Hank Murrow on sat 27 nov 10
On Nov 27, 2010, at 4:33 PM, Patty wrote:
> Reminds me of a classmates snide remark, "all these glazes are from =3D
the
> 60's, why don't we get new ones?" To which the instructor replied, =3D
"yes,
> the 1660's."
Reminds me of when McKenzie, loving the fat whitish quality of Japanese =3D
Shinos from the Momoyama era(mid-1500's to 1600), suggested that his =3D
students try to come up with something like that. They missed by a mile =3D
or twenty, but what came out of it was American Shino and a renewed =3D
interest in soda ash in glazes. Too bad that this has not yet continued =3D
beyond soda ash to other soluble materials.
Cheers, Hank
http://www.murrow.biz/hank=3D
mel jacobson on sat 27 nov 10
here is a standard starting point that i give
to folks just beginning. (when they ask my advice, but
most think it too hard to do...yet it is the easiest.)
use one glaze...simple white.
the temp does not matter, who knows your kiln...elec. gas, wood.
ask around for a base glaze...or ask us here on clayart...let us know
you want to make just white. decide the exact cone.
but start with one.
make it white, add ziropax or tin.
just make white pots for a year.
forget surface and color.
make white pots.
think of form...
then add a second glaze, made from the white base glaze.
add iron ox. make it brown.
then for a year, make just white and brown pots.
white under, white over, white thick, white thin.
brown over, brown under, brown thick, brown thin.
learn all the variations that you can with those two glazes.
sell all the pots. have a studio sale...let them go for 10/15 bucks each.
start a mailing list.
then add a new glaze..maybe lite blue.
you could spend the rest of your life working with these three
glazes and never learn all there is to learn about them.
and the funny thing is: folks will come to your studio looking for
white pots, or those brown and white pots. want to buy more.
and the pots will be yours, all yours.
sort of like a 60's rock band, we only want to hear songs written
from 1960-65. screw the new stuff.
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
alternate: melpots7575@gmail.com
Paul Lewing on sat 27 nov 10
On Nov 27, 2010, at 9:16 AM, mel jacobson wrote:
you could spend the rest of your life working with these three
glazes and never learn all there is to learn about them.
You could, and I agree it's a good starting point. But what fun is
that?
Paul Lewing
www.paullewingtile.com
www.paullewingart.com
Lee Love on sat 27 nov 10
My recommendation for a first glaze would be a clay/ash lineblend.
Do it with both synthetic wood ash as a control and natural ash.
If you ad a slip glaze to go under it, the variations are unlimited.
I like classic glazes too. Ones from 150 to 900 years old.
--
=3DA0Lee, a Mashiko potter in Minneapolis
http://mingeisota.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
Stephani Stephenson on sat 27 nov 10
the best painting teacher I ever had was an artist by the name of Don Gra=
=3D
y,
who lived in NE Oregon. in his watercolor class he took a similar approac=
=3D
h.
he had us work only with monochromatic washes for a while. paint a scene =
=3D
and
use only sepia ,or burnt umber, or paynes gray. But no color mixing at a=
=3D
ll
was allowed just get a sense of the values: the light and the dark and=
=3D
the space in between. learn to handle the medium that way.=3D20
after a while we went to 2 color washes, and eventually he introduced
painting with primaries.
I had taken Watercolor before but was overwhelmed with all of the colors.=
=3D
=3D20
it stymied me in my approach to the medium and also in my approach to usi=
=3D
ng
color. my work tended to look like the candy store with every variety of =
=3D
candy.
form tends to be my strong suit so=3D20
i truly loved Gray's approach, by the time we hit color we were ready for=
=3D
it.
i still like to paint that way.
Stephani Stephenson
Patty on sat 27 nov 10
Reminds me of a classmates snide remark, "all these glazes are from the
60's, why don't we get new ones?" To which the instructor replied, "yes,
the 1660's."
Patty Kaliher
David Woof on sun 28 nov 10
Hi Hank=3D2C =3D20
I've occasionaly used an Oestreich fat white shino that Jeff gets credit fo=
=3D
r from that era. For me over the years in wood fire it has gone from beef =
=3D
back fat white to white with orange flashes and at times a bit of carbon fl=
=3D
ash. At cone 12 and above it comes out with softened sealed craters where =
=3D
the pin holes were. Nice contrasted visual texture=3D2C no ugly pits or hol=
es=3D
. It may have missed the Japanese white Warren wanted to see but it is nic=
=3D
e. I've never tried it in a sagger or oxidised it. Hummmn! Sometimes it=
=3D
s productive to focus on where things aren't rather than where they are. =
=3D
Like your suggestion toward other soluable materials.....a glaze assignment=
=3D
perhaps???
Misneach=3D2C
David Woof
=3D20
________________________________________________________________________
2a. Re: making your own glaze/starting point
Posted by: "Hank Murrow" hmurrow@EFN.ORG=3D20
Date: Sun Nov 28=3D2C 2010 6:10 am ((PST))
=3D20
On Nov 27=3D2C 2010=3D2C at 4:33 PM=3D2C Patty wrote:
=3D20
> Reminds me of a classmates snide remark=3D2C "all these glazes are from t=
he
> 60's=3D2C why don't we get new ones?" To which the instructor replied=3D2=
C "y=3D
es=3D2C
> the 1660's."
=3D20
Reminds me of when McKenzie=3D2C loving the fat whitish quality of Japanese=
S=3D
hinos from the Momoyama era(mid-1500's to 1600)=3D2C suggested that his stu=
de=3D
nts try to come up with something like that. They missed by a mile or twent=
=3D
y=3D2C but what came out of it was American Shino and a renewed interest in=
s=3D
oda ash in glazes. Too bad that this has not yet continued beyond soda ash =
=3D
to other soluble materials.
=3D20
Cheers=3D2C Hank
http://www.murrow.biz/hank
=3D20
=3D20
=3D
ivor and olive lewis on mon 29 nov 10
Dear Hank Murrow,
You ask <American Shino and a renewed interest in soda ash in glazes. Too bad that
this has not yet continued beyond soda ash to other soluble materials.>>
I would suggest this has been done, repeatedly in several centres of
learning. But the results have never been reported.
At Sunderland College of Art and Sunderland Teachers Training College, Art
Lecturers of both were known to give their students a Research Brief. Searc=
h
the supermarket shelves for products that may have potential as glaze
ingredients. One demonstrator at the 1983 Australian Ceramics Conference wa=
s
decorating with Soy Sauce.
I would suggest Cream of Tartar would be a good starting point. Potters in
wine growing regions would have a reliable source.
Regards,
Ivor Lewis,
REDHILL,
South Australia
Lee Love on mon 29 nov 10
Many American shino type glazes are closer to the mark
that what is the fad in Japan currently with cottage cheese, gloopy
shinos.. The original shinos were only made for about 60 years.
They were reinvented in the last century in and outside of Japan.
Experimentation continues. You just have to look around.
--
=3DA0Lee, a Mashiko potter in Minneapolis
http://mingeisota.blogspot.com/
=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi
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