Ceramic Design Group on sun 28 jul 02
I am wondering, in light of some of the recent posts regarding glaze
surfaces, atmospheres, colors, etc...
Why is it that people want glazes that "look like cone 9-10 reduction
glazes?" Seems to me that if we all made our work to look like that it would
be really boring and insipid.
Each firing temperature and atmosphere has its own qualities. Appreciating
mid range electric fired work, for example, for the great variety of
stunning colors and ease of repeating them is of estimable value. As is
working at other temperatures at atmospheres. Ron and John have further
extended our thinking that active surfaces can be obtained at this
temperature. The thread of "industrial looking glazes" has really no frame
of reference to me other then I don't know what this means.
I think it is most unfortunate that we tend to discredit other ways of
working in deference to having our work look like cone 9-10 reduction fired
ware.
The electric kiln is often maligned and discredited. I think that another
way of looking at what the electric kiln can produce for you can open up you
eyes, your senses, and ways of working that are exciting and unique. It
takes work, serious inquiry, and focus.
I remember in undergraduate school at RISD that someone said that if the
piece looks like garbage when it comes out of the gas kiln, just put it into
the salt kiln and it will be 100% better. Not to denigrate this way of
working at all, but we are so easily influenced and tempted by the colors
that are available in the gas kiln, that the efforts to strive and reproduce
the same surfaces in the electric kiln become a huge effort by some. Witness
the involvement trying to get a successful "Floating Blue" at cone 6 or so.
Is it just my thinking or is there a certain myopia that might be evidenced
here?
I am sure that with proper research and testing, reading Ron and John's book
and using their research as a spring board, it is possible to obtain
surfaces that may approximate many high fired reduction counterparts. And
their work has opened up new ways of thinking about the electric kiln as a
valuable and essential tool.
But the question I have is why do I sense that there is this thinking that
"I want my glazes to look like cone 9-10 reduction fired work?" What's the
point?
Respectfully,
Jonathan Kaplan, president
Ceramic Design Group
PO Box 775112
Steamboat Springs CO 80477
voice and fax 970 879-9139
info@ceramicdesigngroup.net
Plant Location:
1280 13th Street Unit 13
Steamboat Springs CO 80487
(please use this address for all deliveries via UPS, comman carrier, Fed Ex,
etc.)
"Custom design and manufacturing for the ceramic arts, giftware and pottery
industries. Molds, models, and tooling for slip casting, jiggering and
hydraulic pressing. Consultation on clay and glaze formulation, production
systems,firing, and kilns.
Ababi on sun 28 jul 02
Hello Jonathan.
In your letter there is the answer, from my point of view.
I cannot see myself working in a kiln but my electric .
I think it has a lot of possibilities.
I think I get the feeling if I may say it, virtual feeling, of the reduction firing ( plus the
lovely saucer I got from Marta M which is real!)
I think I hope I might arrive to some similar effect to high fire reduction, in electric ^6.
Copper red: defiantly not
Ababi Sharon
Glaze addict
Kibbutz Shoval Israel
ababisha@shoval.org.il
http://members4.clubphoto.com/ababi306910/
---------- Original Message ----------
>I am wondering, in light of some of the recent posts regarding glaze
>surfaces, atmospheres, colors, etc...
>Why is it that people want glazes that "look like cone 9-10 reduction
>glazes?" Seems to me that if we all made our work to look like that it would
>be really boring and insipid.
>Each firing temperature and atmosphere has its own qualities. Appreciating
>mid range electric fired work, for example, for the great variety of
>stunning colors and ease of repeating them is of estimable value. As is
>working at other temperatures at atmospheres. Ron and John have further
>extended our thinking that active surfaces can be obtained at this
>temperature. The thread of "industrial looking glazes" has really no frame
>of reference to me other then I don't know what this means.
>I think it is most unfortunate that we tend to discredit other ways of
>working in deference to having our work look like cone 9-10 reduction fired
>ware.
>The electric kiln is often maligned and discredited. I think that another
>way of looking at what the electric kiln can produce for you can open up you
>eyes, your senses, and ways of working that are exciting and unique. It
>takes work, serious inquiry, and focus.
>I remember in undergraduate school at RISD that someone said that if the
>piece looks like garbage when it comes out of the gas kiln, just put it into
>the salt kiln and it will be 100% better. Not to denigrate this way of
>working at all, but we are so easily influenced and tempted by the colors
>that are available in the gas kiln, that the efforts to strive and reproduce
>the same surfaces in the electric kiln become a huge effort by some. Witness
>the involvement trying to get a successful "Floating Blue" at cone 6 or so.
>Is it just my thinking or is there a certain myopia that might be evidenced
>here?
>I am sure that with proper research and testing, reading Ron and John's book
>and using their research as a spring board, it is possible to obtain
>surfaces that may approximate many high fired reduction counterparts. And
>their work has opened up new ways of thinking about the electric kiln as a
>valuable and essential tool.
>But the question I have is why do I sense that there is this thinking that
>"I want my glazes to look like cone 9-10 reduction fired work?" What's the
>point?
>Respectfully,
>Jonathan Kaplan, president
>Ceramic Design Group
>PO Box 775112
>Steamboat Springs CO 80477
>voice and fax 970 879-9139
>info@ceramicdesigngroup.net
>Plant Location:
>1280 13th Street Unit 13
>Steamboat Springs CO 80487
>(please use this address for all deliveries via UPS, comman carrier, Fed Ex,
>etc.)
>"Custom design and manufacturing for the ceramic arts, giftware and pottery
>industries. Molds, models, and tooling for slip casting, jiggering and
>hydraulic pressing. Consultation on clay and glaze formulation, production
>systems,firing, and kilns.
>______________________________________________________________________________
>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.
Paul Bailey / Janet Moe on sun 28 jul 02
I have been doing Cone 6 electric firing for many years now. Visitors to
my studio often comment on the beautiful glazes. Those who have some
pottery knowledge are often surprised that they are cone 6. I am now
building my gas kiln and looking forward to doing Cone 10 reduction, not
because I think it is better but because I am interested in learning
another new aspect of pottery. I also woodfire when I get the chance in
Gordon Hutchens anagama and the Nanaimo Tozan kiln. If there were more
hours in the day I would also be doing raku, pit firing and earthenware.
I like the differences!
Janet Moe
Handbuilt Pottery
Denman Island, BC
Cindi Anderson on mon 29 jul 02
Jonathon,
I for one, completely appreciate that there are many styles of decoration,
and each is good in its own right. I would never try to discredit one type
of firing. But here is my roundabout answer to your question.
I find that just putting a coat of perfectly opaque bright colored low fire
glaze on my work is a cop out and doesn't fit my work. I find low fire to
be best for intricate painting, bright brushwork decoration, etc., which I
don't do.
At Cone 5/6, I have found that "standard" glazes (by standard I guess I mean
most commercial and many recipes that float around) are not very forgiving
nor interesting. Keep in mind, I am primarily focusing on form, and want an
interesting glaze to allow the form to show. I am not intricately
decorating the pieces. When I use the "standard" oxidation glazes, I find
that it is much more difficult to get nice pieces than when I do high fire
reduction (at workshops.) The high fire reduction sort of makes everything
look good. I know that is an extreme statement, not everything looks
good... but colors tend to blend, clay and glaze melt together more, tiny
imperfections in glaze application are not obvious as they are in standard
Cone 5/6 glazes. So that is one reason why although I currently am limited
to firing Cone 5/6 oxidation, I strive toward the look of a cone 9-10
reduction glaze. Also, I have realized that oxidation doesn't really fit my
style. Ultimately I believe that I need to work in reduction, maybe even
salt. But 5/6 oxidation is all I have at the moment, so I am trying to make
it work. I believe it is possible, but it takes more work. However, I
believe standard Cone 5/6 oxidation works great for many people's styles.
Maybe this is similar to what other people are thinking.
Cindi in Fremont, CA
----- Original Message -----
> Why is it that people want glazes that "look like cone 9-10 reduction
> glazes?" Seems to me that if we all made our work to look like that it
would
> be really boring and insipid.
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