NakedClay@aol.com on mon 31 may 99
Hi Brian!
I'm also amazed at the variety of ways different ceramicists interpret their
cones.
My method, which has worked for this cone 6 potter, is to create a "boat" of
scrap clay (an oval-shaped holder), which is big enough to accomodate four
large Orton cones, and provide enough space for the cones to melt into. Poke
lots of pinholes in the boat, since the clay will be fired raw. For cone 6, I
place the following cones into the soft clay, from left to right,
respectively: Cones 06, 2, 6, and 7, to facilitate an accurate guage of
temperature change. The cones are placed into the clay at a slight angle to
the left (towards cone 06), to prevent a lower-numbered cone from melting on
top of its unmelted counterparts. Let the clay boat, with cones inside, dry
completely (I usually "build the boat" before applying glazes to the wares to
be fired). For kilns with many peep holes, one boat is needed for each peep
hole (this of course, varies with the kiln used and familiarity with a kiln's
particular temperature variations).
The following is for oxydation firing (I'm not familiar with reduction
firing):
When firing, the boat is placed so I can see it quickly, in front of a peep
hole in the kiln. Once the power (or gas) is applied, I monitor the cones
from time to time, watching as the cone on the left slowly bends over, then
the next, then the next, adjusting the power switches or gas knobs, to keep
all boats synchronized. This is done until cone 7 is left standing. I turn
off the power at the point where cone 7 is "gracefully" bending, but is not
yet touching the bottom of the boat. I've been told that the middle of the
cone 7 melt is when cone 6 has been reached. It seems to be where the kiln
gods "bless" the load with perfectly-fired cone 6 wares. I'm told that this
is true for most firing applications--the middle melt of the cone numbered
one increment higher than the intended cone (ie. cone 7 for a cone 6 firing)
is when one shuts the kiln down.
I hope this is helpful!
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