Lowell Barron on fri 2 apr 04
Hi Everyone, I have just done my second glaze firing in my kiln after =
not firing it for several years. I have made up a lot of test glazes, =
most of them from Mastering Cone 6 Glazes. I am quite happy with most of =
the results but have a few questions.
I fired the kiln very slowly and also cooled it very slowly being =
careful to not let it fall in temp more than 125 degrees. p.h...indeed =
it was much less than that most of the time. In the first firing I had a =
very strong Spearmint and the very dark shiny Variegated Slate blue =
...both quite lovely. This time the Spearmint was much softer and more =
satiny and the V. Slate blue was a lovely soft colour and quite satin =
too.=20
However, the Waterfall Brown although beautiful is still a very dark and =
shiny brown. It has lovely touches of caramel/tan and bluey/green =
especially in the bowls. However it is not what I wanted. I saw some =
photos recently of three of the glazes from MC6Gs and how they differ =
with different cooling rates. I even printed them on photo paper and =
posted them in my studio but I cannot remember what the source of those =
pictures was. Can anyone help me with the source?
Anyway, what I was hoping to achieve in this firing was the lighter =
colour of Waterfall Brown through cooling by 125 degrees F per hour. I =
did not get it and wonder why. I fired more slowly than the schedule =
recommended on the Mastering Glazes website, partly because I had to be =
out for awhile and wanted to be sure I was home in time for the crucial =
temperatures. I have a pyrometer and at 7:45 p.m the kiln was at 2210F. =
Five minutes later when I checked, the kiln sitter (with cone 7 in it) =
had turned the kiln off and it had dropped to 2185. I put the top peep =
in (bottom one was put at 2185 degrees on way up). Then I turned it back =
on and held it at 2200 for 15 minutes, then cooled fairly quickly to =
2000 and then I took it very slowly, checking it every 15 minutes. At =
11:45 it was at 1750 and I left it on #7 til morning. At 8 a.m. it was =
still 1380.=20
Perhaps the reason that I did not get the colour I wanted is because it =
fell there at the top before I caught it? Perhaps I should have taken it =
back up to 2210? I have bought a baby alarm so that I will know next =
time if/when the kiln sitter drops. I was watching the cones too but =
could only see 2 out of the 3 and wasn't sure which two they were.=20
Overall I am pretty happy with the results of this firing and am sure I =
will gradually learn the idiosyncracies.=20
Any advice would be most appreciated. Many thanks for all the advice you =
all give.
Lowell Ann
John Hesselberth on sat 3 apr 04
On Friday, April 2, 2004, at 11:45 PM, Lowell Barron wrote:
> However, the Waterfall Brown although beautiful is still a very dark
> and shiny brown. It has lovely touches of caramel/tan and bluey/green
> especially in the bowls. However it is not what I wanted. I saw some
> photos recently of three of the glazes from MC6Gs and how they differ
> with different cooling rates. I even printed them on photo paper and
> posted them in my studio but I cannot remember what the source of
> those pictures was. Can anyone help me with the source?
Hi Lowell Ann,
The source of the pictures was my NCECA presentation which is posted on
my frogpondpottery.com web site. It sounds as if you are applying
Waterfall too thinly. It is a tricky glaze. Too thick and you will get
to grind shelves--too thin and it is a dark shiny brown. The only
other reason I can think of that you are getting these results is if
you have a mislabeled ingredient or made a mistake in mixing it. As a
first step, try a test tile that has a single, double, and triple dip
of the glaze and see if you get better results from a thicker coat.
Regards,
John
http://www.frogpondpottery.com
http://www.masteringglazes.com
Lee Love on sun 4 apr 04
John Hesselberth wrote:
> As a
> first step, try a test tile that has a single, double, and triple dip
> of the glaze and see if you get better results from a thicker coat.
I would include a "half dip." At my teacher's workshop, when
Irabo, the traditional runny wood ash glaze, is used it is applied to
the bottom half of the pot in a diluted state and then at the top 1/2
to 2/3rds of the pot, at " normal" thickness. What you end up with is
a bottom that looks the same as what the glaze looks like between the
runs, but without a pot sticking to the shelf.
Nuka is used in a similar way, but with temmoku at the bottom
and nuka at the top. The nuka cascades over the temmoku, creating a
waterfall effect. You can see a photo of this here:
http://public.fotki.com/togeika/pots_from_mashiko/aut_0020.html
The white glaze is the same glaze as the Green glaze, but without
copper. This is on Shigaraki clay.
Also, don't give any runny glaze a chance to get on your shelves. Put
a bisqued pad under it, with or without shells. Make sure you put kiln
wash on the clay pad.
Lee in Mashiko, http://mashiko.org
Lowell Barron on sun 4 apr 04
Thanks Lee, I tried a technique I saw on Clayart that perhaps accomplishes
the same thing. I dipped the bottom 1/2 of the pot in water just shortly
before putting into the glaze. Since it had taken up some water it did not
take up as much glaze. However I guess I was stingy overall on the
glaze...guess I will find out next time...but at least I didn't have to
chisel glaze off the kiln.
Next time I will put on a bisque pad...good idea.
Thanks for the info and the picture. Lowell
----- Original Message -----
From: "Lee Love"
To:
Sent: Sunday, April 04, 2004 1:21 AM
Subject: Re: Waterfall Brown - still shiny and dark
> John Hesselberth wrote:
>
> > As a
> > first step, try a test tile that has a single, double, and triple dip
> > of the glaze and see if you get better results from a thicker coat.
>
>
> I would include a "half dip." At my teacher's workshop, when
> Irabo, the traditional runny wood ash glaze, is used it is applied to
> the bottom half of the pot in a diluted state and then at the top 1/2
> to 2/3rds of the pot, at " normal" thickness. What you end up with is
> a bottom that looks the same as what the glaze looks like between the
> runs, but without a pot sticking to the shelf.
>
> Nuka is used in a similar way, but with temmoku at the bottom
> and nuka at the top. The nuka cascades over the temmoku, creating a
> waterfall effect. You can see a photo of this here:
>
> http://public.fotki.com/togeika/pots_from_mashiko/aut_0020.html
>
> The white glaze is the same glaze as the Green glaze, but without
> copper. This is on Shigaraki clay.
>
> Also, don't give any runny glaze a chance to get on your shelves. Put
> a bisqued pad under it, with or without shells. Make sure you put kiln
> wash on the clay pad.
>
>
> Lee in Mashiko, http://mashiko.org
>
>
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