Fun With Sodium Vapor and Other Fiery Tales

I was recently down in Medicine Hat for a 10 day atmospheric firing workshop with Robin Dupont. The goal of the workshop was to fire the salt, the soda and the wood kiln in those 10 days as well as make enough work (on top of what we initially brought with us) to fill them. I left Calgary at about 2:30 pm after picking up one last box of clay. The trip was fairly uneventful, except for the dramatic prairie storm that was on the horizon. I was driving straight towards this huge, towering wall of storm cloud for about an hour and a half before I actually caught up to it, and then the highway veered off to the south and I essentially skirted the storm for most of the way, although I did get a bit wet. This shot is an attempt to capture the electric yellow canola fields against the stormy black backdrop.

The workshop began on Friday and we were decorating and glazing pots right away to fill the salt kiln.

Robin loading the salt kiln

While the salt kiln was firing/cooling, we were all in the studio madly making more pots. That being said, I did take time out to just relax. I was outside the kiln pad when I saw this little guy. Not your regular hare, more a peter cotton tail bunny. It was quite young and there were a whole bunch of them all over the place, hanging out in the tomato patch, under piles of scrap wood, etc.

After some debate as to schedule and when to fire, we began loading the wood kiln. We were pushed off schedule a bit because of a massive thunderstorm that knocked out the Blauww gas kiln that was full of our pots getting bisque fired, but a quick reset the next morning to finish the bisque had us back on track pretty quickly. We ended up having so much work that we ended up loading the salt again too. This shot is of the throat arch chamber that is a "secret" chamber in between the firebox and the main chamber. The pots here will get a ton of heat and ash, so fingers crossed they come out ok.

This is the main chamber and the pots here will get less ash deposited on them.

This isn't the actual storm, but it was a precursor to the one that knocked the gas kiln out.

Once the wood kiln was loaded, we fired it up at around 10 pm on Wednesday night. I was on stoking shift from midnight to 6am Thursday morning. This was a fairly easy shift, just keeping the fire going and spreading the coal bed around, making sure not to chuck wood into the pots that were about 2 feet away from the action.

After that shift I went to bed for about 4 hours and came back to the studio to finish glazing pots for the soda and salt kilns and to start the loading process. Somewhere around 10pm it became apparent that there was a problem. We couldn't get anyone to do the midnight to 6am shift on Thursday night/Friday morning, but even though I had really only had 4 hours of sleep in the last 24 hours, I volunteered. That was actually fun. I was on shift with Michelle, a potter from Ft. McMurray. She chopped and split wood and I stoked. We were firing with cotton wood, not the easiest wood to fire with as it is a horrible wood to chop and it burns so fast you are constantly stuffing the firebox full of logs. I did get a really good feel for how that kiln fires. I was even able to tell by the sound it was making as to when temperature would start to climb, when it needed wood, when to fill the firebox etc. The heat was insane, and I lost about a gallon of sweat. When we were nearing our goal temperature, we began spraying in about 2 lbs of soda into the main chamber.

I missed most of that morning and afternoon as I was sleeping, but I came back around 3 to witness the addition of the salt and soda. We were really concerned that the draw rings were not showing much glaze and so in an attempt to get a better read on what was going on, Robin decided to take a little cup off the bag wall that was able to fit through the port. I think we ended up adding another 3 or 4 lbs to the kiln. After we reached temp and we shut it off, Robin then perfomed a very slow cool down at around 1800F by keeping one burner on low to prevent the kiln from dropping in temperature too fast until it got to about 1400F (I'm working from memory here, so I might be off on my temps)

These are a few results from the kilns: Wood fired porcelain flask

Wood fired stoneware pitcher fired in the secret chamber. It looks really crusty, and it is, but I have cleaned and scrubbed most of the crud off of it. I still need to grind a few chunky rough spots off and smooth the handle, but it should be pretty good.

One of my favs. This cup came out of the soda kiln and is a really good example of what the slow cooling at the end achieved. It matted the surface and promoted crystal growth. In the sunlight, this surface is so amazing. There are rainbows of colour and the surface feels soft and silky. I had a few good pots out of the first salt, but only 2 cups made it into the 2nd salt and I guess I did not take any good pics of those pots, so we'll wait until I clean them up and get them ready to take to market.

My drive back home:

Early Birthday Present To Me

I ordered this a while ago and it arrived at Ceramics Canada yesterday. It is a gas conversion kit that will turn a 10cu.ft electric kiln body into a propane fired kiln with the goal of firing it in either a soda or salt atmosphere. I'm guessing soda will be the end choice as salt pretty much melts soft fire brick, but I might opt to prepare the bricks with a refractory coating like ITC 100 and that should effectively prevent salt eating away the bricks.

How to lose 5lbs in 1 day

I went to Medicine Hat last Wednesday to fire the Salt and Soda Kilns at the Shaw Centre at Medalta.

I left right after work on Wednesday afternoon and arrived at our motel at 7:30. Kathy and I got up early and went to glaze and load the kilns on Thursday and turned the kilns on low and slow overnight to preheat. There were various issues with this round of firing. The cone packs in the soda kiln blew up during the preheat, so we were flying a bit blind. Aaron found us an optical thermographer called the Cyclops. He was not sure how to use it, so had one of the train kiln operators from the old IXL brick factory to come over and trouble shoot it with us. As this was our only guide for temperature, we used it as well as colour in the kiln. By the time a witness cone bent in the salt kiln we had finished adding the soda, so that was pretty much a shot in the dark. We took a reading when cone 7 bent, and it looked like the “cyclops” was out by a hundred degrees or so. I think we were slightly underfired in the soda, but got some decent results. The salt was much better, although it could have used a bit more salt. In total, we added about 6 pounds of soda ash, and 14 pounds of salt. I did not take many pictures during the firing as it is too hard to do that when there are only 2 of us. If I could find a way to grow a 3^rd arm, that would help. I would look weird though.

As to the weight loss, it was all sweat. The temp in Medicine Hat on the day of the firing was about 31 degrees Celsius (87.8 F). Without the kilns it was pretty darned hot out. The kilns themselves were at about 2385 F or so at top temp. We were a little limp with the heat by the end of the day. While we were waiting for the salt kiln to reach salting temp (it took until 9 pm or so), we ordered a pizza, around the time the pizza was to arrive, a torrential downpour sprang up. So we had heat, lightning, thunder, rain and pizza.

All in all I think the firings were OK. The soda was a bit dry in spots, but the salt was relatively juicy. There were some really nice glazes in this firing. I had some excellent carbon trapping in a Malcolm Davis shino, some good colour development in the yellow salt glaze, and some really lovely pink halos and blushing on the insides of some of my rice bowls where I used the Andrew Wong Lustre glaze. That glaze can come out quite boring and white if not reduced enough (?), but this time, I think we had good reduction. Not too much, just enough. 

Oh ya, I also saw the Medalta International Cup Show. The labels had not been put up yet, but I was able to recognize quite a few potters. There were several of Jim Gottuso's yunomis and beer glasses, a couple of cups from Zygote, a wall piece from Mindy Andrews and a ton of others that I just can't recall the makers of off the top of my head. There was stoneware, porcelain, low fire, high fire, salt, soda, functional and not so functional, etc etc...Very good show. Great job Carol for picking all of these amazing cups.

It's My Birthday...

I can only hope that this 42nd year is better than the last. Not that the past year was all that bad, just the last month of it.

I am not doing anything special for it, just going to go make some pots tonight and possibly glaze some with the new spray booth. I need to finish making pots for the salt firing in August, so that is top of the list. But I also need to glaze some pots to put into the gallery. I also have some low temp porcelain that I need to use up and fire. I may do that with the bisque. They fire to 04 so I might just fire the next bisque load a little hotter. It burns out the organics a bit more, esp with the ^5Bmix that occasionally bloats. I think it also leads to a nicer glaze surface. I might even try to bug out of work a bit early today to get to the studio a bit earlier. We'll see how the afternoon goes.

Pass the Salt Please!

Well, we had our open house this past Saturday and considering that we only relied on word of mouth, social media and a free listing in Swerve, we were pretty successful. I can't say for certain how many people showed up, but we had left over tea bowls and I only fired 23 of them. We did manage to get several people to consider signing up for classes, and since that was the whole point of this exercise, I would have to say it was a success. There were a few of us throwing, trimming and glazing pots. I threw a large vase in 3 sections as well as a tea pot. I was also firing the raku kiln, so that kept me pretty busy.

I have also scheduled another trip down to Medicine Hat to fire the salt and soda kilns. A fellow potter/instructor from the studio and I are going to head down near the end of August. I have a feeling that firing atmospheric kilns is somewhat akin to child birth (from what I have heard as I do not have first hand experience in that particular area) in that you quickly forget the pain of the event and are more than willing to take on the challenge again. I do remember the “pain” of the marathon glazing session, and the tears of joy/anguish when unloading, but am more than willing to give it as many goes as possible. This time we are going to head down the afternoon before after I get off work and get up bright an early to get all the deco done in a more civilized manner, which would allow us to finish loading well before 11pm (i hope). When I was down there in April, Susan and I almost killed ourselves trying to get it all done, but we did take in a bit of the farmers market that the Medalta Museum puts on every Thursday. We bought a couple of curry meat pies for dinner. I am not sure if it was the hunger and exhaustion, of if they really did taste that good. Either way, they were yummy. So was the mini saskatoon pie that I scarfed down. I am looking forward to partaking of the pies again.

Always learning, sometimes the hard way.

I spent the past weekend, from Thursday to Sunday, firing the salt and soda kilns at Medalta. I have posted a few pictures of the fired results and there will be more to follow, but I am going to wait for my new light box to arrive before I do. Anyway, there were a few things that I learned this weekend. First, we needed to introduce more soda into the soda kiln. Second, we needed to pack the soda kiln a little more loosely. Third, the salt kiln seems to fire very evenly but slower than the soda kiln. Fourth, we don't think many people drink wine in Medicine Hat. We did however pick up a very nice malbec at the Co-op liquor store (the lady there doesn't drink wine, she only reads the labels, so no help there unless you can't read, then she's your gal. Fifthly, I personally discovered that if you lean in too close when looking into the peeps, your eyebrows, eyelashes and the hair surrounding your face, will singe completely off. I lost half the length of my lashes, trimmed my brows, and now have a fringe of hair no longer than a centimetre at my hair line.

A few pots from Medicine Hat

The firing at Medalta was far from perfect but there were some pots that came pretty darned close. I managed to shoot a few good quality pictures before I came home and here they are. Overall I would say 1/3 crap, 1/3 good and 1/3 excellent.

Glorious or Gloriously Hideous

I leave tomorrow morning at 6:30am for the Hat. I have not packed a single thing yet (not counting pots and slips of course). I also have a massage booked for this evening, so I wont be home until 7:30 or so. I know, kinda dumb to book a massage the day before I embark on a marathon glazing/firing event, but at least I will be limber. I may need to book another for when I get back. I am taking almost every pot I have thrown since January as well as a couple flashing slips, some coloured terra sig based slips (green, blue/green, rutile & black) and a shino. There will be glazes at the studio that I will be able to use, but I have these on hand and can not really use them at cone 6 in electric kilns, so I am using them where I can. I am eager to leave and get started, but I am also thinking about all the work that this is going to be. I have approximately 100 pots to decorate, wad and load. Then there are the kiln shelves that will need to be scraped and cleaned when we are done. I am bringing a jumbo bottle of ibuprofen as well as a box of muscle relaxants. Perhaps a bottle of wine would be in order too.... It feels a bit strange to me to have not fired much in the way of pots over the last 3.5 months. All of my output has been geared towards the salt and soda firing this weekend. This means that I am risking most, if not all, of my near future sales on this one weekend. If something goes awry, I could have a load of crap. If all goes well, then nothing to worry about, but I come from a long line of worriers. I have almost nothing ready for the studio sale coming up on May 4th and if this does not go to plan, then I really will not have much to offer. I will have a quick refresher on how their kilns work (ie where the air is, where the gas is, etc, but then it is up to me to remember how we fired it last time (thank goodness for kiln logs and kiln gods) and what we might want to change based on the results from last time. To be honest, there are only one or two things I would change. I think we packed the soda a bit tight and I would cut back on how much soda we sprayed and increase the burritos. The spraying tends to cause the glaze to become a bit grey if too much water is introduced. It seems to trap the carbon in a not very pretty way. If we decide to stay with the same amount of spraying, I would increase the damper wafting and keep it open a bit longer in between applications of soda to clean up the atmosphere and brighten the colours and hopefully mitigate any greying of the glaze. The salt kiln (for me) gave results that I appreciated a bit more. I love toasty orange and brown orange peel. I love flashing too, and that will be more evident in the soda I think, but there were a lot of dry pots in the soda compared to the salt (from the over packing I am sure). I hate this, I keep thinking about what could be and then in 3 days I will be confronted with what is, be it glorious or gloriously hideous. I will take lots of pictures and maybe some video as we go and I will try to blog a bit as well (back pain permitting). We also have a visit planned at Plainsman too, so perhaps we can fit that in at some point on Friday (?)
Here are some pics from that first salt firing a couple of years ago during the coldest weekend that year in Medicine Hat, so cold it froze my power steering. This weekend should be tropical in comparison.

My bags are packed and I'm ready to go....

Well, my pots are packed at least. There are only 6 sleeps left until I leave for Medalta and it will be a weekend of extremes. Susan and I will be arriving in Medicine Hat around 10am on Thursday next week and right away we will be madly decorating our pots and loading the 2 kilns at the end of which we will probably fall down in exhausted heaps. We will fire them on Friday, so there will be periods of inactivity and then frantic salting etc. Saturday will be our down day while the kilns cool. Not sure what we will get up to, but we will find something to occupy us I am sure. Sunday will undoubtedly include both the excitement and anxiety of the unknown (think of Schrödinger's cat) and then when the kilns are opened and all possible unknown results are fixed with our observations, we will probably shed a tear or two over the pots that did not make it. I am sure however that there will be lovely results and hopefully the keepers outweigh the crap. Here are a few pics of what I am taking. These are by no means all of my pots, but they do represent a fair chunk.

Getting Ready for Salt

I have been throwing cone 10 clay almost exclusively since the end of December in preparation for my upcoming trip to Medalta in April to fire off their salt and soda kilns. I have made a lot of stuff in that time, but I am in that place right now where I don't know if I have made enough, or if I have made too much. Each kiln is 20cu feet and I am splitting the firing with my friend Susan (aka Sooooozin). So I have a full 20cu feet to fill, plus all the extras like on bag walls, the space under the bottom shelves etc. The end of my last bag of clay was actually where I started to make really good pots (I hope – I still need to trim them). They are gnarly and full of texture just waiting for the salt to juice them up and soften all that craggy goodness. It would be ok if the kilns were here, but alas, they are 3 hours away and I need to transport them down there, and if I have left overs, I really can't do anything with them except wait for another high fire opportunity. I think I may just go for broke and make as much as possible. If I have way too much, then so be it, at least I will have lots to choose from. I got a bit stuck on the sgrafitto, so there is a LOT of it, but everything from now on is plain old clay that will get flashing slips or shinos.

Other than that, a few students and myself are going to put together an open house sometime in early to mid June to help boost the enrolment at the studio. It is located in an industrial area in the city's south east and the feeling is that some people are put off by the location. It is not in a trendy area with lots of cafes and boutiques. It is not in a residential area either. It is in a light industrial/business park area and because of this, we think that some people are nervous about it. It is not a bad area, it just isn't very busy at night, and it can feel a little isolated. The building is a Quonset, and that may not give it a very homey feel either. But you take what you can get in this town. Rents can be a bit steep for small business owners, let a lone a pottery studio owner. If we have an open house in June on a nice sunny day, when the birds are chirping, then we can open up the very large overhead door to let as much light in and make it look inviting. We can have demonstrations going on throughout the day with perhaps a stinky raku demo to attract the pyromaniacs and give away small raku bowls to the attendees. I really hate doing raku firings, but it does have that WOW factor as well as immediate gratification. I always go home feeling like I have been camping and sitting around wet smokey fire pits, but without the added bonus of smores. I usually also look like a bit bedraggled, my face is all red, my hair usually gets a bit fried from looking into the kiln to check glaze melt, and some article of clothing always gets a burn mark or two. Ya, raku and me are not friends. So, if we blitz our FB friends, our twitter followers (of which don't have), our personal e-mail lists etc, as well as advertise in all the free weekly magazines we can, then hopefully we will have a good day. If nobody shows, then it will just be a regular day at the studio. More on this to follow.

Another Trip to Medalta

It looks like I might possibly make another trip down to Medalta in the spring. My friend Susan and I are thinking of going down the weekend of April 27th to fire in their Salt and Soda kilns. Medalta is located in Medicine Hat, Alberta and is in the historic clay district. Back in the day, there was the Medalta pottery, the Hycroft pottery, and at least 1 brick factory that I know of. It is also where Plainsman Clays is located.

When I went down in Feb 2010, we had a very good tour of the Hycroft factory as well as the Medalta museum and the areas of Medalta that were off limits to the regular visitor. At that time, the new Events facility was still under construction. The facility was being constructed on top of some excavated Bee Hive kilns that you would then be able to view through the floor.

If we are able to book our trip for that weekend, it will coincide with a community clay event that Medalta is having. Their long term resident artists will be holding workshops for the public and it would be fun to be involved with that while we are firing.

I am hoping April will be much warmer than when we were there last. It was so cold that weekend that my power steering froze during the time we were glazing and loading the kilns that first evening (note to self: don't leave your car facing into the wind when it's -30 celcius). The temperature difference while we were firing in the kiln area was such that we created our own weather system. The skies were clear and blue, but it was snowing in the kiln compound..

So I am looking forward to that. Right now however, I am still not ready for the studio sale next weekend. I still need to clean out the car and empty out my boxes of pots and decide what is going and what is going into the trash to make room for the new stuff. Then I need to price which is not a science. I usually go on gut instinct for pricing. I ask myself “would I pay $xx for this?” then, do I really want to sell it (still precious to me)? If it is still precious, I jack the price up so as to alleviate the pain of letting it go. Otherwise, I try to price it fairly so that it doesn't make it impossible for the average person to buy.

Late onset ADD?

I meant to post this on Friday, but as the tittle suggests, I have been a bit scattered lately. My fingers are getting itchy. I was in the studio almost every day over the holidays, but now I am back to my regular schedule of Tuesday teaching, Friday night , Saturday after working at Ceramics Canada (maybe) and early morning Sundays. It seems I always go through a bit of withdrawal after having been in the studio so much, my brain just won’t shut up. Today is proving difficult. I will just have to think of what I need to work on over the weekend and what I could begin working on more long term. Perhaps I will see if there is interest in putting together a small group of people to do a salt firing this summer if we can get some kiln space. I would go back to Medalta, but they don’t have a lot of time in the summer due to their workshops and residencies. I understand that they also raised the cost of renting their soda and salt kilns, which makes it a little out of my budget. I will  probably look into North Mount Pleasant and see what they have to offer in terms of renting the kiln. I hear it is very inexpensive and If it is really cheap, I may just go by myself (I tend to overproduce and then never get it all in the kiln when I share). The plus for this option is that I can sleep in my own bed. Medicine Hat is a 3 hour drive and would require at least 3 or 4 days in a hotel to finish the firing (load on day one, fire on day 2, cool down day 3 and then unload on day 4). I also need to go on a wood hunting trip (just a walk along the river will do). I am looking for some pieces of driftwood about 6 inches long that I can use as handles for a few stretched out platters and more of a unique piece of wood for a smoke fired jar (Mum, if you are reading this, if you see anything while beachcombing in Hawaii…). I pierced the lid of the jar during construction to accept wire or leather cord to attach the wood, and it has been sitting on a shelf unfinished since the summer, just waiting for its handle. Perhaps I will do that this weekend. I need to go by my parent’s house, and they live near the Bow River with lots of pathways and wood strewn river banks…

I also need to revisit the glazes I was testing over the holidays. Although the “frontal lobe” reticulated glaze is interesting, I was really looking for a snowflake crackle glaze (see Nov 2011 issue of Ceramics Monthly, I used the original snowflake crackle recipe). The glaze had less than 5% Magnesium Carbonate, but apparently that was enough to cause the insane reticulation. I have used other glazes that have way more Mag. Carb and have not had this degree of reticulation before. I did omit the 2% bentonite as I thought it was more for suspension, but perhaps it had another function? I will try mixing a 100 g batch including the bentonite, as well as 100g batches of other snowflake crackle glazes.  I also want to look at the matte lavender glaze. I want to know how it looks as a white glaze, but I also want to revisit the lavender, so perhaps a 1000g batch split into 2 parts (1 white, 1 lavender). What I am really looking for is a microcrystalline white with a smooth, waxy matte surface that appears frosty and thick (if that makes any sense at all). Describing glazes is like describing wine….Notes of honey, plum & leather with a smoky, earthy finish…blah blah blah.

Sorry for the slightly scattered thoughts here. Like the title suggests, perhaps I need to take Ritalin?

My submission to The Clay Studio of Missoula International Cup Show

Kilns cooled, unloaded and now I am home, sore, and very very tired

Ok, Here we go. As you could see from my last post, I was away this past weekend firing the salt and soda kilns out at the Shaw Centre at Medalta in the Historic Clay District of Medicine Hat.
We (Me, Lorraine, Kathy, Claire, Keli, & Sumaya and her little guy and husband) left Calgary early Thursday morning, and we arrived at the centre just after noon, and began glazing etc at around 1 ish. I made waaaayyyy too many pots, but I had lots to choose from. We ended up loading just after 6 and then the kilns were turned on low over night to help dry out the wads so they wouldn't freeze and then explode in the firing. Thursday and Friday were the COLDEST to date this year. I believe we got down to -28 over night on Thursday. In fact, when we left the centre, my car's power steering froze and I had to drive to the hotel without any power steering and that is quite a feat when the roads are all rutted with snow and ice, and it's dark and in a city I'm not familiar with.
Friday was firing day, and we were at the centre by 9am turning on the kilns, but as salting would not happen until cone 9 or 10, we had a few hours to kill and Aaron, the artistic director, took us on a tour of the Medalta museum, and some other areas that have not been restored/preserved yet, and some parts that are under construction for the new museum. The Medalta factory had been in operation since the very early 1900's, where they fired beehive kilns and produced functional stoneware items for everyday use, and then began making semi vitreous white ware etc. At 2:30 or so we charged the soda kiln with 2 pounds of soda, and then sprayed 1 pound of soda and then added another 4 or 5 pounds of soda over then next 45 minutes. Salting began around 4 pm in the salt kiln, and I believe we were all done and buttoned up around 5:45.
On Saturday, while the kilns were cooling, we toured the Hicroft factory with Aaron. Hicroft was another pottery in Medicine had that was in operation up into the 80's. The factory is in an as is condition. When it closed down, nothing was moved, or sold off, so all the old machinery is still there, the slip pits still have dried slip in them, there are aprons on the hooks and time cards still by the time clock.

The bag wall on the right hand side of the salt kiln fell over and will need to be rebuilt, but that was expected. I had a pot on that bag wall, so it was pushed against the kiln wall and was blocking one of the salting ports, even though I had to chip it off, it still looks great.

Inside the soda kiln before unloading

Inside the salt kiln before unloading

close up of the ware carts after unloading

Keli and Sumaya's salt pots

My salt pots

Kathy and Lorraine's salt pots

Lorraine and Claire's salt pots

My soda pots

Sumaya and Keli's soda pots

Lorraine and Kathy's soda pots

Close up of the back side of the salt kiln. Very crusty...

The same for the soda kiln, but not quite as bad

interior of the salt kiln

Interior of the soda kiln