Ben Morrison on mon 6 feb 12
Do you have a recipe for the Penn State Shino handy, I'd like to mess with =
=3D
it a bit. Is it a white Shino, I've used a white shino that had some carbon=
=3D
trapping effects, but very mild at Mt Hood Community College. That glaze w=
=3D
asn't able to go over everything, but it did for some reason seem to work o=
=3D
ver the studio Tenmoku. It did apparently blister, but some how it would he=
=3D
al leaving behind this white to orange glaze with orange circles around bla=
=3D
ck/brown dots that had some metallic sheen. It had to be applied thinly on =
=3D
both accounts, but it was the only time I avoided the rule.=3D0A=3D0A-Ben=
=3D0A=3D0A=3D
=3D0A________________________________=3D0A From: Elizabeth Willoughby owyl=3D
iz@GMAIL.COM>=3D0ATo: Clayart@LSV.CERAMICS.ORG =3D0ASent: Monday, February =
6, 2=3D
012 10:19 AM=3D0ASubject: my take on shinos=3D0A =3D0AHello Claybuds,=3D0AI=
thought=3D
I would add to the discussion on shinos.=3DA0 In my experience, the=3D0Aru=
le o=3D
f "shino first or be cursed", is one that I follow.=3DA0 I remember=3D0Atry=
ing =3D
iron slips, temmie, and celadons under Malcolm's shino (high soda=3D0Aash),=
a=3D
nd having the surface of my pots come out with huge blisters and=3D0Arough =
su=3D
rfaces.=3DA0 I have also used Penn State shino, (low soda ash), in=3D0Acomb=
inat=3D
ion with M.D.'s shino over and under with no bubbling at all. . . I=3D0Adid=
a=3D
series of tests years ago using different shinos together, over and=3D0Aun=
de=3D
r and never had a problem.=3DA0 There is one glaze however that I have used=
=3D
=3D0Aunder shino's, as well as over shino's=3DA0 It is that cone 6 high iro=
n gl=3D
aze=3D0Awith gerstley. . .I have used that on rims and with brush work, som=
et=3D
imes=3D0Ait comes out very beautiful . . . almost gold in appearance.=3D0AH=
ope =3D
to see many at NCECA.=3D0ALiz Willoughby=3D0ABrighton, Ontario, Canada.
Elizabeth Willoughby on mon 6 feb 12
Hello Claybuds,
I thought I would add to the discussion on shinos. In my experience, the
rule of "shino first or be cursed", is one that I follow. I remember
trying iron slips, temmie, and celadons under Malcolm's shino (high soda
ash), and having the surface of my pots come out with huge blisters and
rough surfaces. I have also used Penn State shino, (low soda ash), in
combination with M.D.'s shino over and under with no bubbling at all. . . I
did a series of tests years ago using different shinos together, over and
under and never had a problem. There is one glaze however that I have used
under shino's, as well as over shino's It is that cone 6 high iron glaze
with gerstley. . .I have used that on rims and with brush work, sometimes
it comes out very beautiful . . . almost gold in appearance.
Hope to see many at NCECA.
Liz Willoughby
Brighton, Ontario, Canada.
Elizabeth Willoughby on tue 7 feb 12
Hello Ben,
Looking at the recipe, it has more soda ash than I remember.
*Penn. State Shino*
C/10 R
Nep. Sye. 14.6
Soda Ash 7.8
EPK 9.7
OM4 4.9
Soda Spar 34.0
Spodumene *29.0*
100.0
Years ago,when I was exploring shinos, Craig Martell suggested that I put
more alumina in my glaze to enhance the color. So I adjusted Malcolm's
glaze (replacing half the EPK with fine alumina hydrate), and it is what I
use now. It did not however seem to enhance the color, but did make the
glaze "fatter". The technique that I sometimes use with this glaze to get
(if I am lucky!, black dots surrounded by halos), is to dip it in the
glaze, let it set up a bit, then give another light spraying of that glaze.
I then would stack the kiln the day of glazing, turn on the pilots for a
few hours and then start my firing overnight, setting my forced air burners
on low until the wee hours in the morning.
*Malcolm's adjusted C.T.Shino C/10*
*
*
Nep. Sye. 38.6
Soda Ash 16.3
EPK 8.5
Alumina Hydrate 8.5
OM4 13.0
Soda Spar *9.3*
94.2 (I know, does not add up to 100)
I will do a test when we fire using a thin temmie under these shinos, would
love to get that effect you are talking about.
Liz Willoughby
Brighton, Ontario, Canada
*
*
On Mon, Feb 6, 2012 at 11:16 PM, Ben Morrison wrote:
> Do you have a recipe for the Penn State Shino handy, I'd like to mess wit=
h
> it a bit. Is it a white Shino, I've used a white shino that had some carb=
on
> trapping effects, but very mild at Mt Hood Community College. That glaze
> wasn't able to go over everything, but it did for some reason seem to wor=
k
> over the studio Tenmoku. It did apparently blister, but some how it would
> heal leaving behind this white to orange glaze with orange circles around
> black/brown dots that had some metallic sheen. It had to be applied thinl=
y
> on both accounts, but it was the only time I avoided the rule.
>
> -Ben
>
> ------------------------------
> *From:* Elizabeth Willoughby
> *To:* Clayart@LSV.CERAMICS.ORG
> *Sent:* Monday, February 6, 2012 10:19 AM
> *Subject:* my take on shinos
>
> Hello Claybuds,
> I thought I would add to the discussion on shinos. In my experience, the
> rule of "shino first or be cursed", is one that I follow. I remember
> trying iron slips, temmie, and celadons under Malcolm's shino (high soda
> ash), and having the surface of my pots come out with huge blisters and
> rough surfaces. I have also used Penn State shino, (low soda ash), in
> combination with M.D.'s shino over and under with no bubbling at all. . .=
I
> did a series of tests years ago using different shinos together, over and
> under and never had a problem. There is one glaze however that I have us=
ed
> under shino's, as well as over shino's It is that cone 6 high iron glaze
> with gerstley. . .I have used that on rims and with brush work, sometimes
> it comes out very beautiful . . . almost gold in appearance.
> Hope to see many at NCECA.
> Liz Willoughby
> Brighton, Ontario, Canada.
>
>
>
Lee on tue 7 feb 12
A distinction needs to be made between Carbon Trap glazes and Shino
type glazes. =3DA0 The original shino does not carbon trap. =3DA0It contain=
s
no soda ash.
=3DA0 =3DA0 =3DA0 =3DA0 =3DA0 =3DA0My shino in Japan was 60 Korean Kaolin a=
nd 40 Neph S=3D
ye. =3DA0No
soda ash. =3DA0 I have replace all or part of the Kaolin with Aluminina
Hydrate. =3DA0 =3DA0 Currently I am using Robertson's Mino which has no cla=
y
(only Bentonite) or soda ash:
Mino Shino=3DA0cone 10
60 Nepheline Syenite
10 Spodumene
30 Alumina oxide (A-12)
3.6 Bentonite
Korean Kaolin Shino:
http://mashikopots.blogspot.com/2007/03/shino-plate-with-grass-decoration.h=
=3D
tml
http://bit.ly/AhKxoi
These may have been refired with a second thin coat of Korean Shino:
http://shinoglaze.blogspot.com/2008/06/more-metallic-shino.html
http://shinoglaze.blogspot.com/2008/06/metallic-shinos_4600.html
Mino Shino:
http://shinoglaze.blogspot.com/
--
=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
Lee on tue 7 feb 12
On Tue, Feb 7, 2012 at 10:50 AM, Elizabeth Willoughby
wrote:
> talking about shino's with soda ash, the americanized version of japanese
> shino.
They are two totally different glazes. The original Wirt Shinos
are somewhat like the traditional ones. But the Davis C.T. are in a
different category altogether.
--
=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
Ben Morrison on tue 7 feb 12
They mixed the Tenmoku thin because it would get broken and=3D
Elizabeth,=3D0A=3D0AThey mixed the Tenmoku thin because it would get broken=
and=3D
warm in the wood kiln that way. This thin watery mix is a key factor in ha=
=3D
ving the Tenmoku under the Shino. The white shino however was perfect cream=
=3D
consistency. By itself the white shino, on white clay was was just white. =
=3D
On red clay the white shino was orange. Not having a hydrometer I can't giv=
=3D
e you perfect data, but to reproduce this effect I believe the thickness is=
=3D
critical. If I can find a piece of it hanging around I'll take a picture a=
=3D
nd send send it in.=3DA0=3DA0=3D0A=3D0A=3D0A-Ben=3D0A=3D0A=3D0A____________=
________________=3D
____=3D0A From: Elizabeth Willoughby =3D0ATo: Clayart=
@LSV=3D
.CERAMICS.ORG =3D0ASent: Tuesday, February 7, 2012 5:29 AM=3D0ASubject: Re:=
my =3D
take on shinos=3D0A =3D0AHello Ben,=3D0ALooking at the recipe, it has more =
soda a=3D
sh than I remember.=3D0A*Penn. State Shino*=3D0AC/10 R=3D0ANep. Sye.=3DA0 =
=3DA0 =3DA0 1=3D
4.6=3D0ASoda Ash=3DA0 =3DA0 =3DA0 =3DA0 7.8=3D0AEPK=3DA0 =3DA0 =3DA0 =3DA0 =
=3DA0 =3DA0 =3DA0 =3DA0 9.7=3D
=3D0AOM4=3DA0 =3DA0 =3DA0 =3DA0 =3DA0 =3DA0 =3DA0 =3DA0 4.9=3D0ASoda Spar=
=3DA0 =3DA0 =3DA0 34.0=3D0ASpo=3D
dumene=3DA0 =3DA0 *29.0*=3D0A=3DA0 =3DA0 =3DA0 =3DA0 =3DA0 =3DA0 =3DA0 =3DA=
0 =3DA0 =3DA0 100.0=3D0A=3D0A=3D
Years ago,when I was exploring shinos, Craig Martell suggested that I put=
=3D
=3D0Amore alumina in my glaze to enhance the color.=3DA0 So I adjusted Malc=
olm'=3D
s=3D0Aglaze (replacing half the EPK with fine alumina hydrate), and it is w=
ha=3D
t I=3D0Ause now.=3DA0 It did not however seem to enhance the color, but did=
mak=3D
e the=3D0Aglaze "fatter".=3DA0 The technique that I sometimes use with this=
gla=3D
ze to get=3D0A(if I am lucky!, black dots surrounded by halos), is to dip i=
t =3D
in the=3D0Aglaze, let it set up a bit, then give another light spraying of =
th=3D
at glaze.=3D0AI then would stack the kiln the day of glazing, turn on the p=
il=3D
ots for a=3D0Afew hours and then start my firing overnight, setting my forc=
ed=3D
air burners=3D0Aon low until the wee hours in the morning.=3D0A=3D0A*Malco=
lm's a=3D
djusted C.T.Shino C/10*=3D0A*=3D0A*=3D0ANep. Sye.=3DA0 =3DA0 =3DA0 =3DA0 =
=3DA0 38.6=3D0ASoda =3D
Ash=3DA0 =3DA0 =3DA0 =3DA0 =3DA0 16.3=3D0AEPK=3DA0 =3DA0 =3DA0 =3DA0 =3DA0=
=3DA0 =3DA0 =3DA0 =3DA0 =3DA0 =3D
8.5=3D0AAlumina Hydrate=3DA0 8.5=3D0AOM4=3DA0 =3DA0 =3DA0 =3DA0 =3DA0 =3DA=
0 =3DA0 =3DA0 =3DA0 13.=3D
0=3D0ASoda Spar=3DA0 =3DA0 =3DA0 =3DA0 =3DA0 =3DA0 *9.3*=3D0A=3DA0 =3DA0 =
=3DA0 =3DA0 =3DA0 =3DA0 =3DA0 =3D
=3DA0 =3DA0 =3DA0 =3DA0 =3DA0 =3DA0 94.2=3DA0 (I know, does not add up to 1=
00)=3D0A=3D0AI wil=3D
l do a test when we fire using a thin temmie under these shinos, would=3D0A=
lo=3D
ve to get that effect you are talking about.=3D0ALiz Willoughby=3D0ABrighto=
n, O=3D
ntario, Canada=3D0A*=3D0A*=3D0A=3D0A=3D0A=3D0AOn Mon, Feb 6, 2012 at 11:16 =
PM, Ben Morr=3D
ison wrote:=3D0A=3D0A> Do you have a recipe for the P=
enn =3D
State Shino handy, I'd like to mess with=3D0A> it a bit. Is it a white Shin=
o,=3D
I've used a white shino that had some carbon=3D0A> trapping effects, but v=
er=3D
y mild at Mt Hood Community College. That glaze=3D0A> wasn't able to go ove=
r =3D
everything, but it did for some reason seem to work=3D0A> over the studio T=
en=3D
moku. It did apparently blister, but some how it would=3D0A> heal leaving b=
eh=3D
ind this white to orange glaze with orange circles around=3D0A> black/brown=
d=3D
ots that had some metallic sheen. It had to be applied thinly=3D0A> on both=
a=3D
ccounts, but it was the only time I avoided the rule.=3D0A>=3D0A> -Ben=3D0A=
>=3D0A>=3D
=3DA0 ------------------------------=3D0A> *From:* Elizabeth Willoughby illo=3D
wyliz@GMAIL.COM>=3D0A> *To:* Clayart@LSV.CERAMICS.ORG=3D0A> *Sent:* Monday,=
Feb=3D
ruary 6, 2012 10:19 AM=3D0A> *Subject:* my take on shinos=3D0A>=3D0A> Hello=
Clayb=3D
uds,=3D0A> I thought I would add to the discussion on shinos.=3DA0 In my ex=
peri=3D
ence, the=3D0A> rule of "shino first or be cursed", is one that I follow.=
=3DA0 =3D
I remember=3D0A> trying iron slips, temmie, and celadons under Malcolm's sh=
in=3D
o (high soda=3D0A> ash), and having the surface of my pots come out with hu=
ge=3D
blisters and=3D0A> rough surfaces.=3DA0 I have also used Penn State shino,=
(lo=3D
w soda ash), in=3D0A> combination with M.D.'s shino over and under with no =
bu=3D
bbling at all. . . I=3D0A> did a series of tests years ago using different =
sh=3D
inos together, over and=3D0A> under and never had a problem.=3DA0 There is =
one =3D
glaze however that I have used=3D0A> under shino's, as well as over shino's=
=3D
=3DA0 It is that cone 6 high iron glaze=3D0A> with gerstley. . .I have used=
tha=3D
t on rims and with brush work, sometimes=3D0A> it comes out very beautiful =
. =3D
. . almost gold in appearance.=3D0A> Hope to see many at NCECA.=3D0A> Liz W=
illo=3D
ughby=3D0A> Brighton, Ontario, Canada.=3D0A>=3D0A>=3D0A>
Elizabeth Willoughby on tue 7 feb 12
Yes, you are right. The subject line should have read, "my take on C.T.
shinos". However, if you had read my post, you would realize that I was
talking about shino's with soda ash, the americanized version of japanese
shino.
Thanks for posting your current recipe.
Liz Willoughby
Brighton, Ontario, Canada
On Tue, Feb 7, 2012 at 10:35 AM, Lee wrote:
> A distinction needs to be made between Carbon Trap glazes and Shino
> type glazes. The original shino does not carbon trap. It contains
> no soda ash.
>
> My shino in Japan was 60 Korean Kaolin and 40 Neph Sye. No
> soda ash. I have replace all or part of the Kaolin with Aluminina
> Hydrate. Currently I am using Robertson's Mino which has no clay
> (only Bentonite) or soda ash:
>
> Mino Shino cone 10
> 60 Nepheline Syenite
> 10 Spodumene
> 30 Alumina oxide (A-12)
>
> 3.6 Bentonite
>
> Korean Kaolin Shino:
>
> http://mashikopots.blogspot.com/2007/03/shino-plate-with-grass-decoration=
=3D
.html
> http://bit.ly/AhKxoi
> These may have been refired with a second thin coat of Korean Shino:
> http://shinoglaze.blogspot.com/2008/06/more-metallic-shino.html
> http://shinoglaze.blogspot.com/2008/06/metallic-shinos_4600.html
>
>
> Mino Shino:
>
> http://shinoglaze.blogspot.com/
>
>
> --
> Lee Love in Minneapolis
> http://mingeisota.blogspot.com/
>
> "Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97t=
hat is, =3D
"The
> land of eternal youth is behind the house, a beautiful land fluent
> within itself." -- John O'Donohue
>
Ben Morrison on tue 7 feb 12
Is that Mino Shino for green application, or does it need spodumene for fit=
=3D
on bisque?=3D0A=3D0A=3D0A________________________________=3D0A From: Lee <=
cwidders=3D
hins@GMAIL.COM>=3D0ATo: Clayart@LSV.CERAMICS.ORG =3D0ASent: Tuesday, Februa=
ry 7=3D
, 2012 7:35 AM=3D0ASubject: Re: my take on shinos=3D0A =3D0AA distinction n=
eeds t=3D
o be made between Carbon Trap glazes and Shino=3D0Atype glazes. =3DC2=3DA0 =
The or=3D
iginal shino does not carbon trap. =3DC2=3DA0It contains=3D0Ano soda ash.=
=3D0A=3D0A=3D
=3DC2=3DA0 =3DC2=3DA0 =3DC2=3DA0 =3DC2=3DA0 =3DC2=3DA0 =3DC2=3DA0My shino i=
n Japan was 60 Korean Ka=3D
olin and 40 Neph Sye. =3DC2=3DA0No=3D0Asoda ash. =3DC2=3DA0 I have replace =
all or par=3D
t of the Kaolin with Aluminina=3D0AHydrate. =3DC2=3DA0 =3DC2=3DA0 Currently=
I am usin=3D
g Robertson's Mino which has no clay=3D0A(only Bentonite) or soda ash:=3D0A=
=3D0AM=3D
ino Shino=3DC2=3DA0cone 10=3D0A60 Nepheline Syenite=3D0A10 Spodumene=3D0A30=
Alumina o=3D
xide (A-12)=3D0A=3D0A3.6 Bentonite=3D0A=3D0AKorean Kaolin Shino:=3D0Ahttp:/=
/mashikopo=3D
ts.blogspot.com/2007/03/shino-plate-with-grass-decoration.html=3D0Ahttp://b=
it=3D
.ly/AhKxoi=3D0AThese may have been refired with a second thin coat of Korea=
n =3D
Shino:=3D0Ahttp://shinoglaze.blogspot.com/2008/06/more-metallic-shino.html=
=3D0A=3D
http://shinoglaze.blogspot.com/2008/06/metallic-shinos_4600.html=3D0A=3D0A=
=3D0AMi=3D
no Shino:=3D0A=3D0Ahttp://shinoglaze.blogspot.com/=3D0A=3D0A=3D0A--=3D0A=3D=
C2=3DA0Lee Love =3D
in Minneapolis=3D0Ahttp://mingeisota.blogspot.com/=3D0A=3D0A=3DC2=3DA0"Ta t=
Ir na n-=3D
=3DC3=3DB3g ar chul an tI=3DE2=3D80=3D94tIr dlainn trina ch=3DC3=3DA9ile"=
=3DE2=3D80=3D94that is=3D
, "The=3D0Aland of eternal youth is behind the house, a beautiful land flue=
nt=3D
=3D0Awithin itself." -- John O'Donohue
Lee on tue 7 feb 12
On Tue, Feb 7, 2012 at 1:04 PM, Ben Morrison wrote:
> Is that Mino Shino for green application, or does it need spodumene for f=
=3D
it
> on bisque?
You put it on bisque. I have had good luck on near green (A bisque
that shut off at 800*F. Damned computers!)
What works really well (I learned this from Jim Robinson through
John) is to add iron to some of the Mino, and brush that on before you
dip the regular on top of that. Get some fantastic reds.
Alumina Oxide is pretty expensive.
--
=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
Elizabeth Willoughby on tue 7 feb 12
Ben,
Thanks for the info. That is the wonderful thing about CT shinos, it
reacts so beautifully with just a little bit or a lot of iron in the
claybody. I too have been firing shinos in a wood kiln, and have found
that the CM book on wood firing is great. There is a glaze in there that
reacts beautifully with wood and ash, a nice orange on porcelain, which is
the clay that I primarily use. Can't remember the name, will have to look
it up.
Liz
from Brighton, Ontario, Canada
On Tue, Feb 7, 2012 at 12:05 PM, Ben Morrison wrote:
> Elizabeth,
>
> They mixed the Tenmoku thin because it would get broken and warm in the
> wood kiln that way. This thin watery mix is a key factor in having the
> Tenmoku under the Shino. The white shino however was perfect cream
> consistency. By itself the white shino, on white clay was was just white.
> On red clay the white shino was orange. Not having a hydrometer I can't
> give you perfect data, but to reproduce this effect I believe the thickne=
ss
> is critical. If I can find a piece of it hanging around I'll take a pictu=
re
> and send send it in.
>
> -Ben
>
>
| |
|
