[Clayart] discussion topics

wschran at twc.com wschran at twc.com
Wed Jan 8 19:41:12 EST 2020

Played with rutile blues and a hare's fur blue, both cone 6 oxidation.
Both glazes ran if too thickly applied. The hare's fur worked better
without controlled cooling, rutile blue benefitted from controlled
cooling schedule. Here's some reading information:
[1] And this:
http://digitalfire.com/4sight/glossary/glossary_rutile_glaze.html [2]


William Schran wschran at twc.com 703-505-1617

	-----------------------------------------From: "mel jacobson" 
To: "clay"
Sent: Wednesday January 8 2020 5:35:52PM
Subject: [Clayart] discussion topics

my new adult student has been working on cone 6, mel6 and our glazes.
 she had a firing and a commercial rutile blue glaze ran right off
 the pot onto her kiln shelf. obviously she was puzzled, she also
 has some crazy pin holing in that glaze.

 in discussing the problem she mentioned to me that she has
 programmed a hold at cone 6 for something over 30 minutes.
 i told her not to hold at temp. no need. that is old wives tales
 and in a program kiln who knows if the temp does not rise during the
 hit the mark, turn off the kiln. down fire should be at 1900F. and,
 knows if you need down firing? (we all know what carol is doing with
 high iron glazes...and most of you know that i fired hare's fur at
cone 12
 with a down fire. in many cases i turned pots into bright metallic
 but, i was firing all my hare's fur, partridge feather and oil spot
 in oxy atmosphere, or only slightly neutral. no reduction. high iron
clay, and
 high iron glazes. they look like they come from a fuel, reduction
kiln...as in
 look like..but not. that is the key to hare's fur. fired in saggers
in a wood
 fired, very hot kiln. no kiln shelves at all. 400 pots fired in a
 the pots were snug in a neutral atmosphere, in a really wild wood
fired reduction
 kiln. i have never seen puke green in my firings. clean atmosphere in
the kiln.
 (many of us saw puke green in that old temmoku recipe of the late
60's. and remember
 folks turned the world full of smoke from over reduction..we all did
it. not now.
 over reduction is a scourge.)

 i am convinced that there is a reaction with that high rutile content
 glaze sort of boiling at the clay surface. high iron clay, high iron
 glaze. (and i think some titanium) they may not be compatible, or
make the bubbles and pin holes part
 of the aesthetic. make the so called flaw a new signature glaze.
 we did that with colleen and the boiling shino. now we do not get the
 boil...it is back to lovely orange and black basic shino. it may be
 simple as a dead mouse rotten in the shino. who knew? i think it was
 much table salt.

 i would love to have others join in on this topic...especially about
 at temp...i would like to ban it. only bad things happen.
 that is one reason i always fire a new glaze to one cone hotter. i
want to see
 what happens.

 i fired two bowls with mel6 and our five equal amounts of glaze
materials to cone
 12 last month. they looked great...they still had a ring...but, man,
that is pushin
 to the limit. how does one know, unless you try to test to limit?

 (thanks paul, you know how to push limits too...and we appreciate it.
and, if we
 can make our dear woofey jump...that is fun. by the way folks, i have
known david
 woof since he was a baby wolf. you cannot find a kinder better person
to sit and have
 a beer with. like paul, he loves controversy like air itself. they
make clayart rich.)

 website: www.melpots.com


[2] http://digitalfire.com/4sight/glossary/glossary_rutile_glaze.html

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