David Hendley on tue 24 oct 00
I have experience with low fire wood firing, but not
Before I acquired an electric kiln, I had to do my bisque
firings in my wood kiln because it was my only kiln.
I can see no benefit to doing a low fire with wood, unless
you are so broke that it is the only way to get the things fired.
If the pots are green, not bisqued, it's tedious and boring
holding the kiln back so you don't break things by heating
After a cone 06 wood firing, you have a bunch of pots that
are covered with ashes, and I don't mean ash glaze, but
ashes that you have to dust off.
If you do a glaze firing with cone 06 glazes, I think you
will have a mess, with ash stuck in the glaze, ruining the
----- Original Message -----
| Roger and I were wondering if anyone has had any experience with wood
| a kiln in the cone 06 to 04 range particularly with red clay. Any
| or general impressions?
| R D Jones
RJones7582@AOL.COM on tue 24 oct 00
Roger and I were wondering if anyone has had any experience with wood firing
a kiln in the cone 06 to 04 range particularly with red clay. Any thoughts
or general impressions?
R D Jones
Steve Mills on wed 25 oct 00
In the early years of our explorations with Playing With Fire we did a
lot of firing around those temperatures, and I am still particularly
fond of the colours produced by wood firing with red clays, they can
give a real Joseph's coat effect. We never glazed the outsides, far
better to let the fire do the painting. The most important thing was
that the kiln should not be too "efficient", otherwise the colours are
In message , RJones7582@AOL.COM writes
>Roger and I were wondering if anyone has had any experience with wood firing
>a kiln in the cone 06 to 04 range particularly with red clay. Any thoughts
>or general impressions?
>R D Jones
tony clennell on sat 23 feb 08
For those that are wondering about Cone 6 wood firing I might suggest
you lower the bar. There is some amazing Cone 04 wood firing being
done throughout the world. A couple of my favourtie wood fire potters
fire at Cone 04 and yes they use a lead glaze. Everyone run for cover
it might turn your lemons another colour. If you are interested in
this work I recommend a book entitled Slipware- Contemporary
Approaches ISBN 0812234804. You will see the work and clay,slip and
glaze recipes of England's Clive Bowen and Peter and Jill Dick. Very
strong and beautiful work.
My undergrad sidekick Young Danny Crump apprenticed with New Zealand's
Richard Parker. Richard is the potter's potter of cone 04 wood fired
work. John Neely has lots and lots of Parkers work in his house and it
is the among the nicest work to hold that these hands have ever
A recent grad of USU fired his work in a train in about 4 hours. It
was low temp non functional work with a glaze high in lithium that
gave these amazing bubbled up John Chalke like surfaces. He stoked on
top of the work. There is so much to try and so little time.
I love the look of e-ware clay and have been thinking about lowering
the bar not to the middle but limbo low!
Lee on sun 24 feb 08
On 2/24/08, tony clennell wrote:
> A recent grad of USU fired his work in a train in about 4 hours. It
> was low temp non functional work with a glaze high in lithium that
Tony, earthenware at cone 1 is best of both worlds. That is when
continental clay's terracotta vitrifies and can be used functional or
in outdoor sculpture.
I have been thinking about throwing terracotta in my basement
the month before my residency starts at NCC and then beginning my
first day there with a cone 1 soda firing.
Should confuse folks pretty good, me coming there from Mashiko. ;^)
Lee in Mashiko, Tochigi Japan
"Let the beauty we love be what we do." - Rumi
Jeanie Silver on mon 25 feb 08
I'm so glad to see you open to the seduction of terracotta low-fire..I've
done some low fire wood and would like to do more. But I also love electric
terracotta...it doesn't have to be garish...it can be luscious ...playful
and somber at the same time. It can be wildly contemporary or mindful of
its rich history...if you're made that way, there is no more evocative clay
in your hands(or between your toes)....its the original' you see is what you
get ' kind of lover...
Jeanie in Pa.
tony clennell on mon 25 feb 08
Jeanie: I am more than open to it, I was raised in it. My uncle had a
clever way of making clay and keeping a young kid tired and busy. We
dug his clay at a place called Milton Mtn and made it into a slurry
which he pumped thru a window screen to take the rocks and sticks out.
We then filled metal boats with the slip and he left it out and
covered all winter. In the early spring he would lift the layers of
ice off the top of the clay. Underneath was a boat load of clay that
he would have his nephew (Moi) stomp around in with his feet. I don't
think what I did meant anything at all but it tired me out and assured
him of some peace and quiet at the wheel.
His clay almost threw itself. It was so plastic and beautiful and the
colour of it meant you could leave a lot of it exposed because it was
a gorgeous red.
I've always liked clay colour way better than glaze colour.
On Mon, Feb 25, 2008 at 11:14 AM, Jeanie Silver
> Hi Tony
> I'm so glad to see you open to the seduction of terracotta low-fire..I've
> done some low fire wood and would like to do more. But I also love electric
> terracotta...it doesn't have to be garish...it can be luscious ...playful
> and somber at the same time. It can be wildly contemporary or mindful of
> its rich history...if you're made that way, there is no more evocative clay
> in your hands(or between your toes)....its the original' you see is what you
> get ' kind of lover...
> Jeanie in Pa.
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