bookmarks
http://ikiru.blogspot.com/ Zen and Craft
"Orthodoxy means not thinking, not needing to think.
Orthodoxy is unconsciousness." -- Bill Moyers
Earl Brunner on thu 19 may 05
Another factor which I haven't heard mentioned, is the type of firing. Historically, this seemed to be more of a problem in reduction firing, than maybe electric. I'm not sure it is an issue at all in an electric kiln. The variables that one is trying to control in reduction, on the other hand may make it more of an issue.
Paul Herman wrote:Hi Kate,
Were it my dinnerware set, I wouldn't necessarily try to get it all in
one firing. Handmade pottery has differences from piece to piece anyway,
one of it's attributes. If your customers wanted them all exactly the
same they would probably be looking somewhere else.
One thing I do when making sets of plates is to put in a couple of
extras. If it's a set for eight or ten two extras is good. When one or
two warp/crack/pluck/blister or just come out substandard, you're
covered.
Vive le difference,
Paul Herman
Great Basin Pottery
Doyle, California US
http://www.greatbasinpottery.com/
----------
>From: Kate Johnson
> Hi all--
>
> I know that you often get different effects according to where your work is
> placed in the kiln anyway, so I'm curious as to how important it is to fire
> all of a "matching" set of dinnerware in a single load. I'm using the same
> clay, same slip, and same glaze, but I can't decide whether to wait to fire
> till I have it all done, or do it as it fits in the kiln?
>
> (The "all the eggs in one basket concept" bothers me.)
>
> I'm reasonably sure there would be some degree of variation
> anyway...opinions? It doesn't have to actually match, I just would like it
> to harmonize...
>
> Thank you!
>
> Best--
> Kate Johnson
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Kate Johnson on thu 19 may 05
> Kate Johnson wrote:
>
>>
>> I'm reasonably sure there would be some degree of variation
>> anyway...opinions? It doesn't have to actually match, I just would
>> like it to harmonize...
>
> Kate, it is extremely important in a wood fired kiln.
Hi Lee, and thank you...but ooops, I forgot to mention it's an electric
kiln. There's still some difference in firing, from top to bottom, I've
noticed, so not sure how much I'd gain by putting everything into one kiln
load.
Best--
Kate Johnson
graphicart@epsi.net
http://www.cathyjohnson.info/
Art, History, Nature and More at Cathy Johnson's Cafepress--
http://www.cafepress.com/cathy_johnson/
Graphics/Fine Arts Press--
http://www.epsi.net/graphic/
Steve Irvine on thu 19 may 05
Hi Kate,
It seems like it comes down to two factors. How variable is the dinner ware glaze from firing to
firing, and how fussy is the recipient of the dinner ware set.
If you'd just like it to harmonize, then doing the pieces in different firings would be fine. The
finished pieces will look like they are all members of the same family rather than clones. Some
customers are very finicky though, and want everything to look identical. If that's the case then
doing everything in one firing would be a good idea.
We sometimes get customers in the Artists' Co-op with paint swatches looking for an exact match
with a glaze. Other people see variation as evidence of process, and an important feature of a
hand crafted object.
Steve Irvine
http://www.steveirvine.com
http://www.osartistsco-op.com
>
>I'm reasonably sure there would be some degree of variation
>anyway...opinions? It doesn't have to actually match, I just would like it
>to harmonize...
Kathi LeSueur on thu 19 may 05
Kate Johnson wrote:
> Hi all--
>
> I know that you often get different effects according to where your
> work is
> placed in the kiln anyway, so I'm curious as to how important it is to
> fire
> all of a "matching" set of dinnerware in a single load. I'm using the
> same
> clay, same slip, and same glaze, but I can't decide whether to wait to
> fire
> till I have it all done, or do it as it fits in the kiln?>>>>>>>
The answer is......... it depends. It depends on the variability of the
glaze. If it comes out the same from firing to firing you can probably
fire the pieces in several different loads. If it has lots of variation
from load to load you will want to do it all at once. However, that
said, if it's a glaze with lots of variability you will have a problem
down the road when your customer wants to replace some pieces. I have a
glaze that I refuse to do dinnerware with. I did it once for a long
time customer who had examples of all the variations in her collection.
She "understood". And everything was ok until she wanted to add some
pieces. When it comes to dinnerware most people want all of the place
settings to look very similar. Those that don't will tend to buy one
setting each in various glazes.
Kathi
>
>
>
Lee Love on thu 19 may 05
Kate Johnson wrote:
> Hi Lee, and thank you...but ooops, I forgot to mention it's an
> electric kiln. There's still some difference in firing, from top
> to bottom, I've noticed, so not sure how much I'd gain by putting
> everything into one kiln load.
Can you "see" a difference? And/Or, can you fire many
sets and then match the closest up?
I just started making plates. What I noticed at my
teacher's workshop, was that the plate sets were used as fillers, if
there was not enough other work to load. On a large table near the
big gas kiln, were stacks of bisqued plate sets, of different standard
sizes. Like I mentioned before, his sets were sets of 6 different
plates, with different inlay and enamel decoration. Many plates could
be bisqued of different sizes, and they were just stacked up and ready
with the rest of the work did not fill the kiln.
When I remembered this, I thought it was a good idea. Not
only can you bisque many more than will go in a glaze firing (because
you can stack them in the bisque) they also take up less room in
storage after they are fired. I have also noticed that plates bigger
than sandwich plates here go for a higher price and good, light plates
aren't as available as similar quality bowls.
--
李 Lee Love 大
愛 鱗
in Mashiko, Japan http://mashiko.org
http://hankos.blogspot.com/ Visual Bookmarks
http://ikiru.blogspot.com/ Zen and Craft
"With Humans it's what's here (he points to his heart) that makes the difference. If you don't have it in the heart, nothing you make will make a difference." ~~Bernard Leach~~ (As told to Dean Schwarz)
Kate Johnson on sat 21 may 05
Kathi LeSueur suggested:
>
> The answer is......... it depends. It depends on the variability of the
> glaze. If it comes out the same from firing to firing you can probably
> fire the pieces in several different loads. If it has lots of variation
> from load to load you will want to do it all at once.
I've finally gotten it so it is FAIRLY dependable. I was trying hard for
a more amber "lead-glaze" effect without the lead, and tried a couple of
commercial glazes that seemed to offer some real possibilities, a Dark
Yellow and one actually called Amber. Not sure what went wrong, but the
test tiles looked WONDERFUL, very very transparent and beautiful--the amber
was rich, deep, and clear--but when I used them on the ware, the Dark Yellow
wanted to go milky and the Amber got slightly opaque bluish or purplish.
Both, as I say, much more opaque than I was after.
I have become happier with the stuff I'm using now, which as has been
suggested before, is a commercial clear glaze into which I've introduced
varying amounts of RIO. It's not as "amber" as I was aiming for, but it's a
luscious, subtle effect (to me.)
I've ordered some 3124 frit at Lili's suggestion, to try mixing my own
again--trying to find a transparent frit at eartheware temps is challenging!
But for this set, I'm going to use what's been working for me.
However, that
> said, if it's a glaze with lots of variability you will have a problem
> down the road when your customer wants to replace some pieces. I have a
> glaze that I refuse to do dinnerware with. I did it once for a long
> time customer who had examples of all the variations in her collection.
> She "understood". And everything was ok until she wanted to add some
> pieces.
Siiiiigh. even those who "understand" sometimes don't.
When it comes to dinnerware most people want all of the place
> settings to look very similar. Those that don't will tend to buy one
> setting each in various glazes.
I'm generally careful to explain up front about how variable the whole
process can be. Hence my quotes around "uniformity"!
Thank you, Kathi...
Best--
Kate Johnson
graphicart@epsi.net
http://www.cathyjohnson.info/
Art, History, Nature and More at Cathy Johnson's Cafepress--
http://www.cafepress.com/cathy_johnson/
Graphics/Fine Arts Press--
http://www.epsi.net/graphic/
Kate Johnson on sat 21 may 05
> Kate Johnson wrote:
>
>> Hi Lee, and thank you...but ooops, I forgot to mention it's an
>> electric kiln. There's still some difference in firing, from top
>> to bottom, I've noticed, so not sure how much I'd gain by putting
>> everything into one kiln load.
>
> Can you "see" a difference? And/Or, can you fire many
> sets and then match the closest up?
Don't know yet, I haven't put them in the kiln. I am indeed making
extras, just because...so many things can go "wrong" some of which actually
*are* (cracking, warping) and some of which are actually just pleasant
variations.
> I just started making plates. What I noticed at my
> teacher's workshop, was that the plate sets were used as fillers, if
> there was not enough other work to load. On a large table near the
> big gas kiln, were stacks of bisqued plate sets, of different standard
> sizes. Like I mentioned before, his sets were sets of 6 different
> plates, with different inlay and enamel decoration. Many plates could
> be bisqued of different sizes, and they were just stacked up and ready
> with the rest of the work did not fill the kiln.
Yes, I was hoping it would work to bisque in various loads where there was
room, then worry about the glazing all at once. Thanks...
>
> When I remembered this, I thought it was a good idea. Not
> only can you bisque many more than will go in a glaze firing (because
> you can stack them in the bisque) they also take up less room in
> storage after they are fired. I have also noticed that plates bigger
> than sandwich plates here go for a higher price and good, light plates
> aren't as available as similar quality bowls.
I have REALLY been in a plate making mode lately! A few salad bowls, too,
but enjoying the plates in part because they're more convenient to decorate.
I'm still doing slip marbling, mochaware, and sgraffito, and the flatter
surface greatly facilitates that.
I've tried making the slab, decorating it, cutting it to size (or the other
way around, cutting then decorating), letting it get almost leather hard and
then moving to a bowl mold, but that tends to create tiny stretch marks on
the bottom that must be dealt with. (Damp sponge, lots of stroking...)
More control, though, so it's six of one, half dozen of the other...
Thank you!
Best--
Kate Johnson
graphicart@epsi.net
http://www.cathyjohnson.info/
Art, History, Nature and More at Cathy Johnson's Cafepress--
http://www.cafepress.com/cathy_johnson/
Graphics/Fine Arts Press--
http://www.epsi.net/graphic/
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