Craig Martell on tue 19 mar 02
Hello again:
Refiring isn't as uncommon as we might think. We've been discussing
refiring in terms of fixing faults or aesthetic shortcomings of a piece or
pieces.
Refiring is done all the time as a normal step in the process of creating
certain kinds of pots and ceramic pieces. Hamada used to do overglaze
enamels on pots that had been high fired and these were refired to a lower
temperature to fuse the enamels to the high fire glaze. Lee Love said in a
post that they use the same enamels and do the same process at the Mashiko
Pottery where he now works.
I know some folks who do overglaze enamels and china paints and lustres and
refire these pieces on a regular basis. Take a look at Ralph Bacerra's
work. I think his pots go thru more than two firings.
The reason that I didn't mention this in an earlier post is that I don't do
this kind of firing and it's not in the forefront of my thinking about
process. A lot of us just bisque and glaze fire or single fire and really
don't think about multiple firings to complete a work. I'm thinking about
it now though!
regards, Craig Martell in Oregon
m markey on wed 20 mar 02
Hi Craig, and Everyone Who Refires!
I met a potter who fired her wares in this order: bisque, cone 6 oxy, then
refired to cone 6 oxy, then refired the same wares to a lower cone--usually
08 or cone 1.
She reapplied glazes as she needed, before each refiring, to achieve effects
on her sculptures. The low-fire refirings allowed her to use brighter
colors, to highlight the surfaces of the unusual abstract forms.
I recall that she fired slowly, in an electric kiln, for each refiring.
Amazing effects!
Mohabee NakedClay@hotmail.com
Yucca Valley, CA
----Original Message Follows----
From: Craig Martell
Refiring/another thing
Hello again:
Refiring isn't as uncommon as we might think. We've been discussing
refiring in terms of fixing faults or aesthetic shortcomings of a piece or
pieces.
Refiring is done all the time as a normal step in the process of creating
certain kinds of pots and ceramic pieces. Hamada used to do overglaze
enamels on pots that had been high fired and these were refired to a lower
temperature to fuse the enamels to the high fire glaze. Lee Love said in a
post that they use the same enamels and do the same process at the Mashiko
Pottery where he now works.
I know some folks who do overglaze enamels and china paints and lustres and
refire these pieces on a regular basis. Take a look at Ralph Bacerra's
work. I think his pots go thru more than two firings.
The reason that I didn't mention this in an earlier post is that I don't do
this kind of firing and it's not in the forefront of my thinking about
process. A lot of us just bisque and glaze fire or single fire and really
don't think about multiple firings to complete a work. I'm thinking about
it now though!
regards, Craig Martell in Oregon
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Lee Love on wed 20 mar 02
----- Original Message -----
From: "Craig Martell"
> certain kinds of pots and ceramic pieces. Hamada used to do overglaze
> enamels on pots that had been high fired and these were refired to a lower
> temperature to fuse the enamels to the high fire glaze. Lee Love said in a
> post that they use the same enamels and do the same process at the Mashiko
> Pottery where he now works.
One thing I've noticed about the "refiring" of the enamel firing. It often
makes the already fired ash glaze and the body warmer/darker.
--
Lee Love In Mashiko Ikiru@kami.com
"The best pots for me are the pots that I like." --Shoji Hamada (1894-1978)
http://www.awanomachi-tcg.ed.jp/mashiko.html
John Baymore on thu 21 mar 02
Craig,
Refiring is done all the time as a normal step in the process of creating=
certain kinds of pots and ceramic pieces. Hamada used to do overglaze
enamels on pots that had been high fired and these were refired to a lowe=
r
temperature to fuse the enamels to the high fire glaze. Lee Love said in=
a
post that they use the same enamels and do the same process at the Mashik=
o
Pottery where he now works.
I know some folks who do overglaze enamels and china paints and lustres a=
nd
refire these pieces on a regular basis. =
I have been using overglaze enamels on stoneware for many years....... th=
e
early Hamada influence, I guess .
Don't usually have too many problems. The ware (body) does have to be DR=
Y
though.
I did have one large platter explode once (at the top of the kiln of
course) because I had mistakenly left it outside for a while before doing=
the enamel work. It had absorbed enough moisture from rain that didn't g=
et
out of the tight porous body even though I use an 8 hour soak at 190 F
before the controller actually ramps up for the real firing. Ruined abou=
t
8 cubic feet of nice pots as the little bits of clay embedded themselves
into the fusing enamels . Live and learn . I won't make THAT
mistake again.
I have found that my fake nuka glaze just gets even nicer after the ename=
l
firing. Particularly the color where it is over an ochre slip.
Best,
..............................john
John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086 USA
603-654-2752 (s)
800-900-1110 (s)
JohnBaymore.com
JBaymore@compuserve.com
"DATES SET: Earth, Water, and Fire Noborigama Woodfiring Workshop =
August 16-25, 2002"
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