McCoy, Jack Eugene on sat 17 jan 98
Has anyone had any experience using local red clays as a high fire
slip-type glaze? (Similar in use to Albany/Alberta) I've read that
this can be done, but would like to hear from someone that has done it.
Thanks,
Jack
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Jack McCoy
Systems Programmer
East Carolina University
Voice: (919) 328-6855
Fax: (919) 328-4258
email: mccoyj@mail.ecu.edu
GURUSHAKTI on sun 18 jan 98
Just test. I found a natural red clay when I lived in the east and by itself
it made a beautiful waxy matt charcoal brown with lots of interesting texture.
Just dry the clay slake it and strain it and get it to your usual glaze
dipping thickness and test.
I once took the dirt from behind my studio in Santa Barbara and prepped it the
way I would a new clay find and it came out a lovely brown glaze and it wasn't
even clay!
Good luck!
June (In S.Oregon, waiting for the weather to get better so I can go dig some
of the red clay I recently spied on a local hillside.):-)
Janet Price on sun 18 jan 98
McCoy, Jack Eugene said
>
> ----------------------------Original message----------------------------
> Has anyone had any experience using local red clays as a high fire
> slip-type glaze? (Similar in use to Albany/Alberta) I've read that
> this can be done, but would like to hear from someone that has done it.
>
> Thanks,
> Jack
>
> =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
> =-=-=-=-=
> Jack McCoy
> Systems Programmer
> East Carolina University
> Voice: (919) 328-6855
> Fax: (919) 328-4258
> email: mccoyj@mail.ecu.edu
>
>
I mashed up some local clay from the lot a friend was building on and
found that at cone 5 it was a nice dark brown. There was still some
very fine grit in it, even though I sieved it, and it crawled a bit if
it was applied too thick. In its raw state it was not red, but sort of
yucky colored. I've not tried it combined with any other glazes. Off
on other tangents now. I did it primarily to create a unique gift for a
friend.
--
Janet Price, Chief Information Officer
Carroll College, Waukesha WI 53186
jprice@carroll1.cc.edu or jprice@ccadmin.cc.edu
414-524-7120
Paul Lewing on sun 18 jan 98
Jack,
It's true, many lowfire red clays make glazes at ^10 all by
themselves. They are often an uninteresting brown, but some are quite
nice and some are nice with only a little doctoring.
Our local Puget Sound glacial clay is typical- a dark shiny brown at
^10. When I was in school back in Missoula, MT, we used some of the
Glacial Lake Missoula clay, which is very pure and in deposits 100
feet thick in places, as glaze. It was similar to Albany. And my
very first pot, which I still have, is glazed with a slip called Trail
Creek that used to be used extensively as a glaze both at UM and the
Bray. It was a natural one-ingredient dark fat celadon. The deposit
is now underneath an off-ramp on I-90 on Pipestone Pass. What a
shame.
Paul Lewing, Seattle
DONPREY on sun 18 jan 98
Jack,
I have lived in three different houses since starting to work with clay. In
each case, I have run across clay in the yard while doing planting of trees,
etc. I test them all, usually under cone 6 electric and cone 10 gas
conditions. I start without any flux additions and work from there. One
could peruse this in great detail, of course, but I was most interested in a
complete glaze as dug from the yard, so usually did not spend great amounts of
time with additions. When I left New York state and moved to Oregon a couple
of years ago, I left a lot of stuff back there, but the clay from one backyard
came with me. I still use that as a glaze in the 6 to 10 range when the piece
seems to call for that.
Don Prey in Oregon
Fred Paget on sun 18 jan 98
I have been using a slip clay that I mined up on Santa Marguerita mountain
in back of San Rafael, CA, on private property. It has some super fine
fractions that take months to settle out of a thin slip. It is sort of a
terra siggaleta. The coarser fractions behave a lot like Albany slip. I put
some pieces glazed with it in a wood firing of the Tozan kiln and they came
out a rich chocolate brown matte. It needs a little flux or it blisters at
cone ten but at cone 04 to cone 5 it is fine without flux. At the lower
cones it fires bright orange and gets darker into brown at higher temps.
There is not much of it in the deposit as the geology there is sort of a
pudding - a mixture of different things.. You go 50 feet and things are
completly different.
>Date: Sat, 17 Jan 1998 09:44:40 EST
>From: "McCoy, Jack Eugene"
>Subject: Local Red Clay as Hi-fire Slip Glaze
>
>----------------------------Original message----------------------------
>Has anyone had any experience using local red clays as a high fire
>slip-type glaze? (Similar in use to Albany/Alberta) I've read that
>this can be done, but would like to hear from someone that has done it.
>
>Thanks,
>Jack
From Fred Paget, Marin County, California
Jeff Lawrence on mon 19 jan 98
Jack McCoy asked:
> Has anyone had any experience using local red clays as a high fire
> slip-type glaze? (Similar in use to Albany/Alberta) I've read that
> this can be done, but would like to hear from someone that has done it.
Stay away from this one, Jack! You are messing with some serious stuff here.
Its easy, you think to yourself. True enough, most clays I've tried vitrify
well at ^6 oxidation. Some are uglier than others, but they all melt. Got
one hunk I tossed in dry for grins that looks just like a hunk of bakers
chocolate left on your August dashboard. And naturally, you are sure you can
stop any time you want, right? But face facts:
You risk highway death for you and loved ones, by staring at the road cuts
instead of other cars.
You'll arrive late and dirty at important appointments because of a
promising vein you never noticed before on the road you travel daily.
You flirt with madness trying to duplicate killer effects achievable only
with picomillimeter thickness windows. Try some over a clear glaze for some
real frustration. If you can keep it from flaking off (best if base glaze
is really dry) you can sometimes get a reverse crazing effect -- thick white
lightning peeping through a leather brown matt surface. I even found one
other person who said they liked it too. Of course, he is a potter, too.
You'll hang your head because you can't wait to show the latest test to
someone, anyone, and the first person you find can only avert his eyes and
speak of gasket cement.
You'll become a puppet of the kaleidoscope of browns available, and will
gnash your teeth that nobody but other potters gives a hoot about brown.
White on white gets wall space in the Smithsonian but brown gets people
reaching for the disinfectant.
Don't say you weren't warned. And whatever you do, brer rabbit, do not read
Chappell's chapter on native clay winning. A shame, too, because it is the
best part of his book.
Jeff Lawrence
jml@sundagger.com
Sun Dagger Design
Rt 3 Box 220
Espanola, NM 87532
ph 505-753-5913
fax 505-753-8074
Lili Krakowski on wed 21 jan 98
Define high fire. I have used Red Art as replacement for Albany also
for something called FREMINGTON which appears frequently in British
glaze recipes. At c. 6 and at c 10. No; neither is Albany; BUT, Albany
also varied from
decade to decade. A bit of testing and you're there. Very gorgeous
results
with an Emms recipe which (I am recalling here, notes not at hand) is 94%
Red Art, 4% Mn02 and 2% Cobalt Carb. On Sat, 17 Jan 1998, McCoy, Jack
Eugene wrote:
> ----------------------------Original message----------------------------
> Has anyone had any experience using local red clays as a high fire
> slip-type glaze? (Similar in use to Albany/Alberta) I've read that
> this can be done, but would like to hear from someone that has done it.
>
> Thanks,
> Jack
>
> =-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
> =-=-=-=-=
> Jack McCoy
> Systems Programmer
> East Carolina University
> Voice: (919) 328-6855
> Fax: (919) 328-4258
> email: mccoyj@mail.ecu.edu
>
Lili Krakowski
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