Russel Fouts on wed 15 jul 98
Jenna
>> I will try it, everything I do seems to be one big experiment anyway.
Thanks for the tip. Have you ever tried onion peels in your saggars or
anything other than sawdust or newspaper ? Oxides? Share only if you want
to . Im especially interested in resist techniques for smoke firing. <<
I have no problem sharing, I've tried wax crayon, oil pastel (like oil
pastel better), paper, tape, oil, all the usual suspects as resist at the
decorating stage. I've used thin clay pads as masks at the smoking stage.
Anything you stick to the pot or lean against it or put on top of it that
will withstand the fire, will act, to some degree as a resist. I've never
used anything but newspaper to make the smoke. My kiln (electric) is indoors
and most of that other stuff would be too messy and difficult to store.
Although I've thought about it, maybe if my curiosity gets stirred in that
direction. For the moment, I can get all the smoke I want from the
newspaper.
Russel
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
32 2 223 02 75
Http://users.skynet.be/russel.fouts
Http://www.japan-net.or.jp/~iwcat
"Get crazy with the Cheeze Wiz" Beck
lpskeen on wed 15 jul 98
Russel Fouts wrote:
>> I've never used anything but newspaper to make the smoke. My kiln (electric)
Russel,
How often do you do this smoke firing in your electric kiln, and how
often do you have to change elements? I have been told that
smoking/saggar firing in electric kilns is a NONONO!!!
--
Lisa Skeen ICQ# 15554910
Living Tree Pottery & Soaps
http://www.uncg.edu/~lpskeen
"We will have to repent in this generation not merely for the hateful
words and actions of the bad people, but for the appalling silence of
the good people." -- Dr. M. L. King, Jr. 4/16/63
Russel Fouts on thu 16 jul 98
Lisa,
>> How often do you do this smoke firing in your electric kiln, and how
often do you have to change elements? I have been told that
smoking/saggar firing in electric kilns is a NONONO!!! <<
I smoke all the time (to less than 700c), usually with a bisque to 1000c in
between (but not always). Except for a small amount of leakage, the smoke is
completely contained in the aluminum foil envelope around the pot. My Orton
Envirovent takes care of the leakage. I've seen no problem with my elements
but then I rarely go over 1000c (I think high temp is where you might see
problems with the elements).
AND I'm thinking of going even more extreme with light salt/soda and
newpaper in saggars. Fired a couple of sigged cups to more than 1200c
(forgot to put the pyrometer in properly) in saggar with newspaper and some
bicarb and they came out GREAT! A bit sagged, a bit bloated (earthenware,
you know) but with a nice black sheen and glass and "crud" deposits from the
bicarb. Looks a bit like it was fired in an anagama.
Russel (don't believe everything they tell you, try it for your self)
PS. Just bought my first pair of Birkenstocks, most comfortable "shoe" I've
ever owned but now I'm worried that I'm becoming one of you! ;-)
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
32 2 223 02 75
Http://users.skynet.be/russel.fouts
Http://www.japan-net.or.jp/~iwcat
"Get crazy with the Cheeze Wiz" Beck
Russel Fouts on thu 16 jul 98
Debbie,
>> You have me more than intrigued re: smoke firing in your electric kiln. I
had a workshop over the weekend and couldn't believe how wonderful the
pieces turned out but we used a raku kiln and old electric kiln using a
propane burner. I'm always willing to try different firing techniques - I
get real tired of the usual glazes. Maybe I'm not that into glazing but
prefer the dug up look, so to speak. <<
It's not really more than I said in the previous message. A lot depends on
the effects that make you happy.
What I'm doing now:
- Use a vent or get out of the studio.
- Bisque the pots, higher means less smoke absorbed.
- Wrap the pots in tightly sealed envelopes of double strength caterer's
foil.
- Wrap loose or wrap tight, has different effects.
- Use lots of newspaper or a little, or use different paper, has different
effects.
- "Cook" at some temperature below 700c otherwise the foil breaks down, BUT
that can have nice effects also.
- "Cook" for a length of time, longer, shorter, higher, lower all have
different effects.
- It's very even, You don't get the smokey "wave" effects with this method,
you have to come up with other ways to create variation, like using resists,
etc.
- When you open the envelope, don't judge, look, learn, build on what you
find.
>> If you have the time, I would really like to know how you do this and
about this new technique you are going to try.<<
Again, I pretty much said it in the previous post. I don't know, I just have
some ideas and I have to get into the studio to try them out.
I know this all sounds a bit vague, but this kind of fireing is not an exact
science. We spent months a few years ago trying to analyze how Pierre Bayle
gets that wonderful, glowing, crackling terra-sigillata. People had ideas
but nothing conclusive. People called him up and asked him, he doesn't know,
it just happens. It's probably a reaction between the sig and his clay body.
It's probably the high amount of soda in his sig. For all we know, it could
be the phase of the moon and which side of the bed he got up on that
morning. It doesn't matter, the thing I admire about Bayle (besides is pots)
is that he took the materials he had at hand (local clay, a bread oven and
little knowledge of the local history) and made something beautiful and
unique that he can repeat on a slightly regular basis (he throws a lot
away). Ask Frank Boyden about those wonderful crane bowls!
Go for it.
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
32 2 223 02 75
Http://users.skynet.be/russel.fouts
Http://www.japan-net.or.jp/~iwcat
"Get crazy with the Cheeze Wiz" Beck
hal mc whinnie on fri 17 jul 98
dear russell
i have been experiment with raku glazes fired in a converted electric
kiln and fired with propane
since i live in washington d c I cannot really do post fire raku
reduction in the soldner tradition so I include wood in my kiln, i place
the wood in the kiln before I close the top and toward the end of the
firing I also include wood chips and have pieces of charcoal in many of
the pieces, and some of the reduction effects are very interesting.
also i have experiment with additions of rock salt to the kind with
somewhat less results.
I have designed a top for the kiln which consist of flat kiln shelved on
top of which are placed soft brick and I build a flue each time I fire.
i would be interested in any other experiences with this method of
firing.
i tried the aluminum foil method with pieces wrapped in newspapers but
the foil burned away and I had a mess to refire
hal mc whinnie
On Thu, 16 Jul 1998 22:12:39 EDT Russell Fouts
writes:
>----------------------------Original
>message----------------------------
>Debbie,
>
>>> You have me more than intrigued re: smoke firing in your electric
>kiln. I
>had a workshop over the weekend and couldn't believe how wonderful the
>pieces turned out but we used a raku kiln and old electric kiln using
>a
>propane burner. I'm always willing to try different firing techniques
>- I
>get real tired of the usual glazes. Maybe I'm not that into glazing
>but
>prefer the dug up look, so to speak. <<
>
>It's not really more than I said in the previous message. A lot
>depends on
>the effects that make you happy.
>
>What I'm doing now:
>- Use a vent or get out of the studio.
>- Bisque the pots, higher means less smoke absorbed.
>- Wrap the pots in tightly sealed envelopes of double strength
>caterer's
>foil.
>- Wrap loose or wrap tight, has different effects.
>- Use lots of newspaper or a little, or use different paper, has
>different
>effects.
>- "Cook" at some temperature below 700c otherwise the foil breaks
>down, BUT
>that can have nice effects also.
>- "Cook" for a length of time, longer, shorter, higher, lower all have
>different effects.
>- It's very even, You don't get the smokey "wave" effects with this
>method,
>you have to come up with other ways to create variation, like using
>resists,
>etc.
>- When you open the envelope, don't judge, look, learn, build on what
>you
>find.
>
>>> If you have the time, I would really like to know how you do this
>and
>about this new technique you are going to try.<<
>
>Again, I pretty much said it in the previous post. I don't know, I
>just have
>some ideas and I have to get into the studio to try them out.
>
>I know this all sounds a bit vague, but this kind of fireing is not an
>exact
>science. We spent months a few years ago trying to analyze how Pierre
>Bayle
>gets that wonderful, glowing, crackling terra-sigillata. People had
>ideas
>but nothing conclusive. People called him up and asked him, he doesn't
>know,
>it just happens. It's probably a reaction between the sig and his clay
>body.
>It's probably the high amount of soda in his sig. For all we know, it
>could
>be the phase of the moon and which side of the bed he got up on that
>morning. It doesn't matter, the thing I admire about Bayle (besides is
>pots)
>is that he took the materials he had at hand (local clay, a bread oven
>and
>little knowledge of the local history) and made something beautiful
>and
>unique that he can repeat on a slightly regular basis (he throws a lot
>away). Ask Frank Boyden about those wonderful crane bowls!
>
>Go for it.
>
>Russel Fouts
>
>Mes Potes & Mes Pots
>Brussels, Belgium
> 32 2 223 02 75
> Http://users.skynet.be/russel.fouts
> Http://www.japan-net.or.jp/~iwcat
>
> "Get crazy with the Cheeze Wiz" Beck
>
_____________________________________________________________________
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Russel Fouts on thu 30 jul 98
Nanci,
>> ITC has a product that is a refractory coating for metal, i.e. your
electric kiln elements that will protect them in reduction atmospheres. I've
used it on the elements of the electric kiln at the school where I teach.
I've done test firings of glazes that were fired first in an oxidation
atmosphere and then additional test tiles of the same glazes in a reduction
atmosphere. Glaze results were markedly different. The coatings did work to
protect the elements. You might want to try them if you are going to do salt
or soda
firings. <<
Thanks, I've been following all the talk about ITC, especially the
revelations of the ITC Prophet Nils Lou ;-). I still think it would be too
expensive for me considering shipping from the states but maybe I can
smuggle a bucket of it onto the plane the next time I'm in the states (I
awear to you, this is a handbag!!). There is now a single supplier of it in
the UK (Scarva?) but I bet it's even more expensive there. Still, it would
be fun to try it.
Russel (making saggars in the bottom of my garbage can)
Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
32 2 223 02 75
Http://users.skynet.be/russel.fouts
Http://www.japan-net.or.jp/~iwcat
Please send all replies publicly
Marianne Lombardo on wed 25 sep 02
I have a chance to attend my first ever smoke firing on the weekend. I'm
supposed to have some pots bisqued to 04 with Terra Sig on them.
I have a question though. Is there any reason not to apply a clear cone 04
glaze to the inside of the pots, so they will at least be able to be used
for flowers? Or will that not help since I'm using a cone 6 clay and it
won't be vitrified?
Marianne Lombardo
Omemee, Ontario, Canada
email: mlombardo@nexicom.net
Jeff Tsai on thu 26 sep 02
hi,
I don't think there is much reason to apply a glaze to the interior of a
piece before smoke firing. The glaze will most likely craze during the firing
process making it permeable again. also, regardless of whether the glaze has
any color at all, the color will get pretty screwed up by the infusion of
carbon into the glaze if the firing gets hot enough. You might try it on one
or two piece to see if the results are favorable, but I don't think you'll be
particularly impressed.
Also, you said that you were going to bisque to cone 04 with terra sigs on
the surface. This is fine, but terra sigs, unless they are extremely well
refined, lose a lot of luster at that temperature. Nowadays, usually, pieces
that are polished with terra sig are fired to between 012-06 to keep a good
sheen. I believe past cultures fired higher (like the greeks) but what I've
seen more commonly now is a lower firing temp.
-jeff
Wayne Bien on thu 26 sep 02
I have used polyurethane after firing on smoke fired pieces that were
flower pots and have had good results. I got this information from Daniel
Rhodes book Cay and Glazes for the Potter p.303.
Wayne Bien
Lutherville, MD
On Wed, 25 Sep 2002 20:01:07 -0400 Marianne Lombardo
writes:
> I have a chance to attend my first ever smoke firing on the weekend.
> I'm
> supposed to have some pots bisqued to 04 with Terra Sig on them.
>
> I have a question though. Is there any reason not to apply a clear
> cone 04
> glaze to the inside of the pots, so they will at least be able to be
> used
> for flowers? Or will that not help since I'm using a cone 6 clay
> and it
> won't be vitrified?
>
> Marianne Lombardo
> Omemee, Ontario, Canada
> email: mlombardo@nexicom.net
>
>
_________________________________________________________________________
_____
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your
> subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
>
vince pitelka on thu 26 sep 02
> I have a question though. Is there any reason not to apply a clear cone
04
> glaze to the inside of the pots, so they will at least be able to be used
> for flowers? Or will that not help since I'm using a cone 6 clay and it
> won't be vitrified?
Marianne -
Smoke-firing often involves abrupt temperature changes within the firing,
and if you glaze the inside it will significantly lower the
thermal-shock-resistance of your pieces, and increase the chances of damage.
Leave them unglazed, and if you must put something in them, how about an
arrangement of dried flowers. That shouldn't really be an issue, because if
you are happy with your pots, they will stand alone with nothing in them.
Best wishes -
- Vince
Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://www.craftcenter.tntech.edu/
phil davenport on fri 27 sep 02
You could glaze fire to cone 04 then apply the terra sig, polish and do the smoke
firing.
Phil Davenport
Jeff Tsai wrote:
> hi,
>
> I don't think there is much reason to apply a glaze to the interior of a
> piece before smoke firing. The glaze will most likely craze during the firing
> process making it permeable again. also, regardless of whether the glaze has
> any color at all, the color will get pretty screwed up by the infusion of
> carbon into the glaze if the firing gets hot enough. You might try it on one
> or two piece to see if the results are favorable, but I don't think you'll be
> particularly impressed.
>
> Also, you said that you were going to bisque to cone 04 with terra sigs on
> the surface. This is fine, but terra sigs, unless they are extremely well
> refined, lose a lot of luster at that temperature. Nowadays, usually, pieces
> that are polished with terra sig are fired to between 012-06 to keep a good
> sheen. I believe past cultures fired higher (like the greeks) but what I've
> seen more commonly now is a lower firing temp.
>
> -jeff
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Maid O'Mud on fri 17 jan 03
I don't always bisque fire. When I fire in my woodstove, the work looks
better if it goes in "raw" rather than bisqued. Of course, there is a much
higher percentage of loss this way.
I'd say - do what works for you. The "right" answer is the one that gives
you the best results. Either way, the piece is non-functional.
Just my 2 cents (CDN; $0.05 USF)
Sam - Maid O'Mud Pottery
Melbourne, Ontario CANADA
"First, the clay told me what to do.
Then, I told the clay what to do.
Now, we co-operate."
sam 1994
http://www.ody.ca/~scuttell/
From: "Vince Pitelka"
>
> Dannon gave you great advice, but to add to it, YES, you always need to
> bisque-fire the wares before smoke-firing, because smoke-firing is a
> cosmetic process rather than a true firing process, so the wares must be
> pre-bisqued.
> Good luck -
> - Vince
>
jennifer stratton on fri 17 jan 03
does anyone have experience smoke firing that would mind sharing a little
information with me about it? does it matter what cone body the clay is?
do you have to bisque it at a low fire before you smoke it? any tips on the
process would be appreciated.
thanks,
a first time smoke-firer
jenn stratton-mcgovern
_________________________________________________________________
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Dannon Rhudy on fri 17 jan 03
Subject: smoke firing
Jennifer, there has been a great deal of information
on smoke firing and saggar firing and pit firing posted
to the list, in remarkable detail. Indeed, many of the
explanations/descriptions have been posted more than
once. If you will look in the archives, you will find
more than you ever wanted to know about this form of firing.
It does not really matter what cone body you use for
this type of firing, because they are ALL going to be
underfired and porous when you are finished.
regards
Dannon Rhudy
Carolyn Bronowski on fri 17 jan 03
Hi, I've just finished my third smoke fire (sawdust and shavings in an above
ground brick 3" x 3" x 3" structure with metal lid) These fires have been
my tests for some larger pots and sculptures that I will do later. When I
build the brick walls I leave some space for air. Vince has been helping me
with the terra sig application. This is what I've found using IMCO
Sculpture 412 clay and terra sig made from white ball clay and from red art
clay: From the white terra sig I get a beautiful strong shinny black where
the pot is buried and a smokey, mottled Grey where the sawdust mixture is
laid on top. The red art terra sig is shinny amber with darker smoke
markings all over. I've been experimenting with mason stains added to the
terra sigs. The red art terra sig with chocolate browm is my favorite. I
apply it to parts of my pot, then add 3 coats of red art terra sig. Lots of
depth when I take it out of the pit. I bisque fire the pots to ^08 on
Vince's advice--works good. Vince also suggested that I not burnish the
leather hard pots, rather to wait until I apply the terra sig, then rub with
a plastic bag. So that part of the experiment was a bit mixed since I had
already used a spoon on the leather hard clay. They came out fine. Other,
I just applied the terra sig to already bisque clay, re-fired to ^08, rubbed
with a plastic bag, and they came out fine, also. So, that part is unclear
in my results. Carolyn
> -----Original Message-----
> From: jennifer stratton [SMTP:jenniferrae63@HOTMAIL.COM]
> Sent: Friday, January 17, 2003 1:24 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: smoke firing
>
> does anyone have experience smoke firing that would mind sharing a little
> information with me about it? does it matter what cone body the clay is?
> do you have to bisque it at a low fire before you smoke it? any tips on
> the
> process would be appreciated.
> thanks,
> a first time smoke-firer
> jenn stratton-mcgovern
>
>
>
>
> _________________________________________________________________
> The new MSN 8 is here: Try it free* for 2 months
> http://join.msn.com/?page=dept/dialup
>
> __________________________________________________________________________
> ____
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
Vince Pitelka on fri 17 jan 03
> It does not really matter what cone body you use for
> this type of firing, because they are ALL going to be
> underfired and porous when you are finished.
Dannon gave you great advice, but to add to it, YES, you always need to
bisque-fire the wares before smoke-firing, because smoke-firing is a
cosmetic process rather than a true firing process, so the wares must be
pre-bisqued.
Good luck -
- Vince
Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://iweb.tntech.edu/wpitelka/
Lily Krakowski on fri 24 jan 03
Lauren, et al.
Book: Smoke-Firing, Jane Perryman. Only used copy could find on internet so
far close to cost of new ($42 and change.) But PottersShop still has its
discounts--so go for it. $42 is a small investment ( 3 medium pizzas around
here) to learn something important. Still your library probably can get it
for you, a good start, if you have to save up to get the book.
Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389
Be of good courage....
dannon rhudy on mon 26 sep 05
........this past weekend I got some lime green.......
Generally speaking, green colors from a pit
fire are oxidized copper: green instead of red.
They tend to be a bit fugitive, in my experience.
regards
Dannon Rhudy
Vicki Hardin on tue 4 oct 05
Casey, I have had that problem when using sawdust from pine. It stopped when
I started using sawdust from unprocessed hardwoods. Hard to come by. But
nice stuff.
Vicki Hardin
VickiHardin.com
Casey Savant wrote:
when I smoke fire them in a large metal garbage can for about 40 minutes,
many of them seem to have a "tar" like substance on them.
____________________________________________________________________________
__
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Vince Pitelka on tue 4 oct 05
Casey -
That deposit is, in fact, creosote, which is just re-condensed hydrocarbons
released by combusting wood. Some people really like the deposit. It is
essentially a varnish, and quite durable, but it is water-soluble, and you
can remove it with water and a soft cloth. Normally I don't like to clean
pit-fired, bonfired, or smoke-fired work with water, because whatever is
there is the result of the firing. I usually just wipe the dust off. But
it is entirely up to you. Good luck -
- Vince
Casey wrote"
> I have a question about a problem I'm having with smoke firing my pots.
> First they are handbuilt, earthenware. I bisque fire them in an electric
> kiln to cone 04, after having burnishing them. Then when I smoke fire them
> in a large metal garbage can for about 40 minutes, many of them seem to
> have a "tar" like substance on them. You can feel it on the pot. It looks
> like pitch or kreasote on the pieces.
> Some of the pieces I have used terra sig on and those seem to be worse
> Any thoughts or ideas would be greatly appericated.
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
casey on tue 4 oct 05
Hi,
I have a question about a problem I'm having with smoke firing my pots.
First they are handbuilt, earthenware. I bisque fire them in an electric
kiln to cone 04, after having burnishing them. Then when I smoke fire them
in a large metal garbage can for about 40 minutes, many of them seem to
have a "tar" like substance on them. You can feel it on the pot. It looks
like pitch or kreasote on the pieces.
Some of the pieces I have used terra sig on and those seem to be worse
Any thoughts or ideas would be greatly appericated.
Thanks
Casey Savant
Mike Gordon on tue 4 oct 05
Casey,
What kind of fuel are you using to smoke your work? I know pine
needles will leave pitch sometimes. Mike Gordon
On Oct 4, 2005, at 9:19 AM, casey wrote:
> Hi,
> I have a question about a problem I'm having with smoke firing my pots.
> First they are handbuilt, earthenware. I bisque fire them in an
> electric
> kiln to cone 04, after having burnishing them. Then when I smoke fire
> them
> in a large metal garbage can for about 40 minutes, many of them seem to
> have a "tar" like substance on them. You can feel it on the pot. It
> looks
> like pitch or kreasote on the pieces.
> Some of the pieces I have used terra sig on and those seem to be worse
> Any thoughts or ideas would be greatly appericated.
>
> Thanks
> Casey Savant
>
> _______________________________________________________________________
> _______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
Terri Kennedy on wed 5 oct 05
I get that alot when I saggar fire, usually just a scrubby or steel wool
will get rid of it and most of the time a pretty color will emerge from
underneath...hope this helps.
Thanks,
Terri Kennedy
Denham Springs, LA
http://www.potterristudio.com
*Cleverly disguised as a responsible adult.
> Casey wrote"
> > I have a question about a problem I'm having with smoke firing my pots.
> > First they are handbuilt, earthenware. I bisque fire them in an electric
> > kiln to cone 04, after having burnishing them. Then when I smoke fire
them
> > in a large metal garbage can for about 40 minutes, many of them seem to
> > have a "tar" like substance on them. You can feel it on the pot. It
looks
> > like pitch or kreasote on the pieces.
> > Some of the pieces I have used terra sig on and those seem to be worse
> > Any thoughts or ideas would be greatly appericated.
>
Maxwell, Deborah on wed 5 oct 05
Casey,
I love to pit fire. I encase each piece in a copper scrubbie which cuts
down on the creosol residue buildup. I usually get some great reds,
blacks and gold colors but this past weekend I got some lime green.
Don't know where that came from.
You can see pictures of my pit fired pieces at www.greatpottery.com.
Deborah J. Bassett-Maxwell
www.greatpottery.com
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of casey
Sent: Tuesday, October 04, 2005 12:20 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: smoke firing
Hi,
I have a question about a problem I'm having with smoke firing my pots.
First they are handbuilt, earthenware. I bisque fire them in an electric
kiln to cone 04, after having burnishing them. Then when I smoke fire
them
in a large metal garbage can for about 40 minutes, many of them seem to
have a "tar" like substance on them. You can feel it on the pot. It
looks
like pitch or kreasote on the pieces.
Some of the pieces I have used terra sig on and those seem to be worse
Any thoughts or ideas would be greatly appericated.
Thanks
Casey Savant
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Fred Hagen on thu 6 oct 05
Casey,
I find it best not to use any treated wood to include plywood which has a glue to keep the layers together and of course no raw pine . Good Luck.
Fred Hagen.
Vince Pitelka wrote:
Casey -
That deposit is, in fact, creosote, which is just re-condensed hydrocarbons
released by combusting wood. Some people really like the deposit. It is
essentially a varnish, and quite durable, but it is water-soluble, and you
can remove it with water and a soft cloth. Normally I don't like to clean
pit-fired, bonfired, or smoke-fired work with water, because whatever is
there is the result of the firing. I usually just wipe the dust off. But
it is entirely up to you. Good luck -
- Vince
Casey wrote"
> I have a question about a problem I'm having with smoke firing my pots.
> First they are handbuilt, earthenware. I bisque fire them in an electric
> kiln to cone 04, after having burnishing them. Then when I smoke fire them
> in a large metal garbage can for about 40 minutes, many of them seem to
> have a "tar" like substance on them. You can feel it on the pot. It looks
> like pitch or kreasote on the pieces.
> Some of the pieces I have used terra sig on and those seem to be worse
> Any thoughts or ideas would be greatly appericated.
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
______________________________________________________________________________
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