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Ballarat Tramway Museum
Drawing, TMSV, "Combination Car Mounted Brill E1B Special Radiax Truck", 1/1985
Drawing of Melbourne Electric Supply Co. Ltd (MESCo) Geelong tramways - "Combination Car Mounted Brill E1B Special Radiax Truck" - trams 16 to 23, built by Pengelley & Co in Adelaide 1924-25. Details the tramcar elevation with dimensions, and shows the towbars. Drawing dated Jan 1985, prepared for the TMSV. Scale 1/4"=1' Second drawing is titled "Elevations of body Pengelley tram Nos. 20-23" - based on MESCo drawing GE-T9-8358. Drawing dated Jan 1985, prepared for the TMSV. Scale 1/4"=1' Yields information about the Pengelley built tramcars for Geelong.Set of Drawings printed on light brown paper with brown ink - Drawing GE-T9-8350 and GE-T9-8358trams, tramways, geelong, drawings, pengelley -
Orbost & District Historical Society
correspondence books, 10.12.1955 - 20.9.1977
These books were used by the Orbost Rifle Club to record correspondence. The Orbost Rifle Club existed in the early 20th century. (There are records from 1900). It folded in the late 1970's.Target shooting is one of the oldest organised sports in Australia. Records date back to the British Marines at Sydney Cove in 1788. The Victorian Rifle Association (VRA) was formed in 1860. One of the most important adjuncts to the militia system from 1903 to the re-organisation of 1912 was the role played by the Rifle Club movement in Australia. At the time, these clubs were seen as the reservoir of manpower for a potential guerrilla force should any invasion occur. For Australia, the invasion fear was uppermost in the minds of the population. So important were the rifle clubs for the defence of Australia that the Commonwealth provided the training staff, rifles and ammunition so the clubs could function. Members were drilled, wore uniforms and practised all the basic skills of soldiering as well as target shooting. The Orbost Rifle Club was active during this period.Four duplicate Correspondence books. All are brown with a brown cloth spine. 1359.1, 1359.2 and 1359.3 have marbled covers and 1359.4 has a dark brown soft cover with "TUDOR DUPLICATE BOOK" in paler print. -
Southern Sherbrooke Historical Society Inc.
Scarf, Shire Of Sherbrooke, c1960s
In a box of leftover items from when Shire Of Sherbrooke was dissolved in 1995.Scarf given as presentation gift by Shire Of Sherbrooke. Cream background with green and dark brown leaf pattern repeating, and edged with dark brown lyrebird motifs (Shire logo) surrounded by dark brown and green stripes.shire of sherbrooke -
Melbourne Legacy
Book, Printed Forms. Junior Legacy
This portfolio of printed forms, letters and reports has been assembled to show how Melbourne Legacy, in the past, has kept in contact with Legatees, widows, their families and the records of the above mentioned. The information would be typed or handwritten, then posted and delivered to Legacy Melbourne, Legatees or widows and families. Types of form include 'First Contact Form' to record the details of the families. Also printed cards for noting dental appointments. A typical letter that is sent to the widow on Legacy receiving news of the death of an ex-serviceman. One of the proforma letters is signed by Legatee A Dore who was President in 1965 so the forms are from the 1960s.A record of work practices within Legacy.Brown patterned cardboard cover. Spine reinforced with brown tape. Cover and pages bound together by three evenly spaced brass screws. Copies of reports, letters and forms pasted onto brown paper pages.Front cover, title hand written in black on rectangular, white adhesive label, the figure 19 is circled. contact records, register, proformas -
Whitehorse Historical Society Inc.
Decorative object - Tapestry
Canvas Needlework also known as Needle Point. Done on canvas with the same stitch throughout so as to resemble tapestry - another name for Point Lace,Tapestry of canvas needlework in shades of creams into brown. Picture of double story house and trees. Brown velvet border. Mounted on stiff cardboard. Backed with brown cotton. Woven in wool. Crown woven in gold thread.Stitched into tapestry - 'E.E.T.'' '1860'handcrafts, tapestry -
The Beechworth Burke Museum
Animal specimen - White-Throated Needletail, Trustees of the Australian Museum, 1860-1880
The White-Throated Needletail is a highly sociable bird commonly seen in large flocks containing a hundred plus birds. This species is also known to mingle with birds of different species. They have a distinctive white throat and undertail. This species is mainly airborne, however they are known to reside in trees when on land. They can mainly be spotted along the north and east parts of Australia. This species is listed as vulnerable and threatened in the Australian Capital Territory, Queensland and Victoria. Since this is a taxidermy mount, it is not an accurate depiction of the White-Throated Needletail. The species should have a predominantly grey-brown plumage, with the exception of the throat and undertail which are white. There should also be a green tint to the species feathers. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This White-Throated Needletail had grey-brown feathers. It has distinctive white patches on its throat and under the tail. The back of the bird is a light brown with a white patch in the center of the back. This specimen stands upon a wooden mount and has an identification tag tied around its leg. The bill is short and the wings are long and pointed. The bird's tail is short and square in shape with protruding feather shafts which give a spiky appearance.2a / Spine-Tailed Swift / See catalogue, page 7taxidermy mount, taxidermy, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, white-throated needletail, australian birds -
Uniting Church Archives - Synod of Victoria
Trophy
Small silver plate trophy with a handle on bakelite/plastic base. Ticket attached to one handle with gold coloured tape.Front: "Rays Methodist Girls" Back: "1989 Albert St, 1961 Barkly St, 1963 Albert St, 1965 Burnbank St, 1960 Barkly St, 1962 Barkly St, 1964 Nhill, 1966 Brown Hill, 1967 Brown Hill -
Greensborough Historical Society
Photograph - Digital Image, Grave of Carr Brown, Greensborough Cemetery, 26/07/1910
Grave of Carr Brown (died 26/07/1910) in Plot# I17 Greensborough Cemetery.Greensborough Cemetery was created when land was given for the cemetery by Mr William Poulter, a local settler, about 1864. The cemetery holds the graves of many early settlers in the district. Digital copy of colour photograph of grave/headstone.carr brown, greensborough cemetery -
Greensborough Historical Society
Photograph - Digital Image, Grave of Carr Brown, Greensborough Cemetery, 26/07/1910
Grave of Carr Brown (died 26/07/1910) in Plot# I17 Greensborough Cemetery. Greensborough Cemetery was created when land was given for the cemetery by Mr William Poulter, a local settler, about 1864. The cemetery holds the graves of many of the early settlers in the district. Digital copy of colour photograph of grave/headstone [damaged]greensborough cemetery, carr brown -
Greensborough Historical Society
Photograph - Digital Image, Grave of Carr Brown, Greensborough Cemetery, 26/07/1910
Grave of Carr Brown (died 26/07/1910) in Plot# I17 Greensborough CemeteryGreensborough Cemetery was created when land was given for the cemetery by Mr William Poulter, a local settler, about 1864. The cemetery holds the graves of many early settlers in the district. Digital copy of colour photograph of grave/headstone [damaged]carr brown, greensborough cemetery -
Creswick Campus Historical Collection - University of Melbourne
Document, Fire Protection Notes, 1947
Newsletter copies of Fire Equipment Notes Forester loosely bound in brown cardboard sleeveNewsletters -
Stawell Historical Society Inc
Photograph, T. Brown's Furniture Warehouse in Main Street Stawell c1886
T. Brown Furniture Warehouse Ironmonger and Timber Merchant Main Street c 1886stawell business -
Port Melbourne Historical & Preservation Society
Photograph - Aerial view of four US ships at princes Pier, Port Melbourne, Airsky, Aug 1925
After death of Euralee, the original was found among her papers, mounted on brown cardboard'sepia' lasercopy from 1925 aerial photograph of four US ships at Princes Pier in August 1925, found by Clark Towson after his grandmother Euralee's death in December 2001original had the four ships names at Princes Pier, Port Melbourne, August 1925.piers and wharves - princes pier, uss oklahoma, uss seattle, uss nevada, uss pennsylvania -
Hymettus Cottage & Garden
Book - Log Book, Log Book Ship Isabella Brown Melbourne
The log book from the ship Isabella Brown on a voyage from Melbourne to Singapore in 1867.The Isabella Brown was a wooden two masted brig launched in Scotland in 1840 for general cargo work. The log covers a voyage with general cargo from Melbourne to Singapore via Newcastle in 1867 plus another voyage carrying live sheep in 1868-69.Entries in pen and ink throughout.log book, isabella brown, melbourne, singapore., newcastle -
Creswick Campus Historical Collection - University of Melbourne
Still Image, 1962
Subject: Ballarat-Creswick Plantations Block A . 4 brown envelopes marked Run 4 No. 135 - 138 of c.30 prints total. Marked up with red pen. Stored in a brown cardboard file box marked Errinundra Project..Combien Project...Ballarat Plantation. commissioned by Forests Commission Victoria 1962.Aerial Photographs -
Whitehorse Historical Society Inc.
Clothing - Apron
Belonged to Jean Cornell's Grandmother, Eliza Waite, born in Gippsland in 1867. Died in 1942. Married a Cornishman, a Sugarcane worker, & had 5 children. Had a Market Garden in Springvale. Grandfather died in 1945. Jean & husband lived in Mitcham from 1956.Cream coloured Bib apron, trimmed with brown bias tape. Halter neck. Three brown buttons down front, embroidered with sprays of yellow & brown flowers. Pocket at waist. unfinished band of flowers along hemline.costume, female working -
The Beechworth Burke Museum
Animal specimen - Australian Hobby, Trustees of the Australian Museum, 1860-1880
The Australian Hobby is a medium-sized falcon of the Falconidae family, similar in look to the larger sized Peregrine Falcon. This species is widespread and can be found across most of mainland Australia and Tasmania, preferring lightly wooded areas such as timbered wetlands, open wooded farmland, and some urban areas. Their diet consists of small birds, bats, and flying insects, which are caught mid-air. They sometimes hunt cooperatively to catch their prey. This specimen is an accurate depiction of an Australian Hobby. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Australian Hobby has a dark brown cap and cream-coloured half-collar. The back feathers of the bird are also a dark brown colour, while the neck is a cream with lighter brown streaks. The flank is a dappled dark brown, rufous-brown and cream, which transitions back into cream with brown streaks near the legs. The underwing feathers appear to be a banded dark brown and cream. The tip of the hooked beak is black which recedes to light blue-grey and then to yellowish near the head join. The legs are also yellow. The specimen is perched on a wooden perch mount with a swing tag tied around its left leg.23. / Australian Hobby / See catalogue, page, 6 / taxidermy mount, taxidermy, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian hobby, australian birds, little falcon -
The Beechworth Burke Museum
Animal specimen - Bettong, Trustees of the Australian Museum, 1860–1880
A bettong is about the size of a rabbit, with body length ranging from 30cm to 38cm among species. All bettongs have long tails, roughly equal to body length. Body weight ranges from 1.2 kg in the smallest species (Northern Bettong) to 2.8kg in the Rufous Bettong, the largest of the group. Males tend to be slightly larger than females. Bettongs have furry coats, ranging in colour from grey to ginger and brown. The bettong is endemic to Australia, and is an important part of Australia's Indigenous biodiversity. There are five living species of bettong; Eastern Bettong, Burrowing Bettong, Brush-tailed Bettong, Northern Bettong, Rufous Bettong. The bettong is a member of the Potoroidae family along with the endangered Potoroos, and the extinct Desert Rat-Kangaroos. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from either the Trustees of the Australian Museum or from the amateur anthropologist Reynell Eveleigh Johns between 1860-1880 and mounted by members of the Burke Museum Committee around the same time. When all Taxidermy mounts were completed, they were quickly put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Average sized bettong with large clawed hind legs, small clawed fore legs, and a long tail that is roughly the length of its body and covered lightly in fur. The pelage of the bettong is fine and soft with the body fur cream and pale ochre in colouring with specks of brown while the underbelly is a solid cream colour. The head is small with a short muzzle and two small rounded ears, and features two round dark brown eyes made from clay.On mounting board: BMM5893/burke museum, taxidermy, taxidermy mount, bettong, rat kangaroo, bettongia, fauna, animal, animalia, potoroidae, reynell eveleigh johns -
Warrnambool and District Historical Society Inc.
Booklet - Poetry Booklet, Thoughts by Our Loving Father, 1930s
collection of verseThis is a booklet of 28 pages. It has a brown cover with the pages tied together with brown plaited thread. The pages contain printed material.non-fictioncollection of versejohn adams wangoom -
Victorian Apiarists Association
Publication, Beekeeping In Victoria (Dept of Agriculture Victoria), 1949 edition
A5 soft cover book, cover is tanny with a brown picture of a hive & brown writing , the back is plain cream 165 pages -
Tatura Irrigation & Wartime Camps Museum
Book, Journal of Department of Agriculture, 1952
Farming information in monthly periodicals.Light brown cardboard cover, dark brown linen spine, gold lettering. 10 copies tied with string sewn in to spinetatura, agriculture, books, periodicals -
Tatura Irrigation & Wartime Camps Museum
Book, Research School of Physical Sciences and Engineering Annual Report 1997
Annual Report 1997 of the Research School of Physical Sciences and Engineering. Institute of Advanced Studies at the Australian National University. Professor Erich Weigold is the director. Erich was an internee in the Tatura Camp 3.184 page book. Brown cover and back page with brown binding. Picture of physics emblems on front and title in white print.erich weigold, research school of physical sciences and engineering, institute of advanced studies, australian national university, tatura camp internees -
Uniting Church Archives - Synod of Victoria
Booklet - Girls' Guild Union, Canoe Exercises
Brown paper covered musical score. Music by Ascher-Mahl and words by J.M. The brown paper is sewn onto the score with twine.On front cover: "J.McClelland 241 Dandenong Rd Windsor"girls' guild -
Warrnambool and District Historical Society Inc.
Mug, "Graham" Sadler 97, 1997
This is an earthenware mug made by Ken Sadler in 1997. In 1972 he established the Potters’s Wheel, a pottery business in Liebig Street, Warrnambool and conducted this business for many years. It is presumed that mugs such as this one would be made to order with the requested name added to the side of the mug. This mug is of interest as a memento of the work and business of the Warrnambool potter, Ken Sadler. This is a ceramic mug with a brown and orange glaze. On one side it has the name ‘Graham’ in white and brown glazing. The name of the maker is on the base. ‘Graham’ ‘Sadler 97 Warrnambool’ ken sadler, potter, history of warrnambool -
Clunes Museum
Container - JUG, SHARPE BROS
JUG USED TO CONTAIN GINGER BEERSTONEWARE JUB WITH WIRE HANDLE, BROWN CERAMIC GLAZE AT THE NECK OF THE JUG AND CLAY COLOURED GLAZE AROUND TO JUG BELOW THE BROWN"HEALTH BEVERAGES - WHEN EMPTY RETURN TO SHARPE BROS AUSTRALIA AND NEW ZEALAND" IN BLACK LETTERING ON THE BODY OF THE JUGstoneware, jug, ginger beer -
Bendigo Military Museum
Equipment - LEGGINGS, LEATHER, Marshall Shoe Co, 1916
1. Legging - Leather, brown, straps, metal buckles and rivets. 2. Legging - Leather, brown, straps, metal buckles and rivets.passchendaele barracks trust, pair leggings -
Glenelg Shire Council Cultural Collection
Painting, Loueen Morrison, [Still Life-vegetables], 1992-1996
Depiction of three stalks of celery, bases closest to the bottom of picture. There is an abstract background of brown and light brown at top of image. Unframed.Front: (no inscriptions) Back: (no inscriptions) -
Bendigo Military Museum
Uniform - SAM BROWNE BELT, 1914-1917
The belt belonged to Regimental Sergeant Major Edgar Frederick Dawson DCM, No 4472 57th Batt AIF. Refer Cat No 893 for his service history.Sam Browne Belt, brown leather with metal buckles, has a brown leather adjustable shoulder strap. Re RSM E.F.Dawson.uniforms - army, leatherwork, sam browne -
Buninyong Visitor Information Centre
Artwork, other - Mug, Old Library Pottery Mug, GSC, Buninyong
The Old Library Pottery operated in the northern section of the Buninyong Visitor Information Centre during the 1980s. Dates to be confirmed. Handmade earthenware cylindrical shaped mug with handle finished in mottled light brown tones, with dark brown strip near the top.Old Library Potterypottery, ceramics -
Flagstaff Hill Maritime Museum and Village
Domestic object - Jug
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/The form of the jug has been in use for many centuries.Stoneware jug. Two tone brown glaze with pierced lip behind spout. Spout chipped.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug, ceramic jug