Joyce Lee on tue 23 nov 99
That commercial artifical salt glaze which ran in my last firing has
a redeeming characteristic: it truly looks much like ash glazes I have
seen and admired. When I fired it at ^9-10 it did not have this ash
appearance, but at ^11 down, there it was... compares not too
unfavorably in looks with Tony C.'s ash glaze that I have on one of his
and Sheila's wonderful cups and saucers (the other cup is shino.....
luscious). Now that I've examined that nasty glaze more objectively I'd
like to be able to achieve the effect WITHOUT the running. Any
suggestions? I've only begun thinking about keeping this bucket of
glaze, so I still may come up with something myself, or in a pique may
toss it, but am exceedingly open to and appreciative of
all suggestions. Thank you, claybuds.
Joyce
In the Mojave trying to concentrate on a menu and meal preparation for
Thanksgiving ... love to cook... but right now all I want to cook is
pots ...... may just take guests out ..... is that heresy??? Do you do
your own cooking, or does mom or grandmom? I qualify as both, actually
greatgrandmom, too..... that part's fun.... so is cooking...but right
now timing is bad......
David Hendley on fri 26 nov 99
Joyce, I think you are asking the impossible.
To achieve that nice 'ash glaze look' requires a
glaze that runs.
You need to plan ahead by using the glaze on the
top parts of pots and glaze the bottoms with a
'brake' glaze, a stable, static glaze.
I was hoping Richard A. would answer you. He is the
master of this technique.
Good luck,
--
David Hendley
Maydelle, Texas
hendley@tyler.net
http://www.farmpots.com/
----- Original Message -----
From: Joyce Lee
To:
Sent: Tuesday, November 23, 1999 11:26 AM
Subject: artificial salt glaze
| ----------------------------Original message----------------------------
| That commercial artificial salt glaze which ran in my last firing has
| a redeeming characteristic: it truly looks much like ash glazes I have
| seen and admired. When I fired it at ^9-10 it did not have this ash
| appearance, but at ^11 down, there it was... compares not too
| unfavorably in looks with Tony C.'s ash glaze that I have on one of his
| and Sheila's wonderful cups and saucers (the other cup is shino.....
| luscious). Now that I've examined that nasty glaze more objectively I'd
| like to be able to achieve the effect WITHOUT the running. Any
| suggestions? I've only begun thinking about keeping this bucket of
| glaze, so I still may come up with something myself, or in a pique may
| toss it, but am exceedingly open to and appreciative of
| all suggestions. Thank you, claybuds.
|
| Joyce
| In the Mojave trying to concentrate on a menu and meal preparation for
| Thanksgiving ... love to cook... but right now all I want to cook is
| pots ...... may just take guests out ..... is that heresy??? Do you do
| your own cooking, or does mom or grandmom? I qualify as both, actually
| greatgrandmom, too..... that part's fun.... so is cooking...but right
| now timing is bad......
Craig Martell on sun 28 nov 99
David Hendley said:
>Joyce, I think you are asking the impossible.
>To achieve that nice 'ash glaze look' requires a
>glaze that runs.
>You need to plan ahead by using the glaze on the
>top parts of pots and glaze the bottoms with a
>'brake' glaze, a stable, static glaze.
Hello Joyce and David et al:
The use of a more viscous glaze at the lower portion of a form will retard
the flow of a runny glaze, such as an ash type glaze. It can be tricky
though and you can get a bit heavy handed with the upper, more flowing
glaze. Sometimes the aesthetics aren't what you want either but I'm just
speculating in regard to that. BUT, David's suggestion is a very good
approach.
I have found that ash glazes apply best with spraying and they give a
wonderful variation when applied at different thicknesses. Spraying is an
easy way to accomplish this and you can really feather things out nicely
where the thickness is varied. I spray ash glazes over porcelain slips and
sometimes use just the ash glaze on a piece. I put the heaviest
application on the shoulders of jars and vases and lighten up as I work
toward the bottom. I get the nice heavy ash runs on the upper section of
the pot and this lightens to more of an "orange peel" salt look as I lessen
the thickness of application. Usually, I don't get the ash runs extending
to the kiln shelf. :>)
This is my method, and not the one true way to do it, so factor that
in. I'm not Richard either so I hope it's OK if I butt in. I have one of
Richard Aerni's vases in my collection and it is a treasured piece I must say!!
hope you get just the effect you're after, Craig Martell in Oregon
Joyce Lee on sat 11 mar 00
I've used Laguna's ^10 artificial salt glaze and found "unreliable" to
be a major understatement. I've fired it about six times and, while it
ran only once, I had six different effects on the same claybody. I like
a couple of the looks very much, but was unable to repeat them. In one
firing the salt glaze seemed to do nothing on most of the pots; the pots
looked as if they had not been glazed at all. There were a couple of
firings, though, with which I was very pleased. Their rustic look
appealed to my rustic soul. But none of these pots had any resemblance
to results from any salt-firings that I've ever witnessed. I was
disappointed for I'd had high expectations, foolish old person that I
am, who keeps repeating the same mistake the same way and expecting new
results.
Joyce
In the Mojave tired from dratted cleaning of the studio......well, a
tiny part of the studio. Clayarter Sylvia Shirley came over to help and
also glazed a few of her pots in Mel's shino. I used her tomato cage
invention for dipping into glaze. Clever. I think it was in PMI......not
sure. If not, it should have been. Now it lives in my glaze
room.....hooray for me.
Lorraine Pierce on sun 12 mar 00
Hi Joyce...tomato cage invention by Silvia Shirley? What shape, what size,
to what end? My imagination is running rampant. More, please, more.
Lori in New Port Richey, Fl.
Where I'm having a great time getting to know fellow claybud, Margaret
Barlow from Canada, who brought me one of her elegant porcelain mugs AND one
of Toni Clennell's soul warming woodfired shinos!! Its like holding a bit of
'heart' in your hands.
Joyce Lee wrote:
> ----------------------------Original message----------------------------
> I've used Laguna's ^10 artificial salt glaze and found "unreliable" to
> be a major understatement. I've fired it about six times and, while it
> ran only once, I had six different effects on the same claybody. I like
> a couple of the looks very much, but was unable to repeat them. In one
> firing the salt glaze seemed to do nothing on most of the pots; the pots
> looked as if they had not been glazed at all. There were a couple of
> firings, though, with which I was very pleased. Their rustic look
> appealed to my rustic soul. But none of these pots had any resemblance
> to results from any salt-firings that I've ever witnessed. I was
> disappointed for I'd had high expectations, foolish old person that I
> am, who keeps repeating the same mistake the same way and expecting new
> results.
>
> Joyce
> In the Mojave tired from dratted cleaning of the studio......well, a
> tiny part of the studio. Clayarter Sylvia Shirley came over to help and
> also glazed a few of her pots in Mel's shino. I used her tomato cage
> invention for dipping into glaze. Clever. I think it was in PMI......not
> sure. If not, it should have been. Now it lives in my glaze
> room.....hooray for me.
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