Anthony Allison on thu 19 nov 98
Hello,
Over the past months, I have been flirting with shino glazes in a cone 10
gas reduction firing but have not been able to achieve the beautiful mottled
effects I have seen on other pots. I was wondering if perhaps someone could
share their firing technique with me.
My cow had a calf. She is a walnut colored jersey. She was born on a
terribly stormy snowy day so I called her blizzard. If you want a photo,
e-mail me.
Thanks
Tony
Donn Buchfinck on fri 20 nov 98
to begin with
what kind of clay are you putting the glaze on
there needs to be iron in the clay to get the orange to come out
what cone are you doing body reduction
I do body reduction at 014 to get the glaze to come out great
shino glazes have a wide firing range and they seal over at a low temperature
so you need to do body reduction at a lower temperature
does the inside of the pots look better than the outside
this is because there is a neutral atmosphere inside the pot
you might be on the oxidation side of the firing
and not keeping it in reduction durring the firing
if you are appling the glaze on a porcelain like clay you need to apply the
glaze much thinner
more iron in the clay = more glaze applied to the pot
re fire the shino pots in the gas fired bisque kiln, do not stack them, the
glaze melts at the bisque temp. this sometimes gives some great effects
use hot wax on top of the glaze to decorate then dip again
use an iron wash on the glaze
try keeping the kiln in a good reduction
fire celedons and shinos together
iron saturates like tomato red and temmoku need a lighter reduction and an
oxidation period at the end
where as I reduce harder for a time at the end of a shino firing to get great
results
good luck
if you need any other advice just write
and just remember everyone does it different
Donn Buchfinck
Liz Willoughby on sat 21 nov 98
Hello Tony,
Getting good results, i.e. carbon trapping, and good colour i.e. orange,
white, grey, black, and what I call crystals, "circles of black surrounded
by white/orange", has been a frustrating, but at times exhilarating
experience.
Sometimes the firings are wonderful and sometimes they just aren't.
For good carbon trapping it is necessary to go into to reduction early, at
010 or 012. I have been keeping it in reduction through to the end, but am
considering lightening up in the middle of the firing. The frustrating
part is that there are so many variables. The weather, whether the glaze
batch is old or new (some say it's better old, some say it's better new),
and just when you think you have got it all figured out, and just starting
to feel a little smug about it all, it goes and throws you a curve ball.
I have coated my kiln with ITC 100, followed by ITC 296, and did find that
after that, I had wonderful crystals. But my last two firings were not
great. Another one coming up soon.
These are the two glazes that I use.
Malcolm Davis Carbon Trap, cone 10 reduction
Neph. Sye. 38.6
Soda Ash 16.3
EPK 17.0
OM #4 13.0
Soda Spar 9.3
Penn. State Shino (Not so much carbon trapping with this one)
Neph. Sye. 14.6
Soda Ash 7.8
EPK 9.7
OM #4 4.9
Soda Spar 34.0
Spodumene 29.0
Hope this is some help, and hope there are more replies to your query,
because it is really a fascinating, even if frustrating, glaze to work
with. Good luck with it, Liz
>----------------------------Original message----------------------------
>Hello,
>
>Over the past months, I have been flirting with shino glazes in a cone 10
>gas reduction firing but have not been able to achieve the beautiful mottled
>effects I have seen on other pots. I was wondering if perhaps someone could
>share their firing technique with me.
>
>My cow had a calf. She is a walnut colored jersey. She was born on a
>terribly stormy snowy day so I called her blizzard. If you want a photo,
>e-mail me.
>
>Thanks
>
>Tony
Liz Willoughby
2903 Shelter Valley Rd.
R.R.#1
Grafton, Ontario
Canada. K0K 2G0
e-mail lizwill@phc.igs.ca
Anthony Allison on sun 22 nov 98
Liz,
Thanks a million for taking the time to respond to my inquiry. I cant
remember if the shino I am using is the wirt carbon trap or Ken Fergusons
shino. It seems I cant get anything to happen. I appreciate the info and the
recipes. I have in my minds eye some pots I want to make --it may happen due
to your help!
Warmest Regards,
Tony
At 09:53 AM 11/21/98 EST, you wrote:
>----------------------------Original message----------------------------
>Hello Tony,
>Getting good results, i.e. carbon trapping, and good colour i.e. orange,
>white, grey, black, and what I call crystals, "circles of black surrounded
>by white/orange", has been a frustrating, but at times exhilarating
>experience.
>Sometimes the firings are wonderful and sometimes they just aren't.
>
>For good carbon trapping it is necessary to go into to reduction early, at
>010 or 012. I have been keeping it in reduction through to the end, but am
>considering lightening up in the middle of the firing. The frustrating
>part is that there are so many variables. The weather, whether the glaze
>batch is old or new (some say it's better old, some say it's better new),
>and just when you think you have got it all figured out, and just starting
>to feel a little smug about it all, it goes and throws you a curve ball.
>
>I have coated my kiln with ITC 100, followed by ITC 296, and did find that
>after that, I had wonderful crystals. But my last two firings were not
>great. Another one coming up soon.
>
>These are the two glazes that I use.
>
>Malcolm Davis Carbon Trap, cone 10 reduction
>
>Neph. Sye. 38.6
>Soda Ash 16.3
>EPK 17.0
>OM #4 13.0
>Soda Spar 9.3
>
>Penn. State Shino (Not so much carbon trapping with this one)
>
>Neph. Sye. 14.6
>Soda Ash 7.8
>EPK 9.7
>OM #4 4.9
>Soda Spar 34.0
>Spodumene 29.0
>
>Hope this is some help, and hope there are more replies to your query,
>because it is really a fascinating, even if frustrating, glaze to work
>with. Good luck with it, Liz
>
>>----------------------------Original message----------------------------
>>Hello,
>>
>>Over the past months, I have been flirting with shino glazes in a cone 10
>>gas reduction firing but have not been able to achieve the beautiful mottled
>>effects I have seen on other pots. I was wondering if perhaps someone could
>>share their firing technique with me.
>>
>>My cow had a calf. She is a walnut colored jersey. She was born on a
>>terribly stormy snowy day so I called her blizzard. If you want a photo,
>>e-mail me.
>>
>>Thanks
>>
>>Tony
>
>Liz Willoughby
>2903 Shelter Valley Rd.
>R.R.#1
>Grafton, Ontario
>Canada. K0K 2G0
>
>e-mail lizwill@phc.igs.ca
>
Joyce Lee on mon 23 nov 98
I generally follow Liz's firing schedule, although I did change from
reducing throughout the firing from cones 010 or 012 on. Now I go into
neutral or oxidation the last 30 to 45 minutes for a soak. Next firing,
who knows? I keep experimenting which is the lovely part of this glaze.
I've had all kinds of carbon-trapping some of which is soft and lovely.
One small teabowl with a diamond-shaped fluting is a soft, shiny carbon
on top of the diamond and tan to orange in between. Another larger
teabowl is a rich, light brown (not tan) with hollow circles of black
all over the bowl...don't know what that's called. Most are mottled tan,
lemony, orange, rust with carbon black around the rim and bottom.
This is all from one bucket of glaze. Nothing tame about the shino; it
reacts to everything...placement in the kiln, amount of reduction,
thickness of glaze, waxing, layering over itself as well as other glazes
etc. The only real problem I see with shino, now that I understand it
"somewhat" better, is that I seldom can reproduce results on call. I
just glaze, fire and see what happens. So, Tony, until you become as
experienced with this fickle glaze as another Tony (C.), or Craig or
June or Jack et al, you're probably not going to nail the shino for
awhile. I say this with a gulp because I'm having to accept that aspect
of shino for myself, at least for now. AND I haven't even mentioned the
Cracked Shino on brown clay, which on my first bowl (naturally, I chose
a pitiful form for testing) is incredible...and I've never achieved the
look again...not once and at least one pot goes in each firing. I have
recipes I can forward that June Perry (who probably doesn't remember,
but it was important to me) e-mailed me my sixth month in pottery. I
think there were a dozen or more shinos in the batch, but it was a long
time before I had the equipment and courage to tackle them other than on
test tiles...back when all I fired were test tiles...hundreds to a kiln
load. Why Am I Not Better At This???
Joyce
In the Mojave going to watch the wild rabbits ignore the lettuce and
other greens we've put out for them, in favor of the brittle sticks that
plummeted from the big elm in the latest winds...if they were potters
they'd probably also still be struggling with shinos, celadons, tenmokus
and copper reds, when there are so many other easier glazes out there.
In the right family...
Donn Buchfinck on mon 23 nov 98
you know I just thought about something I haven't seen on any of the posts
about shino
there are two types of spodumene
chemical grade and ceramic grade
there is a big difference between the two
if you get the wrong one you will get a bland glaze
some of those glaze gurus will be able to say what the type to use is
Donn Buchfinck
San Francisco
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