Debbie Jestin on wed 23 jan 02
It's Here! I just skimmed through so far, but it looks great. I'm going to
start reading it now. I can't wait to bisque, so I can try to get some great
fitting glazes that I don't need to worry about. If they look half as good
as Ron and John's, I'll be so happy.Thanks Ron and John. I appreciate all
your hard work and dedication.
Ron Roy on thu 24 jan 02
Hi debbie,
Just remember - the slow cooling is an essential part of the process - you
might want to try you current glazes that way as well. Just make sure you
protect your kiln shelves - some glazes will tend to run when fired that
way.
RR
>It's Here! I just skimmed through so far, but it looks great. I'm going to
>start reading it now. I can't wait to bisque, so I can try to get some great
>fitting glazes that I don't need to worry about. If they look half as good
>as Ron and John's, I'll be so happy.Thanks Ron and John. I appreciate all
>your hard work and dedication.
Ron Roy
RR# 4
15084 Little Lake Rd..
Brighton,
Ontario, Canada
KOK 1H0
Residence 613-475-9544
Studio 613-475-3715
Fax 613-475-3513
Wanda Holmes on sun 27 jan 02
Ron & John,
You are my sunshine, my lovely sunshine, you make me happy when skies are
gray....
The book is wonderful. It's going to keep me busy and happy for a good long
time. Thank you, thank you, thank you.
Wanda
Susan on thu 31 jan 02
Dear Ron,
Thank you for your quick speedy shipment of your book! I received it days
after ordering it from your site.
I do have a few questions:
Most prepared clays come either cone 5 or cone 10. How are your glazes using
cone 5 clay? I would rather not use cone 10 clay and glaze at cone 6 to save
on elements wear.
I was only able to skim the book so far but I do remember reading that your
recipes were tested using an electric kiln...not reduction. Will all your
glazes (especially your red) do well in an oxidation environment or just
some?
Lastly, you mentioned in detail (great stuff!) leaching. Have you tested
mason stains for leaching? I would like to use your safe base glazes and add
some mason stains if their leaching levels are low.
Susan
Debbie Jestin on fri 1 feb 02
I mixed up the Oatmeal,Fieldmouse Brown, Caribbean Sea Green, Raspeberry,
Licorice, Varigated Slate Blue, Waterfall Brown, and Raw Sienna. I carefully
measured and sieved twice through a 80 mesh sieve. I fired to cone 6 in a
1018 Skutt. No computer.
Low for 3 1/2 hours, medium for 4 hours and high for 2 3/4 hours, turned on
to high for a 1/2 hour soak. I let it cool to red then turned on low, limit
timer turned it off in an hour. The load was slightly overfired because the
bar cone was a U. Cooled too fast.
The semi matte glazes were glossy, and the colors didn't look like Ron and
Johns. I think I have most of them mixed too thin. The oatmeal looked
translucent honey color. The Waterfall looked like the northern lights in
greens, blues, and yellows but no brown or orange. The Licorice was great,
as was the Raspberry were it was double dipped, needed to have it a bit
thicker. The others lacked varigation, or crystal development. I glazed a
mug in Licorice and dipped the rim in Waterfall and it looks like the
picture in the book, but be careful it does run. I glazed a mug in Caribbean
Sea Green and dipped the rim in Oatmeal and the dip turned a varigated blue.
I tried another load fired up the same, but turned the switches both to low
for 3 hours, and let cool for 24 hours. The glazes were closer to semi matte
on this load, but the Oatmeal is still honey colored. I need to work at the
cooling a bit more.
Marianne Lombardo on fri 1 feb 02
Debbie;
I don't have their book yet (still saving my pennies) so I can't answer re
these particular glazes. But I do know from previous advice from Ron and
John that slow cooling is essential in producing true matte glazes.
I used to have a lot of assorted firing problems until I followed their
advice. I had to buy a pyrometer in order to closely adjust the kiln's
cooling rate during the critical cooling temperatures. My kiln is also
manual, but watching the pyrometer allows me to flip switches on and off and
control reasonably well. I've been getting some really great glaze results.
Marianne Lombardo
Omemee, Ontario, Canada
> I mixed up the Oatmeal,Fieldmouse Brown, Caribbean Sea Green, Raspeberry,
> Licorice, Varigated Slate Blue, Waterfall Brown, and Raw Sienna. I
carefully
> measured and sieved twice through a 80 mesh sieve. I fired to cone 6 in a
> 1018 Skutt. No computer.
> Low for 3 1/2 hours, medium for 4 hours and high for 2 3/4 hours, turned
on
> to high for a 1/2 hour soak. I let it cool to red then turned on low,
limit
> timer turned it off in an hour. The load was slightly overfired because
the
> bar cone was a U. Cooled too fast.
> The semi matte glazes were glossy, and the colors didn't look like Ron and
> Johns. I think I have most of them mixed too thin. The oatmeal looked
> translucent honey color. The Waterfall looked like the northern lights in
> greens, blues, and yellows but no brown or orange. The Licorice was great,
> as was the Raspberry were it was double dipped, needed to have it a bit
> thicker. The others lacked varigation, or crystal development. I glazed a
> mug in Licorice and dipped the rim in Waterfall and it looks like the
> picture in the book, but be careful it does run. I glazed a mug in
Caribbean
> Sea Green and dipped the rim in Oatmeal and the dip turned a varigated
blue.
> I tried another load fired up the same, but turned the switches both to
low
> for 3 hours, and let cool for 24 hours. The glazes were closer to semi
matte
> on this load, but the Oatmeal is still honey colored. I need to work at
the
> cooling a bit more.
Ron Roy on sat 2 feb 02
Hi Susan,
I think cone 6 clays are the most common - if you only have a choice of
cone 5 clays you shold pick one that is refractory enough to be fired at
cone 6 - John recommends all uor clazes be fired to a proper cone 6 to get
the stability advertized. Let me know if you need to know how to test clays
for whatever cone you want to fire to.
Yes - only electric in oxidation - the red glaze is a chrome tin red - note
- not GB in any of our glazes.
If you don't use too much stain and the glaze is stable - and well melted
(cone 6 at 5 pm) - with enough silica and all that - the glazes will hold
stain just fine. This is not so with the fit testing glaze set - each will
have a note about that.
If you do want to have them tested by a lab you need to know what is in the
stain - to tell the lab what to report on - Mason publishes that
information.
RR
>I do have a few questions:
>Most prepared clays come either cone 5 or cone 10. How are your glazes using
>cone 5 clay? I would rather not use cone 10 clay and glaze at cone 6 to save
>on elements wear.
>
>I was only able to skim the book so far but I do remember reading that your
>recipes were tested using an electric kiln...not reduction. Will all your
>glazes (especially your red) do well in an oxidation environment or just
>some?
>
>Lastly, you mentioned in detail (great stuff!) leaching. Have you tested
>mason stains for leaching? I would like to use your safe base glazes and add
>some mason stains if their leaching levels are low.
>
>Susan
Ron Roy
RR# 4
15084 Little Lake Rd..
Brighton,
Ontario, Canada
KOK 1H0
Residence 613-475-9544
Studio 613-475-3715
Fax 613-475-3513
Cindi Anderson on sun 3 feb 02
Actually I have been reviewing the porosity numbers of many Cone 5-6 clays.
Most suppliers call these "Cone 5" clays, not "Cone 6". I have data from 3
major companies, and they all list the % porosity when fired at Cone 5
electric. In about half the cases the ware is very vitrified at Cone 5. I
wouldn't fire these at Cone 6. In fact, Wanda, another ClayArter, has been
having a lot of problems with Cone 5 clays being overvitrified at Cone 6.
The other half of the clays have high enough porosity that they probably
would be fine at Cone 6. (Ranging from 5-8% at Cone 5.) Some are 3.5% at
Cone 5, not sure how that would do at Cone 6.
Frankly after reviewing all this data I am stumped and can't figure out what
the clay manufacturers are thinking. I will try to talk to them at NCECA.
For example, Cone 5 clay listed as "excellent for dinnerware" is 8% porosity
at Cone 5. I don't understand. Do they really intend this to be a Cone 7
clay body?
If the idea is to have a wide variety of clay bodies so some vitrify at 5,
some at 6, some at 7, why don't they say that, instead of listing them all
as Cone 5?
I will give credit to IMCO. They have this data on their website, and they
actually give the best cone for vitrification. Some are Cone 5, some Cone
6, some Cone 7. (and they give the porosity % at that cone)
Cindi
Fremont, CA
----- Original Message -----
From: "Ron Roy"
To:
Sent: Friday, February 01, 2002 8:55 PM
Subject: Re: Mastering Cone 6 Glazes
> I think cone 6 clays are the most common - if you only have a choice of
> cone 5 clays you shold pick one that is refractory enough to be fired at
> cone 6 - John recommends all uor clazes be fired to a proper cone 6 to get
> the stability advertized. Let me know if you need to know how to test
clays
> for whatever cone you want to fire to.
Ron Roy on wed 13 feb 02
Hi Marianne,
Thanks for this - now be an angel and tell em what you do - when you switch
back on and how slow per hour and when you switch everything off.
So when am I going to see some of these pots?
RR
>I don't have their book yet (still saving my pennies) so I can't answer re
>these particular glazes. But I do know from previous advice from Ron and
>John that slow cooling is essential in producing true matte glazes.
>
>I used to have a lot of assorted firing problems until I followed their
>advice. I had to buy a pyrometer in order to closely adjust the kiln's
>cooling rate during the critical cooling temperatures. My kiln is also
>manual, but watching the pyrometer allows me to flip switches on and off and
>control reasonably well. I've been getting some really great glaze results.
>
>Marianne Lombardo
>Omemee, Ontario, Canada
Ron Roy
RR# 4
15084 Little Lake Rd..
Brighton,
Ontario, Canada
KOK 1H0
Residence 613-475-9544
Studio 613-475-3715
Fax 613-475-3513
Marianne Lombardo on wed 13 feb 02
Hi Ron;
I can send you a jpg picture if you want of a beauty from my last firing,
otherwise I am hoping to figure out how to put up a web page in the near
future. Until very recently my pots weren't good enough to show anyone but
family. The glazes are great but my work was lacking. Now I have some good
pots ready for bisque firing.
As for the slow cooling, this is how I do it. As I said before, I don't
know what The Book advises, but this is my method based upon previous advice
from you and John. Keep in mind that my kiln is ancient and has, with the
add-on wired collar, 5 switches that just turn on or off. It has a kiln
sitter and timer for backup. My children gave me the money for the
pyrometer for my birthday last year and that really helps.
First I bisque to ^04. For the glaze firing, I use a small ^6 in the kiln
sitter. My firing up takes 10 to 12 hours as I go slow between turning
switches. Even though a small ^6 is really only about a ^5-1/2 in relation
to large cones, that allows me to soak for 20 minutes without overfiring.
The soak may or may not really be necessary but I usually do it just in
case.
When the sitter shuts off, I raise the lever and push the button back on and
gently lower the lever. I place a layer of kaowool on top of the kiln lid
and turn the some of the switches back on and watch the pyrometer and try
and hold for 20 minutes. This is tricky because I have to sit right there
and flip a switch on for a bit, and then back on, etc.
Then I turn the kiln back off and let it drop naturally to about 1900F
Turn the kiln back on, set the timer for 4 hours as a backup
Turn on switches 1, 3 and 4 and the temp will drop at 108F per hour. (can't
figure out a switch combo for 150F per hour)
Keep coming back in every 15 minutes or so to check the temp on the
pyrometer and adjust switches if necessary
Turn the kiln off at 1500F or, if I'm very tired and want to go to bed I
cheat and turn them off at around 1600F and say what will be will be and go
to bed.
Then the next day I pace around and wait until around 1 p.m. when I can open
the kiln at less than 200F.
I don't use test tiles for glaze experimenting, instead I make small vases
or candleholders. That way if they turn out good I've got something useful,
if not I throw them out. No big deal because they are small.
Someday, when I'm rich and famous (ha-ha) I will buy a nice modern kiln with
a controller. Maybe when I am about 90 years old?
Hope this helps,
Marianne Lombardo
Omemee, Ontario, Canada
> Thanks for this - now be an angel and tell em what you do - when you
switch
> back on and how slow per hour and when you switch everything off.
>
> So when am I going to see some of these pots?
Michael Pressman on mon 27 may 02
I=92m a long-time lurker, first-time poster, part-time potter. Also,
I=92m=
a
frustrated cone 6 electric firer.. so just tried a glaze kiln with a few
tests from the Hesselberth/Roy book. (A nicely written, sensible tome)
Perhaps someone (the authors?) could comment on my results.
I used the firing protocol in Appendix E, but when the 20 minute hold time
at 2190 was just about spent, Cone 6 had hardly begun to bend. So I
stopped the kiln and quickly programmed anew, this time going up to 2200
with a long hold. While re-programming, the kiln dropped to about 2170
before creeping up again. At 2200, after about 25 minutes of hold time,
cone 6 was bent to about the top of its base. I started cooling at 150 per
hour to 1500. At the end of the firing cone 6 had touched the kiln shelf
(as requested by the authors). So my first question is: with all this hold
time (20+25) did I effectively over-fire or is that irrelevant if the cone
dropped properly?
Using a buff stoneware (Standard #553) I tested Variegated Slate Blue,
Field Mouse Brown, Spearmint, Licorice, and Waterfall Brown. Waterfall
brown was quite on the hideous side=97dark chocolate, uninteresting..
nothin=
g
like the pictures. When dipped over Licorice (the black came out fine) it
created a subtle color variation but nothing like the picture in the book
on page 97.
The other semi-matte glazes only approached the look in the book (page 87)
when double dipped.. about 3 seconds each dip. I don=92t think I mixed up
the glazes too thinly. At a single dip, Spearmint, for example, came out
bleached and bland. My best results were in a bowl where I sprayed
liberally Field Mouse, Var. Slate Blue, and Spearmint, partially
overlapping. At the bottom of the bowl on the inside, where the
overlapping was thick and extensive, the results were beautiful, but mostly
on the glossy side.
In general, my results were promising enough to continue testing from this
book. Having never used a slow cool protocol before, maybe that=92s where
I=
got into a bit of trouble. Thanks in advance for any comments.
Michael Pressman
Tarrytown, NY
John Hesselberth on mon 27 may 02
Hi Michael,
I'll have a try at answering your questions, but I also hope some others wh=
o
now have experience using these glazes will chime in.
I doubt that you overfired--the cones are the best overall indicator of wha=
t
happened in your kiln. I suspect your Waterfall Brown was applied too
thinly. We, of course, give all kinds of warnings about getting to know
your angle grinder if you get it on too thickly, so it is natural to be a
bit cautious with it. Try putting it on a flat tile so you don't have to
worry as much about it running and try different thickness' to see what
looks best to you. You won't get all the features of that glaze showing
themselves on a flat tile--it does need to run a little to bring out its
best--but you should be able to judge what an appropriate thickness would
be. Then when you go back to vertical surfaces you might want to place you=
r
pieces on bisque slabs until you know how to keep it on the pot.
You may also need to cool a little more slowly. Your comment that some of
your samples were mostly on the glossy side tells me this. Every potter
will have to make some adjustments to these glazes to accommodate to their
own batches of raw materials, preferred thickness of application, etc. I'd
try dropping the cooling rate to 100-125=B0F/hour down to 1500. For an
illustration of how much difference cooling rate can make go to our web sit=
e
at
http://www.masteringglazes.com
Click on Frequently Asked Questions and then look for the question that
addresses cooling rate. Within that answer you can click and bring up an
illustration of the effect of cooling rate--I think I did it on Variegated
Slate Blue.
It sounds like you are really very close to getting our results--just a
little fine tuning. Of course then the real fun begins as you start to use
or modify those glazes in ways we never imagined to turn them into your own=
.
It sounds like you've already started that experimentation with your
overlapped tests.
Good luck,
John
on 5/27/02 10:02 AM, Michael Pressman at mnpress@MINDSPRING.COM wrote:
> I=92m a long-time lurker, first-time poster, part-time potter. Also,
I=92m =
a
> frustrated cone 6 electric firer.. so just tried a glaze kiln with a few
> tests from the Hesselberth/Roy book. (A nicely written, sensible tome)
> Perhaps someone (the authors?) could comment on my results.
>=20
> I used the firing protocol in Appendix E, but when the 20 minute hold tim=
e
> at 2190 was just about spent, Cone 6 had hardly begun to bend. So I
> stopped the kiln and quickly programmed anew, this time going up to 2200
> with a long hold. While re-programming, the kiln dropped to about 2170
> before creeping up again. At 2200, after about 25 minutes of hold time,
> cone 6 was bent to about the top of its base. I started cooling at 150 p=
er
> hour to 1500. At the end of the firing cone 6 had touched the kiln shelf
> (as requested by the authors). So my first question is: with all this ho=
ld
> time (20+25) did I effectively over-fire or is that irrelevant if the con=
e
> dropped properly?
>=20
> Using a buff stoneware (Standard #553) I tested Variegated Slate Blue,
> Field Mouse Brown, Spearmint, Licorice, and Waterfall Brown. Waterfall
> brown was quite on the hideous side=97dark chocolate, uninteresting..
nothi=
ng
> like the pictures. When dipped over Licorice (the black came out fine) i=
t
> created a subtle color variation but nothing like the picture in the book
> on page 97.
>=20
> The other semi-matte glazes only approached the look in the book (page 87=
)
> when double dipped.. about 3 seconds each dip. I don=92t think I mixed up
> the glazes too thinly. At a single dip, Spearmint, for example, came out
> bleached and bland. My best results were in a bowl where I sprayed
> liberally Field Mouse, Var. Slate Blue, and Spearmint, partially
> overlapping. At the bottom of the bowl on the inside, where the
> overlapping was thick and extensive, the results were beautiful, but most=
ly
> on the glossy side.
>=20
> In general, my results were promising enough to continue testing from thi=
s
> book. Having never used a slow cool protocol before, maybe that=92s where
=
I
> got into a bit of trouble. Thanks in advance for any comments.
>=20
> Michael Pressman
> Tarrytown, NY
>=20
> _________________________________________________________________________=
_____
> Send postings to clayart@lsv.ceramics.org
>=20
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>=20
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
web sites: http://www.masteringglazes.com and http://www.frogpondpottery.co=
m
EMail: john@frogpondpottery.com
"Pots, like other forms of art, are human expressions: pleasure, pain or
indifference before them depends upon their natures, and their natures are
inevitably projections of the minds of their creators." Bernard Leach, A
Potter's Book.
Carol Tripp on mon 27 may 02
Michael wrote, in part:
I used the firing protocol in Appendix E, but when the 20 minute hold time
>at 2190 was just about spent, Cone 6 had hardly begun to bend. So I
>stopped the kiln and quickly programmed anew, this time going up to 2200
>with a long hold. While re-programming, the kiln dropped to about 2170
>before creeping up again. At 2200, after about 25 minutes of hold time,
>cone 6 was bent to about the top of its base.
Hi Michael,
I will address only this part of your message. I have a suggestion for
programming your controller for soak time. (And this took me a while to
figure out.) To avoid the frenzy involved in reprogramming during firing
and losing heat needlessly, program in a long soak (I use 1 1/2 hours) and
then watch your cone during the soak. When it's down to where you want it,
end the soak by skipping to the next ramp; so much easier and it gives you
the flexibility to tailor your soak to each firing.
Hope this helps.
Best regards,
Carol
_________________________________________________________________
Chat with friends online, try MSN Messenger: http://messenger.msn.com
Kay Howard on mon 27 may 02
Hi Michael
I can't speak to your results with Ron and John's glazes relative to =
cooling cycle because my perfectfire controller does not (as far as I =
have been able to figure) allow me to program a cooling cycle. So I =
fire to ^6, hold for 10 minutes and let it cool. I get what I get. I =
just replaced my lid and I put the old one on top for additional =
insulation, I turn off the vent, close the holes and let it cool =
natuarally. (Would anyone suggest that I'm doing anything unwise so =
far? ) I use cone packs, but don't do the spy hole thing. And I have =
taken note of all the reasons why I should--so please--no need to =
repeat. Anyway here is what I have learned about the glazes you =
mentioned and I have tried--Waterfall--wonderful and a real learning =
experience. I have found the most spectacular results on verticle =
pieces--vases etc. I have used a barrier of Randy's Red (a red iron =
non-runny glaze) on the very bottom of these pieces; the WF will cascade =
from the top and overlaps the barrier -apply it heavier on the top, =
count on it flowing!--but I have had several pieces with gorgeous bright =
red places, sparkly tan, green and crystal spotting--just like the =
pictures. This is especially nice over carving or similar irregular =
surfaces where the glaze can pool . I've also had that icky brown--but =
hang in there--it is well worth the experimenting. On the inside of =
bowls--I got too heavy handed (after all it can't run onto my shelves!) =
and got too much OK but flat tan-green. The learning curve is =
definitely alive. I like it best on vase type things with surface =
breaks. Varigated slate blue--on white stoneware (I spray it on the =
white pieces) it is a lovely, even soft slate blue--it becomes more =
shiny, more varigated and a little runny with (I assume) faster cool; =
more even and matte with lower temp or slower.--I like the shinier =
version, more varigated even some hints of mauve. On dark stoneware it =
is more green and when dipped or poured the overlapping makes great dark =
green/grey green variation like in the book. I like both. Licorice =
goes a little brown on white clay but is very dependable; it looks great =
with a blue accent over it. Floating blue seems to work. Raspberry is =
also very dependable and when applied to the same piece with licorice, =
the overlap is a soft grey-green--nice. So this is my experience with =
these glazes--without any real consideration for cooling control. I =
should mention that I do not make stuff to be used with food--mostly =
decorative. I hope that you and others will share experiences with =
these and the other R-J glazes. The results have also been promising =
sales-wise, even with limited spring-show experience.
Hang in there.
Kay Howard (Grass Lake, MI Leaf Lady--the leaves are finally here--time =
to go to work!) Flint Fine Art Fair in 2 weeks
capclay@modempool.com
5301 Updyke
Grass Lake, MI 49240
517-522-4771
Linda Lowe on tue 28 may 02
Hi Everyone,
I finally got to test some glazes from the "Book". Here are my results:
Fired to Cone 6 in Electric Kiln and did a slow cooling (switched on medium
for 4 hours - don't have the other gadgets) as suggested in Ron and John's
Book. I put mug and pitcher on bottom shelf (large cone went down) and the
test tiles were on a shelf above about midway in the kiln (the large cone
did not go down as far).
Test Tiles
Spearmint - just like the book, wonderful!
Bone - just like the book, wonderful!
Raw Sienna - turned out very nice, but not exactly like the book; more
variation in color.
Mug and Pitcher:
Raw Sienna - again more variation in color, although the pitcher was
lighter.
Hope to try some more in the near future. I really like the slow cooling, I
can see a difference in the appearance of the glaze - it seems to be more a
part of the piece, rather than just covering it - really pleased with this.
I also would like to take this opportunity to just say what a wonderful
forum this is and how much I learn from everyone and their input. Thanks.
Cheers,
Linda
Ababi on tue 28 may 02
I have a totally different altitude toward the book. Since I saw it's
table of content in http://www.masteringglazes.com/
This is a very important guide book. A book that guides me not only to
be better but explains me how.
If at the moment you find it difficult to make the glazes of the book
make others, less demand ones. Just try to keep the rules.
For me making this way of firing means to start the firing early in the
morning and might finish into the night. Of course if it helps you to
sell better it worse it.
---------- Original Message ----------
>Michael wrote, in part:
>I used the firing protocol in Appendix E, but when the 20 minute hold
>time
>>at 2190 was just about spent, Cone 6 had hardly begun to bend. So I
>>stopped the kiln and quickly programmed anew, this time going up to
>2200
>>with a long hold. While re-programming, the kiln dropped to about 2170
>>before creeping up again. At 2200, after about 25 minutes of hold
>time,
>>cone 6 was bent to about the top of its base.
>Hi Michael,
>I will address only this part of your message. I have a suggestion for
>programming your controller for soak time. (And this took me a while to
>figure out.) To avoid the frenzy involved in reprogramming during
>firing
>and losing heat needlessly, program in a long soak (I use 1 1/2 hours)
>and
>then watch your cone during the soak. When it's down to where you want
>it,
>end the soak by skipping to the next ramp; so much easier and it gives
>you
>the flexibility to tailor your soak to each firing.
>Hope this helps.
>Best regards,
>Carol
>_________________________________________________________________
>Chat with friends online, try MSN Messenger: http://messenger.msn.com
>________________________________________________________________________
>______
>Send postings to clayart@lsv.ceramics.org
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
Rebecca Knight on wed 29 may 02
After reading Michael Pressman's firing results, I decided to post mine.
I fired my first glaze load on the weekend. The cone table on my controller
sets cone 6 as 2232 degrees. That's 42 degrees hotter than Ron's firing
schedule in the book. I decided to go with the table for this first firing.
Other than top temp, I programmed in the schedule from the book.
When it got to the upper 2100s, I started watching pretty closely so i could
skip to next segment if needed. Couldn't see the cones in the top of the
kiln - the whole inside was one mass of bright. I could see the bottom
cones, though, so all was not lost. All of a sudden I couldn't see any
cones in the bottom, either. Skipped to the next segment for slow cooling -
no soak. Temp on the readout was 2220.
So there I am, practically in tears, thinking I've melted down the inside in
my first glaze firing and I couldn't be sure of the temp at the top of the
kiln. It looked so much hotter than the bottom. Took a deep breath and
decided at the worst I'd have to buy new shelves. Not so bad. So I
prepared myself for the worst.
Thank goodness, the worst didn't happen. No melt downs, but I did fire to
cone 7 down, and it was even top to bottom. Those are some stable glazes -
I had zero drips or runoffs on the shelves. There were test tiles from five
different clay bodies plus eight glazes, mostly from the book.
My results were a bit different from Michael's. Waterfall brown looked
wonderful on everything on which I put it, from test tiles to a couple of
bottles and mugs. I was impressed. On the other hand, Waxwing brown sucked
in this firing. A really nasty dull brown with no breaking. Zinc semimatte
base turned out nicely. Tested it plain and with three different oxide
combinations. All were interesting and will be tested further. I really
liked Base Glaze 2. Very nice on everything, enhancing the natural clay
colors and producing some interesting color development where it overlapped
other glazes on the small pots I used for testing in addition to tiles.
I'll work with that one more, also.
Did I say yet how stable those glazes are? Some of the clays didn't fare too
well, though. One of the darker clays bloated a lot.
If cone 7 was down at 2220, do you think 2190 will be cone 6 in my kiln?
More testing coming up. . . more bags of clay bodies and more 1000 gram
batches of glaze, more test tiles and test mugs. It'll be fun, right? This
is so interesting and I'm loving it.
>
>tests from the Hesselberth/Roy book. (A nicely written, sensible tome)
>Perhaps someone (the authors?) could comment on my results.
>
>>cone 6 was bent to about the top of its base. I started cooling at 150
>>per
>hour to 1500. At the end of the firing cone 6 had touched the kiln shelf
>Using a buff stoneware (Standard #553) I tested Variegated Slate Blue,
>Field Mouse Brown, Spearmint, Licorice, and Waterfall Brown. Waterfall
>brown was quite on the hideous side?dark chocolate, uninteresting.. nothing
>like the pictures. When dipped over Licorice (the black came out fine) it
>created a subtle color variation but nothing like the picture in the book
>on page 97.
>
>The other semi-matte glazes only approached the look in the book (page 87)
>when double dipped.. about 3 seconds each dip. I don't think I mixed up
>the glazes too thinly. At a single dip, Spearmint, for example, came out
>bleached and bland
_________________________________________________________________
Send and receive Hotmail on your mobile device: http://mobile.msn.com
Chuck Wagoner on sat 23 oct 04
I just want to take time to reinforce what many have said about John and
Ron's book "Mastering Cone 6 Glazes". After working with clay for 30
years and selling dinnerware for 25 it has made my ceramic life so
exciting.
We switched from gas to electric (for our commercial ware) about 15
years ago for many reasons that I won't go into. While the glazes were
acceptable and tested safe I was never really happy. Always longing to
go back to old glazes and firing techniques. In the last year using the
MC6 recipes we have had such wonderful results that and it is joy to
open the kilns up to see the work.
Of course we found MC6 on Clayart. Clayart is such a wonderful resource
for so many things related to what we do and I also want to say "CLAYART
RULES"!
Potter Wagoner
West of Indy where the trees are beautiful and the Cardinal Fans are
excited.
Ron Roy on sat 28 oct 06
Hi Dolita,
When John and I wrote our book it was our intention to add new information
that would help potters make better functional pots.
We did that and now there are many potters who understand about stability
and have a better understanding about glaze fit and slow cooling.
I still feel it would be a mistake to publish our glazes on the list for
the simple reason that you don't get that information if you just get the
recipes.
As Dolita had said - we spend a lot of time supporting our work and our
glazes on this list - some were even published here before the book was
printed and are used by hundreds of potters.
This is not about not sharing - this is about trying to make it better. I
know there are some who will never understand - or say they don't - for
whatever reason - that does not change the fact that there are still many
potters who will benefit by learning more about the glazes they are using.
I am asking that our glazes not be published. I have no objection about
publishing some of the practical information in the book in the hope that
more potters will become better informed about appropriate functional
glazes.
RR
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
sacredclay on sun 29 oct 06
It seems that I have inadvertently touched off a firestorm when I
asked for copies of the glazes.I didn't realize that it was you John
that wrote the book. It wasn't my intention to casually ask others to
throw me the recipes so I don't have to buy the book. I have the
recipes now. I still plan on buying the book now that I have the funds
to do so. the generousity of others seemly warmed my heart. As to my
personal experience, sometimes the glazes won't turn out the way it
looks in the book simply because the very water that's used will
affect the glaze. Yes, I now know about distilled water.Back then, I
didn't know. It's the experience that teaches me. I know I should read
all of the informations, but I'm too impatience. I like finding out
what I did wrong and why. But I digress. Agian, it wasn
t my intention to be so cheap and ask for what you clearly don't feel
comfortable. I will try to respect it. If I ask again, please be aware
that I have a memory-retention problem (translation-mispent youth) and
often have trouble remembering names to certain things. Again, thank
you for all you do to help. With the warmest regards, kathryn Hughes
in NC where it's beautifully fall finally!
Laura Macgregor on thu 7 dec 06
I just unloaded my kiln and I'm over the moon with the results of the
glazes.Used light stormy blue.It is gorgeous with a slight fleck of
green.Licorice is a rich black.I made a salad bowl with 6 small matching
bowls. Splashed waterfall brown over them. I think they look great. Also
the light stormy blue is great in combination with licorice.
Thankyou Ron and John.
Lisa E on mon 19 feb 07
My suggestion is to do some matt and some glossy as from my experience with
MC6G's, they go very well together. If you want a glaze that will blow your
mind, try the Waterfall Brown. Just be careful to use it on the top of the
piece as it is very active. AND use it over other glazes. It will pick up
any color from the glaze underneath and give you super cool results.
When you fire your new glazes post them so we can see them.
You can access my MC6G glazes tests by going to my website
www.LisaElbertsen.com. they are on the left side of the page.
Another thing, follow the firing guide here:
http://www.masteringglazes.com/Pages/faqframe.html the entire website is a
good resource.
Have fun! Wear a respirator when you are mixing and measuring your dry
materials!
Lisa
On 2/19/07, Leigh Whitaker wrote:
>
> I got this book a week or so ago, and I have just purchased $200 worth of
> chemicals. Iiieeeee! I am scared! Which one should I start with? Or
> glossy
> or semi matte? Of course it doesn't really matter what y'all tell me,
> I'm
> gonna do whatever I want anyway ;op
>
> On another note... everything I have glazed in the studio glazes looks
> like
> poop. The glazes are fine, it's just my technique must be bad
> or something.
> I've got drips down the sides, or I used colors together that don't
> really
> go well, or I have bare spots on the rims. Oh well, live and learn, I
> guess.
>
> Leigh
>
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
--
Lisa E
Sunny Daze Design Pottery Studio
SunnyDazeDesign@gmail.com
Squamish, BC Canada
www.lisaelbertsen.com http://picasaweb.google.com/SunnyDazeDesign
Leigh Whitaker on mon 19 feb 07
I got this book a week or so ago, and I have just purchased $200 worth of
chemicals. Iiieeeee! I am scared! Which one should I start with? Or glossy
or semi matte? Of course it doesn't really matter what y'all tell me, I'm
gonna do whatever I want anyway ;op
On another note... everything I have glazed in the studio glazes looks like
poop. The glazes are fine, it's just my technique must be bad or something.
I've got drips down the sides, or I used colors together that don't really
go well, or I have bare spots on the rims. Oh well, live and learn, I guess.
Leigh
WJ Seidl on tue 20 feb 07
Leigh:
Don't throw out those pots.
Put them in a box and save them.
Look at them again in a year or two.
Your perception will change, trust me.
If you still don't like them, THEN they're a lesson learned.
Best,
Wayne Seidl
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Leigh Whitaker
Sent: Monday, February 19, 2007 9:41 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Mastering cone 6 glazes
I got this book a week or so ago, and I have just purchased $200 worth of
chemicals. Iiieeeee! I am scared! Which one should I start with? Or
glossy
or semi matte? Of course it doesn't really matter what y'all tell me, I'm
gonna do whatever I want anyway ;op
On another note... everything I have glazed in the studio glazes looks like
poop. The glazes are fine, it's just my technique must be bad or
something.
I've got drips down the sides, or I used colors together that don't really
go well, or I have bare spots on the rims. Oh well, live and learn, I
guess.
Leigh
____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Leigh Whitaker on tue 20 feb 07
In a message dated 2/20/2007 7:04:58 A.M. Eastern Standard Time,
sunnydazedesign@GMAIL.COM writes:
My suggestion is to do some matt and some glossy as from my experience with
MC6G's, they go very well together. If you want a glaze that will blow your
mind, try the Waterfall Brown. Just be careful to use it on the top of the
piece as it is very active. AND use it over other glazes. It will pick up
any color from the glaze underneath and give you super cool results.
When you fire your new glazes post them so we can see them.
You can access my MC6G glazes tests by going to my website
www.LisaElbertsen.com. they are on the left side of the page.
Another thing, follow the firing guide here:
http://www.masteringglazes.com/Pages/faqframe.html the entire website is a
good resource.
Have fun! Wear a respirator when you are mixing and measuring your dry
materials!
Lisa
Thanks Lisa! I think Waterfall brown is definitely going to be in my first
set of batches! It's so pretty. I really like the results someone got
(Chris maybe) in that recent thread where he posted his M^6 results. It seemed to
have lots of blue and green in it, IIRC. I haven't looked at your glaze
tests yet, but I did look at you site again last night. You are getting so
productive! Lots of good stuff!
Thanks for the link. I will have to talk to the studio that does my firing,
and see how flexible they can be about firing programs.
Thanks!
Leigh
Leigh Whitaker on tue 20 feb 07
In a message dated 2/20/2007 7:04:48 A.M. Eastern Standard Time,
wjsvt@SOVER.NET writes:
Leigh:
Don't throw out those pots.
Put them in a box and save them.
Look at them again in a year or two.
Your perception will change, trust me.
If you still don't like them, THEN they're a lesson learned.
Best,
Wayne Seidl
Thanks Wayne! I really want to throw a few in the trash. Maybe I won't.
Maybe I will give them to my mom, she will say she likes them, even if she
doesn't.
Leigh
Chris Schafale Clayart on tue 20 feb 07
Good luck! Boy does this bring back memories for me! About 8 or 9 years
ago, I was exactly in your shoes, never having mixed a glaze of any kind
and starting from scratch to learn it all. You have the tremendous
advantage of having a wonderful book of carefully tested recipes which
didn't exist when I started. I joined Clayart and asked some really
ignorant questions, and then some slightly less ignorant ones, and
eventually got to know quite a lot about glazes and glaze testing. It was
a frustrating and exciting and maddening and wonderful journey. My pots
looked like poop too, for quite awhile, and I made a LOT of shards that
year. But it did get better and I now have glazes I'm really pleased with
and know how to use.
I wish you all the best, and if I can help in any way, just shoot me an
email off list. I'm happy to share anything I know.
Chris
At 09:41 PM 02/19/2007, you wrote:
>I got this book a week or so ago, and I have just purchased $200 worth of
>chemicals. Iiieeeee! I am scared! Which one should I start with? Or
>glossy
>or semi matte? Of course it doesn't really matter what y'all tell me, I'm
>gonna do whatever I want anyway ;op
>
>On another note... everything I have glazed in the studio glazes looks like
>poop. The glazes are fine, it's just my technique must be bad or something.
>I've got drips down the sides, or I used colors together that don't really
>go well, or I have bare spots on the rims. Oh well, live and learn, I guess.
>
>Leigh
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
Light One Candle Pottery
Fuquay-Varina, North Carolina, USA (near Raleigh)
www.lightonecandle.com
Galleries of Pottery Forms by Clayart Potters: www.potteryforms.org
Includes Stay at Home Clay Exchange Gallery and more!
| |
|
