[Clayart] Sea shells in the kiln?

Ken Chase kchase235 at gmail.com
Tue Jan 3 19:14:27 EST 2017


Snail:
So far the way you taught me to use cylinders has worked great. This next firing I'll try to glaze
The foot of one pot and see how it goes.
I have made several pedestals but the one time I tried using one I used wood glue and aluminum hydrate and the pot didn't stick. Sure I did something wrong but haven't tried again since the cylinder/catchplate combo has worked so well.
Thanks
Ken

Sent from my iPad

> On Jan 3, 2017, at 12:57 PM, Snail Scott <claywork at flying-snail.com> wrote:
> 
> 
>> On Jan 3, 2017, at 7:56 AM, Ken Chase <kchase235 at gmail.com> wrote:
>> I really like the idea of a glazed foot ring.
> 
> 
> If you glaze the footring, you’ve gotta have some other way
> to hold the piece up in the kiln. (Sometimes I fire things (not pots) 
> on pedestals that sit inside or up from the lowest point of the art, 
> so that the low points can be glazed. For my sculptural things, it 
> makes sense for some forms and not others. If you don’t leave 
> unglazed spot(s) for such supports, then you have to work stilt 
> scars into your design instead. You will see the classic standard 
> stilt scars on a lot of commercial stoneware dinnerware that has 
> glazed footrings - little dents or tick marks in the glaze, three or four  
> of them evenly spaced around the underside. The shells mentioned 
> previously are an example of making a virtue of necessity, by using 
> the ornamental shells in place of some merely functional stilts, and 
> planning for the  esulting marks as part of the design.
> 
> It can be tricky to position the work in the kiln on top of the stilts (no 
> matter what kind), so a little dab of Elmer’s or white craft glue can 
> hold them in place on the clay object as you load. 
> 
> If you have a very runny glaze, be aware that it may run down the 
> stilt and stick it in place, preventing it from breaking off cleanly. It may 
> also drip unevenly from the footring, leaving it un-level and requiring 
> grinding to level it anyway, substantially eliminating the appeal of 
> having a glazed foot. 
> 
> Some people have made a virtue of this, using the drips of the glaze 
> as ‘feet’, lifting the whole piece up off its nominal bottom by the thickness 
> of the drips. When it works well, it can be quite ornamental, but since 
> drips - even planned ones - aren’t always equal in depth, these end up 
> (ideally) sitting on their three deepest drips like a tripod, but may require 
> at least enough grinding to make three relatively coplanar points to level 
> the piece. Plenty of water is needed when grinding glaze drips, since if 
> they overheat, they can shatter and break off entirely.
> 
> A nice aesthetic compromise might involve an outer ‘false foot’ that 
> the glaze is allowed to drip off of, and a deeper inner foot that actually 
> supports the piece but is somewhat hidden underneath, behind the 
> drips. Obviously, a catch slab or some such would be needed under the 
> drip zone. With practice, you can predict the amount of dripping with fair 
> accuracy, but never perfectly.
> 
>        -Snail
> 
> 
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