Frequently Asked Questions

You may have been taking classes at the local art center or just getting back to pottery...whatever your reason, you are ready for your own studio! Skutt provides a helpful online resource to guide you on your journey. Click here  or copy the following address into your web browser: https://skutt.com/how-to-set-up-a-home-pottery-studio/.

Don't assume that living in a rental property excludes the possibility of living your dream of having a pottery studio. This article (https://ceramicartsnetwork.org/pottery-making-illustrated/pottery-making-illustrated-article/in-the-studio-pottery-studio-in-a-rental-home#) from Pottery Making Illustrated discusses the ins and outs, and details you will need to consider for your special circumstances.

Of course, you are careful about what you dump down your studio sink, but some level of slurry, bits of clay, residue from glazes, etc. ends up going down the drain. These materials can accumulate in traps and further down the pipe to cause clogs and subsequent expensive visits from your plumber. PREVENT that by installing a clay/plaster trap below the sink. There are a number of options and DIY available to you. The most commonly used is a product from Practico called the Glecko. Its installation is demonstrated in detail by a potter in his studio by clicking here.  In this article from Ceramic Arts Network, Charan Sachar provides plans for a more elaborate DIY installation. There are plenty of other clay trap options out there if you do a google search.

The key, when looking to install a clay trap, purchased or DIY, is to ensure that the accessibility for cleaning out the clay cache is as mess-free as possible. 

RECLAIMING YOUR CLAY SCRAPS!

Your clay scraps are endlessly reclaimable - until you fire clay, it can be recycled. DON'T WASTE YOUR CLAY SCRAPS AND SLURRY!!!

Visit this site (https://ceramicartsnetwork.org/daily/article/Recycling-Clay-Tips-for-Collecting-Storing-Reclaiming-and-Reprocessing-Your-Clay-Scraps) for a basic understanding of how to recycle your leftover clay and slurry.

What you will need:

• Unless you are a professional potter or a large school studio, you will likely be fine with well-marked 5-gallon buckets (with lids) to hold your scraps and slurry. Mix the dried stuff with the wet - it will all saturate in the end. If it gets too dry, add water. Ideally, you will have separate buckets for different clay bodies. If you mix clay bodies (not recommended) make sure they are in identical firing ranges.
• This article goes into considerable detail on how to recycle your clay using a bucket and plaster slab. Another approach (see this site) incorporates the use of a pillowcase in your reclaim bucket to keep everything together before you use the plaster slab. Whatever approach you choose to use, you will develop your own location/system for drying out your clay.

Actually this is a pretty complicated question because most clay bodies are made of a variety of clays and other earth materials. However, this video from 2016 goes through the clay-making process at one of our clay suppliers - Standard Clay Company in Carnegie, PA. 

If the link above doesn't work for you, copy and paste the following into your web browser:

https://www.youtube.com/watch?v=3YXFTh4-yts&pp=ygUVU1RBTkRBUkQgQ0xBWSBDT01QQU5Z

For a thorough explanation on how to load and fire your electric kiln, visit https://skutt.com/best-practices-for-loading-and-firing-your-skutt-kiln/.  While this blog is from Skutt, the information is applicable for most electric kilns and provides some insights into the firing choices available for kilns with electronic controllers.

You might also take a look at this site (https://skutt.com/how-to-extend-the-life-of-your-elements/) which addresses ways you can extend the life of the elements in your electric kiln.

If you are interested in throwing or handbuilding functional pottery, it is helpful to know how much clay to prepare.  This guide, available at Ceramic Arts Network  (https://ceramicartsnetwork.org/docs/default-source/uploadedfiles/wp-content/uploads/2009/12/potteryclay.pdf) provides some general information on clay as well as guidelines regarding how much clay you will need to complete your project. (See the chart on page 6 of the document for clay weights for various ware types). The weights there may seem to be slightly excessive, but keep in mind that every potter works differently. You will need to figure out what works best for you.

Yes and no. Yes, you can invest in more trimming tools. But if you have the tools you like, you can SHARPEN THEM.

You may use any number of sharpening tools (files, emery cloth, stones, rotary tools, bench grinders - be gentle with these!). You will probably have more success using more than one sharpening tool, since trimming tools have a wide variety of blade configurations.

Over time and use, your tools will still need to be replaced, but you can prolong their usefulness with proper maintenance.

• For a detailed description of the different pottery trimming tool types and materials, as well as an in-depth understanding of sharpening approaches, you may want to watch this video. 
• This article from Pottery Making Illustrated covers tool types and approaches to sharpening as well, but in a text format

Cones are used in firings to measure heatwork, which is different than merely measuring temperature. Heatwork is a truer reflection of what is happening with the clay and glazes and is a reflection of not only the actual temperature in the kiln, but the rate of temperature rise. 

• For detailed information on the Orton Pyrometic cones, visit the Orton site at : https://www.ortonceramic.com/pyrometric-cones
• The Orton Pyrometric Cone Chart can be downloaded here (you will need Adobe Acrobat or other pdf reader) This version of the chart includes temperature equivalents in both Celsius and Fahrenheit
• Skutt provides additional insights into firing temperatures and heatwork in this blog post, which features am informative graphic illustration of what is going on in the kiln at various temperature and heatwork levels.

We now have a contact person for kiln repair.  Call Bob at 262-716-5353 or email him at bob@rlwooden.com. He also works on pottery wheels.

If you recently invested in a new or used electric kiln, you may have some questions about long-term maintenance and repair. These are the parts of your kiln that will likely require some attention from time to time:

• Elements (these are what heat your kiln)
• Thermocouples (these sense the temperature in the kiln)
• Relays/Switches (these control how often power is sent to your elements with an electronically controlled kiln. Older kilns have manual switches)
• Fuses (these protect your electronic controller from getting fried!)
• Bricks - It is possible to replace/repair bricks in your kiln, but best to be careful not to damage them in the first place...)

TROUBLESHOOTING KILN PROBLEMS:

• Skutt has troubleshooting resources for their kilns at https://skutt.com/skutt-resources/troubleshooting/ 
• Common problems include:
  • Getting an error code prior to or during the firing.
  • Uneven heating (some parts of kiln do not reach temperature, others may overfire.). Use witness cones throughout your kiln to monitor performance.
  • Kiln doesn't reach temperature at all.
  • No power to the kiln or controller.

BE CAREFUL IF YOU CHOOSE TO TAKE ON YOUR OWN KILN REPAIRS - KILNS PACK A POWERFUL PUNCH OF POTENTIALLY DEADLY CURRENT.  Ensure that the power source to the kiln is disabled before doing any work on your kiln. IF IN DOUBT, call us for information on how to contact our kiln repair guy, or find a qualified electrician .

Here are some resources that you may find helpful:

• Skutt provides a list of items that require maintenance and occasional repair at https://skutt.com/skutt-resources/repairs/ Information is available in video and text formats.
  • You can access an extensive library of pdfs and answers to many of your questions for Skutt kiln repair at https://kilnparts.com/pages/learn-pdf-library-tutorials-and-general-kiln-repair-information
• Don't have a Skutt kiln? Most kilns are configured similarly, so the information you find in the above links may be useful in troubleshooting and repairing other kilns.

If you just purchased a kiln and want the skinny on kiln problems, see the post titled "MY KILN ISN'T FIRING CORRECTLY"

Once your kiln is set up and running, there are a few parts that will need to be replaced from time to time. These include elements, thermocouples, and relays (these are simply electronic switches).  Most electric kilns these days have electronic controllers. These have a small 'motherboard' that is usually protected from power surges and wiring malfunctions by a fuse. If the display on your controller is blank, check to see if the fuse is blown. This usually indicates a wiring issue that needs to be resolved. Simply replacing the fuse will likely result in another blown fuse if you don't find the problem causing it. This may be a good time to call in an electrician or someone with knowledge of kiln wiring. Rarely, the motherboard will fail. This is actually not difficult to replace, but, again, is a repair that is best done by someone with experience in kiln repair.

You can avoid problems to some extent simply by maintaining your kiln properly:

• Make sure your kiln is level and sits solidly on the floor.
• Be careful loading and unloading your kiln. The bricks are soft and bumping into them regularly can cause nicks in the area where the elements are supported.  
• Keep the inside of your kiln clean. Make sure that nothing has gotten into the channels where the elements reside. 
• Gently vacuum out the entire kiln from time to time, including those element channels.
• Clean up glaze drips that have found their way onto the soft brick of your kiln. You will likely have to dig out any glaze drips. Fill the holes neatly with a kiln repair cement, a refractory cement or at the very least, fireclay. If you have a large area to be repaired, it may be best to replace whole bricks.
• Be gentle! As you load your kiln, especially those bottom shelves, you may find yourself leaning on the top edge of the kiln. Put something down to soften the impact as you lean down to load those lower shelves. Be gentle as you close the lid to your kiln. 
• If you find elements bulging or sagging out of their channels – which is more likely to happen if the channels are damaged – you can gently replace them and hold them in place with element pins.  
• Don’t open the kiln before it gets (at least) below 200 degrees Fahrenheit. This just causes more cracks in the kiln brick. And while those hairline cracks are nothing to worry about (usually), your kiln will last longer if you are patient.

ELECTRONIC CONTROLLERS DISPLAY ERROR CODES FOR MANY PROBLEMS. CHECK YOUR MANUAL FOR THE CODES SPECIFIC TO YOUR KILN. You can often find information on error codes online, using the Support link at your kiln manufacturer's website. In addition to information on troubleshooting your kiln, these sites often have support email links and phone numbers that you can use to ask questions about your particular kiln and situation. Kiln manufacturers have technical departments that handle these questions and they can save you a lot of time if your initial troubleshooting efforts are unsuccessful.  It is best to have your kiln's model number and serial number on hand when communication with support.

It is always a good idea to put witness cones in your firing, to determine actual heatwork. It will also give you additional data to provide your manufacturer's support staff if you contact them with a firing issue.

Common but not exhaustive list of kiln problems encountered include:

• Kiln not reaching temperature: Sometimes the controller will give you an error code because it is unable to document the programmed temperature rise. Check the error codes in your kiln manual (or online, at the manufacturer's website.
  • Usually caused by one or more bad elements. Look for broken elements. Test your elements using a paper test or turning on your kiln switches (manual kiln)/programming your kiln to fire briefly) and seeing which elements are glowing. 
  • If you see that two adjacent elements are not glowing, it may be that both elements need to be replaced, but it is also possible that a faulty relay that controls both elements is not functioning. 
• Kiln overfires
  • This can be due to a relay being stuck in the on position. If that is the case, the relay will need to be replaced. 
  • Thermocouple may have failed. Replace the thermocouple
  • This can be an issue with how you are programming your kiln. A long hold at the end of the firing will alter the heatwork, firing to a higher cone than you programmed. 
• Kiln firing too slowly (with an electronic controller, kiln may shut down - look for an error code)
  • A relay may be stuck in the off position. Test relays, replace as necessary
  • An element is broken or worn out. Test the elements, replace as necessary
  • Re-check your firing program - it may be firing what you told it to fire, not what you THINK you told it to fire....
  • If you have recently installed the kiln or moved it to another location with a different electric supply, you may need to have an electrician check that  you have sufficient power delivered to your kiln.
  • Check your bricks and lid for significant cracks or openings that may be impeding the temperature rise.
• Kiln temperature rising too quickly.  With an electronic controller, the kiln will likely shut down and you will find an error code.
  • This can be caused by a relay being stuck in the 'on' position. You will likely see an error code. This is unlikely to happen with a manual kiln.
  • Re-check your firing program - it may be firing what you told it to fire, not what you THINK you told it to fire....
• Display is blank on electronic controller
  • Fuse is blown - Have an electrician or someone experienced in kiln repair check the wiring. 
  • It is rare for the motherboard to be damaged since the fuse protects it from power surges. It does happen, though, in which case the motherboard can be replaced.

These are the a few of the most common problems encountered when firing your electric kiln. Don't assume that your kiln is 'broken' - as long as the bricks and kiln housing are intact, you will likely be able to get up and running again just be replacing a few relatively inexpensive parts!

Click here to download a simple one-page general explanation on mixing glazes in dry form.

IF YOU WILL BE BRUSHING YOUR GLAZES, we suggest adding CMC gum. DO NOT attempt to add CMC in dry form. You will end up with a lumpy, gummy mess. You need to dissolve it in boiling water, whisk it until smooth, then add the gum solution to glazes you want to brush.

Detailed instructions from Laguna on mixing their dry glazes can be downloaded here

This series of videos by AMACO/BRENT covers mixing glazes, dipping, layering and making test tiles  (please note that all Potters Choice 25 lb. pails of dry mix have been discontinued)

This post ,  Using Additives such as CMC Gum to Beef up your Glazes, includes detailed information on how to use glaze additives to expand the possibilities in brushing, dipping and pouring as well as re-glazing your work.

 These are actually two different problems. To gain a  working understanding of flocculation and deflocculation in glazes, see John Britt's video https://youtu.be/fpQns05RdVU?si=kdCBabEaVbY2LQdo

HARDPANNING:

• Hard-panning often happens to glazes that don’t have enough clay in them to keep the glaze in suspension.  As a result, you find a dense, un-stirrable mass in the bottom of your glaze bucket. This is referred to as a deflocculated glaze. So you will need to flocculate the glaze. 
• For detailed explanation of hardpanning and how to remedy this problem, watch this video by John Britt (https://m.youtube.com/watch?v=0S_gbVkq378)
• The quick and dirty is that you need to carve out the hard-pack in the bottom of your bucket, preferably with a large, tough stainless steel loop tool (see John Britt's video for how to do this), mix up the mess. Once you accomplish this feat, you need to add - a little at a time- a solution of epsom salts. John Britt's method involves mixing 2 tbsp epsom salts in one cup of water. Add this solution to your glaze a little at a time until your glaze stops settling like a rock on the bottom of the bucket. This video suggests making a saturated solution of epsom salts so that you are not adding more water to your glaze. 
• You can avoid some of the problems with hardpanning by adding bentonite (roughly 3 %) to your DRY MIX before adding water. If your  glaze is already mixed with water, John Britt suggests making a bentonite solution similar to the epsom salt solution (2 tbs /1 cup water). You will have to mix it thoroughly with a stick blender and ideally leave it to saturate overnight before adding it a little at a time to your glaze mix.

Now we will cover the problem of FLOCCULATED glazes, which tend to crack and flake off the bisque when they dry after applying.  In this instance the glaze will often appear thick and you may be inclined to add water. Adding water compounds the problem. Unless you use a deflocculant, your cracking/flaking problems will just get worse .In this case you need to DEFLOCCULATE the glaze by adding either Darvan or Sodium silicate (a little at a time) to the liquid glaze.

Potters, especially those new to the craft, often experience frustration in the glazing process. 

The main methods for applying glaze are:

• Brushing
• Dipping
• Pouring
• Spraying

Each method has its pros and cons, which are covered in this article: (https://ceramicartsnetwork.org/pottery-making-illustrated/pottery-making-illustrated-article/8-Ways-to-Apply-Glaze#)

As with any and all methods in making work, you may need to experiment to find what works for you.

The thickness/consistency of the glaze varies by the application method.  Again, some experimentation may be necessary to achieve the desired results. Generally, glazes are thickest with brushing, thinner with dipping, somewhat thinner yet with pouring and thinnest for spraying. 

Consider using a variety of application methods to obtain the results you seek.

Some simple tips that may help you along the way:

• BRUSHING – In order to create a smooth, even coat, use a SOFT brush with long hairs (e.g. a hake brush. The kind with long floppy goat hair and bamboo handles work well)  If you prefer to showcase your brushstrokes, use a stiffer brush with shorter hairs 
• DIPPING – This is the simplest way to achieve an even coat of glaze, but requires a quantity of glaze and container suitable for dipping the entire piece into the glaze slurry.  Dipping tongs make this a particularly quick and easy way to apply glazes. Remember to wipe excess glaze from the foot. Waxing the foot helps with this.
• POURING - This application method can achieve results similar to dipping without needing the same volume of liquid glaze. Glaze should be of a consistency similar to dipping, or a bit thinner. Pouring requires a bit of practice to achieve optimal control of the application process, but can be useful for layering to obtain variations in the glaze surface.
• SPRAYING – While many consider spraying an advanced technique for glaze application requiring a lot of equipment, it can actually be done with less space and setup requirements than one might think. Always wear a good dust mask when spraying. Goggles are also a good idea.  Be aware of any toxic elements in your glazes and protect yourself or use a less airborne method of application.
•  Rather than constructing a spray booth, consider using a foldable spray tent. These inexpensive shelters can be used indoors, with or without a cheap furnace filter and fan to direct the overspray. When you are finished, they can be sprayed clean with a hose, dried and stored away in their small disc-shaped bags.
• The general consensus is that the inexpensive gravity feed paint sprayers (less than 30.00) are the best option for spraying glazes. 
• You do not need large volume compressors for spraying glazes. Any 1.5 to  3 gallon capacity will do the job unless you are involved in heavy production.
• This post (https://community.ceramicartsdaily.org/topic/25978-spraying-glazes-for-the-first-time-any-hints/) follows a discussion of folks just starting out on spraying glazes.
• And this post (https://vincepitelka.com/wp-content/uploads/2016/03/Using-the-Gravity-Feed-HVLP-Spraygun.pdf) will give you some idea of the process of spraying glazes.

Mayco Stroke and Coat 'glazes' are unique in their versatility when used to decorate ceramic ware. Bright and stable colors can be applied to greenware, bisque or over unfired glazes prior to firing. Download this brochure to discover the many ways to use Stroke and Coat by Mayco.

If you like to brush your glazes on your ware, or even if you pour/dip and then brush, these two videos may provide some insights that will give you a boost:

• This link (https://www.amaco.com/clay_how_tos/180) from Amaco gives information on brushes, brushing, and some on layering your glazes (Potters Choice specifically)
• In this link (https://www.youtube.com/watch?v=2OOWC_rgJNo) the presenter gives many tips on brushing, brushes and documenting your work and outcome.

At West Michigan Clay, we sell CMC in powder form. For detailed information on mixing and using this as well as other gums in your glazes, visit  https://ceramicartsnetwork.org/daily/article/Using-Glaze-Additives-to-Make-Average-Glazes-Great.

Equipment and Materials needed:

• Scale
• CMC powder
• Hot / boiling water
• Container
• Stirring tool/whisk

1. Weigh CMC powder and add to hot/boiling water water.
2.  Mix the CMC. The CMC will initially clump up. The hot water helps it mix, but after stirring by hand or with a drill, it will eventually mix together. Use of a whisk will help also.
3. After the initial mixing, you can also cover the container and let the CMC hydrate overnight, and do a final mix as needed the next day.

Your gum solution should have a syrup or glue-like consistency. If the clumps are gone, you are ready to use the gum solution as an additive to glazes.

Common glaze defects:      

•  Crawling  
• Shivering
• Crazing 
• Pitting/pinholing
• Blistering

This excerpt from the late Robin Hopper's book "The Ceramic Spectrum"  covers five common glaze defects with photo illustrations and suggested solutions. 

While you might think that glaze defects are less of an issue with commercial glazes, this is not necessarily the case, especially if you are new to  making and firing pottery.

•  Pay attention to the thickness of your glaze application.  This explanation on the DigitalFire website illustrates problems with glaze thickness.
• If you are layering glazes, it is better to apply the second layer before the first is bone dry.
•  The condition of your bisque prior to applying glaze is important. Dust/grease/errant wax can impair glaze adhesion to the bisqued surface and lead to a poor outcome.
• The bisque firing temperature and process can  impair the glaze outcome.  Some clays need more time to release gasses from the clay body during the bisque firing.  These gasses are then released during the glaze firing, causing surface defects as the glaze melts.
• Aspects of the glaze firing can contribute to glaze defects. Overfiring,  underfiring, holding time and cooling speed can all affect glaze outcome.

Mixing your own glazes is money-saving as well as introducing another creative element to your pottery. There are plenty of resources online that provide procedures and recipes for mixing glazes from scratch using materials that are available at West Michigan Clay. In addition, we recommend the books listed below, which provide  background on processes and a great collection of glazes at various firing ranges to get you started.

• Safety is an important concern when mixing glazes from dry glaze chemicals. Wear a good face mask to avoid inhaling dust. Some materials ,like wood or bone ash, are caustic and can burn the skin, so you need to wear latex or nitrile gloves to protect your skin when handling these materials. 
• Glaze materials are generally measured by weight, not volume. Accurately weighing glaze materials is critical to the outcome of your glazes. Most potters use either a good digital scale or balance scale. 

Adding water to your glaze mix is covered under our FAQ post on mixing dry glazes. Sieve your liquid glazes with an 80 or 100 mesh sieve once they are mixed with water.  Use CMC or similar material if brushing your glaze. Adding 1-3% bentonite in your dry mix will help keep the glaze materials in suspension and avoid hardpanning. 

The following books - some available at your local library or from Michigan Electronic Library (http://www.mel.org. ) - include a good background on mixing your own glazes and a variety of recipes for mid-range and high-fire glazes.

Mid-fire glazes:

• Mastering Cone 6 Glazes: Improving durability, fit and aesthetics by John Hesselberth and Ron Roy
• The Complete Guide to Mid-Range Glazes: Glazing and firing at cones 4-7 by John Britt

High-Fire glazes:

• The Complete Guide to High-Fire Glazes: Glazing and firing at Cone 10 by John Britt

More general references on glazing and decoration:

• The Ceramic Spectrum: A simplified approach to glaze and color development by Robin Hopper
• Making Marks: Discovering the ceramic surface by Robin Hopper

Now that Gerstley Borate (April 2023) is unavailable, the question of what can be substituted for materials that are not readily available comes up.  Gillespie Borate is a simple one-to-one substitution.

We always suggest that you TEST when using a new material or making substitutions.

Two online resources for raw materials substitutions include:

1. This article published in Ceramic Arts Monthly in 1997 provides some information that may be useful, if somewhat dated.

2. Recently, Custer feldspar mines have closed. Replacement feldspars include G-200, Mahavir and Vardhman. Please TEST, as your results will vary from using Custer in your glazes.

It would be nice if this topic were as cut-and-dry as 'lead or no lead'. It isn't that simple. There are a lot of materials we use that, even in their fully fired state, may leach into foods, especially those that are highly acidic.

Further complicating matters is that concept of layering glazes and how the combinations alter the glazes in a manner that alters the degree to which it is safe for use on dinnerware, even if each of the glazes on its own is labeled as food safe (see this discussion on the Ceramic Arts Network forum)

• For a good overview of food safety for ceramic glazes in general (and for the Mayco brand in particular), and to help you understand the the regulatory labels you see on glazes, visit this Mayco site.
• This article, posted on Ceramic Arts Network, provides a 'quick and dirty' approach to ensuring food safety for your glazes. It is aimed primarily at those who mix their own glazes (and therefore know what toxic materials are included in the recipe!)
• If you are interested in mixing your own mid-fire glazes, the book Mastering Cone 6 Glazes: Improving Durability, Fit and Aesthetics by John Hesselberth and Ron Roy covers the details of testing and consequences of leaching in glazes in an understandable format.

The two main opacifiers used in making ceramic glazes are zirconium silicate (sold as Zircopax, Ultrox, etc) and tin oxide. Due to the cost difference, glaze recipes often use zirconium silicate to opacify a glaze. 

Tin oxide is not as  effective as an opacifier for white glazes in high fire reduction. However, the presence or absence of tin oxide impacts the colors produced by metallic oxides in both oxidation and reduction. Because of this, as well as the different kind of 'whiteness' when used to produce white glazes, substituting one opacifier for another is not straightforward. 

See this post on Ceramic Arts Network for a demonstration of differences in applying each of these two opacifiers.

It is best to store your moist ceramic materials in a location that avoids temperature extremes. Should you find that your clay and/or glazes have frozen, allow them to thaw before proceeding.

For  a detailed explanation on what happens when clay freezes, click here.

• Frozen glazes will just need to be mixed and possibly sieved through an 80-100 mesh sieve once it has returned to liquid form
• Frozen moist clay will require a strenuous wedging session to return it to its proper consistency. 
• WHAT ABOUT MY FROZEN WAX RESIST? - Wax resist will be damaged once frozen. You may try adding some denatured alcohol to the mix, letting it sit a while and stirring vigorously, but it is not likely to come back to a usable consistency.

YES. Unfired clay is reusable/recyclable and re-wettable. It isn't necessarily quick , but it is easy.

• OLD SCHOOL METHOD - Break up the block of clay into smaller pieces (sledge hammer...?) and soak in a 5 gallon bucket. You will need to dry the slurry and wedge well before use. This Instructables link will give you the details.
• FOR A LESS LABOR-INTENSIVE BUT LENGTHIER PROCESS, this video shows you how to reconstitute an entire block of dry clay without the sledge hammer. You can try this method with clay that is too hard to work, but not bone dry. In that instance, you may want to poke some holes into the not-quite-dry clay to speed up the soaking process and use less water. 
  • The same presenter uses the same method to rehydrate a small piece of clay in 15 minutes in this video.