mel jacobson on tue 27 oct 98
want to jump in support of jeff lawrence.
one of the most difficult things going on in ceramics is `learning how to
fire your glazes`................it takes time and patience. (and
modification)
far too many potters are always jumping on a new glaze, working it for
a couple firings, then dumping it.
it is like the kids at school, `can i use your wheel mel, it throws better
pots`.
i have used rhodes 32 for almost 40 years........kinda know what it does.
even the water i use changes it.......
i just do not jump on every new glaze band wagon.
and if i give you my secrets, and i do, you do not have my kiln, timing,
or background, or water.
thickness of application is so important, and then what do you consider
cone 10.
some think, just the tip moving, i consider cone 11 down.
just wanted to say that again.
mel/mn
http://www.pclink.com/melpots
Donn Buchfinck on wed 28 oct 98
when I was an undergrad there was this student that had this rutile blue glaze
he got from his aunt, man it worked great, but he didn't give it out, it was
his money maker, he would sit at the wheel and look at a pot and say" yea
they will buy that" and it was true, his pots leapt off the shelves into
peoples bags.
what I find disturbing is this fact of not testing, I know people that when
they fire they ALWAYS have new glaze tests in a kiln.
look if you want some great glazes Val Cushing sells a glaze notebook for
around 25 dollars I think, Lives in Alfred Station New York.
and if other people want some more glazes I will scan my whole notebook into
my computer and send them off to you.
that includes Anderson ranch, and the Kansas City art institute glazes. And
any other I can get my hands on
to get great results WE HAVE TO KEEP TESTING
I own a Giel kiln and if fires to cone 10 with two adjustments.
people who are firing a kiln need to learn that a kiln is like a long distance
runner, and It is important to not trip that runner up. And I believe that
there are a lot of kilns out there that are built that work against
themselves. If you are interested in what I mean I will elaborate further ,
but I feel we have gone over this in other posts.
I have no problem giving out how I do things in clay, I figure that if anyone
wants to make my stuff and does it, then I will just rotate and make something
different. I feel this is where the delineation between art and craft comes
in, craft works from a tradition, art cuts a new path.
My post about sending the recipe out is that if some glazes do not seem to be
giving the desired effect, to solve the problem a person needs all the
information, glaze recipe, firing cycle, thickness of glaze. I want people
to have success in making pots.
get a blender, blend up small batches of the glaze, make large test tiles,
inches high 2 inches wide, those 1 inch x 1 inch tiles are worthless, double
dip the tile all the way down and then to half, I developed a count system.
Develop a system for your glazing. When you are done throw the rest of the
glaze into a scrap glaze bucket, when it gets full of all those tests, mix it
up and test it, sometimes great things come of those scrap glazes.
A potter can never have too many glazes in a notebook.
the way I was taught about reading a cone is that the tip has to be bent down
even with where it comes out of the wadding it is stuffed into. I think if
you are firing to c10 and your 11 is down then it's called 11. I could be
wrong.
Lastly I do not understand why anyone would hobble a new clay person and not
encourage them to test all the new glazes they can get their hands on, I feel
it is called developing ones own way with clay. Just because someone has been
using a glaze for 30 years doesn't mean that I will want the same glazes I
use today 30 years later.
Donn Buchfinck
Marty Anderson on mon 9 nov 98
I agree VC's handbook and Anderson Ranch's glaze book are wonderful. The
problem I have with them is I fire to ^6 and have not figured out how to
cone the ^10 glazes to a ^6. Any help you can give me in doing this would
be greatly appreciated.
Marty
-----Original Message-----
From: Donn Buchfinck
To: CLAYART@LSV.UKY.EDU
Date: Wednesday, October 28, 1998 8:16 AM
Subject: Re: traveling glazes.
>----------------------------Original message----------------------------
>
>when I was an undergrad there was this student that had this rutile blue
glaze
>he got from his aunt, man it worked great, but he didn't give it out, it
was
>his money maker, he would sit at the wheel and look at a pot and say" yea
>they will buy that" and it was true, his pots leapt off the shelves into
>peoples bags.
>
>what I find disturbing is this fact of not testing, I know people that
when
>they fire they ALWAYS have new glaze tests in a kiln.
>
>look if you want some great glazes Val Cushing sells a glaze notebook for
>around 25 dollars I think, Lives in Alfred Station New York.
>
>and if other people want some more glazes I will scan my whole notebook
into
>my computer and send them off to you.
>that includes Anderson ranch, and the Kansas City art institute glazes. And
>any other I can get my hands on
>
>to get great results WE HAVE TO KEEP TESTING
>
>I own a Giel kiln and if fires to cone 10 with two adjustments.
>people who are firing a kiln need to learn that a kiln is like a long
distance
>runner, and It is important to not trip that runner up. And I believe
that
>there are a lot of kilns out there that are built that work against
>themselves. If you are interested in what I mean I will elaborate further
,
>but I feel we have gone over this in other posts.
>
>I have no problem giving out how I do things in clay, I figure that if
anyone
>wants to make my stuff and does it, then I will just rotate and make
something
>different. I feel this is where the delineation between art and craft
comes
>in, craft works from a tradition, art cuts a new path.
>
>My post about sending the recipe out is that if some glazes do not seem to
be
>giving the desired effect, to solve the problem a person needs all the
>information, glaze recipe, firing cycle, thickness of glaze. I want
people
>to have success in making pots.
>
>get a blender, blend up small batches of the glaze, make large test
tiles,
>inches high 2 inches wide, those 1 inch x 1 inch tiles are worthless,
double
>dip the tile all the way down and then to half, I developed a count
system.
>Develop a system for your glazing. When you are done throw the rest of the
>glaze into a scrap glaze bucket, when it gets full of all those tests, mix
it
>up and test it, sometimes great things come of those scrap glazes.
>
>A potter can never have too many glazes in a notebook.
>
>the way I was taught about reading a cone is that the tip has to be bent
down
>even with where it comes out of the wadding it is stuffed into. I think if
>you are firing to c10 and your 11 is down then it's called 11. I could be
>wrong.
>
>Lastly I do not understand why anyone would hobble a new clay person and
not
>encourage them to test all the new glazes they can get their hands on, I
feel
>it is called developing ones own way with clay. Just because someone has
been
>using a glaze for 30 years doesn't mean that I will want the same glazes I
>use today 30 years later.
>
>
>Donn Buchfinck
>
RedIron Studios on tue 10 nov 98
Hi how would a canuck go about getting these Glaze Books? Are not most of these
recipes on-line via ClayArt GlazeBase now?
Cheers,
RedIron Studios
-----Original Message-----
From: Marty Anderson
To: CLAYART@LSV.UKY.EDU
Date: Monday, November 09, 1998 6:24 AM
Subject: Re: traveling glazes.
>----------------------------Original message----------------------------
>I agree VC's handbook and Anderson Ranch's glaze book are wonderful. The
>problem I have with them is I fire to ^6 and have not figured out how to
>cone the ^10 glazes to a ^6. Any help you can give me in doing this would
>be greatly appreciated.
>
>Marty
>-----Original Message-----
>From: Donn Buchfinck
>To: CLAYART@LSV.UKY.EDU
>Date: Wednesday, October 28, 1998 8:16 AM
>Subject: Re: traveling glazes.
>
>
>>----------------------------Original message----------------------------
>>
>>when I was an undergrad there was this student that had this rutile blue
>glaze
>>he got from his aunt, man it worked great, but he didn't give it out, it
>was
>>his money maker, he would sit at the wheel and look at a pot and say" yea
>>they will buy that" and it was true, his pots leapt off the shelves into
>>peoples bags.
>>
>>what I find disturbing is this fact of not testing, I know people that
>when
>>they fire they ALWAYS have new glaze tests in a kiln.
>>
>>look if you want some great glazes Val Cushing sells a glaze notebook for
>>around 25 dollars I think, Lives in Alfred Station New York.
>>
>>and if other people want some more glazes I will scan my whole notebook
>into
>>my computer and send them off to you.
>>that includes Anderson ranch, and the Kansas City art institute glazes. And
>>any other I can get my hands on
>>
>>to get great results WE HAVE TO KEEP TESTING
>>
>>I own a Giel kiln and if fires to cone 10 with two adjustments.
>>people who are firing a kiln need to learn that a kiln is like a long
>distance
>>runner, and It is important to not trip that runner up. And I believe
>that
>>there are a lot of kilns out there that are built that work against
>>themselves. If you are interested in what I mean I will elaborate further
>,
>>but I feel we have gone over this in other posts.
>>
>>I have no problem giving out how I do things in clay, I figure that if
>anyone
>>wants to make my stuff and does it, then I will just rotate and make
>something
>>different. I feel this is where the delineation between art and craft
>comes
>>in, craft works from a tradition, art cuts a new path.
>>
>>My post about sending the recipe out is that if some glazes do not seem to
>be
>>giving the desired effect, to solve the problem a person needs all the
>>information, glaze recipe, firing cycle, thickness of glaze. I want
>people
>>to have success in making pots.
>>
>>get a blender, blend up small batches of the glaze, make large test
>tiles,
>>inches high 2 inches wide, those 1 inch x 1 inch tiles are worthless,
>double
>>dip the tile all the way down and then to half, I developed a count
>system.
>>Develop a system for your glazing. When you are done throw the rest of the
>>glaze into a scrap glaze bucket, when it gets full of all those tests, mix
>it
>>up and test it, sometimes great things come of those scrap glazes.
>>
>>A potter can never have too many glazes in a notebook.
>>
>>the way I was taught about reading a cone is that the tip has to be bent
>down
>>even with where it comes out of the wadding it is stuffed into. I think if
>>you are firing to c10 and your 11 is down then it's called 11. I could be
>>wrong.
>>
>>Lastly I do not understand why anyone would hobble a new clay person and
>not
>>encourage them to test all the new glazes they can get their hands on, I
>feel
>>it is called developing ones own way with clay. Just because someone has
>been
>>using a glaze for 30 years doesn't mean that I will want the same glazes I
>>use today 30 years later.
>>
>>
>>Donn Buchfinck
>>
>
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