mel jacobson on sun 29 oct 06
i added two more pix of iron red on the clayart webpage.
click below.
here is the recipe: for what it is worth.
sort of basic stuff. you can find dozens of variations
on iron reds...just like temmoku.
kahki from susan karrisch/ california recipe.
fels 8lbs
silica 9.5
whiting 4
epk 2
iron/3 no bone ash in this one.
persimmon/from doug gray
fels 43
flint 19
epk 6
whiting 7
talc 6
bone ash 9
red iron 10
this is the glaze that is on the plates.
cone 10 for both.
lite reduction
slow cool.
from: mel/minnetonka.mn.usa
website: http://www.visi.com/~melpots/
Clayart page link: http://www.visi.com/~melpots/clayart.html
Veena Raghavan on sun 29 oct 06
Hi Mel and other Clayarters,
With reference to my earlier post about applying Rob's on Bailey's Red in
reduction, well the Rob's is obviously Rob's Green, because it has the same look
as Mel's. Now, this time, I do feel that I am on the right track in something,
at least, as I used this combo without even seeing Mel's plates!!!
It is a very nice combination. Thanks for sharing, Mel, and I am delighted,
that I was on the right track without even a hint from the Master Mayor.
Hope everyone had a good weekend. It was lovely here in Falls Church
Virginia. Wish it would stay this way for awhile!
Veena
In a message dated 10/29/2006 6:33:43 PM Eastern Standard Time,
melpots2@VISI.COM writes:
>
>
> i added two more pix of iron red on the clayart webpage.
> click below.
VeenaRaghavan@cs.com
Gail Dapogny on mon 30 oct 06
Hi David,
I'm curious: what effect would/does this firing schedule have on
glazes other than iron reds....specifically copper reds, shino?
Would the reoxidation cancel out the color? Can you use this sort of
schedule as an all-purpose scheme?
Another question: without actually firing down, what specifically is
meant by cooling slowly? Approximately how many degrees per hour?
Thanks very much; your posts are always interesting and informative.
Gail Dapogny in Ann Arbor
Gail Dapogny
Ann Arbor, Michigan
gdapogny@umich.edu
www.pottersguild.net
www.claygallery.org
On Oct 29, 2006, at 10:03 PM, David Beumee wrote:
> Hi everyone,
> Beside the phosphorus content of a reliable iron red, I have found
> that reoxidation at the end of the firing is crucial for the
> success of the color of the glaze.
> I begin reduction early, cone 012, and keep the atmosphere in
> medium reduction from 012 to cone 9. I then turn the gas pressure
> down and take 45 minutes to an hour in straight oxidation between
> cone 9 and cone 10, and I know from experience that this
> reoxidation is the deciding factor in resupplying oxygen to what
> has become black iron oxide to produce the profoundly rich red/
> orange color from the following recipe. The color developes slowly,
> and prolonging the reoxidation at the end of the firing, and also
> allowing the kiln to cool slowly, helps a great deal as Mel has said.
> The following recipe is wonderfully stable and reliable for cone
> 10 reduction, providing the above schedule is followed:
>
> 44 F-4 feldspar
> 24 Imsil A-25 silica
> 7 EPK
> 7 Magnesium carbonate
> 11 Bone ash
> 7 Red Iron Oxide, 99%
> 2 Bentonite
>
>
> David Beumee
> www.davidbeumee.com
> Lafayette, CO
>
>
>
>
>
>
>
>
>
Hank Murrow on mon 30 oct 06
Dear Gail;
I cannot answer your questions re: David's regime, but feel competent
to talk about cooling slowly, and what it does to various glaze types.
I do two general fires for my work. In my shino fires, I also fire an
iron yellow and copper blues, and celadons and the usual iron
saturates. All of these benefit greatly from a soak in oxidation during
the cooling, so I let the kiln cool for two hours or so, and then set
it for around 1/3 pressure and full air along with a damper setting
that yields an oxidation atmosphere. I try to hold a constant
temperature in the kiln, hovering around 1900F for four to eight hours.
this regime yields very strongly colored shinos(the high alumina kind,
no soda ash) along with soft satiny celadons, and rich iron yellows.
The soak in oxidation prevents the copper blues from being liver
colored. I should point out that except for the celadons, my glazes are
all flux mats, which are microcrystalline on their surface, and
therefore amenable to re-oxidation.
My second firing regime is a cone 10 oxidation fire, where I reduce for
the body around 1700F before climbing to cone 10 in oxidation, followed
by the soak during the cooling at 1900F (microcrystals grow at that
temperature) to develop both the surface and color I am looking for. My
jet blacks, cobalt/rutile greens, copper greens/blues and copper
yellows are all fired in such a schedule.
In short, I find the greatest benefits to be with glazes that are
slightly to more than slightly high in flux, rather than silica. I will
be glad to send you a pic or two if you are interested.
I hope that the new acers software will eventually permit us to send
pics along with our posts.
Cheers, Hank
On Oct 30, 2006, at 9:02 AM, Gail Dapogny wrote:
> Hi David,
> I'm curious: what effect would/does this firing schedule have on
> glazes other than iron reds....specifically copper reds, shino?
> Would the reoxidation cancel out the color? Can you use this sort of
> schedule as an all-purpose scheme?
>
> Another question: without actually firing down, what specifically is
> meant by cooling slowly? Approximately how many degrees per hour?
>
> On Oct 29, 2006, at 10:03 PM, David Beumee wrote:
>
>> Hi everyone,
>> Beside the phosphorus content of a reliable iron red, I have found
>> that reoxidation at the end of the firing is crucial for the
>> success of the color of the glaze.
>> I begin reduction early, cone 012, and keep the atmosphere in
>> medium reduction from 012 to cone 9. I then turn the gas pressure
>> down and take 45 minutes to an hour in straight oxidation between
>> cone 9 and cone 10, and I know from experience that this
>> reoxidation is the deciding factor in resupplying oxygen to what
>> has become black iron oxide to produce the profoundly rich red/
>> orange color from the following recipe. The color developes slowly,
>> and prolonging the reoxidation at the end of the firing, and also
>> allowing the kiln to cool slowly, helps a great deal as Mel has said.
>> The following recipe is wonderfully stable and reliable for cone
>> 10 reduction, providing the above schedule is followed:
>>
>> 44 F-4 feldspar
>> 24 Imsil A-25 silica
>> 7 EPK
>> 7 Magnesium carbonate
>> 11 Bone ash
>> 7 Red Iron Oxide, 99%
>> 2 Bentonite
>>
>>
>> David Beumee
>> www.davidbeumee.com
>> Lafayette, CO
>>
>>
>>
>>
>>
>>
>>
>>
>>
>
> _______________________________________________________________________
> _______
> 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.
>
>
www.murrow.biz/hank
David Beumee on mon 30 oct 06
Hi everyone,
Beside the phosphorus content of a reliable iron red, I have found that reoxidation at the end of the firing is crucial for the success of the color of the glaze.
I begin reduction early, cone 012, and keep the atmosphere in medium reduction from 012 to cone 9. I then turn the gas pressure down and take 45 minutes to an hour in straight oxidation between cone 9 and cone 10, and I know from experience that this reoxidation is the deciding factor in resupplying oxygen to what has become black iron oxide to produce the profoundly rich red/orange color from the following recipe. The color developes slowly, and prolonging the reoxidation at the end of the firing, and also allowing the kiln to cool slowly, helps a great deal as Mel has said.
The following recipe is wonderfully stable and reliable for cone 10 reduction, providing the above schedule is followed:
44 F-4 feldspar
24 Imsil A-25 silica
7 EPK
7 Magnesium carbonate
11 Bone ash
7 Red Iron Oxide, 99%
2 Bentonite
David Beumee
www.davidbeumee.com
Lafayette, CO
-------------- Original message ----------------------
From: mel jacobson
> i added two more pix of iron red on the clayart webpage.
> click below.
>
> here is the recipe: for what it is worth.
> sort of basic stuff. you can find dozens of variations
> on iron reds...just like temmoku.
>
> kahki from susan karrisch/ california recipe.
>
> fels 8lbs
> silica 9.5
> whiting 4
> epk 2
> iron/3 no bone ash in this one.
>
> persimmon/from doug gray
>
> fels 43
> flint 19
> epk 6
> whiting 7
> talc 6
> bone ash 9
> red iron 10
>
> this is the glaze that is on the plates.
> cone 10 for both.
> lite reduction
> slow cool.
>
> from: mel/minnetonka.mn.usa
> website: http://www.visi.com/~melpots/
>
> Clayart page link: http://www.visi.com/~melpots/clayart.html
>
> ______________________________________________________________________________
> 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.
Dannon Rhudy on tue 31 oct 06
....... what effect would/does this firing schedule have on
> glazes other than iron reds....specifically copper reds, shino?..........
Gail, (pardon my jumping in here) my experience with iron red/copper red
firings is-
copper reds and shinos thrive on the same firing schedules, both trap
carbon, though differently. I fire
iron reds in oxidation, period. They glow, no matter
what cone, six to ten. They just don't need reduction,
though if they get some- not too much- they can be
brought back to red if the cooling is slow enough. But
that reduction/oxidation/reduction/oxidation business
can be a little tricky with iron bearing clays. Carbon
coring can/does result. With porcelain, not a problem
in my experience.
So - I fire iron reds and copper greens on the same
schedule, and save the copper reds and shinos for the
reduction firings. I have not found that re-oxidizing copper or shino
glazes causes any loss of color.
regards
Dannon Rhudy
David Beumee on wed 1 nov 06
Gail wrote:
> I'm curious: what effect would/does this firing schedule have on
> glazes other than iron reds....specifically copper reds, shino?
> Would the reoxidation cancel out the color? Can you use this sort of
> schedule as an all-purpose scheme?
>
> Another question: without actually firing down, what specifically is
> meant by cooling slowly? Approximately how many degrees per hour?
>
This firing schedule works beautifully for all types of glazes. The concept was outlined by Pete Pinnell in "Secrets of Firing Copper Reds", parts 1 and 2, Dec./Jan. 2000 Clay Times, and Feb./Mar. 2001 Clay Times, but the title could as easily have read "Secrets of Firing Cone 10 Glazes."
Reoxidation after cone 9 is down cannot cancel out color because the glazes are melted and glassy. As Pete said, if you don't believe this, try blowing through a pane of glass. The beauty of his theory is that you can fire copper reds, shinos, tenmoku's, celadon's, you name it, all next to each other, and they all come out great. If you have trouble finding the articles, let me know off list and I'll mail them to you. My email is hotpots@att.net
About slow cooling, I fired a fiber kiln for many years, and that type of insulation allows the kiln to drop temperature quickly from cone 10 down, so if this is the type of kiln you fire, you might consider firing down. I've converted my kiln to brick, and it cools much more slowly now. I'm sorry I can't tell you exact degrees fall per hour, but I'll bet Mel could. I fire at night, and I'm always too tired to watch that side of the curve.
David Beumee
Porcelain by David Beumee
Lafayette, CO
www.davidbeumee.com
303-665-6925
>
>
> On Oct 29, 2006, at 10:03 PM, David Beumee wrote:
>
> > Hi everyone,
> > Beside the phosphorus content of a reliable iron red, I have found
> > that reoxidation at the end of the firing is crucial for the
> > success of the color of the glaze.
> > I begin reduction early, cone 012, and keep the atmosphere in
> > medium reduction from 012 to cone 9. I then turn the gas pressure
> > down and take 45 minutes to an hour in straight oxidation between
> > cone 9 and cone 10, and I know from experience that this
> > reoxidation is the deciding factor in resupplying oxygen to what
> > has become black iron oxide to produce the profoundly rich red/
> > orange color from the following recipe. The color developes slowly,
> > and prolonging the reoxidation at the end of the firing, and also
> > allowing the kiln to cool slowly, helps a great deal as Mel has said.
> > The following recipe is wonderfully stable and reliable for cone
> > 10 reduction, providing the above schedule is followed:
> >
> > 44 F-4 feldspar
> > 24 Imsil A-25 silica
> > 7 EPK
> > 7 Magnesium carbonate
> > 11 Bone ash
> > 7 Red Iron Oxide, 99%
> > 2 Bentonite
> >
> >
> > David Beumee
> > www.davidbeumee.com
> > Lafayette, CO
> >
> >
> >
> >
> >
> >
> >
> >
> >
>
> ______________________________________________________________________________
> 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.
Bruce Girrell on wed 1 nov 06
David Beumee wrote:
> I'm sorry I can't tell you exact degrees fall per hour, ...
> I fire at night, and I'm always too tired to watch that side of the curve.
The Fluke Model 54 pyrometers (and others, too, I'm sure) can record your
temperatures at regular intervals. I set mine to record temperature from two
thermocouples every five minutes. This allows recording of a full cone 10
firing, including preheat and the entire cooldown period.
Reoxidation effects during cooldown play a very important role in the
development of color. One clay body that we use develops a beautiful toasty
brown color during the cooldown. How do I know it occurs then? Draw rings
that I pull at peak temperature and during the initial cooldown show nothing
but a dull gray body color. As the cooldown progresses body color develops.
It is very definitely a surface effect. Just like with the bright shino
colors, all you have to do is scratch through the surface and the underlying
bland color shows through.
Bruce Girrell
Maurice Weitman on wed 1 nov 06
At 10:05 +0000 on 11/1/06, claybuds@att.net wrote:
> This firing schedule works beautifully for all types of glazes. The
>concept was outlined by Pete Pinnell in "Secrets of Firing Copper
>Reds", parts 1 and 2, Dec./Jan. 2000 Clay Times, and Feb./Mar. 2001
>Clay Times, but the title could as easily have read "Secrets of
>Firing Cone 10 Glazes."
David's computer munged the dates of Pete Pinnell's excellent, as
usual, Clay Times articles.
I believe they're in: Nov/Dec 1998 and Jan/Feb 1999.
Another reason to use Macintosh.
Or maybe just another reason to not type at 3:00 am.
(Hi, David, Hi, Gail!)
Regards,
Maurice
Wes Rolley on sat 18 nov 06
Maybe we just have to work fast to keep up with Mel. Things show up,
then they disappear. Right now, there is nothing there but a lot of
empty paragraphs.
>Hi,
>
>I just wanted to say that I've never been able to see what Mel posts on his
>clayart page, apart from the teapot and bowl pics, and then the kiln.
>
>The rest of the page is blank, no plates...
>Any idea why? Have I got the right url? Am I the only one with this problem?
>Thanks for any help
>
--
Wes Rolley
17211 Quail Court
Morgan Hill, CA 95037
(408)778-3024
"Happiness is to be fully engaged in the activity that you believe in and, if you are very good at it, well that's a bonus." -- Henry Moore
lela martens on sun 19 nov 06
Hi,
I used to be able to access more from the page, but
when trying today, I got the same.
Lela
>From: Aline Salvat
>Hi,
>
>I just wanted to say that I've never been able to see what Mel posts on his
>clayart page, apart from the teapot and bowl pics, and then the kiln.
>
>The rest of the page is blank, no plates...
>Any idea why? Have I got the right url? Am I the only one with this
>problem?
>Ayleen
>
>
>
>>In a message dated 10/29/2006 6:33:43 PM Eastern Standard Time,
>>melpots2@VISI.COM writes:
>>>
>>>
>>>i added two more pix of iron red on the clayart webpage.
>>>click below.
>Clayart page link: http://www.visi.com/~melpots/clayart.html
>
>______________________________________________________________________________
>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.
_________________________________________________________________
Buy, Load, Play. The new Sympatico / MSN Music Store works seamlessly with
Windows Media Player. Just Click PLAY.
http://musicstore.sympatico.msn.ca/content/viewer.aspx?cid=SMS_Sept192006
Aline Salvat on sun 19 nov 06
Hi,
I just wanted to say that I've never been able to see what Mel posts on his
clayart page, apart from the teapot and bowl pics, and then the kiln.
The rest of the page is blank, no plates...
Any idea why? Have I got the right url? Am I the only one with this problem?
Thanks for any help
Ayleen
> In a message dated 10/29/2006 6:33:43 PM Eastern Standard Time,
> melpots2@VISI.COM writes:
>>
>>
>> i added two more pix of iron red on the clayart webpage.
>> click below.
Clayart page link: http://www.visi.com/~melpots/clayart.html
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