mel jacobson on sun 20 apr 08
i just opened my kiln....had some nice examples
of some work that i am doing.
i have been influenced for years by chinese celedon
and the work of nigel woods.
there are pix on my website of a couple
of very nice examples of what i am working on.
the bowl is a 13 inch porcelain/with stoneware at ten percent.
the glaze is leach 1234 with about 3 percent iron.
the glaze was made by volume. 4 scoops, 3, 2, 1, etc.
after four firings i am still getting that rich blue/green celedon.
and, it is very nice on the porcelain. it has a rich feel, and seems
to exhibit some of the qualities of pots i saw in china.
the feldspar is custer. no special materials..just continental
clay, off the shelf.
the firing was cone 11, medium reduction throughout the firing.
the mug is a nice example of nigel woods sung idea glaze.
it is in the book. just as he published it. it works as a nice soft
white, and the cobalt oxide wash is sandwiched between two layers
of glaze. i draw when the glaze is still wet, so there is a touch
of water color effect.
i never tire of working with 1234. it is really a standard glaze
that never gets old. it was the first glaze i made almost 50 years ago.
if you want a real old idea, and want to enjoy a glaze study...work
with 1234. it is a dandy.
it is important to have a glaze that you can go back to time
and again. try new ideas and alter things a bit.
making that blue and white would gag me fast. this is all test
ideas. and i will not work with porcelain again for ten years.
that will take me to my 83rd birthday...so, i can wait.
if any of you have questions, just post me at melpots2.
mel
from minnetonka:
website http://www.visi.com/~melpots/
clayart site:
http://www.visi.com/~melpots/clayart.html
Kim Overall on mon 21 apr 08
Mel,
I really like the celadon on your bowl,
and I especially love your mug. Mainly
for it's simple pleasing form with a bit
of graceful curve that would be comfy to
hold with both hands (a girly thing).
Secondly for the brushwork.
Even though you would tire of the blue
and white, I don't think your customers
will. Everything about it says handmade
by an artist and not mass produced like the
typical too-perfect-no-appearance-lines-
that-a-human's-hands-touched-it look of the
more traditional.
I believe doing more of your brushwork
in all oxides for color on every piece will
showcase a kiln load of racers.
Lots of creative energy is detailed in that mug.
I just love it.
Maybe test your buyer's market before you
give up on it and grow weary producing them.
Kim in Houston
Des & Jan Howard on mon 21 apr 08
Mel
I seem to remember that you have an electric kiln.
If so, try this experiment with your celadons.
Fire the kiln to ~1040C as fast as is suitable for your
clay body &/or kiln.
Fire down to ~940C over 4 hours.
In my kiln this makes glassy celadons become quite waxy.
Des
mel jacobson wrote:
> i just opened my kiln....had some nice examples
> of some work that i am doing.
>
> i have been influenced for years by chinese celedon
> and the work of nigel woods.
>
> there are pix on my website of a couple
> of very nice examples of what i am working on.
>
> the bowl is a 13 inch porcelain/with stoneware at ten percent.
> the glaze is leach 1234 with about 3 percent iron.
> the glaze was made by volume. 4 scoops, 3, 2, 1, etc.
> after four firings i am still getting that rich blue/green celedon.
> and, it is very nice on the porcelain. it has a rich feel, and seems
> to exhibit some of the qualities of pots i saw in china.
> the feldspar is custer. no special materials..just continental
> clay, off the shelf.
> the firing was cone 11, medium reduction throughout the firing.
>
>
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