mel jacobson on mon 24 jul 06
i have always thought of pyrometers as heat indicator
tools.
it lets you know what the kiln is `up to`.
or, the heat rise.
it is not an end temperature tool.
cones are end temperature tools. at least one hundred times
more accurate.
i cannot fire kilns without a decent pyrometer, as
it lets me know by the hour where and what the
heat work is doing.
it is why i still like my manual switches on the
bisque firing. i decide as i fire how fast or slow
to turn the switches. and, `how hard is it to
turn up a kiln?` i know that automated electric
kilns are here to stay..not debating that. but, when
i bisque fire...each firing is different depending on what
i am firing, and how thick, or wet they were when they
went in. i want that control...and if you turn over everything
to a computer....what is left for you to control?
i fully side with richard aerni as he considers that we are
in the craft world...`craftsmanship`...the use of `mind and hands`
to control what we do. every step. learn it all, every step, and
then master it. that is the total joy.
the more we turn that job to electronic tools, or to others, the more we
give up.
and teachers must be mindful that we do not `cheat` our students
with automation, and not let them learn the basics of fire.
as i age, the more i believe in the total involvement of potter, tools
and fire. the more we live with the materials and tools, the more
we become a part of, and feel within our work. modern tools often
separate us from the important tasks...or total involvement.
(why do all potters love to watch and be a part of `wood firing,
raku, and pit firing?) it is because it is in our dna/nature to love
fire and heat work...and those are so very `natural`. we become
a part of the firing. we make it happen.
it is why i always insist with young potters..(no matter your age.)
that they keep glaze simple. just one or two. learn the many
solutions that you can complete with just two glazes...hundreds.
then add another glaze.
the greatest tool that a potter has is...`understanding of your
own ability to judge, master and be in control of your work`.
if you do not believe that, or understand that...you might as well
get a job as a `greeter at walmart`.
the most important single aspect of being a fine crafts person
is the understanding that you `own` to make, finish and do research
within the confines of your selected craft.
i am reminded of the `mad magazine` cartoon series, way back
in the late fifties....a kid, bent over a stick model airplane.
wax paper, glue, little sticks...razor blades...bandaides on his fingers,
the tissue paper, waiting to be stretched over the fragile balsa wood
frame. careful plans, laid out on a wooden board. hours upon hours of
work. days to complete the model.
then the modern kid, plastic model in hand...the plans read:
`this model can be made in three minutes`.
ZIP/DONE.
WHO WINS?
the kid with the sticks. craftsmanship learned.
stick model airplanes were my first step into the world of craft.
my brother and i would work on them for weeks.
then fly them and crash them. start a new one.
my brother still makes them. radio controlled. he wins national
contests. they are works of great beauty. total realism.
and, they fly...his 1952 cris/craft boat that he re/built, won
best in show at the national woody boat show in new york.
a `silver arrow`. worth about 70,000 bucks as she sits in the
water. we got it at an auction, total wreck for 500 bucks.
craft...total control of materials and design. learn it all, do it all.
from start to finish.
that is goal. we rarely get it all right. but, when we do, when
it turns out just they way we planned....it is the greatest joy
a human can have...and you can say.
`i did that, i made that, it is mine.`
i loved the tiny story line in the book `the meadow`.
the neighbor comes over to lyle's house in the spring.
it has been a rough winter...heavy snow. no one got out
for weeks.
the neighbor says...`lyle, when did you get that violin.`
lyle says...`i made it`. `you made it? how did you know
what to do? ` lyle says...`i had a picture from a magazine.
so i just copied it.`
`my god, it is a perfect violin.`
lyle says:
`yah, i know, but i can't play a very good song yet.`
mel
from: mel/minnetonka.mn.usa
website: http://www.visi.com/~melpots/
Clayart page link: http://www.visi.com/~melpots/clayart.html
John Post on mon 24 jul 06
I agree with everything in mel's post except for the control part of firi=
ng with an automated kiln.
If you just use the "fast bisque" or "slow glaze" etc buttons on the auto=
mated computer controlled kilns, then you are not controlling very much.
...But if you learn to program in your own settings/ramps you can have mu=
ch more control than just using switches on a manual kiln.=20
I have three different bisque programs set on my kiln. All of them have =
a hold at 185 degrees F.
I have one for normal dry ware, one for ware that is still damp to leathe=
r-hard and one for sculptural work that I make that is up to an inch or t=
wo thick in some places.
Manual switches only go on or off. The computer on the other hand lets m=
e control exactly what temperature I want the kiln to be at and how fast =
or slow I want it to get there.
~as far as craftsmanship goes, we have been having our kitchen remodeled =
this summer. The cabinet maker and installer has been doing this for 42+=
years, the general contractor has been his partner all that time (former=
high school shop teacher for 30 years), the floor installer was a father=
and son team=85 all of these guys have been top notch. The drywall guy =
was taught by his father how to do it. He is so good with the mud, that =
he did not need to sand anything. The walls he repaired are as smooth as=
a baby=92s butt=85better than the original walls in the house.
The tools, the care, the craftsmanship=85 it=92s all been great. Every p=
art of the new kitchen has been custom made to fit our house. I have bee=
n learning a lot just by watching and talking to these guys. As much of =
a disruption it has been in our house, it has been a pleasure to see the =
kitchen taking shape.
Hiring the best craftsman we could find has paid off. We could have save=
d money going with someone cheaper, but I know that the work would not ev=
en be close to the level of these guys.
My neighbor who used to work in new construction as a plumber is starting=
to work on his own. He told me he=92s not to sure about how to quote pr=
ices for his work. I have seen his work and it is all outstanding. I to=
ld him to quote it high, but to show up on time and do what he says he is=
going to do. I am always pleased when a contractor shows up on time and=
does the job right. The cost of the job is not as big a factor to me as=
how well the job will be done when deciding who I will go with.
John Post
Sterling Heights, Michigan
>mel said...
it is why i still like my manual switches on the
bisque firing. i decide as i fire how fast or slow
to turn the switches. and, `how hard is it to
turn up a kiln?` i know that automated electric
kilns are here to stay..not debating that. but, when
i bisque fire...each firing is different depending on what
i am firing, and how thick, or wet they were when they
went in. i want that control...and if you turn over everything
to a computer....what is left for you to control?
Ivor and Olive Lewis on tue 25 jul 06
Mel tells us
<least one hundred times more accurate.>>
The Science behind the Pyrometric Cone is an interesting one. It depends =
upon a phenomenon called the "Deformation Eutectic". This is only =
loosely related to temperature. It is more a measure of the heat energy =
required to cause the ingredients to fuse and then collapse under the =
pull of Gravity. Cones tell us about heat and time, or the rate at which =
work is being done on the ceramic load. If their composition is =
consistent then the end point is precise. But it does not measure =
temperature.
<the hour where and what the heat work is doing.>>
If, by "Pyrometer", Mel means an instrument working as a thermometer =
driven by the EMF generated by a bi-metallic junction then, sorry Mel, =
it tells us nothing about "Heat Work". These instruments just tell us =
which way the heat is moving and how far it has progressed towards the =
measure we require. In the case of an electric kiln heat flows from the =
elements to the load of the kiln. In a gas kiln it is from the hottest =
portion of the flame to the load. "Heat Work" is our colloquial term for =
the integration of Energy and Time and their effect on the Ceramic Mass.
Thoroughly agree about the nature of Craft Learning.
Best regards,
Ivor Lewis.
Redhill,
South Australia.
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