mel jacobson on wed 28 apr 10
there is a very important part of all glaze, glazing effect, finish.
it is almost always mis-understood by young potters.
WHAT CLAY ARE YOU USING? WHAT COLOR IS IT?
WHITE, GRAY, RED? smooth or rough, grog or sand?
it takes many years to match a glaze to a clay body.
it takes many tries and effort.
for example:
rhodes 32/mel's variety.
it must have a dark iron bearing body to make it sing.
it is just a blah whitish glaze over most gray bodies.
many glazes are made to show slips and engobes as they
burn through the glaze. rhodes 32 was made by dave shaner to do
just that.
i use colored rhodes 32 under a base glaze.
it works for me.
so, often, if i use my clay body with shino, i will wash a white
porcelain slip inside the bowl. works well for shino, if i want that
nice white to orange.
it just makes sense.
if i am using copper red/pete's cranberry, i wash a porcelain slip inside
big platters. it never goes liver color. it needs that white almost like
a canvas base clay color.
this can go on and on...but, it is mostly mis-understood. people buy ready
made clay, read a cone 6 recipe and expect it to be just right.
`glazes do not travel well`. an old potters saying..and it is still true.
lily can give you about twenty pages about this, and she will be dead on.
john britt knows this well, and can explain it.
ronjohn get most of their calls and complaints because of this fact.
every clay body out there, will affect a glaze recipe differently.
fact of life.
then fire in wood, salt, mid range gas, and all the rules change again.
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
Eric Hansen on thu 29 apr 10
Mel: Sounds like a good argument for mixing your own clay!! ; )
h a n s e n
On Wed, Apr 28, 2010 at 6:57 PM, mel jacobson wrote:
> there is a very important part of all glaze, glazing effect, finish.
>
> it is almost always mis-understood by young potters.
>
> WHAT CLAY ARE YOU USING? WHAT COLOR IS IT?
> WHITE, GRAY, RED? smooth or rough, grog or sand?
>
> it takes many years to match a glaze to a clay body.
> it takes many tries and effort.
>
> for example:
> rhodes 32/mel's variety.
>
> it must have a dark iron bearing body to make it sing.
> it is just a blah whitish glaze over most gray bodies.
>
> many glazes are made to show slips and engobes as they
> burn through the glaze. rhodes 32 was made by dave shaner to do
> just that.
>
> i use colored rhodes 32 under a base glaze.
> it works for me.
>
> so, often, if i use my clay body with shino, i will wash a white
> porcelain slip inside the bowl. works well for shino, if i want that
> nice white to orange.
> it just makes sense.
>
> if i am using copper red/pete's cranberry, i wash a porcelain slip inside
> big platters. it never goes liver color. it needs that white almost lik=
e
> a canvas base clay color.
>
> this can go on and on...but, it is mostly mis-understood. people buy rea=
dy
> made clay, read a cone 6 recipe and expect it to be just right.
> `glazes do not travel well`. an old potters saying..and it is still true=
.
> lily can give you about twenty pages about this, and she will be dead on.
> john britt knows this well, and can explain it.
> ronjohn get most of their calls and complaints because of this fact.
> every clay body out there, will affect a glaze recipe differently.
> fact of life.
> then fire in wood, salt, mid range gas, and all the rules change again.
> 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
>
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