Marvin Kitshaw on sat 9 sep 06
Hi all=20
=20
Im just about to venture into the lovely world of Terra sig and salt glaze =
together, has anyone tried this? (course you ave!) and If so any free advic=
e would be very welcomed indeed!
=20
Yours Listening (reading sorry)
Marv
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Vince Pitelka on sat 9 sep 06
Marv wrote:
"Im just about to venture into the lovely world of Terra sig and salt glaze
together, has anyone tried this? (course you ave!) and If so any free advice
would be very welcomed indeed!"
Marv -
I am curious as to why you wish to combine terra sig and salt glaze. A true
terra sig, by it's nature, is a very thin coating, and will likely be
completely consumed by the corrosive and solvent salt glaze.
That said, where the salt deposition is light, the terra sig might
persevere, and the effect could be nice, but why not accomplish the same
thing with a standard slip rather than a terra sig? The primary reason for
going to all the trouble to make a true terra sig is for the polishing
capbility, and in a salt firing that would cease to be an issue, because
you'll loose any polish that was present before firing. So why use a terra
sig?
- Vince
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Kathryn Hughes on sun 10 sep 06
Marv, I did Raku and saggar firing quite alot in college. Banana peels were great because it has potassium. I used orange peels, and everything I could think of, within reason. One teacher even gave me his large dried out sunflower head.I pestered alot of my classmates for their waste. It got to a point that banana and orange peels were sailing over the wails to land in my space and I'm screaming with joy. Ultimately, I realized that it wasn't just the combustible that was important but the KIND of clay that you used that mattered. One woman and I did a firing together. She used stoneware which turned out mostly gray and black and I had raku clay body which had this beautiful shade of pinks that I was looking for. Throw in copper carb. It reverts back to metals and it makes a nice accent on the pieces. Let me know how it turns out. Pictures, too, if you can! Kathryn
Marvin Kitshaw wrote: Well I may not have been very clear as to what I'm up to....I going to Saggar fire, Terra sig, in a Raku kiln with sea salt, sea weed etc and throw in a few oxides and metals and anything else that may look handy. And just wondered if any one else had tried this and had any good mixtures that worked well or didn't work so well.
And some times pottery is about wasting time and effort but it is good fun isn't it!
Still reading....
Marv
> Date: Sat, 9 Sep 2006 20:44:59 -0500> From: vpitelka@DTCCOM.NET> Subject: Re: Terra SIG?> To: CLAYART@LSV.CERAMICS.ORG> > Marv wrote:> "Im just about to venture into the lovely world of Terra sig and salt glaze> together, has anyone tried this? (course you ave!) and If so any free advice> would be very welcomed indeed!"> > Marv -> I am curious as to why you wish to combine terra sig and salt glaze. A true> terra sig, by it's nature, is a very thin coating, and will likely be> completely consumed by the corrosive and solvent salt glaze.> > That said, where the salt deposition is light, the terra sig might> persevere, and the effect could be nice, but why not accomplish the same> thing with a standard slip rather than a terra sig? The primary reason for> going to all the trouble to make a true terra sig is for the polishing> capbility, and in a salt firing that would cease to be an issue, because> you'll loose any polish that was present before firing. So why use a terra>
sig?> - Vince> > Vince Pitelka> Appalachian Center for Craft, Tennessee Technological University> Smithville TN 37166, 615/597-6801 x111> vpitelka@dtccom.net, wpitelka@tntech.edu> http://iweb.tntech.edu/wpitelka/> http://www.tntech.edu/craftcenter/> > ______________________________________________________________________________> 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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Vince Pitelka on sun 10 sep 06
Marv wrote:
"Well I may not have been very clear as to what I'm up to....I going to
Saggar fire, Terra sig, in a Raku kiln with sea salt, sea weed etc and throw
in a few oxides and metals and anything else that may look handy. And just
wondered if any one else had tried this and had any good mixtures that
worked well or didn't work so well."
Marv -
Well, that certainly changes things. Search the archives for "pit fire,"
"pit firing," and "sagger firing" and you will find a wealth of suggestions
for materials to include in the firing. In a sagger, where the work is
enclosed in a refractory container, almost anything placed in the sagger
will affect the work in some way. A polished terra sig surface is ideal for
this process. Try dipping string or rope in a saturated salt solution and
wrapping that around the pieces. Try using iron wire and/or copper wire to
attach other materials to the surface - copper scrubby pads, steel wool,
brillo pads, salt soaked cloth, organic materials, etc. The wire and the
attached materials will both affect the surface. Have fun experimenting.
Good luck -
- Vince
Vince Pitelka
Appalachian Center for Craft, Tennessee Technological University
Smithville TN 37166, 615/597-6801 x111
vpitelka@dtccom.net, wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka/
http://www.tntech.edu/craftcenter/
Marvin Kitshaw on sun 10 sep 06
Well I may not have been very clear as to what I'm up to....I going to Sagg=
ar fire, Terra sig, in a Raku kiln with sea salt, sea weed etc and throw in=
a few oxides and metals and anything else that may look handy. And just wo=
ndered if any one else had tried this and had any good mixtures that worked=
well or didn't work so well.=20
And some times pottery is about wasting time and effort but it is good fun =
isn't it!
Still reading....
Marv
> Date: Sat, 9 Sep 2006 20:44:59 -0500> From: vpitelka@DTCCOM.NET> Subject:=
Re: Terra SIG?> To: CLAYART@LSV.CERAMICS.ORG> > Marv wrote:> "Im just abou=
t to venture into the lovely world of Terra sig and salt glaze> together, h=
as anyone tried this? (course you ave!) and If so any free advice> would be=
very welcomed indeed!"> > Marv -> I am curious as to why you wish to combi=
ne terra sig and salt glaze. A true> terra sig, by it's nature, is a very =
thin coating, and will likely be> completely consumed by the corrosive and =
solvent salt glaze.> > That said, where the salt deposition is light, the t=
erra sig might> persevere, and the effect could be nice, but why not accomp=
lish the same> thing with a standard slip rather than a terra sig? The pri=
mary reason for> going to all the trouble to make a true terra sig is for t=
he polishing> capbility, and in a salt firing that would cease to be an iss=
ue, because> you'll loose any polish that was present before firing. So wh=
y use a terra> sig?> - Vince> > Vince Pitelka> Appalachian Center for Craft=
, Tennessee Technological University> Smithville TN 37166, 615/597-6801 x11=
1> vpitelka@dtccom.net, wpitelka@tntech.edu> http://iweb.tntech.edu/wpitelk=
a/> http://www.tntech.edu/craftcenter/> > _________________________________=
_____________________________________________> Send postings to clayart@lsv=
.ceramics.org> > You may look at the archives for the list or change your s=
ubscription> 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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Lynne Antone on mon 11 sep 06
Marv,
Ruth Allan in Wenatchee, WA. is a wonderful resource for saggar firing. We have learned much from her.
Paul and I do our saggar firing in aluminum foil saggars and the terra sig makes all the difference. We have found that salt seems to keep eating away at the terra sig long after the firing if it is left in chunks on the piece, so we don't use it anymore. We don't wash our pots either, so that may make a difference. We found that washing affected the pots, leaving a yellowed look to the surface. It may have been the water, ours used to be extremely hard with lots of minerals in it. Because the foil saggars hold so much of the fuming inside, any combustibles can blacken the pots too much, so we use a light hand with them. A horsehair here and there can either leave nice black trails or if the temp goes a little too high, it totally burns off and does a resisted white line.
Terra sig gives us so much more vibrant color. Without it, the surface is more subtle with blushes of color. We get bright maroons, oranges, greens and yellows depending on what chemicals are used. If you want to know about the chemicals we use or the process, check an old copy of "Pottery Making Illustrated", Sept/Oct 2003 for Paul's article on Aluminum Foil Saggars.
Lynne Antone
--
"Some mistakes are too much fun to make only once"
Beaver Creek Arts
Olympia WA
USA
-------------- Original message ----------------------
From: Marvin Kitshaw
> Well I may not have been very clear as to what I'm up to....I going to Saggar
> fire, Terra sig, in a Raku kiln with sea salt, sea weed etc and throw in a few
> oxides and metals and anything else that may look handy. And just wondered if
> any one else had tried this and had any good mixtures that worked well or didn't
> work so well.
> And some times pottery is about wasting time and effort but it is good fun isn't
> it!
> Still reading....
> Marv
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