Suchman ceramics on fri 1 aug 08
*Shouldn't I be able to reduce the melting temp of a ^10 shino to a ^6
shino by just adding what would amount to be a bit more soda ash? Maybe
line blend it. Seeing how it's such a strong flux and an integral part of a
shino glaze.*
thanks,
ericinoceanside
June MacDonald on sat 2 aug 08
Hi:=A0 Depending on your recipe, you may be able to use your shino glaze as=
is for Cone 6.=A0 Shino starts melting really early which is why it is abl=
e to accept carbon trapping.=A0 I found that "Malcolm Davis" shino worked w=
ell at Cone 6 reduction with no changes to the recipe at all.=A0 Start redu=
ction early with shinos.
=A0
June
--- On Fri, 8/1/08, Suchman ceramics wrote:
From: Suchman ceramics
Subject: ^10 - ^6 shino
To: CLAYART@LSV.CERAMICS.ORG
Received: Friday, August 1, 2008, 11:17 PM
*Shouldn't I be able to reduce the melting temp of a ^10 shino to a ^6
shino by just adding what would amount to be a bit more soda ash? Maybe
line blend it. Seeing how it's such a strong flux and an integral part of a
shino glaze.*
thanks,
ericinoceanside
=0A=0A=0A ____________________________________________________________=
______=0AYahoo! Canada Toolbar: Search from anywhere on the web, and bookma=
rk your favourite sites. Download it now at=0Ahttp://ca.toolbar.yahoo.com.
Lee Love on sat 2 aug 08
In Mashiko now.
If you look in archives, I posted Craig Edwards cone 6 shino. It
G.Borate in it.
--
Lee Love in Minneapolis
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi
Ron Roy on wed 6 aug 08
Hi Eric,
Or - reduce the refractories - like alumina - it would be important to
maintaine the alumina/silica ratio.
Maybe do both - too much soda may not give the colour you want.
RR
>*Shouldn't I be able to reduce the melting temp of a ^10 shino to a ^6
>shino by just adding what would amount to be a bit more soda ash? Maybe
>line blend it. Seeing how it's such a strong flux and an integral part of a
>shino glaze.*
>
>thanks,
>
>ericinoceanside
Ron Roy
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
John Britt Pottery on wed 6 aug 08
Eric,
The trouble with shinos at cone 6 is they are generally made of clay and
feldspar. And carbon trap adds soda ash. So reducing the alumina and
silica is difficult without substantially changing the nature of the
glaze.
Not that it cannot be done, but the usual method is to use the lowest
melting feldspar [Nepheline Syenite (feldspathoid)]. You can also add
color with redart or other high iron clays.
Remember that shinos really don't come close to UMF limits and the soda
ash is really sitting as a veneer on the surface rather than an integral
part of the melt.
This is a nice shino for cone 6 reduction from Mud Fire Studios in Atlant=
a:
CHERRY BLOSSOM SHINO Cone 6
Nepheline Syenite 40.00
Spodumene 40.00
EPK Kaolin 10.00
Soda Ash 10.00
Hope it helps,
Thanks,
John Britt
www.johnbrittpottery.com/wks.htm
http://ncclayclub.blogspot.com/
Des & Jan Howard on wed 6 aug 08
Ron
The two most important characteristics of a 'real' shino are a high soda
& a high alumina content. Remove or overly diminish either, no shino.
Des
Ron Roy wrote:
> Or - reduce the refractories - like alumina - it would be important to
> maintaine the alumina/silica ratio.
>
> Maybe do both - too much soda may not give the colour you want.
--
Des & Jan Howard
Lue Pottery
Lue NSW
Australia
2850
02 6373 6419
patsgreenpots on wed 6 aug 08
Thats how I started to get my ^6 shino I still needed to tweak the
flux alittle. But you always have to be careful with soda ash it can
boil right out on you in heavy reduction. I actually adjusted the soda
ash very very little and adjusted some of the other fluxes more. the
reason I didn't mess with soda ash much is because sodium bicarbonate
is water soluble. It hangs on to the water till it evaporates on the
surface leaving those pretty little sodium crystals, that in turn
affect the carbon trapping, too many crystals means too much carbon,
and you will over flux the area and get boilly pits in your
glaze...Which has happen more than once to yours truly. This is also
why you don't decant shinos and why shinos get real crusty if their
lid is left loose.
My best results happen when I load pots that still have some moisture
in them and start them warming. I believe the heat forces the crystals
to form quicker and more in clusters and less 'all over' so you end up
with very defined carbon and non carbon areas. You could more than
likely do this with a drying cabinet. well there is my 2 cents.
--Patrick Andrew Green
--- In clayart@yahoogroups.com, Ron Roy wrote:
>
> Hi Eric,
>
> Or - reduce the refractories - like alumina - it would be important to
> maintaine the alumina/silica ratio.
>
> Maybe do both - too much soda may not give the colour you want.
>
> RR
>
>
> >*Shouldn't I be able to reduce the melting temp of a ^10 shino to a ^6
> >shino by just adding what would amount to be a bit more soda ash?
Maybe
> >line blend it. Seeing how it's such a strong flux and an integral
part of a
> >shino glaze.*
> >
> >thanks,
> >
> >ericinoceanside
>
> Ron Roy
> 15084 Little Lake Road
> Brighton, Ontario
> Canada
> K0K 1H0
>
Lee Love on thu 7 aug 08
Kelly, this is an example of a discussion beginners should not be shielded from.
--
Lee Love in Minneapolis
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi
Lee Love on thu 7 aug 08
On 8/6/08, Des & Jan Howard wrote:
> Ron
> The two most important characteristics of a 'real' shino are a high soda
> & a high alumina content. Remove or overly diminish either, no shino.
> Des
The alumina is important, but you can achieve shinos with relatively
average soda. Look at Hiratsu analysis below. Traditional shinos
were made of Hiratsu feldspar and a little clay.
Hiratsu Feldspar
Mol. Weight: 670.67
Category Feldspar Fill Oxides KNO
Molecular Analysis:
K20 0.462 Al2O3 1.220 SiO2 7.745
Na2O 0.498 Fe2O3 0.004 TiO2 0.002
CaO 0.033 P2O5 0.001 MnO2 0.008
MgO 0.007
Top
Percentage Analysis
69.36 % SiO2
18.54 % Al2O3
6.49 % K2O
4.60 % Na2O
0.04 % MgO
0.28 % CaO
0.01 % P2O5
0.10 % Fe2O3
0.10 % MnO
0.02 % TiO2
0.45 % L.O.I.
--
Lee Love in Minneapolis
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/
"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi
Ingeborg Foco on fri 8 aug 08
> "I was talking about 'real' shinos, not, 'traditional' shinos.
> Oh, by the way, don't leave any glazed unfired pots lurking about. The
> recrystallising salt tends to spall the pot to destruction."
> Des
>
> Hi Des,
You sound like a real shino expert. I wonder if you have a clue as to what
causes a shino glaze to turn white (when before it was mostly orange). I
had a glaze that came out a beautiful orange and generally shiny. If I
applied it too thick, it would turn white on parts of the pot. The white
would be a glossy white which was sort of a nice accent especially on the
rim of a cup or bowl. Now, all of a sudden, no matter how thick I apply the
glaze, it turns white, pasty white at that. I know that shino afficionados
like pasty crawly white but unfortunately it does NOT sell at all in this
part of the country and I usually have to hammer the pieces.
The worst part is that when I take a special order in that glaze, I have to
make a bunch more and toss the rest. It is to the point where I am thinking
of doing away with it completely since it is such a headache for me. You
can see a teapot on my website which is nice white and orange. I also have
a platter on the main gallery page (left side top) that is orange and
white. None of my materials have changed. I have mixed new batches and
found it made no difference.
The glaze is
B's Shino ^10 Reduction
Potash Spar 30.00
Soda Ash 7.00
OM4 Ball Clay 25.00
EPK 5.00
Neph Sy 8.00
Spudumene 25.00
I fire to ^10 - 10 1/2 in a reduction atmosphere.
Appreciate any input.
--
Sincerely,
Ingeborg
www.thepottersworkshop.com
Des & Jan Howard on fri 8 aug 08
Lee
Ah! There you go.
I was talking about 'real' shinos, not, 'traditional' shinos.
soda feldspar 76.47
clay ceram (local plastic kaolin) 14.71
alumina 8.82
sodium chloride 15
soda feldspar 76.47
clay ceram (local plastic kaolin) 14.71
alumina 8.82
sodium chloride 3
Glaze over a low-ish to low iron body.
Both glazes watery.
Add PVA woodworking glue to glaze.
Machine stir to big froth.
Dip pot, drool froth.
Fire to Cone 11-12, reduction to taste, medium is OK.
Refire in electric kiln, long soak at 1040C. Sweet!
The 'traditional' melting ice & snow over clay & earth so beloved by
many are nice.
But, my faves are like our Oz outback, red rock & sand, heat shimmer,
roiling/boiling sun pics. They have been called shin'ey'os, I can live
with that.
The white one is pre-refire.
Oh, by the way, don't leave any glazed unfired pots lurking about. The
recrystallising salt tends to spall the pot to destruction.
Des
Lee Love wrote:
> The alumina is important, but you can achieve shinos with relatively
> average soda. Look at Hiratsu analysis below. Traditional shinos
> were made of Hiratsu feldspar and a little clay.
--
Des & Jan Howard
Lue Pottery
Lue NSW
Australia
2850
02 6373 6419
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