mel jacobson on thu 2 feb 12
i have tons of information, and a good deal
in the clayart archives.
anyone may find the article i wrote called `black shino`
in cm. look it up.
that was a collaboration with malcolm davis.
and an old time clayarter, tom buck, did the
vetting of all the glazes. i think we studied 35
different named shino recipes that malcolm had.
i had like 6. all the same basically.
tom's theory is: there are really only a couple of
shino glazes. the addition of color, io that sort of
thing changes them very slightly.
soda ash in or on the glaze just made the surface turn
black. you could write your name in soda ash on a
pot. jet black. that is what carbon trapping is. capture
of black carbon in the melted surface. soda ash melts
before the glaze does.
the only failure issue that we ran into was `never use other
glazes with shino. shino does not tolerate other glazes
over, or in that fact, many do not work under.
shino is shino and should be treated as a unique glaze.
there is tons of info on historic japanese shino...what we
do is called `american shino`.
very few would even recognize a quality japanese shino
tea bowl. it looks like white frosting with pin holes all
over the surface...big pin holes.
virginia wirt of minnesota discovered the american shino
theory...others took it from her and begged all the credit.
(she really hates those folks.)
there are few glazes that are more mis-understood or
full of more hocus pocus bs.
malcolm just kept kick'n up the soda ash to get
more and more black areas to mix with the orange
and yellows.
in my opinion, hank murrow has done some of the finest
shino work in america. his soft glazes are to die for.
mel
http://www.visi.com/~melpots/
clayart page below:
http://www.visi.com/~melpots/clayart.html
jonathan byler on thu 2 feb 12
we used to use shino underneath mamo satin in order to get a nice
leopard spot effect. but in general I concur: shinos do not play
nice with others.
On Feb 2, 2012, at 7:33 PM, mel jacobson wrote:
> i have tons of information, and a good deal
> in the clayart archives.
>
> anyone may find the article i wrote called `black shino`
> in cm. look it up.
>
> that was a collaboration with malcolm davis.
> and an old time clayarter, tom buck, did the
> vetting of all the glazes. i think we studied 35
> different named shino recipes that malcolm had.
> i had like 6. all the same basically.
>
> tom's theory is: there are really only a couple of
> shino glazes. the addition of color, io that sort of
> thing changes them very slightly.
>
> soda ash in or on the glaze just made the surface turn
> black. you could write your name in soda ash on a
> pot. jet black. that is what carbon trapping is. capture
> of black carbon in the melted surface. soda ash melts
> before the glaze does.
>
> the only failure issue that we ran into was `never use other
> glazes with shino. shino does not tolerate other glazes
> over, or in that fact, many do not work under.
> shino is shino and should be treated as a unique glaze.
>
> there is tons of info on historic japanese shino...what we
> do is called `american shino`.
> very few would even recognize a quality japanese shino
> tea bowl. it looks like white frosting with pin holes all
> over the surface...big pin holes.
>
> virginia wirt of minnesota discovered the american shino
> theory...others took it from her and begged all the credit.
> (she really hates those folks.)
>
> there are few glazes that are more mis-understood or
> full of more hocus pocus bs.
>
> malcolm just kept kick'n up the soda ash to get
> more and more black areas to mix with the orange
> and yellows.
>
> in my opinion, hank murrow has done some of the finest
> shino work in america. his soft glazes are to die for.
> mel
>
>
> http://www.visi.com/~melpots/
> clayart page below:
> http://www.visi.com/~melpots/clayart.html
Hank Murrow on thu 2 feb 12
On Feb 2, 2012, at 5:33 PM, mel jacobson wrote:
> anyone may find the article i wrote called `black shino`
> in cm. look it up.
>=3D20
> that was a collaboration with malcolm davis.
> and an old time clayarter, tom buck, did the
> vetting of all the glazes. i think we studied 35
> different named shino recipes that malcolm had.
> i had like 6. all the same basically.
>=3D20
> tom's theory is: there are really only a couple of
> shino glazes. the addition of color, io that sort of
> thing changes them very slightly.
>=3D20
> soda ash in or on the glaze just made the surface turn
> black. you could write your name in soda ash on a
> pot. jet black. that is what carbon trapping is. capture
> of black carbon in the melted surface. soda ash melts
> before the glaze does.
>=3D20
> the only failure issue that we ran into was `never use other
> glazes with shino. shino does not tolerate other glazes
> over, or in that fact, many do not work under.
> shino is shino and should be treated as a unique glaze.
>=3D20
> there is tons of info on historic japanese shino...what we
> do is called `american shino`.
> very few would even recognize a quality japanese shino
> tea bowl. it looks like white frosting with pin holes all
> over the surface...big pin holes.
>=3D20
> virginia wirt of minnesota discovered the american shino
> theory...others took it from her and begged all the credit.
> (she really hates those folks.)
>=3D20
> there are few glazes that are more mis-understood or
> full of more hocus pocus bs.
>=3D20
> malcolm just kept kick'n up the soda ash to get
> more and more black areas to mix with the orange
> and yellows.
>=3D20
> in my opinion, hank murrow has done some of the finest
> shino work in america. his soft glazes are to die for.
Well, Mel; High praise indeed, considering that there's nary a gram of =3D
Soda Ash in my recipe! Like Warren Mackenzie, I admired the old pieces I =
=3D
had seen and sometimes handled in the Museums and collections. Those =3D
were the ones I lusted after, so I had articles in Japanese magazines =3D
and books translated for clues, which led me to recipes that emulated =3D
the nezumi-shinos(grey with dark blue color in the slips underneath). =3D
Then I lowered the reduction to C012 and great firecolor was the =3D
result=3D85=3D85 along with a lovely crawl, and pits, and did I mention the=
=3D
lovely firecolor?
Anyway, the recipe is 56 Neph Sye, 18 Low Melt Spodumene(Tanco), and 26 =3D
Kaolin(6 tile or McNamee or?)=3D85=3D85 and fire to soft 11 with a soak in =
=3D
oxidation at 1900F during the cooling cycle for three or more hours. =3D
That is what I do=3D85and I am sticking to it! Wrote an article about all =
=3D
this in the Sep/Oct 2001 CM, "Shinos in the Fire____ an Odyssey". The =3D
Low Melt Spodumene helps the iron color because of the phosphorus =3D
content, and I am damn glad I gobbled up 550#'s before it disappeared. =3D
Trouble with phosphorus is that there are so few insoluble sources, and =3D
the Calcium in bone ash tends to kill the firecolor. Maybe it is time =3D
for a Phosphorus frit.
Cheers, Hank=3D
John Britt on fri 3 feb 12
mel,
Hate to disagree but you write:
"the only failure issue that we ran into was `never use other
glazes with shino. shino does not tolerate other glazes
over, or in that fact, many do not work under.
shino is shino and should be treated as a unique glaze."
Shino is awesome all the time!
Shino is great under all kinds of glazes. It is also great over other gla=
=3D
zes too=3D20=3D20
But ----with the caveat--only high feldspar shinos.(like Penn State)=3D20
The reason for "Shino first or the pot is cursed" is the amount of clay i=
=3D
n the=3D20
recipe. It should say "high clay glazes first or the pot is cursed". The=
=3D
clay=3D20
makes a skin and then gases need to escape from the body they make small=3D=
20=3D
bubbles. So Malcolm Shino shouldn't be put over other glazes (except VER=
=3D
Y=3D20
thin which can be nice!) because it has about 38% clay.
John Britt Pottery
Lee on fri 3 feb 12
On Thu, Feb 2, 2012 at 9:31 PM, Hank Murrow wrote:
> On Feb 2, 2012, at 5:33 PM, mel jacobson wrote:
> Well, Mel; =3DA0High praise indeed, considering that there's nary a gram =
of=3D
Soda Ash in my recipe!
If you interact with Japanese potters at all, it is a good idea to
separate our notions of Shino into two groups: Shino inspired and
Carbon Trap. If you call a Carbon Trap glaze a shino in Japan,
you will get a puzzled look.
Someone whose glazes I have admired for some time (he also studied
with Curt Hoard), a student of Bob Sperry, Is Rob Fornell's. I
always thought they were shinos, but they are fired to cone 6. Right
now at his page of tea bowls, he only has Kohiki, but his tea ware
has one shino. He knows clay bodies are important for shino type
glazes and has his own mogusa body:
http://www.robertfornellceramicarts.com/FramesTea.htm
I said to Rob at Mungyeong, S. Korea, that I thought his
glazes were inspired by Sperry. He said a friend of his that also
knew Sperry said the same thing to him and he said that he thought
Sperry would find it interesting, where his glazes were today.
--
=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
Paul Herman on fri 3 feb 12
Hi All,
Shinos work just fine under other glazes. I routinely use them under
several different types of glaze.
Just don't put them over anything else. As Malcolm used to say,"Shino
first or be cursed."
best,
Paul Herman
Great Basin Pottery
Doyle, California US
www.greatbasinpottery.com/
On Feb 2, 2012, at 6:13 PM, jonathan byler wrote:
> we used to use shino underneath mamo satin in order to get a nice
> leopard spot effect. but in general I concur: shinos do not play
> nice with others.
Edouard Bastarache on fri 3 feb 12
Now you can all give me hell
Hehehehe
http://queshinos.blogspot.com/
Il y a plusieurs ann=3DE9es sur le groupe de discussion de Lee Love, suite =
=3D
=3DE0 mon habitude de mettre des colorants/opacifiants dans mes Shinos, je =
=3D
fus ramener =3DE0 l=3D92ordre par les puristes du groupe.
Ils me sugg=3DE9raient de ne pas utiliser ces substances, la couleur des =
=3D
Shinos devant =3DEAtre d=3DE9termin=3DE9e par la composition de la base et =
la =3D
m=3DE9thode de cuisson.
Eric Hansen a alors sugg=3DE9r=3DE9 de diviser les gla=3DE7ures Shinos selo=
n =3D
classification suivante :
1-Les Shinos Japonais Antiques,
2-Les Shinos Japonais Modernes,
3-Les Shinos Am=3DE9ricains
4-Les Shinos Qu=3DE9becois d=3D92Edouard
----------------------------------------------------
Several years ago, on the newsgroup of Lee Love following my habit of =3D
putting colourants/opacifiers in my Shinos, I was brought back to order =3D
by the purists of the group. They suggested I refrain from using them, =3D
the color of Shinos having to be determined by the composition of the =3D
base and the method of firing
Eric Hansen then suggested dividing the Shino glazes according to the =3D
following classification:
1-Antique Japanese Shinos,
2-Modern Japanese Shinos,
3-American Shinos,
4-The Quebec Shinos of Edouard.=3D20
-------------------------------------------------
Pluraj pasintaj jaroj, en la forumo cefita per Lee Love, sekvante mia =3D
rutino meti en miaj Shino-glazuroj kolorilojn/opakemilojn, mi estis =3D
alkondukita al ordo per la grupopurismistoj.
Ili al mi sugestis ne uzi tiujn hemiajojn, la koloro de Shino-glazuroj =3D
devanto esti determinata per bazokompostajoj kaj bakimetodoj.
Tiam Eric Hansen sugestis partigi Shino-glazurojn lau la sekvanta =3D
klasifiko :
1-Antikvaj Japanaj Shino-Glazuroj,
2-Modernaj Japanaj Shino-Glazuroj,
3-Amerikaj Shino-Glazuroj,
4-Kebekiaj Shino-Glazuroj de Eduardo.=3D20
(Esperanto)
Plejkore,
Edouard Bastarache=3D20
Spertesperantisto=3D20
Sorel-Tracy
Quebec
http://www.flickr.com/photos/30058682@N00/
http://edouardbastarache.blogspot.com/
http://smart2000.pagesperso-orange.fr/bloggs_edouard.htm
http://www.facebook.com/edouard.bastarache
| |
|
