Gay Judson on sat 17 oct 09
Sue, I do have, and use, MC6G. That is how I learned what little I
know about slow cooling. I do always have a hold at the top and a
soak on the way down. But in the case of Pete's descriptions those
holds/soaks are extremely long and I am wondering if they stimulate
crystals/matt production that is not beneficial for other glazes. I
did fire others in a long hold at 1850 and was not happy with the
result on another glaze--I think it was Floating Blue--and so have
been hesitant to put other glazes through the long (more than 20 or 30
minutes) soak that Pete describes in his article in Clay Times. But I
am eager to see what the really long soak would do to my red glaze.
Thanks for your response. Gay
On Oct 17, 2009, at 9:29 PM, Sue Cline wrote:
> Gay - get yourself a copy of John Hesselberth's and Ron Roy's
> "Mastering Cone 6 Glazes". This is not only a wonderful treatise
> about what happens in a glaze and what happens in slow vs. quick
> cooling, but also a source of excellent glaze base recipes and
> variations that benefit from slow cooling. You could fill that 1027
> in no time and have a whole new pallette to boot.
>
> Sue Cline
> Cincinnati, OH
>
> -----Original Message-----
>> From: Gay Judson
>> Sent: Oct 17, 2009 3:39 PM
>> To: Clayart@LSV.CERAMICS.ORG
>> Subject: slow cool glazes ^6
>>
>> I have a favorite ^6 glaze (C.Harris Tenmoku from the archives) that
>> is it's very best when slow cooled and held at around 1850 for an
>> hour
>> or more. Pete Pinnell wrote about some tomato red glazes that also
>> profit from slow cool and long holds. I am wondering if other glazes
>> also improve from that treatment. I don't want to have to wait to
>> fill a kiln (even my small Skutt 1027) with just that one glaze and
>> so
>> am looking for other glazes would do well in that same environment.
>> Are there any out there to share with me?
>> Thanks, Gay Judson in San Antonio
>
>
>
Sue Cline on sat 17 oct 09
Yep. I should have known you would have MC6G. Anyway, I'm getting ready to =
try the ultra-long soak with a few of my glazes -- I love what it does for =
the iron reds.
In my experience (and others' I believe) Floating Blue is one of those that=
does not benefit from slow cooling. If I cool FB slowly I get something li=
ke "snot green." Not pretty. Quick cooled it can be spectacular.
I wonder, however, if FB, as an iron-rich glaze, might react favorably to t=
he extra-long soak at 1900 or so. hmmmmm - must give it a try.
Sue Cline
Cincinnati, OH
-----Original Message-----
>From: Gay Judson
>Sent: Oct 17, 2009 11:22 PM
>To: Sue Cline , Clayart
>Subject: Re: slow cool glazes ^6
>
>Sue, I do have, and use, MC6G. That is how I learned what little I
>know about slow cooling. I do always have a hold at the top and a
>soak on the way down. But in the case of Pete's descriptions those
>holds/soaks are extremely long and I am wondering if they stimulate
>crystals/matt production that is not beneficial for other glazes. I
>did fire others in a long hold at 1850 and was not happy with the
>result on another glaze--I think it was Floating Blue--and so have
>been hesitant to put other glazes through the long (more than 20 or 30
>minutes) soak that Pete describes in his article in Clay Times. But I
>am eager to see what the really long soak would do to my red glaze.
>Thanks for your response. Gay
>
>On Oct 17, 2009, at 9:29 PM, Sue Cline wrote:
>
>> Gay - get yourself a copy of John Hesselberth's and Ron Roy's
>> "Mastering Cone 6 Glazes". This is not only a wonderful treatise
>> about what happens in a glaze and what happens in slow vs. quick
>> cooling, but also a source of excellent glaze base recipes and
>> variations that benefit from slow cooling. You could fill that 1027
>> in no time and have a whole new pallette to boot.
>>
>> Sue Cline
>> Cincinnati, OH
>>
>> -----Original Message-----
>>> From: Gay Judson
>>> Sent: Oct 17, 2009 3:39 PM
>>> To: Clayart@LSV.CERAMICS.ORG
>>> Subject: slow cool glazes ^6
>>>
>>> I have a favorite ^6 glaze (C.Harris Tenmoku from the archives) that
>>> is it's very best when slow cooled and held at around 1850 for an
>>> hour
>>> or more. Pete Pinnell wrote about some tomato red glazes that also
>>> profit from slow cool and long holds. I am wondering if other glazes
>>> also improve from that treatment. I don't want to have to wait to
>>> fill a kiln (even my small Skutt 1027) with just that one glaze and
>>> so
>>> am looking for other glazes would do well in that same environment.
>>> Are there any out there to share with me?
>>> Thanks, Gay Judson in San Antonio
>>
>>
>>
>
Gay Judson on sat 17 oct 09
I have a favorite ^6 glaze (C.Harris Tenmoku from the archives) that
is it's very best when slow cooled and held at around 1850 for an hour
or more. Pete Pinnell wrote about some tomato red glazes that also
profit from slow cool and long holds. I am wondering if other glazes
also improve from that treatment. I don't want to have to wait to
fill a kiln (even my small Skutt 1027) with just that one glaze and so
am looking for other glazes would do well in that same environment.
Are there any out there to share with me?
Thanks, Gay Judson in San Antonio
Dennis Gerasimov on sat 17 oct 09
Gay,
I might be wrong, but I believe this is specific to red iron oxide
glazes, see http://www.sankey.ws/glazeiron.html
I do, however, fire other things together with these red iron glazes. It
does not seem to hurt most other glazes I use to hold 950 C for an hour
or so.
Dennis
Gay Judson wrote:
> I have a favorite ^6 glaze (C.Harris Tenmoku from the archives) that
> is it's very best when slow cooled and held at around 1850 for an hour
> or more. Pete Pinnell wrote about some tomato red glazes that also
> profit from slow cool and long holds. I am wondering if other glazes
> also improve from that treatment. I don't want to have to wait to
> fill a kiln (even my small Skutt 1027) with just that one glaze and so
> am looking for other glazes would do well in that same environment.
> Are there any out there to share with me?
> Thanks, Gay Judson in San Antonio
Linda Mccaleb on sat 17 oct 09
=3DA0 Dear Gay,=3D0A=3DA0 I'm no expert on the subject, but I see no reason=
to fi=3D
re a kiln load to hold for just one glaze. If I have a glaze that needs to =
=3D
have a hold, I hold all the colors in the kiln with it and have had no ill =
=3D
effects.=3D0A=3DA0 Linda=3D0A=3D0A=3D0A
Sue Cline on sat 17 oct 09
Gay - get yourself a copy of John Hesselberth's and Ron Roy's "Mastering Co=
ne 6 Glazes". This is not only a wonderful treatise about what happens in a=
glaze and what happens in slow vs. quick cooling, but also a source of exc=
ellent glaze base recipes and variations that benefit from slow cooling. Yo=
u could fill that 1027 in no time and have a whole new pallette to boot.
Sue Cline
Cincinnati, OH
-----Original Message-----
>From: Gay Judson
>Sent: Oct 17, 2009 3:39 PM
>To: Clayart@LSV.CERAMICS.ORG
>Subject: slow cool glazes ^6
>
>I have a favorite ^6 glaze (C.Harris Tenmoku from the archives) that
>is it's very best when slow cooled and held at around 1850 for an hour
>or more. Pete Pinnell wrote about some tomato red glazes that also
>profit from slow cool and long holds. I am wondering if other glazes
>also improve from that treatment. I don't want to have to wait to
>fill a kiln (even my small Skutt 1027) with just that one glaze and so
>am looking for other glazes would do well in that same environment.
>Are there any out there to share with me?
>Thanks, Gay Judson in San Antonio
Des & Jan Howard on sun 18 oct 09
Gay
Hank Murrow has been using very long soaks around 1900
with success. I have been refiring pots, from Cone
10-12 gas firings, in an electric kiln to 1900 &
soaking for up to 6 1/2 hours with interesting results.
Des
Gay Judson wrote:
> I do always have a hold at the top and a
> soak on the way down. But in the case of Pete's descriptions those
> holds/soaks are extremely long and I am wondering if they stimulate
> crystals/matt production that is not beneficial for other glazes. I
> did fire others in a long hold at 1850 and was not happy with the
> result on another glaze--I think it was Floating Blue--and so have
> been hesitant to put other glazes through the long (more than 20 or 30
> minutes) soak that Pete describes in his article in Clay Times. But I
> am eager to see what the really long soak would do to my red glaze.
--
Des & Jan Howard
Lue Pottery
Lue NSW
Australia
2850
02 6373 6419
www.luepottery.hwy.com.au
-32.656072 149.840624
Dolita Dohrman on sun 18 oct 09
What I would do is make up a bunch of test tiles. Dip two test tiles
in every one of your glazes in your studio. Put one group in the
next fast fire you do, the other group in a slow fire. It is a sure
way to see what will work. A few glazes I use that benefit from slow
fire are Spearmint, Frogpond, Charcoal Satin Matte. Spearmint and
Char Satin Matte look good together also. All are Ron and John's
glazes. Any red iron oxide glazes will benefit from a slow fire also.
Dolita in Kentucky
>>>
>>>
>>> -----Original Message-----
>>>> From: Gay Judson
>>>> Sent: Oct 17, 2009 3:39 PM
>>>> To: Clayart@LSV.CERAMICS.ORG
>>>> Subject: slow cool glazes ^6
>>>>
>>>> I have a favorite ^6 glaze (C.Harris Tenmoku from the archives)
>>>> that
>>>> is it's very best when slow cooled and held at around 1850 for an
>>>> hour
>>>> or more. Pete Pinnell wrote about some tomato red glazes that also
>>>> profit from slow cool and long holds. I am wondering if other
>>>> glazes
>>>> also improve from that treatment. I don't want to have to wait to
>>>> fill a kiln (even my small Skutt 1027) with just that one glaze and
>>>> so
>>>> am looking for other glazes would do well in that same environment.
>>>> Are there any out there to share with me?
>>>> Thanks, Gay Judson in San Antonio
>>>
>>>
>>>
>>
Chaeli Sullivan on sun 18 oct 09
Gay
In the last years, have worked soooo hard to get my kilns =3DA0-- =3DA0up t=
o te=3D
mp, -- that haven't experimented yet with trying to=3DA0slow temps on the w=
ay=3D
down !!!=3DA0 But, i've read where others have and have gotten really nice=
s=3D
aturated colors . . . .
On the MC6G book /and also saturated reds,=3DA0 Mary=3DA0 Starosta has work=
ed w=3D
ith both the book, its glazes, =3DA0and with a glaze which turned red after=
f=3D
iring it once at cone 6, then a second firing at cone 04.=3DA0 Mary was kin=
d =3D
enough to share her experiences with us on her blog in posts from June 08=
=3D
=3DA0to Sept 08.=3DA0 I found Mary's posts to be a great help !!! =3DA0=3DA=
0=3DA0http=3D
://marystarosta.wordpress.com
Hope this helps.
Chae
--- On Sat, 10/17/09, Gay Judson wrote:
From: Gay Judson
Subject: Re: slow cool glazes ^6
To: Clayart@LSV.CERAMICS.ORG
Date: Saturday, October 17, 2009, 8:22 PM
Sue,=3DA0 I do have, and use, MC6G.=3DA0 That is how I learned what little =
I kn=3D
ow about slow cooling.=3DA0 I do always have a hold at the top and a soak o=
n =3D
the way down.=3DA0 But in the case of Pete's descriptions those holds/soaks=
a=3D
re extremely long . . . . so have been hesitant to put other glazes through=
=3D
the long (more than 20 or 30 minutes) soak that Pete describes in his arti=
=3D
cle in Clay Times.=3DA0 But I am eager to see what the really long soak wou=
ld=3D
do to my red glaze.
=3DA0From: Gay Judson
=3DA0Sent: Oct 17, 2009 3:39 PM
=3DA0I have a favorite ^6 glaze (C.Harris Tenmoku from the archives) that i=
s =3D
it's very best when slow cooled and held at around 1850 for an hour or more=
=3D
.=3DA0 Pete Pinnell wrote about some tomato red glazes that also profit fro=
m =3D
slow cool and long holds.=3DA0 I am wondering if other glazes also improve =
fr=3D
om that treatment.=3DA0
=3D0A=3D0A=3D0A
Des & Jan Howard on sun 18 oct 09
Gay
My shinos do well with soaks around that temp.
Also try pale glazes with a goodly amount of magnesia
in them, especially if over temmoku.
Des
Gay Judson wrote:
> I have a favorite ^6 glaze (C.Harris Tenmoku from the archives) that
> is it's very best when slow cooled and held at around 1850 for an hour
> or more. Pete Pinnell wrote about some tomato red glazes that also
> profit from slow cool and long holds. I am wondering if other glazes
> also improve from that treatment. I don't want to have to wait to
> fill a kiln (even my small Skutt 1027) with just that one glaze and so
> am looking for other glazes would do well in that same environment.
> Are there any out there to share with me?
--
Des & Jan Howard
Lue Pottery
Lue NSW
Australia
2850
02 6373 6419
www.luepottery.hwy.com.au
-32.656072 149.840624
Ron Roy on sat 31 oct 09
Hi Gay,
I remember reading about something called "striking" which is used to
improve glazes - like copper reds for instance.
The technique is - refiring to a soft bisque to allow more crystals to grow
on the way up and on the way down.
This temperature would be in the same general area you are using - perhaps
it is common to a lot of crystal formation in glazes.
Does any one have any information that would lead to a better understanding
of what temperature are best for the different crystals we grow?
RR
On Sat, Oct 17, 2009 at 3:39 PM, Gay Judson wrote:
> I have a favorite ^6 glaze (C.Harris Tenmoku from the archives) that
> is it's very best when slow cooled and held at around 1850 for an hour
> or more. Pete Pinnell wrote about some tomato red glazes that also
> profit from slow cool and long holds. I am wondering if other glazes
> also improve from that treatment. I don't want to have to wait to
> fill a kiln (even my small Skutt 1027) with just that one glaze and so
> am looking for other glazes would do well in that same environment.
> Are there any out there to share with me?
> Thanks, Gay Judson in San Antonio
>
--
Ron Roy
15084 Little Lake Road
Brighton, Ontario, Canada
K0K 1H0
Steve Slatin on sun 1 nov 09
Ron -- I have not thought about this subject
for at least a year (I am currently obsessed
with statistical sampling issues, which are
of no use in pottery) and cannot put my
hands on the documents I need, but my
recollection is that for iron nucleation
in silica melts it's something in the area
of 1650 F optimal for nucleation and about
50 - 100 degrees higher for optimal=3D20
crystalline growth.
In the (rather unlikely) event that I find
my notes on this, I'll post details and
a reference. The source of the temperature
information was a learned paper on either
metallurgy or geology; I can't remember
which, and of which I understood nearly
nothing except he temperature ... it's hard
to search for that with so little hard
information ...
Steve Slatin --=3D20
--- On Sat, 10/31/09, Ron Roy wrote:
> Hi Gay,
>=3D20
> I remember reading about something called "striking" which
> is used to
> improve glazes - like copper reds for instance.
> The technique is - refiring to a soft bisque to allow more
> crystals to grow
> on the way up and on the way down.
>=3D20
> This temperature would be in the same general area you are
> using - perhaps
> it is common to a lot of crystal formation in glazes.
>=3D20
> Does any one have any information that would lead to a
> better understanding
> of what temperature are best for the different crystals we
> grow?
>=3D20
> RR
>=3D20
> On Sat, Oct 17, 2009 at 3:39 PM, Gay Judson
> wrote:
>=3D20
> > I have a favorite ^6 glaze (C.Harris Tenmoku from the
> archives) that
> > is it's very best when slow cooled and held at around
> 1850 for an hour
> > or more.=3DA0 Pete Pinnell wrote about some tomato
> red glazes that also
> > profit from slow cool and long holds.=3DA0 I am
> wondering if other glazes
> > also improve from that treatment.=3DA0 I don't want
> to have to wait to
> > fill a kiln (even my small Skutt 1027) with just that
> one glaze and so
> > am looking for other glazes would do well in that same
> environment.
> > Are there any out there to share with me?
> > Thanks,=3DA0 Gay Judson in San Antonio
> >
>=3D20
>=3D20
>=3D20
> --
> Ron Roy
> 15084 Little Lake Road
> Brighton, Ontario, Canada
> K0K 1H0
> =3D0A=3D0A=3D0A
Ron Roy on fri 6 nov 09
Hi Steve,
Thanks for weighing in on this - fascinating subject at any level.
I looked up the definition of nucleation - the temperature at which a
nucleus will form - in this case in an iron silica melt. You say about 900C
(1650F.)
If the ideal temperature for crystal growth is 1700F to 1750F (926C to 954)
then would you have to cool to 1650F then go up to and hold at the higher
temperature?
If there were already unmelted nuclei (from TiO2 or tin for instance) would
the crystals start sooner?
I'm trying to spur you on of course - where would you look for such
information?
Thanks - RR
On Sun, Nov 1, 2009 at 11:30 AM, Steve Slatin wrote=
:
> Ron -- I have not thought about this subject
> for at least a year (I am currently obsessed
> with statistical sampling issues, which are
> of no use in pottery) and cannot put my
> hands on the documents I need, but my
> recollection is that for iron nucleation
> in silica melts it's something in the area
> of 1650 F optimal for nucleation and about
> 50 - 100 degrees higher for optimal
> crystalline growth.
>
> In the (rather unlikely) event that I find
> my notes on this, I'll post details and
> a reference. The source of the temperature
> information was a learned paper on either
> metallurgy or geology; I can't remember
> which, and of which I understood nearly
> nothing except he temperature ... it's hard
> to search for that with so little hard
> information ...
>
>
> Steve Slatin --
>
>
>
>
> --- On Sat, 10/31/09, Ron Roy wrote:
>
> > Hi Gay,
> >
> > I remember reading about something called "striking" which
> > is used to
> > improve glazes - like copper reds for instance.
> > The technique is - refiring to a soft bisque to allow more
> > crystals to grow
> > on the way up and on the way down.
> >
> > This temperature would be in the same general area you are
> > using - perhaps
> > it is common to a lot of crystal formation in glazes.
> >
> > Does any one have any information that would lead to a
> > better understanding
> > of what temperature are best for the different crystals we
> > grow?
> >
> > RR
> >
> > On Sat, Oct 17, 2009 at 3:39 PM, Gay Judson
> > wrote:
> >
> > > I have a favorite ^6 glaze (C.Harris Tenmoku from the
> > archives) that
> > > is it's very best when slow cooled and held at around
> > 1850 for an hour
> > > or more. Pete Pinnell wrote about some tomato
> > red glazes that also
> > > profit from slow cool and long holds. I am
> > wondering if other glazes
> > > also improve from that treatment. I don't want
> > to have to wait to
> > > fill a kiln (even my small Skutt 1027) with just that
> > one glaze and so
> > > am looking for other glazes would do well in that same
> > environment.
> > > Are there any out there to share with me?
> > > Thanks, Gay Judson in San Antonio
> > >
> >
> >
> >
> > --
> > Ron Roy
> > 15084 Little Lake Road
> > Brighton, Ontario, Canada
> > K0K 1H0
> >
>
>
>
>
--
Ron Roy
15084 Little Lake Road
Brighton, Ontario, Canada
K0K 1H0
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