Bonita Cohn on wed 8 dec 04
Metal in the kiln melts and turns to an acid and eats
away the kiln, (and the SAGGARS it shuld be inside. I
think it turns to some kind of acid.
In the wood kiln, Richard Carter uses nails, they melt
and sputter; nice on sculpture, but hell on pots. In
out cone 10 soft-brick Olsen updraft, someone tried to
make sculpture and metal inlays of various things
from the hhardware store. Unless it is HARDENED STEEL,
the stuff made a mess. He was fined mucho dinero and
finally left te studio after a huge ruckess -
beginning with his untested creative efforts that
unfortunately ruined our kiln. It stays in the kiln
and sputter in subsequent firings.
Nichrome wire is a possibilty; i have seen it used for
handles - Sandy Simon does this.
Now, salt bodies ares simple. Just wedge in sand to
your existing clay. The silica in the sand combines
with the sodium in the slat creating an bead of glass.
Years ago I fired with the late Sandra Johnstone in
Los Altos California. She made her own clay body
with: 80 fireclay,
20 silica sand, 1 macaloid (for plasticity). The stuff
orange peeled nicely. It was stackable without
sticking to itself. She tumble stacked, using NO
SHELVES AT ALL! Completely liberating and a huge
influence on my work.
Good luck, Bonita Cohn in wet San Francisco.
Down in the garden (3 stories down) the calendula is
still blooming, as are the jade trees!
> Has anyone ever attempted to manipulate metal in the
kiln. I would
> like to
> know melting points and different variables and
which metals would
work
> best for this. I'm interested to get any feedback
from anyone who has
> worked with this technique and medium in the past.
Thanks. Judie
=====
Bonita Cohn
http://www.bonitacohn.com
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Ivor and Olive Lewis on thu 9 dec 04
Dear Bonita,
I suppose Sandra taught you how to build your salt kilns without a
brick floor as well ! Can be great saving if you get it right.
Each metal has its own melting point. Most molten metals apart from
high carat gold, platinum and the other noble elements oxidise very
quickly unless protected by a flux. They oxidise and as we all know,
most metallic oxides become ceramic fluxes. Copper, Zinc and aluminium
alloys are very common and have low melting points on the potters
temperature scale. Few Iron alloys will melt below ^8. But if folk
wish to play with mixed media they have the democratic right to do as
they please provided they wear the consequences.
Best regards,
Ivor Lewis.
Redhill,
S. Australia.
----- Original Message -----
From: "Bonita Cohn"
To:
Sent: Thursday, 9 December 2004 9:21
Subject: metal in kiln, AND salt fire surface
> Metal in the kiln melts and turns to an acid and eats
> away the kiln, (and the SAGGARS it shuld be inside. I
> think it turns to some kind of acid.
> In the wood kiln, Richard Carter uses nails, they melt
> and sputter; nice on sculpture, but hell on pots. In
> out cone 10 soft-brick Olsen updraft, someone tried to
> make sculpture and metal inlays of various things
> from the hhardware store. Unless it is HARDENED STEEL,
> the stuff made a mess. He was fined mucho dinero and
> finally left te studio after a huge ruckess -
> beginning with his untested creative efforts that
> unfortunately ruined our kiln. It stays in the kiln
> and sputter in subsequent firings.
>
> Nichrome wire is a possibilty; i have seen it used for
> handles - Sandy Simon does this.
>
> Now, salt bodies ares simple. Just wedge in sand to
> your existing clay. The silica in the sand combines
> with the sodium in the slat creating an bead of glass.
> Years ago I fired with the late Sandra Johnstone in
> Los Altos California. She made her own clay body
> with: 80 fireclay,
> 20 silica sand, 1 macaloid (for plasticity). The stuff
> orange peeled nicely. It was stackable without
> sticking to itself. She tumble stacked, using NO
> SHELVES AT ALL! Completely liberating and a huge
> influence on my work.
>
> Good luck, Bonita Cohn in wet San Francisco.
> Down in the garden (3 stories down) the calendula is
> still blooming, as are the jade trees!
>
> > Has anyone ever attempted to manipulate metal in the
> kiln. I would
> > like to
> > know melting points and different variables and
> which metals would
> work
> > best for this. I'm interested to get any feedback
> from anyone who has
> > worked with this technique and medium in the past.
> Thanks. Judie
>
>
> =====
> Bonita Cohn
> http://www.bonitacohn.com
>
>
>
> __________________________________
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> Read only the mail you want - Yahoo! Mail SpamGuard.
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>
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