Fun with Texture

In article , Bob Masta
writes
On Sat, 31 Jan 2004 11:13:56 +0000, Steve Mills
wrote:

Every time a kiln is fired a microscopically thin layer of oxide is
added to the surface of the element,


Here's a follow-on question for Steve and Wayne: I've always
assumed that the burn-out items would be pretty much gone
well before the end of the bisque firing, and that any "reduction"
atmosphere was happening too early in the cycle to be useful
for anything. But I must admit I've never done any tests, like
opening the kiln mid-cycle and extracting the piece. (I'm not
into raku.) All I know is that after a C/04 cycle there is only
ash left.
This probably true, and consequently any damage would be minimised if
not corrected in the latter stage of the same firing. Frankly I don't
know for certain but I suspect it is so; we operate a firing service for
customers who don't have their own kilns, and sometimes the larger
sculptural pieces do contain paper which has not been completely
removed, which results in a seriously smokey workshop, but it doesn't
seem to affect the kiln elements adversely. However prolonged reduction
would damage them.

If the reduction atmosphere persisted up into the glaze-melt
range, I imagine there would be some neat effects from
embedding the combustibles in the glaze layer. Anyone
every heard of this? Perhaps this could be done with a
well-sealed saggar, but I've always assumed not out in the
open in a conventional electric kiln (element damage or no).

Interestingly I have noticed that the atmosphere in a kiln at the end of
any stoneware electric kiln firing is almost in reduction, certainly
past being neutral, and if ash glazes are used in any quantity it is
positively reduced; a friend who uses ash glazes exclusively goes
through elements way faster than we do.

Steve
Bath
UK


Always looking for new things to try...






Bob Masta
dqatechATdaqartaDOTcom

D A Q A R T A
Data AcQuisition And Real-Time Analysis
www.daqarta.com

--
Steve Mills
Bath
UK

snip

I think Steve Graber's idea with alphabet soup letters is also grand!
Another thing that comes to my mind in this connection: i have some rubber
alphabet stamps, about 1 cm tall, which look very good imprinted in the clay and
the kids love them. Unfortunately they are slowly deteriorating, (they are about
30 years old, still from the time when my own kids were little in the US) and i
have been looking everywhere to replace them. They are just not to be had in
Austria. Do any of you know of a source for rubber stamp letters about that
size?

Monika
--
Monika Schleidt

www.schleidt.org/mskeramik

Why use rubber?

I found a printer who (like nearly all printers) had given up using
letterpress and had changed to litho. He had trays (cases) of metal
type, from which he was (somewhat reluctantly) prepared to let me have
the 36 point characters I needed to make a "Jake" stamp for my pots. So
I suggest you look for small print houses in your area, and chat up the
proprietors.

I have also tried the cheap plastic letters which are used by cake
decorators: sprinkle with flint, press out the letters you want from a
thin slab, and use as sprigs.

But I shall look for a UK source of alphabet soup!

Jake Loddington POULTON-LE-FYLDE, Lancs. UK

I think Steve Graber's idea with alphabet soup letters is also grand!
Another thing that comes to my mind in this connection: i have some
rubber
alphabet stamps, about 1 cm tall, which look very good imprinted in the
clay and
the kids love them. Unfortunately they are slowly deteriorating, (they are
about
30 years old, still from the time when my own kids were little in the US)
and i
have been looking everywhere to replace them. They are just not to be had
in
Austria. Do any of you know of a source for rubber stamp letters about
that
size?

Monika

Monika:
Steve's idea was great! You can even leave the letters in to burn out.
Let me check sources later today, when the power comes
back on (GRRR! Thank the gods for laptops!) and I'll get back to you on the
rubber
letters. 1cm is roughly 3/8", so I should be able to find some.
If you are interested, I just ordered a set of steel stamps
(3/8" high) used for stamping letters and numbers into mild metals.
Cost was about $12.00 US. Very reasonable, and will last forever.
I can post a picture if you like. the 1/16, 1/8, and 1/4 inch varieties were
even
less expensive, and all carried a lifetime warranty.

Regarding Bob's post:
Saggar firing is a great idea. I've always been too lazy
(I'll admit it) to throw a saggar, and usually combust fire the piece
by itself. I suppose I should do, though, as it will allow me
a bunch of different tests all at once. Thanks for the kick in the butt :)

Also, regarding the comment:
"If the reduction atmosphere persisted up into the glaze-melt
range, I imagine there would be some neat effects from
embedding the combustibles in the glaze layer. Anyone
every heard of this? "

Yes, it's being done all over the country now. It's called "carbon
trapping"
and is done with "shino" glazes (usually in wood or gas firing situations)
Seems to be the "thing" this year.
Problem with carbon trapping is that it can lead to pinholing and
crazing in the glazes. Mostly meant for decorative pieces, or
the outside of functionals, like cups, where one does not have to
worry about leaching, food safety etc. Some very interesting
"meaty" textures coming out of shinos. Very "fat" glaze surfaces
from what i see (fat as in thick, like congealed gravy)

Best to all,
Wayne Seidl

Thanks Wayne and Steve, this is good news. I was always tempted to put
something
or other combustible into the clay, but was always afraid to do in the
elements.
As long as i keep this away from my 22 potters kids, there won't be any harm
done. I think Steve Graber's idea with alphabet soup letters is also grand!
Another thing that comes to my mind in this connection: i have some rubber
alphabet stamps, about 1 cm tall, which look very good imprinted in the clay
and
the kids love them. Unfortunately they are slowly deteriorating, (they are
about
30 years old, still from the time when my own kids were little in the US) and
i
have been looking everywhere to replace them. They are just not to be had in
Austria. Do any of you know of a source for rubber stamp letters about that
size?

Monika
--

There is a huge scrapbook-stamping craze going on here. One possible source is
STAMPINGTON. SOMERSET STUDIO may be a possible. You should be able to type
"rubber stamps" + "art" into google and get enormous numbers of sites. Some of
those are bound to have what you need.

burning things in the kiln: I don't just pack it with stuff, but I've have
no trouble from hamster litter. I frequently leave paper towel wads inside
closed forms when I've used them for reinforcement. I have also transferred
fragile items into the kiln on a bed of five or six yellow pages with no bad
results. I wouldn't advise going wild, but what use is art if you can't do
what you like? I feel the same about my 2-D collages. If paper towels give
the right texture, or newspaper, or whatever, go ahead!

Linda D in TX

I have used leather tools for stamps as well as rubber stamps, cookie stamps,
old printing press lino type, wooden stamps for printing on fabric from Cost
plus Imports, among other things to texture the surface of a pot or to write a
word or phrase onto a mug. When glazing, an oxide, stain or engobe can be rubbed
into the indentation and then a glaze applied over this to accentuate the
design...

Slgraber wrote:

i've been doing textured pieces almost to a sickness for 18 years... i can't
walk thru a store without seeing various things that would make great texture
tools.

at the cylinder stage i run these tools up the side of a pot, and then expand
the pot from the inside. the texture grows & stretches into the final piece.

try pastry cutters, paint rollers, toy truck tires, gears, saw blades, cake
decorating tools, etc.

one great extra is textured pieces don't let runny glazes run as much and you
can get some fun reactions of piled on runny glazes.

see ya

steve

Subject: Fun with Texture
From: Lindsay MacArthur
Date: 1/28/2004 12:01 PM Pacific Standard Time
Message-id:

I mainly make functional stoneware pieces fired to ^6 in an electric
kiln. I want to experiment with some fun textering and embedding and
was looking for ideas. For example, I know a potter who occasionally
fires some pieces wrapped in gauze and has even done a couple of
pieces where she wrapped slip dipped gauze around a balloon, popped
the balloon when slip was dry and fired the piece like that.

So, if you have any fun ideas please share :-)

LMac







steve graber

My wife and I have different styles for texturizing pieces. She likes an
additive/imprint/filigree style (heavy altering as well), while I prefer
applying texture on the wheel. She has used lace (cotton) and other
materials like fish net and leaves to imprint, cuts holes for depth and adds
slip for highlights. I like to use ribs and turning tools to suit my
current style (which constantly changes).
I would like to thank Steve Graber for the photos of his texture tools.
I've started manufacturing some from a paint roller handle and scrap wood.

"Lindsay MacArthur" wrote in message
...
I mainly make functional stoneware pieces fired to ^6 in an electric
kiln. I want to experiment with some fun textering and embedding and
was looking for ideas. For example, I know a potter who occasionally
fires some pieces wrapped in gauze and has even done a couple of
pieces where she wrapped slip dipped gauze around a balloon, popped
the balloon when slip was dry and fired the piece like that.

So, if you have any fun ideas please share :-)

LMac

Have you tried using textured vinyl wallpaper? Just a light coating of Pam
or WD40 (don't like the smell) keeps the paper from sticking. Very simple
and always successful.

Betsy

"Lindsay MacArthur" wrote in message
...
I mainly make functional stoneware pieces fired to ^6 in an electric
kiln. I want to experiment with some fun textering and embedding and
was looking for ideas. For example, I know a potter who occasionally
fires some pieces wrapped in gauze and has even done a couple of
pieces where she wrapped slip dipped gauze around a balloon, popped
the balloon when slip was dry and fired the piece like that.

So, if you have any fun ideas please share :-)

LMac

i threw a simple vase and "textured" a maze on the outside surface. "start" is
over here, with "end" over there. there are at least 3 ways thru the maze.

i call it my "amazing vase".

i also made an "amazing dinosaur" the same way.... fun weekend projects.

steve




Subject: Fun with Texture
From: "
Date: 2/1/2004 8:27 PM Pacific Standard Time
Message-id:

I have used leather tools for stamps as well as rubber stamps, cookie stamps,
old printing press lino type, wooden stamps for printing on fabric from Cost
plus Imports, among other things to texture the surface of a pot or to write
a
word or phrase onto a mug. When glazing, an oxide, stain or engobe can be
rubbed
into the indentation and then a glaze applied over this to accentuate the
design...

Slgraber wrote:

i've been doing textured pieces almost to a sickness for 18 years... i
can't
walk thru a store without seeing various things that would make great
texture
tools.

at the cylinder stage i run these tools up the side of a pot, and then
expand
the pot from the inside. the texture grows & stretches into the final
piece.

try pastry cutters, paint rollers, toy truck tires, gears, saw blades, cake
decorating tools, etc.

one great extra is textured pieces don't let runny glazes run as much and
you
can get some fun reactions of piled on runny glazes.

see ya

steve

Subject: Fun with Texture
From: Lindsay MacArthur
Date: 1/28/2004 12:01 PM Pacific Standard Time
Message-id:

I mainly make functional stoneware pieces fired to ^6 in an electric
kiln. I want to experiment with some fun textering and embedding and
was looking for ideas. For example, I know a potter who occasionally
fires some pieces wrapped in gauze and has even done a couple of
pieces where she wrapped slip dipped gauze around a balloon, popped
the balloon when slip was dry and fired the piece like that.

So, if you have any fun ideas please share :-)

LMac







steve graber









steve graber

i saw a sculpture workshop where the lady used saw dust mixed with porcelain.
she didn't use glaze, and only single fired pieces.

the saw dust was to make the finished piece lighter.

she got slight green "celadon" from the fired pieces - cone 10/11.

steve




Subject: Fun with Texture
From: (Bob Masta)
Date: 1/31/2004 7:08 AM Pacific Standard Time
Message-id:

On Sat, 31 Jan 2004 11:13:56 +0000, Steve Mills
wrote:

Every time a kiln is fired a microscopically thin layer of oxide is
added to the surface of the element, and a similar amount of the element
core is diminished. This eventually leads to there being more oxide than
element core and firings begin to take longer and longer! Curiously this
layer of oxide also acts as a protection from the highly corrosive
atmosphere in a firing Kiln.
With a partial or positive reduction firing the layer of oxide can be
stripped from the element, probably shortening its life.
There are 2 ways of dealing with this potential hazard, one is to fire
the pieces in a fireclay box or Saggar, sealing the lid with clay/sand
mix or bits of ceramic fibre, the other is to follow a very smokey or
reduction firing with a short firing to red heat (say 700oC) of the
empty kiln to re-establish the oxide layer. As a matter of interest it
is also a good idea to fire the kiln empty each time new elements are
fitted to give them the same protection.


Here's a follow-on question for Steve and Wayne: I've always
assumed that the burn-out items would be pretty much gone
well before the end of the bisque firing, and that any "reduction"
atmosphere was happening too early in the cycle to be useful
for anything. But I must admit I've never done any tests, like
opening the kiln mid-cycle and extracting the piece. (I'm not
into raku.) All I know is that after a C/04 cycle there is only
ash left.

If the reduction atmosphere persisted up into the glaze-melt
range, I imagine there would be some neat effects from
embedding the combustibles in the glaze layer. Anyone
every heard of this? Perhaps this could be done with a
well-sealed saggar, but I've always assumed not out in the
open in a conventional electric kiln (element damage or no).

Always looking for new things to try...






Bob Masta
dqatechATdaqartaDOTcom

D A Q A R T A
Data AcQuisition And Real-Time Analysis
www.daqarta.com








steve graber

i used those larger plastic buckets as a form for sagars. i pressed clay into
them on the side walls and floor. it's a simple way to get a large sagar form
without throwing that large. the dry clay separates from the plastic walls
naturally.

steve



""Regarding Bob's post:
Saggar firing is a great idea. I've always been too lazy
(I'll admit it) to throw a saggar, and usually combust fire the piece
by itself. I suppose I should do, though, as it will allow me""
steve graber