William Melstrom on wed 4 aug 04
glazes
Mark - in my humble opinion, I think you want to use brazier's goggles, such
as Uvex Astrospec 3000's, not welding glass, in order to get a better view.
However, I think there is some controversy about how safe these are for
looking at cone 10 radiation - apparently, no one really knows. I remember
reading an article about them in a "Clay Times" a couple years back, and I
contacted the author, and that's what she told me.
Try shining an incredibly bright light source through the spy hole. That's
what a lot of crystalline potters do to see how the crystal growth is
progressing. Again, I read this in a ceramics periodical. I don't remember
the title or the suggested light source. Crystalline potters would be
looking into kilns that are 1100 - 1150C, so I don't know if this would work
at cone 10, but I don't see why not.
I think it would help a lot if you pulled the damper all the way out, and
maybe even momentarily closed the fuel supply (if you're using gas) so that
you are in a gas-free oxidation atmosphere while you are looking. If you
are fast, this shouldn't adversely affect your glazes, in fact, a little
oxidation at the end of a firing brightens copper reds, for example.
William Melstrom
Texas
www.handspiral.com
william@handspiral.com
----- Original Message -----
From: "Mark Potter"
To:
Sent: Wednesday, August 04, 2004 3:22 PM
Subject: LOOKING IN AT THE END OF A HIGH FIRE - at yellow and white hot
glazes
Clayarters - here's a question for those that are very picky about when
they end a high-fire glaze firing.
I absolutely love glazing shino and other traditional glazes with over
and underglaze drawings. I even like it when my glazes run, but I want
to control the degree of running, especially in the drawing. Ie. I don't
want the drawing running off the pot, but rather beginning to flow and
merge with the background.
To do this I was wondering what ways there are to look in at the pots at
the end of a high fire, without killing my eyes. I'm used to cleaning up
the atmosphere near my cones with a hairdryer, and having a brief
glimpse through my welder's glass at my pot outlines, but not much else.
I want to be able to see the difference between the shino and the iron
rich over-glaze painting done on the side of a pot.
What sorts of safe techniques are there, to see clearly what is actually
going on?
Regards to all,
Mark Potter
194 River Street
New Haven CT 06513
mark.potter@sextantsearch.com
mark@visionage.net
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Michael Wendt on thu 5 aug 04
glazes
Mark,
Construct a draw tile port in your kiln.
Ideally, it should be placed where it will
match the firing conditions you seek.
Make tiny upright draw tiles with the same
decorations and glazes you want to do and
pull samples near the end of the firing to
see first hand how they look.
This gives you immediate data since they
cool fast enough to see the run pattern progress.
Of course, glazes continue to run even after
you shut down so some trials will be needed until
you can judge how much more they will run when
compared to the draw tiles.
Keep good records and samples on hand for
comparison.
Regards,
Michael Wendt
Wendt Pottery
2729 Clearwater Ave
Lewiston, Idaho 83501
USA
wendtpot@lewiston.com
www.wendtpottery.com
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