I guess the food blogging will have to wait because the kiln is almost cool enough to unload and I have some actual new pots to write about. It was a little cool at the bottom but everything except one pot looks like it got hot enough.
As I said earlier, because of the larger pots I didn't get a whole lot of pots in so I ended up using the rest of the space to test out a new glaze and some ideas. I'm happy with the results...or at least as happy as a potter can get when one unloads a kiln. Why is it that it's never good enough? Do I expect every pot to work?
The big pots and platters are still too warm in the back of the kiln so maybe this will be a double posting kind of day. Here are a few pics to start off the day.
This is a bowl with the incised lines filled with black slip and it has a new what I thought was a blue celadon on it. Even though the glaze isn't what I thought I like the result.
At the last minute I decided to glaze a couple pots with the black on it with a white glaze on top. I know...so cliché...but I like the result. The circles are obviously done with wax resist. I like this piece and I like how it relates to the earthenware wobbly vases which were made to relate to my salt-fired work.
Evangelina has already "borrowed" this pot and put it to use.
Again, the celadon on the B-Mix body. I really like this pot even though the glaze isn't what I thought it would be. I'm glad that I have more decoration on my work than I used to. If I was relying only on the glaze I'd be in some trouble unloading this kiln.
Evangelina has already "borrowed" this pot and put it to use.
Again, the celadon on the B-Mix body. I really like this pot even though the glaze isn't what I thought it would be. I'm glad that I have more decoration on my work than I used to. If I was relying only on the glaze I'd be in some trouble unloading this kiln. 
I'm curious to see what happened in the back of the kiln. I wonder if the celadon issue is a thickness of application problem, a firing problem or a mixing issue. I haven't used a celadon glaze since the studio and college and I remember the glaze being so simple to work in the kiln. I fired the kiln with a nice 45 minute body reduction and then left the kiln in a mild reduction for the remainder of the firing...I guess it was a Skidmore style firing. Anyone have any celadon words of wisdom?
More pots later today.
2 comments:
no celadon words of wisdom, except that I always thought it was pretty reliable too. god i hate glazing.
but I like that pot that Evangelina borrowed!
the reduction schedule is what i used. with blue celadons i believe thicker is better? i heard that somewhere. and the reduction has to be right on, like with copper reds. i did some blue celadon in college and it only worked on porcelain for me, though i guess b-mix is close enough?
i think the wobbly vases and the incising look fantastic, i think i'll have to have one of those sometime.
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