Jane Murray-Smith on tue 12 jul 05
Thanks Marcia for your input.
I was going to put in cone 08 cones tommorrow to check out the temp.
My glaze is old... I do put it on thin...
and I don't burp...so lots to try
Any theory as to why the flat pieces are the victims of this, and not the
thrown forms?
And do you put the pieces into the metal container, or do as I do, which
always has damp cedar right under the new dry nest of cedar and shredded
paper
----- Original Message -----
From: "Marcia Selsor"
To:
Sent: Tuesday, July 12, 2005 5:04 PM
Subject: Re: Desperatley seeking raku guru
> Jane,
> found your question
> I have been firing flat pieces for for about 20 years. Here is what
> may be happening
> 1. glaze could be on too thin
> 2. try "burping" the reduction to get some air in. I find that tends
> to bring out the color.
> 3. glaze may be old. I always mix a fresh glaze within 2 weeks of
> firing. I store the glaze dry and then mix small amounts as needed to
> guarentee freshness.
> 4. You may want to go a little hotter. I was taking mine to 1850.
> WHen I did 1825 I got muddier colors.
> 5. your pyrometer may be slipping. Try firing a bisque and use your
> pyrometer and match it to a witness cone to recalculate.
>
> Hope these help.
>
> Marcia Selsor in hot Montana
>>
>>> Hi,
>>> I am the 1st to sat that there are as many theories about how to get
>>> good
>>> results in raku as there are raku potters, but I am the eternal
>>> optomist,
>>> so I am hopeful that someone may have another, better theory!
>>> I am ready to stop making flat pieces altogether. Within the same
>>> firing, all of my thrown forms come out with lovely clear
>>> colours, and
>>> for the last 3 firings (different days), every flat piece has come
>>> out
>>> with what I call 'mud' on it...in the middle of the clear colours are
>>> matte patches that run from puky salmon brown, to avacado, and lime
>>> etc.
>>> The thickness of the pieces makes no difference, nor does standing
>>> them on
>>> edge.
>>> I take the pieces out at 1775 (my pyrometer), onto a bed of dry cedar
>>> chips with shredded paper on top of that, sprinkle a bit more paper,
>>> let
>>> the flames get going, cover...I spray with water when they are still
>>> fairly hot, but waiting longer or spraying earlier has no effect.
>>>
>>> Jane
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
Jane Murray-Smith on tue 12 jul 05
Hi,
I am the 1st to sat that there are as many theories about how to get good
results in raku as there are raku potters, but I am the eternal optomist,
so I am hopeful that someone may have another, better theory!
I am ready to stop making flat pieces altogether. Within the same
firing, all of my thrown forms come out with lovely clear colours, and
for the last 3 firings (different days), every flat piece has come out
with what I call 'mud' on it...in the middle of the clear colours are
matte patches that run from puky salmon brown, to avacado, and lime etc.
The thickness of the pieces makes no difference, nor does standing them on
edge.
I take the pieces out at 1775 (my pyrometer), onto a bed of dry cedar
chips with shredded paper on top of that, sprinkle a bit more paper, let
the flames get going, cover...I spray with water when they are still
fairly hot, but waiting longer or spraying earlier has no effect.
Jane
Mike Gordon on tue 12 jul 05
Jane,
What color are you trying to get? If it's copper I'd try firing a
little hotter,1850 maybe and get into post reduction as fast as
possible. Mike Gordon
On Jul 12, 2005, at 10:09 AM, Jane Murray-Smith wrote:
> Hi,
> I am the 1st to sat that there are as many theories about how to get
> good
> results in raku as there are raku potters, but I am the eternal
> optomist,
> so I am hopeful that someone may have another, better theory!
> I am ready to stop making flat pieces altogether. Within the same
> firing, all of my thrown forms come out with lovely clear colours, and
> for the last 3 firings (different days), every flat piece has come out
> with what I call 'mud' on it...in the middle of the clear colours are
> matte patches that run from puky salmon brown, to avacado, and lime
> etc.
> The thickness of the pieces makes no difference, nor does standing
> them on
> edge.
> I take the pieces out at 1775 (my pyrometer), onto a bed of dry cedar
> chips with shredded paper on top of that, sprinkle a bit more paper,
> let
> the flames get going, cover...I spray with water when they are still
> fairly hot, but waiting longer or spraying earlier has no effect.
>
> Jane
>
> _______________________________________________________________________
> _______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
Jane Murray-Smith on tue 12 jul 05
I get the entire spectrum of colours with this glaze...if I take the can off
too soon, when it is really really hot, it will most often be solid copper..
(
..It is the matte, dirty looking patches that appear that are the
problem..Maybe you've never seen them, Mike...Maybe YOU are my raku guru!
----- Original Message -----
From: "Mike Gordon"
To:
Sent: Tuesday, July 12, 2005 11:43 AM
Subject: Re: Desperatley seeking raku guru
> Jane,
> What color are you trying to get? If it's copper I'd try firing a
> little hotter,1850 maybe and get into post reduction as fast as
> possible. Mike Gordon
> On Jul 12, 2005, at 10:09 AM, Jane Murray-Smith wrote:
>
>> Hi,
>> I am the 1st to sat that there are as many theories about how to get
>> good
>> results in raku as there are raku potters, but I am the eternal
>> optomist,
>> so I am hopeful that someone may have another, better theory!
>> I am ready to stop making flat pieces altogether. Within the same
>> firing, all of my thrown forms come out with lovely clear colours, and
>> for the last 3 firings (different days), every flat piece has come out
>> with what I call 'mud' on it...in the middle of the clear colours are
>> matte patches that run from puky salmon brown, to avacado, and lime
>> etc.
>> The thickness of the pieces makes no difference, nor does standing
>> them on
>> edge.
>> I take the pieces out at 1775 (my pyrometer), onto a bed of dry cedar
>> chips with shredded paper on top of that, sprinkle a bit more paper,
>> let
>> the flames get going, cover...I spray with water when they are still
>> fairly hot, but waiting longer or spraying earlier has no effect.
>>
>> Jane
>>
>> _______________________________________________________________________
>> _______
>> Send postings to clayart@lsv.ceramics.org
>>
>> You may look at the archives for the list or change your subscription
>> settings from http://www.ceramics.org/clayart/
>>
>> Moderator of the list is Mel Jacobson who may be reached at
>> melpots@pclink.com.
>>
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
Marcia Selsor on tue 12 jul 05
Jane,
found your question
I have been firing flat pieces for for about 20 years. Here is what
may be happening
1. glaze could be on too thin
2. try "burping" the reduction to get some air in. I find that tends
to bring out the color.
3. glaze may be old. I always mix a fresh glaze within 2 weeks of
firing. I store the glaze dry and then mix small amounts as needed to
guarentee freshness.
4. You may want to go a little hotter. I was taking mine to 1850.
WHen I did 1825 I got muddier colors.
5. your pyrometer may be slipping. Try firing a bisque and use your
pyrometer and match it to a witness cone to recalculate.
Hope these help.
Marcia Selsor in hot Montana
>
>> Hi,
>> I am the 1st to sat that there are as many theories about how to get
>> good
>> results in raku as there are raku potters, but I am the eternal
>> optomist,
>> so I am hopeful that someone may have another, better theory!
>> I am ready to stop making flat pieces altogether. Within the same
>> firing, all of my thrown forms come out with lovely clear
>> colours, and
>> for the last 3 firings (different days), every flat piece has come
>> out
>> with what I call 'mud' on it...in the middle of the clear colours are
>> matte patches that run from puky salmon brown, to avacado, and lime
>> etc.
>> The thickness of the pieces makes no difference, nor does standing
>> them on
>> edge.
>> I take the pieces out at 1775 (my pyrometer), onto a bed of dry cedar
>> chips with shredded paper on top of that, sprinkle a bit more paper,
>> let
>> the flames get going, cover...I spray with water when they are still
>> fairly hot, but waiting longer or spraying earlier has no effect.
>>
>> Jane
Brian O'Neill on wed 13 jul 05
Jane,
Don't know if you're going for matt or glossy, so can't speak to the
temperature, but one thing I've found that adversely affects my glaze
is any moisture in the combustible material. Make sure your cedar,
chips, paper are extremely dry, and there is no moisture in the
reduction can.
I fire a copper mat glaze that flashes quite well and can span the
whole color spectrum, but goes dull red brown if there is any moisture
at all when I reduce.
Hope this helps,
Brian
Brian Thomas O'Neill
Functional | Sculptural Ceramic Vessels
2985 Goshen Rd | Bellingham, WA | 98226 | 360 592 3164
brianoneill@cablespeed.com
On Jul 12, 2005, at 10:09 AM, Jane Murray-Smith wrote:
> Hi,
> I am the 1st to sat that there are as many theories about how to get
> good
> results in raku as there are raku potters, but I am the eternal
> optomist,
> so I am hopeful that someone may have another, better theory!
> I am ready to stop making flat pieces altogether. Within the same
> firing, all of my thrown forms come out with lovely clear colours, and
> for the last 3 firings (different days), every flat piece has come out
> with what I call 'mud' on it...in the middle of the clear colours are
> matte patches that run from puky salmon brown, to avacado, and lime
> etc.
> The thickness of the pieces makes no difference, nor does standing
> them on
> edge.
> I take the pieces out at 1775 (my pyrometer), onto a bed of dry cedar
> chips with shredded paper on top of that, sprinkle a bit more paper,
> let
> the flames get going, cover...I spray with water when they are still
> fairly hot, but waiting longer or spraying earlier has no effect.
>
> Jane
>
> _______________________________________________________________________
> _______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
Jane Murray-Smith on wed 13 jul 05
Hi Brian,
Because we live in a similiar climate (I'm on Vancouver Island)..I have my
suspicions that that may be a huge factor... even in regards to humidity,
cause I have a friend who fires in cans with dry material and still
occaisionally gets the avacado)
So now, armed with the input of you, Marcia and some archive info, I will
try again.
Thanks, Jane
----- Original Message -----
From: "Brian O'Neill"
To:
Sent: Wednesday, July 13, 2005 8:41 AM
Subject: Re: Desperatley seeking raku guru
> Jane,
>
> Don't know if you're going for matt or glossy, so can't speak to the
> temperature, but one thing I've found that adversely affects my glaze
> is any moisture in the combustible material. Make sure your cedar,
> chips, paper are extremely dry, and there is no moisture in the
> reduction can.
>
> I fire a copper mat glaze that flashes quite well and can span the
> whole color spectrum, but goes dull red brown if there is any moisture
> at all when I reduce.
>
> Hope this helps,
> Brian
> Brian Thomas O'Neill
> Functional | Sculptural Ceramic Vessels
> 2985 Goshen Rd | Bellingham, WA | 98226 | 360 592 3164
> brianoneill@cablespeed.com
>
> On Jul 12, 2005, at 10:09 AM, Jane Murray-Smith wrote:
>
>> Hi,
>> I am the 1st to sat that there are as many theories about how to get
>> good
>> results in raku as there are raku potters, but I am the eternal
>> optomist,
>> so I am hopeful that someone may have another, better theory!
>> I am ready to stop making flat pieces altogether. Within the same
>> firing, all of my thrown forms come out with lovely clear colours, and
>> for the last 3 firings (different days), every flat piece has come out
>> with what I call 'mud' on it...in the middle of the clear colours are
>> matte patches that run from puky salmon brown, to avacado, and lime
>> etc.
>> The thickness of the pieces makes no difference, nor does standing
>> them on
>> edge.
>> I take the pieces out at 1775 (my pyrometer), onto a bed of dry cedar
>> chips with shredded paper on top of that, sprinkle a bit more paper,
>> let
>> the flames get going, cover...I spray with water when they are still
>> fairly hot, but waiting longer or spraying earlier has no effect.
>>
>> Jane
>>
>> _______________________________________________________________________
>> _______
>> Send postings to clayart@lsv.ceramics.org
>>
>> You may look at the archives for the list or change your subscription
>> settings from http://www.ceramics.org/clayart/
>>
>> Moderator of the list is Mel Jacobson who may be reached at
>> melpots@pclink.com.
>>
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
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