Mitch Iburg on tue 20 apr 10
I was wondering if anybody has any information on glazes and slips for co=
=3D
ne
1 reduction. I fire in a residual salt kiln - not hot enough to get the
familiar salt glaze effects, but hot enough to get some reaction from sal=
=3D
t
and soda ash. I'm looking for glazes in the cone 1 reduction range which =
=3D
I
might be able to use as a starting point. Right now I'm just completely i=
=3D
n
the dark.=3D20
I'm looking for glazes which have similar qualities to high fire blue-gre=
=3D
en
celadons, tenmokus, shinos, and the like. Any help would be greatly
appreciated!=3D20
thanks
Mitch Iburg
Stephani Stephenson on fri 23 apr 10
Mitch=3D20
in addition to examining fluxes which will contribute to glaze melting a=
=3D
t
cone 1
I think one important thing you could do would be to consider and
experiment with the=3D20
claybody .=3D20
Claybody makes a world of difference
Perhaps one which matures at a lower temperature,
having body fluxes which are in the process of melting at cone 1,
will interact more dynamically with the glaze as well as the sodium vap=
=3D
or
in the kiln.
ivor & olive lewis on fri 23 apr 10
Mitch Iburg,
You ask <blue-green celadons, tenmokus, shinos, and the like. >>
Quite a task you have set yourself, selecting some of the classical glazes
and hoping to imitate them well below their usual maturity levels, as well
as hoping to get additional aesthetic mileage through a light fuming with
residual salt and soda from a contaminated kiln.
You may be on your own here so the best thing I can suggest is you trawl
through the major recipe books for descriptions in the temperature range yo=
u
intend using that would match your creative wish list. James Chappell, "The
Potter's Complete Book of Clay and Glazes" pp 253-262 would give you a
start. A second collection would be both books of Emmanuel Cooper, "The
Potter's Book of Glaze Recopies" and Vol 2. Look in the upper earthenware
section. Janet DeBoos has compiled at least one, possibly two collections
under the banner, "Glazes for Australian Potters"
A quick fix solution for which there are guarantees would be to take a
typical example from your list and do a line blend with a standard Frit to
reduce the maturing temperature of the original glaze, then fire to your
selected maturity
temperature.
Regards,
Ivor Lewis,
Redhill,
South Australia
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