George Nagel on sat 25 mar 06
glazes?
I don't respond too often. I'm pretty much self taught and enjoy listening to those with a good deal more experience. Thought I might add that I've been firing with a small used Olympic updraft for the past two years. I've had some good advice about putting it aside and building a kiln. With finances being tight I've struggled along until I can get there. Along the way I've learned how to fire this kiln and use different glazes and clay bodies in different areas. It's been a challenge and a good experience for me.
-----Original Message-----
>From: lee love
>Sent: Mar 25, 2006 6:52 PM
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: shop glaze: What's the difference between layering those same glazes?
>
>--- In clayart@yahoogroups.com, Kathy McDonald wrote:
>
>>
>> Ron your advice about leaving out the cone 6 er's is
>> probably good..
>
>Kathy,
>
> When I fired with Craig Edwards, in his old bourry box kiln, he
>had two shinos that he sometimes blended. One was cone 6 and the
>other cone 10.
>
> In Shimaoka's kilns, as he explained to me on the first day of my
>apprenticeship, he uses the same base glaze which starts out as 50%
>ball clay and 50% wood ash. But from 5% to 25% kaolin is added,
>depending on which kiln, chamber or place in the kiln the work is
>placed in.
>
> I am with MacKenzie as far as kilns go: it is a bonus if you can
>fire at different temperatures and in different atmospheres in one
>firing. All you have to do is "listen" to the kiln and respect it.
> It is industrial processes that have enabled over controlling of the
>process. Our attitudes about these things come out in our pots.
>
>--
>Lee In Mashiko, Japan
>http://mashiko.org
>http://seisokuro.blogspot.com/
>
>
>As we express our gratitude, we must never forget that the highest
>appreciation is not to utter words, but to live by them.
>
>-John Fitzgerald Kennedy
>
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lee love on sun 26 mar 06
glazes?
--- In clayart@yahoogroups.com, Kathy McDonald wrote:
>
> Ron your advice about leaving out the cone 6 er's is
> probably good..
Kathy,
When I fired with Craig Edwards, in his old bourry box kiln, he
had two shinos that he sometimes blended. One was cone 6 and the
other cone 10.
In Shimaoka's kilns, as he explained to me on the first day of my
apprenticeship, he uses the same base glaze which starts out as 50%
ball clay and 50% wood ash. But from 5% to 25% kaolin is added,
depending on which kiln, chamber or place in the kiln the work is
placed in.
I am with MacKenzie as far as kilns go: it is a bonus if you can
fire at different temperatures and in different atmospheres in one
firing. All you have to do is "listen" to the kiln and respect it.
It is industrial processes that have enabled over controlling of the
process. Our attitudes about these things come out in our pots.
--
Lee In Mashiko, Japan
http://mashiko.org
http://seisokuro.blogspot.com/
As we express our gratitude, we must never forget that the highest
appreciation is not to utter words, but to live by them.
-John Fitzgerald Kennedy
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