Jump to content

Low Fire Pottery


Marko

Recommended Posts

Is it okay to sell low fire dinner ware. I heard somewhere that low fire is easy to damage. I just do not want people to buy my pottery if I can't give them something that is very durable. However, I love the glaze options of low fire. Some people ask for plates mugs and such with family names and decorative motifs. I have been doing mid fire with little to no luck in making this work. Names run on moving glaze. I fire ^6. What to do? I feel like quitting. 

Link to comment
Share on other sites

At cones 06 to 04, earthenware remains quite porous and non-vitrified. But you can fire earthenware up to cone 1, 2 without issues -- I've fired one of the Standard red earthenwares to cone 6 without slumping or bloating. So, you might be able to bisque to a higher temp to give the ware more strength and then glaze fire at a lower temp.

 

Hesselberth's and Roy's Mastering Cone 6 Glazes includes a receipe for a cone 6 "majolica" base glaze that is quite stiff and does not run. You might want to check that out.

 

Another option would be to add the personalization with an over-glaze applied after the glaze firing, then re-fired to the over-glaze temp (usually around cone 016 or so) that fuses the personalization but does not affect the high fired glaze. But that would add a third firing to your process.

Link to comment
Share on other sites

Yes you can sell low fire wares but at temps in the 06 range the wares will not hold up well to daily use. 

There are stronger wares at high temps starting at cone 5 and up.

Mark

Thanks Mark. I see lots of decorative pottery at some gift shops and at art shows. That's what confuses me. Do these buys care about buying a more durable pottery, or do they care, so long as it has lots of color and motifs. I would feel bad if I sold something that someone bought from me and it broke in a dishwasher, microwave or oven. 

The other side of the pot, is that I love ^6, because it's stoneware and the glazes look so, I don't know, awesome? But I can't get things like, hand painting artwork, like cactus, animals or text that matches the low fires. 

I am just so frustrated. Is there any techniques? Do you think I could use underglaze in layers?

Man, whom ever thinks pottery is easy, ain't never did it, or has years of experience.  

Link to comment
Share on other sites

At cones 06 to 04, earthenware remains quite porous and non-vitrified. But you can fire earthenware up to cone 1, 2 without issues -- I've fired one of the Standard red earthenwares to cone 6 without slumping or bloating. So, you might be able to bisque to a higher temp to give the ware more strength and then glaze fire at a lower temp.

 

Hesselberth's and Roy's Mastering Cone 6 Glazes includes a receipe for a cone 6 "majolica" base glaze that is quite stiff and does not run. You might want to check that out.

 

Another option would be to add the personalization with an over-glaze applied after the glaze firing, then re-fired to the over-glaze temp (usually around cone 016 or so) that fuses the personalization but does not affect the high fired glaze. But that would add a third firing to your process.

Wow, I think you handed me the holy grail. I will try this.

I have the book, but hadn't tried the ^6 majolica, because I thought it was going to be difficult. I am going to make a small test batch.

Thanks so much.  :)

Link to comment
Share on other sites

I would think that one approach to clarity in text and imagery at higher temperatures would be to use a mishima, or inlaid slip, technique.  Stamp or incise your image into the slightly soft clay, fill the area with colored slip, scrape down to reveal the image, and fire with a clear glaze.

Link to comment
Share on other sites

I tend to think most consumers do know much about vitrification or durablity or temps . Thats our deal as ceramists. I think low fire colorful work can be sold as funtional wares but its up to you to educate on use and care.

You can also go the nonfuntional route then its a moot point.

Mark

Link to comment
Share on other sites

I would think that one approach to clarity in text and imagery at higher temperatures would be to use a mishima, or inlaid slip, technique.  Stamp or incise your image into the slightly soft clay, fill the area with colored slip, scrape down to reveal the image, and fire with a clear glaze.

That's something I should try. I have used Stamps, but used a glaze over it hoping that it would break and reveal the letters. It worked if the glaze was thin, but then I had to sacrifice the color. I want both. So, you give me an idea. Maybe, I could try using slips, stamps and inlaid slip of a different color. And then clear glaze. Thanks

Link to comment
Share on other sites

I tend to think most consumers do know much about vitrification or durablity or temps . Thats our deal as ceramists. I think low fire colorful work can be sold as funtional wares but its up to you to educate on use and care.

You can also go the nonfuntional route then its a moot point.

Mark

Guess that's true. And that's why I need this group of smart seasoned potters. I learn something new each time I come here and it help me a great deal. I'm a late bloomer in ceramics, so at 60, I think I am coming along okay, not fast, but the journey is great fun. Thanks Mark.

Link to comment
Share on other sites

All my stuff is lowfire--watch it with the ^6. My university ruined three $90 kiln shelves because of some redart that got in there. O.o Ceramic cow pie.

You can use Duncan underglazes on white stoneware or porcelain and still get fun colors! Here's an example I made back in college on ^6 Sea Mix (all my newer work is fired to ^03, though, and doesn't leak). I still love this piece, though it's eight years old. :)

post-63665-0-24977900-1428987271_thumb.jpg

post-63665-0-24977900-1428987271_thumb.jpg

Link to comment
Share on other sites

All my stuff is lowfire--watch it with the ^6. My university ruined three $90 kiln shelves because of some redart that got in there. O.o Ceramic cow pie.

You can use Duncan underglazes on white stoneware or porcelain and still get fun colors! Here's an example I made back in college on ^6 Sea Mix (all my newer work is fired to ^03, though, and doesn't leak). I still love this piece, though it's eight years old. :)

Aw, I love this piece. I have look and commented on all the pottery you had when I commented. You are very talented. I can see that what people are telling me mostly is that underglazes are the way to go, for what I want to do. I guess I tend to overreach my experience a bit. Oh hell, I'm 60 and I do not like to waste time, KWIMV. But, I should get back to the basics and learn and test out some techniques before I try an push the envelope. Thanks for helping me Guinea.  What's ^6 Sea Mix?

Link to comment
Share on other sites

Yeah it is frustrating getting the glazes right but it can be done. I do wonder if moving to low fire might be a 'grass is greener' reaction on your part though. Whatever issues you are having with mid fire they can certainly be worked through and low fire is going to have it's own issues and likely some of the same ones you are dealing with now as well.

 

Are you running lots of test firings on test level pieces?

 

If not you might try halting your making cycles and just run tons of test on quickly thrown test cylinders or some other fast throw until you have each glaze, glaze combination and decorating process exactly like you want. Some under glazes also may be fussy with your clears so you may need to work through that to find one that interacts like you want with your drawings.

 

There's no avoiding glazes that need work but there's no reason to ever use them on anything but test pieces. For the most part once a glaze has properly test out we are not having anymore problems. I don't know this is the case for you but when I read you thinking out loud about quitting out of frustration I get the impression that you have had some experiences with putting a lot of time in a nice pot only to have it trashed during the glaze process and man that just takes the fun right out of pottery.

Link to comment
Share on other sites

Do you have a picture of the style of work that you do? It might help us to make viable suggestions. I fire cone 10 porcelain and sometimes use amaco velvets to paint my designs, so it's possible to do high fire work with colors. I have also used those squeeze bottles with tiny long metal tips to "paint" with high fire glazes. Again, this allows me to paint colorful designs and high fire the work for functional durability.

Link to comment
Share on other sites

I have to agree with others. I fire to cone 6 and get good results with the Amaco velvet underglazes. Your clear cover glaze needs to be zinc free. I know a recipe has been posted or you can buy commercial.

Thanks Chantay, I will be trying these underglaze. I just got to settle down and try stuff.

Link to comment
Share on other sites

Yeah it is frustrating getting the glazes right but it can be done. I do wonder if moving to low fire might be a 'grass is greener' reaction on your part though. Whatever issues you are having with mid fire they can certainly be worked through and low fire is going to have it's own issues and likely some of the same ones you are dealing with now as well.

 

Are you running lots of test firings on test level pieces?

 

If not you might try halting your making cycles and just run tons of test on quickly thrown test cylinders or some other fast throw until you have each glaze, glaze combination and decorating process exactly like you want. Some under glazes also may be fussy with your clears so you may need to work through that to find one that interacts like you want with your drawings.

 

There's no avoiding glazes that need work but there's no reason to ever use them on anything but test pieces. For the most part once a glaze has properly test out we are not having anymore problems. I don't know this is the case for you but when I read you thinking out loud about quitting out of frustration I get the impression that you have had some experiences with putting a lot of time in a nice pot only to have it trashed during the glaze process and man that just takes the fun right out of pottery.

Thanks Stephen, I haven't done enough testing, so as you suggest, I am going to do just that.

Link to comment
Share on other sites

Do you have a picture of the style of work that you do? It might help us to make viable suggestions. I fire cone 10 porcelain and sometimes use amaco velvets to paint my designs, so it's possible to do high fire work with colors. I have also used those squeeze bottles with tiny long metal tips to "paint" with high fire glazes. Again, this allows me to paint colorful designs and high fire the work for functional durability.

Hi Elaine, I don't think I have a style, but I wish I did. I am just trying to figure out how to get a durable mid-fire pottery that I can put wording on, like people names and quotes. I like the idea of underglaze and I am going with that. I may try colored slips and stencils. Bottomline is I need to buckle down and just experiment and do all kinds of testing. I am retired, so I have the time. Thanks for your help. 

Link to comment
Share on other sites

Marko, have you seen the English slipware pottery made back in the 17th century?  Google "english slipware pottery toft" for a good time.

 

This was earthenware, and Thomas Toft, the most famous of these guys, did wonderful work that was pretty well-defined as far as lettering and drawing goes.  He used lead glazes, but there's no reason a modern slipware potter would have to.

Link to comment
Share on other sites

There was a tip on this forum, I believe, recently about achieving very exact lettering.  I tried it and thought it was very easy and gave beautiful lettering.  Brush some wax resist on the area you want to write on on leatherhard ware.  Then carve or incise the letters into the clay through the resist.  Then you brush underglaze on and it literally flows into the lettering.  I used a sponge only a little bit for minimal clean up.  Bisque fire, then use a translucent glaze so the lettering shows through.  I loved it.

Link to comment
Share on other sites

Marko, have you seen the English slipware pottery made back in the 17th century?  Google "english slipware pottery toft" for a good time.

 

This was earthenware, and Thomas Toft, the most famous of these guys, did wonderful work that was pretty well-defined as far as lettering and drawing goes.  He used lead glazes, but there's no reason a modern slipware potter would have to.

Thank you Ray, I did enjoy looking at Thomas Toft work. I will be doing some in my experimental trails. I have lots of options now, so I am diving in and hope I have some success. Thanks for your help and suggestions.

Link to comment
Share on other sites

There was a tip on this forum, I believe, recently about achieving very exact lettering.  I tried it and thought it was very easy and gave beautiful lettering.  Brush some wax resist on the area you want to write on on leatherhard ware.  Then carve or incise the letters into the clay through the resist.  Then you brush underglaze on and it literally flows into the lettering.  I used a sponge only a little bit for minimal clean up.  Bisque fire, then use a translucent glaze so the lettering shows through.  I loved it.

Can you please find this. It sounds very interesting. Did it have pictures? I'll check the archives. Thank you for the suggestion. Get back to me if you find it. I am always interested in new techniques. Thanks again.

Link to comment
Share on other sites

Archived

This topic is now archived and is closed to further replies.

×
×
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.