[Clayart] slow cooling vs. not
thegreatmommy1 .
When I first started out glaze firing I used my Skutt kiln "Cone Fire"
option: chose "slow" with no holds, and got pretty good results using glaze
formulas from books and the internet.
Then along came Ron and John with M^6G and instructions on programming slow
cooling and lessons on heat work from clayarters. Now I have worked out a
Ranp/Hold schedule that works for my kiln and results are, in some cases,
very nice.
Except for reds. And there are mel's remarks about the fast firing/fast
cooling he does with his work. Now I can't do reduction in my electric kiln
and right now ^6 is my limit. But I remember that pre-slow cooling my
standard glazes: Randy's Red and Paprika, both readily available
everywhere, came out, not fire engine red but a nice, warm rusty-red, IMO.
Then I got interested in other colors and didn't use either glaze in a slow
cool kiln.
Recently I put Paprika on a couple of pieces, put them in my slow cool kiln
and they came out a crusty, ugly brown. So, on Clayarters' suggestion, I
put them into my next bisque kiln (^04), "Cone Fire slow" and they regained
some of the reddish color but remained crusty.
So to make a long story even longer, my question is: are there times when
slow cooling is not indicated?
Eleanor Kohler
Centerport, NY
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Lee
> So to make a long story even longer, my question is: are there times when
> slow cooling is not indicated?
High silica bodies prone to developing cristabolite. Slow cooling
promotes crystal formation.
Mick Casson and Euan Craig fired high silica bodies and found that
crash cooling reduces the chances of dunting caused by cristabolite.
Euan's side discovery, was with a high alumina body, fast cooling
promotes red color on the clay. I discovered this independently
when my American Shinos would not work in my wood kiln. I noticed
that my props and wads were the most red flashed things in my glaze
firings. I switched to a high alumina shino (like they use in
Japan,) and I got red color back and fast cooling helped promote it.
--
Lee 李 Love in Longfellow,Minneapolis, MN USA
"Ta tIr na n-óg ar chul an tI—tIr dlainn trina chéile"—that is, "The
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
John Hesselberth
On Jun 9, 2013, at 2:49 PM, Lee <tog...@gmail.com> wrote:
> Slow cooling
> promotes crystal formation.
Regards,
John
"If you eat a frog first thing in the morning, that will probably be the worst thing you do all day." Mark Twain
John Hesselberth
jo...@frogpondpottery.com
Edouard Bastarache
Ian Macmillan
I have obviously totally misunderstood your whole hypothesis in your book. Why, then, do you fire down? I understood that this was to promote microcrystals in matte glazes, and to allow glazes such as iron reds to develop. Where have I gone so vitally astray, pray tell?
Ian
ron...@ca.inter.net
Some glazes do not benefit from a slow cool - I am working with a
potter our west and he is finding his copper reds are going matte when
slow cooled for instance.
The roughness you get from slow cooling those high iron glazes is
probably the iron crystallizing too much on the surface - you may find
that reducing the amount of iron in those glazes will help.
If you want me to suggest a line blend for those two iron glazes just
send me the recipes.
To answer your question more directly - some glazes do not benefit
from a slow cool (Liquorice for instance)and some will be too matte -
most will have a range of change depending on the amount of slow cool.
RR
Eva Gallagher
method. In the gas kiln - the iron reds really perk up in a slow ox cool. In
electric it helps tremendously - you would think it was a different glaze..
This last load of tests for Orange/red and Bailey's red for cone 6 ox - had
some pretty good reds on white clay test tiles but they were spectacular on
brown test tiles. So perhaps an iron wash on the white clay may dupkicate
the brown clay results?
Eva Gallagher
Deep River, Ontario
www.newfoundoutpotter.blogspot.ca
----- Original Message -----
From: <ron...@ca.inter.net>
To: "New ClayArt Mailing List" <cla...@ceramicist.org>; "thegreatmommy1 ."
<elk...@gmail.com>
Cc: <cla...@ceramicist.org>
Sent: Sunday, June 09, 2013 9:06 PM
Subject: Re: [Clayart] slow cooling vs. not
John Hesselberth
Regards,
John
http://www.masteringglazes.com
http://www.frogpondpottery.com
William & Susan Schran User
>To answer your question more directly - some glazes do not benefit
>from a slow cool (Liquorice for instance)and some will be too matte -
>most will have a range of change depending on the amount of slow cool.
Hmmmm, I've been using your Glossy Black, version 3, which I assume is
Licorice, for many years as a liner and in conjunction with my cone 6
crystalline glazes. It remains very glossy and stable. With a crystalline
glaze firing schedule, holding several hours at around 1900F, visible iron
crystals are formed.
Bill
wsc...@cox.net
Www.creativecreekartisans.com
John Hesselberth
On Jun 10, 2013, at 9:02 AM, William & Susan Schran User <wsc...@cox.net> wrote:
> Hmmmm, I've been using your Glossy Black, version 3, which I assume is
> Licorice, for many years as a liner and in conjunction with my cone 6
> crystalline glazes. It remains very glossy and stable. With a crystalline
> glaze firing schedule, holding several hours at around 1900F, visible iron
> crystals are formed.
The surface of Licorice usually does remain glossy with slow cooling; however, as you note, iron crystals -- some call then 'tea dust' -- do sometimes form on slow cooling. Some potters do not like that look and, therefore, prefer to fast cool Licorice.
Regards,
John
What is the meaning of life?
"All evidence to date suggests it is chocolate." Siri
Snail Scott
On Jun 9, 2013, at 12:43 PM, thegreatmommy1 . wrote:
> ... are there times when slow cooling is not indicated?
Absolutely. While slow cooling can be necessary to make
some matte glazes fully matte, some glossy glazes need a
fast cool to be their most glossy. Some glazes are notably
flexible, changing not only their surface gloss but even their
color depending on the cooling rate. It's like having a whole
range of related glazes in one bucket, which you select by
your firing choices. Or end up with, by not making a choice.
Like chemistry and atmosphere, cooling rates are another
tool in the ceramic surfaces tool-kit. Wrong in one instance
may be right in another. A wrench is a poor tool to drive a
screw, but handy when driving a bolt. All depends on your
purpose.
-Snail
ron...@ca.inter.net
Good point - could we say that any glaze will form crystals if slow
cooled enough?
I was not aware of the iron crystals forming in that glaze - had heard
that it was not affected - I'm sure there are some glazes that are not
affected by a "normal" slow cooling - the liquorice base for example -
have you found any?
Hope you are well - RR
William & Susan Schran User
On 6/10/13 9:17 AM, "John Hesselberth" <jjhess...@gmail.com> wrote:
>
>On Jun 10, 2013, at 9:02 AM, William & Susan Schran User
><wsc...@cox.net> wrote:
>
>> Hmmmm, I've been using your Glossy Black, version 3, which I assume is
>> Licorice, for many years as a liner and in conjunction with my cone 6
>> crystalline glazes. It remains very glossy and stable. With a
>>crystalline
>> glaze firing schedule, holding several hours at around 1900F, visible
>>iron
>> crystals are formed.
>
>
>Hi Bill,
>
>The surface of Licorice usually does remain glossy with slow cooling;
>however, as you note, iron crystals -- some call then 'tea dust' -- do
>sometimes form on slow cooling. Some potters do not like that look and,
>therefore, prefer to fast cool Licorice.
in the sun and it just sparkles away! What I really like is how my
crystalline glazes interact with the black glaze - like here:
http://www.creativecreekartisans.com/creativecreek_recentworkRICRRB.htm
Bill
Benjamin Kant
John responded). If somebody could clarify that that would be helpful.
Thanks.
Ben
-----Original Message-----
From: clayart...@ceramicist.org [mailto:clayart...@ceramicist.org]
On Behalf Of Ian Macmillan
Sent: Sunday, June 09, 2013 8:53 PM
To: New ClayArt Mailing List
Subject: Re: [Clayart] slow cooling vs. not
Lee
<jjhess...@gmail.com> wrote:
>
> On Jun 9, 2013, at 2:49 PM, Lee <tog...@gmail.com> wrote:
>
>> Slow cooling
>> promotes crystal formation.
>
> At cone 10, maybe depending on the composition; at cone 6 and below, nonsense.
The question wasn't focused on your narrow interest of selling your
cone 6 book.
See original question below:
"my question is: are there times when slow cooling is not indicated?"
You might not be familiar with Mick and Euan's research outside narrow
of commercial temps. ;)
--
Lee 李 Love in Longfellow,Minneapolis, MN USA
"Ta tIr na n-óg ar chul an tI—tIr dlainn trina chéile"—that is, "The
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
veenar...@cs.com
Bill,
Hi,
Really lovely glaze effect.
Veena
veenar...@cs.com
-----Original Message-----
From: William & Susan Schran User <wsc...@cox.net>
To: New ClayArt Mailing List <cla...@ceramicist.org>
Sent: Mon, Jun 10, 2013 4:05 pm
Subject: Re: [Clayart] slow cooling vs. not
Taylor Hendrix
John apologized for his too-quick-to-post post, we have to wait for the
knocking to subside before we can say, "Lee, you got the question wrong
again."
The irony of this is John just missed Lee's typical muddling of TWO salient
issues at hand. To wit: BODY formation of crystobalite (please note
spelling) due to prolonged high firing aaaaaaaannnnnnd crystal formations
in GLAZES fired to any temperature.
I'm pretty sure that Lee missed the clues to Eleanor's firing cycle and
just assumed that she was firing 36 hours with wood. Let's clear this up,
shall we?
Eleanor wanted to know about slow cooling in a reasonable firing profile
for a modern electric kiln. Please let us know if that is not the case,
Eleanor. She was doing so FOR GLAZE EFFECT. Thus, her question regarding
MC6G, a book which includes a conversation of controlled down firing in
modern electric kilns FOR GLAZE EFFECT. She is not, unless I'm drunk,
trying to solve clay body issues surrounding crystobalite formation.
Perhaps Lee wanted to flog another piece of Circulon for effect and so has
confused the matter quite nicely by dis-contexting Eleanor's question.
Perhaps he simply misread the initial posting. His mentioning Euan and
Casson of course was way far afield of Eleanor's question as Euan fires
high with fuel and Casson did as well. While we consider their respective
work very important, both of them orchestrat(ed) firings so as to mitigate
CLAY BODY issues as well as glaze effects (according to Lee); however,
Eleanor seeks a return of some of her glaze effects.
I do hope Eleanor and Ben see their way through to enlightenment. Keep at
it, and don't forget ear protection.
Taylor, in Rockport TX
wirerabbit1 on Skype (-0600 UTC)
http://wirerabbit.blogspot.com
http://wirerabbitpots.blogspot.com
http://www.flickr.com/photos/wirerabbit/
https://youtube.com/thewirerabbit
On Mon, Jun 10, 2013 at 4:00 PM, Lee <tog...@gmail.com> wrote:
> ...
> cone 6 book.
>
> See original question below:
>
> "my question is: are there times when slow cooling is not indicated?"
>
> You might not be familiar with Mick and Euan's research outside narrow
> of commercial temps. ;)
Benjamin Kant
Thanks for unwinding the thread, but I am still not completely clear as to
which part was John originally referring to as nonsense.
Ben
************
nonsense.
>
>
> John
***********************
Sent: Tuesday, June 11, 2013 12:25 PM
To: New ClayArt Mailing List
Subject: Re: [Clayart] slow cooling vs. not
mud...@hal-pc.org
"Ron and Jon" since I bought the first edition of their book several
years ago. The "firing-down" technique that is described in their book
works exceptionally well for me. It also works exceptionally well for a
goodly number of other folks that also follow the firing suggestions in
Mastering Cone Six Glazes.
As to commercial interest..... there is zero, zip, zilch, nada for me on
this one. I just like to pass on things that work well for me when a
specific question is asked.
Craig
Taylor Hendrix
on the way to cone 6, the original poster's target cone. King Ron has
mentioned before that formation does take place above 1100c or so. Compare
that to published end point temp for orton cones. What amount of time above
1100 deg would a cone 6 electric firing be you think? Remember formation is
a function of TIME at or above that 1100 degrees. In other words, I
believed (and still do) that John was referring to this possible but
unlikely formation of problematic quantities of crystobalite in a
reasonable firing profile for a comp. controlled electric kiln with 3 inch
walls.
Of course John should be punished for casting to that red herring in the
first place.
No night crawlers for John for a month!
Taylor, in Rockport TX
wirerabbit1 on Skype (-0600 UTC)
http://wirerabbit.blogspot.com
http://wirerabbitpots.blogspot.com
http://www.flickr.com/photos/wirerabbit/
https://youtube.com/thewirerabbit
Lee
>
>
> . To wit: BODY formation of crystobalite (please note
> spelling) due to prolonged high firing aaaaaaaannnnnnd crystal formations
> in GLAZES fired to any temperature.
Again, this doesn't relate to the original question. You can look it up
again for yourself. It is as easy as correcting your spelling. ;)
The speed of cooling effects both the structural clay body and the
pot's surface, glazed (as Ron mentioned with gloss glazes) and on unglazed
woodfired and soda fired pots that flash from soluble atmospheres in the
kiln.. My experience is primarily with the latter two, because I do not
like glossy glazes, unless they are layered.
In oxidation, or cycled atmosphere from reduction/neutral/oxidies, as you
find in high air volume wood kilns, both fast fire and the tradtional
Noborigama in Korea, two variables effect the surface color of an unglazed
body: the amount of alumina present and how fast the kiln is cooled. I
discovered this independently, when I noticed that while my American Shinos
were getting no red color, my kiln posts and other furniture were the
reddest things in the kiln. I switched to a Japanese type, high alumina
soda feldspar shino and was able to get red.
Euan originally started crash cooling after hearing about Mick Casson doing
this with a high silica body, and began cooling to 1100*C to reduce
Cristobalite dunting (Taylor, don't be lazy. Just check spelling on Google
like I did.)
As a side product of crash cooling, Euan noticed that his unglazed pots had
more flashing. Euan's clay body was half Shigaraki nami and half Aussie
porcelain. So it is both high alumina and high silica.
Traditional Raku (that is not put in reduction materials) and Seto Guro
Hikidashi, are both pulled out the the kiln at their peak firing temps and
cool extremely quickly in oxidation to get a certain surface quality from
the oxide saturated glazes.
Taylor this might not be useful to you in your current primitive low firing
or at Cone 6, but you might wood fire or high fire soda fire someday. ;)
Just because your perspective is currently narrow, does not mean there
isn't useful information for others related to fast and slow cooling in a
glaze fire.
--
Lee 李 Love in Longfellow,Minneapolis, MN USA
"Ta tIr na n-óg ar chul an tI—tIr dlainn trina chéile"—that is, "The land
of eternal youth is behind the house, a beautiful land fluent within
itself." -- John O'Donohue
Taylor Hendrix
The initial email in this thread is quoted below in total so other folks
are not distracted by your dull-witted posting. I am sorry for those of you
who take the digest.
You can only speak for yourself, Lee, and I can only speak for myself
regarding narrow perspective. You may feel strongly that I lack broad
perspective, but that is irrelevant to this discussion because you still
haven't understood the initial posting. You are too busy bang, bang,
banging.
Please just take a look below and contribute if you have any helpful
information. Let me draw your attention to paragraph one, 2, and paragraph
three. ^6 electric, glaze firing, and M^6G. Seems pretty clear to me what
the original post was about. And, yes, I often have to check my spelling.
Folks here on the list are often amused by my fingerfehler. Wayne S. is
particularly fond of them. It is probably because I know so many words like
addlepated and discombobulated but never seem to practice writing them. I
blame keyboarding and the death of legible handwriting.
Other interested folks should probably bail on this thread.
Initial posting in this thread:
"I fire at ^6 in a programmable Skutt electric kiln with 3" walls.
When I first started out glaze firing I used my Skutt kiln "Cone Fire"
option: chose "slow" with no holds, and got pretty good results using glaze
formulas from books and the internet.
Then along came Ron and John with M^6G and instructions on programming slow
cooling and lessons on heat work from clayarters. Now I have worked out a
Ranp/Hold schedule that works for my kiln and results are, in some cases,
very nice.
Except for reds. And there are mel's remarks about the fast firing/fast
cooling he does with his work. Now I can't do reduction in my electric kiln
and right now ^6 is my limit. But I remember that pre-slow cooling my
standard glazes: Randy's Red and Paprika, both readily available
everywhere, came out, not fire engine red but a nice, warm rusty-red, IMO.
Then I got interested in other colors and didn't use either glaze in a slow
cool kiln.
Recently I put Paprika on a couple of pieces, put them in my slow cool kiln
and they came out a crusty, ugly brown. So, on Clayarters' suggestion, I
put them into my next bisque kiln (^04), "Cone Fire slow" and they regained
some of the reddish color but remained crusty.
So to make a long story even longer, my question is: are there times when
slow cooling is not indicated?"
Taylor, in Rockport TX
wirerabbit1 on Skype (-0600 UTC)
http://wirerabbit.blogspot.com
http://wirerabbitpots.blogspot.com
http://www.flickr.com/photos/wirerabbit/
https://youtube.com/thewirerabbit
Des & Jan Howard
I've found illitic clays with a high iron & high silica
content & then high fired will almost always shell &/or
dunt if slow cooled.
Des
On 12/06/2013 8:44 AM, Taylor Hendrix wrote:
> So to make a long story even longer, my question is: are there times when
> slow cooling is not indicated?"
Des & Jan Howard
Lue Pottery
Lue NSW
Australia
2850
02 6373 6419
www.luepottery.hwy.com.au
-32.656072 149.840624
Lee
>
> As to commercial interest..... there is zero, zip, zilch, nada for me on
> this one. I just like to pass on things that work well for me when a
> specific question is asked.
>
> That's me too. My experience is broad and scattered, but sometimes
relevant.
Warren MacKenzie, once said to me about a book writer:
"Beware of people who speak with great authority, about something they know
nothing about."
When your knowledge focuses on a narrow area, you put blinders on
and want to keep the discussion on what you know, however irrelevant your
contribution may be. We see this sort of talk radio phenomenon enter our
politics, crippling public discourse.
--
Lee 李 Love in Longfellow,Minneapolis, MN USA
"Ta tIr na n-óg ar chul an tI—tIr dlainn trina chéile"—that is, "The land
of eternal youth is behind the house, a beautiful land fluent within
itself." -- John O'Donohue
Lee
>
> years ago. The "firing-down" technique that is described in their book
> works exceptionally well for me. It also works exceptionally well for a
> goodly number of other folks that also follow the firing suggestions in
> Mastering Cone Six Glazes.
Firing down basically makes up for the deficiencies of the modern electric
kiln. Traditionally, kilns could take over a week to cool, so firing
down is far from necessary.
--
Lee 李 Love in Longfellow,Minneapolis, MN USA
"Ta tIr na n-óg ar chul an tI—tIr dlainn trina chéile"—that is, "The land
of eternal youth is behind the house, a beautiful land fluent within
itself." -- John O'Donohue
Snail Scott
On Jun 12, 2013, at 11:10 AM, Lee wrote:
> Warren MacKenzie, once said to me about a book writer:
> "Beware of people who speak with great authority, about something they know
> nothing about."
dangerous ones are those who do know quite a bit and
whose authority is fairly earned, but who may be biased,
honestly mistaken, or for whom the habits of knowledge
begin to exceed the actuality, presenting the veneer of
authority in fields or specialties that are far less well-
understood. With no malice intended or profit in view,
they are more likely than a true quack to be believed
when they shouldn't be.
Some people are bona-fide polymaths. Many more just
think they are.
From personal experience: Never let a physicist work on
on your house!
-Snail
mud...@hal-pc.org
deficiency. The bottom line is that it is about crystal growth on the
down stroke.
I had been firing electric kilns on and off for fifteen years before I
stumbled across clayart one day and subsequently read Mastering Cone 6
Glazes...which, in my opinion, is one of the best books that I have ever
read on glazes. It made a whole lotta sense to me and I adopted the
prescribed methods. Works great!
Craig
On Tue, Jun 11, 2013 at 4:06 PM, <mud...@hal-pc.org> wrote:
>
>>
>> years ago. The "firing-down" technique that is described in their book
>> works exceptionally well for me. It also works exceptionally well for a
>> goodly number of other folks that also follow the firing suggestions in
>> Mastering Cone Six Glazes.
>
>
> Firing down basically makes up for the deficiencies of the modern electric
> kiln. Traditionally, kilns could take over a week to cool, so firing
> down is far from necessary.
>
> --
>
> "Ta tIr na n-óg ar chul an tI—tIr dlainn trina chéile"—that is,
ron...@ca.inter.net
>> So to make a long story even longer, my question is: are there times when
>> slow cooling is not indicated?"
Two situations that I know of -
Any high fired clay that has a tendency to develop cristobalite should
be fast cooled down to 1100C because cristobalite develops over that
temperature. It also stands to reason that the slower the rise from
that temperature to cone bend will also favour cristobalite production
- as will any soak periods.
Such bodies should - in most cases - can be reformulated to stop the
cristobalite formation. The definitive article on the subject by Peter
Sohngen is available to read and download on the Studio Potter
Magazine web site.
Where to download it.
http://studiopotter.org/pdfs/Sohng%20pps84-89.pdf
The subject is covered in length in the Potters Dictionary of
Materials and Techniques by Frank and Janet Hamer.
Michael Cardew tells a story about finding a new clay and firing it in
a small test kiln (fast cool) and then finding a large kiln (slow
cooled) full of the same clay completely shattered because of
cristobalite.
If you want your glazes to remain glossy fast cooling down to 700C
would be in order - glazes are super cooled liquids. A good example of
this process is the difference of slow cooled magma which crystallizes
into rock and the magma that is air cooled ends up as obsidian - again
a super cooled liquid.
RR
Taylor Hendrix
the past when you mentioned it onlist and I wished to read it. Pitty this
was a thread about glaze effects and not the various forms of Si in clay
bodies. I'm curious so maybe I'll start another thread and ask you about it.
I'm sure the original poster is thankful for your information concerning
glaze effects with speed of cooling.
Taylor, in Rockport TX
wirerabbit1 on Skype (-0600 UTC)
http://wirerabbit.blogspot.com
http://wirerabbitpots.blogspot.com
http://www.flickr.com/photos/wirerabbit/
https://youtube.com/thewirerabbit
> On 12/06/2013 8:44 AM, Taylor Hendrix wrote:
>>
>>> So to make a long story even longer, my question is: are there times when
>>> slow cooling is not indicated?"
>>>
>>
>
> Hi Taylor,
>
> Two situations that I know of -
>
> Any high fired clay that has a tendency to develop cristobalite should be
> fast cooled down to 1100C because cristobalite develops over that
> temperature. It also stands to reason that the slower the rise from that
> temperature to cone bend will also favour cristobalite production - as will
> any soak periods.
>
> Such bodies should - in most cases - can be reformulated to stop the
> cristobalite formation. The definitive article on the subject by Peter
> Sohngen is available to read and download on the Studio Potter Magazine web
> site.
>
> Where to download it.
> The subject is covered in length in the Potters Dictionary of Materials
> and Techniques by Frank and Janet Hamer.
>
> Michael Cardew tells a story about finding a new clay and firing it in a
> small test kiln (fast cool) and then finding a large kiln (slow cooled)
> full of the same clay completely shattered because of cristobalite.
>
> If you want your glazes to remain glossy fast cooling down to 700C would
> be in order - glazes are super cooled liquids. A good example of this
> process is the difference of slow cooled magma which crystallizes into rock
> and the magma that is air cooled ends up as obsidian - again a super cooled
> liquid.
>
> RR
>
>
> Cla...@ceramicist.org
> Make changes to your subscription, or unsubscribe, at:
Paul Herman
There was a previous article, that Mr Sohngen's article uses as a
foundation. It was also published by Studio Potter Magazine, though it
is not available on line. It's titled "Body Building for Potters: A
Clay Blending Formulary", by Jim Robinson. Volume 16 #2, 1988.
I think you should read the Robinson article first, as it is important
to have the foundation in order to help make sense of the later
Sohngen article. Also, I think Mr. Robinson deserves to be recognized
as the originator of this whole train of thought. He invented a system
of using glazes of differing expansion rates as a tool to use to
evaluate clay bodies. I highly recommend this original article. It can
really help you to understand what is going on in the clay bodies.
Ron, I think you should give credit to Mr. Robinson, as credit is due.
best wishes,
Paul Herman
Great Basin Pottery
Doyle, California US
www.greatbasinpottery.com/
Taylor Hendrix
John mentioned it some time ago on the list. I think I tried looking for a
copy. Can't remember if it its in my notebooks or not. Thanks for reminding
me.
Sent from my Droid
Taylor, in Rockport TX
wirerabbit1 on Skype (-0600 UTC)
http://wirerabbit.blogspot.com
http://wirerabbitpots.blogspot.com
http://www.flickr.com/photos/wirerabbit/
Hank Murrow
On Jun 14, 2013, at 10:28 AM, Taylor Hendrix wrote:
> Hey Paul. I am familiar with the Robinson article. I believe either Ron or
> John mentioned it some time ago on the list. I think I tried looking for a
> copy. Can't remember if it its in my notebooks or not. Thanks for reminding
> me.
It may be a good idea to contact Jim directly to find out where his article is in our shared CyberWorld.
Jim Robinson <jam...@aol.com> Now at Rookwood Pottery in Cincinnati, OH, playing with amazing glazes!
Cheers, Hank in Eugene
Lee
through the kiln. Both in the tradtional noborigama in Korea, and the
modern fast fire kilns, you have the firebox areas fully open, which
assures oxidation as part of the cycle. The open firemouth, combine with
a thick coal bed, preheats the large volume of air passing through.
Reduction as we know it in the States never was desirable in
traditional kilns and really didn't come about until after petrochemical
kilns were introduced. Hank discovered independently, how oxidation and
holding ehanced red color in shinos. In the Mino kilns, temperatures
rarely attained above 1100*C. When Ken Matsuzaki fires his shinos in
gas, most of the 7 week schedual is spent at 1100*C. It is learning
from traditional processes to recreate tradition effects with modern
equipment.
Here is a video of a Mungyeong noborigama firing:
https://www.facebook.com/photo.php?v=10151486767047057 Sorry, can't turn
it!
--
Lee 李 Love in Longfellow,Minneapolis, MN USA
"Ta tIr na n-óg ar chul an tI—tIr dlainn trina chéile"—that is, "The land
of eternal youth is behind the house, a beautiful land fluent within
itself." -- John O'Donohue
Lee
> Taylor,
>
> There was a previous article, that Mr Sohngen's article uses as a
> foundation. It was also published by Studio Potter Magazine, though it is
> not available on line. It's titled "Body Building for Potters: A Clay
> Blending Formulary", by Jim Robinson. Volume 16 #2, 1988.
> Ron, I think you should give credit to Mr. Robinson, as credit is due.
>
>
Robinson's shino article was essential to my understanding the different
kinds of shinos. Because I didn't have Japanese and Korean materials
after switching to high alumina shinos in Japan, I tested high alumina
shinos from his shino article. He was one of the first persons to
describe the different types of shinos used around the world. :
*Revival Fires: Another Face for Shino* by Jim Robinson - a popular article
describing six categories of shino, with nearly 50 recipes;
http://studiopotter.org/pubs/?view=back_5
--
Lee 李 Love in Longfellow,Minneapolis, MN USA
"Ta tIr na n-óg ar chul an tI—tIr dlainn trina chéile"—that is, "The land
of eternal youth is behind the house, a beautiful land fluent within
itself." -- John O'Donohue
Paul Herman
I also was very interested in Jim's article on shino glazes. I still
use several of them in our wood firings. One of the most favored is to
trail the one called "Whitehot" over another shino, it's really
pretty. Whitehot is just neph sy and alumina, with a little bentonite.
Mr. Robinson is a good writer and artistt.
best,
Paul Herman
Great Basin Pottery
Doyle, California US
www.greatbasinpottery.com/
On Jun 14, 2013, at 11:34 AM, Lee wrote:
>
> Robinson's shino article was essential to my understanding the
> different
> kinds of shinos. Because I didn't have Japanese and Korean
> materials
> after switching to high alumina shinos in Japan, I tested high
> alumina
> shinos from his shino article. He was one of the first persons to
> describe the different types of shinos used around the world. :
>
> *Revival Fires: Another Face for Shino* by Jim Robinson - a popular
> article
> describing six categories of shino, with nearly 50 recipes;
>
> http://studiopotter.org/pubs/?view=back_5
> --
> Lee 李 Love in Longfellow,Minneapolis, MN USA
_______________________________________________
Jeff Lawrence
In the Mino kilns, temperatures
> rarely attained above 1100*C. When Ken Matsuzaki fires his shinos in
> gas, most of the 7 week schedual is spent at 1100*C.
>
I hold my firing schedule manhood cheap now.
--
Jeff Lawrence
jeff...@gmail.com
Lee
>
>
> Wow. 7 weeks at 1100C!
> I hold my firing schedule manhood cheap now.
>
The LPG kiln was top loading. Look like a coffin vaut.
His wood firing was shorter, 5 days. I am not sure how many bundles the
new kiln takes to fire, but the old kiln, not counting the oak and
charcoal, took 2,500 bundles of Red Pine @ about $2.50 a bundle. About
$6,500.00 a firing. Shimaoka's much larger kiln took 1,500 bundles of red
pine. My woodkiln in Mashiko cost $6.00 a firing. I used about 200 kg of
wood, equiv of about 40 bundles, but I got the wood free, only having to
pay half the delivery charge. My kiln held about the same number of pots
as his old kiln. But he could pay for the wood he used with one of his
middle range priced pots.
--
Lee 李 Love in Longfellow,Minneapolis, MN USA
"Ta tIr na n-óg ar chul an tI—tIr dlainn trina chéile"—that is, "The land
of eternal youth is behind the house, a beautiful land fluent within
itself." -- John O'Donohue