Mark Issenberg on sun 26 apr 98
Howdy all, I took Tom Colemans workshop the week before NECA in Lost
Wages. They made pots and fired the Geil kiln. The wind was ripping
during the whole week and also during the firing. The Geil kiln is
outside in its one building that had the roof blown off from the wind. I
remember that Tom and Geil and others were afraid the REDS would not be
RED. Well on opening the REDS were RED and the SHINOS looked liked
SHINOS. It was a great firing. Geil took all kinds of pictures of all of
us standing by the opened door. He said he was going to use it in a add.
I still havent seen the add yet. Maybe they changed the pots in the
middle of the nite, but i doubt it. The kiln was still hot when they
opened it.
Mark in Miami
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Grimmer on mon 27 apr 98
Hi,
Indeed, it IS possible to get a kiln-load of Copper Red
glazes on a regular basis. When I was at KCAI, Pete Pinnell
was using a lot of that glaze and it was always a winner.
Start reduction at ^012, ease up a bit at ^1, and hold it
there till ^10. Oxidize real clean at the end for 30 minutes
and you got pots that look like they're candied apples. To
quote Victor Babu, while dunking a 3 foot ewer in a 55 gallon
barrel of Revised Standard Red, "Pinnell, Pinnell, Pinnell,
Pinnell, Pinnell. Hold it in there for five Pinnells and you
have a f(iretr)ucking winner!"
A CO2 analyzer helps, too.
steve grimmer
marion illinois
chasing junebugs around the studio.
mel jacobson on wed 28 oct 98
one of the most wonderful red glazes of old japan was `shinsha`........
it was mottled deep red, soft red, green to white.
the more mottled, the more desired.
plain, pure red can be purchased at k-mart.
when you see `shinsha`, you will know you have seen beauty.
mel/mn
just another un/humble opinion.
what we need in america are people that will speak up to what they
believe to be the truth.
too much `well, i don't want to judge anything or anyone. have to be
politically correct, and who am i to judge?`
bill aycock is my hero. but then, he is older.
http://www.pclink.com/melpots
Virgil & Susan Leise on thu 29 oct 98
Mel's post reminded me of a glaze I tested in college when I had
access to a gas kiln.. Just don't put it too thick at the bottom!!
Glaze #38 Sang-de-boeuf cone 9
Feldspar 35.5
Calcined Borax 10
Whiting 14
Flint 37
Tinoxide 2
CopperCarbonate .5
Bentonite 1
This glaze is a light green breaking red. VERY nice..but I think
it depends on the reduction ...what it looks like..
have fun testing!!
Susan
mel jacobson on tue 25 oct 11
yes, john is right.
get your reduction done perfectly on the way up.
and, if your kiln stalls, just back off the reduction a bit.
and, you may find turning down your burners will help
jump the heat. keep that nice two inch flame from
your top peep. and often, if the reduction is well
done on the way up, you can sort of go neutral at the end
and make your cone.
the down firing with red is just done to make sure
that the cooling is not too fast. the kiln makes red
at about 1700 or so...if you blaze past that temp too quickly
it will not turn red.
i just turn one burner on and let the heat jump back
to like 2000F/oxy and let it re/cool. it is a different process than
hank's fire down, hold at 1900F.
if all things are equal, you may not need the
after firing. but, you will know if the pots are
white and green.
in the olden days, kurt wild called his glaze...`dependable red, and or
green`.
you know you have the right firing protocol when you just fire
your kiln in the normal way and you get great reds, blacks
and shino in the same firing. (but saying that, i still like to fire
certain ways, for certain glazes. it just makes better sense.)
mel
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
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