David Woof on wed 18 jan 06
Marianne, The draw trials (rings) we still use in salt fireings are an
ancient method to check the progress of maturation of clay and glazes. line
them up in front of a peep hole and "fish" one out from time to time.
Break it apart to observe the changes, durability and
vitrification/absorbability of the clay body. Keep a record of this
progression including kiln atmosphere color at the time of each draw. Also
if you can conjure up the raw materials for a glaze in the cone range you
wish to go (use mel's cups and spoons method of measureing) you will see
these mature on the draw rings. Borax type laundering materials as well as
sodium bicarb (baking soda) Soda Ash (washing soda) table salt , wood
ash and many common materials the world over are strong fluxes and when
combined with clay will create primative glazes.
It's possible to create cones and "slump bars" from compositions of these
materials. If it's important enough, one could do advance testing using the
materials known or anticipated to be found where you plan to go; testing
them against cones of known value in the comfort of the home studio.
Interesting project? Knowledge we must not let die and have to
rediscover when the world goes to hell, all the Walmarts close, and everyone
is looking for potters to make vessels for survival. Smile...
let's hope i'm Kidding??? Well......maybe..... it would be an interesting
time to be alive, edgy with sharpened awarenesses to be sure. Probablly no
time to conjure up compulsive neurotic fears about crackle glazes and the
dangers of pottery materials and excessive/obsessive studio hygiene......
sorry, i couldn't help myself, i'm probably processing loss issues related
to almost giving up the wonderfully grackled/crazed and patined mixing bowl
i licked batter from as a child and which my 98 year old grandmum gifted me
last year before she left for a trout fishing hikeing trip thru the
estancias of Tierra del Fuego.
It's the bowl I'm handing out spoons and feeding the neighborhood and grand
kids from this morning.
Don't bother to call Child Protective Services, Out here we got real
problems to solve and it ain't in the studio or a crazed bowl.
Love to all this fine morning.
David
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David Woof Studio
Clarkdale, Arizona
Ph. 928-821-3747 Fax. 866-881-3461
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peering over the edge, reverently taking an irreverent look at everything.
David Woof on wed 18 jan 06
Marianne, I didnt know untill I read your response to Arnold that you were
expecting to do open or pit fire. if you wish to enclose the fire in a
primitive kiln, one can be formed, using the same clay as the pieces you are
fireing. Cover your kiln with a layer of ashes and dirt for insulation, fire
slow, you must bisque the kiln as well. Or scrounge up any type used
brick, mortor with clay and sand mix cover as before. for the low fire
range you anticipate, a 55 gal. oil drum as a fire box feeding another drum
buried at right angles in a slopeing embankment and vented upward at back
end will do as a temporary kiln good for a couple fireings before it burns
out and collapses. Caution: unless you know how, hire someone to cut open
the drums. They can explode if done improperly.
Waiting to hear details of your clay adventure.
David
_________________________________
_________________________________
David Woof Studio
Clarkdale, Arizona
Ph. 928-821-3747 Fax. 866-881-3461
________________________________
________________________________
peering over the edge, reverently taking an irreverent look at everything.
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