Szn010 on fri 19 sep 97
Ok, so it takes longer to fire to 10, but tell me what other major
differences you see between them... the studio I've been with for the last
12 years has decided to change from cone 10 to cone 6. Tell me what you
think.....
Marcia Selsor on sat 20 sep 97
We dropped from 10 to 6 in 1980 as we moved to a new facility and the
firing schedule had to be compressed into 8 hours. We do test tiles
every Fall and have gotten some good regular glazes including iron reds,
copper reds, celedons, warm yellows. The students change and so do the
firing practices. We are getting ready to start this Fall's tests. I
have them searching the web for glaze bases they want to try. (Not all
will do ^6)
Can post the interesting results and add them to Rick and Claynet
collections.
Marcia in Montana
--
Marcia Selsor
http://www.imt.net/~mjbmls/
mjbmls@imt.net
Brad S. Reitz on sat 20 sep 97
The biggest difference is the vitrification of the clay. Thump a cone 6 piece
with your finger then thump one at copne 10. You'll hear it.
Paul Lewing on sat 20 sep 97
Are they also changing from reduction firing to electric firing,as
most people do when lowering their temperature, or are they continuing
to do reduction in their gas kiln at ^6? This will have more effect
on glaze colors (although not necessarily on glaze chemistry) than
thetemperature change.
Paul Lewing, Seattle
Ron Roy on sun 21 sep 97
I assume both are oxidation?
It is much easier to have brighter colours at 6 and glaze materials are
more costly.
Cone 10 clays are easier to work with and durable glazes are easier at 10.
>----------------------------Original message----------------------------
>Ok, so it takes longer to fire to 10, but tell me what other major
>differences you see between them... the studio I've been with for the last
>12 years has decided to change from cone 10 to cone 6. Tell me what you
>think.....
Ron Roy
93 Pegasus Trail
Scarborough,Canada
M1G 3N8
Evenings, call 416 439 2621
Fax, 416 438 7849
Studio: 416-752-7862.
Email ronroy@astral.magic.ca
Home page http://digitalfire.com/education/people/ronroy.htm
Tony Hansen on tue 23 sep 97
> The biggest difference is the vitrification of the clay.
> Thump a cone 6 piece with your finger then thump one at copne 10. > You'll he
Don't know about that. I've tested plenty of cone 10 ware using
ironware clay or poor fitting glazes and often got values of 2-3000
psi. I've seen cone 10 stuff that you can tear apart with your bare
hands. Cone 10 does not guarantee stronger pots. I've seen lots of
cone 6 ware with strenth above 8,000 psi.
Tony Hansen, IMC thansen@digitalfire.com
Malone & Dean McRaine on wed 24 sep 97
PAAAGH! I sneer at ^6 Real Men fire to ^10 or 12 or 15! Who needs fluxes or
eutectics? Fire is our God, His Heat is all we need.
Dean
Jon Pettyjohn on thu 2 oct 97
Hi Dean,
on ^6 you wrote:
> ----------------------------Original message----------------------------
> PAAAGH! I sneer at ^6 Real Men fire to ^10 or 12 or 15! Who needs fluxes or
> eutectics? Fire is our God, His Heat is all we need.
> Dean
The Noble Gods of High temp! Amen!
I have to admit that I've worshipped at this temple myself at times and
done a little sneering too.
Well the good thing about ^10+ is you can melt just about anything.
Silica itself is starting to become a flux at this range and
if you don't have access to a lot of exotic, and or toxic materials
^10 is the only way, if you like glazes anyway.
I began experimenting with ^6 about 2 years ago because of some
teaching projects I had. At first I was disappointed with my dull
looking test results but lately I'm surprised to find myself excited
at the prospect of using some of the new ^6 glazes.
I've seen a couple of posts over the years that stated categorically:
"you can't make good glazes at ^6." Must be highly devoted disciples
of the Fire god, or else numerologists warding off the number 6.
There was a better thought out post recently saying that the higher
fired glazes had "more interesting" surfaces because more crystallization
is possible at these temps. I can't help thinking that there is something
true about that, how can you equal the beautiful waxy opalascent glazes
of high fire reduction for example? Or is this just our ^10 prejudice?
In the end I think it's a big mistake to compare clays or glazes by temperature,
at least in the aesthetic sense. No question that temperature must have
some bearing on technical qualities but, then again I'm sure there's some
experts out there who'll remind us that a properly formulated low
fired body or glaze have as much tensile strength or hardness as a high one.
I knew a ceramic engineer once who sneered at high fired porcelain
and bragged that his paper thin bone china tea cups fired at around
^6 could support the weight of a car. He actually did this.
If anyone still thinks that lower fire equals less depth or quality
of glaze surface, take a good look at the red or black raku tea bowls of
Chojiro or Koetsu made a few hundred years ago. The red was fired to less
than ^04 and the black raku is fired to around ^6 I think.
Possibly the most beautiful and subtle glazes ever made.
Jon Pettyjohn Manila jon@mozcom.com
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