Rick Wise

weight

"In-glaze". That stumped me. Thankful for Wikipedia. Here it is for all of my fellow dummies: https://en.wikipedia.org/wiki/In-glaze_decoration

I should have noted the context: electric Cone 6 firing in oxidation

I've noticed some subtle differences in the finished glaze between the inside and the outside of pieces like cups and mugs. For instance, the outside of a mug will have pinholes but the inside surface does not. I am assuming that the inside of a cup will get hotter than the outside and that this explains the phenomenon. Thoughts?

Would I be doing a lot of damage to my electric kiln if I applied some paper stencils to a piece and let them burn off in a glaze firing rather than remove them beforehand?

Thanks Neil. I am always tempted to think that a higher fire temp will drive MORE water off thereby making the bisque MORE porous and absorbent. However, I guess the fact is that ALL of the water is already driven off at 06 and continuing to 04 just "shrinks the pores". Would that be a correct way of looking at it?

I normally bisque to cone 06 and glaze to cone 6 (electric). Someone recently suggested that I try bisquing to 04 instead of 06 to reduce the chances of pinholing. Can someone explain what changes I might expect in the way the pieces react to glazing and firing? Will the higher temp makes them MORE absorbent? LESS absorbent? What considerations do I need to keep in mind?

Good point Oldlady. Effective communication is HARD!

I know that kilns are sometimes "slow cooled" to create or enhance certain desired effects such as crystal formation. I also know that "abrupt cooling" should be avoided because of the danger of thermal shock cracking. My question is: At what temperature are the effects of slow cooling no longer expected? Am I correct in thinking that at and below about 1000 F the only concern is with "abrupt cooling" and that any "slow cooling effects" have been achieved (or not)? Put another way, are all of the "slow cooling" effects seen at relatively high temperatures well above 1000 F?

I post this as sort of a "public service" to other pottery semi-newbies like myself. I somehow never got the message that you can easily paint oxide (and mason stain) washes on top of glazes for a lot of added color or design. The videos below brought this to my attention and I am really excited about the results. It has opened up some new avenues for me. I defer to Richard McColl for a full description but it could not be easier: Just add some oxides (or mason stains), a little water, and maybe some gerstley borate as a flux -- and apply ON TOP of your glaze for great color and effec

It comforts me that these experiences seem to be so universal.

(Fireborn. What a great name for a potter.)

Interesting comment. Care to elaborate?

Has anyone else noticed this phenomenon? When a pot comes out of the kiln and I see it for the first time, I am often disappointed and think it either unattractive or, at best, uninteresting. But very often my opinion will change with time and "second looks" that occur much later. In fact, some of these have become my favorites. I would almost say -- without any evidence whatsoever -- that the colors and textures seem to mature after they leave the kiln. Perhaps the explanation is simply that I had my hopes up too high and that the pots just don't meet my elevated expectations

I have come to understand (from your prior good advice) the importance of knowing the specific gravity of my glazes. Here is my related question: Assuming no deliberate additions or subtractions of water or material, is there any reason to expect a known SG to change other than from: (1) the natural evaporation of water, or (2) use of the glaze by dipping in pieces that may take up disproportionate amounts of water or materials?