glazenerd

As I remember much of the discussion on other sites, years ago, cone 4 was just above Earthenware range and into stoneware. Others believed that to be a little low, and went to cone 5. Then there were a series of clays and commercial glazes that were designed for cone 4-6.  It became apparent to many that the better surfaces for the glazes often occurred at cone 6. Over the years, I have often wondered what would have happened if we had not had the energy cost rise that precipitated the move toward mid range stoneware. The move towards Cone 4-6 has certainly done well for Ceramics in general as many schools in cities without the resources for gas fired kilns with teachers trained in gas reduction have benefited from the use of electric mid-range Oxidation. 
Aesthetically there is was also another shift as those advocates of reduction moving to mid range carried their likes/dislikes with them and early glazes for mid-range tried to emulate reduction glazes. However over the years the mid range glaze repertoire has become quite broad with many craters and artists ranging far from the olde aesthetic. The richness of surface seen in reduction, can be emulated in mid range with layering of glazes, often by spraying and underglaze/overglaze color and other strategies. Colors achievable at high fire may be synthetically developed as in Copper reds with local reduction.  However much of these are not as pleasing as the colors achieved in High fire reduction. At the same time, now we see more low fire type decoration and glaze done at mid range due to the durability of the mid range vs. the earthenware.  All in all, the last 50 years has done wonders for the science and art of ceramics.
 
best,
Pres

Bill: cone 6 rose up in the early 80's because of power shortages/costs. Ceramics/pottery uses extensive technology; but we only end up seeing the consumer product results. Mines use slurry technology, magnetic separators, and power sievesthat do tons per hour. Orton cones are based in technology (chemistry). The pentameter Laguna uses ensures clay remains reasonably consistent. K26 brick, magnesium insulation, advancer shelves, controllers, relays, and thermocouples.
T

U of I study found that KnaO was completely melted/spent at 2190F. Above 2230F =/- cristobalite begins to form. In a clay body 3/8-1/2" wall: potassium begins to melt (fluid) at 2044F and sodium 2012F. The combination of these factors is the basis of cone 6 firing target. Ougland & Brindley (British Ceramic Society) found glass content at cone 6 was 61% and glass content at cone 10 was 66%. Mullite at cone 6 was 19% and mullite at cone 10 was 21% Their study was based on a triaxle blend of 1/3 kaolin, 1/3 KnaO, and 1/3 silica. (porcelain).  So now you have the why!

Min: the difference between us doing a triaxle and them doing a triaxle: they have PhD behind their names.  Which comes back to the thread's premise: they have lab equipment of measure: we do not.
Bill- late 60's into the 70's. 
A standard cone 6 porcelain is 30% KnaO, and cone 10 is 25% KnaO. Heat work being the offsetting factor. 

U of I study found that KnaO was completely melted/spent at 2190F. Above 2230F =/- cristobalite begins to form. In a clay body 3/8-1/2" wall: potassium begins to melt (fluid) at 2044F and sodium 2012F. The combination of these factors is the basis of cone 6 firing target. Ougland & Brindley (British Ceramic Society) found glass content at cone 6 was 61% and glass content at cone 10 was 66%. Mullite at cone 6 was 19% and mullite at cone 10 was 21% Their study was based on a triaxle blend of 1/3 kaolin, 1/3 KnaO, and 1/3 silica. (porcelain).  So now you have the why!

U of I study found that KnaO was completely melted/spent at 2190F. Above 2230F =/- cristobalite begins to form. In a clay body 3/8-1/2" wall: potassium begins to melt (fluid) at 2044F and sodium 2012F. The combination of these factors is the basis of cone 6 firing target. Ougland & Brindley (British Ceramic Society) found glass content at cone 6 was 61% and glass content at cone 10 was 66%. Mullite at cone 6 was 19% and mullite at cone 10 was 21% Their study was based on a triaxle blend of 1/3 kaolin, 1/3 KnaO, and 1/3 silica. (porcelain).  So now you have the why!

Bill: cone 6 rose up in the early 80's because of power shortages/costs. Ceramics/pottery uses extensive technology; but we only end up seeing the consumer product results. Mines use slurry technology, magnetic separators, and power sievesthat do tons per hour. Orton cones are based in technology (chemistry). The pentameter Laguna uses ensures clay remains reasonably consistent. K26 brick, magnesium insulation, advancer shelves, controllers, relays, and thermocouples.
T

R2 porcelain specifically blended for crystalline work.

R2 porcelain specifically blended for crystalline work.

R2 porcelain specifically blended for crystalline work.

@Pres very cool, looks like a lot of work!  Are these for covid friendly communion services?
 
I have been working 60 hours a week at my real job, so haven't done a lot.  I did just open a glaze firing this last weekend though with some great stuff inside.  For some reason I've been throwing bottles and putting handles on them.

For healthcare professionals from the CDC on Personal Protective Equipment in regards to Covid19: 
What is an N95 filtering facepiece respirator (FFR)?
An N95 FFR is a type of respirator which removes particles from the air that are breathed through it. These respirators filter out at least 95% of very small (0.3 micron) particles. N95 FFRs are capable of filtering out all types of particles, including bacteria and viruses.

I started out of the gate making and firing crystalline glaze: which also meant making my own glaze. From there it naturally evolved into making my own glazes; including my own versions of temmoku and others. The first ton of clay I purchased, then started making my own- later buying a pugmill. Currently, I use R2 porcelain that I specifically developed to promote crystalline growth. I make my own suspender and brushing medium: that Britt named glaze jelly. Made my own tile setters, and other kiln furniture. I prefer to explore and learn.
T

I started out of the gate making and firing crystalline glaze: which also meant making my own glaze. From there it naturally evolved into making my own glazes; including my own versions of temmoku and others. The first ton of clay I purchased, then started making my own- later buying a pugmill. Currently, I use R2 porcelain that I specifically developed to promote crystalline growth. I make my own suspender and brushing medium: that Britt named glaze jelly. Made my own tile setters, and other kiln furniture. I prefer to explore and learn.
T

I started out of the gate making and firing crystalline glaze: which also meant making my own glaze. From there it naturally evolved into making my own glazes; including my own versions of temmoku and others. The first ton of clay I purchased, then started making my own- later buying a pugmill. Currently, I use R2 porcelain that I specifically developed to promote crystalline growth. I make my own suspender and brushing medium: that Britt named glaze jelly. Made my own tile setters, and other kiln furniture. I prefer to explore and learn.
T

Just saw that I had missed this post, so glazednerd, just yesterday I was working with a few students (adults) and one was having the same problem you were. I told them that instead of ending the pull at the top of the pot to imagine that the pot was an inch or so taller and to "follow through" with the pull. This does help when coming to the top of the pot.
 
best,
Pres

Taxile Doat is one of my favorites too. He came from the Sevres Porcelain factory in Paris at the invitation of Adelaide Robineau who's the Editor of Keramos and founder of the Syracuse National which established the collection at the Everson Museum. Robineau and Doat worked together in St. Louis at the University in the teens (1900 teens).
 

My personal favorite- Taxtile Doat. - most crystalline glazers count him as the godfather of this speciality glaze.
http://history.ucpl.lib.mo.us/results.asp?search=Doat%2C+Taxile+Maximin%2C+1851-1939
check out the 4 foot wide porcelain bowl he threw in 1910. 2 assistants turned the wheel. 
Help found the University Pottery (University City, Mo.) 1910. Proceeds funded the Woman's' Sufrage Movement.
Teachers - he also wrote some of the earliest curriculum for Art Ed. 
Have toured what is now called: University Museum.  

Been following this topic, but I know just enough about Japenese/Chinese/Korean culture to say something wrong. One of the many times I wish Baymore was around: these cultures were his speciality. Being a Westerner, I will add a twist to it.
 Modern technology has managed to put most of the worlds population onto a single stage/platform. The assimilation of culture that once took centuries, now only requires a mouse click. Marco Polo bought back porcelain pieces from China: and Europe spent 500 years trying to replicate them. Any potter can click Sung/Ming dynasty and start throwing in an attempt to duplicate it. The unfortunate side effect of instant knowledge, is the loss of culture and application.
 The old saying goes "imitation is the sincerest form of flattery."  Should the blog writer be offended or flattered that others are trying to imitate her culture?  Obviously some have hijacked strictly for ill advised sales promotions. Yet others love the work, love the culture, and are sincerely trying to imitate it.  Personally I think she should educate rather than reprove. It is a futile effort to chastise those who have no respect to begin with.
thats my 5 cents  worth.  The extra 3 cents if for shipping and handling.
Tom

Been following this topic, but I know just enough about Japenese/Chinese/Korean culture to say something wrong. One of the many times I wish Baymore was around: these cultures were his speciality. Being a Westerner, I will add a twist to it.
 Modern technology has managed to put most of the worlds population onto a single stage/platform. The assimilation of culture that once took centuries, now only requires a mouse click. Marco Polo bought back porcelain pieces from China: and Europe spent 500 years trying to replicate them. Any potter can click Sung/Ming dynasty and start throwing in an attempt to duplicate it. The unfortunate side effect of instant knowledge, is the loss of culture and application.
 The old saying goes "imitation is the sincerest form of flattery."  Should the blog writer be offended or flattered that others are trying to imitate her culture?  Obviously some have hijacked strictly for ill advised sales promotions. Yet others love the work, love the culture, and are sincerely trying to imitate it.  Personally I think she should educate rather than reprove. It is a futile effort to chastise those who have no respect to begin with.
thats my 5 cents  worth.  The extra 3 cents if for shipping and handling.
Tom

Controlling the rate of drying has been on my agenda for a few years now. Couple of years back I was mixing a wetting agent into porcelain in an attempt to control it: those who got samples know how badly that flopped.
so I have been working on a spritz made mostly of organic/food safe materials. To date, I have extended drying time by roughly 30%. When I get up to 50% or so, I will unveil it. However, I have no laboratory rats to test toxicity on, so PM me if you want to volunteer to drink a cup or two. ( that was Westerner joke by the way).
T

Lee: let me give you an example of being me.
YOU form your favorite stoneware clay and notice how pliable it is, how it takes texture, how fast it dries, and how plastic it is.
i form the same clay and: 80/10/10, with 8.2CEC,  potassium body flux, with 30% plastic materials. 
You have much more fun than I do    But TY.

Liam:
i agree, Mark has an inspiring success story in the pottery biz. After 45 years in carpentry, I am aware of the time, energy, and sacrifices he made to build it. Pottery is unique; full time, part time, weekenders, full time hobby, to monthly dabble. My only intention starting out was to "play" with crystalline glaze, until I accidentally fell down this very deep rabbit hole. Rabbit holes are also unique, but also common in pottery. To answer the QotW: I do not want to make any pottery plans: because it is the only area of my life that is not. I find the unplanned happy accidents of discovery a relief from a lifetime of calculations.
T

if i am still around in 5 years, i will be 83.   i have a small pension and social security.   the control of neither is entirely in my hands so the future is very hard to see clearly.   i would like to  put a small apartment upstairs over my studio to turn into an Airbnb.   i can hope to do that but need cash to build it.   maybe i can get on wheel of fortune and luck out.   that's the only way i see to get the $50, 000 to do it. 
so, if i am still around, i hope i can still enjoy the sunshine every time i see it and the beauty of the natural world as well as making useful things in clay.

I spent the last 45 years telling myself that, not sure I agree these days.
like most here, my life was the typical series of following schedules to earn a living. Planning, plotting, and projecting the path ahead. I find myself curious about not going to bed in order to get up at regulated time. I am curious to know what it is like not to meet deadlines, keep appointments, and plan for months ahead. Not sure I even know what "living for the day" means. I have held many titles over the last 45 years, most of which have little meaning: I find "couch tater" appealing lately.
T