technique
As this is my first studio that I’ve ever had to manage on my own, I have been carefully selecting and testing clay, glaze, making and firing techniques. My experience in previous studios has led me to want to try to do things a little differently. I have general concerns with energy and material consumption, preventing wrist pain and carpal tunnel issues, toxicity of glazes before and after firings, while still striving to make pots that I love, and that can well used for years.
I am currently using mid-range porcelain and grey, black, off white, and brown stonewares fired to cone 5 in an electric kiln. The clay bodies are dove porcelain, kalamath brown, alpine white, midnight black and vashon grey all from Seattle Pottery Supply. I have been using only pre-made store bought glazes bought at Georgies Ceramic Supply, to avoid contact with dry glaze ingredient dust, and be sure that my glazes have been thoroughly tested and are safe for food use. I throw on hydrostone plaster bats for the porcelain, and I have good luck so far avoiding cracking. I aim to once fire the work, but for now I am doing a cone 05 bisque because I can’t get the work to dry completely for a once fire cycle. I have learned that the dark clay bodies need to bisqued in a special way to burn out the organic materials before the glaze firing.
Due to a chronic wrist injury I have also decided to not wedge my clay, and only purchase bags of clay that are pugged and ready to use. I mostly try to trim the pots when they are still upright and very wet on the wheel, if i trim at all. . I can’t throw all shapes with this technique, but I really like finding shapes that I can make without trimming. I find the gritty clays are better for curved shapes, or forms that need some structure, and the porcelain really does well with subtle curves and straight walls.
Its hard being a potter and knowing everything I fire, the good , the bad, and the ugly, will all exist in this world for generations to come.
If you have any comments or advice that you’d like to share, I’d love to hear from you. I am still very much learning as I go, and I’ll continue to revise this technique page as I learn better ways making. REVISED 021512
Sounds like a well thought through plan. Regarding once firing, I find a better success rate for my work glazing almost dry rather than bone dry greenware.
Can I ask what is the reasoning for the preheat? Would love to know your firing cycle details….
Deirdre- thanks for the comments! I’m definitely still in the learning as I go phase, I am sure my technique will adjust as I learn more. Thanks for the hint on glazing when almost dry, I am still trying to figure out which is works better. I do the preheat because I live in the pacific northwest where it just seems to be constantly damp in my studio. My pots never seem to dry completely, or at least not as fast as I’d like. I haven’t had anything explode yet, but I have been warned that it can happen when you once fire. My kiln has an automatic controller on it, so I fire it at medium speed to cone 5 with the 2 hour preheat at 180 degrees to make sure everything drys first. I’d love to eliminate the preheat if possible. Have you had luck without it?
I too live in a damp place (rainy Northern Ireland). The forms I make are very prone to dunting so I fire very slowly. I can never get my head round cones and I fire with a computer controller in centigrade but below are my firing cycles… hope they make sense to you.
Glaze firing (usually raw)… 40ºC per hour until 300º then 50ºC until 1260ºC, 30 minute soak
Saggar firing… 40ºC per hour until 1090ºC, 30 minute soak
The computer controller was preset when I bought it but I’ve gradually altered the firings over time (by slowing it way down) to minimise pots dunting or melting in the saggar
Hi There, I really enjoy your work and appreciate your blog. I’ve been subscribed for about a month now and absolutely love the artists that you share. Your blog is the only ceramic blog that I follow because of the simplicity its good nature.
I wrote you a note earlier because I’m new to Portland and would love to share some of my work with you in the near future. At this time I’m in between studios and putting my feelers out for studio space or a place to do a few firings. Would you be open to any of this or have any suggestions?
Again, thanks for your great contributions to the ceramic world of porcelain.
All the best!
Imantia
Hi Imantia, Thanks for writing again. I’m glad your following the blog, I really hope the blog inspires as many people as possible to make and support beautiful ceramic work. If my studio wasn’t so tiny, I would offer to have you come join me in Portland. Other good places to make ceramics in Portland- Georgies on Lombard has classes, sells everything you’d need to make, also lets you pay to fire if you want to make work at home, and has a good bulletin board if you want to post an ad. Radius Community Art Studios also seem like a good environment. I’ve heard rave reviews about multnomah art center. I also think Portland Community College is worth checking out. I hear there are lots of private wood and gas kilns sprinkled throughout the city that I would also LOVE to learn about if anyone was interested in renting out kiln space. Good luck and let me know how it goes.