Merrie Boerner on tue 12 sep 00
Cone 6 glaze colors really liven up my booth (which is always full of
woodfired pots). I prefer brown/crusty/ash...most customers prefer cobalt
blue and teal green with a few crystals, or something to match their couch.
I am fortunate enough to have the choice...wood/cone 12, or electric cone
6.
Experiment with what you have...cone 6 glazes are wonderful !.....or search
out another kiln source to experiment in (friends, workshops, CLAYART
potters)...BE BOLD !!!! Invite yourself to their firing !.....then, as Mel
says, "Get on with it !" Scrounge bricks, research, build, re-build, learn,
learn, learn !
About three years ago, I read an account of a woodfiring on
CLAYART....wrote the person an e-mail....fired with him several times...he
designed my woodfiring kiln (which I have now fired 8 times).....we are
great friends !!! All because of Clayart, e-mail, and boldness on my part.
Fire beautiful colors in cone 6 ! If you want to try something else, go
for it ! If you prefer cone 6, master it !
Merrie in Mississippi
Ray Aldridge on tue 12 sep 00
At 05:08 PM 9/12/00 -0500, you wrote:
>remember, just in defense of a great clayart friend david mcbeth.
>cone 6 electric has value.
>don't try and be what you do not have.
Yeah, and also: don't be afraid to extend what you can be.
Ray
http://goodpots.com/
mel jacobson on tue 12 sep 00
remember, just in defense of a great clayart friend david mcbeth.
cone 6 electric has value.
don't try and be what you do not have.
we have a song at hay creek...think of the late 60's.
salt firing. ` all the pots are brown, brown, brown, and the
clay is grey....california `...............you fill in the rest.
for those who do not know:
formica is mined just behind the nagahide killing fields. (spellcheck
just went crazy.)
if you hump throw pots in japan, every pot has to be given
a ring foot the next day.
just a fact.
no choices.
and each is measured to exact specs...what a concept.
it is like reality. what a concept.
mel
FROM MINNETONKA, MINNESOTA, USA
http://www.pclink.com/melpots (website)
Ray Aldridge on wed 13 sep 00
At 04:06 PM 9/13/00 -0400, you wrote:
>Some potters working in high fire
> >reduction have since assumed an attitude of superiority. I'm puzzled; I
> >don't see anything profound behind this attitude. Comments?
>
>I'd be curious to have an answer to this, too. I love the unpredictability
>and look of other types of firing, but just because I can't afford and don't
>have the facilities for any kiln other than an electric one, that doesn't
>mean that my attempts at creating something good should be undercut by
>attitude.
Marlene, I don't think your efforts can really be "undercut" by some other
person's attitude toward what you're doing-- unless you seriously care
about what that person thinks. Just do great stuff and rub their noses in
it. Take heart-- much as I personally might regret it, the little brown
pot is out of fashion, and lowfire color is in. Jurors are probably more
inclined to like oxidation-fired pots than they ever have been in the past.
Ray
http://goodpots.com/
Frederich, Tim on wed 13 sep 00
Mel,
I agree with you. Having done just about every type of firing over
the last 33 years, I am now working at cone 5-6 electric and find it has as
much value as anything else that I have done. With my limited amount of
studio time, small electric firings are a must. Keep up the good work and
the great moderation of Clayart.
Tim Frederich
-----Original Message-----
From: mel jacobson [mailto:melpots@PCLINK.COM]
Sent: Tuesday, September 12, 2000 6:09 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: cone6 ain't bad
remember, just in defense of a great clayart friend david mcbeth.
cone 6 electric has value.
don't try and be what you do not have.
we have a song at hay creek...think of the late 60's.
salt firing. ` all the pots are brown, brown, brown, and the
clay is grey....california `...............you fill in the rest.
for those who do not know:
formica is mined just behind the nagahide killing fields. (spellcheck
just went crazy.)
if you hump throw pots in japan, every pot has to be given
a ring foot the next day.
just a fact.
no choices.
and each is measured to exact specs...what a concept.
it is like reality. what a concept.
mel
FROM MINNETONKA, MINNESOTA, USA
http://www.pclink.com/melpots (website)
____________________________________________________________________________
__
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.
Diane Mead on wed 13 sep 00
Wonderful !!!
The kudos for electric cone 6 do my heart good.
As that exhausted teacher who would love to
do more involved things, time just keeps us from it.
Cone 6 is fabulous for us!
diane mead
>From: "Frederich, Tim"
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: cone6 ain't bad
>Date: Wed, 13 Sep 2000 07:48:53 -0400
>
>Mel,
> I agree with you. Having done just about every type of firing over
>the last 33 years, I am now working at cone 5-6 electric and find it has as
>much value as anything else that I have done. With my limited amount of
>studio time, small electric firings are a must. Keep up the good work and
>the great moderation of Clayart.
>
>Tim Frederich
>
>-----Original Message-----
>From: mel jacobson [mailto:melpots@PCLINK.COM]
>Sent: Tuesday, September 12, 2000 6:09 PM
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: cone6 ain't bad
>
>
>remember, just in defense of a great clayart friend david mcbeth.
>cone 6 electric has value.
>don't try and be what you do not have.
>
>we have a song at hay creek...think of the late 60's.
>salt firing. ` all the pots are brown, brown, brown, and the
>clay is grey....california `...............you fill in the rest.
>
>for those who do not know:
>formica is mined just behind the nagahide killing fields. (spellcheck
>just went crazy.)
>
>if you hump throw pots in japan, every pot has to be given
>a ring foot the next day.
>just a fact.
>no choices.
>and each is measured to exact specs...what a concept.
>it is like reality. what a concept.
>
>mel
>
>
>FROM MINNETONKA, MINNESOTA, USA
>http://www.pclink.com/melpots (website)
>
>____________________________________________________________________________
>__
>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.
>
>______________________________________________________________________________
>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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chrisclarke on wed 13 sep 00
Merrie,
You are so right! I work in cone6 oxidation, my new kiln is coming to work in
cone9 reduction. I recently got my small test sized kiln, to test glazes and play
with crystalline glazes (need to buy a pyrometer). I have plans for a small wood
burning kiln and am looking for a place to dig a pit for primitive! With so many
options I have to watch not to spread myself to thin, so I really have focused on
cone6. But my lack of attention span keeps me hopping.
chris@ccpots
Merrie Boerner wrote:
> Cone 6 glaze colors really liven up my booth (which is always full of
> woodfired pots). I prefer brown/crusty/ash...most customers prefer cobalt
> blue and teal green with a few crystals, or something to match their couch.
> I am fortunate enough to have the choice...wood/cone 12, or electric cone
> 6.
> Experiment with what you have...cone 6 glazes are wonderful !.....or search
> out another kiln source to experiment in (friends, workshops, CLAYART
> potters)...BE BOLD !!!! Invite yourself to their firing !.....then, as Mel
> says, "Get on with it !" Scrounge bricks, research, build, re-build, learn,
> learn, learn !
> About three years ago, I read an account of a woodfiring on
> CLAYART....wrote the person an e-mail....fired with him several times...he
> designed my woodfiring kiln (which I have now fired 8 times).....we are
> great friends !!! All because of Clayart, e-mail, and boldness on my part.
> Fire beautiful colors in cone 6 ! If you want to try something else, go
> for it ! If you prefer cone 6, master it !
> Merrie in Mississippi
>
> ______________________________________________________________________________
> 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.
Fabienne Cassman on wed 13 sep 00
Hello :)
I think someone else just proved that anything can be achieved at cone 6
and made the cover of this last Clay Times. I don't understand why there
is a stigma going around, that to work at cone 6 ox makes one less of a potter.
A while back, I announced I'd like to work at cone 6 ox -- currently mostly
working at cone 9 ox though -- people would have been rolling on the floor
from laughing was it not improper. Some potters working in high fire
reduction have since assumed an attitude of superiority. I'm puzzled; I
don't see anything profound behind this attitude. Comments?
Faye
--
Milky Way Ceramics http://www.milkywayceramics.com/
Yes, I have learned from my mistakes...
I can reproduce them exactly.
Morris, Marlene F. on wed 13 sep 00
>A while back, I announced I'd like to work at cone 6 ox -- currently mostly
>working at cone 9 ox though -- people would have been rolling on the floor
>from laughing was it not improper. Some potters working in high fire
>reduction have since assumed an attitude of superiority. I'm puzzled; I
>don't see anything profound behind this attitude. Comments?
I'd be curious to have an answer to this, too. I love the unpredictability
and look of other types of firing, but just because I can't afford and don't
have the facilities for any kiln other than an electric one, that doesn't
mean that my attempts at creating something good should be undercut by
attitude.
Marlene
www.throwpots.com
Morris, Marlene F. on thu 14 sep 00
Ray, thank you, you're right. I would be putting myself in that position,
not others. Please forgive my "the man is puttin' me down" attitude. Chalk
it up to my own frustration at not having enough time to do what I love.
Could I have some more cheese with my whine?
Thanks for your response!
Take care,
Marlene
-----Original Message-----
From: Ray Aldridge [mailto:pbwriter@FWB.GULF.NET]
Sent: Wednesday, September 13, 2000 8:43 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: cone6 ain't bad
At 04:06 PM 9/13/00 -0400, you wrote:
>Some potters working in high fire
> >reduction have since assumed an attitude of superiority. I'm puzzled; I
> >don't see anything profound behind this attitude. Comments?
>
>I'd be curious to have an answer to this, too. I love the unpredictability
>and look of other types of firing, but just because I can't afford and
don't
>have the facilities for any kiln other than an electric one, that doesn't
>mean that my attempts at creating something good should be undercut by
>attitude.
Marlene, I don't think your efforts can really be "undercut" by some other
person's attitude toward what you're doing-- unless you seriously care
about what that person thinks. Just do great stuff and rub their noses in
it. Take heart-- much as I personally might regret it, the little brown
pot is out of fashion, and lowfire color is in. Jurors are probably more
inclined to like oxidation-fired pots than they ever have been in the past.
Ray
http://goodpots.com/
____________________________________________________________________________
__
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.
Carolyn Nygren Curran on thu 14 sep 00
Cone 6 ain't bad, although I think you have to work harder to obtain zowie
glazes which are more easily captured in higher temperature melts. I do
like the cone 10 reduction effects when I have access to nice, big gas
kilns---but sometime necessity is the mother of invention. This past
spring we had a lot of rainy weather--not at all good for firing my tiny
gas kiln on the patio. I had a solo show coming up the end of June which
included a grant project using locally obtained materials, and I had
planned on using my gas kiln as well as the big kilns at Skidmore College.
The summer session at Skidmore didn't give me enough time for firing at the
college before the deadline and the rains kept coming over my own gas kiln,
so I crossed my fingers and started out on a cone 6 oxidation binge for
the show. The results? Some unique glazes and an entirely new way of
looking at cone 6. The cone 6 electric kiln is no longer reserved for
bisque firing, and my experiments for the grant project have given me a
new glazing freedom. The clay from the banks of Lake Champlain is like
Albany slip and makes for a super glaze all by itself at cone 10 redux, but
it has made for super effects at cone 6 oxidation. Then there is the
limestone from a local quarry or the clay soil from a local
pond...pulverized, they can calm down a harsh cobalt blue glaze, or they
give great effects when sponged on over other glazes. The moral of the
story is...play artistically and fool around with glazes...do line blends
and triaxial blends, adding things like rutile to blah, everyday glazes
which need an extra punch. Gotta run and check the kiln...cheers, cnc
Paul Lewing on thu 14 sep 00
Carolyn Nygren Curran wrote:
>
> Cone 6 ain't bad, although I think you have to work harder to obtain zowie
> glazes which are more easily captured in higher temperature melts. I do
> like the cone 10 reduction effects when I have access to nice, big gas
> kilns---but sometime necessity is the mother of invention.
You're right, Carolyn- necessity is a mother!
I made the switch from cone 10 reduction to mid-range oxidation in 1986.
Actually, now I fire to cone 4. For what I'm doing now (very painterly
tile murals) I wouldn't go back. But I must say it took me at least two
years to have anything I thought was interesting, and five before I had
stuff I was proud of. I did sell all of the early cone 5 stuff, though,
because I had to make a living. I also have to tell you that I'm a
compulsive glaze tester, and I did literally thousands of tests before I
had glazes I really liked.
Here's what I found to be the secret: In reduction, color is hard, but
texture is easy. In oxidation, it's the reverse. But it's easier to
get texture in oxidation than it is to get color in reduction. So I had
to learn to go with the strengths of what I was working with. Now my
work is much more colorful, and I use all the techniques you mentioned
to get texture.
But I always did want both the reduction effects and the oxidation ones
at the same time. I'm still working on that.
Paul Lewing, Seattle
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