David Orser on tue 15 sep 98
---------- Forwarded message ----------
Date: Mon, 14 Sep 1998 11:26:08 -0400 (EDT)
From: David Orser
To: citrus@bourland.com
Subject: hare's fur
Roger, I too am on the trail of that wascally wabbit. was recently
re-inspired while in seattle at an asian antiques gallery named
thesaurus, I saw (and ended up purchasing) one of those classic hares fur
tea bowls ("jianyao ware, southern song 1127-1279) for a mere $120- iwas
flabbergasted.... I've been working on oilspot glazes for a while now as
a sideline to my other stuff @ cone 10 reduction. using our (mudflat's)
36 cu. ft updraft to fire oxidation/neutral for things one can't get in
reduction, i.e., oilspots crystalline, nickle purples and the like... and
i've had a bit of success getting these oilsot glazes to do the hanging
drip trick near the foot of the bowl by dusting the freshly dipped pot
with hardwood ash (as the oilspot glaze was quite stiff and not moving at
all) In these cases I've noticed that the ash is causing the glaze to
streak in a hare's fur type way. I've been doing it on porcelain and
about to try on a course stoneware and some w/ iron filings wedged in to
encourage
the response, we'll see... another thought was to include some granular,
high mafic (iron) shale into the mix, I saw a post by jack troy a while
back about his using shale (pennsylvanian) and wood ash 50/50 to make a
nice tenmokku.. got me thinking...
my oilspot is mostly albany slip (istill have a bit) but found
that by using the hyperglaze reformulation and plugging it into the
recipie that it works just fine, so that i need not panic when i run out.
don't have the formulae in front of me just now but can provide if you
like....
good luck, will be watching for other posts on this...
D.O.
Eileen Streeter on wed 16 sep 98
don't have recipes... but did find a wonderful book... titled 'hare's
fur, tortoiseshell, and partridge feathers shinese brown and black glazed
ceramics, 400 - 1400' by robert d. mowry published by harvard
university art museums in '96 more academic and analytical... but has
wonderful color photos.... and percentage charts of bodies and glazes....
i do have a memory of seeing glaze formulas... will keep looking...
eileens
David Orser on sat 19 sep 98
---------- Forwarded message ----------
Date: Fri, 18 Sep 1998 14:54:03 -0400 (EDT)
From: David Orser
To: Roger Bourland
Subject: Re: hare's fur
roger, this isn't exactly a hare's fur all by itself, but by dusting (or
sifting, iuse a 40 mesh seive) the wet glaze, right after it comes out of
the bucket (preferably in awell ventilated area) it does the trick.
the mineral shale, i know of no supplier, is what large portions
of pennsylvania is made of. you can see lots of it going thru on rt. 90
were they,ve blasted roadcuts, likely that's were jack found his.
here are some formulae:
david davison's oilspot (it's really parmelee's) cone 9-10
albany slip clay 44.34
g-200 or any potspar 35.85
ball clay 8.49
borax 3.77
red iron ox. 7.55
or if you have no albany this is the same (almost) by using hyperglaze's
albany reformulation (thanks, richard). it seems less black, maybe it was
the one firing that the test was in or maybe it wants alittle more Fe, or
some cobalt, as i've seen some oilspots call for. but it made big ol'
oilspots.
fake albany oilspot cone 9-10 oxidation (haven't tried reduct.
redart clay 32.53
neph. sy. 2.22
epk 1.60
dolomite 3.05
whiting 2.70
flint 2.38
potash spar 36.25
ball clay 8.58
borax 3.05
red iron ox. 7.63
carry on...... just thinking, i wonder if this goes into a reduction
firing, ifn' it might run all over as it likes to be thick for it's
oilspot thing,... and what with the way iron is significantly more fluxed
in reduction.... caution.... i'm not sure how you are firing...cheers, d.o.
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