Vince Pitelka on sat 3 sep 11
Diana wrote:
"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."
Not so uncommon as you might think. When I arrived at UMass-Amherst for
grad school in 1985, all the work from the intro and throwing classes was
fired to cone-6R in the three Alpine updraft kilns. We got good results.
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
Marcia Selsor on sun 4 sep 11
I have been off clayart for a while due to a very heavy teaching load, =3D
preceded by personal family events.
I had ^6 reduction recipes for copper reds and celedons from Nelson's =3D
Ceramics from 1960 , 1966.
I also used class mimeographed handouts with ^6R glazes from my =3D
undergrad days at the Phila. College of Art.
The Clay Studio in Philadelphia uses ^6 Reduction for their classes =3D
work. Not new. Sharon Russel used 6^ R glazes in the baltimore area=3D20
in the 80s and 90s as well.
I converted to ^6 from ^10 in 1980 for all ceramics course at Montana =3D
State University after the energy crisis.
Diana has used some of my bases and tweeked them in her publications. I =
=3D
think what Diana's contribution has been=3D20
is the dissemination of the information in the social networking age.=3D20
She has made it easier to access this information.
John and Vince and I also disseminate information, but Diana's Glaze =3D
Forward=3D20
was a big project. It was a very beneficial project for those involved.
John Britt has a big glaze distribution engine going in NC. I think we =3D
have all benefitted=3D20
from networking, clay forums and the broader dissemination of =3D
information.
Marcia Selsor
>=3D20
Marcia Selsor
http://www.marciaselsor.com
http://ceramicartsdaily.org/potters-council/ceramics-in-tuscany/
Richard Aerni on sun 4 sep 11
Regarding cone-6R=3D20
Diana wrote:
"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."
Not so uncommon as you might think. When I arrived at UMass-Amherst for
grad school in 1985, all the work from the intro and throwing classes =3D
was
fired to cone-6R in the three Alpine updraft kilns. We got good results.
- Vince
Back in the dark ages (1988-90) when I taught at a college in Rochester, =
=3D
we fired the bulk of our work in reduction at cone 6. Most of the =3D
students were aspiring art teachers at the high school and below age =3D
level, and had no practical experience making or developing their own =3D
glazes. Using the Val Cushing/Robin Hopper limit formulae/substitution =3D
method, I had all my classes divide up into teams at the beginnning of =3D
the semester and work on glaze development as the semester progressed. =3D
Using limit formulae for glossy, mattes, etc, we came up with a number =3D
of viable base glazes and as the semester went on, I had them further =3D
self-select into color groups. By the end of the semester we had =3D
several dozen very nice cone 6 reduction glazes, and the students had a =3D
great sense of satisfaction with their accomplishments with glazes, as =3D
well as a greater familiarity with their materials. I never wanted my =3D
students to get their glazes only from the bottle or from the back of =3D
the Ceramics Monthly magazine. Teaching fishing as opposed to giving =3D
fish away, etc...
Just my take...
Richard Aerni
Rochester, NY
Bonnie Staffel on mon 5 sep 11
I have been doing Cone 04 copper reduction in my early electric kilns =3D
for
many years, most always with success in getting from iridescent to a =3D
pure
lovely red. I sometimes got some green splotches where I think the =3D
copper
was on too thick. I would apply the copper wash with a brush decoration =3D
or a
spray gun. My very first experiment was to put moth balls in through the
peep hole and then leave the studio while the fumes were in the air. I =3D
also
used foil wrapped paraffin slivers which also worked. The mothballs =3D
didn't
work out so well as it caused crazing and healing with a result of not =3D
being
attractive because of the flash that occurred when the balls were =3D
introduced
into the kiln. I also found that low fire terra cotta or red clay worked =
=3D
the
best.=3D20
=3D20
One of my larger pots was on ebay under my name this past week. I fired =3D
many
in the old Reduction Production Electric Kiln that had a drawer in the
bottom in which to add charcoal. The coils were much heavier and wound
larger than the regular kilns sold today. I fired a whole kiln load of
student's work as well as mine in Denmark which also had these large =3D
coils.
It was a special reduction kiln with tunnels under the floor with small
outlets into the interior of the kiln. The door was tightly sealed and a
small brick covered the opening in the top of the kiln. The elements of =3D
my
current kiln are coated with the space age material so am thinking about
giving my own DaVinci kiln a try at the reduction.=3D20
=3D20
Bonnie
=3D20
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
=3D20
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