Edouard Bastarache on sat 3 sep 11
In Quebec City we did cone 7 redux in 1968 for 1 year before going to 9
redux.
We had started at 4 redux the year before.
Gis,
Edouard Bastarache
Spertesperantisto
Sorel-Tracy
Quebec
http://www.flickr.com/photos/30058682@N00/
http://edouardbastarache.blogspot.com/
http://edouardbastaracheblogs2.blogspot.com/
http://www.facebook.com/edouard.bastarache
----- Original Message -----
From: "Mike Gordon"
To:
Sent: Saturday, September 03, 2011 2:07 PM
Subject: C/6 firing
> Diana writes:
>
> "Ask anyone who has been potting a long time and they will tell you
> that cone 6R
> was not easy to find 10 years ago. You can quote all of the articles
> you want,
> (which seem few and far between) and they will never amount
> to the dissemination of cone 10 glaze formula. "
>
>
> When I went to Calif. College of Arts & Crafts ( now Calif. College of
> The Arts )in Oakland,
> studying with Viola Frey, in the 60's, the class glazes were all
> C/5-6. Only rarely did she fire the big brick down draft to C/9
> reduction. The Kiln was called St Elmer. it had a tall brick chimney
> about 50 feet tall, and she had to crawl inside to stack the back and I
> would pass pots in to her, then she would brick up the door. At that
> time Pete Voulkos was at Cal in Berkeley doing C/10, Arneson was at
> U.C. Davis doing the "FUNK" at all temps but mainly C/05, Richard Shaw
> was at S.F. State his work was mainly low fire also. I still run into
> potters & sculptors that look down their noses at anybody who isn't
> firing at C/10. But around here there is so much diversity that you can
> find work done at all different temps and techniques. Mike Gordon
>
Mike Gordon on sat 3 sep 11
Diana writes:
"Ask anyone who has been potting a long time and they will tell you
that cone 6R
was not easy to find 10 years ago. You can quote all of the articles
you want,
(which seem few and far between) and they will never amount
to the dissemination of cone 10 glaze formula. "
When I went to Calif. College of Arts & Crafts ( now Calif. College of
The Arts )in Oakland,
studying with Viola Frey, in the 60's, the class glazes were all
C/5-6. Only rarely did she fire the big brick down draft to C/9
reduction. The Kiln was called St Elmer. it had a tall brick chimney
about 50 feet tall, and she had to crawl inside to stack the back and I
would pass pots in to her, then she would brick up the door. At that
time Pete Voulkos was at Cal in Berkeley doing C/10, Arneson was at
U.C. Davis doing the "FUNK" at all temps but mainly C/05, Richard Shaw
was at S.F. State his work was mainly low fire also. I still run into
potters & sculptors that look down their noses at anybody who isn't
firing at C/10. But around here there is so much diversity that you can
find work done at all different temps and techniques. Mike Gordon
May Luk on sun 4 sep 11
The major difference between eathenware glaze and stoneware glaze is
the interaction between the glaze layer and the clay body. How this is
affecting the look and function at cone 6? Anybody wrote about this in
a scientific fashion?
My main clay style can be done in earthenware or stoneware. I chose
stoneware because I like the density and the hand feel. Then I down
from cone 8 to cone 6 because I had problem with my kiln and I wanted
to use my studio-mate's cone 6 kiln as a backup. I found that having
the knowledge of downing the glaze temp is useful for the most part.
But high fire glaze is so much easier to concort - the kiln will melt
everything. The clay and glaze need to do their time in the kiln. IMO.
MIke;
It's a shame they change the school name. I still call it CCAC. I
laughed as they just hosted a craft conference recently.
Re: San Francisco, I recently went back to visit Academy Of Art and
they have a very good ceramic dept as far as the equipments are
concerned. I am not sure what their style direction from the
department head yet.
Best Regards
May
Brooklyn NY
On Sat, Sep 3, 2011 at 2:07 PM, Mike Gordon wrote:
> Diana writes:
>
> "Ask anyone who has been potting a long time and they will tell you
> that cone 6R
> was not easy to find 10 years ago. You can quote all of the articles
> you want,
> (which seem few and far between) and they will never amount
> to the dissemination of cone 10 glaze formula. "
>
>
> When I went to Calif. College of Arts & Crafts ( now Calif. College of
> The Arts )in Oakland,
> =3DA0studying with Viola Frey, in the 60's, =3DA0the class glazes were al=
l
> C/5-6. Only rarely did she fire the big brick down draft to C/9
> reduction. The Kiln was called St Elmer. it had a tall brick chimney
> about 50 feet tall, and she had to crawl inside to stack the back and I
> would pass pots in to her, then she would brick up the door. At that
> time Pete Voulkos was at Cal in Berkeley doing C/10, Arneson was at
> U.C. Davis doing the "FUNK" at all temps but mainly C/05, Richard Shaw
> was at S.F. State his work was mainly low fire also. I still run into
> potters & sculptors that look down their noses at anybody who isn't
> firing at C/10. But around here there is so much diversity that you can
> find work done at all different temps and techniques. Mike Gordon
>
--=3D20
http://twitter.com/MayLuk
http://www.ceramicsbrooklyn.com/
| |
|
