Bob Hanlin on sun 1 sep 02
Have you made the switch from cone 10 reduction to Cone 5 oxiditation?
If you have, let me know (on list or off) what your experiences are,
please.
I'm considering making the change and would like to know the upside and the
downside.
Bob
bobhanlin@earthlink.net
Catherine White on mon 2 sep 02
Please let us know online. I'm thinking of making the switch from ^10 to ^6
in a few months.
Catherine in Yuma, AZ
----- Original Message -----
From: "Bob Hanlin"
To:
Sent: Sunday, September 01, 2002 8:48 PM
Subject: Cone 10 Redux to Cone 6 Ox...Who's made the switch?
> Have you made the switch from cone 10 reduction to Cone 5 oxiditation?
> If you have, let me know (on list or off) what your experiences are,
> please.
> I'm considering making the change and would like to know the upside and
the
> downside.
> Bob
bobhanlin@earthlink.net_____________________________________________________
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martha rosenfeld on mon 2 sep 02
Re: Cone 10 to Cone 6 oxidation: I made that switch a few years ago, have since switched again to Cone 2 earthenware (go figure). But two points come to mind:
1. flux your clay body (or buy a cone 6 body) so it is properly vitrified at that lower temperature, especially if you are making functional ware.
2. Oxidation firing lends itself to surface decoration, brighter colors, etc. It doesn't always achieve the visual depth of reduction glazes, and you can't count on the glaze alone being interesting enough by itself unless you come up with a pallette of glazes which interact well with each other. I ended up using a buff body and a warm white glaze which I did brush decoration on top of. No iron speckles, so the end result was more like white stoneware; it's a great thing for people who like to do brushed or otherwise decoratively painted surfaces.
You will have to do lots of tests to achieve the look you want. But firing in an electric kiln is very convenient, and you can get a little test kiln to do glaze testing between firings.
Good luck!
Martha Rosenfeld
currently in Chicago
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June Perry on tue 3 sep 02
Bob,
I am in the middle of making that switch. One of the things I decided before
giving away my wood and gas kilns, was that I wouldn't try to make myself
miserable by trying to get oxidation glazes to look like reduction glazes.
I've switched to white stonewares and porcelain and since we moved to
Florida, I felt that I wanted a lighter, brighter look anyway. I'm still
tweeking some of the glazes, but I'm pleased with what I'm getting with the
tests.
If Clayart would allow posting of pics, and I understand why they don't, I
could post some of my tests. I'm happy with the Calcium eutectic matts I've
gotten, and the clear base I'm working on. The color response is good and
it's good on stoneware but I still have a very minor craze on showing up
periodically on the C6 porcelain that I want to correct.
I also like the Raspberry chrome tin glaze that I believe was posted by
someone here on Clayart. It's a rich buttery, medium dark raspberry pink
glaze and I think will work well in combination with a warm white matt on
small jars and boxes.
I'm trying to narrow myself down to 6-8 glazes which is hard because I like
so many of the tests! When I did reduction I had about 35 glazes but found
myself using only 8-10 on a regular basis.
I batched a lot of engobes and glazed with my clear base and I'm hoping I can
find time soon to get them fired. I think the engobes will give more depth
and interest to the oxidation glazes. I also want to try a wood ash clear
over engobes--so much testing still to do! Simultaneously I throwing and
batching crystalline tests so this is all going to take more time than usual.
Right now my life is wrapped up with caretaking my mom, so time in my studio
is pretty much on hold at the moment.
Once I get the engobes fired, I'll try to post them, along with the glaze
tests on a web site.
Regards,
June Perry
Ababi on wed 4 sep 02
I switched from ^06 to ^6
One of the first article I read may times was: (Still is)
http://www.studiopotter.org/articles/art0009.htm
>Firing in Oxidation to C/4.5.6
>by Val Cushing
>This article first appeared in Studio Potter, Volume 5, Number 2 (June 19=
77).
>Copyright =A9 1977 by Studio Potter. All rights reserved.
>May be reproduced with permission of Studio Potter.
>The firing range and atmosphere of C/4.5.6 oxidation does not get the att=
ention it
>deserves by American potters. There are potters who use it and understand=
its
>advantages, but more often this range is used when other alternatives are=
denied.
And >the alternative most desired seems to be C9/10, high fire reduction f=
iring.
And so on
It led me to by his book.
Ababi
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