Michael Flaherty on wed 16 feb 11
Does anyone know who the John and Deb are in the famous John's Blue and=3D2=
0=3D
Deb's Clear glazes? I've seen these glazes in use in numerous studios, a=
=3D
s well=3D20
as in many places on the internet, but I've never known who actually crea=
=3D
ted=3D20
them or why they are so named. This is piquing my curiosity lately as I =
=3D
have=3D20
been trying to explain glazes to my students in terms other than purely=3D2=
0=3D
aesthetic, and I think that some background on where these glazes come fr=
=3D
om=3D20
and why they are so pervasive in studio ceramics would be really interest=
=3D
ing.
Thanks in advance.
Mike
Marcia Selsor on wed 16 feb 11
In our studio at Montana State University in Billings, Mt. when I had =3D
studio work on glazes, and if we liked one well enough for class use, =3D
we'd name it after the student.
Maybe that is how these originated...students.
Marcia
Marcia Selsor
http://www.marciaselsor.com
Steve Slatin on wed 16 feb 11
The naming issue can be quite difficult to unravel.
I recently tried to run back a glaze a studio partner
uses often that she had marked "Winokur." She had no
notes on why it was called that.
I searched Winokur potters and found one who looked
likely -- had some very similar appearing work --
and queried Christine Winokur if it was hers. She
didn't recognize the recipe, and suggested that it
might be Paula Winokur's, but she does mostly white
and this is a tan-to-orange glaze, depending on the
clay. And I couldn't find anything from Robert
Winokur that looked at all familiar.
Added to the difficulty of even finding the originator
of a glaze is that recipes often change ever so
slightly as they are passed on. A recipe might
start with Custer Feldspar as a major ingredient,
then someone made a batch with a 1:1 sub of G-200.
Then the recipe for G-200 changed, but the glaze
still 'worked' and it got passed on again. The
next user has a bag of Kingman and subs back but
it doesn't work right now, so he adjusts the
silica or whatever, and it works again and gets
passed on one more time. Then someone rather
than 'quoting' the recipe breaks out (or adds in)
the colorants and suspension agents, getting new
percentages.
I like to give attributions with my glazes, and
often it's not possible because of these many
changes.
Steve Slatin --
--- On Wed, 2/16/11, Marcia Selsor wrote:
> In our studio at Montana State
> University in Billings, Mt. when I had studio work on
> glazes, and if we liked one well enough for class use, we'd
> name it after the student.
> Maybe that is how these originated...students.
>
> Marcia
>
> Marcia Selsor
> http://www.marciaselsor.com
>
Marcia Selsor on wed 16 feb 11
Paula And Robert Winokur were potters before they began teaching =3D
careers. Paula was my teacher in Phila. and taught throwing where Bill =3D
Daley did all handbuilding.
She now does white porcelain sculpture but 40 years ago she made very =3D
fine pots. I'dsay that glaze is probably the Winokur's Robert and Paula.
Bob taught at Tyler School of Art along side Rudy Staffel.
They are still in the Philadelphia. I saw their show during NCECA. And =3D
visited with them at their reception.
Marcia
On Feb 16, 2011, at 11:06 AM, Steve Slatin wrote:
> The naming issue can be quite difficult to unravel.
> I recently tried to run back a glaze a studio partner
> uses often that she had marked "Winokur." She had no
> notes on why it was called that. =3D20
>=3D20
> I searched Winokur potters and found one who looked
> likely -- had some very similar appearing work --
> and queried Christine Winokur if it was hers. She
> didn't recognize the recipe, and suggested that it
> might be Paula Winokur's, but she does mostly white
> and this is a tan-to-orange glaze, depending on the
> clay. And I couldn't find anything from Robert
> Winokur that looked at all familiar.
>=3D20
> Added to the difficulty of even finding the originator
> of a glaze is that recipes often change ever so=3D20
> slightly as they are passed on. A recipe might
> start with Custer Feldspar as a major ingredient,
> then someone made a batch with a 1:1 sub of G-200.
> Then the recipe for G-200 changed, but the glaze
> still 'worked' and it got passed on again. The=3D20
> next user has a bag of Kingman and subs back but
> it doesn't work right now, so he adjusts the=3D20
> silica or whatever, and it works again and gets
> passed on one more time. Then someone rather
> than 'quoting' the recipe breaks out (or adds in)
> the colorants and suspension agents, getting new
> percentages.
>=3D20
> I like to give attributions with my glazes, and
> often it's not possible because of these many
> changes. =3D20
>=3D20
> Steve Slatin --=3D20
>=3D20
>=3D20
>=3D20
> --- On Wed, 2/16/11, Marcia Selsor wrote:
>=3D20
>> In our studio at Montana State
>> University in Billings, Mt. when I had studio work on
>> glazes, and if we liked one well enough for class use, we'd
>> name it after the student.
>> Maybe that is how these originated...students.
>>=3D20
>> Marcia
>>=3D20
>> Marcia Selsor
>> http://www.marciaselsor.com
>>=3D20
>=3D20
>=3D20
>=3D20
>=3D20
>=3D20
Marcia Selsor
http://www.marciaselsor.com
Michael Flaherty on wed 16 feb 11
Great idea, attributing glazes to their originators. I would guess, with=
=3D
a glaze=3D20
like John's Blue, that 1) the eponymous "John" didn't name it that himsel=
=3D
f (I've=3D20
never once named one of my glazes after myself, because to me they are=3D20=
=3D
all "Mike's" glazes) and 2) whoever named it thought they were indeed=3D20
attributing it to someone, although they probably didn't foresee that the=
=3D
glaze=3D20
recipe would spread far beyond their own studio. There are a lot of John=
=3D
s in=3D20
the world.
=3D46rom now on I will fully attribute my glazes with the first and last na=
=3D
me of the=3D20
originator, and I'll include the name on the label on the glaze bucket.
And yes, I've seen numerous similar recipes on the web claiming to be Joh=
=3D
n's=3D20
Blue, but only one of them looks right :)
Mike
Lee on wed 16 feb 11
I named "Linda's Pink Shino" that showed up in CM in Mel's shino
article. But the article didn't include the information that made
the shino it pink: the addition of mason stain. It is also yellow
with vanadium stain. Otherwise, it is just a variation on the Wirt
Shino. I got it from Linda Sikora you got it from another GA.
My friend Paul Morris, a GA at the time, used different shinos
with mason stains. Rietz green is a shino with rutile and chrome in
it.
--
=3DA0Lee Love in Minneapolis
http://mingeisota.blogspot.com/
=3DA0"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D9=
7that is, =3D
"The
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
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