Mert & Holly Kilpatrick on thu 3 oct 02
Yes, I loved Jeanette's glazes, especially the green one - it's a lovely
book, and it has a lot of very nice Cone 6 glazed teapots. I like seeing
more Cone 6 work - there is so much going on, but many of the books don't
focus much on it. Maybe that is because a good portion of Cone 6 potters
are less experienced, since it has increased so much in popularity in the
last decade or two?? It would be interesting to know how many electric
kilns were sold in the US in say, 1980, compared to last year. I always
have the impression that techniques to fully exploit Cone 6 electric aren't
as widespread as highfire gas and wood techniques, or even
earthenware/majolica techniques. I differentiate 'fully exploit' from just
putting a Cone 6 glaze on a pot and turning on the electric kiln. That part
is easy. But to work out ways to obtain great glaze effects - as someone,
maybe Lisa, said yesterday, not just putting glaze on that looks like
paint - that's not as easy at Cone 6.
I was looking at Kenneth Clark's Potter's Manual the other day, and in
several different places on glazing he says not to worry about finger marks,
they can be smoothed out later. Well, maybe at high fire they can, I have
no experience of that. But at Cone 6 electric, with many glazes, you better
get the application right the first time, because things show! With some ^6
glazes the drips may be aesthetically pleasing, but with many of them, it
just looks like messy glazing. The application can take a bit of planning.
And that's just the application, then there's the actual glazes.
But the potential...even when I open a kiln full of glaze disappointments,
an hour later I am already planning the next attempts and adjustments, and
figuring out what I should have done, and devising new tests...
Holly,
East Bangor, PA, US
----- Original Message -----
> Clayart bud Jeanette Harris has her signature on 3 of the 500 teapots.
>
> Gayle Bair
> Bainbridge Island, WA
> http://claybair.com
Ann Brink on thu 3 oct 02
I found out to my regret that a chrome-tin pink glaze I have is really
sensitive to finger-smudging. With most other glazes, I rub away the
glazing tong marks, and the surface is improved. I did the same thing with
the chrome-tin glaze and it left a raspberry colored mark. Had to reglaze
and refire. Maybe I will try purposeful circular rubbing with this glaze
and see what sort of effect I get!
Ann Brink in CA
Holly wrote:
> I was looking at Kenneth Clark's Potter's Manual the other day, and in
> several different places on glazing he says not to worry about finger
marks,
> they can be smoothed out later. Well, maybe at high fire they can, I have
> no experience of that. But at Cone 6 electric, with many glazes, you
better
> get the application right the first time, because things show! With some
^6
> glazes the drips may be aesthetically pleasing, but with many of them, it
> just looks like messy glazing>
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