John Boyd on sun 10 feb 08
cone 6 woodfirings are common to bizen ware, just make sure you fire for a
week to melt the ash down.
JB
knoelle2@yahoo.com on sun 10 feb 08
Hi all,
I'm wondering about doing cone 6 wood-fire. Would it
be necessary to saggar the work, or will the ash melt
at that low of a temperature? Seems like all I ever
hear about are cone 10-11 wood firings, but I'm
curious about trying out a lower temperature, for a
variety of reasons.
Thanks for any advice you can share.
Kathleen
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Lee on mon 11 feb 08
On Feb 10, 2008 11:58 PM, knoelle2@yahoo.com wrote:
> Hi all,
> I'm wondering about doing cone 6 wood-fire. Would it
> be necessary to saggar the work, or will the ash melt
> at that low of a temperature?
You can woodfire at any temperature. Actually, the tradtional
woodkiln really did not get to the top temps of cone 10, but were
fired longer to do equivalent heat work.
Mashiko ware was fired at cone 8. Yes, work is protected from the
ash with saggers and shields. Short firing at Cone six might be
problematic and need protection in some kilns, but kilns like the
Olsen FF don't make a lot of ash and how you fire can control the
amount of fly ash that is made. Please experiment!
There is no problem with earthenware. I like woodfired
French Jaspe ware, which is earthenware.
--
Lee in Mashiko, Tochigi Japan
http://mashikopots.blogspot.com/
"Tea is nought but this: first you heat the water, then you make the
tea. Then you drink it properly. That is all you need to know."
--Sen No Rikyu
"Let the beauty we love be what we do." - Rumi
David Woof on mon 11 feb 08
Yup you will have trouble melting ash. However, some red clays are very =
temperature sensitive and astonish us with unexpected color. Try cone 5 an=
d 10 raw red clay bodies for color effects and flashing on the undersides o=
f well rounded jar forms where the ash doesn't fall or drift. Top side sh=
oulders, use soda ash washes, and fluxed slips to bring some of the ash int=
o the melt. You may get some crusty and colorful jewels and other pleasant=
suprises. Share with us please. the good and the not so good. Many =
gas reduction glazes, and gas/electric oxidation glazes are given an extra =
burst of liveliness when passing thru a wood fire. =20
=20
Try some, win or lose, the finer things all come to us at a price. I remi=
nd myself from time to time that it is better to regret what we have done t=
han regret what we could have and didn't. so I sign up and pay some tuitio=
n, enjoy a new ride, even if I wouldn't do it again. David ________________=
_________________ _________________________________ David Woof Studio Clark=
dale, Arizona Ph. 928-649-5927________________________________ ____________=
____________________ peering over the edge, reverently taking an irreverent=
look at everything.
_________________________________________________________________
Climb to the top of the charts!=A0Play the word scramble challenge with sta=
r power.
http://club.live.com/star_shuffle.aspx?icid=3Dstarshuffle_wlmailtextlink_ja=
n=
patsgreenpots on mon 11 feb 08
Hey there,
In my limited experience, and correct me if I am wrong here guys and
gals, the lower the temp the softer the wood needs to be to get a good
melt. I found Pine and cedar were good for this as they have a high
out put of ash with a rather low amount of embers, which I liked
because I had to rake less, Also poplar can be nice as well. I also
found that I got a good wrap around glossing effect with wood that
still had bark on it. I imagine it is because the make-up of the bark
contains lighter minerals than the trunk and heart wood, probably a
bit of sap as well to float about. I suppose you could also try a
light coat of flux of a few pieces to help things get glossy, I like
soda ash and frit 3110 my self. Well good luck. I would love to hear
how it turns out.
--Patrick
--- In clayart@yahoogroups.com, "knoelle2@..." wrote:
>
> Hi all,
> I'm wondering about doing cone 6 wood-fire. Would it
> be necessary to saggar the work, or will the ash melt
> at that low of a temperature? Seems like all I ever
> hear about are cone 10-11 wood firings, but I'm
> curious about trying out a lower temperature, for a
> variety of reasons.
> Thanks for any advice you can share.
> Kathleen
>
>
>
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> Be a better friend, newshound, and
> know-it-all with Yahoo! Mobile. Try it now.
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>
>
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> Clayart members may send postings to: clayart@...
>
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> subscription settings or unsubscribe/leave the list here:
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>
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>
Duff bogen on thu 21 feb 08
Kathleen
I was thumbing through a book by Wilson(?) on japanese ceramics- he says shino was the result of long slow firing in damp kilns to 1200 degrees Centigrade (about cone 6{?}) A nice precident towasrds which to work.
DRB
"knoelle2@yahoo.com" wrote:
Hi all,
I'm wondering about doing cone 6 wood-fire. Would it
be necessary to saggar the work, or will the ash melt
at that low of a temperature? Seems like all I ever
hear about are cone 10-11 wood firings, but I'm
curious about trying out a lower temperature, for a
variety of reasons.
Thanks for any advice you can share.
Kathleen
____________________________________________________________________________________
Be a better friend, newshound, and
know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ
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steve graber on fri 22 feb 08
i wonder if some of these historical long fires were also during long crazy rain storms? or wet wood?
a little nature - happenstance thrown into the mix?
see ya
Steve Graber, Graber's Pottery, Inc
Claremont, California USA
The Steve Tool - for awesum texture on pots!
www.graberspottery.com steve@graberspottery.com
----- Original Message ----
From: Lee
To: CLAYART@LSV.CERAMICS.ORG
Sent: Thursday, February 21, 2008 5:46:51 PM
Subject: Re: cone 6 wood-fire?
On 2/22/08, Duff bogen wrote:
> Kathleen
>
> I was thumbing through a book by Wilson(?) on japanese ceramics- he says shino was
> the result of long slow firing in damp kilns to 1200 degrees Centigrade (about cone 6{?})
> A nice precident towasrds which to work.
This is true. But they burnt a lot of fuel, because they fired much
longer. The unglazed ware was fired even lower 1100*C, but sometimes
for two weeks. This is what makes modern gas fired work look so
different compared to the traditional work they are inspired by.
Ken Matzuzaki fires Shinos for 7 days in his woodkiln, but for 10
days in his gas coffin kiln.
--
Lee in Mashiko, Tochigi Japan
http://mashikopots.blogspot.com/
"Tea is nought but this: first you heat the water, then you make the
tea. Then you drink it properly. That is all you need to know."
--Sen No Rikyu
"Let the beauty we love be what we do." - Rumi
______________________________________________________________________________
Clayart members may send postings to: clayart@lsv.ceramics.org
You may look at the archives for the list, post messages, change your
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____________________________________________________________________________________
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Lee on fri 22 feb 08
On 2/22/08, Duff bogen wrote:
> Kathleen
>
> I was thumbing through a book by Wilson(?) on japanese ceramics- he says shino was
> the result of long slow firing in damp kilns to 1200 degrees Centigrade (about cone 6{?})
> A nice precident towasrds which to work.
This is true. But they burnt a lot of fuel, because they fired much
longer. The unglazed ware was fired even lower 1100*C, but sometimes
for two weeks. This is what makes modern gas fired work look so
different compared to the traditional work they are inspired by.
Ken Matzuzaki fires Shinos for 7 days in his woodkiln, but for 10
days in his gas coffin kiln.
--
Lee in Mashiko, Tochigi Japan
http://mashikopots.blogspot.com/
"Tea is nought but this: first you heat the water, then you make the
tea. Then you drink it properly. That is all you need to know."
--Sen No Rikyu
"Let the beauty we love be what we do." - Rumi
Hank Murrow on sat 23 feb 08
On Feb 22, 2008, at 8:37 PM, steve graber wrote:
> i wonder if some of these historical long fires were also during
> long crazy rain storms? or wet wood?
>
> a little nature - happenstance thrown into the mix?
Dear Steve;
What are the chances that these potters could avoid a rainstorm for
ten to fourteen consecutive days? There was a Japanese shino potter
profiled in Ceramics Technical or its sister publication several
years ago, who fired his best fire in a torrential downpour. he later
modded his kiln so he didn't need the rain to get the water.
Do something, observe the result, wonder about it, and change your
ways........ potters' (and cooks) wisdom.
Cheers, Hank
Deborah Maxwell on thu 28 feb 08
Hi Hank,
Your words of wisdom have hit home with me this week. I've printed out the
quote and have posted it in my studio.
Looking forward to meeting you at NCECA. Thanks again!
Deborah J Maxwell
Marketing Director
Red Mudd Studio
maxwelldeborah@hotmail.com
http://www.redmuddcreations.com
Hank wrote:
Do something, observe the result, wonder about it, and change your
ways........ potters' (and cooks) wisdom.
Cheers, Hank
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__
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