Search the Community
Showing results for tags 'reduction'.
Found 22 results
-
From the album: Black on Black Firing
-
From the album: Black on Black Firing
-
From the album: Black on Black Firing
-
From the album: Black on Black Firing
-
From the album: Black on Black Firing
-
From the album: July 2019
Copper & cobalt oxide glazes applied to bisque fired (950oC) pieces. Fired in a dustbin raku kiln at recent kiln building workshop. (1000oC) then plunged into sawdust to reduce. -
Hi folks, I am new to this forum and apologise if my questions have been and gone before, I’m sure they have! I have bought an old gas fired port-o-kiln and have had in installed into the granite lean to which has a tin roof, at the end of the stables (no horses in there anymore) it seems like a good space. Its small but there is air flow. The kiln is small, it has two burners in v good condition and I have a19kg bottle of propane for it. The kiln didn’t come with a flu or hood so I have got someone to fashion a basic hood and chimney to take the heat and fumes out. There is about an 8” gap between the bottom of the hood and the kiln to use a damper. I have done a couple of firings with a local potter who has a pretty unconventional approach to firing, and I have learnt alot but I woukd like to give it a gallop and see if I can put into practise what I’ve learnt. I have found it quite hard finding solid info on gas firing. I will be firing a range of stoneware and porcelain from 1260 -1300 in reduction. The potter who helped me before used gloves and a hire fire brick as a damper, but I am a little worried about forcing the heat in for some reason - I havnt seen many kikns in my time is this ok practise to control the atmosphere? Where and how did you learn to fire with gas/wood etc? Can you give me any tips or benchmarks? Any good books you can recommend please? So interested to learn more about firing and different kilns. Many thanks for reading! -
Hi all, I'm looking for advice on how to achieve a darker charcoal/black carbon trap finish. I'm working with Malcolm Davis Shino on bee mix & coleman porcelain. I have been unable to fire the gas reduction downdraft kiln because of work so I haven't been able to play around with it. This image was taken a while back before I really cared how heavy the carbon trap was (record record record). This is what I'm trying to achieve. It's Malcolm Davis Shino on Coleman Porcelain with wax resist fired to cone 10 in gas reduction. Any thoughts?
-
Hi everyone, I recently fired a gas kiln but there was very poor reduction and my pieces (with a celadon glaze) came out oxidised. Would it work to refire these same pieces in a fully-functioning gas kiln? Is there any reason the might not reduce as they have already been high-fired? Thank you!
-
Hi! I am super beginner in making pottery. I'd like to make a pot thin but hard like metal. I've found a pot in a garbage looks like this https://cookniche.com/Photo.aspx?name=MitchiburgCeramics&IDservice=11440 it seems like it has irons on the surface. Would these irons make the pot harder? or is this only for decorating the surface? could you let me know any other ways to make a pot harder? thanks! -
From the album: Medicine Hat Soda Kiln
We had the kiln in reduction sometimes. -
From the album: Ceramics Fall 2016
Made 4 matching bowls in this glaze combo and B-Mix. I have to say, I LOVE how b-mix throws, I can get the walls so thin and delicate. The colors show up fabulous on it as well. Only problem is when I remove the pots from the wheel white wet, if they warp even slightly, they held that warp through firing. Personally, I am okay with this, as the pieces were very thin with undeveloped lips to hold their shape, and they otherwise feel ok. Had no problems with cracking, only the warping. I don't have many other options for white or light clay bodies, so I will probably continue to use it. -
HI All, Trying to find a couple new glazes and am interested in a turquoise yellow salt glaze that I found in an old clayart topic from 2000 by Dr Tom Roess. I understand all the ingredients but it is the quantities of colorants that do not make sense to me. I know there are participants here that will be able to explain it to me. (Thanks for your help). Here is the recipe: TURQUOISE YELLOW SALT CONE 10 REDUCTION Neph Sy 63.9 Dolomite 21.1 Ultrox 16 (use superpax) OM 4 clay 4.3 Bentonite 4 Also add 1/8 =25 Cobalt Carb 2 =25 Copper Carb To 10,000 grams add 1/2 C. Muriatic Acid My question pertains to the amounts of cobalt carb and also the copper carb. The amounts seem incredibly high -might the base recipe have been written for 105.3 plus 4 bentonite grams, and the colorant additions were listed for a 10,000 gram recipe? Is my guess anywhere close to explaining this. Would appreciate help with the correct colorant amounts - cobalt is too expensive to waste! I will be firing this in a gas kiln fired with LP, to cone 10 R - not a salt kiln Thanks for sharing your knowledge! Diz
-
Hello, I have been firing a small gas kiln at the school I teach at and I am finding that about 1/4 of the pots are coming out oxidized, though most of the kiln load is reduced just fine, even with nice reds. Some pots even seem like the clay on the bottom is half reduction color and half oxidation color, which seems odd, and I think that it is causing brittleness in the ware. I am not exactly sure about placement, because another instructor usually unloads the kiln before I can observe it, but I think there is a bubble of full oxidation in this kiln, maybe in the lower left corner. Any ideas? Thanks, James -
As I consider how I am going to 'improve my pottery' this year, I consider purchasing an oxygen sensor, however the price is a BIG consideration. I fire an Olympic torchbearer, an updraft kiln, using LP to cone 10. For the past 6 years I have used a sensor made from a Bosch auto sensor (Roger Graham directions). It has allowed me to get reduction in my kiln but it is spotty and I feel I have little or no control over it. I realize that weather conditions play a huge part in a successful firing and I am wondering if the cost of the new sensor will be justified thru better LP usage, more even reduction and more control over my (reduction) firings. Pottery is more than a hobby, but not a full time job, yet I do a couple shows a year and my pieces sell in a couple local stores - I see the payback as spread over a couple years. Input from those with knowledge and experience with oxy sensors will be appreciated. I find only 2 on the market and cost ranges from $800-1200 so please give your best suggestions. Thanks! Diz -
Hi I'm wondering if anybody has a recipe for a cone 10 reduction copper red glaze (I'm talking oxblood or peach bloom, NOT flambé) that flashes electric blue? I hear that if you use a feldspar based glaze and use a feldspar that is high in potassium and low in sodium (usually its the other way around) that the glaze will tend to have these blue flashes more. If you know a good recipe and have tried it yourself what cone does it work best around? I know that these glazes don't do best at cone 10 but rather around 8-9, but I still wanna hear your experience. Also, I like to do a quick oxidation at the end of my firing in order to make the copper reds less muddy and dark. If you've had good results, how long do you do this oxidation for? Thanks, Hunter
-
From the album: The Guinea Potter's Stuff
I made this as a depiction of the loneliness and isolation a rabbit in an outdoor hutch feels. I am a fierce advocate of the House Rabbit Society's philosophy. Rabbits are my life, and it is my dream to see them all in loving homes as members of the family. Cone ten reduction, 13" tall. Heavy as a boat anchor.© Sarah Alderete
-
I am a high school ceramics teacher (this is my first year doing ceramics in 6 years after a transfer within my district) so I am relearning everything about ceramcis, and kiln firing is very new for me. The school has a Geil gas kiln. I am (attempting) cone 10 reduction firing and I can not get Vegas Red to come out red. One piece came out transparent (middlish-front of the kiln). There were a couple that were towards the bottom back of the kiln that had some red come out. I am following a schedule I found in a notebook from the previous teacher. It fires around 12 hours. The glaze is the premixed glaze from aardvark. I hope this is enough information to help me out I am not sure if I am getting into reduction properly or not. Any help would be great, if I need to provide more information please let me know. Like I said this is new for me and trying to figure it all out. Thanks, Michael
-
From the album: My pottery
This bowl was fired at cone 4 and brushed with 2 coats of Potter's Choice glazes Blue Rutile (inside) & Chun Plum (outside) to cone 06 in a reduction kiln.© 2013 Deutmeyer Pottery
-
From the album: My pottery
This bowl was fired at cone 4 and brushed with 2 coats of Potter's Choice glazes Blue Rutile (inside) & Chun Plum (outside) to cone 06 in a reduction kiln.© 2013 Deutmeyer Pottery
-
From the album: My pottery
This bowl was fired at cone 4 and brushed with 2 coats of Potter's Choice glazes Blue Rutile (inside) & Chun Plum (outside) to cone 06 in a reduction kiln.© 2013 Deutmeyer Pottery
-
From the album: My pottery
This bowl was fired at cone 4 and brushed with 2 coats of Potter's Choice glazes Blue Rutile (inside) & Ancient Jasper (outside) to cone 06 in a reduction kiln.© 2013 Deutmeyer Pottery
