gary navarre on thu 7 may 09
Elizabeth, =3D0A=3D0A I'm impressed with what you are getting so far! I hop=
e yo=3D
u realize that with an inch of ceramic fiber blanket a/or some IFB you shou=
=3D
ld be able to go past ^8 to ^10 with just a couple more hours stoking? One =
=3D
of the first kilns I fired to ^10 was just such a double cross-draft but wi=
=3D
th the door on the back end and it was made of IFB. As I recall it took mor=
=3D
e than 24 hours, single firing, mostly hardwood was laying all around while=
=3D
I split and stoked. It was also closer to the ground so I was doing a lot =
=3D
of crawling around. Might have even rained. What an ordeal! But, I got grea=
=3D
t results and sold some in Ann Arbor off a blanket on the ground. Properly =
=3D
built that little double cross-draft is about the most efficient design aro=
=3D
und for an under 25cu.ft. wood fired kiln. Great training design so stay in=
=3D
there eh!=3D0A=3D0AGary Navarre=3D0ANavarre Pottery=3D0ANavarre Enterprise=
s=3D0ANorw=3D
ay, Michigan, USA=3D0Ahttp://www.youtube.com/GindaUP=3D0Ahttp://public.fotk=
i.co=3D
m/GindaUP/=3D0A=3D0A=3D0A--- On Thu, 5/7/09, Elizabeth Priddy AHOO.C=3D
OM> wrote:=3D0A=3D0A> From: Elizabeth Priddy =3D0A> S=
ubject=3D
: [Clayart] pictures of cone 7 wood firing work=3D0A> To: Clayart@LSV.CERAM=
IC=3D
S.ORG=3D0A> Date: Thursday, May 7, 2009, 1:30 PM=3D0A> This is an album sho=
wing=3D
the ash=3D0A> glazes fired in the wood kiln.=3D0A> =3D0A> We got cone 8 in=
6 hou=3D
rs and then slow cooled.=3DA0 The=3D0A> glazes used in the album are fluxed=
unw=3D
ashed ash glazes.=3D0A> =3D0A> The images in the canteens are made with a P=
RESS=3D
, a=3D0A> stamping system that I am working with now.=3D0A> =3D0A> =3D0A> =
=3D0A> http=3D
://www.angelfire.com/nc/clayworkshop/examples_of_work_from_the_wood_firing/=
=3D
=3D0A> =3D0A> Elizabeth Priddy=3D0A> Beaufort, NC - USA=3D0A> =3D0A> Worksh=
ops and po=3D
ttery online at:=3DA0 http://www.elizabethpriddy.com=3D0A> =3D0A> Personal =
Blog:=3D
=3DA0=3DA0=3DA0http://open.salon.com/user_blog.php?uid=3D3D943=3D0A> =3D0A>=
Natural Ins=3D
tincts Conference Information:=3D0A> http://downtothepottershouse.com/Natur=
al=3D
Instincts.html=3D0A> =3D0A> Kiln pictures and such:=3DA0 http://www.flickr.=
com/ph=3D
otos/7973282@N03/=3D0A> =3D0A=3D0A=3D0A
Elizabeth Priddy on thu 7 may 09
This is an album showing the ash glazes fired in the wood kiln.
We got cone 8 in 6 hours and then slow cooled. The glazes used in the albu=
m are fluxed unwashed ash glazes.
The images in the canteens are made with a PRESS, a stamping system that I =
am working with now.
http://www.angelfire.com/nc/clayworkshop/examples_of_work_from_the_wood_fir=
ing/
Elizabeth Priddy
Beaufort, NC - USA
Workshops and pottery online at: http://www.elizabethpriddy.com
Personal Blog: http://open.salon.com/user_blog.php?uid=3D943
Natural Instincts Conference Information:
http://downtothepottershouse.com/NaturalInstincts.html
Kiln pictures and such: http://www.flickr.com/photos/7973282@N03/
gary navarre on fri 8 may 09
Oh I see, I thought you were a recovering electric firer heading to ^10 or =
=3D
^12 with a stop at ^7-8 on the way. I guess I didn't understand ^7 with a ^=
=3D
10 look-a-like was your goal. Still, more insulation would stretch the time=
=3D
between stokes near the end because the blasted heat jump from the sawdust=
=3D
with the hard wood log will be held longer. It just seems 4=3DBD" of hard =
br=3D
ick is a little thin for a low volume load/heat sink. I do see the value as=
=3D
a quick turn around teaching device but for production I guess I'm not int=
=3D
o real quick anymore. As I now recall the firing I reffered to doing alone =
=3D
was single fire so there was a bisque fire tacked on the front end. I don't=
=3D
recall having a pyrometer or meat thermometer to keep track of the water s=
=3D
oaking so that was probably longer than necessary. I assume you folks are b=
=3D
isque firing first so doing a fast fire like that would be easier. =3D0A =
=3D
=3D0AGary Navarre=3D0ANavarre Pottery=3D0ANavarre Enterprises=3D0ANorway, M=
ichigan,=3D
USA=3D0Ahttp://www.youtube.com/GindaUP=3D0Ahttp://public.fotki.com/GindaUP=
/=3D0A=3D
=3D0A=3D0A--- On Fri, 5/8/09, Elizabeth Priddy wrote=
:=3D0A=3D
=3D0A> From: Elizabeth Priddy =3D0A> Subject: Re: [Cl=
ayar=3D
t] pictures of cone 7 wood firing work=3D0A> To: Clayart@LSV.CERAMICS.ORG=
=3D0A>=3D
Date: Friday, May 8, 2009, 8:32 AM=3D0A> Gary,=3D0A> =3D0A> Thank you!=3DA=
0 I have=3D
been working towards achieving a=3D0A> look and true vitrification and I t=
hi=3D
nk I have got it.=3DA0=3D0A> I am very happy with the ash glaze and the pro=
cedu=3D
re couln't=3D0A> be easier.=3D0A> =3D0A> I think cone 7 wood is more ration=
al for=3D
an individual=3D0A> studio potter working either alone or with a small cre=
w,=3D
6=3D0A> or less.=3DA0 Especially for schools because we fired twice=3D0A> =
in 4 d=3D
ays, and that was incredibly educational to fire back=3D0A> to back with a =
cr=3D
it in between.=3DA0 But if you can't get=3D0A> the look at that temperature=
, th=3D
ere is no point.=3DA0 We=3D0A> got the look that is characteristic to me, t=
he f=3D
lashing and=3D0A> wadding marks.=3DA0 The pure ash glaze is not attractive =
to=3D
=3D0A> me, really, so it is not critical.=3DA0 Steve gets the pure=3D0A> as=
h glaz=3D
e with just a couple more hours of stoking.=3DA0=3D0A> And he loves it!=3DA=
0 So i=3D
t has a lot of variability, and=3D0A> that is a big plus to me.=3D0A> =3D0A=
> We h=3D
ad 7 down and were pushing past 8 in 6 hours!=3DA0 I=3D0A> use sawdust fire=
ball=3D
s to make the blast most=3D0A> efficient.=3DA0 So I am stoking with one har=
dwoo=3D
d stick and=3D0A> one firebag every minute or two at the end.=3DA0 My kiln =
is=3D
=3D0A> modified from Steve's original plans.=3DA0 I had the old=3D0A> versi=
on and=3D
built from that, but it is interesting that I=3D0A> changed the floor and =
si=3D
de intakes in a way that he=3D0A> independently changed in his subsequent p=
la=3D
ns.=3DA0 My seat=3D0A> of the pants decision based on available 3 hole bric=
k an=3D
d a=3D0A> rudimentary idea about building a grate turns out to be the=3D0A>=
bet=3D
ter way.=3DA0 I modified it quite a bit as we built it=3D0A> and after firi=
ngs =3D
and that is really good.=3DA0 Building=3D0A> and firing this has been an ed=
ucat=3D
ion for myself in kiln=3D0A> design and firing.=3DA0 And as mel says, doing=
it =3D
is the=3D0A> best way to learn about it.=3D0A> =3D0A> We stopped because we=
didn'=3D
t want to take it higher.=3DA0=3D0A> My plan for this kiln is to fire using=
the=3D
same materials as=3D0A> the rest of the studio, which is cone 7-8 stonewar=
e.=3D
=3DA0=3D0A> Any higher than 9 and the whole kiln would have=3D0A> bloated.=
=3DA0 We =3D
got rich color and ash accumulation on=3D0A> several pieces in amounts that=
m=3D
ake them interesting for me=3D0A> but not "all about" the ash, if you know =
wh=3D
at I mean.=3D0A> =3D0A> But the kiln can do it, Steve has definitely proven=
=3D0A>=3D
that.=3DA0 It is different from traditional wood and so the=3D0A> goal and=
the=3D
expected outcome should be different.=3DA0=3D0A> This kiln is managable fo=
r 1-=3D
3 people and a fun experimental=3D0A> kiln.=3DA0 It was a challenge to myse=
lf t=3D
o build and adapt=3D0A> one for my area of the country where the water tabl=
e =3D
is very=3D0A> high and the wood available is very poor, making a=3D0A> trad=
itio=3D
nal anagama or climbing kiln much less practical.=3D0A> =3D0A> I can get ab=
out =3D
40-50 beautiful toasty wood pieces out of=3D0A> it, too, so it is a reasona=
bl=3D
e size for a days work.=3DA0=3D0A> So in the same 6 days of loading firing =
and =3D
unloading of a=3D0A> traditional small anagama, I could produce about 200 p=
ie=3D
ces=3D0A> of finished work up to 2 feet by 2 feet by 3 feet in size=3D0A> (=
the =3D
interior ware chamber size).=3DA0 That is comparable=3D0A> in output overal=
l.=3D
=3D0A> =3D0A> I am getting the wood effect with the same materials.=3DA0=3D=
0A> This=3D
is important in the experiment for me.=3D0A> =3D0A> We were hitting a new =
cone=3D
every 15 minutes of stoking by=3D0A> the blast and Steve and I both though=
t =3D
that we could=3D0A> continue the rise with no problem.=3D0A> =3D0A> I might=
take =3D
it higher some time, but I would do that with=3D0A> work without glaze.=3DA=
0 We=3D
were accumulating ash pretty=3D0A> well at 8 (by the draw rings) and I wil=
l =3D
probably do a=3D0A> firing with no glaze and see how it turns out.=3D0A> =
=3D0A> I=3D
built this in 2007 and am just getting around to talking=3D0A> about it, b=
ut=3D
I have fired it often enough now that I am=3D0A> ready to share the result=
s.=3D
=3DA0 I had to get to know it=3D0A> well first, especially because there ar=
e a =3D
lot of skeptics=3D0A> about cone 7 wood, still. But I think I can defend th=
is=3D
kiln=3D0A> well as a viable option for studio potters.=3DA0 And the=3D0A> =
work w=3D
ill have to speak for itself.=3D0A> =3D0A> =3D0A> Elizabeth Priddy=3D0A> Be=
aufort, =3D
NC - USA=3D0A> =3D0A> Workshops and pottery online at:=3DA0 http://www.eliz=
abethp=3D
riddy.com=3D0A> =3D0A> =3D0A> http://www.angelfire.com/nc/clayworkshop/exam=
ples_o=3D
f_work_from_the_wood_firing/=3D0A> =3D0A=3D0A=3D0A
Elizabeth Priddy on fri 8 may 09
Gary,
Thank you! I have been working towards achieving a look and true vitrifica=
tion and I think I have got it. I am very happy with the ash glaze and the=
procedure couln't be easier.
I think cone 7 wood is more rational for an individual studio potter workin=
g either alone or with a small crew, 6 or less. Especially for schools bec=
ause we fired twice in 4 days, and that was incredibly educational to fire =
back to back with a crit in between. But if you can't get the look at that=
temperature, there is no point. We got the look that is characteristic to=
me, the flashing and wadding marks. The pure ash glaze is not attractive =
to me, really, so it is not critical. Steve gets the pure ash glaze with j=
ust a couple more hours of stoking. And he loves it! So it has a lot of v=
ariability, and that is a big plus to me.
We had 7 down and were pushing past 8 in 6 hours! I use sawdust fireballs =
to make the blast most efficient. So I am stoking with one hardwood stick =
and one firebag every minute or two at the end. My kiln is modified from S=
teve's original plans. I had the old version and built from that, but it i=
s interesting that I changed the floor and side intakes in a way that he in=
dependently changed in his subsequent plans. My seat of the pants decision=
based on available 3 hole brick and a rudimentary idea about building a gr=
ate turns out to be the better way. I modified it quite a bit as we built =
it and after firings and that is really good. Building and firing this has=
been an education for myself in kiln design and firing. And as mel says, =
doing it is the best way to learn about it.
We stopped because we didn't want to take it higher. My plan for this kiln=
is to fire using the same materials as the rest of the studio, which is co=
ne 7-8 stoneware. Any higher than 9 and the whole kiln would have bloated.=
We got rich color and ash accumulation on several pieces in amounts that =
make them interesting for me but not "all about" the ash, if you know what =
I mean.
But the kiln can do it, Steve has definitely proven that. It is different =
from traditional wood and so the goal and the expected outcome should be di=
fferent. This kiln is managable for 1-3 people and a fun experimental kiln=
. It was a challenge to myself to build and adapt one for my area of the c=
ountry where the water table is very high and the wood available is very po=
or, making a traditional anagama or climbing kiln much less practical.
I can get about 40-50 beautiful toasty wood pieces out of it, too, so it is=
a reasonable size for a days work. So in the same 6 days of loading firin=
g and unloading of a traditional small anagama, I could produce about 200 p=
ieces of finished work up to 2 feet by 2 feet by 3 feet in size (the interi=
or ware chamber size). That is comparable in output overall.
I am getting the wood effect with the same materials. This is important in=
the experiment for me.
We were hitting a new cone every 15 minutes of stoking by the blast and Ste=
ve and I both thought that we could continue the rise with no problem.
I might take it higher some time, but I would do that with work without gla=
ze. We were accumulating ash pretty well at 8 (by the draw rings) and I wi=
ll probably do a firing with no glaze and see how it turns out.
I built this in 2007 and am just getting around to talking about it, but I =
have fired it often enough now that I am ready to share the results. I had=
to get to know it well first, especially because there are a lot of skepti=
cs about cone 7 wood, still. But I think I can defend this kiln well as a v=
iable option for studio potters. And the work will have to speak for itsel=
f.
Elizabeth Priddy
Beaufort, NC - USA
Workshops and pottery online at: http://www.elizabethpriddy.com
http://www.angelfire.com/nc/clayworkshop/examples_of_work_from_the_wood_fir=
ing/
Steve Mills on fri 8 may 09
Hi Gary,
Elizabeth's Kiln is well capable of exceeding cone 10, we had to hold it ba=
=3D
ck!!
It's just that all her glazes are in the 7+ region, so there was no need (o=
=3D
r desire) to go higher.
Maybe in the future, but the results she gets are what she loves, and as fa=
=3D
r as I'm concerned, that's good enough for me.
With my own one here in the UK we fire to 12 flat! but then that's where MY=
=3D
glazes are.
Keep 'em Smokin' Pal
Steve Mills
Bath
UK
--- On Fri, 5/8/09, gary navarre wrote:
From: gary navarre
Subject: Re: pictures of cone 7 wood firing work
To: Clayart@LSV.CERAMICS.ORG
Date: Friday, May 8, 2009, 5:41 AM
Elizabeth,=3D20
I'm impressed with what you are getting so far! I hope you realize that wi=
=3D
th an inch of ceramic fiber blanket a/or some IFB you should be able to go =
=3D
past ^8 to ^10 with just a couple more hours stoking? One of the first kiln=
=3D
s I fired to ^10 was just such a double cross-draft but with the door on th=
=3D
e back end and it was made of IFB. As I recall it took more than 24 hours, =
=3D
single firing, mostly hardwood was laying all around while I split and stok=
=3D
ed. It was also closer to the ground so I was doing a lot of crawling aroun=
=3D
d. Might have even rained. What an ordeal! But, I got great results and sol=
=3D
d some in Ann Arbor off a blanket on the ground. Properly built that little=
=3D
double cross-draft is about the most efficient design around for an under =
=3D
25cu.ft. wood fired kiln. Great training design so stay in there eh!
Gary Navarre
Navarre Pottery
Navarre Enterprises
Norway, Michigan, USA
http://www.youtube.com/GindaUP
http://public.fotki.com/GindaUP/
--- On Thu, 5/7/09, Elizabeth Priddy wrote:
> From: Elizabeth Priddy
> Subject: [Clayart] pictures of cone 7 wood firing work
> To: Clayart@LSV.CERAMICS.ORG
> Date: Thursday, May 7, 2009, 1:30 PM
> This is an album showing the ash
> glazes fired in the wood kiln.
>=3D20
> We got cone 8 in 6 hours and then slow cooled.=3DA0 The
> glazes used in the album are fluxed unwashed ash glazes.
>=3D20
> The images in the canteens are made with a PRESS, a
> stamping system that I am working with now.
>=3D20
>=3D20
>=3D20
> http://www.angelfire.com/nc/clayworkshop/examples_of_work_from_the_wood_f=
=3D
iring/
>=3D20
> Elizabeth Priddy
> Beaufort, NC - USA
>=3D20
> Workshops and pottery online at:=3DA0 http://www.elizabethpriddy.com
>=3D20
> Personal Blog:=3DA0=3DA0=3DA0http://open.salon.com/user_blog.php?uid=3D3D=
943
>=3D20
> Natural Instincts Conference Information:
> http://downtothepottershouse.com/NaturalInstincts.html
>=3D20
> Kiln pictures and such:=3DA0 http://www.flickr.com/photos/7973282@N03/
>=3D20
=3D0A=3D0A=3D0A
Lee Love on fri 8 may 09
Most modern fastfire kilns, if they are built properly, can hit cone
10 in 5 or 6 hours. The big tasks , like Steve mentioned, his
holding them back.
--
Lee Love in Minneapolis
http://mingeisota.blogspot.com/
"The secret of life is to have a task, something you devote your
entire life to, something you bring everything to, every minute of the
day for the rest of your life. And the most important thing is, it
must be something you cannot possibly do." - Moore, Henry
Elizabeth Priddy on sat 9 may 09
No! I am no recovering electric firer. If this kiln was not compatible wi=
=3D
th my cone 7-8 materials, I would have to ship, manage, and store a whole n=
=3D
other line of clay and glazes. And that increases your carbon load. =3D20
Electric firing has bought me a house, a studio, and a trip to china among =
=3D
other living expenses for 25 years, so I am sticking with the main money ea=
=3D
rner in my life. I did not need this kiln in any professional way. My prim=
=3D
ary expertise is chinese brush painting and it works best in oxidation. I =
=3D
have run some through the wood kiln, though, and gas, and it takes on an an=
=3D
tique affect that is lovely. The reduction mutes the color and draws up "n=
=3D
oise" in the paintings. It's all good.
The wood kiln is for intellectual and personal growth. I needed a new stim=
=3D
ulus and challenge while the boy got up to school age and I needed it at ho=
=3D
me, not an mfa-program commute away (ECU has a wonderful program but it is =
=3D
2 hours away and that is not compatible with raising a toddler-you adjust a=
=3D
s life occurs).
Also there are a lot of factors of higher firing wood that I am not wild ab=
=3D
out. They are what they are and that is good, but did not fit my long term=
=3D
needs or desires. Huge runny ash and gnar do not do it for me, and for th=
=3D
at sort of thing, I can always fire in Dan Finch's Mamagama, which does tha=
=3D
t really well and is two and a half hours away. I like the subtle, softer,=
=3D
warm, toasty, heavily reduced side of wood. Things that an electric kiln =
=3D
struggles with. I also like a light french salt, and that is not compatibl=
=3D
e with long firing wood.
It is like owning a truck and a convertible. I want both, but a convertibl=
=3D
e truck, while a novelty, would just be a bad truck AND a bad convertible. =
=3D
Because if I am hauling stuff, I don't want it to fly back up in my face, =
=3D
and if I want the breeze in my hair, I don't want there to be "garbage" in =
=3D
the breeze.
As it is, I have a complete set of 14 glazes that I have worked with for 25=
=3D
years that I know well and trust that now have a whole new look. One of t=
=3D
he ones that I 'never used' electric because of serious crawling issues is =
=3D
dramatically beautiful in this reduction wood fire. My gloss white behaves=
=3D
like a clean japanese shino, carbon trapping and all. During the two firi=
=3D
ngs, I had the 8 attendees use all 14 glazes, that is what all those bucket=
=3D
s lined up in the pictures were about. We tried everything and MANY combin=
=3D
ations including Coyote glazes and some raku glazes. If it melts, I am wil=
=3D
ling and able to melt it.
They fired on average 4 pieces a piece and I had 12 in and two from my stud=
=3D
ent who is deployed right now and couldn't make it. So 46 test pots and 18=
=3D
salt cups (coveted) makes 64 pieces of work. We only had one crawling inc=
=3D
ident and I am sure that involved glazing after lunch of pizza. We got an =
=3D
excellent range of glaze effects. The ony one I am missing is a copper red=
=3D
. But the iron saturate red is a personal favorite along with a green cele=
=3D
don.
The top is covered with a fiber blanket and a complete layer of firebrick w=
=3D
hen firing. That is a HUGE r-factor for the top, where the heat escapes th=
=3D
e most. The sides are designed to breathe. The firebox is twice the size o=
=3D
f the ware chamber and heats from below and through draft, so heat is not a=
=3D
problem. For accumulation and debris, I can fire it down or fire it longe=
=3D
r. It is a choice to fire it to just the right spot.
Steve, who has fired this style kiln all over the world verified that it co=
=3D
uld do the other and his experienced opinion is good enough for me. Workin=
=3D
g and firing with him was a treasured experience for me. It took some arra=
=3D
nging since he is from the UK, but we seized on an opportunity and I got to=
=3D
fire the kiln with the initial designer of it, twice. He showed me how to=
=3D
fire it more efficiently, and I am confident now that I could land at any =
=3D
site and have one built in one day and firing the next. That is a good fee=
=3D
ling and worth the three years of work outside the box. (And no daycare fo=
=3D
r the 4 year old, so we all win as a family.)
Fast is good as long as the result is good. It is not a look-a-like as muc=
=3D
h as a whole new look. And its firing range is earthenware to cone 12-13, s=
=3D
o it has versatility as well as ease of firing. I think you can tell that =
=3D
I love my kiln, huh? We should all love and respect our kilns. If you hat=
=3D
e the way you are firing, how can you love your work?
The best universities are trying it...mainly with kilns designed to work hi=
=3D
gher, so they are having to adapt them. This kiln is designed to do this. =
=3D
If you have two days to spare, you are welcome to come fire it! =3D20
That goes for anyone with time for a visit to the beach. A 2-day wood work=
=3D
shop is now a fun addition to stuff to do here in the Beaufort studio. We =
=3D
filled this past workshop with local potters that had seen my experiments, =
=3D
so I didn't advertise it past an announcement on Clayart, but I can organiz=
=3D
e one for any group of 4-6 people that want to learn about it. Our brigade=
=3D
only had one experienced wood-fire person, all the rest learned on the fir=
=3D
st firing and then fired it themselves for the second. Steve, his wife Kat=
=3D
e, and I just held back and let them do it. I stepped in for one technical=
=3D
problem with their sawdust bags, but that part of the workshop was all abo=
=3D
ut letting them learn by doing. I did throwing demos on a York wheel, brus=
=3D
h painting demos, and just enjoyed the people and the day. That part, the =
=3D
communal firing, is still true of this kiln, if you want it. And if I want=
=3D
to fill it with special work for a show or project, I can easily
fire it by myself.
I think I am chattering about my kiln at this point, so I'll stop. But if =
=3D
anyone has questions about it, just ask. Sharing it is the main point now.=
=3D
We are firing again in three weeks. I am throwing for it now. Anyone wh=
=3D
o wants to join in should just email me and I can save you a spot.
Elizabeth Priddy
Beaufort, NC - USA
Workshops and pottery online at: http://www.elizabethpriddy.com
Personal Blog: http://open.salon.com/user_blog.php?uid=3D3D943
Natural Instincts Conference Information:
http://downtothepottershouse.com/NaturalInstincts.html
Kiln pictures and such: http://www.flickr.com/photos/7973282@N03/
--- On Sat, 5/9/09, gary navarre wrote:
> From: gary navarre
> Subject: Re: [Clayart] pictures of cone 7 wood firing work
> To: Clayart@LSV.CERAMICS.ORG, priddyclay@yahoo.com
> Date: Saturday, May 9, 2009, 1:05 AM
> Oh I see, I thought you were a recovering electric firer
> heading to ^10 or ^12 with a stop at ^7-8 on the way. I
> guess I didn't understand ^7 with a ^10 look-a-like was
> your goal. Still, more insulation would stretch the time
> between stokes near the end because the blasted heat jump
> from the sawdust with the hard wood log will be held longer.
> It just seems 4=3DBD" of hard brick is a little thin for a
> low volume load/heat sink. I do see the value as a quick
> turn around teaching device but for production I guess
> I'm not into real quick anymore. As I now recall the
> firing I reffered to doing alone was single fire so there
> was a bisque fire tacked on the front end. I don't
> recall having a pyrometer or meat thermometer to keep track
> of the water soaking so that was probably longer than
> necessary. I assume you folks are bisque firing first so
> doing a fast fire like that would be easier. =3D20
> =3D20
> Gary Navarre
> Navarre Pottery
> Navarre Enterprises
> Norway, Michigan, USA
> http://www.youtube.com/GindaUP
> http://public.fotki.com/GindaUP/
=3D0A=3D0A=3D0A
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