Mel Jacobson on fri 4 jul 97
shino a primer.
shino is a very specific japanese glaze.. in its original form it is
applied very thick almost like frosting...it pinholes like mad and shows
streaks of orange. it is basically a white glaze. looks like frosting on a
cookie.
as with so many glazes bastardized from the original japanese ,it has
become a pinkish orange thin glaze, used often in wood fired application.
it is a strange substitute for the original and has almost nothing to do
with it.
what so many people forget...WE CANNOT GET JAPANESE GLAZE MATERIALS AND
THEY ARE DIFFERENT. the government will not allow bug ladened earth
imported to america. and that is correct. and we have enough chemicals
to make almost anything. i do not know why anyone would import chemicals at
great expense, so we can make a white cone 10 glaze.
carbon trapping is a technique of holding carbon in a glaze body turning it
black. often streaks...it is not that hard to do.
american shinos often do it naturally. a number of ideas for shino have
been placed on the net. they are almost all the same...just minor
chemical adjustments.
i have found that burning wood in the kiln on the cooling cycle often
forms carbon trapping...at least for me. we had a great deal of it at the
farm this past month...both wood and salt.
mel jacobson/mn.
Akitajin on sun 6 jul 97
Mel,
The other thing to remember is that the old shinos were lost to the
modern Japanese. What they use there today is a "recreation" just like
what we have done.
On Carbon trapping:
I've found that a good amount of soda ash helps and the glaze should
either be mixed up often or new mix added to it as you go because the
soluble soda ash leaves the bucket first.
Fast drying of the glaze seems to draw more solubles to the surface and
promotes carbon trapping.
Lee
--
/(o\Lee Love St. Paul,MN USA ' Come see some pixs of my AkitaPup:
\o)/mailto:Ikiru@Kami.com ' http://www.millcomm.com/~leelove
Mary Finegan on mon 27 oct 97
The thread on carbon trapping got me to thinking of a problem I have
had with Shino glazes. I mixed up some Wirt's carbon trap recently and
when I stirred up the glaze , it became very foamy, and was hard to dip
a pot in it without getting a messy surface. I haven't used Shino's
enough to have solved this problem. But I am wondering how to apply
glaze, or mix the glaze, so that the surface is smooth.
I am also wondering if the foamy glaze texture has something to do with
the tendency of Shinos to crawl. Any advice or information would be
appreciated. TIA
Kevin Finegan
San Antonio, TX
Dannon Rhudy on tue 28 oct 97
Shino, in my experience, is always foamy, a bit. I just ignore
it, it smoothes out in the firing, if thin. I use it REALLY thin,
on both porcelain and stoneware. Rich, delicious orange on
stoneware, more delicate peach tones on porcelain. If thick,
doesn't matter how it looks going on, will be oatmeal-y, or
crackly, or crawly, or some other thing, coming out. Makes it
interesting. Experiment a bit. Good shino has been found
satisfactory for an awful long time.....a little extra soda ash
brushed on top will turn it white, leave wonderful fine lines of
trapped carbon along the edges of the soda ash. Sometimes. When
fortune and the kiln god smiles.
Dannon Rhudy
potter@koyote.com
----------------------------Original
message----------------------------
The thread on carbon trapping got me to thinking of a problem I
have
had with Shino glazes. I mixed up some Wirt's carbon trap
recently and
when I stirred up the glaze , it became very foamy, and was hard
to dip
a pot in it without getting a messy surface. I haven't used
Shino's
enough to have solved this problem. But I am wondering how to
apply
glaze, or mix the glaze, so that the surface is smooth.
I am also wondering if the foamy glaze texture has something to do
with
the tendency of Shinos to crawl. Any advice or information would
be
appreciated. TIA
Kevin Finegan
San Antonio, TX
Grimmer on tue 28 oct 97
Kevin,
All that soda ash in the shino is acting like soap. makes great suds,
doesn't it? You gotta mix real slow with a ladle or similar. Nice thing is,
these glazes don't settle bad.
I think the crawling is due to the high alumina percentage.
steve grimmer
marion illinois
Mary Finegan wrote:
>
> ----------------------------Original message----------------------------
> The thread on carbon trapping got me to thinking of a problem I have
> had with Shino glazes. I mixed up some Wirt's carbon trap recently and
> when I stirred up the glaze , it became very foamy, and was hard to dip
> a pot in it without getting a messy surface. I haven't used Shino's
> enough to have solved this problem. But I am wondering how to apply
> glaze, or mix the glaze, so that the surface is smooth.
> I am also wondering if the foamy glaze texture has something to do with
> the tendency of Shinos to crawl. Any advice or information would be
> appreciated. TIA
>
> Kevin Finegan
> San Antonio, TX
Alexis Acken on wed 29 oct 97
Have you tried pouring the shino over your pieces? In the studio here,
(I'm a student at Bowling Green State Unversity. It's in Ohio) we'd been
having simlar problems where the air bubbles left pinholes in the glaze
even after firing. However, pouring instead of dipping seems to more or
less solve the problem. Also, our Malcom Davis Shino does wonderful
things if designs are applied over it in wax so that the soda ash mgrates
somehow to the edge of the wax so that you get carbon trapping in areas
without the wax and a beautiful, shiny orange where the wax was applied.
Alexis Lee
On Tue, 28 Oct 1997, Dannon Rhudy wrote:
> ----------------------------Original message----------------------------
>
> Shino, in my experience, is always foamy, a bit. I just ignore
> it, it smoothes out in the firing, if thin. I use it REALLY thin,
> on both porcelain and stoneware. Rich, delicious orange on
> stoneware, more delicate peach tones on porcelain. If thick,
> doesn't matter how it looks going on, will be oatmeal-y, or
> crackly, or crawly, or some other thing, coming out. Makes it
> interesting. Experiment a bit. Good shino has been found
> satisfactory for an awful long time.....a little extra soda ash
> brushed on top will turn it white, leave wonderful fine lines of
> trapped carbon along the edges of the soda ash. Sometimes. When
> fortune and the kiln god smiles.
>
> Dannon Rhudy
> potter@koyote.com
>
>
> ----------------------------Original
> message----------------------------
> The thread on carbon trapping got me to thinking of a problem I
> have
> had with Shino glazes. I mixed up some Wirt's carbon trap
> recently and
> when I stirred up the glaze , it became very foamy, and was hard
> to dip
> a pot in it without getting a messy surface. I haven't used
> Shino's
> enough to have solved this problem. But I am wondering how to
> apply
> glaze, or mix the glaze, so that the surface is smooth.
> I am also wondering if the foamy glaze texture has something to do
> with
> the tendency of Shinos to crawl. Any advice or information would
> be
> appreciated. TIA
>
> Kevin Finegan
> San Antonio, TX
>
Liz Willoughby on wed 8 apr 98
Hello all you clayarters,
I'm back from NCECA, saw some wonderful work at the exhibitions in Dallas,
Irving, Ft.Worth, the highlight being Harding Black's work, (amazing
glazes, copper reds, peach blossom, tenmoku, hare's foot and on and on).
But.... Ron Roy saved me a few clayart messages to read and one was from
Gari Whelon and Steve Grimmer about how shino glazes change in the bucket
as it is being used from firing to firing. I don't know why but I still
get good results from old shino. The firing that I had before NCECA with
Malcolm Davis I had mixed up last fall and am still getting very good
results with it, good carbon and good crystals. Maybe it depends on the
recipe. I use Malcolms No,2 from Troy's book.
Was so nice to meet clayarters in the clayart room. Thanks again to Mel
for setting that up. Best, Liz
Liz Willoughby
R.R. 1
Grafton, Ontario
Canada. K0K 2G0
e-mail lizwill@phc.igs.net
Mel Jacobson on thu 23 apr 98
this is a repeat.
shino as a glaze has its history deep in japan. it is a `japanese `glaze.
in its seto form , it was used on teabowls and very interesting pieces
used in the tea ceremony.
it was applied thick, had huge pinholes, was very white, almost
like frosting....it had its own aesthetic. the craters, pineholes,
thickness and irregular surface were admired.
what most of you are talking about is `not` classic shino...
it is `western shino`, a golden, brown, shiny glaze often used by
(funny) potters like clennell in wood fire.
if you were to hold my `arakawa` tea bowl, with its white shino glaze,
and simple pattern of orange iron wash beneath, most would say...
`what the hell kind of glaze is this?`
and if i told you that it was original shino, you would say...`the hell you
say`.
mel/mn
http://www.pclink.com/melpots
Dave Eitel on fri 24 apr 98
A few years ago at Penland Warren MacKenzie gave us this formula for "basic
shino" For those of you who would like to experiment with that ancient
shino look, it might be a starting point.
Neph sy 85
Ball clay 15
Dave Eitel
Cedar Creek Pottery
Cedarburg, WI USA
http://www.cedarcreekpottery.com
terryh on fri 24 apr 98
------------------
thanks mel, for your description of japanese shino. i have been
wondering for some time why shino is so different here (u.s.)
from what i knew in japan. just so different.
true or not, i thought shino glaze was essentially 100 =25 feldspar
from a mountain in tajimi area where clay was also dug and
pieces were fired in anagama on the same mountain's slope. well,
this may be a myth, i don't know. but i still think the shino glaze is
basically 100 =25 feldspar. (this may be a myth, too?) this is a
terrible glaze: it settles and solidifies very quickly in a bucket.
terry hagiwara
e-mail: thagiwara=40halnet.com (W)=3B terryh=40pdq.net (H)
web: http://www.geocities.com/SoHo/Cafe/3755
Vince Pitelka on sat 25 apr 98
Regarding the comments on traditional Japanese shinos, I forward the
following from my son, Morgan, who studies Medieval Japanese ceramics. His
opinions agree with Mel's experience. I like what Morgan has to say about
the evolution of technique when it moves to another culture. I tend to
quibble about the correct use of terminology, but of course, terminology and
language evolve. We cannot stop that, nor should we want to.
>Return-path: mpitelka@princeton.edu
>Date: Fri, 24 Apr 1998 18:38:55 +0100
>From: Morgan Pitelka
>Subject: Shino
>
>Dear Clay-Arters,
>
>I would like to recommend a book on Seto and Mino ceramics that can
>clarify the historical characteristics of the Japanese "Shino" glaze.
>_Seto and Mino Ceramics_ by Louise Allison Cort (Freer Gallery of
>Art/University of Hawaii Press, 1992) is an excellent source on kilns,
>claybodies, decoration, design, and much more for Seto/Mino, one of
>Japan's most important ceramic traditions.
>
>The final chapter of the book is a scientific analysis of the technology
>of some Seto and Mino shards, by Pamela Vandiver. It contains the
>following information on Shino glazes (p. 220): "The Shino glazes are
>underfired. They differ primarily from the other Seto and Mino glazes
>tested in their greater amount of undissolved quartz, which was added as
>a source of opacification. The prime flux of Shino glazes is potassia;
>the exception is in the so-called ash Shino, a more translucent variant
>of Shino glaze, in which CaO, MgO, and P2O5 are higher in concentration.
>The Shino glaze compositions are unlike the modern high-alumina,
>high-soda formulations that Western potters use for a 'Shino' effect."
>
>Historical Japanese Shino-glazed pots thus do look quite different from
>the Shino glazes common today in the West. They are almost always white
>or milky-translucent, and tend to have iron oxide decoration underneath,
>or inlaid iron slip designs.
>Personally, though, I think Western potters should be proud of the
>lovely Shino glazes that they use, and there should be no quibbling
>about terminology. As with Western Raku, which bears little resemblance
>to the ceramics made by Kyoto's Raku family, the Shino technique as it
>has developed away from Japan is an important part of twentieth century
>Western ceramic culture. All kinds of techniques, processes, and recipes
>are borrowed from Japan, and likewise they are borrowed by the Japanese.
>Though names sometimes stay the same (Shino, Raku, Noborigama, Anagama,
>and so on), techniques change, transform, and develop everywhere in
>different ways - that's the beauty of it all, no?
Vince Pitelka - vpitelka@DeKalb.net
Home 615/597-5376, work 615/597-6801, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Dale Mark on thu 15 oct 98
Tony in a recent posting mentioned a shino platter by Eric Wong. If you
wish to view similar superb pieces, visit Eric's website:
www.followme.com/clay
Dale Mark
Hamilton, Ont.
Joyce Lee on wed 25 nov 98
Liz, Dannon, and all other shino-crazed Clayarters,
While I'm now not unhappy with my shino firings, I'd still like more
predictability. I started oxidizing while soaking at the end of the
firing because I was occasionally getting a "muddy" look, mostly beneath
rims. When I refired these pots and oxidized at the end, the "muddy"
look disappeared. You know what a relatively short time I've been doing
this...have fired my glaze kiln maybe 20 times now, about once a month.
It's a small Geil with ITC. Do you think maybe the "muddy" disappearance
was coincidental? Is continued light reduction from body reduction on
the way to go? Any advice for consistency? All I've learned about
shinos has been from Clayart and Jack Troy's woodfire workshop where he
had a miraculous shino slip. However, I'm still not working much with
slips...next year, maybe. Thanks.
Joyce
In the Mojave withdrawing into herself as the nasty wind picks up...the
neighbor's small stand of tall, skinny evergreens are bending at the
waist...
mel jacobson on thu 26 nov 98
joyce and others.
different types of firing create a great range in shino.
we fire a small wood fired kiln, and get just great shino.
we fire a salt kiln, and get great shino...but different, very different.
i fire shino in my big reduction kiln and get great shino, but different
from the other two kilns.
dannon's glazes differ from mine, same recipe.
and i want all my shino's to look like jack troy......but cannot
have that...it belongs to him.
so, how you apply, thickness, how long they sit on the shelf.....how hot
you fire.
when you reduce, and i often smoke on the way down, all different,so, if
you want consistency with shino.......don't ask me.
i like all of them.........and i drink tea from a liz willo from
canada......and
it is very nice indeed......but again different.
and then there is that naughty canadian and his are just luscious.
so go figure.
the joy of being a potter.
lots to go around.
the aesthetic is not perfect.........thank god.
mel/mn
http://www.pclink.com/melpots
Steve Dalton on sat 17 jul 99
Mike in Bath,
thanks for the shino glaze recipe, I found I have a small amount of Neph Syn
to test it out. I'll let everyone know how it turned out.
Thanks Again
Steve Dalton
Hank Ray on sun 18 jul 99
here is a great shino....
flashes orange where thinner... white where thicker ... does that cool
"crawl" thing where thick... needs a good body reduction and reduction on
the way up... if don't get any orange, it just comes out white, you didn't
reduce enough...
Lau Luster Shino... cone 10 reduction
Nepheline syenite 53.5
EPK 25.3
Flint 10.1
Whiting 2
Soda Ash 5.1
Tin Oxide 2
Bentonite 2
Pete in Oklahoma
Craig Martell on sat 7 aug 99
Hi:
You guys are really hung up on Shino glazes. Get a life!
Yes, in terms of balanced, durable glazes, shinos or what we now call shino
type glazes are way off the map. And, as Barney found out, if you look at
them in a glaze calc program it's kind of perplexing. The nice thing is
though, they usually work fine.
I did some biaxial blends with Shino glazes last winter to get an idea of
what alumina and silica would do to the fire color, as in orange and red.
The higher alumina shinos produced reds and as I lowered the alumina and
raised the silica, I got oranges. These shinos were done with a small
amount of iron bearing slip clay which produced the reds and oranges.
Instead of adding kaolin as the source of alumina, I used pure 200 mesh
alumina oxide. The wild thing is that one of the glazes I made had 40%
alumina oxide along with neph sy, spodumene and the slip clay. This glaze
melted and produced a very red shino. It was a very stiff melt, but it was
glassy.
I think that all the alumina is necessary to keep the small amounts of iron
in shinos from going into solution. Once this happens, the oranges and reds
are history. This is another reason for avoiding calcium in shinos in that
calcium will cause iron to dissolve and go into solution. Calcium is OK in
iron saturated glazes because there is so much iron in relation to calcium
that the iron will still precipitate and crystallize to form the reds. I
guess tenmokus are an exception to this and the calcium and iron ratio in
these glazes are such that the iron goes into solution to form a dark glass.
Anyway, just some thoughts and ramblings about what might be happening with
this beloved potter's glaze that the public usually will trade for a nice
shiny cobalt blue, or a nice white matt with some purple iris.
later, Craig Martell in Oregon
Joyce Lee on fri 20 aug 99
Returning from Palmdale today, driving through one of the hundreds of
Red Rock Canyons in the western U. S., discovered anew the beauties of
shino.....there it was before me, behind me, on all sides....shades of
orange, red, gloppy whites, pinks...pales, darks, streaks, with a RIO
wash here and there, a touch of carbon trapping, big carbon ...
wonderful...as in full of wonder. See it all the time, but somehow today
really experienced it... Tony/Sheila, come on out.....you'll love it.
Joyce
In the Mojave where we have landscraping, instead of landscaping, and
isn't it something.....
Lee Love on mon 20 mar 00
Subject: counting tip
On Fri, 17 Mar 2000 11:55:38 mel jacobson wrote:
>glaze thickness is very important to making
>good even shino. and then, getting some sort
>of consistency from firing to firing.
I think another important factor for Shino is the clay you use
under the glaze. Here in Japan, Shino is not just a glaze, but also a clay
body. I like MacKenzie's practice of calling his Shino glazes "Shino
Type" glazes, because what we are doing in the States is making our own
version of the traditional glaze, with the materials we have available.
A local Shino glaze here is made up simply of one soda feldspar:
Hiratsu Choseki. No soda ash or any other soluables added, but iron slip
is used under the glaze. A friend was telling me that some Shino adepts
here will mix over a half dozen types of feldspars to create their shinos.
--
Lee Love
2858-2-2 , Nanai
Mashiko-machi
Tochigi-ken
321-4106
JAPAN
Ikiru@kami.com
John Britt on sat 23 sep 00
Viki,
Just mix the soda ash up in warm water first and after it dissolves add
it to the other dry ingredients.
Thanks,
John Britt
Clay Coordinator
Penland School of Crafts
penlandclay@juno.com
________________________________________________________________
YOU'RE PAYING TOO MUCH FOR THE INTERNET!
Juno now offers FREE Internet Access!
Try it today - there's no risk! For your FREE software, visit:
http://dl.www.juno.com/get/tagj.
Karen Sullivan on tue 26 sep 00
on 9/26/00 8:06 AM, Karen Sullivan at kwinnies@earthlink.net wrote:
> on 9/26/00 7:46 AM, Roger Bourland at citrus@bourland.com wrote:
>
>> Karen...
>>
>> Thanks for the suggestions. I can't wait to get on the glazing part. Any
>> special shino for dark clay?
>>
>> Best,
>>
>> Roger
>>
> My all time favorite is El Camino Shino
>
> Custer spar 1450
> Spodumene 1250
> soda ash 333
> Neph sy 5000
> Ball clay 1666
>
> also a tremendous resource for shino glazes is the December 1992 issue of
> Studio Potter. There is a great article about shino and a list of perhaps 60
> formulas, definitely worth getting from studio potter magazine. There are
> more variations than I can work thro. in this lifetime....
> Then it becomes an issue of how to fire, which causes more diverse results in
> my shino than one could be happy with. Pete Pinnell wrote an article about
> firing shino recently in Clay Times. My problem is that my kiln holds more
> than one glaze and I have to choose which glaze I am choosing to influence the
> reduction. I also have this sense that too much reduction is hard on the
> clay, other glazes, and my bias is short/quick reduction timed specifically is
> how to fire. I reduce for clay body 1000-1200 for 10 min., then at cone 1 for
> 10 min, and at cone 5 for 10 min. that is all.
> I need to be brave and reduce more. Pete Pinnell once said that heavy
> reduction is a process that is like trying to fit a basketball thro. a window
> screen, and it is an ever shrinking window screen.
Christopher Anton on mon 11 dec 00
I _know_ someone else is going to say it, but I can't resist . . .
( I ran out of wax and/or shellac?)
Fewer calories!
Less filling!
- Chris
> Would someone please tell me if there is a difference between soda ash and
> soda ash light?? Thanks
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
Arkuss, Nancy on mon 11 dec 00
Would someone please tell me if there is a difference between soda ash and
soda ash light?? Thanks
Louis Katz on wed 13 dec 00
I put up a little page with two old 1978 or so Kansas City recipes that were in
use when I was in school there. I left off the small varients.
http://www2.tamucc.edu/~lkatz/wertz.htm
Sanook, Sanook, -dictionary translation enjoy enjoy
Pronunciation for Tom Buck-
rhymes with Kanook Kanook
Louis
Joyce Lee on fri 19 apr 02
Odd...... all this palaver about mixing shinos ..... I've been mixing =
them by percentages ... line blends ..... since first seeing Eric Wong's =
website a couple of years ago. Funny how clay exploration works. I =
didn't see shinos on Eric's site that appeared to be "mixed" ... in =
fact, what I admired most was his use of blue along with the shino .... =
nothing about Mixing on his site. Mel's shino, Dannon's, then Craig's =
(I have a phenomenally gorgeous teabowl of his from which I now drink =
every morning ... pure Martell!) Hank's, Tony&Sheila's, later Liz the =
Willowy's, Jim Bowen shared a ton of info - all led to more and more =
trials by fire ..... loved, and still do, every minute of it. Then =
Eric's work came into my purview and inspiration took me by the nose =
and guided me around another corner ... and led in some mystical way =
only clayers understand .... to the mixing of shinos. How I got there =
from where I was, I don't know. That's where the "odd" comes in.
Here I hoped I was finally on a more or less Original Track .... will I =
never learn? Nope. I'm now on an additional path with shino, using the =
suggestions and help I've received for the past four years. So far, I'm =
enamored of the New Look ... and will tell you all about it when I begin =
to feel I'm ready ..... which, of course, will follow immediately upon =
the revelation on Clayart or CM etc that it's been done and the results =
are IN, with slides yet. Why is it important for me to do this? Not =
with the hope of being credited with a New Direction ... nothing like =
that; certainly not in the midst of Ascending into Old Age.... =
surrounded by Gurus who Know what they're Doing... and do it with reason =
...... BUT ... because I'd like to share something I've created with =
all the Shino Addicts who've=20
been so extraordinarily kind to me from my first question about keeping =
the studio clean ...... Dannon's often reminded me that we all =
contribute in different ways and to different degrees ..... I know =
that's true ....
but wouldn't it be rewarding to be able to give back in kind ..... =
doesn't work that way, of course ..... but wouldn't it be grand?
Joyce
In the Mojave wishing the stunning, bright ravens would give up being =
predators so they could peacefully share the incessant chatter of the =
starlings with me .... maybe bring some intelligence to our gatherings =
out by the feeder.... didn't invite the starlings either actually .... =
too many of them .... but at least they don't prey ..... I hope... just =
their presence overwhelms ......
scott meredith on sat 28 aug 04
When shino is thin it will be red.
When shino is thick it will be more white.
When shino is applied to a rough surface it helps with
crawling.
Red iron oxide under a shino will usually show through
strongly.
Drawing on shino while it is still wet will thin the
glaze be red after firing.
Applying shino thinly and letting it dry will bring
the soda crystals to the surface. Another thin coat
will trap the crystals and make spots.
Be careful because handling the pot will remove the
crystals and leave finger marks.
Shino will also be different with different drying
times.
Drawing on the dry shino surface with wax will also
affect the glaze.
A cooler shino will be more white and matte.
An over fired shino will be shiny and full of fire
color.
I think that's all I have.
Scott M.
applying
__________________________________
Do you Yahoo!?
Yahoo! Mail is new and improved - Check it out!
http://promotions.yahoo.com/new_mail
mel jacobson on sun 20 dec 09
shino is a white glaze, in most cases it is meant
to be a white glaze. thickly applied.
it does not have to be, in fact you can put
cobalt ox in the glaze and it would turn blue.
but, the history of shino is white to gray with
iron markings.
also many use dark slips under the glaze.
but, for sure it is maverick.
it just does whatever it wants.
i never try to perfectly predict what it will do.
never make a set of dishes and tell the customer:
it will look just like this sample.
mel
it would sort of be like asking for pink temmoku.
sort of an oxymoron.
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
new book: http://www.21stcenturykilns.com
Lee Love on sun 20 dec 09
At the link below see a photo I used in my lecture on Rikyu and Shino:
http://shinoglaze.blogspot.com/
Shown here are two white tenmoku bowls and then a raku form with the
white tenmoku glaze on it. The birth of Shino.
'Tenmoku', is the Japanese name for the mountain range in China of
'T'ien Mu Shan'. Tenmoku is a teabowl shape.
Most pots from the Mino shino kilns were gray and e-shino was
developed to give these gray pots some interest.
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97tha=
t is, "T=3D
he
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
Leonard Burch on mon 21 dec 09
Mel
Sorry for the repost but I hit the wrong button the first time.
Here are a couple of my recent Shinos at:
http://home.earthlink.net/~burchl .=3D20=3D20
The first one is a heavy application of shino with copper oxide brush. T=
=3D
he=3D20
sexond one is a shin over a dark Slip. The last in the line up is a Sas=
=3D
ukenei=3D20
Woodfired Tea Pot.
mel jacobson on fri 30 jul 10
yes, many of us have done a great deal of work with shino.
it is a maverick.
that means...watch out, it does not always do what you want
it to do.
like the horse without a bit....
ask malcolm davis...the great shino man..and he is really a great
shino man. he lost it for two years. just could not find the glaze
with his wonderful result. he has kicked many glaze buckets.
it is all over the place with me. i still love it, and i love the
action and the kicking back in my face.
but,
don't trust a shino, it has a mind of its own.
ash amount
thickness
foaming
base clay color
reduction
they all make a difference.
age of glazed pots drying on the shelf means a great deal.
some cover it with saran wrap to hold back the
migration of ash.
i paint hot soda ash on top of the glazed pot for deep black.
when you reduce, and how much.
?????all questions.
if you take 50 shino recipes and do a vetting...you will find
they are all basically the same. how you treat them is vital.
if you are interested in the history of american shino and ginny wirt
read my article in cm a few years back...called `black shino`.
she sat in my living room with all the facts, the dates, even the original
recipe card. she left clay for good, very sad.
she is now a stanford grad in architecture. one smart lady. i respect her
a great deal. many of you know her brother, the fine minnesota potter
tom wirt. another real gentleman.
mel
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
new book: http://www.21stcenturykilns.com
alternate: melpots7575@gmail.com
Lee Love on fri 30 jul 10
If you take the soda ash out, you can get some predictability.
The other variables you can learn, are the reaction of your glaze to
the clay body and slips and also how it behaves according to the
thickness of application. Also, holding after cooling at around
1100*C is a good idea if you are looking for red.
--
=3DA0Lee, a Mashiko potter in Minneapolis
http://mingeisota.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
Hank Murrow on fri 30 jul 10
On Jul 30, 2010, at 6:45 PM, mel jacobson wrote:
> yes, many of us have done a great deal of work with shino.
> it is a maverick.
> that means...watch out, it does not always do what you want
> it to do.
> like the horse without a bit....
Here, Mel may be referring to shinos with some soda ash in them......
Much of the maverick behavior of shinos can be attributed to the soda =3D
ash, the more soda ash.... the bigger the Maverick.
> if you take 50 shino recipes and do a vetting...you will find
> they are all basically the same. how you treat them is vital.
Again, these are mostly soda ash shinos, American Shinos.
>=3D20
> if you are interested in the history of american shino and ginny wirt
> read my article in cm a few years back...called `black shino`.
Good article. And for some poop on Un-American Shinos, check out my =3D
article in the Sep/Oct 2001 CM, "Shinos in the Fire.... an Odyssey". =3D
Also an article on my Doorless Fiberkiln following the shino article.
Hoping to broaden our view of 'shinos'......
Hank in Eugene
John Hesselberth on sat 31 jul 10
On Jul 30, 2010, at 9:45 PM, mel jacobson wrote:
> if you are interested in the history of american shino and ginny wirt
> read my article in cm a few years back...called `black shino`.
There is also a good summary article by Tom Buck in the Dec 2000 issue =3D
of CM. The article has 28 recipes and breaks them down into 2 basic =3D
types--those that have 0.7-0.9 alumina (all numbers are unity formula =3D
numbers) and 3.0-3.9 silica which he calls Type 1. Type 2 recipes have =3D
1.0-1.1 alumina and 4.2-4.8 silica.
If someone from CM is monitoring Clayart, maybe they would post this =3D
article and Mel's for those who don't have copies going back this =3D
far--That would be back when Mel was in his 30s.
Regards,
John=3D
Lee Love on sat 31 jul 10
The article of all articles on Shino is from The Studio Potter issue
below. John Britt's glaze book is equally important
"Revival Fires: Another face of shino". Jim Robinson. The studio
Potter: Vol. 21 No. 1 December 1992
http://www.studiopotter.org/pubs/back_5.htm
You can see most of John's shino recipes at Google Books. Take a
peek, but John's book is a must have for anybody firing cone 10:
http://books.google.com/books?id=3D3D5klq2XOXYaUC&pg=3D3DPA84&lpg=3D3DPA84&=
dq=3D3Dm=3D
ino+shino+john+britt&source=3D3Dbl&ots=3D3D_zy3ZWpPaP&sig=3D3D4mkKdNu7209h7=
n4_T6i=3D
kjy-tltY&hl=3D3Den&ei=3D3DkSZUTL_XMMOHnQfwjJjuAw&sa=3D3DX&oi=3D3Dbook_resul=
t&ct=3D3Dr=3D
esult&resnum=3D3D1&ved=3D3D0CBUQ6AEwAA#v=3D3Donepage&q=3D3Dmino%20shino%20j=
ohn%20br=3D
itt&f=3D3Dfalse
--
=3DA0Lee, a Mashiko potter in Minneapolis
http://mingeisota.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
paul gerhold on sat 31 jul 10
Mel,
You of all people should know that there is no such thing as an
unpredictable glaze. What there are is easier to control and harder to
control glazes. The more difficult glazes is what drives us to learn if we
are so inclined. Probably the reason you like Shino glazes and I used to
work with Raku. Don't do Raku much anymore cause it got too easy as
knowledge built.
For some people glaze will always be a mystery. Maybe they like it that way=
.
Paul
| |
|
