John on wed 23 jul 08
Taylor, =20
It is hard to reply if my post don't make it to the list.
Thanks,
John Britt
www.johnbrittpottery.com/wks.htm
http://ncclayclub.blogspot.com/
Taylor Hendrix on sat 2 aug 08
John B.:
If you would turn in your copy of MC6G to the page indicated by John
in his note to CM, you will see the reason for John's believe that the
glaze published in the May/June number of CT was in fact the self same
glaze published in his and Ron's book. I am assuming you have copied
it correctly from CM.
I cannot see how the contributor was confused. In actuality, she was
ignorant of the glaze's provenance. She admitted that in her rebuttal
letter on page 11 of the July/August number of CT. She stated the
glaze was a gimme from a clay instructor in 2003, which is by the way,
one year after the publication of MC6G (2nd printing May 2002).
Taylor, in Rockport TX
On Sat, Aug 2, 2008 at 6:42 AM, John Britt wrote:
> John H,
>
> Which glaze do you mean?
>
> This one :
>
...
>
> If it is, that is not in your book but it is in Ian's Curries Book
> "Revealing
> Glazes". In your book I believe you call it another name. Maybe that is her
> confusion, that you published it under two different names?
..
John Britt on sat 2 aug 08
Ron,
The reason people accuse you not sharing recipes is because you forbade
the sharing
of MG6 Glazes on Clayart 6 years ago. Is that not true?
Are you lifting the ban now!?
Can we post your recipes and discuss them freely?
Thanks,
John Britt
www.johnbrittpottery.com/wks.htm
http://ncclayclub.blogspot.com/
John Britt on sat 2 aug 08
John H,
Which glaze do you mean?
This one :
Cone 6 Clear
20.00 Feldspar
20.00 Ferro 3134
15.00 Wollastonite
20.00 EPK
6.00 Talc
19.00 Silica
From page 51 of the May/June Clay Times?
If it is, that is not in your book but it is in Ian's Curries Book
"Revealing
Glazes". In your book I believe you call it another name. Maybe that is h=
er
confusion, that you published it under two different names?
Thanks,
John Britt
www.johnbrittpottery.com/wks.htm
http://ncclayclub.blogspot.com/
Ivor and Olive Lewis on sun 3 aug 08
Dear John Britt ,
I recall the intention was to encourage people to purchase the book
to learn and use the fundamental principles of Glaze Design that were
revealed through research done by Ron and John.
What you propose may be a worthwhile notion. It may prompt Peer review
that would be rewarding.
But I feel that just posting the recipes without the concepts might
mislead people who are looking for a free lunch. After all, the clays
on which these recipes are demonstrated are not universally available.
Though the glazes may have a high degree of safe functionality,
aesthetic results may be undesirable on other clay bodies or with
substitute ingredients.
Better to leave the recipes where they are. Better for genuine
students to buy the book, or encourage college libraries to stock
several volumes.
Best regards,
Ivor Lewis.
Redhill,
South Australia.
James and Sherron Bowen on sun 3 aug 08
"He said. She said. He said. She said."
I think the main contributors have made their points by now, and this is
very tiresome. Yawn.
Jim
----- Original Message -----
From: "Taylor Hendrix"
To:
Sent: Saturday, August 02, 2008 9:48 PM
Subject: Re: Glaze Free Trade Society
> John B.:
>
> If you would turn in your copy of MC6G to the page indicated by John
> in his note to CM, you will see the reason for John's believe that the
> glaze published in the May/June number of CT was in fact the self same
> glaze published in his and Ron's book. I am assuming you have copied
> it correctly from CM.
>
> I cannot see how the contributor was confused. In actuality, she was
> ignorant of the glaze's provenance. She admitted that in her rebuttal
> letter on page 11 of the July/August number of CT. She stated the
> glaze was a gimme from a clay instructor in 2003, which is by the way,
> one year after the publication of MC6G (2nd printing May 2002).
>
> Taylor, in Rockport TX
>
> On Sat, Aug 2, 2008 at 6:42 AM, John Britt
> wrote:
>> John H,
>>
>> Which glaze do you mean?
>>
>> This one :
>>
> ...
>
>>
>> If it is, that is not in your book but it is in Ian's Curries Book
>> "Revealing
>> Glazes". In your book I believe you call it another name. Maybe that is
>> her
>> confusion, that you published it under two different names?
> ..
>
>
John Post on sun 3 aug 08
Ivor,
Applying this logic it follows then that all glaze recipes from books
should be left where they are instead of being discussed on this
list. That seems to run counter to the point of an open exchange of
ideas and learning here on clayart.
John Post
Sterling Heights, Michigan
:: cone 6 glaze website :: http://www.johnpost.us
:: elementary art website :: http://www.wemakeart.org
>
> Better to leave the recipes where they are. Better for genuine
> students to buy the book, or encourage college libraries to stock
> several volumes.
> Best regards,
> Ivor Lewis.
> Redhill,
> South Australia.
>
John Britt on sun 3 aug 08
Ivor,
I respect your opinion but all other glaze recipes in the univers are fre=
e
range recipes on clayart. Only the "Magic Recipes" of Ron and John are
disallowed. So the logic of your arguement is troublesome since glazes ar=
e
shared and used with success daily, and have been for thousands of years.
And their "magic recipes" are being published in magazines monthly. like
this one from Currie's Revealing Glazes:
Cone 6 Clear
20.00 Feldspar
20.00 Ferro 3134
15.00 Wollastonite
20.00 EPK
6.00 Talc
19.00 Silica
John Britt
www.johnbrittpottery.com/wks.htm
John Britt on sun 3 aug 08
John,
As usual, John Post understands the principle of the arguement. It is
quite simple and that is why all these red herrings that people offer
puzzle me.
John Britt
www.johnbrittpottery.com/htm
John Britt on sun 3 aug 08
Jim,
If Ron and John had not said they would only ban the recipes for a time, =
I
would not be bothering to ask. If the ban was forever then that would be
that, but it was not forever. I figure 6 years about enough time.
John Britt
www.johnbrittpottery.com/wks.htm
John Britt on sun 3 aug 08
Taylor,
No, I copied it from Currie's "Revealing Glazes" which was published prio=
r
to MG6. I beleive she said she did not know where she found it so I figur=
e
it was from the earliest published source.
Cone 6 Clear
20.00 Feldspar
20.00 Ferro 3134
15.00 Wollastonite
20.00 EPK
6.00 Talc
19.00 Silica
John Britt
www.johnbrittpottery.com/wks.htm
John Britt on sun 3 aug 08
Mary,
Do you have a Mastering Cone 6 Glossy Base? I left my book at home and
need to make it up here at the studio. Could you post the recipe?
Thanks,
John Britt
www.johnbrittpottery.com/wks.htm
May Luk on mon 4 aug 08
Then why do you write to me privately in the first place?=20
I wasn't even talking to you and you responded in private. Some integrity y=
ou have.
Sorry folks, enough from me already.
May
--- On Mon, 4/8/08, Lee Love wrote:
> From: Lee Love
> Subject: Re: Glaze Free Trade Society
> To: claywedgie@yahoo.co.uk
> Date: Monday, 4 August, 2008, 3:35 AM
> On 8/4/08, May Luk wrote:
>=20
> >
> > Okay, this is a private email and not for public
> consumption. Please don't cc to clayart.
>=20
> I never write privately, what I wouldn't write
> publicly. It is a
> very good policy. I also refrain from moving Clayart
> conversations to
> private, because folks often get nasty in private mail.
>=20
> > I'm glad I'm not a potter
> > May
>=20
>=20
> May, I am happy there are many ways to be involved in
> ceramics.
> I don't worry about labels.
>=20
>=20
> --
> Lee Love in Minneapolis
> http://mashikopots.blogspot.com/
> http://claycraft.blogspot.com/
>=20
> "Let the beauty we love be what we do.
> There are hundreds of ways to kneel and kiss the
> ground." --Rumi=0A=0A=0A ___________________________________________=
_______________=0ANot happy with your email address?.=0AGet the one you rea=
lly want - millions of new email addresses available now at Yahoo! http://u=
k.docs.yahoo.com/ymail/new.html
Joseph Herbert on mon 4 aug 08
IN Outlook, it is possible to send email items to a designated folder (like
delete) on the basis of subject line content. You will never know they
existed.
Joseph Herbert
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of gayle bair
Sent: Monday, August 04, 2008 9:21 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Glaze Free Trade Society
I tire of this pissing match!
hello delete key!
Gayle Bair
Bainbridge Island WA
Tucson AZ
gayle@claybair.com
www.claybair.com
>
No virus found in this incoming message.
Checked by AVG.
Version: 7.5.524 / Virus Database: 270.5.10/1587 - Release Date: 8/2/2008
5:30 PM
No virus found in this outgoing message.
Checked by AVG.
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5:30 PM
May Luk on mon 4 aug 08
John Post;
What do you want to talk about? Graphs, grids, analyses, COE, LOI, eutectic=
, entropy, ISBN, flickr, facebook, my space? what do you have? I have a tho=
usand recipes hogged over the years that I have never tested. And I have =
=A3300 worth of glaze books. Let's trade! Let's TALK!=20
There is no ban. There are only a few insincere talkers looking for attenti=
on.=20
Clayart is only *open exchange* to those who actively write. There are plen=
ty lurkers who like to be quiet and not give out anything. And that's perfe=
ctly okay!
May
Kings County
I don't read Claytime or Ceramics Monthly
--- On Sun, 3/8/08, John Post wrote:
> From: John Post
> Subject: Re: Glaze Free Trade Society
> To: CLAYART@LSV.CERAMICS.ORG
> Date: Sunday, 3 August, 2008, 6:25 PM
> Ivor,
>=20
> Applying this logic it follows then that all glaze recipes
> from books
> should be left where they are instead of being discussed on
> this
> list. That seems to run counter to the point of an open
> exchange of
> ideas and learning here on clayart.
>=20
> John Post
> Sterling Heights, Michigan
>=20
> :: cone 6 glaze website :: http://www.johnpost.us
> :: elementary art website :: http://www.wemakeart.org
>=20
> >
> > Better to leave the recipes where they are. Better for
> genuine
> > students to buy the book, or encourage college
> libraries to stock
> > several volumes.
> > Best regards,
> > Ivor Lewis.
> > Redhill,
> > South Australia.
> >=0A=0A=0A _________________________________________________________=
_=0ANot happy with your email address?.=0AGet the one you really want - mil=
lions of new email addresses available now at Yahoo! http://uk.docs.yahoo.c=
om/ymail/new.html
Chuck T. Wagoner on mon 4 aug 08
I'll be glad to e-mail it to you offline since you say you already have the
book, no need to let the cat out of the bag as a mass post online.
CTW
Billie Creek Pottery
========================================================================
Subject: Re: Glaze Free Trade Society
Mary,
Do you have a Mastering Cone 6 Glossy Base? I left my book at home and
need to make it up here at the studio. Could you post the recipe?
Thanks,
John Britt
www.johnbrittpottery.com/wks.htm
Chuck T. Wagoner on mon 4 aug 08
Hi Jobn,
I agree with you, except without the sarcasm. The "magic" is not just the
recipes, but in knowing how to apply them, mix them, fire them and modify
them along with really understanding how the whole thing works to make safe
and consistent food safe ware, but since you already have the book you know
that. How often does a "free" glaze come with an extensive how to manual?
CTW in a hot Rockville, where there is no choice but to get out there and do
some yard work.
======================================================================
John said,
And their "magic recipes" are being published in magazines monthly. like
this one from Currie's Revealing Glazes:
May Luk on mon 4 aug 08
Hello John;
I fire to cone 8/9. I don't own Mastering Cone 6. (seriously!)
Here's a sure win base for a Currie Grid:
Fledspar: 58=20
Whiting: 15
Zinc : 5
Add a binch of Lithium if you want it more runny.
I also have a 4 corner blend chart ala Mike Bailey, or Ivor's 4 corner blen=
d chart if you want to design a base glaze tailored to your clay. Happy to =
share if Ivor doesn't mind.
If you want any glaze plot as graph, I can try to do it.
Regards
May
> Mary,
>=20
> Do you have a Mastering Cone 6 Glossy Base? I left my book
> at home and
> need to make it up here at the studio. Could you post the
> recipe?
>=20
> Thanks,
>=20
> John Britt
> www.johnbrittpottery.com/wks.htm=0A=0A=0A __________________________=
________________________________=0ANot happy with your email address?.=0AGe=
t the one you really want - millions of new email addresses available now a=
t Yahoo! http://uk.docs.yahoo.com/ymail/new.html
Ivor and Olive Lewis on mon 4 aug 08
Dear John Post ,
Your conclusion may be true but avoids accepting the context for the
creation of MC6G.
Perhaps you might consider the reasons for discussing any glaze on
Clayart.
Best regards,
Ivor Lewis.
Redhill,
South Australia.
gayle bair on mon 4 aug 08
I tire of this pissing match!
hello delete key!
Gayle Bair
Bainbridge Island WA
Tucson AZ
gayle@claybair.com
www.claybair.com
>
Ivor and Olive Lewis on mon 4 aug 08
Dear May Luk ,
If you are speaking of the 6x6 tile that incorporates four ingredients
at each location I have no objection to it being shared.
I really ought to write that work up for publication.
Best regards.
Ivor Lewis.
Redhill,
South Australia.
Chuck T. Wagoner on mon 4 aug 08
Here are some of Richard and Marj Peelers favorite Cone 9-10 glazes.
You would have to try them and test them yourself to see how they
work for you, but the Peelers used them for many years on their work.
Marj gave me Richard's glaze notebook and there are many others that he
shared with David Shaner, Otto and Vivika Heino and W. McKenzie in it. If
you are interested in Mrs. Peelers Egyptian Paste formulas let me know. She
wrote an article for Clay Times on the pesky paste, which was one of here
specialties, often making inlays of it into Richards pots.
Obviously they are very open ended and you would have to do the testing for
food safety as they are so many variables involved.
Richard Peelers Favorite Carbon Trap Cone 9-10 Glaze
...he attributes this to W. McKenzie
Neph Sy 50
Cusater Spar 14.6
OM4 16.6
Spodumene 12.6
EPK 2.9
Soda Ash 3.3
Peeler White Glaze Cone 10
Waxy White- Semi-Opaque
Feldspar 410
G. Borate 120
Talc 140
Flint 200
Dolomite 70
Ultrox 94
Opax 122
He lists this as one of his favorite Copper Reds. Cone 10
This one is attributed to Ed Littlefield
Soda Spar 530
CaCo 150
Talc 40
Zinc 50
Kaolin 60
Flint 170
Tin 10
Copper Ox 3
Sil Carbide 3
This is really the glaze you will see most on the Peelers functional work
and sculptures.
Peeler PM-5
Feldspar 1512
Dolomite 504
Whiting 84
Kaolin 700
He has a formula for Otto's Waxy Yellow Glaze which is so famous, but is has
so much Barium Carbonate in it I don't want to list it since some people
might not understand how dangerous that can be.
There are also quite a few copper reds formulas as did a lot of testing and
firing of reduction reds.
C.T. Wagoner
Rockville, In
John Britt Pottery on tue 5 aug 08
Ivor,
The best I can do for historical presidence is ths very good book:
"In 1556, Cipriano Piccolpasso, an amateur potter and resident of Castel
Durante wrote 'The Three Books of the Potter's Art, the first treatise on
pottery making published in Europe. In this early work, he details the
methods of preparing clay, forming pottery on the wheel, glaze preparatio=
n
and decorating, and firing procedures."
So sharing recipes has been around a long time.
Also, electric firing is about as simple of a firing cycle as you can get=
.
The only things you control are the cone, and speed of heating and
cooling. It doesn't take a book to describe that!
John Britt
www.johnbrittpottery.com
Ivor and Olive Lewis on tue 5 aug 08
Dear John Britt,
Perhaps you are right to tell me that my argument is troublesome since
glazes are shared and used with success daily, and have been for
thousands of years, though I wonder where the evidence is for the
historicity of you time line.
This general claim for the public nature of all recipes omits to
account for the intellectual engagement that is necessary if they are
to be used appropriately.
This argument for free distribution is similar to other cases where
graphic or descriptive information is appropriated without reference
to knowledge, theory or philosophy.
Consider the case of Phase Equilibrium Diagrams and their use by
ceramic artists. They are used in an attempt to explain melting of
raw materials. Data illustrated in these diagrams is used without
explanation for the conclusions which are drawn. There use in popular
text books leads to erroneous thinking and misunderstanding. Without
background knowledge that comes from reading supporting texts and
commentaries we may be disappointed when the results of their use do
not meet our expectations.
I think that is true for the recipes that are freely distributed.
Without the supporting commentary a recipe is just a list of
quantities of ingredients. Look at your example, that is all you give.
It tells me nothing that would pursued me to change from what I am
currently using. John and Ron have a philosophy, a mission, to tell us
how to improve durability, fitness and aesthetic quality. Their book
enables readers to do that.
Good to have your opinions.
Best regards,
Ivor Lewis.
Redhill,
South Australia.
Bill Merrill on tue 5 aug 08
Chuck,
=20
I have in my notes from over 40 years ago the glaze you call Otto's
Swedish mat glaze. It is the exact same glaze to the percentage of the
materials. The name I have on the glaze is Hamada mat(Swedish) behind
it. I wonder who formulated the original I have in my notes. It is
probably Carlton Ball,
the glaze as he had it listed as Gmat3.
=20
There are many beautiful glazes that need barium in them to accommodate
certain colors. If one chooses to use barium, It is obvious that you
have to be careful with barium. I don't use barium on functional pots,
but I do use barium. Beginning potters will benefit from taking a
"glaze" class from someone who knows their stuff. I was given a glaze
from Dennis Meiners years ago. It is a great glaze that I have not had
success with. The glaze is Called "Arabia". It has 32% barium in it.
I've tested it over the years, but it never came out as well as when
Dennis used it on textural forms.=20
=20
I just ran across some letters and post cards from Dave Shaner. We
traded a glaze and the one I sent him didn't work the same for him as it
did me. Beginning potters are many times wanting "Fast Food'"
results...Dave said in the post card..." Didn't have much luck with the
Spodumene/Albany, but that's OK...kilns, clays potters make a
difference". ("77)
=20
"Just back from Supermud. 2000 potters there. Went well, but probably
my last workshop. The ceramic world has left me behind to just work and
make pots"
Dave Shaner...from a post card to Bill Merrill Nov. 11, 1977 =20
=20
I think of his pots and his life every day. He was so productive and
positive with his clay, garden, family. I hope everyone has such a
productive and long life!
=20
=20
Bill=20
=20
=20
=20
=20
-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Des & Jan
Howard
Sent: Tuesday, August 05, 2008 4:37 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Glaze Free Trade Society
=20
Chuck
This the one?
=20
Clayart
Wagoner, Charles on tue 24 sep 02
Otto's Swedish Mat (Waxy Yellow) Cone 10 (Barium Toxic!)
Needs a lot of reduction
Feldspar 520
Whiting 90
Zinc Oxide 80
Barium Carb 210
Ball Clay 100
Flint 30
Rutile 20
Red Iron 42
=20
Love that Google!
I'll be careful, promise.
Des
=20
=20
Chuck T. Wagoner wrote:
> He has a formula for Otto's Waxy Yellow Glaze which is so famous, but
is has
> so much Barium Carbonate in it I don't want to list it since some
people
> might not understand how dangerous that can be.
=20
=20
--
Des & Jan Howard
Lue Pottery
Lue NSW
Australia
2850
=20
02 6373 6419
Jeff Gieringer on wed 6 aug 08
I know. The poor ol' horse, he's been dead for awhile now.
Jeff
--- In clayart@yahoogroups.com, gayle bair wrote:
>
> I tire of this pissing match!
> hello delete key!
>
> Gayle Bair
> Bainbridge Island WA
> Tucson AZ
> gayle@...
> www.claybair.com
Des & Jan Howard on wed 6 aug 08
Chuck
This the one?
Clayart
Wagoner, Charles on tue 24 sep 02
Otto's Swedish Mat (Waxy Yellow) Cone 10 (Barium Toxic!)
Needs a lot of reduction
Feldspar 520
Whiting 90
Zinc Oxide 80
Barium Carb 210
Ball Clay 100
Flint 30
Rutile 20
Red Iron 42
Love that Google!
I'll be careful, promise.
Des
Chuck T. Wagoner wrote:
> He has a formula for Otto's Waxy Yellow Glaze which is so famous, but is has
> so much Barium Carbonate in it I don't want to list it since some people
> might not understand how dangerous that can be.
--
Des & Jan Howard
Lue Pottery
Lue NSW
Australia
2850
02 6373 6419
James F on wed 6 aug 08
Des...
The UMF for this glaze is nearly identical to Alfred Yellow=2C aka Woo Yell=
ow. Only material difference seems to be zinc as a secondary flux in place=
of the magnesium (and a pinch of the Ba). One of the glaze guys would kno=
w better=2C but it looks like one is a derivative or close cousin of the ot=
her.
Anyone have an idea why it would need "a lot of reduction"? Alfred/Woo Yel=
low works just fine in any atmosphere.
Otto's Swedish Matte:
Estimated Thermal Expansion =3D 9.22x10-6 /deg. C
Unity Formula for 10:
0.152 K2O 0.301 Al2O3 1.921 SiO2=20
0.067 Na2O 0.002 Fe2O3 0.004 TiO2=20
0.244 CaO 6.4:1 Si:Al Ratio
0.003 MgO=20
0.278 BaO=20
0.257 ZnO=20
Alfred Yellow (Woo Yellow):
Estimated Thermal Expansion =3D 8.39x10-6 /deg. C
Unity Formula for 9 - 10:
0.054 K2O 0.279 Al2O3 1.964 SiO2=20
0.107 Na2O 0.001 Fe2O3 0.001 TiO2=20
0.244 CaO 0.000 P2O5 0.257 ZrO2=20
0.196 MgO 7.0:1 Si:Al Ratio
0.399 BaO=20
For whatever it's worth.
...James
> Date: Wed=2C 6 Aug 2008 09:37:09 +1000
> From: djhoward@HWY.COM.AU
> Subject: Re: Glaze Free Trade Society
> To: CLAYART@LSV.CERAMICS.ORG
>=20
> Chuck
> This the one?
>=20
> Clayart
> Wagoner=2C Charles on tue 24 sep 02
> Otto's Swedish Mat (Waxy Yellow) Cone 10 (Barium Toxic!)
> Needs a lot of reduction
> Feldspar 520
> Whiting 90
> Zinc Oxide 80
> Barium Carb 210
> Ball Clay 100
> Flint 30
> Rutile 20
> Red Iron 42
>=20
> Love that Google!
> I'll be careful=2C promise.
> Des
>=20
>=20
> Chuck T. Wagoner wrote:
> > He has a formula for Otto's Waxy Yellow Glaze which is so famous=2C but=
is has
> > so much Barium Carbonate in it I don't want to list it since some peopl=
e
> > might not understand how dangerous that can be.
>=20
>=20
> --
> Des & Jan Howard
> Lue Pottery
> Lue NSW
> Australia
> 2850
>=20
> 02 6373 6419
_________________________________________________________________
Get Windows Live and get whatever you need=2C wherever you are. Start here=
.
http://www.windowslive.com/default.html?ocid=3DTXT_TAGLM_WL_Home_082008=
Randall Moody on thu 7 aug 08
I am wondering. Wouldn't it be the author of the book's duty to show
that the recipe has never been used before he/she printed it? I can
understand the problem with directly referencing the glaze such as
"here is a glaze from The Big Book of Glazes" but if the glaze or a
very close likeness has been around before the book how can the author
lay claim to it or scold others for giving out the formula? Also, if I
change the glaze found in the book by say... increasing the silica 1%,
is it now "my" glaze? How do cook books survive? After all a recipe
for flan is pretty much the same across the board.
mmmmm... fllllaaaaan.
--
Randall in Atlanta
William & Susan Schran User on thu 7 aug 08
On 8/5/08 10:15 PM, "John Britt Pottery"
wrote:
> Also, electric firing is about as simple of a firing cycle as you can get.
> The only things you control are the cone, and speed of heating and
> cooling. It doesn't take a book to describe that!
And I suspect many folks would stick a cone in the Kilnsitter, turn up the
controls according to the kiln manufacturer's recommendation and when the
glaze didn't work, blame the kiln.
Ron & John's book explains the whys of the process and really brought out,
tying it together with the rest of it, the importance of slow cooling.
They certainly weren't the first to write about the notion of slow cooling,
but they certainly helped a large group of folks working with mid-range
stoneware glazes understand the glazes/firing process better, but clearly
describe the methodology.
Bill
--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com
Chuck T. Wagoner on thu 7 aug 08
Hi Bill,
How wonderful, you are so lucky to have known such a neat man and potter
personally.
Richard used to tell me that same kind of thing, "What works for one person
may not work for another." So many variables involved in mixing, applying
and firing glazes. Adds another facet to the ongoing discussion.
Thanks for adding such a positive note to this thread,
Chuck Wagoner
Rockville, IN
===========================================================================
I just ran across some letters and post cards from Dave Shaner. We
traded a glaze and the one I sent him didn't work the same for him as it
did me. Beginning potters are many times wanting "Fast Food'"
results...Dave said in the post card..." Didn't have much luck with the
Spodumene/Albany, but that's OK...kilns, clays potters make a
difference". ("77)
"Just back from Supermud. 2000 potters there. Went well, but probably
my last workshop. The ceramic world has left me behind to just work and
make pots"
Dave Shaner...from a post card to Bill Merrill Nov. 11, 1977
I think of his pots and his life every day. He was so productive and
positive with his clay, garden, family. I hope everyone has such a
productive and long life!
Bill
Neon-Cat on thu 7 aug 08
John, and all,
Here's another example of historical precedence (potters sharing knowledge
and techniques) -
In about 1301 a technical treatise on various crafts, including pottery, was
written at the Il Khanid capital of Tabriz by Abu 'l- Qasim, a member of an
illustrious potting family from Kashan who produced Kashan Lustre-painted
tiles and vessels. The treatise provides information on clay bodies,
glazes, and firing techniques.
See:
"Shine Like the Sun: Lustre-painted and Associated Pottery from the Medieval
Middle East" by R. B. Mason
http://rbmason.ca/Shine/shine1.html
(a most interesting electronic book by an expert in ceramic petrology. It
covers Iraq c. 700-975, Egypt c. 975-1175, Syria c. 1075-1250, and Iran c.
1100-1340)
Marian
Neon-Cat Ceramics
http://neon-cat.com/neon-cat_ceramics
Karin Givon on thu 7 aug 08
Thank you Bill, for sharing this. Shaner is one of my (our) potter-
heroes, and it is SO sweet to hear him remembered-- the comments he
made, the philosophy he lived. Your post made my day!
Thanks again-
Karin
gayle bair on thu 7 aug 08
Well Randall....
I suggest that then second Flan recipe and all those that followed
should then be called Flim Flan!
I make my own slip so I label it Gayle's slip and since I don't
usually weigh
the ingredients at any time I imagine Gayle's slip could be someone
else's name slip!
Such a conundrum.
Gayle Bair - being goofy just before my last 3 day show of the summer.
Bainbridge Island WA
Tucson AZ
gayle@claybair.com
www.claybair.com
On Aug 7, 2008, at 8:50 AM, Randall Moody wrote:
> I am wondering. Wouldn't it be the author of the book's duty to show
> that the recipe has never been used before he/she printed it? I can
> understand the problem with directly referencing the glaze such as
> "here is a glaze from The Big Book of Glazes" but if the glaze or a
> very close likeness has been around before the book how can the author
> lay claim to it or scold others for giving out the formula? Also, if I
> change the glaze found in the book by say... increasing the silica 1%,
> is it now "my" glaze? How do cook books survive? After all a recipe
> for flan is pretty much the same across the board.
>
> mmmmm... fllllaaaaan.
>
>
> --
> Randall in Atlanta
Ivor and Olive Lewis on fri 8 aug 08
Dear John Britt
"In 1556, Cipriano Piccolpasso, an amateur potter and resident of
Castel
Durante wrote 'The Three Books of the Potter's Art, "
Yes, I have had a copy of the original British Museum translation in
my eager hands. Have you read Alan Caiger Smith's modern version ?
Master Cipriano revealed nothing to me about the nature of Salt
Glazing, the topic I was studying at the time in preparation for the
'88 conference in Sydney.
But I did get satisfaction from Master Glauber who, in the early
1600's attempted to obtain "Spirits of Salt" from Common Salt by
throwing it onto live coals and collecting the fumes in water. He was
unsuccessful. Most of the salt just fell through the grate before it
melted and so released none of its "Spirits". His solution to this
dilemma helped me solve the puzzle of the Chemistry of Salt Glazing.
The history of Gold lustre was a jealously guarded secret for many
years and, despite the recipes for Moorish Lustre that float around
and the explanations that are given to explain its creation, our
understanding is still very primitive and in some details, erroneous.
Best regards,
Ivor Lewis.
Redhill,
South Australia.
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