Lesley Anton on sat 12 may 07
Hi all,
A quick question regarding the subject that has come up about length
of cooling for cone 10 glazes. I have started having such beautiful
luck with the long slow fire down in the cooling of my kiln for
shino's and matte glazes, but if I have a couple of celedon's that I
need to fire, does that slow cooling cause crystalization in the
celedons that will make them cloudy? or will they be able to
withstand the firedown?
Thanks
Lesley Anton
On May 10, 2007, at 5:13 PM, Vince Pitelka wrote:
> ----- Original Message -----
> From: "Thomas Malone"
> To:
> Sent: Wednesday, May 09, 2007 6:53 PM
> Subject: Re: slipcasting/serialism
>
>
> Taylor said:
>>
>
> And Thomas Malone said:
>> Well, just for interest and risking a long debate, what do you define
>> pottery to be?
>
> Taylor and Thomas -
> (Those two names together have me thinking of my grandson Ravi and
> small
> die-cast toy British locomotives)
>
> If I specifically said "pottery," it was careless of me. I apply
> the same
> standards of "handmade" to everything made from clay as fine art or
> fine
> craft, whether sculpture or pottery. If the piece is cast intact
> from a
> mold with just cleanup of seams, or as I clarified in an earlier
> reply to
> Brian Besch, if a piece is assembled repeatedly in an identical
> fashion from
> a few slip-cast parts, then by my definition it cannot be called
> handmade,
> regardless of the amount of skill involved in the process of making
> and
> using the slip-casting mold. What makes the critical difference to
> me is
> when a mold set or series of molds result in the production of
> repeated
> identical complete units. To me that is, by definition, mass
> production,
> even if only a few finished pieces are produced from the mold set
> or molds.
>
> As far as a general definition of "pottery," we sure can't rely on
> Merriam-Webster, who defines the noun as "clayware; especially:
> earthenware
> as distinguished from porcelain and stoneware and from brick and
> tile,"
> WTF?
>
> Personally, both as an artist and an educator, I have always
> thought of
> pottery as pots, and considered myself both a potter and a
> sculptor. But I
> certainly acknowledge that our definition has to be pretty flexible
> there.
> - Vince
>
> Vince Pitelka
> Appalachian Center for Craft, Tennessee Technological University
> Smithville TN 37166, 615/597-6801 x111
> vpitelka@dtccom.net, wpitelka@tntech.edu
> http://iweb.tntech.edu/wpitelka/
> http://www.tntech.edu/craftcenter/
>
> ______________________________________________________________________
> ________
> 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.
Mike on sun 13 may 07
Hello Leslie,
I did an experimental firing a few days back with this very thing in
mind. I wasn't firing celadons, but layering ash heavy glazes over iron
glazes. I got a lot of crystallization and matte surfaces. So much so
that I've decided to go without the fire down next time. Got solid areas
of crystallization where the glazes lay thickest.
You can see my results at the URL below, and decide for yourself if you
think the situation is similar enough to warrant caution:
http://www.potteryofjapan.com/ironashoribe/index.htm
Just scroll past the workshop photos to get to the firing results in the
tail end of the set. The green oribe glaze tests all came out matte, and
I know that the formula I used usually turns out glossy, but I've only
tested it previously at higher temps, so I don't know if the resulting
matte surface is caused by the lower temp this time around, or the 2
hour soak at 1066C that I added to the firing.
I don't know if this would occur with your celadons, but it may be worth
just sticking one in as a test to be sure.
Mike
Mike
in Taku, Japan
karatsupots.blogspot.com
potteryofjapan.com
Lesley Anton wrote:
> Hi all,
> A quick question regarding the subject that has come up about length
> of cooling for cone 10 glazes. I have started having such beautiful
> luck with the long slow fire down in the cooling of my kiln for
> shino's and matte glazes, but if I have a couple of celedon's that I
> need to fire, does that slow cooling cause crystalization in the
> celedons that will make them cloudy? or will they be able to
> withstand the firedown?
>
> Thanks
> Lesley Anton
>
>
> On May 10, 2007, at 5:13 PM, Vince Pitelka wrote:
>
>> ----- Original Message -----
>> From: "Thomas Malone"
>> To:
>> Sent: Wednesday, May 09, 2007 6:53 PM
>> Subject: Re: slipcasting/serialism
>>
>>
>> Taylor said:
>>>
>>
>> And Thomas Malone said:
>>> Well, just for interest and risking a long debate, what do you define
>>> pottery to be?
>>
>> Taylor and Thomas -
>> (Those two names together have me thinking of my grandson Ravi and
>> small
>> die-cast toy British locomotives)
>>
>> If I specifically said "pottery," it was careless of me. I apply
>> the same
>> standards of "handmade" to everything made from clay as fine art or
>> fine
>> craft, whether sculpture or pottery. If the piece is cast intact
>> from a
>> mold with just cleanup of seams, or as I clarified in an earlier
>> reply to
>> Brian Besch, if a piece is assembled repeatedly in an identical
>> fashion from
>> a few slip-cast parts, then by my definition it cannot be called
>> handmade,
>> regardless of the amount of skill involved in the process of making
>> and
>> using the slip-casting mold. What makes the critical difference to
>> me is
>> when a mold set or series of molds result in the production of
>> repeated
>> identical complete units. To me that is, by definition, mass
>> production,
>> even if only a few finished pieces are produced from the mold set
>> or molds.
>>
>> As far as a general definition of "pottery," we sure can't rely on
>> Merriam-Webster, who defines the noun as "clayware; especially:
>> earthenware
>> as distinguished from porcelain and stoneware and from brick and
>> tile,"
>> WTF?
>>
>> Personally, both as an artist and an educator, I have always
>> thought of
>> pottery as pots, and considered myself both a potter and a
>> sculptor. But I
>> certainly acknowledge that our definition has to be pretty flexible
>> there.
>> - Vince
>>
>> Vince Pitelka
>> Appalachian Center for Craft, Tennessee Technological University
>> Smithville TN 37166, 615/597-6801 x111
>> vpitelka@dtccom.net, wpitelka@tntech.edu
>> http://iweb.tntech.edu/wpitelka/
>> http://www.tntech.edu/craftcenter/
>>
>> ______________________________________________________________________
>> ________
>> 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.
>
> ______________________________________________________________________________
>
> 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.
>
>
Hank Murrow on sun 13 may 07
On May 12, 2007, at 6:12 PM, Lesley Anton wrote:
> Hi all,
> A quick question regarding the subject that has come up about length
> of cooling for cone 10 glazes. I have started having such beautiful
> luck with the long slow fire down in the cooling of my kiln for
> shino's and matte glazes, but if I have a couple of celedon's that I
> need to fire, does that slow cooling cause crystalization in the
> celedons that will make them cloudy? or will they be able to
> withstand the firedown?
Dear lesley;
I have little trouble getting good celadons along with superb shinos
in my six hour soak in oxidation at 1900F during cooling.
Cheers, Hank
www.murrow.biz/hank
Lesley Anton on mon 14 may 07
Thanks Hank. I ended up doing ok on my celedons but there were no
shinos in there. Just temoku and a crazy algae matte glaze. Yummy
results.
I have another question to bug you about - then I'll leave you
alone... I haven't gotten any response on this one through Clayart
and I need to fire tonight. I have 2 temoku pots (lamps) come out
so beautifully but there were a couple of drips that had to be ground
down...I wondered if I splotch a little glaze with my finger on those
grinding spots, what is the lowest temp I can refire them, with out
risking more dripping of the original glaze? What is the lowest temp
that temoku will melt? Cone 7? I don't want to go all the way up to
cone 10 for fear that I'll get a gob more drips. Also, what does
Temoku do in oxidation? is it just shiny black? if so maybe
oxidation for the repair might work. What do you think?
Thanks for your time on this one.
Lesley Anton
On May 13, 2007, at 9:31 AM, Hank Murrow wrote:
> On May 12, 2007, at 6:12 PM, Lesley Anton wrote:
>
>> Hi all,
>> A quick question regarding the subject that has come up about length
>> of cooling for cone 10 glazes. I have started having such beautiful
>> luck with the long slow fire down in the cooling of my kiln for
>> shino's and matte glazes, but if I have a couple of celedon's that I
>> need to fire, does that slow cooling cause crystalization in the
>> celedons that will make them cloudy? or will they be able to
>> withstand the firedown?
> Dear lesley;
>
> I have little trouble getting good celadons along with superb shinos
> in my six hour soak in oxidation at 1900F during cooling.
>
> Cheers, Hank
> www.murrow.biz/hank
>
> ______________________________________________________________________
> ________
> 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.
Lesley Anton Handmade Ceramic Lighting
www.lesleyanton.com
Mike on tue 15 may 07
Dear Leslie,
Rather than refiring the piece for a little drop of glaze, why don't you
try grinding down the spot, and touching up the ground surface with a
clear epoxy or clear lacquer, thinned a bit? This levels out the rough
(relatively speaking) ground surface and gives it a durable glasslike
surface. If done well, you can't tell the difference unless you look
real hard. One thing to remember when doing this: a little goes a long
way. Just dab on with a dental pick or something similarly fine pointed.
Also, when you grind, make sure not to go into the clay body, because
that will give the repair away even if you lacquer over it, because the
color of the scratched surface is so different from the clay surface.
About refiring, I don't know your tenmoku so I wouldn't know what temp
to recommend. Mine is melted and glossy at cone 6, gets moving a bit
from there, then runs at cone 11-12.
Mike
Mike
in Taku, Japan
karatsupots.blogspot.com
potteryofjapan.com
Lesley Anton wrote:
> Thanks Hank. I ended up doing ok on my celedons but there were no
> shinos in there. Just temoku and a crazy algae matte glaze. Yummy
> results.
>
> I have another question to bug you about - then I'll leave you
> alone... I haven't gotten any response on this one through Clayart
> and I need to fire tonight. I have 2 temoku pots (lamps) come out
> so beautifully but there were a couple of drips that had to be ground
> down...I wondered if I splotch a little glaze with my finger on those
> grinding spots, what is the lowest temp I can refire them, with out
> risking more dripping of the original glaze? What is the lowest temp
> that temoku will melt? Cone 7? I don't want to go all the way up to
> cone 10 for fear that I'll get a gob more drips. Also, what does
> Temoku do in oxidation? is it just shiny black? if so maybe
> oxidation for the repair might work. What do you think?
>
> Thanks for your time on this one.
>
> Lesley Anton
>
>
> On May 13, 2007, at 9:31 AM, Hank Murrow wrote:
>
>> On May 12, 2007, at 6:12 PM, Lesley Anton wrote:
>>
>>> Hi all,
>>> A quick question regarding the subject that has come up about length
>>> of cooling for cone 10 glazes. I have started having such beautiful
>>> luck with the long slow fire down in the cooling of my kiln for
>>> shino's and matte glazes, but if I have a couple of celedon's that I
>>> need to fire, does that slow cooling cause crystalization in the
>>> celedons that will make them cloudy? or will they be able to
>>> withstand the firedown?
>> Dear lesley;
>>
>> I have little trouble getting good celadons along with superb shinos
>> in my six hour soak in oxidation at 1900F during cooling.
>>
>> Cheers, Hank
>> www.murrow.biz/hank
>>
>> ______________________________________________________________________
>> ________
>> 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.
>
>
>
>
> Lesley Anton Handmade Ceramic Lighting
> www.lesleyanton.com
>
> ______________________________________________________________________________
>
> 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.
>
>
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