Gerry Barbe on fri 17 may 96
This is a shared account, the following message is from Marilyn:
Hi,
I just bought a gas kiln and hope it is possible to do cone 6
reduction in it. Seems to me we've had this discussion once before.
Could anyone who does cone 6 reduction please email me personally? I
really, really need help getting started. Even if you could point me
to some references I would be greatful.
We still need to move the kiln; I have a bit of time to do my
homework before the firing begins.
Thanks ever so much, Marilyn in Ailsa Craig, feeling a bit
overwhelmed!!
Please use this address:
Gerry Barbe - gbarbe@julian.uwo.ca
Dept. OB/GYN
University of Western Ontario
London, Ontario, CANADA
______________________________________________________________________________
I&R Kennard on sun 1 nov 98
I have been following the Clayart list for a few months now, and I am =
surprised
to see very few discussions on midtemperature reduction glazes. If there are=
any
of you out there that work in the cone6 range in reduction and would like to
share some info on adapting oxidization glazes would you be so kind as to =
email
me .Ian ( riken=40bc.sympatico.ca)
Marcia Selsor on mon 2 nov 98
I use ^6 reduction at school because of fuel savings and time
restraints. have been working on glazes in this range for 19 years. Lots
of good ones
(even look like ^10 )
Marci in Montana
I&R Kennard wrote:
>
> ----------------------------Original message----------------------------
> I have been following the Clayart list for a few months now, and I am surprise
> to see very few discussions on midtemperature reduction glazes. If there are a
> of you out there that work in the cone6 range in reduction and would like to
> share some info on adapting oxidization glazes would you be so kind as to emai
> me .Ian ( riken@bc.sympatico.ca)
Don & June MacDonald on tue 3 nov 98
I have been intrigued with the idea of exploring Cone 6 reduction for
some time, but haven't figured out how to do all the testing necessary
and still use the big kiln space! Would hate to spend a lot of time on
making stuff to fill the kiln and then find out that it looks like a
pile of garbage. Also, do you make your own clay bodies, or purchase
them ready made? What sort of clay bodies do you use? Stoneware,
porcelain?? I would appreciate any information that you care to give.
June
Marcia Selsor wrote:
>
> ----------------------------Original message----------------------------
> I use ^6 reduction at school because of fuel savings and time
> restraints. have been working on glazes in this range for 19 years. Lots
> of good ones
> (even look like ^10 )
> Marci in Montana
>
> I&R Kennard wrote:
> >
> > ----------------------------Original message----------------------------
> > I have been following the Clayart list for a few months now, and I am surpri
> > to see very few discussions on midtemperature reduction glazes. If there are
> > of you out there that work in the cone6 range in reduction and would like to
> > share some info on adapting oxidization glazes would you be so kind as to em
> > me .Ian ( riken@bc.sympatico.ca)
Marcia Selsor on thu 5 nov 98
We use ^6 red stoneware, ^6 porcelain and "vessel 6" (which I don't like
because of its pale color, but that is my taste). Recipes at school. If you
want them I am happy to share.
It did take a lot of time to get glazes looking good and every semester there
is a different aesthetic. But we do have a good group of 11 or so ^6 glazes. I
have worked a few back from ^10 and we have been doing triangular blends every
year. Carlton Ball's ^6 base is a good start.
Charles Count's Pottery Workshop had some good starts too. The kilns fire
faster and are much cheaper to fire. This is a big consideration when we are
waiting to be shut down as being too expensive an operation. Kilns fire in 6-8
hours if we can hold them back. Sometimes they get away and are too fast. We
have Ohata Red, Hammer Red/Black actually a Temmoku, celedons, etc.
Marcia in Montana
Don & June MacDonald wrote:
>
> ----------------------------Original message----------------------------
> I have been intrigued with the idea of exploring Cone 6 reduction for
> some time, but haven't figured out how to do all the testing necessary
> and still use the big kiln space! Would hate to spend a lot of time on
> making stuff to fill the kiln and then find out that it looks like a
> pile of garbage. Also, do you make your own clay bodies, or purchase
> them ready made? What sort of clay bodies do you use? Stoneware,
> porcelain?? I would appreciate any information that you care to give.
>
> June
>
> Marcia Selsor wrote:
> >
> > ----------------------------Original message----------------------------
> > I use ^6 reduction at school because of fuel savings and time
> > restraints. have been working on glazes in this range for 19 years. Lots
> > of good ones
> > (even look like ^10 )
> > Marci in Montana
> >
> > I&R Kennard wrote:
> > >
> > > ----------------------------Original message----------------------------
> > > I have been following the Clayart list for a few months now, and I am surp
> > > to see very few discussions on midtemperature reduction glazes. If there a
> > > of you out there that work in the cone6 range in reduction and would like
> > > share some info on adapting oxidization glazes would you be so kind as to
> > > me .Ian ( riken@bc.sympatico.ca)
Marcia Selsor on thu 5 nov 98
PS
Yes we mix our own clay bodies. And students are soda/salt firing alot this seme
Don & June MacDonald wrote:
>
> ----------------------------Original message----------------------------
> I have been intrigued with the idea of exploring Cone 6 reduction for
> some time, but haven't figured out how to do all the testing necessary
> and still use the big kiln space! Would hate to spend a lot of time on
> making stuff to fill the kiln and then find out that it looks like a
> pile of garbage. Also, do you make your own clay bodies, or purchase
> them ready made? What sort of clay bodies do you use? Stoneware,
> porcelain?? I would appreciate any information that you care to give.
>
> June
>
> Marcia Selsor wrote:
> >
> > ----------------------------Original message----------------------------
> > I use ^6 reduction at school because of fuel savings and time
> > restraints. have been working on glazes in this range for 19 years. Lots
> > of good ones
> > (even look like ^10 )
> > Marci in Montana
> >
> > I&R Kennard wrote:
> > >
> > > ----------------------------Original message----------------------------
> > > I have been following the Clayart list for a few months now, and I am surp
> > > to see very few discussions on midtemperature reduction glazes. If there a
> > > of you out there that work in the cone6 range in reduction and would like
> > > share some info on adapting oxidization glazes would you be so kind as to
> > > me .Ian ( riken@bc.sympatico.ca)
Susan H. Smith-Hunter on sat 7 nov 98
I have been quietly reading messages,answers and saving some carefully, and
I would like to humbly ask now,would you would share the cone 6 reduction
glaze recipes with a college class in Vermont? We have a Bailey downdraft
kiln and have been playing with adjustments and making up some base glazes
for students and could use some more recipes. Thanks! Susan
Marty Anderson on mon 9 nov 98
I have been using ^6 glazes at my school for 6 years. Same reason, fuel
savings. Get good results. Do alot of testing both red. and ox.
marty
-----Original Message-----
From: Don & June MacDonald
To: CLAYART@LSV.UKY.EDU
Date: Tuesday, November 03, 1998 11:52 AM
Subject: Re: Cone 6 reduction
>----------------------------Original message----------------------------
>I have been intrigued with the idea of exploring Cone 6 reduction for
>some time, but haven't figured out how to do all the testing necessary
>and still use the big kiln space! Would hate to spend a lot of time on
>making stuff to fill the kiln and then find out that it looks like a
>pile of garbage. Also, do you make your own clay bodies, or purchase
>them ready made? What sort of clay bodies do you use? Stoneware,
>porcelain?? I would appreciate any information that you care to give.
>
>June
>
>Marcia Selsor wrote:
>>
>> ----------------------------Original message----------------------------
>> I use ^6 reduction at school because of fuel savings and time
>> restraints. have been working on glazes in this range for 19 years. Lots
>> of good ones
>> (even look like ^10 )
>> Marci in Montana
>>
>> I&R Kennard wrote:
>> >
>> > ----------------------------Original
message----------------------------
>> > I have been following the Clayart list for a few months now, and I am
surpri
>> > to see very few discussions on midtemperature reduction glazes. If
there are
>> > of you out there that work in the cone6 range in reduction and would
like to
>> > share some info on adapting oxidization glazes would you be so kind as
to em
>> > me .Ian ( riken@bc.sympatico.ca)
>
Don & June MacDonald on thu 26 nov 98
Is there anyone out there in Clayart land who is using clay bodies from
either Plainsman, Seattle Pottery Supply or Laguna for firing functional
ware in a Cone 5/6 gas fired reduction kiln. If you are, I would be
interested in hearing of your experiences, positive or negative.
Thanks...June MacDonald
Marcia Selsor on sat 28 nov 98
We used Plainsman Clays until the Bray stopped carrying them They were
fine. No complaints. Also used their ^6 porcelain.
Marci in Montana
Don & June MacDonald wrote:
>
> ----------------------------Original message----------------------------
> Is there anyone out there in Clayart land who is using clay bodies from
> either Plainsman, Seattle Pottery Supply or Laguna for firing functional
> ware in a Cone 5/6 gas fired reduction kiln. If you are, I would be
> interested in hearing of your experiences, positive or negative.
>
> Thanks...June MacDonald
--
Marcia Selsor
mjbmls@imt.net
http://www.imt.net/~mjbmls
http://www.imt.net/~mjbmls/spain99.html
Pancioli on fri 16 mar 01
For those interested in Cone 6 Reduction.
We began with Marcia's ^6 reduction glaze recommendations. (Thank yo=
u
Marcia). I haven=92t tested them all yet. I have listed recipes bel=
ow
and results for the ones we have tested so far, (without colorant
recommendations). We have done 50/50 color blends for most of them (=
21
colors each) and I will send brief colorant recommendations in a futu=
re
post.=20
We tested the glazes first as just plain bases over six colored slips=
:=20
white, black, cobalt, copper, iron, and rutile, and with one wash ove=
r
the glaze--Rutile. I shortened the glaze names for ease of use. Mo=
st
of the recipes no longer add up to 100. =20
(I will report on the following in a later post: VC Polished Matte, V=
C
Matte, Linda, Bailey, Shino, and Rebecca.) =20
All glazes were fired in a medium reduction to Cone 6 touching.
=20
MARCI: opaque eggshell matte, medium application, good over iron,
cobalt, and copper slips, good with rutile wash. =20
EPK =09=0923
Dolomite =0920
Neph. Syn. =0938
Silica =09=0918
Whiting =09=09 4
Gerstley Borate=0910
Bentonite=09=09 2
CLEAR: satin transparent, medium application, good over copper slip,
good with rutile wash.
Whiting =09=0918.5
Neph. Syn =09=0925.8
EPK =09=0918.8
Silica =09=0931.1
Gerstley Borate =09 4.6
Bentonite=09=09 2.0
TURQUOISE: (without colorant) stony matt, medium application, good ov=
er
cobalt slip.
Neph Syn. =0961.27
Strontium Carb =0931.94
Silica =09=09=09 2.47
Lithium Carb. =0914.7
EPK=09=09=09 2.0
Bentonite=09=09 2.0
HAMER: ( or is it Hammer?) satin semi opaque, medium application, goo=
d
over cobalt slip.
=20
Custer Feld. =0950
Ball Clay =0910
Silica =09=0910
Whiting =0915
Bentonite=09=09 2
WEB: shiny transparent, medium application, good over all slips, craz=
es.
Neph. Syn =0955.33
Gertsley Borate =0912.61
Whiting =0910.71
Silica =09=09 21.35
Bentonite=09=09 2.
WAXY LINER: satin with slight curdled texture, medium application,
good over iron, cobalt, and copper slips, and good with rutile wash.=
=20
Gerstley Borate =0920
Neph Syen 30
EPK =0913.3
Whiting =099.4
Talc =0917.4
Silica =09=0910
Bentonite=09=09 2
NELSON: semi transparent satin shiny, medium application, good over
cobalt, copper, black and white slips, ok with rutile wash.
Custer Spar =0964
Whiting =0918
Ball Clay =09 9
Talc =09 5
Bentonite=09 2
CARLTON: satin transparent, medium application, good over cobalt slip=
..
Custer Feldspar =0936
Whiting =09=0917.8
Cornwall Stone =0917.8
Ball Clay =09 9
Zinc Oxide=09=09 6.5
Bentonite=09=09 2.
Hanne Bjorklund on sat 17 mar 01
Pancioli,
Thanks for the cone 6 reduction glaze tests.
I am looking forward to your future postings on this subject as I and a few
others will be venturing into Cone 6 Reduction Land in the not too distant
future.
I have a few questions though, and hope you can find the time to answer
them.
Why you did you choose to test the glazes on top of a slip with oxides?
Did you dip the entire pot in the slip, or did you use the slip as a
decoration?
Have you tested the clear glazes on the 'bare' bisqued ware?
Did you use a white or an iron bearing clay?
Have you found differing colour responses between white and iron bearing
clays?
Looking forward to your reply.
HANNE
bjorklund@clear.net.nz
Pancioli on sat 17 mar 01
I don't understand why the recipes' numbers I sent to the listserv are
all fouled up. I will send them again if someone can tell me what to do
differently so they appear as I wrote them.
Thanks.
Diana
Tom Buck on sat 17 mar 01
Diane P:
the reason is simple: the Net runs on small packets, perhaps 1000 bytes or
less. so your text is sliced automatically into packets, and each packet
sent separately. If you were sending some to me, one may come via Chicago,
another via Boston, and a third via Buffalo. it all depends which circuit
is available this millisecond. when the packets arrive at my portal
server, they are reassembled according to a labelling scheme that is
widely used with Net systems. But SPACING is troublesome because the
system usually only recognizes one or two in a string.
which is why when I email a recipe I do it thusly
Hansen's cone 6 base glaze O or R
20 Wollastonite
20 Feldspar (Custer, or G200, or??)
20 Ferro frit 3134 (or equal)
20 Kaolin (EPK, Grolleg, or ???)
20 Flint/silica/quartz
even if the spacing is confused, the recipe generally remains readable and
sensible.
bye. peace. tom b.
Tom Buck ) tel: 905-389-2339
(westend Lake Ontario, province of Ontario, Canada).
mailing address: 373 East 43rd Street,
Hamilton ON L8T 3E1 Canada
Pancioli on sun 18 mar 01
Thanks to Tom Buck for straightening me out about sending recipes.
This time I will only send the observable results. The recipes can be
gotten from Marcia Selsor's list of cone 6 reduction glazes which are in
the archive.
But let me answer Hanne's questions first:
Why on top of slip? Colored slip under a plain glaze base seems to me
the right place to start to find out what a glaze will do. Slip (I put
it on the raw tests in small patches with a brush) gives an early
opportunity to decorate. Other techniques come later in the process,
such as glaze over glaze, or wax resist, etc., and offer the opportunity
to LAYER decoration, which I value.
We are using a medium buff iron bearing stoneware--neither dark nor
light. Yes, body color will affect color response. All glazes were
fired in a medium reduction to Cone 6 touching.
MARCI: opaque eggshell matte, medium application, good over iron,
cobalt, and copper slips, good with rutile wash.
CLEAR: satin transparent, medium application, good over copper slip,
good with rutile wash.
TURQUOISE: (without colorant) stony matt, medium application, good over
cobalt slip.
HAMER: ( or is it Hammer?) satin semi opaque, medium application, good
over cobalt slip.
WEB: shiny transparent, medium application, good over all slips, crazes.
WAXY LINER: satin with slight curdled texture, medium application,
good over iron, cobalt, and copper slips, and good with rutile wash.
NELSON: semi transparent satin shiny, medium application, good over
cobalt, copper, black and white slips, ok with rutile wash.
CARLTON: satin transparent, medium application, good over cobalt slip.
Diana
lela martens on thu 3 may 01
To June Macdonald(lost your address) and Marcia Selsor and anyone else wh=
o
does cone 6 reduction.First, I want to thank you for the work you went to
compiling all those recipes.
We had loaded the kiln with dozens of test bowls and tiles. The person I =
was
experimenting with fired a day before planned, so I don`t know what was d=
one
when, and wouldn`t have been any use anyway because I am just learning ab=
out
reduction. From the look of the tests, they appear just like oxidation to
me. I know, and have seen cone6 pieces that have that cone 10 reduction
look. This sure ain`t it.
Could you tell me a bit more about your firing system? I don`t know if yo=
ur
original hints that came with your recipes were followed or not. Thanks,
Lela
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Marcia Selsor on thu 3 may 01
Dear Lela,
I started body reduction at ^010 and keep neutral to light reduction to
^5 going down and ^6 starting. Then reduce a bit heavier for about 40
minutes and soaking. When firing for reds, a little more all the way up.
Then on the way down, I throw in sticks of wood about every hour for
about 2-3 hours.
Marcia in Montana getting ready for grand opening of our studio co-op.
lela martens wrote:
>
> To June Macdonald(lost your address) and Marcia Selsor and anyone else =
who
> does cone 6 reduction.First, I want to thank you for the work you went =
to
> compiling all those recipes.
> We had loaded the kiln with dozens of test bowls and tiles. The person =
I was
> experimenting with fired a day before planned, so I don`t know what was=
done
> when, and wouldn`t have been any use anyway because I am just learning =
about
> reduction. From the look of the tests, they appear just like oxidation =
to
> me. I know, and have seen cone6 pieces that have that cone 10 reduction
> look. This sure ain`t it.
> Could you tell me a bit more about your firing system? I don`t know if =
your
> original hints that came with your recipes were followed or not. Thanks=
,
> Lela
>
> _______________________________________________________________________=
__
> Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.co=
m.
>
> _______________________________________________________________________=
_______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pcl=
ink.com.
--
Marcia Selsor
selsor@imt.net
http://www.imt.net/~mjbmls
http://www.imt.net/~mjbmls/Tuscany2001.html
http://www.imt.net/~mjbmls/Gallery.html
Dave Finkelnburg on thu 3 may 01
Lela,
The first thought which comes to my mind is the phrase, "...cone 6
reduction..." is a VERY subjective thing. How much reduction? Reduction=
at
which parts of the firing cycle?
The duration, intensity and timing of the reduction all have profound
effects on the results. This is something you should consider before
concluding the results are totally the result of the glaze recipes.
Good potting!
Dave Finkelnburg in Idaho, where it's 30 degrees with a 30 mile p=
er
hour breeze this chilly morning
lela martens on thu 3 may 01
To Dave, I didn`t mean to sound as though I blamed the glazes. My questio=
n
was as you state, how much reduction, when. Sorry if I wasn`t clear, but
Marcia knew what I meant. Thank you both for responding. I am making 3
copies of each schedule I receive this time. :>) Lela
>From: Dave Finkelnburg
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: cone 6 reduction
>Date: Thu, 3 May 2001 08:35:53 -0600
>
>Lela,
> The first thought which comes to my mind is the phrase, "...cone 6
>reduction..." is a VERY subjective thing. How much reduction? Reductio=
n
>at
>which parts of the firing cycle?
> The duration, intensity and timing of the reduction all have profou=
nd
>effects on the results. This is something you should consider before
>concluding the results are totally the result of the glaze recipes.
> Good potting!
> Dave Finkelnburg in Idaho, where it's 30 degrees with a 30 mile
>per
>hour breeze this chilly morning
>
>________________________________________________________________________=
______
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Norman van der Sluys on fri 4 may 01
We go into reduction at cone 06 and keep it there until cone 6 is down. =
lWe look
for about a 3 inch flame from the bottom peep hole of our 12 cu. ft. updr=
aft, 4 or
5 inches on top.
lela martens wrote:
>
> Could you tell me a bit more about your firing system? I don`t know if =
your
> original hints that came with your recipes were followed or not. Thanks=
,
> Lela
>
> _______________________________________________________________________=
__
>
--
Norman van der Sluys
by the shore of Lake Michigan
lela martens on sat 5 may 01
To Norman and others who have helped me with this. Thank you. So
appreciated. Lela
>From: Norman van der Sluys
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: cone 6 reduction
>Date: Fri, 4 May 2001 06:30:17 -0400
>
>We go into reduction at cone 06 and keep it there until cone 6 is down.
>lWe look
>for about a 3 inch flame from the bottom peep hole of our 12 cu. ft.
>updraft, 4 or
>5 inches on top.
>
>lela martens wrote:
>
> >
> > Could you tell me a bit more about your firing system? I don`t know i=
f
>your
> > original hints that came with your recipes were followed or not. Than=
ks,
> > Lela
> >
> >
>________________________________________________________________________=
_
> >
>
>--
>Norman van der Sluys
>
>by the shore of Lake Michigan
>
>________________________________________________________________________=
______
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
Marcia Selsor on sat 5 may 01
Dear lela,
On Norman's mention of flame patterns, ours are similar. -a hard flame
out of the top peep (6-8", medium out the middle (about5"), and slow
licking flame out of the bottom (zero to 3-4" flickering). This
description is for a large car kiln. Throwing sticks in after the gas is
off, did seem to assist in copper reds.Also an earlier body reduction
^010 or ^09 seemed to enhance the clay color. -no black coring. My tile
for the Potters' Path was ^6 reduction and the red mugs at the clayart
mug exchange were also ^6 reduction. (Who got my mug?)
Best wishes,
Marcia in Montana where my lilacs are starting to bloom!
lela martens wrote:
>
> To Norman and others who have helped me with this. Thank you. So
> appreciated. Lela
>
> >From: Norman van der Sluys
> >Reply-To: Ceramic Arts Discussion List
> >To: CLAYART@LSV.CERAMICS.ORG
> >Subject: Re: cone 6 reduction
> >Date: Fri, 4 May 2001 06:30:17 -0400
> >
> >We go into reduction at cone 06 and keep it there until cone 6 is down=
=2E
> >lWe look
> >for about a 3 inch flame from the bottom peep hole of our 12 cu. ft.
> >updraft, 4 or
> >5 inches on top.
> >
> >lela martens wrote:
> >
> > >
> > > Could you tell me a bit more about your firing system? I don`t know=
if
> >your
> > > original hints that came with your recipes were followed or not. Th=
anks,
> > > Lela
> > >
> > >
> >______________________________________________________________________=
___
> > >
> >
> >--
> >Norman van der Sluys
> >
> >by the shore of Lake Michigan
> >
> >______________________________________________________________________=
________
> >Send postings to clayart@lsv.ceramics.org
> >
> >You may look at the archives for the list or change your subscription
> >settings from http://www.ceramics.org/clayart/
> >
> >Moderator of the list is Mel Jacobson who may be reached at
> >melpots@pclink.com.
>
> _______________________________________________________________________=
__
> Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.co=
m.
>
> _______________________________________________________________________=
_______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pcl=
ink.com.
--
Marcia Selsor
selsor@imt.net
http://www.imt.net/~mjbmls
http://www.imt.net/~mjbmls/Tuscany2001.html
http://www.imt.net/~mjbmls/Gallery.html
Stephani Stephenson on thu 3 jan 02
Not sure where the original querie came from, but cone 6 reduction is
entirely possible and brings quite nice results.
While at university of Oregon in the late 80s, Bob James was having
students work on developing cone 6 glazes. Many college studios have
done this.
Cone 5-6 oxidation glazes are often touted because you can obtain a
brighter, wider color palette , but our best class glazes were cone 6
reduction glazes fired in gas kilns.
We had quite a nice ohata, shinos, rutile blue, cone 6 version of
shaner's red, temmoku, toasty spod glaze, along with some typical
satin- glossy glazes with colorants. We also salt fired and wood fired
to that temp with very nice results.
At the time we struggled with a fairly ho hum class clay body, but got
decent results even with that body, and even better results when new
bodies were tried.
I will see if I can dig up my old journals, but give me a coupla weeks.
I am off to help my brother do an outdoor equipment trade show.
I will be the one hugging an antique pair of wooden Norski skiis in the
midst of the high tech stuff.
lil brother will owe me big time for this one......
hope that helps
Stephani Stephenson
Carlsbad CA
steph@alchemiestudio.com
Rick Malmgren on mon 10 jun 02
We've been working with cone 6 reduction for many
years at the community college where I teach in
Maryland. It is a great temperature for reduction
stoneware, and I can't think of a single reason to
fire higher. The firings are shorter. It is easier on
the kiln and the potter, and everything you can do at
10 seems to be just as good or better at cone 6. Plus
there is all of that wonderful research that has been
done at cone 6 for the electric kiln.
There has been a fair amount of work and a number of
articles specifically on cone 6 reduction. The first
that I know of was in Ceramics Monthly by G. Rowan,
CONE 6 REDUCTION GLAZES, Issue: May 1985, Page 30.
Val Cushing has also done some serious work at that
temperture in reduction as well.
In an article that I wrote about my work, which
appeared in Ceramics Monthly, October of 2000, page
44, I outline a number of glazes that I use for
reduction cone 6.
Naturally the claybody will need to be adjusted to
suit that temperature and atmosphere. Reduction turns
the iron in the body into an active flux, so high-iron
clays that look fine at 6 in oxidation will be much
darker and may slump in reduction. It is important to
do absorption, glaze fit and slump tests on the clay
before you mix or buy a large quantity.
Good luck,
Rick Malmgren
Lothian, Maryland
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Pancioli on wed 6 nov 02
Hi Eric:
We are working with cone 6 reduction at EMU. It is our second year and
we are beginning to get some good results.
Diana
mel jacobson on sat 9 apr 05
diana pancioli and me are writing
a tiny book about cone 6 reduction.
brown and white clay/20 glazes.
cone 10 reduction.
brown and white clay 20 glazes.
a few high temp oxy.
the book will come with a fired dented tile sample
of all the glazes...
it will be along next year...self published.
as you know...she is doing a great deal of
work with cone 6 reduction. her glazes are
stunners.
it looks like it will be 90 percent diana and
10 percent melvin...but, i will get my name
on the cover. and, i have the 2x4 to help
get her started. i think she is working on
three books at one time...one is a recipe book
for crackers...and don't laugh. crackers are important.
and, there are hundreds and hundreds of them
around the world. and she has a book complete about
pots and food...yes, every pot ever made in history probably
was used for some sort of food or drink. she laughs...we always
show ceramic art history as dynasty, king, or religion...it was more about
food. that thought really makes me smile. some pompous art historian/
museum guru...`this pot was made for sutlan zing yang's court in
1266. important piece` old yang probably used it at night as a pee pot.
mel
see what happens to me when i get up at 4 a.m. to write?
mel jacobson/minnetonka/minnesota/usa
http://www.pclink.com/melpots
http://www.rid-a-tick.com
luckisprepaid
MudFire - Luba & Erik on sun 11 dec 05
Can't tell you guys how exciting this thread is to me. I've been plotting
converting our studio from 10R to 6R for a number of months now. Have been
plucking recipes here and there, working with our dear Ron Roy to convert
some of our favorite ^10R glazes to ^6R, and doing all sorts of line tests
and blends... first test kiln came out last week. (When I say "test" kiln,
I mean the really big kiln... so it took a l-o-n-g time to fill). Long
story short... the results are gorgeous! Reds are vibrant! Greens are
alive. Blues are deep sky . Depth and interesting layers and effects. All
of the clays look exactly like they do in cone 10 reduction so we're not
going to lose our toasty browns. (We mostly use Standard Clay Co clays that
range 6-10 or 6-8... I know... I know...)
I tested a bunch of MC6G glazes in reduction also. Let's just say that "raw
sienna" is going to win the prize for best ^6 reduction glaze of the year.
Raspberry... not so much. Other ones are very interesting and some are
truly beautiful. (Am working on taking pictures and posting them all...
will have to wait until holidays are over).
Only thing missing are shinos. Mostly came out looking like clear crackle
or "angora sweater brown". Will test more in the next round. Would
appreciate any recommendations!
And Mel, I'd love send Diana $10 for Glaze Forward project. Couldn't find
the beginning of this thread though... Is this open to anyone? What's the
best way to get in touch with her?
Thanks and much love to you all.
Luba
MudFire Clayworks and Pottery Center
Open Studio * Gallery * Workshops
www.mudfire.com
175 Laredo Drive
Decatur, GA 30030
404-377-8033
Subject: cone 6 glazes/from pancioli
> Topic: "Cone 6R Yellow"
> Dear Mr. Schran:
> I am completing a sabbatical project I call GLAZE FORWARD.
> It consists of more than 20 glazes for cone 6 Reduction
> that I have tested and tweaked
> over the past 2 semesters.
> (Actually tested hundreds!).
> This is a not-for-profit project.
MudFire Clayworks and Pottery Center
Open Studio * Gallery * Workshops
www.mudfire.com
175 Laredo Drive
Decatur, GA 30030
404-377-8033
Gail Fullerton on fri 13 jul 07
My new for me gas kiln should be up and running next month and I want to =
try
cone 6 reduction.
I have some glazes that should reduce well thanks to Ron and John and Dia=
nne
Pancioli. My question is about clay.
I would like to find a cone 6 clay body that will develop a nice color in=
reduction. I love white clay that is not covered with a colored glaze, b=
ut
most of my work (fired at cone 6 in oxidation) has used a dark brown clay=
body
and glazes that complement that body. The clay I currently use and love
contains so much iron and manganese that it is predicted to a problem in
reduction, and I would prefer a clay without the manganese.
Any suggestions for a commercial source, or a recipe, for the clay body I=
want?
Gail Fullerton
in warm, sunny, green and just plain beautiful Fairbanks
actually the town of Fairbanks itself is not at all beautiful,
but up on my hill north of town it's heaven
____________________________________________________________________
=
Ron Roy on sun 15 jul 07
Hi Gail,
This is not hard to do actually - you just have to do some experiments.
Get some white or almost white cone 10 throwing clay and some dark (lots of
iron) cone 6 clay.
Try 90% dark + 10% white, 80% dark and 20% white etc.
Mix em well and make some test bars and test tiles for glazes - you
won'tneed much for the bars maybe a couple of pounds.
Probably a good idea to get some cone 6 white clay to make some pots out of
to fill your first kiln load.
If you need my instructions on how to make bars and test for absorption and
shrinkage just let me know.
RR
>My new for me gas kiln should be up and running next month and I want to try
>cone 6 reduction.
>I have some glazes that should reduce well thanks to Ron and John and Dianne
>Pancioli. My question is about clay.
>I would like to find a cone 6 clay body that will develop a nice color in
>reduction. I love white clay that is not covered with a colored glaze, but
>most of my work (fired at cone 6 in oxidation) has used a dark brown clay body
>and glazes that complement that body. The clay I currently use and love
>contains so much iron and manganese that it is predicted to a problem in
>reduction, and I would prefer a clay without the manganese.
>Any suggestions for a commercial source, or a recipe, for the clay body I
>want?
>Gail Fullerton
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Kathy Greaves on mon 16 jul 07
Gail, IMCO has a c/6 clay body called 50/50 that fires to a toasty brown =
in reduction. You could try that and see if you like it.
Kathy
mel jacobson on tue 18 dec 07
dianna pancioli has done a great many tests
with firing cone 6 reduction. totally marvelous results.
i would be willing to bet that many of ron and john's
glazes would work well in reduction. (my godson bill is using
ron's white and black in reduction all the time...gorgeous pots.
and, he has been adding a bit of color to the base white with
great results.)
and of course `queen alis` has given us many hundreds
of tests at cone 6....any could be fired with light reduction
to very interesting results.
it just takes a bit of testing and observation.
(and don't forget to change the clay body...along with
the glaze.)
i do not believe one has to have a special glaze
to fire medium to light reduction. it just has to melt
at the right time. and, it will be, what it will be.
but, for sure, any of the famous glazes can be fired
to cone 6 with proper calculated fluxing. and, as our resident
expert in lower temp crystalline glazes will tell you...`it works`.
(thanks bill schran)
nothing will be written in stone for any glaze. it all depends.
clay body, how you fire, how thick the glaze.
it all depends. if you want to drop your kilns temp...do it.
take the work of cone 6 experts and apply it to your studio.
then you can report the results. it may just change your life.
mel
from: mel/minnetonka.mn.usa
website: http://www.visi.com/~melpots/
Clayart page link: http://www.visi.com/~melpots/clayart.html
lili krakowski on sun 23 aug 09
Deborah writes:
"My teacher asked why I wasn't planning on doing a reduction firing for
my ^6 work seeing as to how I'm going to be learning to use the fully
manual gas kiln. Umm.... gee.... I've got no answer for that one.
Any one out there do reduction for ^6? If so, what are the advantages
or disadvantages? " =3D20
First of all happy birthday. Yes, it is considerate of the college to =3D
start classes
then....
But I do not understand the question the teacher asked. You probably =3D
should
try cone 6 reduction (done it in my woodburner) and see what it does for =
=3D
you.
This all is like going to a restaurant and the waiter asking you why you =
=3D
don't have the
the roast chicken when you order Chicken Tetrazzini.
Duh.. IF you want to try new things, try reduction. If you don't =3D
don't.
A particular temperature or firing method has no "superiority" to =3D
another, any
more than one recipe does over another. =3D20
Teacher may want you to learn something new. Good point.
Lili Krakowski
Be of good courage
David Beumee on wed 3 mar 10
Thanks very much for posting the recipe John.
David Beumee
Lafayette, CO
On Wed, Mar 3, 2010 at 7:48 AM, John Britt wrot=
e:
> Just got back from Richland Community College in Dallas and we had a grea=
t
> cone 6 reduction workshop. Jen Rose, the instructor, wanted to take them
> from cone 10 reduction to cone 6 and so we all ran a bunch of tests and g=
ot
> some great results!
>
>
> SELSOR BASE Cone 6 reduction/oxidation
> Nepheline Syenite 56.25
> Gerstley Borate 12.50
> Whiting 10.41
> Silica 20.83
>
> One that was nice was the Selsor base with 5% rutile. Here are the tiles =
in
> reduction and in electric oxidation. I will try to post others when they
> send the images.
>
> I put pictures on :
>
> http://ncclayclub.blogspot.com
>
>
> Enjoy,
>
> John Britt
> www.johnbrittpottery.com
>
John Britt on wed 3 mar 10
Just got back from Richland Community College in Dallas and we had a grea=
=3D
t
cone 6 reduction workshop. Jen Rose, the instructor, wanted to take them
from cone 10 reduction to cone 6 and so we all ran a bunch of tests and g=
=3D
ot
some great results!
SELSOR BASE Cone 6 reduction/oxidation
Nepheline Syenite 56.25
Gerstley Borate 12.50
Whiting 10.41
Silica 20.83
One that was nice was the Selsor base with 5% rutile. Here are the tiles =
=3D
in
reduction and in electric oxidation. I will try to post others when they
send the images.=3D20
I put pictures on :
http://ncclayclub.blogspot.com
Enjoy,
John Britt
www.johnbrittpottery.com
mel jacobson on wed 24 aug 11
i have had a number of requests for
information on cone 6 reduction.
there is a very complete set of recipes
on the `21st century kilns` website.
diana pancioli has done research
into cone 6 reduction, and her glazes are
all published free of charge on the site.
of course, in most cases all of john and ron's
glazes would convert to light reduction...just
don't expect they will look anything like the
original recipe in oxy.
in most cases starting with a glaze recipe
that is stable, and has the surface you want,
should be the starting point. just get going with
five years of research and see what happens.
the gas saving and time saving are really important
aspects of `new technology`. it is worth doing the
research.
and, as i always point out...`start with your own checking account
and your own time manegment`.
what you save makes your business plan work better.
mel
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
John Britt on wed 24 aug 11
There is tons of stuff on cone 6 reduction. Here are two articles I wrot=
=3D
e for=3D20
Ceramics Monthly:
http://ceramicartsdaily.org/ceramic-glaze-recipes/glaze-chemistry-ceramic=
=3D
-
glaze-recipes-2/mid-range-reduction-firing-its-not-just-cooler-its-cool/
and one in the current issue:
http://ceramicartsdaily.org/ceramic-glaze-recipes/glaze-chemistry-ceramic=
=3D
-
glaze-recipes-2/celadons-at-cone-6-a-traditional-high-fire-pottery-glaze-=
=3D
is-
within-the-reach-of-cone-6-potters/
Here are recipes on-line at Bill Schran's site:
http://www.creativecreekartisans.com/creativecreek_cone6re.htm
Just Google "cone 6 reduction glaze recipes" and you will be all set.
There are many studios who do it all the time: Mudfire in Atlanta, The Cl=
=3D
ay=3D20
Studio in Philly, etc. etc.
JohnBrittPottery.com
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