Jan Parzybok on tue 24 nov 98
I want to expand my line of pots into the realm of earthenware (e-w)
because of the great color possibilities. I have some questions:
-Is e-w tough enough to use everyday in the kitchen or does it need special
care?
-Can a person cook with it like they would stoneware?
-Is it better to put the color on my greenware or over the clear glaze?
-Why aren't more potters using e-w clay and glazes?
I'm brand new at working with this technique. Any information would be
greatly appreciated. Thanks, Jan
Donn Buchfinck on wed 25 nov 98
Earthenware has been around a lot longer than high fired stoneware and
porcelain
but when firing earthenware the magic is not quite the same as dealing with a
cone 10 kiln or wood or salt. The magic comes in dealing with color and glaze
and form. Myolica is great fun, especaily if you have ever done watercolor.
Amaco sells a great myolica and color range.
Duncan has gone to the bank with it's range of colors and glazes.
you can make a pot and color it with an underglaze then bisque then coat the
pot with a clear glaze, then lusters.
this realm has traditionally been the stomping ground of the slip and dip
crowd and the doll makers.
there is a world out there of people making crafts that most potters do not /
or will not acknowledge. But industry has come up to speed in making colors
that work
example: there is an Amaco underglaze called LUG-1 works for low fire but
will also go up to c12 woodfire or c10 salt or c10 woodfired soda and it is
black black black. I bet there are not a lot of people out there who know
this. It is a foolproof black.
My partner, Catherine Merrill and I make earthenware pots, bright colors,
clear glaze, gold luster.
Hint the public loves color, ever ask yourself why those glass artist do so
well at the fairs. Its the color
we use a Duncan clear glaze, and it works every time. I had Peter Pinnell as
a glaze teacher in undergrad school, but I cannot overlook the benefits of
using a commercial clear glaze. When something goes wrong and I call the
maker of my clay. Used to be laguna, and I ask them about a problem I am
having, and they tell me I am the only person who is having this problem, and
it must be the glaze, I know that it isn't. I know that they are lying. So I
formulated a clay body to work with a Duncan clear. No crazing and it rings
like it is a c10 body.
but there is a downside to all this
you use what colors that are on the market, and you will be making stuff that
looks like other stuff. This is why after a time all the glass artists stuff
starts to look the same, they buy their color from the same suppliers.
we mix our own colors, and intermix different stains so we get depth in the
color.
Earthenware just takes time to develop a personal style. It is rewarding but
it does lack the romanticism of the fire. Kind a like the difference between
grilling a steak in the back yard over an open grill to toasting a piece of
bread in the toaster.
thanks
Donn Buchfinck
San Francisco
Martin Howard on thu 26 nov 98
Earthenware is certainly OK for use in the kitchen and for outside.
I am new to the list, so here is a brief introduction. 12 or so years at
a local pottery, just once a week and then occasionally potting in the
garage. Now retiring from being a Town Planning Consultant and taking up
pottery as my retirement occupation, together with Publishing DTP.
Just built a new building as Pottery, Workshop, Kiln room with a small
flat above. The whole building could become a dwelling anytime we wish
it or need it.
After some time throwing stoneware I have definitely settled on
Earthenware as my preferred medium, cone 02-1. That way I can use the
kiln for bisque and glaze at the same time. It works and saves
electricity.
So, I am surprised at how many potters go straight to the higher cones
and stoneware. Why not use earthenware and lower cone firing?
But that said, I may well have a problem getting a shiny ash glaze at my
cones, even with the use of Nephyline Syenite. Still, using the Glaze
Workbook program by David Hewitt I will continue with the search. The
main glaze I want is an 02-1 based on ash from willow. If anyone has
succeeded, please let me know.
Martin Howard BSc MRTPI araneajo@gn.apc.org
Webbs Cottage Press and Pottery
http://www.gn.apc.org/webbs_cottage_press Don't look at this until
December.
Claudia O Driscoll on thu 26 nov 98
No magic in earthenware? No Romanticism in pit firing?? Aggghhh....
Placing your pot on a bed of leaves, tea bags, orange peels, cat
food....lighting the fire, closing the kiln and walking away to smell the
wonderful smoke drifting by your window for the rest of the day. ...how
much more magic do you need? And that breathless time between
looking into the kiln at all of the blackness and finding the beautiful pot
within...how much more Romance do you need? Glazes are indeed
wonderful and I greatly admire potters who use them, but do not sell the
smoked pots short. They also have a story to tell.
claudia
wynpotter on mon 9 jan 12
I think if we use the strong points of different cays instead of trying
to make earthenware as strong and vitrified as cone 10 stoneware (which
wont work), then we grow in the medium.
Use the porosity of earthenware to gain the unique cooking results that
other clays can match.
Working from a high fired bisk(cone1+)and a glaze(second firing) at
06-04 has been a great way to develop a new and vibrant pallet.
Fire thin porcelain in a sand support sager to vit, then refire at 06-1
or what ever range below slumping opens new direction for glazing and
shapes.
There will be issues of fitting and adhering but there are solutions
for those issues.
There's a bowl used on Iron Chef Japan(old episodes) that you can see
every now and then. It's a stovetop open flame bowl that looks heavily
groged Temoku bowl with a beautiful rolled rim that is as beautifully
functional work of craftsmanship as I've seen.
Lee, maybe you've seen something like this. It is always used to cook
a soup inside, which means the max temp on the stove is moderated by the
liquid inside, at least that seems right.
Just a thought
Lee on tue 10 jan 12
On Mon, Jan 9, 2012 at 6:29 PM, wynpotter wrote:
> I think if we use the strong points of different cays instead of trying
> to make earthenware as strong and vitrified as cone 10 stoneware (which
> wont work), then we grow in the medium.
Wyn,
Firing terracotta a little higher isn't "trying to make
earthenware as strong etc ....", it is simply taking a modern approach
to earthenware to meet today's demands. Why was it traditionally
fired at a lower temp? Primarily, because that is all they could do.
Like most stoneware pots traditional were fired in kilns that
rarely reached about 1100*C. But they fired for one or two weeks.
It is the same with reduction in gas or oil kilns. Traditional
kilns were never held in steady reduction, but cycled through
atmospheres on each stoke of wood.
We adapt the old ways according to technology that we have
and they did not have access to.
I find it hilarious that people making tons of money on books to
make glazes at "kiss your sister" cone 6 are having trouble dealing
with folks who are doing the same thing with terracotta., only at a
more exciting temperature for color.
> =3DA0Lee, maybe you've seen something like this. It is always used to coo=
k
> a soup inside, which means the max temp on the stove is moderated by the
> liquid inside, at least that seems right.
> Just a thought
We have talked about these here before. They are donabe
pots. Modern ones are fired to middle ranges (about cone 1.) I did
a search using kanji and you can see many examples at this link:
http://bit.ly/zdGtwy
--=3D20
--
=3DA0Lee Love in Minneapolis
http://mingeisota.blogspot.com/
=3DA0"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D9=
7that is, =3D
"The
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
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