Workshop Complete!

I'm so overwhelmed that I'm not sure I can find my way out of a paper bag, but if you let me talk in slow motion, I'll bet I can explain the Unity Molecular Formula to you. I must admit that the geek in me wants to work out UMF for my cone 10 glazes to see if they'll work in cone 6. Then Marian who was sitting next to me suggested just dipping some tiles and firing them. Where's the fun in that?

Now that the workshop is over, I have almost 200 test tiles to analyze. VC 72 is what I've been using in electric. the tiles next to those are SDSU Texture. It's pretty groovy. John might have better pictures on the Clay Club blog.

We made tiles in sets of 10 in 3 different clay bodies for 3 different firings. I am relieved that my testing at home will never be that complex. I'd say nearly 75-85% are destined to be thrown away or stored out of sight. That leaves plenty to work with for next weekend's firing. I'm probably going to mix up 3 or 4 full buckets and then as many new tests as I can stomach. There are several glazes I would like to line test. I think I bisqued around 75 tiles this week so I'll have to stop somewhere.

Thankfully, I have to travel across the state tomorrow, so I can take a break from all this glaze theory and clear my head.

For those of you who have the inclination, I would highly recommend one of John's glaze workshops. He is an excellent instructor and a super-nice guy. He didn't make anyone in our class cry.

Another busy day in class

I got to John's early this morning to help load our second cone 6 reduction load. We loaded it to the top and started it up by 9 am. Yesterday we unintentionally deviated a bit from our planned firing schedule, so we really weren't sure how good the results would be. At first glance the tiles looked pretty good, but there was a chemistry lesson first before we could examine them further.

Below is my set from the first reduction firing, one base, ten color tests, three clay bodies.

Below, the set of tiles on the left are my favorite cone 6 oxidation glaze. A few are good. I really like the finish, a fatty matte, but most of the colors did not impress me.

Meanwhile, John was firing the oxidation load. I'm clueless when it comes to programming firing schedules. When John mentioned ramps, I immediately thought how clever I was to know that ramps are a mysterious root vegetable somewhat like an onion that folks find growing wild up here in the mountains. Then I realized that I had absolutely no idea what he was talking about. My Evenheat has 4 on/off switches, a kiln sitter and a timer. Then John digressed into a discussion about how he does not trust his electric kiln and other firing horror stories. My pulse quickened and my stomach got a little tight since I had left the house this morning preheating a bisque.

Another student Lauren and I commandeered the reduction firing and went 100% by the book. She's very meticulous and we were relatively confident we were making changes at the right time. We'd make the change, report to John who would shrug and reassure us that it's all real. We followed the schedule and the kiln reached temperature and was shut off at 3:50. It's going to be interesting to compare Wednesday's tiles with Thursdays: identical tiles in 2 different firing schedules.

When we realized yesterday's screw-up, John appeared relaxed as he calmly told us, "That's bad. That's bad." Not the words you want to hear when you're looking for a controlled study. I'm hoping I'll keep my cool like that next weekend when I take the Bailey for its first cone 6 reduction spin.

What am I thinking?

I'm too tired to say much about John Britt's glaze class but apparantly not too tired to come home on Monday and mix a batch of my favorite cone 6 ox base to test in reduction. Nor was I too tired enough tonight to make 75 test tiles.

I really do need some small stuff to fill the bisque later this week, but I rarely make test tiles. I am truly so tired that I can barely type. I am having to proof and correct this meager text often. I have 20 or so pages to read for homework, and I need to be at John's early to unload and reload the glaze kiln. I am learning so much my brain can't even hold it all in. Otherwise I would probably be in bed asleep by now.

See, I told you I've been in the studio

Here is some of what I've been working on. I'm using cone 6 clays: Desert Buff and Little Loafer's. I've said before that my garden pots are Riverside Grit, and I could fire multiples in the gas kiln rather than just one per electric firing. So I'm gong to attempt a full cone 6 reduction firing next weekend. I got the link to John Britt's CM article on cone 6 reduction and am intrigued at the idea. I like the idea of saving fuel, time and wear-and-tear on the kiln. I really like my cone 6 glazes and could be very happy firing most of my work to that temperature. I can always throw in a couple of cone 10 firings a year for my beloved shinos. Jay thinks I should stick with one temperature and master it before moving on to something else. I told him I was an accomplished multitasker.



A wareboard of heart bowls drying on the Lockerbie.




Wine bottle coasters and baskets.

More baskets.


I'm excited about the baskets. I've started pulling the handles instead of using cut cylinders. It gives me more options and opens up the creative possibilities. I'm also excited since we have a compressor now and I can spray glaze on these. Harbor Freight has a spray gun on sale, but I'm not sure it will work for glazes. One more research project.


On a happy note, I found my cone 6 glaze notebook which had been misplaced during last year's move. I was much relieved and slept well last night.