Bacia Edelman on fri 20 apr 01
Marj: It could be the fan, not the overfired
bisque!! Jack Troy once wrote me a post
mentioning that he sometimes ran a fan by freshly glazed pots,
undoubtedly Shino, and often got the drip type results as
appear on Dick Lehman's pots when he lays them on their sides.
Plus surprises.
Anyway, though I have long since deleted the post, he was
handing me assorted suggestions as if I had dozens of pieces
to try. I never have more than a few as I am a lucky guest of
two regional woodfirers. And my percentage of good results is
usually under 50%.
I have 4 pieces going to an 8 day Anagama firing next week.
Next life: I would build a woodfiring kiln. Regards, Bacia
At 09:03 AM 04/20/2001 -0400, you wrote:
>When glazing last week, part of the bisque had been overfired. Usually
>bisque to cone 04. These pieces were dipped as usual in the shino (held a
>bit longer to compensate for the less absorbent bisque) and then put in
>front of a fan on the floor to help dry. When ready to load the next
>morning these pots were "fuzzie wuzzies" Were completely white with a very
>noticeable difference in physical amount of soda on the surface. Firing was
>following day. The results were great. More of the carbon trap dance on all
>of them and the lustre/orange/peach colours just sang along ! So, you might
>just try to accidently on purpose overfire your bisque and see if it works
>for you. MarjB
>
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Bacia Edelman Madison, Wisconsin
http://www.mypots.com/bacia.htm
http://www.silverhawk5.com/edelman/index.html
mel jacobson on fri 20 apr 01
pete pinnell has done a great deal
of work and writing about migration. he
claims that the longer the pot sits on
the shelf, the more migration you get.
this has been my observation too.
after about 24 hours you will see the crystals
forming on the pot, they just keep building.
my thought is that 4 days may just do it...but,
i do not have a scientific answer for you.
dannon rhudy has done a lot of hot soda ash work.
she really slathers it on. her results speak for themselves.
i did a series of pots using a small brush to apply the
hot soda ash...and the actual brush strokes turned black
on a porcelain pot, with a white shino. you could write your
name on the pot and see the black letters.
i also made some jet black, totally black pots using this
technique.
the normal disclaimers apply....your mileage and color may
vary. shino is a nasty mistress, she can hurt you...and make
you cry. you think you have it in control, and wham. not.
mel
most shino's do well in a hot kiln...like cone 11. clay body
color is critical, what happens from porcelain to an iron bearing
stoneware is amazingly different.
listen to hank murrow when he talks of shino....he has really
done some wonderful work...he is going to publish it soon.
thank god. pete's writing in claytimes is good, and i know
that craig martell has done some great shino studies. (don't let
tony know that i left him out...he is in pennsylvania, and won't know.)
From:
Minnetonka, Minnesota, U.S.A.
web site: http://www.pclink.com/melpots
Marjorie Beynon on fri 20 apr 01
When glazing last week, part of the bisque had been overfired. Usually
bisque to cone 04. These pieces were dipped as usual in the shino (held a
bit longer to compensate for the less absorbent bisque) and then put in
front of a fan on the floor to help dry. When ready to load the next
morning these pots were "fuzzie wuzzies" Were completely white with a very
noticeable difference in physical amount of soda on the surface. Firing was
following day. The results were great. More of the carbon trap dance on all
of them and the lustre/orange/peach colours just sang along ! So, you might
just try to accidently on purpose overfire your bisque and see if it works
for you. MarjB
Marjorie Beynon on mon 23 apr 01
Dear Bacia - I still think that the "hot" bisque had alot to do with it as I
usually use the fan because some of my regular glazes have cornwall stone in
them and we have had alot of damp cool weather. That combination often
results in crawling especially inside teapot spouts if I don't assist the
drying with the fan.
There was a mix of shino glazed pots that had been bisqued as usual and then
the others that were bisqued to a higher temp that were dryed in front of
the fan. I think that the very noticeable physical difference in the soda
on the surface was because not as much was being absorbed into the bisque as
with the others. Not sure that I am going to purposefully overfire the
bisque all the time but I think I might just do a small load and do a more
detailed comparison ie: take notes ! and just see what the effect
/differences result. Thanks for your response. MarjB
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