Nancy Udell on thu 2 sep 04
Thanks to everyone who gave us thoughts and ideas on the grey effect we
asked about. We're putting it all together (or trying to). One point
seems to come though consistently: that residual soda from earlier
firings is getting activated before the clay body is open enough to
completely fuse with it and creating the grey "shell" on the pot and at
that there is carbon trapping going on. We're a little muddy still on
how the reduction works in there, except that heavy reduction and a
"dirty" kiln during salting will add to the carbon trapping. We're
firing again on the 18th, so we're going to make some adjustments (not
too many) in line with the suggestions and see how we do. We'll report
back. We're also both going back to reread sections of Daniel Rhodes
"Clay and Glazes," that incredibly dense and bountiful font of wisdom.
And we liked Tony's idea: learn to love the grey, or as G. Gordon Liddy
said, "the trick is not to mind it."
Nancy and Marianne
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