Linda Pahl on wed 21 jan 04
Hi all.
I fire to cone 6 in oxidation and am becoming more satisfied with my
glazes with practice and experimentation. I have plenty to keep me
busy and happy using what is available to me.
Still, I really love the orange peel look of salt/soda and the luscious
runny wood ash rivulets in wood firings and the stunning Tenmoku and
Malcolm Davis shinos.. I have a source of Raku Firings which are a fun
change of pace and I would like to experience these other types of
firings too. Does anyone know of locations or workshops in the New
York area that use these other firing methods? Preferably ones that
supply the glazes and advise on a good clay body to use since I would
be coming in as a total neophyte.
Thanks in advance for any assistance.
Regards,
Linda Pahl, Kew Gardens, New York
theclosetpotter@earthlink.net
(I throw on my wheel in my hall closet; the only possible solution in
this tiny apartment!)
http://home.earthlink.net/~jessieadair/tests/
Lee Love on thu 22 jan 04
Linda Pahl wrote:
> Still, I really love the orange peel look of salt/soda and the luscious
> runny wood ash rivulets in wood firings and the stunning Tenmoku and
> Malcolm Davis shinos..
Layering slips and glazes is a way to get variation. Ash works
at cone 6 electric too.
I don't know what issue it is, but there is an article in CM from
the late '80s or early '90s about cone 6 ash glazes used over albany
slip (Alberta would probably substitute.) The albany would bubble
can create variations in the surface of the ash glaze. Also, maybe
it was last year or the year before, there was a Shino-like set of
electric fired glazes. These were also used layered. The photos
looked pretty nice.
Temmokua and Nuka were often fired in oxidation and some of the
places in large noborigama are very cold, sometimes lower than cone 6,
so they should be adaptable. Nuka is a silica white glaze. At cone
10 seger, I like to use Nuka over temmoku. You get a nice "water fall"
effect with the nuka running into the temmoku. You can see a photo here:
http://mashiko.org/pottery/img37.htm
and here, applied thin with ocher inlay underneath:
http://mashiko.org/pottery/img7.htm
Lee in Mashiko http://mashiko.us
Web Log (click on recent date):
http://www.livejournal.com/users/togeika/calendar
Hendrix, Taylor J on thu 22 jan 04
Lee and others:
Here is the info on a 2002 CM article. I'm still looking for the one
you mentioned.
Author(s): Spring, Harry. =20
Title: Wood-Ash Glazing at Cone 6.=20
Source: Ceramics Monthly v. 50 no8 (Oct. 2002) p. 49-50 Journal Code:
Ceram Mon
Additional Info: United States=20
Standard No: ISSN: 0009-0328=20
Details: il.=20
Language: English=20
Abstract: The writer discusses his experiments in wood-ash glazing at
Cone 6. Noting that he has come to appreciate the convenience of
electronically controlled kilns and the challenge of discovering ways of
interesting and even exciting glaze effects, he discusses his choice of
clay and his experiments with producing more interesting surfaces. He
then describes his experiments in using wood ash in and over his Cone 6
glazes to produce visual interest. Recipes for two types of glazes
complete the article.=20
Taylor, in the library
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Lee Love
Sent: Thursday, January 22, 2004 4:28 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Salt/Soda/Wood/Gas Firings in New York Area?
...
Layering slips and glazes is a way to get variation. Ash works
at cone 6 electric too.
I don't know what issue it is, but there is an article in CM from
the late '80s or early '90s about cone 6 ash glazes used over albany
slip (Alberta would probably substitute.) =20
...
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