gary navarre on fri 21 may 10
Hay Crew,=3D0A=3D0A Picking through the half fired pots from the first load=
I'm=3D
finding a lot of pieces with glaze popping off for what could be a number =
=3D
of reasons. Some might be the glaze fit, however the pots and glazes were n=
=3D
ot done shrinking into place yet. Some could be gases still bubbling up thr=
=3D
ough the soft glaze film and freezing in place as the load cooled leaving l=
=3D
arge bubbles. Under some broken open bubbles the Apple Ash Slip Glaze with =
=3D
black copper oxide must have been to intense a percentage and acted as a re=
=3D
sist helping loosen the glaze film. I'm thinking these bubbles and loose sp=
=3D
ots might have melted and shrunk back onto much of the surfaces without fal=
=3D
ling off but got interrupted. I don't know of anyone who has endured the ex=
=3D
pense of firing relatively identical loads of stoneware up to ^12 stopping =
=3D
the load at every cone past ^1 just to see what the glazes look like while =
=3D
going under their metamorphosis. Might be interesting science but for the p=
=3D
resent
what did happen caused this re-tread a re-glazing dilemma. =3D0A=3D0A As I=
was=3D
popping the pimples off the pots the spaces left made me think of the fres=
=3D
co's in Italian Villas in need of repair. Back in the day a lot of painters=
=3D
knew how to repair fresco's but now most walls just get patched and preser=
=3D
ved. Then the house painter in me got to feathering some of the softer edge=
=3D
s of glaze with a drywall finishing screen and the harder areas broke off l=
=3D
eaving a rougher edge on the glaze free areas. =3D0A=3D0A Identifying under=
-fir=3D
ed glazes to get a match is not easy so the first re-glazing was guessing w=
=3D
ith a clear and clear with a smidgen of copper for lite green or cobalt for=
=3D
lite blue. The glazing table was full of pots so I was stuck with a limite=
=3D
d pallet for a while. The black copper oxide in the slip glaze must have va=
=3D
porized some and fumed out as red flashing on pots, posts, and the kiln flo=
=3D
or leaving a wet kiss on my imagination. A lot of these pots I slathered wi=
=3D
th a skin of clear and dried in the nuke. Didn't get any sparks even with t=
=3D
he thick blue/black metallic surface. I'm hoping the clear/copper glaze wil=
=3D
l seal in the reduction in whatever glaze was left and cover the overloaded=
=3D
black copper slip so it will soften the flaw enough to pass. Right now it =
=3D
is quite ugly but the pieces don't leak and I don't want to throw new pots =
=3D
yet so some get to be glaze tests!=3D0A=3D0A The harder fired pieces left a=
def=3D
inite edge to where the glaze still sticks so on these I got more detailed =
=3D
depositing glazes within the damaged areas with the loaded tip of a Japanes=
=3D
e brush. This is kind of like the quick and dirty method of saving a wall w=
=3D
ith patching and painting similar to how one would renovate their rentals t=
=3D
o bring them up to welfare code after evicting the last batch of crank head=
=3D
s. Once I got into the process I used some really contrasting glazes to fil=
=3D
l in just like a kid using the wrong colors in a coloring book because it m=
=3D
ight look like fun. I'm guessing there will be some interesting combination=
=3D
s of eutectic around these border areas reminiscent of soft magma flowing i=
=3D
nto crevices of metamorphosing rocks part way under a geologic subduction z=
=3D
one.=3D0A=3D0A I sure hope this is aesthetically acceptable because I need =
as m=3D
any pots that were not cracked in the first firing as possible to fill the =
=3D
kiln for re-firing without having to throw more. I didn't want to pressure =
=3D
myself with any deadlines yet but since getting into Art For All I'm stuck =
=3D
in the same boat as I've read some of you floated a while ago just like I d=
=3D
idn't want to get stuck firing at 10=3DB0F in February. And, like a lot of =
yo=3D
u, the gambler in me does get a kind of thrill out of doing something that =
=3D
has a 50/50 chance of success.=3D0A=3D0A Break time is over so stay tuned a=
nd s=3D
tay in there eh! =3D0A=3D0A=3D0AGary Navarre=3D0ANavarre Pottery=3D0ANava=
rre Enterp=3D
rises=3D0ANorway, Michigan, USA=3D0Ahttp://www.youtube.com/GindaUP=3D0Ahttp=
://pub=3D
lic.fotki.com/GindaUP/=3D0A=3D0A=3D0A
Ron Roy on fri 21 may 10
Hi Gary,
Sounds like shivering to me - do you happen to know the recipe for =3D20
your clay body?
I can check out the glazes to see if they have a low expansion - that =3D20
will probably tell what the problem is. If I calculate one that is =3D20
shivering and one that is not the numbers will tell.
Wood kilns cool slow so there is lots of time for cristobalite to =3D20
form. Better to use a clay that is formulated to take that into =3D20
consideration.
RR
Quoting gary navarre :
> Hay Crew,
>
> Picking through the half fired pots from the first load I'm finding =3D2=
0
> a lot of pieces with glaze popping off for what could be a number of =3D2=
0
> reasons. Some might be the glaze fit, however the pots and glazes =3D20
> were not done shrinking into place yet. Some could be gases still =3D20
> bubbling up through the soft glaze film and freezing in place as the =3D2=
0
> load cooled leaving large bubbles. Under some broken open bubbles =3D20
> the Apple Ash Slip Glaze with black copper oxide must have been to =3D20
> intense a percentage and acted as a resist helping loosen the glaze =3D20
> film. I'm thinking these bubbles and loose spots might have melted =3D20
> and shrunk back onto much of the surfaces without falling off but =3D20
> got interrupted. I don't know of anyone who has endured the expense =3D20
> of firing relatively identical loads of stoneware up to ^12 stopping =3D2=
0
> the load at every cone past ^1 just to see what the glazes look like =3D2=
0
> while going under their metamorphosis. Might be interesting science =3D20
> but for the present
> what did happen caused this re-tread a re-glazing dilemma.
>
> As I was popping the pimples off the pots the spaces left made me =3D20
> think of the fresco's in Italian Villas in need of repair. Back in =3D20
> the day a lot of painters knew how to repair fresco's but now most =3D20
> walls just get patched and preserved. Then the house painter in me =3D20
> got to feathering some of the softer edges of glaze with a drywall =3D20
> finishing screen and the harder areas broke off leaving a rougher =3D20
> edge on the glaze free areas.
>
> Identifying under-fired glazes to get a match is not easy so the =3D20
> first re-glazing was guessing with a clear and clear with a smidgen =3D20
> of copper for lite green or cobalt for lite blue. The glazing table =3D20
> was full of pots so I was stuck with a limited pallet for a while. =3D20
> The black copper oxide in the slip glaze must have vaporized some =3D20
> and fumed out as red flashing on pots, posts, and the kiln floor =3D20
> leaving a wet kiss on my imagination. A lot of these pots I =3D20
> slathered with a skin of clear and dried in the nuke. Didn't get any =3D2=
0
> sparks even with the thick blue/black metallic surface. I'm hoping =3D20
> the clear/copper glaze will seal in the reduction in whatever glaze =3D20
> was left and cover the overloaded black copper slip so it will =3D20
> soften the flaw enough to pass. Right now it is quite ugly but the =3D20
> pieces don't leak and I don't want to throw new pots yet so some get =3D2=
0
> to be glaze tests!
>
> The harder fired pieces left a definite edge to where the glaze =3D20
> still sticks so on these I got more detailed depositing glazes =3D20
> within the damaged areas with the loaded tip of a Japanese brush. =3D20
> This is kind of like the quick and dirty method of saving a wall =3D20
> with patching and painting similar to how one would renovate their =3D20
> rentals to bring them up to welfare code after evicting the last =3D20
> batch of crank heads. Once I got into the process I used some really =3D2=
0
> contrasting glazes to fill in just like a kid using the wrong colors =3D2=
0
> in a coloring book because it might look like fun. I'm guessing =3D20
> there will be some interesting combinations of eutectic around these =3D2=
0
> border areas reminiscent of soft magma flowing into crevices of =3D20
> metamorphosing rocks part way under a geologic subduction zone.
>
> I sure hope this is aesthetically acceptable because I need as many =3D2=
0
> pots that were not cracked in the first firing as possible to fill =3D20
> the kiln for re-firing without having to throw more. I didn't want =3D20
> to pressure myself with any deadlines yet but since getting into Art =3D2=
0
> For All I'm stuck in the same boat as I've read some of you floated =3D20
> a while ago just like I didn't want to get stuck firing at 10=3DB0F in =
=3D20
> February. And, like a lot of you, the gambler in me does get a kind =3D20
> of thrill out of doing something that has a 50/50 chance of success.
>
> Break time is over so stay tuned and stay in there eh!
>
>
> Gary Navarre
> Navarre Pottery
> Navarre Enterprises
> Norway, Michigan, USA
> http://www.youtube.com/GindaUP
> http://public.fotki.com/GindaUP/
>
>
>
>
gary navarre on sun 23 may 10
Ya Ron,=3D0A=3D0A Some sort of shivering seems to be taking place but I don=
't h=3D
ave a clue what is in most of the clay I was using up from the old studio. =
=3D
I ended up mixing stoneware and porcelain from a couple sources so shrinkag=
=3D
e is all over the place. Since the pieces were only half fired it is imposs=
=3D
ible to tell yet what glaze is on them. I'm more familiar with shivering as=
=3D
it ends up in a high fired piece when I can identify the glaze. I'm thinki=
=3D
ng a couple of the glazes were more suited to going on bisque and not singl=
=3D
e fire but I'll have to finish firing them to figure out what happened for =
=3D
certain. =3D0A=3D0A I'm going to need more fresh clay as I'm about out so w=
hat =3D
does one look for so you end up with low cristobalite? Are these commercial=
=3D
bodies that cater to wood firers formulated with this in mind or is it the=
=3D
flashing they are after? =3D0A=3D0A One thing I did is bought more cones a=
nd n=3D
ow will be able to see where between ^8 and ^13 the 9' long chamber will fi=
=3D
re. I might need to use a couple different bodies and glazes per zone in th=
=3D
e chamber. =3D0A =3D0AGary Navarre=3D0ANavarre Pottery=3D0ANavarre Enterpri=
ses=3D0ANo=3D
rway, Michigan, USA=3D0Ahttp://www.youtube.com/GindaUP=3D0Ahttp://public.fo=
tki.=3D
com/GindaUP/=3D0A=3D0A=3D0A--- On Fri, 5/21/10, Ron Roy T> wro=3D
te:=3D0A=3D0A> From: Ron Roy =3D0A> Subject: Re: [Clay=
art] S=3D
alvage Re-glazing=3D0A> To: Clayart@LSV.CERAMICS.ORG=3D0A> Date: Friday, Ma=
y 21=3D
, 2010, 12:02 PM=3D0A> Hi Gary,=3D0A> =3D0A> Sounds like shivering to me - =
do you=3D
happen to know the=3D0A> recipe for your clay body?=3D0A> =3D0A> I can che=
ck out=3D
the glazes to see if they have a low=3D0A> expansion - that will probably =
te=3D
ll what the problem is. If=3D0A> I calculate one that is shivering and one =
th=3D
at is not the=3D0A> numbers will tell.=3D0A> =3D0A> Wood kilns cool slow so=
there=3D
is lots of time for=3D0A> cristobalite to form. Better to use a clay that =
is=3D
=3D0A> formulated to take that into consideration.=3D0A> =3D0A> RR=3D0A> =
=3D0A> =3D0A> =3D
Quoting gary navarre :=3D0A> =3D0A> > Hay Cre=
w,=3D
=3D0A> > =3D0A> >=3DA0 Picking through the half fired pots from the=3D0A> f=
irst loa=3D
d I'm finding a lot of pieces with glaze popping=3D0A> off for what could b=
e =3D
a number of reasons. Some might be the=3D0A> glaze fit, however the pots an=
d =3D
glazes were not done=3D0A> shrinking into place yet. Some could be gases st=
il=3D
l bubbling=3D0A> up through the soft glaze film and freezing in place as th=
e=3D
=3D0A> load cooled leaving large bubbles. Under some broken open=3D0A> bubb=
les =3D
the Apple Ash Slip Glaze with black copper oxide=3D0A> must have been to in=
te=3D
nse a percentage and acted as a resist=3D0A> helping loosen the glaze film.=
I=3D
'm thinking these bubbles=3D0A> and loose spots might have melted and shrun=
k =3D
back onto much=3D0A> of the surfaces without falling off but got interrupte=
d.=3D
I=3D0A> don't know of anyone who has endured the expense of firing=3D0A> r=
elat=3D
ively identical loads of stoneware up to ^12 stopping=3D0A> the load at eve=
ry=3D
cone past ^1 just to see what the glazes=3D0A> look like while going under=
t=3D
heir metamorphosis. Might be=3D0A> interesting science but for the present=
=3D0A=3D
> >=3DA0 what did happen caused this re-tread a=3D0A> re-glazing dilemma.=
=3D0A> >=3D
=3D0A> >=3DA0 As I was popping the pimples off the pots the=3D0A> spaces l=
eft ma=3D
de me think of the fresco's in Italian Villas=3D0A> in need of repair. Back=
i=3D
n the day a lot of painters knew=3D0A> how to repair fresco's but now most =
wa=3D
lls just get patched=3D0A> and preserved. Then the house painter in me got =
to=3D
=3D0A> feathering some of the softer edges of glaze with a drywall=3D0A> fi=
nish=3D
ing screen and the harder areas broke off leaving a=3D0A> rougher edge on t=
he=3D
glaze free areas.=3D0A> > =3D0A> >=3DA0 Identifying under-fired glazes to =
get a =3D
match is=3D0A> not easy so the first re-glazing was guessing with a clear=
=3D0A>=3D
and clear with a smidgen of copper for lite green or cobalt=3D0A> for lite=
b=3D
lue. The glazing table was full of pots so I was=3D0A> stuck with a limited=
p=3D
allet for a while. The black copper=3D0A> oxide in the slip glaze must have=
v=3D
aporized some and fumed=3D0A> out as red flashing on pots, posts, and the k=
il=3D
n floor=3D0A> leaving a wet kiss on my imagination. A lot of these pots I=
=3D0A>=3D
slathered with a skin of clear and dried in the nuke. Didn't=3D0A> get any=
s=3D
parks even with the thick blue/black metallic=3D0A> surface. I'm hoping the=
c=3D
lear/copper glaze will seal in the=3D0A> reduction in whatever glaze was le=
ft=3D
and cover the=3D0A> overloaded black copper slip so it will soften the fla=
w=3D
=3D0A> enough to pass. Right now it is quite ugly but the pieces=3D0A> don'=
t le=3D
ak and I don't want to throw new pots yet so some=3D0A> get to be glaze tes=
ts=3D
!=3D0A> > =3D0A> >=3DA0 The harder fired pieces left a definite edge to=3D0=
A> where=3D
the glaze still sticks so on these I got more detailed=3D0A> depositing gl=
az=3D
es within the damaged areas with the loaded=3D0A> tip of a Japanese brush. =
Th=3D
is is kind of like the quick and=3D0A> dirty method of saving a wall with p=
at=3D
ching and painting=3D0A> similar to how one would renovate their rentals to=
b=3D
ring=3D0A> them up to welfare code after evicting the last batch of=3D0A> c=
rank=3D
heads. Once I got into the process I used some really=3D0A> contrasting gl=
az=3D
es to fill in just like a kid using the=3D0A> wrong colors in a coloring bo=
ok=3D
because it might look like=3D0A> fun. I'm guessing there will be some inte=
re=3D
sting=3D0A> combinations of eutectic around these border areas=3D0A> remini=
scen=3D
t of soft magma flowing into crevices of=3D0A> metamorphosing rocks part wa=
y =3D
under a geologic subduction=3D0A> zone.=3D0A> > =3D0A> >=3DA0 I sure hope t=
his is a=3D
esthetically acceptable=3D0A> because I need as many pots that were not cra=
ck=3D
ed in the=3D0A> first firing as possible to fill the kiln for re-firing=3D0=
A> w=3D
ithout having to throw more. I didn't want to pressure=3D0A> myself with an=
y =3D
deadlines yet but since getting into Art For=3D0A> All I'm stuck in the sam=
e =3D
boat as I've read some of you=3D0A> floated a while ago just like I didn't =
wa=3D
nt to get stuck=3D0A> firing at 10=3DB0F in February. And, like a lot of yo=
u, t=3D
he=3D0A> gambler in me does get a kind of thrill out of doing=3D0A> somethi=
ng t=3D
hat has a 50/50 chance of success.=3D0A> > =3D0A> >=3DA0 Break time is over=
so st=3D
ay tuned and stay in=3D0A> there eh!=3D0A> > =3D0A> > =3D0A> > Gary Navarre=
=3D0A> > N=3D
avarre Pottery=3D0A> > Navarre Enterprises=3D0A> > Norway, Michigan, USA=3D=
0A> > =3D
http://www.youtube.com/GindaUP=3D0A> > http://public.fotki.com/GindaUP/=3D0=
A> >=3D
=3D0A> > =3D0A> > =3D0A> > =3D0A> =3D0A=3D0A=3D0A
Ron Roy on sun 23 may 10
Hi Gary,
I have never seen any cristobalite in porcelain - too much feledspar =3D20
so it gets melted as it forms.
The key questions are - how much spar in the clay - you need at least =3D20
10%, How much crushed quartz - silica - none would be the best answer.
Get a hold of studio potter magazine Volume 28 #1 and read Peter =3D20
Sohngens article - it's particularly important for wood or coal kilns =3D20
because the heat is still there when you "turn" it off and slow =3D20
heating and cooling above 1100C encourages cristobalite formation.
Peter Sohngen in Studio Potter Volume 28 #1.
In essence his research (I did the dilatometery) shows you need at =3D20
least 10% spar and go easy on micro fine silica (what we usually get =3D20
in the bag.)
Graded silica - like 200M with few fines is not a problem.
The more iron involved the more complicated the problem becomes.
Ron Roy
Quoting gary navarre :
> Ya Ron,
>
> Some sort of shivering seems to be taking place but I don't have a =3D20
> clue what is in most of the clay I was using up from the old studio. =3D2=
0
> I ended up mixing stoneware and porcelain from a couple sources so =3D20
> shrinkage is all over the place. Since the pieces were only half =3D20
> fired it is impossible to tell yet what glaze is on them. I'm more =3D20
> familiar with shivering as it ends up in a high fired piece when I =3D20
> can identify the glaze. I'm thinking a couple of the glazes were =3D20
> more suited to going on bisque and not single fire but I'll have to =3D20
> finish firing them to figure out what happened for certain.
>
> I'm going to need more fresh clay as I'm about out so what does one =3D2=
0
> look for so you end up with low cristobalite? Are these commercial =3D20
> bodies that cater to wood firers formulated with this in mind or is =3D20
> it the flashing they are after?
>
> One thing I did is bought more cones and now will be able to see =3D20
> where between ^8 and ^13 the 9' long chamber will fire. I might need =3D2=
0
> to use a couple different bodies and glazes per zone in the chamber.
>
> Gary Navarre
> Navarre Pottery
> Navarre Enterprises
> Norway, Michigan, USA
> http://www.youtube.com/GindaUP
> http://public.fotki.com/GindaUP/
>
>
> --- On Fri, 5/21/10, Ron Roy wrote:
>
>> From: Ron Roy
>> Subject: Re: [Clayart] Salvage Re-glazing
>> To: Clayart@LSV.CERAMICS.ORG
>> Date: Friday, May 21, 2010, 12:02 PM
>> Hi Gary,
>>
>> Sounds like shivering to me - do you happen to know the
>> recipe for your clay body?
>>
>> I can check out the glazes to see if they have a low
>> expansion - that will probably tell what the problem is. If
>> I calculate one that is shivering and one that is not the
>> numbers will tell.
>>
>> Wood kilns cool slow so there is lots of time for
>> cristobalite to form. Better to use a clay that is
>> formulated to take that into consideration.
>>
>> RR
>>
>>
>> Quoting gary navarre :
>>
>> > Hay Crew,
>> >
>> > Picking through the half fired pots from the
>> first load I'm finding a lot of pieces with glaze popping
>> off for what could be a number of reasons. Some might be the
>> glaze fit, however the pots and glazes were not done
>> shrinking into place yet. Some could be gases still bubbling
>> up through the soft glaze film and freezing in place as the
>> load cooled leaving large bubbles. Under some broken open
>> bubbles the Apple Ash Slip Glaze with black copper oxide
>> must have been to intense a percentage and acted as a resist
>> helping loosen the glaze film. I'm thinking these bubbles
>> and loose spots might have melted and shrunk back onto much
>> of the surfaces without falling off but got interrupted. I
>> don't know of anyone who has endured the expense of firing
>> relatively identical loads of stoneware up to ^12 stopping
>> the load at every cone past ^1 just to see what the glazes
>> look like while going under their metamorphosis. Might be
>> interesting science but for the present
>> > what did happen caused this re-tread a
>> re-glazing dilemma.
>> >
>> > As I was popping the pimples off the pots the
>> spaces left made me think of the fresco's in Italian Villas
>> in need of repair. Back in the day a lot of painters knew
>> how to repair fresco's but now most walls just get patched
>> and preserved. Then the house painter in me got to
>> feathering some of the softer edges of glaze with a drywall
>> finishing screen and the harder areas broke off leaving a
>> rougher edge on the glaze free areas.
>> >
>> > Identifying under-fired glazes to get a match is
>> not easy so the first re-glazing was guessing with a clear
>> and clear with a smidgen of copper for lite green or cobalt
>> for lite blue. The glazing table was full of pots so I was
>> stuck with a limited pallet for a while. The black copper
>> oxide in the slip glaze must have vaporized some and fumed
>> out as red flashing on pots, posts, and the kiln floor
>> leaving a wet kiss on my imagination. A lot of these pots I
>> slathered with a skin of clear and dried in the nuke. Didn't
>> get any sparks even with the thick blue/black metallic
>> surface. I'm hoping the clear/copper glaze will seal in the
>> reduction in whatever glaze was left and cover the
>> overloaded black copper slip so it will soften the flaw
>> enough to pass. Right now it is quite ugly but the pieces
>> don't leak and I don't want to throw new pots yet so some
>> get to be glaze tests!
>> >
>> > The harder fired pieces left a definite edge to
>> where the glaze still sticks so on these I got more detailed
>> depositing glazes within the damaged areas with the loaded
>> tip of a Japanese brush. This is kind of like the quick and
>> dirty method of saving a wall with patching and painting
>> similar to how one would renovate their rentals to bring
>> them up to welfare code after evicting the last batch of
>> crank heads. Once I got into the process I used some really
>> contrasting glazes to fill in just like a kid using the
>> wrong colors in a coloring book because it might look like
>> fun. I'm guessing there will be some interesting
>> combinations of eutectic around these border areas
>> reminiscent of soft magma flowing into crevices of
>> metamorphosing rocks part way under a geologic subduction
>> zone.
>> >
>> > I sure hope this is aesthetically acceptable
>> because I need as many pots that were not cracked in the
>> first firing as possible to fill the kiln for re-firing
>> without having to throw more. I didn't want to pressure
>> myself with any deadlines yet but since getting into Art For
>> All I'm stuck in the same boat as I've read some of you
>> floated a while ago just like I didn't want to get stuck
>> firing at 10=3DB0F in February. And, like a lot of you, the
>> gambler in me does get a kind of thrill out of doing
>> something that has a 50/50 chance of success.
>> >
>> > Break time is over so stay tuned and stay in
>> there eh!
>> >
>> >
>> > Gary Navarre
>> > Navarre Pottery
>> > Navarre Enterprises
>> > Norway, Michigan, USA
>> > http://www.youtube.com/GindaUP
>> > http://public.fotki.com/GindaUP/
>> >
>> >
>> >
>> >
>>
>
>
>
>
Neon-Cat on sun 23 may 10
Gary, Hi!
I so admire your go-to-it work spirit =3D96 it=3D92s inspirational!
Did you ever see the Steven Hill article in Ceramics Monthly from 2006
called =3D93An Approach to Single Firing-Further In=3D94?
Delamination caused during glaze application is discussed.
Here=3D92s a link to the article in PDF version on-line:
http://www.centerstreetclay.com/Site/Articles_files/An%20Approach%20to%20Si=
=3D
ngle%20Firing-Further%20In.pdf
Marian
Neon-Cat
gary navarre on mon 24 may 10
Ha Marian, you gotta be kidding, I always thought I was lackadaisical, at l=
=3D
east that's what my gym coach said. We had to read a book at Montieth Colle=
=3D
ge called "The Protestant Ethic and the Spirit of Capitalism" for a social =
=3D
science class but I never finished it. I suppose it had something to do wit=
=3D
h getting up early and try to get all the money. Hell, you know me, as soon=
=3D
as I made beer money I was done for the day. Of course then I would talk u=
=3D
p Art, pottery, and wood firing to anyone who would listen. Built and fired=
=3D
lots of kilns in my mind ya know and kept coming up with the same design s=
=3D
o I'm trying it out just to see what will happen. =3D0A=3D0A I might have t=
hat =3D
issue of CM because that's when I had the Hobagama 86-90 near Kalamazoo. Ab=
=3D
out all I had for clay was an A.R.T. White Stoneware and a couple glazes th=
=3D
at fit pretty good and I didn't have so much delaminating, crawling, or oth=
=3D
er defects when raw glazing. This time I'm using up that and a small bunche=
=3D
s of other clays I've collected so there is no real constant body. The glaz=
=3D
es fit some but not others. I'm about out of clay so after this firing I'll=
=3D
get some good clay to work. I might even get a small electric or build a g=
=3D
as test kiln so I can avoid this in the future. Right now the priority is t=
=3D
o get the kiln fired fairly evenly front to tail with complete glaze melt.=
=3D
=3D0A=3D0A Thanks for getting inspired to stay in there, and don't let it f=
ool =3D
ya eh!=3D0A=3D0AGary Navarre=3D0ANavarre Pottery=3D0ANavarre Enterprises=3D=
0ANorway, =3D
Michigan, USA=3D0Ahttp://www.youtube.com/GindaUP=3D0Ahttp://public.fotki.co=
m/Gi=3D
ndaUP/=3D0A=3D0A=3D0A--- On Sun, 5/23/10, Neon-Cat M> wro=3D
te:=3D0A=3D0A> From: Neon-Cat =3D0A> Subject: Re:=
[Clay=3D
art] Salvage Re-glazing=3D0A> To: Clayart@LSV.CERAMICS.ORG=3D0A> Date: Sund=
ay, =3D
May 23, 2010, 9:47 PM=3D0A> Gary, Hi!=3D0A> =3D0A> I so admire your go-to-i=
t work=3D
spirit =3DE2=3D80=3D93 it=3DE2=3D80=3D99s=3D0A> inspirational!=3D0A> Did y=
ou ever see the =3D
Steven Hill article in Ceramics=3D0A> Monthly from 2006=3D0A> called =3DE2=
=3D80=3D9CA=3D
n Approach to Single Firing-Further In=3DE2=3D80=3D9D?=3D0A> Delamination c=
aused du=3D
ring glaze application is discussed.=3D0A> Here=3DE2=3D80=3D99s a link to t=
he artic=3D
le in PDF version on-line:=3D0A> http://www.centerstreetclay.com/Site/Artic=
le=3D
s_files/An%20Approach%20to%20Single%20Firing-Further%20In.pdf=3D0A> =3D0A> =
Mari=3D
an=3D0A> Neon-Cat=3D0A> =3D0A=3D0A=3D0A
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