Out of the Kiln September 2012

September has been all about glazing.  So much glazing that the next time I glaze will be too soon!  Don't worry though, I can't stop making work that will need to be glazed, so I'm sure it will pass. : )

I've been playing around with different glaze color and firing temperature options to achieve different effects on my stained glass inspired pieces.  I've broken down the results of all this testing for you here.

High Fire to Cone 10 is my glaze temperature home!  I fire most of my work to Cone 10 (that's just under 2400 degrees) and love the depth of color that can be achieved at this temperature.

My glaze results vary in color here mainly due to clay body vs. firing temperature.  The lighter color pieces were all created with porcelain which provides a great backdrop for what I like to think of as the original stained glass inspired series look.  The darker, kind of mysterious colors, are all on stoneware clay that has a ton of iron oxide at to the clay for a deep red tone that also deepens the glaze colors.

Low Fire to Cone 06 is my most recent experimental glaze temperature.  At this lower temp (around 1800 degrees) I can create bright colors with a wider range of shades.  I really like this option for the greater variety in the color palette than what is available at high fire.

The Bacon Barrel Bowl

Every once in awhile you're presented with a proposition that is just too good to pass up.  One such opportunity was presented to me the other week at the studio.

Heidi, our Studio Manager, walked over with a box of Cone 5 clay samples and gave them to me.  There were about 15 to 20 tiny slabs of all different types of clay in the box.

"I thought you could try them out since you have been doing Cone 5 firing and like to use red clay bodies," she said, as she set the box down on the table.


I'm never one to turn down free clay, but I do admit to finding some humor in the situation.  While it is true that I have experimented a little with firing at Cone 5 (cone number is used to designate kiln firing temperature) recently, I fire the vast majority of my work at Cone 10.  The studio member who fires almost exclusively at Cone 5 was sitting feet away during this conversation.  She was not given any clay samples.

As I started to pull out the samples, each approximately 1/4 lb., I noticed that there were only one or two samples per clay body not enough to construct a big piece.  Picking two clay bodies at random, I rolled them out and created strips of clay that I slipped and scored together in an alternating pattern ... strip of slightly darker clay, strip of slightly lighter clay, etc.

Just was I was thinking of turning my striped slab into a bowl, Heidi walked by and pronounced, "It looks like bacon."  Well, what could be better than than?  A Bacon Bowl.  Perfect!  Who wouldn't want a bacon bowl?

I was draping the slab over a mold to create the bowl shape when I noticed the extra strips of clay.  Hmmm ... it might be a good idea to use a couple on the bottom to give the assembled strips a little extra support.  When I was figuring out the best place for the strips I noticed something really cool.  The rough edges of my slab, the alternating clay bodies and the extra strip to the bottom made it look just like a barrel!

Bacon Bowl?  Barrel Bowl?  I'll let you be the judge.

I'm still waiting for this piece to be bisque fired and comtemplating glaze options.  I'm going back and forth between no glaze and clear right now.  Will I make more?  Who knows?  Might be a winner.  For now I'm on to the next experiment with these clay samples.  : )