mel jacobson on wed 16 jul 08
i have been working on some new pots for joe koons/iron saga2.
it is about layers of temmoku, different temmoku glazes...the
results have been fascinating.
i took 13 of the bowls that joe had made in california home with
me from hay creek...we fired 300. (mel technique, cone 12-13/ down fired and
some in salt residual...nice results.)
i decided to fire some of them using multiple layers of a black
oil spot glaze i have been working with, along with pete's cranberry.
fired hot/cone 12...and working toward crystal growth and oil
spots. (black is easy, no need for a recipe//take a temmoku
and add cobalt, copper and chrome...fill it up with oxide.)
i have a pix on the clayart page of one of them...really nice...it worked
like i expected. pink, red, green and blue crystals on a jet black background
with oil spots on the rim. very exciting visual experience.
i ups'd a box to joe monday.
some of you that fire cone 6 electric are starting to find your own
voice...a new look by layering glazes. the pots are becoming your
own...it is not ron's black any more...he led you to glaze stability
and john moved you to new ideas. now you can take a family
of glazes and call them your own. layers. dark over light, light over
dark, color over white, then reverse it. or as mattise said...`what if?`
in the case of the pot i have pictured, the base glaze is almost thin.
never thick. i varied the amount of layering with the red. quick
dip/some splashed, then i added some with a brush. let it all melt
together, long fire down, slow cool.
and there is no question that layers need a bit more time and temp.
you have to get them to blend/meld/melt together. being safe..and
turning your kiln off early will normally lead to very poor surface
development.
you will note i do these tests on open bowls. light glaze on the bottom.
and, i use advancers for my shelves with these tests....they do run
from time to time...so care is needed, but when it works...magical.
remember, if your kiln shelf is far more important to you then a new
glaze...take up a new profession. you can always buy a new shelf.
but, how do you find a new glaze, that becomes totally yours?
mel
from minnetonka:
website http://www.visi.com/~melpots/
clayart site:
http://www.visi.com/~melpots/clayart.html
Lee Love on wed 16 jul 08
Woodash glaze over slip glazes gives you the variety that is often
missing in cone 6 electric. I experimented with them the last thing,
before heading to Japan.
I have used nuka over tenmoku for some time. Need to mix some
up for the woodfiring, but they should work in electric too because
traditionally, all Mashiko glazes were fired pretty much in oxidation.
I wish I could find the article in CM on woodash over albany for
cone 6. Will have to buy the CD.
--
Lee Love in Minneapolis
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi
Taylor Hendrix on wed 16 jul 08
Lee,
You remember the author? I have a few copied that sound like what you
are looking for. I'll check. I bet someone has the cd and can find the
citation. I have access to some CM mags in full text too.
I'm looking forward to doing some similar testing with ideas from old
CMs. Hope I remember. Heck, hope I survive the remodel!
Taylor, in Rockport TX
On Wed, Jul 16, 2008 at 10:17 AM, Lee Love wrote:
> Woodash glaze over slip glazes gives you the variety that is often
> missing in cone 6 electric. I experimented with them the last thing,
> before heading to Japan.
>
> I have used nuka over tenmoku for some time. Need to mix some
> up for the woodfiring, but they should work in electric too because
> traditionally, all Mashiko glazes were fired pretty much in oxidation.
>
> I wish I could find the article in CM on woodash over albany for
> cone 6. Will have to buy the CD.
June on wed 16 jul 08
I had one of the artists in my gallery in the 70's whose kiln shed went on fire and the kiln went kaput with everything else. He went out and bought an electric kiln and used a clear satin to matt wood ash glaze over his salt slips on a toasty stoneware. It was a great look and far above the average oxidation glazes people were putting out at that time.
If memory serves me, there's a clear wood ash, cone 6 recipe in Zakins first book on electric kiln glazes.
Regards,
June
http://www.shambhalapottery.com
http://shambhalapottery.blogspot.com
http://groups.yahoo.com/group/sodasaltfiring/
----- Original Message ----
From: Taylor Hendrix
To: CLAYART@LSV.CERAMICS.ORG
Sent: Wednesday, July 16, 2008 12:52:52 PM
Subject: Re: layered glazes, it becomes you
Lee,
You remember the author? I have a few copied that sound like what you
are looking for. I'll check. I bet someone has the cd and can find the
citation. I have access to some CM mags in full text too.
I'm looking forward to doing some similar testing with ideas from old
CMs. Hope I remember. Heck, hope I survive the remodel!
Taylor, in Rockport TX
On Wed, Jul 16, 2008 at 10:17 AM, Lee Love wrote:
> Woodash glaze over slip glazes gives you the variety that is often
> missing in cone 6 electric. I experimented with them the last thing,
> before heading to Japan.
>
> I have used nuka over tenmoku for some time. Need to mix some
> up for the woodfiring, but they should work in electric too because
> traditionally, all Mashiko glazes were fired pretty much in oxidation.
>
> I wish I could find the article in CM on woodash over albany for
> cone 6. Will have to buy the CD.
Karin Givon on wed 16 jul 08
I'm am SO pleased to hear someone else talk aabout layering but what
is the URL for the clayart pages? I'm new to this "chatrm" and still
slightly confused as to how to manipulate it. But SO pleased to find
potters to check in with, and read, and laugh and get ideas and all
that stuff.
Also I have one of them new fangled electronic kilns and am not sure
how to "fire it down slowly"....it must be beyond the 'HOLD' ,
right? Can someone let me know? (I DID RTM but I'm unclear...so far
I'm just firing slow, med. fast. ) any advice appreciated.
And YES, layering is great, and also I've found that most of my ^ 10
glazes work at ^6, and the melt is even better with layering.
thanks for all this good energy--
Karin
DancingDragonPottery.net
On Jul 16, 2008, at 6:50 AM, mel jacobson wrote:
i have been working on some new pots for joe koons/iron saga2.
it is about layers of temmoku, different temmoku glazes...the
results have been fascinating.
i took 13 of the bowls that joe had made in california home with
me from hay creek...we fired 300. (mel technique, cone 12-13/ down
fired and
some in salt residual...nice results.)
i decided to fire some of them using multiple layers of a black
oil spot glaze i have been working with, along with pete's cranberry.
fired hot/cone 12...and working toward crystal growth and oil
spots. (black is easy, no need for a recipe//take a temmoku
and add cobalt, copper and chrome...fill it up with oxide.)
i have a pix on the clayart page of one of them...really nice...it
worked
like i expected. pink, red, green and blue crystals on a jet black
background
with oil spots on the rim. very exciting visual experience.
i ups'd a box to joe monday.
some of you that fire cone 6 electric are starting to find your own
voice...a new look by layering glazes. the pots are becoming your
own...it is not ron's black any more...he led you to glaze stability
and john moved you to new ideas. now you can take a family
of glazes and call them your own. layers. dark over light, light over
dark, color over white, then reverse it. or as mattise said...`what
if?`
in the case of the pot i have pictured, the base glaze is almost thin.
never thick. i varied the amount of layering with the red. quick
dip/some splashed, then i added some with a brush. let it all melt
together, long fire down, slow cool.
and there is no question that layers need a bit more time and temp.
you have to get them to blend/meld/melt together. being safe..and
turning your kiln off early will normally lead to very poor surface
development.
you will note i do these tests on open bowls. light glaze on the
bottom.
and, i use advancers for my shelves with these tests....they do run
from time to time...so care is needed, but when it works...magical.
remember, if your kiln shelf is far more important to you then a new
glaze...take up a new profession. you can always buy a new shelf.
but, how do you find a new glaze, that becomes totally yours?
mel
from minnetonka:
website http://www.visi.com/~melpots/
clayart site:
http://www.visi.com/~melpots/clayart.html
June on wed 16 jul 08
Karin,
You should have instructions on this in your users manual. You don't say what kiln you have, but I know that the Skutt's give examples of of various firing schedules.
Firing down just means that after your reach your peak temperature, you then reverse the temperature to fire down. So you might use hold for ten or fifteen minutes at the end, and then choose the next ramp to jump down to a lower temperature. At that point you would also choose the rate of descent to reach that lower temperature or temperatures.
Check out the clayart archives, and John Hesselberth's web page. He has shared his firing down schedule for electric kilns in both places.
Regards,
June
http://www.shambhalapottery.com
http://shambhalapottery.blogspot.com
http://groups.yahoo.com/group/sodasaltfiring/
----- Original Message ----
From: Karin Givon
To: CLAYART@LSV.CERAMICS.ORG
Sent: Wednesday, July 16, 2008 1:50:50 PM
Subject: Re: layered glazes, it becomes you
I'm am SO pleased to hear someone else talk aabout layering but what
is the URL for the clayart pages? I'm new to this "chatrm" and still
slightly confused as to how to manipulate it. But SO pleased to find
potters to check in with, and read, and laugh and get ideas and all
that stuff.
Also I have one of them new fangled electronic kilns and am not sure
how to "fire it down slowly"....it must be beyond the 'HOLD' ,
right? Can someone let me know? (I DID RTM but I'm unclear...so far
I'm just firing slow, med. fast. ) any advice appreciated.
And YES, layering is great, and also I've found that most of my ^ 10
glazes work at ^6, and the melt is even better with layering.
thanks for all this good energy--
Karin
DancingDragonPottery.net
On Jul 16, 2008, at 6:50 AM, mel jacobson wrote:
i have been working on some new pots for joe koons/iron saga2.
it is about layers of temmoku, different temmoku glazes...the
results have been fascinating.
i took 13 of the bowls that joe had made in california home with
me from hay creek...we fired 300. (mel technique, cone 12-13/ down
fired and
some in salt residual...nice results.)
i decided to fire some of them using multiple layers of a black
oil spot glaze i have been working with, along with pete's cranberry.
fired hot/cone 12...and working toward crystal growth and oil
spots. (black is easy, no need for a recipe//take a temmoku
and add cobalt, copper and chrome...fill it up with oxide.)
i have a pix on the clayart page of one of them...really nice...it
worked
like i expected. pink, red, green and blue crystals on a jet black
background
with oil spots on the rim. very exciting visual experience.
i ups'd a box to joe monday.
some of you that fire cone 6 electric are starting to find your own
voice...a new look by layering glazes. the pots are becoming your
own...it is not ron's black any more...he led you to glaze stability
and john moved you to new ideas. now you can take a family
of glazes and call them your own. layers. dark over light, light over
dark, color over white, then reverse it. or as mattise said...`what
if?`
in the case of the pot i have pictured, the base glaze is almost thin.
never thick. i varied the amount of layering with the red. quick
dip/some splashed, then i added some with a brush. let it all melt
together, long fire down, slow cool.
and there is no question that layers need a bit more time and temp.
you have to get them to blend/meld/melt together. being safe..and
turning your kiln off early will normally lead to very poor surface
development.
you will note i do these tests on open bowls. light glaze on the
bottom.
and, i use advancers for my shelves with these tests....they do run
from time to time...so care is needed, but when it works...magical.
remember, if your kiln shelf is far more important to you then a new
glaze...take up a new profession. you can always buy a new shelf.
but, how do you find a new glaze, that becomes totally yours?
mel
from minnetonka:
website http://www.visi.com/~melpots/
clayart site:
http://www.visi.com/~melpots/clayart.html
Steve Slatin on wed 16 jul 08
Karin -- There are different
"new fangled" kiln controllers.
What kind do you have? I can
help you with programming a
controlled cool for an L&L,
and I'm sure others will help
for other kinds of controllers.
Steve Slatin --
--- On Wed, 7/16/08, Karin Givon wrote:
> I'm am SO pleased to hear someone else talk aabout
> layering but what
> is the URL for the clayart pages? I'm new to this
> "chatrm" and still
> slightly confused as to how to manipulate it. But SO
> pleased to find
> potters to check in with, and read, and laugh and get ideas
> and all
> that stuff.
> Also I have one of them new fangled electronic kilns and am
> not sure
> how to "fire it down slowly"....it must be beyond
> the 'HOLD' ,
> right? Can someone let me know? (I DID RTM but I'm
> unclear...so far
> I'm just firing slow, med. fast. ) any advice
> appreciated.
> And YES, layering is great, and also I've found that
> most of my ^ 10
> glazes work at ^6, and the melt is even better with
> layering.
> thanks for all this good energy--
> Karin
Dolita Dohrman on wed 16 jul 08
If by 'new fangled' you mean your kiln has a computer controller, I
can help you. You should be able to program your own firing schedule
and, in doing so, schedule in a slow cool. After your kiln reaches
peak temperature you can indicate a temperature in the next segment
at which the kiln will cool. I usually have mine cool at 125 degrees
to 1800 degrees, hold 30 minutes, then cool at 100 degrees to 1400.
After that I just let the temp fall naturally.
Dolita
On Jul 16, 2008, at 1:50 PM, Karin Givon wrote:
>
> Also I have one of them new fangled electronic kilns and am not sure
> how to "fire it down slowly"....it must be beyond the 'HOLD' ,
> right? Can someone let me know? (I DID RTM but I'm unclear...so far
> I'm just firing slow, med. fast. ) any advice appreciated.
> And YES, layering is great, and also I've found that most of my ^ 10
> glazes work at ^6, and the melt is even better with layering.
> thanks for all this good energy--
> Karin
>
Shula on wed 16 jul 08
Dear Des,
I have no problem viewing Mel's website with Mozilla Firefox on my Mac. Everything loads just fine.
Shula
Desert Hot Springs, California USA
but currently in LA for a couple of days of work related meetings.
Eager to be home for 3 days in a row so that I can do the first test firing of my brand new kiln. It arrived last week, the electric was connected over the weekend, but then "vacation" was over it is back to being on the road for my job. I need to be home for 3 days in a row before I can test fire it using the programmed slow glaze cone 5 firing as suggested by the L&L manual: 1 day to fire and 2 days to let it cool so that I can cover it up (it's outside on my patio). Oh, and I have to wait until it is cool enough to fire as well. In the various sections of the manual, I have read it has to be below 100, 105, and 125. Ah, life in the desert! An experience still unfolding for me. I moved to the desert less than a year ago.
-----Original Message-----
>From: Des & Jan Howard
>
>Mel
>You have the weirdest website.
>Each time I try to view it with Mozilla Firefox nothing loads, if I push
>the issue the server drops out. If I try Internet Explorer pics part
>load then stop. This occurrence doesn't arise with any other website I
>access.
>Des
Sam Kelly on thu 17 jul 08
If by "Layering Glazes" by definition means "Glaze on Glaze" then
there is a web site/showroom by a long time member of clayart, "Lue
Pottery", that does the best I have seen.
http://www.luepottery.hwy.com.au/showroom.htm
Sam
Des & Jan Howard on thu 17 jul 08
Mel
You have the weirdest website.
Each time I try to view it with Mozilla Firefox nothing loads, if I push
the issue the server drops out. If I try Internet Explorer pics part
load then stop. This occurrence doesn't arise with any other website I
access.
Des
mel jacobson wrote:
> i have been working on some new pots for joe koons/iron saga2.
> it is about layers of temmoku, different temmoku glazes...the
> results have been fascinating.
--
Des & Jan Howard
Lue Pottery
Lue NSW
Australia
2850
02 6373 6419
Bonnie Staffel on thu 17 jul 08
Hi Clayarters,=20
Haven't been very vocal on this forum as I am trying to get pots =
finished
for our 50th Anniversary Charlevoix Waterfront Art Fair on August 9. I
started in the fair in its third year and fell in love with the area and
finally ended up with our studio and now live here..=20
Anyway, I wanted to chime in on this discussion to talk about Maija
Grotell's contribution to the layering glazes. She made some magnificent
pots with beautiful designs from the multi-layering and probably
multi-firing of her glazes. That is where I learned the process and have
used it throughout my career and am still using it for various projects. =
So
I have a lot of "my own" glazes fired at Cone 9 in an electric kiln. =
Maija
also used an electric kiln. One of my noted glazes that received =
compliments
from Maija was when the pot shown on my Pottery Page third top right =
came
out of the kiln.=20
Her technique was more obvious in the "boil through" look than yours, =
Mel.
There was almost a tangible soft texture along with the visual. She =
also
incorporated some brilliant orange colors, probably used uranium in =
those
days, or some other poisonous material. Many of her top glazes were =
very
thick as well, possibly 1/4" in the final firing. =20
There is a book written in collaboration by Toshiko Takaezu and Jeff
Schlanger about Maija's life and photos of her pots. It was published =
by
Studio Potter Books and there may still be copies available to purchase =
from
them. She is an icon in the history of contemporary pottery with many of =
her
students achieving success in their careers such as Harvey Littleton,
Toshiko and many others. The book was written to record the influence =
this
great potter had during her career. I am grateful for her method of
teaching, which was to allow each student their own reins of =
experimentation
and personal growth.=20
Bonnie Staffel
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD Throwing with Coils and Slabs
DVD Introduction to Wheel Work
Charter Member Potters Council
Arnold Howard on thu 17 jul 08
> From: Karin Givon
> Also I have one of them new fangled electronic kilns and
> am not sure
> how to "fire it down slowly"....it must be beyond the
> 'HOLD' ,
> right? .html
Karin, there are two ways to do a controlled cooling. (These
instructions are for Orton's Sentry 2.0 controller, the
model Paragon uses.)
Cone-Fire: After you enter cone number, speed, pre-heat, and
hold, COOL will appear in the display. Enter the cooling
rate in degrees per hour.
Ramp-Hold: Controlled cooling is programmed the same way as
controlled heating. After you enter the segments that fire
the ware to a particular temperature, add one more segment
for cooling. Enter the rate. Then enter the temperature
where the cooling period will end (i.e. 1000F).
The instructions for other controllers may vary, but the
principles are the same.
Sincerely,
Arnold Howard
Paragon Industries, L.P., Mesquite, Texas USA
ahoward@paragonweb.com / www.paragonweb.com
Russel Fouts on fri 18 jul 08
Layering is the way to go with glazes to get really great results.
Julie and Carla from Standard Ceramics blew me away one NCECA with a
board of tests that they did layering Standard's 'standard' glazes.
Absolutely amazing! And they had only just begun to test a few of the glazes.
Maiolica gets really interesting when you layer the stiff white
maiolica glaze over a more fluid black or colored glaze.
Russel
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75
Http://www.mypots.com
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