mel jacobson on tue 13 sep 11
this is about any glazing technique.
ron's post last week gave me pause again.
any recipe or idea can work for one potter and
not the next.
most experienced potters know this.
there are so many factors involved in the glazing
process.
bisque cone...high or low. cone 011 or cone 06.
i know ron fires slow bisque, cone 06 most times.
i fire really slow, cone 08.
how glazes absorb into the bisque is very different.
thin glaze, thick glaze.
how long you keep the pot in the glaze.
count with seconds. know how long your
glazes take to absorb properly. use the sweep second
hand of an old clock...take off the hours and minute hands.
count...1 2 3 4 5 etc. then chart it..write it down.
most of my glazes need a total of 8 seconds in the bucket.
and, i know how much water is in my glaze.
what clay body you use has great influence.
dark iron body, pure white. the glaze changes
a great deal.
rhodes 32 allows color from under the glaze to influence
the final color. that is why david shaner developed the glaze.
iron body...makes rhodes 32 active and colorful, on a white
body it is as boring as concrete.
you can have 75 buckets of glaze in your studio and if you
do not know a great deal about them, it is a crap shoot.
personally i have a limited interest in a variety of glazes.
i want the ones i use to be perfect every time. ( and of course
what i really want is a unique quality...it should not look like
every pot you see at an art fair.)
and that brings the point of how do you read glaze cones?
some think cone 9 down a quarter way is cone 10.
cone 10 is down and cone 11 over a quarter.
some fire cone six flat, or cone 7, others barely fire to cone 5.
it makes a huge difference. and don't tell me your auto kiln
is perfect. it may be for you, but not the person your give your
favorite glaze to. how do we know how they read cones?
and, testing can be a real gamble. what things look like on
a tiny tile is no guarantee it will look the same on a big plate.
i test on pots. always. and more than likely twenty pots.
then i know.
glazes used over and under are very exciting. a bad glaze
can often be used under a thin base white and give exciting results.
but, chart it..know for sure.
runny glazes are great inside bowls and plates...a disaster on
a tea pot.
the entire idea of collecting hundreds of recipes and testing
them all, making gobs of pots that are not perfect is a pain
in the butt and waste of fuel and time.
as i have often said..`if you really want something special, ask
a professional glaze person to help you get that result. pay them
a stipend and then know what you are getting.`
hell, if i had a problem i would just call ron. get the answer.
and, there are dozens of professionals that would be excited
to work on complex issues...the right way.
mel
the greatest eco friendly clay system is to fire your kiln
and have 100 percent perfect pots.
waste is the enemy, and silly trials can be really
not only frustrating, but very expensive.
like painting, form is the bones and starting point of all
images. visual space and excitement of form makes for
great pots. often people think they can cover bad forms
with lots of decoration. bad idea.
how you start will dictate how you finish.
think of all your pots you make in a year lined up
with a pure white glaze on them. do they still work well?
they should.
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
Ron Roy on tue 13 sep 11
Thanks Mel,
I small correction - I have always fired bisque to 04 - just the way I
got started but there are some advantages.
1. Glazes need to be a bit thicker in the bucket & they stay suspended
longer, don't settle out as much in between uses
2. Ware is stronger so bisque dunting is less likely - especially
important when using porcelains which are usually high in silica.
3. Gives more time for organics to burn out of iron bearing clays -
important to prevent over fluxing by reduced iron.
RR
Quoting mel jacobson :
> this is about any glazing technique.
> ron's post last week gave me pause again.
>
> any recipe or idea can work for one potter and
> not the next.
> most experienced potters know this.
>
> there are so many factors involved in the glazing
> process.
>
> bisque cone...high or low. cone 011 or cone 06.
> i know ron fires slow bisque, cone 06 most times.
>
> i fire really slow, cone 08.
> how glazes absorb into the bisque is very different.
>
> thin glaze, thick glaze.
> how long you keep the pot in the glaze.
> count with seconds. know how long your
> glazes take to absorb properly. use the sweep second
> hand of an old clock...take off the hours and minute hands.
> count...1 2 3 4 5 etc. then chart it..write it down.
> most of my glazes need a total of 8 seconds in the bucket.
> and, i know how much water is in my glaze.
>
> what clay body you use has great influence.
> dark iron body, pure white. the glaze changes
> a great deal.
>
> rhodes 32 allows color from under the glaze to influence
> the final color. that is why david shaner developed the glaze.
> iron body...makes rhodes 32 active and colorful, on a white
> body it is as boring as concrete.
>
> you can have 75 buckets of glaze in your studio and if you
> do not know a great deal about them, it is a crap shoot.
>
> personally i have a limited interest in a variety of glazes.
> i want the ones i use to be perfect every time. ( and of course
> what i really want is a unique quality...it should not look like
> every pot you see at an art fair.)
>
> and that brings the point of how do you read glaze cones?
> some think cone 9 down a quarter way is cone 10.
> cone 10 is down and cone 11 over a quarter.
> some fire cone six flat, or cone 7, others barely fire to cone 5.
> it makes a huge difference. and don't tell me your auto kiln
> is perfect. it may be for you, but not the person your give your
> favorite glaze to. how do we know how they read cones?
>
> and, testing can be a real gamble. what things look like on
> a tiny tile is no guarantee it will look the same on a big plate.
> i test on pots. always. and more than likely twenty pots.
>
> then i know.
>
> glazes used over and under are very exciting. a bad glaze
> can often be used under a thin base white and give exciting results.
> but, chart it..know for sure.
>
> runny glazes are great inside bowls and plates...a disaster on
> a tea pot.
>
> the entire idea of collecting hundreds of recipes and testing
> them all, making gobs of pots that are not perfect is a pain
> in the butt and waste of fuel and time.
>
> as i have often said..`if you really want something special, ask
> a professional glaze person to help you get that result. pay them
> a stipend and then know what you are getting.`
>
> hell, if i had a problem i would just call ron. get the answer.
> and, there are dozens of professionals that would be excited
> to work on complex issues...the right way.
> mel
> the greatest eco friendly clay system is to fire your kiln
> and have 100 percent perfect pots.
> waste is the enemy, and silly trials can be really
> not only frustrating, but very expensive.
>
> like painting, form is the bones and starting point of all
> images. visual space and excitement of form makes for
> great pots. often people think they can cover bad forms
> with lots of decoration. bad idea.
> how you start will dictate how you finish.
> think of all your pots you make in a year lined up
> with a pure white glaze on them. do they still work well?
> they should.
>
>
> from: minnetonka, mn
> website: http://www.visi.com/~melpots/
> clayart link: http://www.visi.com/~melpots/clayart.html
>
Sambal Collection on mon 26 sep 11
Nice.
Sent from MiPhone
On Sep 13, 2011, at 5:17, mel jacobson wrote:
> this is about any glazing technique.
> ron's post last week gave me pause again.
>
> any recipe or idea can work for one potter and
> not the next.
> most experienced potters know this.
>
> there are so many factors involved in the glazing
> process.
>
> bisque cone...high or low. cone 011 or cone 06.
> i know ron fires slow bisque, cone 06 most times.
>
> i fire really slow, cone 08.
> how glazes absorb into the bisque is very different.
>
> thin glaze, thick glaze.
> how long you keep the pot in the glaze.
> count with seconds. know how long your
> glazes take to absorb properly. use the sweep second
> hand of an old clock...take off the hours and minute hands.
> count...1 2 3 4 5 etc. then chart it..write it down.
> most of my glazes need a total of 8 seconds in the bucket.
> and, i know how much water is in my glaze.
>
> what clay body you use has great influence.
> dark iron body, pure white. the glaze changes
> a great deal.
>
> rhodes 32 allows color from under the glaze to influence
> the final color. that is why david shaner developed the glaze.
> iron body...makes rhodes 32 active and colorful, on a white
> body it is as boring as concrete.
>
> you can have 75 buckets of glaze in your studio and if you
> do not know a great deal about them, it is a crap shoot.
>
> personally i have a limited interest in a variety of glazes.
> i want the ones i use to be perfect every time. ( and of course
> what i really want is a unique quality...it should not look like
> every pot you see at an art fair.)
>
> and that brings the point of how do you read glaze cones?
> some think cone 9 down a quarter way is cone 10.
> cone 10 is down and cone 11 over a quarter.
> some fire cone six flat, or cone 7, others barely fire to cone 5.
> it makes a huge difference. and don't tell me your auto kiln
> is perfect. it may be for you, but not the person your give your
> favorite glaze to. how do we know how they read cones?
>
> and, testing can be a real gamble. what things look like on
> a tiny tile is no guarantee it will look the same on a big plate.
> i test on pots. always. and more than likely twenty pots.
>
> then i know.
>
> glazes used over and under are very exciting. a bad glaze
> can often be used under a thin base white and give exciting results.
> but, chart it..know for sure.
>
> runny glazes are great inside bowls and plates...a disaster on
> a tea pot.
>
> the entire idea of collecting hundreds of recipes and testing
> them all, making gobs of pots that are not perfect is a pain
> in the butt and waste of fuel and time.
>
> as i have often said..`if you really want something special, ask
> a professional glaze person to help you get that result. pay them
> a stipend and then know what you are getting.`
>
> hell, if i had a problem i would just call ron. get the answer.
> and, there are dozens of professionals that would be excited
> to work on complex issues...the right way.
> mel
> the greatest eco friendly clay system is to fire your kiln
> and have 100 percent perfect pots.
> waste is the enemy, and silly trials can be really
> not only frustrating, but very expensive.
>
> like painting, form is the bones and starting point of all
> images. visual space and excitement of form makes for
> great pots. often people think they can cover bad forms
> with lots of decoration. bad idea.
> how you start will dictate how you finish.
> think of all your pots you make in a year lined up
> with a pure white glaze on them. do they still work well?
> they should.
>
>
> from: minnetonka, mn
> website: http://www.visi.com/~melpots/
> clayart link: http://www.visi.com/~melpots/clayart.html
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