The Best of Sawdust and Dirt
A record of the goings on around Michael Kline Pottery!
Filtering by Tag: fire
The temperature was perfect, I think, with cone 9's down everywhere and cone 10 bending/half everywhere. After a couple of much needed cold one's, I'm ready for some sleep. I will try to send out some pics to ya'll when I get into that kiln later this week, Thursday I hope.
Oh, but before I hit the hay, I wanted to send a shout out to my man on the Roan, Will Baker, who's wrapping up this big day of wood firing here in Mitchell County. Will was at cone 5 last I talked to him and his partner Joy Tanner is there to help bring it on home. I'm sure the pots will be beeeyouuuutiful.
good night, all.
I didn't have much time to be a photographer yesterday, but I managed to get Naomi and Mica to pose for a shot at the end of their working day. In a coincidental twist of fate M and N are both 28 and this happened to be the 28th firing of the kiln, and the 6th anniversary firing. I couldn't have done it without them.
Recap: The day began about 3 a.m. and I took it really slow, with all the green ware and all. Stacey came on at 5:30 and gave me a break that was supposed to be spent sleeping, but my daughters had a different plan. So i sent them up to the kiln to "help Mommy", and returned after a short nap. Mica came around 11 and Naomi came to help finish up at 5. The kiln responded really well to all of the adjustments, too numerous to include, and I can attribute that to dry wood and proper stacking. In the first year or two I would try to pack the kiln to the gills, but soon found the kiln to be stubborn and uncooperative. So I yielded to the kiln's needs to fire evenly ever since. Near the end of the firing, I tossed in 12 cylinders of salt. We checked the draw rings and concluded that that was enough. We'll see... on Thursday.
I didn't notice the Max temp, lower right on the pic above, until I went up to shut the dampers etc. Wow. I would say that it was a textbook firing. I was actually surprised that the pyrometer read so accurately the temp. Cone ten was down on top and bending on the bottom. I hope the pots come out as nice. I'll unload on Thursday. More then. For now it's time for some ZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZZ's. Good Night/Morning.
This plate has a tiny hint of pink at the top rim. I usually get a lot more of this pink, but in this firingit was rare. Maybe to much salt? Too hot? Probably the latter.
Here is a little bowl dedicated to the little fly that infests my studio every summer and eats clay.
I didn't forget to paint birds on my pots altogether, here is one tiny example.
One of the tree of life jugs.
I'm beginning to appreciate the pots from this firing and get over myself. Here are a few of the pots I have been looking at this evening. Of course I didn't mention in the previous post that the results of the firing always exceed the expectations of the potter, eventually. After all, that is why I am using this kiln.
A nice group of cups that remind me of my love of the small pot. There is an intimacy we have with cups of this scale that we can't have with larger pots that are more athletic in their purpose. These small cups are made to hold gently but firmly like a bird in the hand. The cup on the left took a bad hit to the lip and I secretly grinned, knowing to myself that I could selfishly sneak this one into our cabinet. The cup in the middle has a remnant of a Edgefield slip trail motif. The bird on the right has Little Orphan Annie eyes and was snatched up by potter Hewitt at the show last weekend. I thought it looked like a sea gull, Mark thought it looked like a seagle! Ha.
This bird is particularly curious about the number 8.
Perhaps it thinks it's a juicy black worm of the wax resist variety.
I hope Julie Sims is enjoying this cup. After all the hard work
she contributed to "xxvi" this is the pot she wanted.
It is a sweet cup and it is a testimony to small is beautiful.
A ten gallon jar inspired by a DS
from the Potter's Eye exhibit
I liked this murky alkaline ash glazed
jar that sports the flat bottomed lid, i learned from Kim Ellington.
The pattern in underglaze brushwork comes and goes
as the eye surveys around the pot.