Eric Hansen on thu 12 may 11
You mean Tang tri-color?? It is still manufactured in China. Also
Betty Woodman incuded excellent example in her pillow pitcher series
- h -
On Thu, May 12, 2011 at 1:01 PM, Donn Buchfinck
wrote:
> I am looking for the different ways that the Tang Dynasty glazes are
> done today.
> I would like to show my class how it is done.
>
> Please reply off list to donnbuchfinck@gmail.com
>
> thank you,
>
> Donn Buchfinck
> www.donnbuchfinck.com
>
--
Eric Alan Hansen
Stonehouse Studio Pottery
Alexandria, Virginia
americanpotter.blogspot.com
thesuddenschool.blogspot.com
hansencookbook.blogspot.com
"Simplify, simplify, simplify" - Thoreau
Vince Pitelka on thu 12 may 11
Donn Buchfinck wrote:
"I am looking for the different ways that the Tang Dynasty glazes are done
today. I would like to show my class how it is done."
Hi Donn -
If you really want the look, I would think it would make sense to do it ver=
y
similar to how it was done then, but without the lead. Of course the yello=
w
in the Tang tri-color glaze was the result of a clear lead glaze over a
white slip or light claybody going yellow in the wood-firing. They didn't
start using saggers until the Song Dynasty. If you use a fritted low-fire
clear glaze instead, you could add manganese or a little iron (or some of
each) to get the buff/yellow color, and then get the green and the brown
with iron and copper oxides applied overglaze. Much of the reason that the
color division on the original Tang tri-color work was never very distinct
was that the lead glaze generally flowed a bit, moving the oxide colors wit=
h
it. You'd probably want to incorporate that into the effect now, if you
want something true to the original Tang work, but you could also control
the degree of flow by adjusting the glaze mix. 90% 3134 frit and 10% EPK i=
s
pretty fluid. Add more EPK to get a more-viscous glaze.
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
Donn Buchfinck on thu 12 may 11
I am looking for the different ways that the Tang Dynasty glazes are
done today.
I would like to show my class how it is done.
Please reply off list to donnbuchfinck@gmail.com
thank you,
Donn Buchfinck
www.donnbuchfinck.com
Vince Pitelka on fri 13 may 11
Regarding Tang Dynasty work, John Britt wrote:
"Lisa Orr is still doing it. If you need recipes let me know."
Hi John -
If these recipes have been published and are available to share, then pleas=
e
post them on Clayart. I would be very interested, and in addition to Donn =
I
am sure that there are lots of other people on Clayart who would be
interested as well.
Thanks -
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
John Britt on fri 13 may 11
Lisa Orr is still doing it. If you need recipes let me know.
www.johnbrittpottery.com
May Luk on sat 14 may 11
If there's no lead, then it is not a T'ang glaze. It's just a
oxide-colored runny transparent glaze, isn't it?
There were all kinds of glazes for earthenware and stoneware during
year 618-906 in China. Is it for historical study or just a color
exercise?
At any rate, Walter Keeler did something very similar to said runny
drippy color glaze effect. It was leaded, but he didn't mention T'ang
Dynasty. (or did he?)
May
Brooklyn NY
On Thu, May 12, 2011 at 4:02 PM, Vince Pitelka wrote:
> Donn Buchfinck wrote:
> "I am looking for the different ways that the Tang Dynasty glazes are don=
=3D
e
> today. =3DA0I would like to show my class how it is done."
>
> Hi Donn -
> If you really want the look, I would think it would make sense to do it v=
=3D
ery
> similar to how it was done then, but without the lead. =3DA0Of course the=
y=3D
ellow
> in the Tang tri-color glaze was the result of a clear lead glaze over a
> white slip or light claybody going yellow in the wood-firing. =3DA0They d=
id=3D
n't
> start using saggers until the Song Dynasty. =3DA0If you use a fritted low=
-f=3D
ire
> clear glaze instead, you could add manganese or a little iron (or some of
> each) to get the buff/yellow color, and then get the green and the brown
> with iron and copper oxides applied overglaze. Much of the reason that th=
=3D
e
> color division on the original Tang tri-color work was never very distinc=
=3D
t
> was that the lead glaze generally flowed a bit, moving the oxide colors w=
=3D
ith
> it. =3DA0You'd probably want to incorporate that into the effect now, if =
yo=3D
u
> want something true to the original Tang work, but you could also control
> the degree of flow by adjusting the glaze mix. =3DA090% 3134 frit and 10%=
E=3D
PK is
> pretty fluid. =3DA0Add more EPK to get a more-viscous glaze.
> - Vince
>
> Vince Pitelka
> Appalachian Center for Craft
> Tennessee Tech University
> vpitelka@dtccom.net; wpitelka@tntech.edu
> http://iweb.tntech.edu/wpitelka
>
--=3D20
http://twitter.com/MayLuk
http://www.takemehomeware.com/
Vince Pitelka on sat 14 may 11
John Britt wrote:
"I think your questions shows the effect Ron and John's antics have had on
this forum."
Hi John -
Thanks for that information and those recipes. Of course any potter's name
can be Googled, but the wording of your post indicated that you were
referring to more than just Lisa Orr's glazes, and thus my request.
Regarding Ron and John's recipes, your rant was perhaps a little over the
top, considering all the contributions they make to this list, but I do
agree with your basic premise. At this point it would be ridiculous for
people not to reproduce the MC6G glazes on Clayart, considering how long th=
e
book has been out, and considering that the recipes won't do anyone much
good without all the wisdom contained in the book regarding firing practice=
.
At this point I doubt very much if Ron or John would mind if someone
provided a recipe from MC6G on Clayart, and if they did complain about it,
it would be no credit to them. Like you, I am in favor of the open exchang=
e
of recipes in all situations.
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net;
wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
Des & Jan Howard on sat 14 may 11
Vince
Do you have a cone &/or temp to go with that?
I have to duplicate(ish) a low-fire green copper/lead
glaze, but, without the lead. Commercial glazes are
available, I just like to bake my own bread.
Des
On 13/05/2011 6:02 AM, Vince Pitelka wrote:
>You'd probably want to incorporate that into the effect now, if you
> want something true to the original Tang work, but you could also control
> the degree of flow by adjusting the glaze mix. 90% 3134 frit and 10% EPK=
is
> pretty fluid. Add more EPK to get a more-viscous glaze.
--
Des & Jan Howard
Lue Pottery
Lue NSW
Australia
2850
02 6373 6419
www.luepottery.hwy.com.au
-32.656072 149.840624
John Britt on sat 14 may 11
Vince,
I am going to go on a bit of a rant here so if you don't care about
that.... then just go to
http://ncclayclub.blogspot.com
and you will see Lisa's Recipes. or more specifically:
http://ncclayclub.blogspot.com/2011/05/these-are-some-images-of-lisa-orrs.h=
=3D
tml
And just so you know, she brushes on multiple glazes. You could also
brush on washes (50% frit 3110/50% oxides) to give the look of Tang
Dynasty pieces.
Danger, Danger.....read on only if approved by clayart recipe police.......
I think your questions shows the effect Ron and John's antics have had
on this forum. "If these recipes have been published and are available
to share, then please post them on clayart."
There is no copyrights on glaze recipes and clayart is a free exchange
forum, so any and all recipes can be shared! I will repeat that
because it doesn't seem to sink in to the brains that have been
infected by the dreaded- "Ron John virus". There is no copyrights on
glaze recipes and clayart is a free exchange forum, so any and all
recipes can be shared!
They have poisoned the waters of clayart by using it as their own
personnel marketing forum and the 7 years of restrictions that they
imposed so that they could sell more books.
Secondly, people on clayart have gotten lazy. What happened to Google.
All you have to do is Google "Lisa Orr glaze recipes" and you will
get the following (and much more):
From this website:
http://lindaarbuckle.com/handouts/glz_hg_lowfire.txt
Glaze name:
Lisa Orr Base Glaze
Cone: 04
Color: Clear
Testing:
Surface: Gloss
Firing: Oxidation
Glaze type: Alkaline
Transparency: Translucent
Visual texture: None
Flow: Moderate
Durability: Medium
Recipe:
Frit 3110 67.00
Gerstley borate 10.00
Soda ash 16.00
EPK 5.00
Flint 8.00
Bentonite 2.00
Comments:
This glaze gives very nice bright colors. Try doing color blends and
I'm sure you will find some scrumptous colors. You may want to use a
white slip first, it brightens the colors. In the photo shown on
left, I have actually painted oxides on the dried glaze before it was
fired. Reminds me of the Tang Dynasty Horses. It will run, so be
careful.
Sculptural use only. Not for functional work!
Soda Ash: caustic-avoid contact with skin or eyes or inhalation of
mists. From John Britt's web
site:http://wwwipp.unicomp.net/claydude/low.html Variations -- Add:
0.25 %
Cobalt Carbonate - Lite Blue 5.0% Copper Carbonate - Green 6.0% Red
Iron Oxide - Reddish Brown
This is from a website I had in 1997 and the recipes are from a workshop sh=
=3D
e
gave.
From this website:
http://www.mudskipperpottery.com/process.html
High Alkaline Clear ^2
My base glaze was developed from Lisa Orr's glaze
recipes, which I found in the May 2000 issue of Ceramics Monthly. I was
after the same color range and fluidity, but at a higher temperature. This
glaze has it's share of issues but I have found the benefits outweigh the
problems for my work. The glaze is soft enough to scratch in a stack of
plates and get matt on the edges after a long time of being washed everyday
in the dishwasher. In the bucket it can grow fantastic hexagonal crystals i=
=3D
f
it gets colder than 40=3DBAF. This glaze is also very prone to blistering i=
f =3D
it
isn't applied or fired correctly. I guess all I'm saying is mixer beware!
- Gillespie Borate -----------15
- Ferro Frit 3110 -------------40
- Edgar's Plastic Kaolin -----10
- 325 mesh Silica ------------28
- Lithium Carbonate --------7
- Add 2% 325 mesh Bentonite
- Add CMC water to taste
- Add 2% Blue Mix for Cobalt Glaze
- Add 12% Red Iron Oxide for Amber Glaze
- Add 4% Copper Carbonate for Copper Blue Glaze
- Add 5% Red Iron Oxide for Antique White Glaze
White Porcelain Slip
This is a porcelain recipe that Harris Deller gave me off the top of his
head one day when I was looking to make some clay as a BFA student. It was
the worst clay I had ever thrown, but it makes a great slip with a few
additions.
- Edgar's Plastic Kaolin ----25
- C and C Ball Clay --------25
- 200 mesh Silica-----------25
- G-200 Feldspar ----------25
- Add 10% Zircopax
- Add 1% Rutile
- Add CMC water to taste
From this website you can read her thinking.
http://www.lisaorr.com/Synaesthesia.pdf
And another:
Glaze name: Lisa Orr's Transparent
*Cone:* 05-05
*Firing:* Raku
*Color:* Clear
*Date:* 11/10/98
*Recipe:* (Percent, Batch)
Frit 3110 64.04 73.00
Gerstley borate 8.77 10.00
Soda ash 14.04 16.00
EPK 4.39 5.00
Flint 7.02 8.00
Bentonite 1.75 2.00
-------- --------
Totals: 100.00 114.00
*Comments:*
Variations --
Light blue - add .25 cobalt oxide
Turquoise - add 3-8% copper carbonate
And you can find the Ceramics Monthly article about her (she was on the
cover) with recipes that I posted on our North Carolina Blog. (a once
dreaded subject on clayart!)You will find that this group blog is one of th=
=3D
e
most helpful blogs out there! Now with videos!
So as always, I hope that helps you! And sorry about the rant.
www.johnbrittpottery.com
On Fri, May 13, 2011 at 10:16 PM, Vince Pitelka wrote=
=3D
:
> Regarding Tang Dynasty work, John Britt wrote:
> "Lisa Orr is still doing it. If you need recipes let me know."
>
> Hi John -
> If these recipes have been published and are available to share, then
> please
> post them on Clayart. I would be very interested, and in addition to Don=
=3D
n
> I
> am sure that there are lots of other people on Clayart who would be
> interested as well.
> Thanks -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Craft
> Tennessee Tech University
> vpitelka@dtccom.net; wpitelka@tntech.edu
> http://iweb.tntech.edu/wpitelka
>
>
>
>
--=3D20
Regards,
John
johnbrittpottery@gmail.com
http://ncclayclub.blogspot.com
www.johnbrittpottery.com
Gary Erickson on sat 14 may 11
Lisa Orr's glaze is a slight alteration of Higby Water Blue raku glaze that
has been around since the late 1970's. He has used it to achieve amazing
turquoise colors on his raku fired landscape bowls. It is a published
recipe that has been around for forty years and incorporated into many
artists work. It is a very adaptable glaze that works well with many
different oxides and stains. I have eliminated the soda ash in my present
version of the glaze for it tends to get a scumming effect in the crazing
lines over time as the soda comes to the surface but loses some of the colo=
=3D
r
intensity. Gary Erickson
Higby Water Blue
Frit 3110 70
Gerstley Borate 5
Silica 5
Soda Ash 10
EPK 5
Copper Carbonate 3
On Sat, May 14, 2011 at 3:29 PM, John Britt wro=
=3D
te:
> Vince,
>
> I am going to go on a bit of a rant here so if you don't care about
> that.... then just go to
>
> http://ncclayclub.blogspot.com
>
> and you will see Lisa's Recipes. or more specifically:
>
> http://ncclayclub.blogspot.com/2011/05/these-are-some-images-of-lisa-orrs=
=3D
.html
>
>
> And just so you know, she brushes on multiple glazes. You could also
> brush on washes (50% frit 3110/50% oxides) to give the look of Tang
> Dynasty pieces.
>
>
> Danger, Danger.....read on only if approved by clayart recipe police.....=
=3D
..
>
>
> I think your questions shows the effect Ron and John's antics have had
> on this forum. "If these recipes have been published and are available
> to share, then please post them on clayart."
>
> There is no copyrights on glaze recipes and clayart is a free exchange
> forum, so any and all recipes can be shared! I will repeat that
> because it doesn't seem to sink in to the brains that have been
> infected by the dreaded- "Ron John virus". There is no copyrights on
> glaze recipes and clayart is a free exchange forum, so any and all
> recipes can be shared!
>
> They have poisoned the waters of clayart by using it as their own
> personnel marketing forum and the 7 years of restrictions that they
> imposed so that they could sell more books.
>
> Secondly, people on clayart have gotten lazy. What happened to Google.
> All you have to do is Google "Lisa Orr glaze recipes" and you will
> get the following (and much more):
>
> From this website:
>
> http://lindaarbuckle.com/handouts/glz_hg_lowfire.txt
>
> Glaze name:
> Lisa Orr Base Glaze
> Cone: 04
> Color: Clear
> Testing:
> Surface: Gloss
> Firing: Oxidation
> Glaze type: Alkaline
> Transparency: Translucent
> Visual texture: None
> Flow: Moderate
> Durability: Medium
> Recipe:
> Frit 3110 67.00
> Gerstley borate 10.00
> Soda ash 16.00
> EPK 5.00
> Flint 8.00
> Bentonite 2.00
> Comments:
> This glaze gives very nice bright colors. Try doing color blends and
> I'm sure you will find some scrumptous colors. You may want to use a
> white slip first, it brightens the colors. In the photo shown on
> left, I have actually painted oxides on the dried glaze before it was
> fired. Reminds me of the Tang Dynasty Horses. It will run, so be
> careful.
>
> Sculptural use only. Not for functional work!
>
> Soda Ash: caustic-avoid contact with skin or eyes or inhalation of
> mists. From John Britt's web
> site:http://wwwipp.unicomp.net/claydude/low.html Variations -- Add:
> 0.25 %
> Cobalt Carbonate - Lite Blue 5.0% Copper Carbonate - Green 6.0% Red
> Iron Oxide - Reddish Brown
>
> This is from a website I had in 1997 and the recipes are from a workshop
> she
> gave.
>
>
>
> From this website:
> http://www.mudskipperpottery.com/process.html
> High Alkaline Clear ^2
>
> My base glaze was developed from Lisa Orr's
> glaze
> recipes, which I found in the May 2000 issue of Ceramics Monthly. I was
> after the same color range and fluidity, but at a higher temperature. Thi=
=3D
s
> glaze has it's share of issues but I have found the benefits outweigh the
> problems for my work. The glaze is soft enough to scratch in a stack of
> plates and get matt on the edges after a long time of being washed everyd=
=3D
ay
> in the dishwasher. In the bucket it can grow fantastic hexagonal crystals
> if
> it gets colder than 40=3DBAF. This glaze is also very prone to blistering=
i=3D
f it
> isn't applied or fired correctly. I guess all I'm saying is mixer beware!
>
> - Gillespie Borate -----------15
> - Ferro Frit 3110 -------------40
> - Edgar's Plastic Kaolin -----10
> - 325 mesh Silica ------------28
> - Lithium Carbonate --------7
> - Add 2% 325 mesh Bentonite
> - Add CMC water to taste
>
>
> - Add 2% Blue Mix for Cobalt Glaze
> - Add 12% Red Iron Oxide for Amber Glaze
> - Add 4% Copper Carbonate for Copper Blue Glaze
> - Add 5% Red Iron Oxide for Antique White Glaze
>
> White Porcelain Slip
>
> This is a porcelain recipe that Harris Deller gave me off the top of his
> head one day when I was looking to make some clay as a BFA student. It wa=
=3D
s
> the worst clay I had ever thrown, but it makes a great slip with a few
> additions.
>
> - Edgar's Plastic Kaolin ----25
> - C and C Ball Clay --------25
> - 200 mesh Silica-----------25
> - G-200 Feldspar ----------25
> - Add 10% Zircopax
> - Add 1% Rutile
> - Add CMC water to taste
>
>
>
>
> From this website you can read her thinking.
>
> http://www.lisaorr.com/Synaesthesia.pdf
>
>
> And another:
>
> Glaze name: Lisa Orr's Transparent
>
> *Cone:* 05-05
> *Firing:* Raku
> *Color:* Clear
> *Date:* 11/10/98
>
> *Recipe:* (Percent, Batch)
>
> Frit 3110 64.04 73.00
>
> Gerstley borate 8.77 10.00
>
> Soda ash 14.04 16.00
>
> EPK 4.39 5.00
>
> Flint 7.02 8.00
>
> Bentonite 1.75 2.00
>
> -------- --------
>
> Totals: 100.00 114.00
>
> *Comments:*
>
> Variations --
>
> Light blue - add .25 cobalt oxide
>
> Turquoise - add 3-8% copper carbonate
>
>
> And you can find the Ceramics Monthly article about her (she was on the
> cover) with recipes that I posted on our North Carolina Blog. (a once
> dreaded subject on clayart!)You will find that this group blog is one of
> the
> most helpful blogs out there! Now with videos!
>
>
> So as always, I hope that helps you! And sorry about the rant.
>
>
> www.johnbrittpottery.com
>
>
>
> On Fri, May 13, 2011 at 10:16 PM, Vince Pitelka
> wrote:
>
> > Regarding Tang Dynasty work, John Britt wrote:
> > "Lisa Orr is still doing it. If you need recipes let me know."
> >
> > Hi John -
> > If these recipes have been published and are available to share, then
> > please
> > post them on Clayart. I would be very interested, and in addition to
> Donn
> > I
> > am sure that there are lots of other people on Clayart who would be
> > interested as well.
> > Thanks -
> > - Vince
> >
> > Vince Pitelka
> > Appalachian Center for Craft
> > Tennessee Tech University
> > vpitelka@dtccom.net; wpitelka@tntech.edu
> > http://iweb.tntech.edu/wpitelka
> >
> >
> >
> >
>
>
> --
> Regards,
>
> John
>
> johnbrittpottery@gmail.com
> http://ncclayclub.blogspot.com
> www.johnbrittpottery.com
>
Lee on sat 14 may 11
On Sat, May 14, 2011 at 8:30 PM, May Luk wrote:
> If there's no lead, then it is not a T'ang glaze. It's just a
> oxide-colored runny transparent glaze, isn't it?
That could be said of Raku too, since the original raku was only lead glaze=
=3D
s.
I've been using boro-silicate frits in both raku and low-fire to get
lead-like responses. Raku tumbles off the tongue more easily than
"low-fire, boro-silicate, post reduction pottery." :^) The bad
thing about English, is that it always adapts. The good thing about
English is that it always adapts. ;^)
--
=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
May Luk on sun 15 may 11
Hi Lee;
I thought of American Raku when I was writing as well.
Without seeing the brief of this exercise, we don't know what learning
outcome Donn intended for his students. Hopefully not just robotically
googling glaze recipes out of context - copying the superficial look
without the historical background.
May
On Sun, May 15, 2011 at 12:14 AM, Lee wrote:
> On Sat, May 14, 2011 at 8:30 PM, May Luk wrote:
>> If there's no lead, then it is not a T'ang glaze. It's just a
>> oxide-colored runny transparent glaze, isn't it?
>
> That could be said of Raku too, since the original raku was only lead gla=
=3D
zes.
>
> =3DA0I've been using boro-silicate frits in both raku and low-fire to get
> lead-like responses. =3DA0Raku tumbles off the tongue more easily than
> "low-fire, boro-silicate, post reduction pottery." =3DA0:^) =3DA0 =3DA0Th=
e bad
> thing about English, is that it always adapts. =3DA0 The good thing about
> English is that it always adapts. =3DA0 =3DA0;^)
>
> --
> =3DA0Lee Love in Minneapolis
> http://mingeisota.blogspot.com/
>
> =3DA0"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=
=3D97that is=3D
, "The
> land of eternal youth is behind the house, a beautiful land fluent
> within itself." -- John O'Donohue
>
--=3D20
http://twitter.com/MayLuk
http://www.takemehomeware.com/
Steve Mills on sun 15 may 11
Dear May,
I agree with your assertion about the necessity of Lead to achieve true col=
o=3D
ur depth and luminosity. Sadly no other material or frit will cut the musta=
r=3D
d!
Walter Keeler didn't liken his work to Tang, but the inspiration is there, =
a=3D
s it is in so much work by thinking Clay Artists these days. =3D20
Steve M
Steve Mills
Bath
UK
www.mudslinger.me.uk
Sent from my Ipod touch
On 15 May 2011, at 02:30, May Luk wrote:
> If there's no lead, then it is not a T'ang glaze. It's just a
> oxide-colored runny transparent glaze, isn't it?
>=3D20
> There were all kinds of glazes for earthenware and stoneware during
> year 618-906 in China. Is it for historical study or just a color
> exercise?
>=3D20
> At any rate, Walter Keeler did something very similar to said runny
> drippy color glaze effect. It was leaded, but he didn't mention T'ang
> Dynasty. (or did he?)
>=3D20
> May
> Brooklyn NY
>=3D20
>=3D20
> On Thu, May 12, 2011 at 4:02 PM, Vince Pitelka wrot=
e=3D
:
>> Donn Buchfinck wrote:
>> "I am looking for the different ways that the Tang Dynasty glazes are do=
n=3D
e
>> today. I would like to show my class how it is done."
>>=3D20
>> Hi Donn -
>> If you really want the look, I would think it would make sense to do it =
v=3D
ery
>> similar to how it was done then, but without the lead. Of course the ye=
l=3D
low
>> in the Tang tri-color glaze was the result of a clear lead glaze over a
>> white slip or light claybody going yellow in the wood-firing. They didn=
'=3D
t
>> start using saggers until the Song Dynasty. If you use a fritted low-fi=
r=3D
e
>> clear glaze instead, you could add manganese or a little iron (or some o=
f=3D
>> each) to get the buff/yellow color, and then get the green and the brown
>> with iron and copper oxides applied overglaze. Much of the reason that t=
h=3D
e
>> color division on the original Tang tri-color work was never very distin=
c=3D
t
>> was that the lead glaze generally flowed a bit, moving the oxide colors =
w=3D
ith
>> it. You'd probably want to incorporate that into the effect now, if you
>> want something true to the original Tang work, but you could also contro=
l=3D
>> the degree of flow by adjusting the glaze mix. 90% 3134 frit and 10% EP=
K=3D
is
>> pretty fluid. Add more EPK to get a more-viscous glaze.
>> - Vince
>>=3D20
>> Vince Pitelka
>> Appalachian Center for Craft
>> Tennessee Tech University
>> vpitelka@dtccom.net; wpitelka@tntech.edu
>> http://iweb.tntech.edu/wpitelka
>>=3D20
>=3D20
>=3D20
>=3D20
> --=3D20
> http://twitter.com/MayLuk
> http://www.takemehomeware.com/
ivor and olive lewis on sun 15 may 11
Nigel Wood, in his authoritative text "Chinese Glazes" (ISBN
90-5703-23-25), gives ten recipes in molecular oxide terms covering the
colour range. See page 202. . All are high in Lead oxide.
Regards,
Ivor Lewis,
REDHILL,
South Australia
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