Flanked either side by friends Graeme on the left and Peter on the right, I peer delightedly at a little bowl that has just come out of the wood fired kiln. It was a great firing, what more can I say! (Peter was the man responsible for getting me started potting and I like to have him at my kiln openings.)
A first look into the kiln after the firing. After a 13 hour firing the kiln reached almost cone 11 at the coolest place, and over 12 at the hottest.
Quite a lot of the work had developed subtle lusters, and some of the shino glazed ware was particularly good.
I glazed the inside of some of the goblets with a glaze that is shino like in composition, but it contains some petalite and iron oxide. In a previous firing this gave a bronze, but this firing yielded something nearer to gold.
Most of the large bowls worked quite nicely. This is a chun glaze, which is not showing up all that well in the photo under poor lighting, but was spectacular in daylight.
I had some problems with copper reds that I put on some of the smaller pots, this large bowl worked really well. The white clouds were washes of titanium that brushed on the glaze.
The clouds developed a wonderful blue edge.
This large bowl was hard to photograph as the black shino under glaze was very lustrous, but the poured blue chun glaze and copper red glaze made a nice abstract composition.
That shows up in the detail photo.
This is a slightly strange coloured bowl, a purple with red and green tendencies!
I think Laura really likes this little shino glazed milk jug.
This small jug is one of my favorites. I threw it when I was doing a series of mugs and wanted a slight change of form to keep me interested.
This 9 inch high jug was inspired by my visits to Doug Fitch's blog, A Devonshire Pottery. Doug does lovely earthenware pots in the English Slipware tradition. I love his harvest jugs and puzzel jugs.
I tried a combination of glazes that I haven't done before with this small bowl. There is a calcium matte glaze on the outside and a copper red on the inside. I am pleased with the way the calcium matte starts to run into the copper red where they meet.
This chalice has what could have been a copper red on the outside. Fortunately the oxidised version of the glaze looks good, and it didn't matter that it failed to have enough reduction in the firing to turn it red.
This vase has Malcolm shino on the outside, a recipe that I haven't tried before. It is a carbon trap shino that contains sodium silicate. The orange coloured decoration was achieved by painting masking solution onto the pot after glazing it. The sodium silicate crystallizes on the surface of the unmasked areas and fires differently there.
I showed photos of most of these teapots in an earlier post as I was constructing them. So this is how they turned out after glazing.
Sorry for the vast number of photos on this post, most of you have probably gone to sleep by now (as in the good old days of family slide shows!). This was actually just a sample of the firing as I haven't photographed all of them yet.
To sum up. Most things worked out really well, but not always quite as intended. Copper reds often stayed green, and some Malcolm Shinos were over fired and strangely wrinkled. My usual shino seems to be more tolerant of excess heat. Most of those affected were still quite acceptable though. I had one disaster with a large bowl that was in the hottest part of the kiln, the glaze ran in two places and stuck it to the kiln shelf. Unfortunately a large part of the foot ring parted company with the bowl as it was separated from the shelf. A small jug and a small bowl both suffered from a snowfall of kiln wash. In spite of my attempts at cleaning the loose stuff off the underside of the shelves.
The problem with the copper red staying green in some cases was due to the difficulty I had in getting the kiln to temperature. I had to fire in oxidation at times through the last few hundred degrees to persuade the kiln to keep on climbing. Some of that was caused by rather dubious wood. Never mind! I will have a play with the fire box as I have got a couple of ideas that might make it work more efficiently and cope better with wood that is sub standard.