Joyce Lee on sun 20 sep 98
Roger,
Hamer's has a few paragraphs on hare's fur which they describe as a
"variety of tenmoku glaze which has visual qualities resembling hare's
fur...two types: fine light-coloured flecks against a dark ground,
reminiscent of the hair tips against the fur; the other has the smokey
appearance of the soft under-fur." "Later hare's furs in Northern China
had the rust flecks developed into yellow flecks about a quarter of an
inch long that run down the glaze in a gravity line." They go on to say
that it can be difficult to reproduce and that the effect could be due
to spots of local reduction which "encourage the movement to the surface
of particles of iron oxide, often appearing in slip glazes made from
heterogeneous muds noted for their volative content." Somewhere I have
Hopper's recipe for hare's fur as used by another student in our glaze
class, Pat Weber (you out there, Pat?). If you'd like it, let me know
and I'll research and post.
Joyce
In the Mojave glad she's not really intrigued by hare's fur...and
excited that she can relate to every word of Hamer's description, thanks
to Clayart.
Brian Crocker on mon 9 nov 98
------------------
Is there any one ,,or two ,, out there in the world of Clay that can help =
with a
HARE'S FUR glaze formula, it is for a fellow Pottery Club member,
I have often seen the formula mentioned on the Clayart net but as it is out =
of
my normal firing range and I did'nt keep a hard copy.
I would appreciate any assistance from you kind Folk.
Kind regards,
Brian Crocker.
4 Erica Street, Tea Tree Gully, S.A. 5091
AUSTRALIA.
=7B e.mail address =7D crocker=40picknowl.com.au
phone-fax 08 8264 4136
mel jacobson on sat 24 dec 05
as many know joe koons and i have spent
a great many hours with this glaze.
the archives are loaded...under `iron saga`.
i sure am not going to repeat that long message.
but..several factors are important.
layers.
different movement of each glaze.
stiff glaze on the bisque
a moving glaze on top. and perhaps another glaze on top of that.
thickness and thinness are very important to study.
heat...you need more than you think.
the top glaze does not move until it has more
heat. it has to move.
courage...as your kiln shelves may get ruined in the search.
be prepared.
look into oxidizing the firing...heavy reduction is a curse for this glaze.
mel
from mel/minnetonka.mn.usa
website: http://my.pclink.com/~melpots3
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