tgschs10 on mon 31 jan 00
------------------
I have been wanting to ask the group at large what are their all time =
favorite
glazes and have hesistated thinking it might be overly presumptious. I must
admit I also have an ulterior motive. I started firing to =5E10 a few months=
back
and since I am self taught without any formal training, I never had the
advantage of university glaze depositories. So far my favorite is the =
following
that I obtained from a Pete Pinnel's workshop:
Reitz Green =5E10 Reduction
neph syenite 70
whiting 5
gerstley borate 2
petalite 15
kaolin 8
add:
cobalt carbarbonate 1
rutile 2
This is a nice green with black breaking where thin
Tom Sawyer
Orlando, FL
tgschs10=40msn.com
Priscilla Dahl on tue 1 feb 00
hey tom i really like shino glazes
this is a gold
Neph sye 42
spodumene 36
epk 12
soda ash 10
in reduction its beautiful good luck priscilla
Rick Hugel on tue 1 feb 00
Here is one I got from Ceramics Monthly back in Feb of 1989. It is a
beautiful deep rust red turning green where thicker. Under or over lapping
it with a white glaze creates different effects.
Leach Kaki Persimmon
Cone 9-11 Reduction
Whiting 17 percent
Feldspar 34
Kaolin 9
Flint 41
Red Iron Oxide 13
>----------------------------Original message----------------------------
>------------------
>I have been wanting to ask the group at large what are their all time favorite
>glazes and have hesistated thinking it might be overly presumptious. I must
>admit I also have an ulterior motive. I started firing to ^10 a few months
>back
>and since I am self taught without any formal training, I never had the
>advantage of university glaze depositories. So far my favorite is the
>following
>that I obtained from a Pete Pinnel's workshop:
>
>Reitz Green ^10 Reduction
>neph syenite 70
>
>whiting 5
>
>gerstley borate 2
>
>petalite 15
>
>kaolin 8
>
>add:
>
>cobalt carbarbonate 1
>
>rutile 2
>
>This is a nice green with black breaking where thin
>
>Tom Sawyer
>
>Orlando, FL
>
>tgschs10@msn.com
Hank Murrow on wed 2 feb 00
Dear Tom; While a list of recipes will get quick results; I reccommend that
for the long-term enjoyment of the craft that you start familiarizing
yourself deeply with the materials in your shop. Hit and miss percentage
recipe-making will get you there eventually, but a close study of Ian
Currie's book, "Stoneware Glazes", and several sets of assessment tiles
will put you in the middle of so many great glazes you will wish you had
ten clones in order to develope them all. For more information, visit his
website: http://ian.currie.list.to/index.html and enjoy the search. Hank in
Eugene
>----------------------------Original message----------------------------
>------------------
>I have been wanting to ask the group at large what are their all time favorite
>glazes and have hesistated thinking it might be overly presumptious. I must
>admit I also have an ulterior motive. I started firing to ^10 a few months
>back
>and since I am self taught without any formal training, I never had the
>advantage of university glaze depositories. So far my favorite is the
>following
>that I obtained from a Pete Pinnel's workshop:
>
>Reitz Green ^10 Reduction
>neph syenite 70
>
>whiting 5
>
>gerstley borate 2
>
>petalite 15
>
>kaolin 8
>
>add:
>
>cobalt carbarbonate 1
>
>rutile 2
>
>This is a nice green with black breaking where thin
>
>Tom Sawyer
>
>Orlando, FL
>
>tgschs10@msn.com
Patrice Murtha on wed 2 feb 00
This is one of my favorite glazes that we used to use at school before we
switched to ^6 firings. This glaze looks great in salt
Electro Glide ^9 reduction
Custer 30
Flint 28
Whiting 25
EPK 12
Colemanite 5
__________________
Copper Carb 5-6%
>----------------------------Original message----------------------------
>------------------
>I have been wanting to ask the group at large what are their all time favorite
>glazes and have hesistated thinking it might be overly presumptious. I must
>admit I also have an ulterior motive. I started firing to ^10 a few months
>back
>and since I am self taught without any formal training, I never had the
>advantage of university glaze depositories. So far my favorite is the
>following
>that I obtained from a Pete Pinnel's workshop:
>
>Reitz Green ^10 Reduction
>neph syenite 70
>
>whiting 5
>
>gerstley borate 2
>
>petalite 15
>
>kaolin 8
>
>add:
>
>cobalt carbarbonate 1
>
>rutile 2
>
>This is a nice green with black breaking where thin
>
>Tom Sawyer
>
>Orlando, FL
>
>tgschs10@msn.com
tgschs10 on thu 3 feb 00
Hank,
In response to my request for clayarters favorite glaze, your comments are
similar to many other established potters, namely find 1-2 good glazes
develop them and familarize oneself with materials. But like most things in
life, I think it depends upon circumstances. In my case, I have been doing
pottery for about 25 years. I got interested in pottery because of my love
of plants. I was given a wheel by a potter that I had treated successfully
with prostate cancer. I had no formal instruction and with my busy medical
practice it took quite a while before I could make a usable decent looking
pot. During the early years, I often used molded pieces and decorated with
low fire commercial glazes fired in an electric kiln. About 5 years ago, I
began to throw more consistently and abandoned molds and low fire ware for
the mid-range bodies and glazes. I still used commercial glazes. A year ago,
I retired and purchased a combination gas/electric kiln and made a
committment to fire cone 10 reduction. I now throw fairly decently and am
able to consistently throw 15-17 inch high vessels. My gas kiln has been in
good working shape for just a few months has a 4 x 3 x 3 foot chamber. It
takes me about 2 weeks to fill the kiln; most of what I have fired I have
hammered to death. I believe my shapes are pretty good and while I would
like to work with just a few glazes, I am of the opinion that it would be
best to find a few glazes I really like that could then be varied. When
questioned most potters who make recommendations to concentrate on just a
few glazes have either been through formal training or have years of
experience when they experimented willy nilly until they found the 2-3 they
really liked. Maybe I'm wrong but I don't see much value in reformulating a
glaze that I don't like and ruining pot after pot. So I figured that if a
clayarter had a favorite glaze he would share this could be a fast and easy
way to find something I might like. As it is its lottery city to go to the
data base and pick nice sounding glaze names to use. Two firings ago I
included over 50 stain/glaze tests and I have several glaze formulation
books one of which I adore - Out of the Earth and Into the Fire. My hope is
to find a half dozen fairly decent glazes so that I don't have so much
wastage; then I intend to take your advice and that of others and develop
2-3 that I really like. I think that my experience is not unlike many
part-time potters who have made pottery for a number of years but in such
small volume as to discourage much testing or who make pottery for
themselves and don't want a small selection that yield a lot of look alikes.
Or potters who drift into the field as hobbyist and at some point make a
committment to go "full time". Many of them make fairly decent pots which
they wish to market and are consciensiously trying to educate themselves in
respect to technique and decoration; a goodly number of these just want to
get over the hump in my limited experience and are looking for just a few
decent glazes and feel they don't have the time or resources to do a lot of
experimentation. Anyway, I may just be venting and if you've lasted this far
thanks for your comments; and thank you to all the clayarters who have
listed their favorite glaze.
TomSawyer
Orlando, FL
tgschs10@msn.com
----- Original Message -----
From: Hank Murrow
To:
Sent: Wednesday, February 02, 2000 1:38 PM
Subject: Re: All Time Favorite Glazes
> ----------------------------Original message----------------------------
> Dear Tom; While a list of recipes will get quick results; I reccommend
that
> for the long-term enjoyment of the craft that you start familiarizing
> yourself deeply with the materials in your shop. Hit and miss percentage
> recipe-making will get you there eventually, but a close study of Ian
> Currie's book, "Stoneware Glazes", and several sets of assessment tiles
> will put you in the middle of so many great glazes you will wish you had
> ten clones in order to develope them all. For more information, visit his
> website: http://ian.currie.list.to/index.html and enjoy the search. Hank
in
> Eugene
>
> >----------------------------Original message----------------------------
> >------------------
> >I have been wanting to ask the group at large what are their all time
favorite
> >glazes and have hesistated thinking it might be overly presumptious. I
must
> >admit I also have an ulterior motive. I started firing to ^10 a few
months
> >back
> >and since I am self taught without any formal training, I never had the
> >advantage of university glaze depositories. So far my favorite is the
> >following
> >that I obtained from a Pete Pinnel's workshop:
> >
> >Reitz Green ^10 Reduction
> >neph syenite 70
> >
> >whiting 5
> >
> >gerstley borate 2
> >
> >petalite 15
> >
> >kaolin 8
> >
> >add:
> >
> >cobalt carbarbonate 1
> >
> >rutile 2
> >
> >This is a nice green with black breaking where thin
> >
> >Tom Sawyer
> >
> >Orlando, FL
> >
> >tgschs10@msn.com
>
Hank Murrow on fri 4 feb 00
Dear Tom; Since 'Reitz Green' is one of my all-time favorites, I wouldn't
want you to think I eschew glazes developed by others. My comments were
intended to show how materials might be de-mystified by employing Ian
Currie's methods. And those comments were in support of an approach toward
a lifetime's enjoyment of the craft. As you relate in your moving post(the
unsnipped version), you have already invested a large part of a lifetime in
becoming a doctor, and likely don't have another spare to learn deeply
about glaze materials and the melt. However, as one who is past sixty,
albeit with 43 years in the craft, I have discovered whole new areas of
interest since working with Ian's method; rather like going to a party, and
just when you're leaving, seeing someone you'd like to know better. This
year it has been Bone Ash, and Phosphorus in particular. I thought I knew
her.....but no. Now, I work toward keeping my health so I can find out who
she is before I expire.
I'm hoping to make amends with this favorite glaze which Cory
Levins came up with during a boring(he said) art history slide lecture at
Alfred University. He made the glaze in response to Dan Rhodes saying that,
"You can't have more than 3% bone ash in a glaze"; whereupon Cory put in
TEN times that(he was creative that way), to come up with this:
Glaze name: Cory's Weird
Cone: 9 - 10
Color: oatmeal to white over stoneware or porcelain
Testing: Tested
Surface texture: smooth and fatty
Firing: Reduction
Glaze type: Satin matt ware glaze
Recipe: Percent
Nepheline Syenite 32.00
Whiting 3.00
Bone Ash 32.00
Talc 13.00
Kaolin 18.00
Silica 2.00
Totals: 100.00 %
Comments: This is pretty close to the recipe as used at Anderson Ranch,
where there is a memorial sculpture to the memory of Cory, who died way too
young in 1977. Brush with Fe/Ru for iron red to orange, Fe for rich brown,
2Fe/Co for blue-black, Ferric phosphate for iron red, and thinnish Co for
soft blue.
Thanks for your revealing and thoughtful reply, and have fun firing that
new kiln! Let us know how it fires. Hank, aging in Eugene
>----------------------------Original message----------------------------
>Hank,
>In response to my request for clayarters favorite glaze, your comments are
>similar to many other established potters, namely find 1-2 good glazes
>develop them and familarize oneself with materials. But like most things in
>life, I think it depends upon circumstances. SNIP. I may just have been
>venting and if you've lasted this far, thanks for your comments; and thank
>you to all the clayarters who have listed their favorite glaze.
>
>TomSawyer
>> ----------------------------Original message----------------------------
>> Dear Tom; While a list of recipes will get quick results; I reccommend
>that
>> for the long-term enjoyment of the craft that you start familiarizing
>> yourself deeply with the materials in your shop. Hit and miss percentage
>> recipe-making will get you there eventually, but a close study of Ian
>> Currie's book, "Stoneware Glazes", and several sets of assessment tiles
>> will put you in the middle of so many great glazes you will wish you had
>> ten clones in order to develop them all. For more information, visit his
>> website: http://ian.currie.list.to/index.html and enjoy the search. Hank
>in
>> Eugene
Ray Aldridge on fri 4 feb 00
At 01:00 PM 2/3/00 EST, you wrote:
>----------------------------Original message----------------------------
>Hank,
>In response to my request for clayarters favorite glaze, your comments are
>similar to many other established potters, namely find 1-2 good glazes
>develop them and familarize oneself with materials. But like most things in
>life, I think it depends upon circumstances.
(snip)
>hammered to death. I believe my shapes are pretty good and while I would
>like to work with just a few glazes, I am of the opinion that it would be
>best to find a few glazes I really like that could then be varied.
Tom, let me first say that I don't know your work, and so probably these
remarks don't even remotely apply to you. Still, they may be useful to
someone else, so I'll go ahead and get them off my chest.
There's nothing wrong with wanting to experiment with a large number of
glazes to find the ones you like best. However, there seems to be a
disconnect between form and glaze in your approach. Your post reads as
though you make a form and then cast about for a nice glaze to cover it
with. Ideally, this is not the optimal way to go, in my opinion. When you
sit down at the wheel to make the form, you should be seeing it as a
finished piece, in your mind's eye-- complete with decorative elements and
glaze. If you have a firm idea of how you want the pot to look when it's
complete, then it's a lot easier to find glazes that match the mental image.
I think that if I were in your shoes, rather than solicit "favorite glazes"
from a number of potters whose work might or might not appeal to me, I'd
pick out several potters whose work I really liked a lot, and try to find
out how they achieved those effects that you admire. Everyone does this,
to some extent. For example, I was and am strongly influenced by Leach and
Cardew and others who were giants in the days when I began to make pots. I
still derive a lot of my working aesthetic from those potters and their ideas.
I think this more focused approach might yield happy results a lot quicker
than the way you're approaching it now. You shouldn't worry that this is a
less creative approach either, because if you are a genuinely creative
person, you won't be able to keep from changing and elaborating on the
esthetic approach you've assimilated.
Lastly, it sounds a little like you're making pots just to fill the kiln,
even when you're not entirely sure you like the pots. Since you don't need
the income from every pot you throw, be more selective, and only fire the
pots you really think you're going to love. Cut the other ones in half
when they're leatherhard so you can see how the bones of your forms look--
this is the best and fastest way to excellent structure, if you can stand
to do it. Don't glaze a bunch of pots with glazes you're not sure you
really like, just so you can do a firing-- that's what glaze tests are for.
I've been making pots most of my adult life, I have lots of glazes I like,
but I always have several dozen glaze tests in every kiln load. For me,
that's part of the pleasure of the work, and every once in a while, I
happen across something I really like and can incorporate into my current
direction. In the last 6 months, I've done literally thousands of tests,
and have a half-dozen new glazes to show for it-- just to give you an idea
about the ratio of attempts to successes. (You can probably do much better!)
This advice is probably not worth much more than you paid for it, but I
offer it in the spirit of helpfulness. Hank's advice to look into Ian
Currie's glaze testing system is excellent-- I'm sure it would yield
results much more certainly than my haphazard program.
Ray
Aldridge Porcelain and Stoneware
http://www.goodpots.com
tgschs10 on sat 5 feb 00
Ray,
No you are correct. I usually make the pot, bisque fire and then look for a
glaze. Part of my reason it that I don't have enough good glaze/stain
selection to have any significant number of choices. I have probably done
more with terra sigs having mixed about two dozen different batches using a
ball mill and a variety of clays including: goldart, redart, alberta slip,
barnards, newman's red, and bells dark. I have particularly been
experimenting using the two white clays in the above list namely, goldart
and bells dark. I have colored these using a variety of mason stains and
oxides and have been firing at low, medium and high temperatures. My
favorite potter today may be Don Davis and I have had the opportunity to
meet Don in person and spend some time with him. Don and two or three other
potters whom I am trying to emulate use a lot of body stain with glazed
interiors or splashes of glaze over the matted exterior stains. I am hoping
that the terra sig which I ball mill for about 20-30 hours [about 20 for the
raw clay and another 10 if I add mason stain or oxide] will give me a wider
palate. My favorite body color is one that one of the clayarters suggested
on this listserve some months ago - soda ash; the mason stain chartreuse is
my second favorite when just used alone and fired to cone 10 reduction; I
have also gotten a beautiful blue with mason teal blue in the goldart terra
sig. I have used the terra sig instead of slip to preserve texture and have
been pleased with the results. Thanks for your comments; I know you are
correct and I hope to get there soon.
Tom Sawyer
Orlando, FL
tgschs10@msn.com
----- Original Message -----
From: Ray Aldridge
To:
Sent: Friday, February 04, 2000 2:54 PM
Subject: Re: All Time Favorite Glazes
> ----------------------------Original message----------------------------
> At 01:00 PM 2/3/00 EST, you wrote:
> >----------------------------Original message----------------------------
> >Hank,
> >In response to my request for clayarters favorite glaze, your comments
are
> >similar to many other established potters, namely find 1-2 good glazes
> >develop them and familarize oneself with materials. But like most things
in
> >life, I think it depends upon circumstances.
>
> (snip)
>
> >hammered to death. I believe my shapes are pretty good and while I would
> >like to work with just a few glazes, I am of the opinion that it would be
> >best to find a few glazes I really like that could then be varied.
>
> Tom, let me first say that I don't know your work, and so probably these
> remarks don't even remotely apply to you. Still, they may be useful to
> someone else, so I'll go ahead and get them off my chest.
>
> There's nothing wrong with wanting to experiment with a large number of
> glazes to find the ones you like best. However, there seems to be a
> disconnect between form and glaze in your approach. Your post reads as
> though you make a form and then cast about for a nice glaze to cover it
> with. Ideally, this is not the optimal way to go, in my opinion. When
you
> sit down at the wheel to make the form, you should be seeing it as a
> finished piece, in your mind's eye-- complete with decorative elements and
> glaze. If you have a firm idea of how you want the pot to look when it's
> complete, then it's a lot easier to find glazes that match the mental
image.
>
> I think that if I were in your shoes, rather than solicit "favorite
glazes"
> from a number of potters whose work might or might not appeal to me, I'd
> pick out several potters whose work I really liked a lot, and try to find
> out how they achieved those effects that you admire. Everyone does this,
> to some extent. For example, I was and am strongly influenced by Leach
and
> Cardew and others who were giants in the days when I began to make pots. I
> still derive a lot of my working aesthetic from those potters and their
ideas.
>
> I think this more focused approach might yield happy results a lot quicker
> than the way you're approaching it now. You shouldn't worry that this is
a
> less creative approach either, because if you are a genuinely creative
> person, you won't be able to keep from changing and elaborating on the
> esthetic approach you've assimilated.
>
> Lastly, it sounds a little like you're making pots just to fill the kiln,
> even when you're not entirely sure you like the pots. Since you don't
need
> the income from every pot you throw, be more selective, and only fire the
> pots you really think you're going to love. Cut the other ones in half
> when they're leatherhard so you can see how the bones of your forms look--
> this is the best and fastest way to excellent structure, if you can stand
> to do it. Don't glaze a bunch of pots with glazes you're not sure you
> really like, just so you can do a firing-- that's what glaze tests are
for.
> I've been making pots most of my adult life, I have lots of glazes I
like,
> but I always have several dozen glaze tests in every kiln load. For me,
> that's part of the pleasure of the work, and every once in a while, I
> happen across something I really like and can incorporate into my current
> direction. In the last 6 months, I've done literally thousands of tests,
> and have a half-dozen new glazes to show for it-- just to give you an idea
> about the ratio of attempts to successes. (You can probably do much
better!)
>
> This advice is probably not worth much more than you paid for it, but I
> offer it in the spirit of helpfulness. Hank's advice to look into Ian
> Currie's glaze testing system is excellent-- I'm sure it would yield
> results much more certainly than my haphazard program.
>
> Ray
>
>
>
> Aldridge Porcelain and Stoneware
> http://www.goodpots.com
>
Dave Finkelnburg on sat 5 feb 00
Tom,
At one point I stopped potting, except to make very small bowls for
glaze samples, and spent all my time making glazes and glazing tiles and my
small bowls. I just focused on getting some good glazes that I liked. I
still do glaze tests with almost every firing, but I think you may want to
change gears for a bit rather than ruin good pots. Good luck with your
glaze search!
Dave Finkelnburg
-----Original Message-----
From: tgschs10
To: CLAYART@LSV.UKY.EDU
Date: Thursday, February 03, 2000 11:01 AM
Subject: Re: All Time Favorite Glazes
>----------------------------Original message----------------------------
>Hank,
>In response to my request for clayarters favorite glaze, your comments are
>similar to many other established potters, namely find 1-2 good glazes
>develop them and familarize oneself with materials. But like most things in
>life, I think it depends upon circumstances. In my case, I have been doing
>pottery for about 25 years. I got interested in pottery because of my love
>of plants. I was given a wheel by a potter that I had treated successfully
>with prostate cancer. I had no formal instruction and with my busy medical
>practice it took quite a while before I could make a usable decent looking
>pot. During the early years, I often used molded pieces and decorated with
>low fire commercial glazes fired in an electric kiln. About 5 years ago, I
>began to throw more consistently and abandoned molds and low fire ware for
>the mid-range bodies and glazes. I still used commercial glazes. A year
ago,
>I retired and purchased a combination gas/electric kiln and made a
>committment to fire cone 10 reduction. I now throw fairly decently and am
>able to consistently throw 15-17 inch high vessels. My gas kiln has been in
>good working shape for just a few months has a 4 x 3 x 3 foot chamber. It
>takes me about 2 weeks to fill the kiln; most of what I have fired I have
>hammered to death. I believe my shapes are pretty good and while I would
>like to work with just a few glazes, I am of the opinion that it would be
>best to find a few glazes I really like that could then be varied. When
>questioned most potters who make recommendations to concentrate on just a
>few glazes have either been through formal training or have years of
>experience when they experimented willy nilly until they found the 2-3 they
>really liked. Maybe I'm wrong but I don't see much value in reformulating a
>glaze that I don't like and ruining pot after pot. So I figured that if a
>clayarter had a favorite glaze he would share this could be a fast and easy
>way to find something I might like. As it is its lottery city to go to the
>data base and pick nice sounding glaze names to use. Two firings ago I
>included over 50 stain/glaze tests and I have several glaze formulation
>books one of which I adore - Out of the Earth and Into the Fire. My hope is
>to find a half dozen fairly decent glazes so that I don't have so much
>wastage; then I intend to take your advice and that of others and develop
>2-3 that I really like. I think that my experience is not unlike many
>part-time potters who have made pottery for a number of years but in such
>small volume as to discourage much testing or who make pottery for
>themselves and don't want a small selection that yield a lot of look
alikes.
>Or potters who drift into the field as hobbyist and at some point make a
>committment to go "full time". Many of them make fairly decent pots which
>they wish to market and are consciensiously trying to educate themselves in
>respect to technique and decoration; a goodly number of these just want to
>get over the hump in my limited experience and are looking for just a few
>decent glazes and feel they don't have the time or resources to do a lot of
>experimentation. Anyway, I may just be venting and if you've lasted this
far
>thanks for your comments; and thank you to all the clayarters who have
>listed their favorite glaze.
>
>TomSawyer
>Orlando, FL
>tgschs10@msn.com
>
>----- Original Message -----
>From: Hank Murrow
>To:
>Sent: Wednesday, February 02, 2000 1:38 PM
>Subject: Re: All Time Favorite Glazes
>
>
>> ----------------------------Original message----------------------------
>> Dear Tom; While a list of recipes will get quick results; I reccommend
>that
>> for the long-term enjoyment of the craft that you start familiarizing
>> yourself deeply with the materials in your shop. Hit and miss percentage
>> recipe-making will get you there eventually, but a close study of Ian
>> Currie's book, "Stoneware Glazes", and several sets of assessment tiles
>> will put you in the middle of so many great glazes you will wish you had
>> ten clones in order to develope them all. For more information, visit his
>> website: http://ian.currie.list.to/index.html and enjoy the search. Hank
>in
>> Eugene
>>
>> >----------------------------Original message----------------------------
>> >------------------
>> >I have been wanting to ask the group at large what are their all time
>favorite
>> >glazes and have hesistated thinking it might be overly presumptious. I
>must
>> >admit I also have an ulterior motive. I started firing to ^10 a few
>months
>> >back
>> >and since I am self taught without any formal training, I never had the
>> >advantage of university glaze depositories. So far my favorite is the
>> >following
>> >that I obtained from a Pete Pinnel's workshop:
>> >
>> >Reitz Green ^10 Reduction
>> >neph syenite 70
>> >
>> >whiting 5
>> >
>> >gerstley borate 2
>> >
>> >petalite 15
>> >
>> >kaolin 8
>> >
>> >add:
>> >
>> >cobalt carbarbonate 1
>> >
>> >rutile 2
>> >
>> >This is a nice green with black breaking where thin
>> >
>> >Tom Sawyer
>> >
>> >Orlando, FL
>> >
>> >tgschs10@msn.com
>>
>
tgschs10 on tue 15 feb 00
Anji,
I've been meaning to give credit to Hank Murrow. His first replied to my
inquiry about "all time favorite glazes" was interpreted by some offline
correspondence I received as "traditional". My own take on things is that
there is likely a lot of merit to working with a limited number of glazes
but I wish to first find some glaze variety so all my pots don't look the
same and I'm still looking for that "one great glaze" with which I then
would like to experiment. A few days after his first repy, Hank wrote me
back a wonderfully courteous reply and even offered a sample glaze. While
one offline respondent took some umbrage with Hank's initial response, I can
honestly say I didn't and I was very pleased with his second responce - just
confirmed my belief that clayarters are great.
Tom Sawyer
Orlando, FL
tgschs10.msn.com
----- Original Message -----
From: Anji Henderson
To: tgschs10
Sent: Monday, February 14, 2000 12:28 PM
Subject: Re: All Time Favorite Glazes
>
> Well bud I guess the topic faded.....
>
> Search the archives there are a bunch that people have
> asked to have glazes re-calculated to a diffrent cone,
> I assume it is because they like the that much... So
> there you will find two cones of the same glaze..
>
> Anji
>
> --- tgschs10 wrote:
> > Anji,
> >
> > Yesterday, I sent a reply to Hank Murrow which I
> > hope will provoke some
> > discussion on this listserve. I don't think that it
> > has been posted but your
> > reply indicates you too see two sides to potters
> > seeking new glazes and a
> > view of thinking that espouses working and
> > developing and working with just
> > a few glazes. I'll be interested to see the
> > response. When the interest in
> > this topic fades, I'll complile the "favorite
> > glazes" and e-mail you a copy.
> > And thank you for your submissions.
> >
> > Tom Sawyer
> > Orlando, FL
> > tgschs10@msn.com
> >
> > ----- Original Message -----
> > From: Anji Henderson
> > To:
> > Sent: Thursday, February 03, 2000 5:30 AM
> > Subject: Re: All Time Favorite Glazes
> >
> >
> > > Hello Tom..
> > >
> > > Gee I don't really have a fave 10 yet.. I just
> > started
> > > in 10 too.. I do so understand both sides of these
> > two
> > > messages.. I was also hoping that you would drumm
> > up
> > > some good ones with this inquiring.. Have you
> > gotten
> > > any off list?? I would be intrested in a compiling
> > of
> > > your findings..
> > >
> > > I have a couple but I have not tested them yet..
> > >
> > > Mat Glazes/ mottled or varigated especialy in Gas
> > > Kilns.
> > >
> > > Cream Tan ^ 9-10
> > >
> > > Custer Felds 45
> > > Whiting 22
> > > Silca 13
> > > EPK 11
> > > Rutile 6
> > > Lithium 5
> > > total 102
> > >
> > > Black Mountain White
> > >
> > > Custer Felds 40
> > > Talc 20
> > > Flint (silica) 20
> > > EPK or Grolleg 10
> > > Whiting 10 -15
> > > Ultrox 0.5
> > > Bentonite 3.0
> > > (bentonite defloculates your glaze helping suspend
> > the
> > > ingriediants)
> > >
> > > Light Blue Green AKA Turquoise
> > >
> > > Custer 33
> > > Flint (silica) 25.8
> > > lepidolite 10.1
> > > Gerstley Borate 5.8
> > > Ball Clay (OM 4) 4.2
> > > Frit # 14 14.6
> > > Copper Carb 1.7
> > > Cobalt Carb .2
> > > Bentonite 3.0
> > >
> > > T-18 Titanium Yellow/Orange
> > > depends on the gas kiln, get some of each.
> > >
> > > Whiting 20
> > > Silica 23
> > > Cornwall 18
> > > Neph Syinite 18
> > > EPK 18
> > > Gerstkey Borate 3
> > > Betonite 3
> > > Titanium Oxide 12
> > >
> > > Also, if you search the archives for just "10" you
> > can
> > > pull up a couple few...
> > >
> > > Anji
> > >
> > > --- Hank Murrow wrote:
> > > > ----------------------------Original
> > > > message----------------------------
> > > > Dear Tom; While a list of recipes will get quick
> > > > results; I reccommend that
> > > > for the long-term enjoyment of the craft that
> > you
> > > > start familiarizing
> > > > yourself deeply with the materials in your shop.
> > Hit
> > > > and miss percentage
> > > > recipe-making will get you there eventually, but
> > a
> > > > close study of Ian
> > > > Currie's book, "Stoneware Glazes", and several
> > sets
> > > > of assessment tiles
> > > > will put you in the middle of so many great
> > glazes
> > > > you will wish you had
> > > > ten clones in order to develope them all. For
> > more
> > > > information, visit his
> > > > website: http://ian.currie.list.to/index.html
> > and
> > > > enjoy the search. Hank in
> > > > Eugene
> > > >
> > > > >----------------------------Original
> > > > message----------------------------
> > > > >------------------
> > > > >I have been wanting to ask the group at large
> > what
> > > > are their all time favorite
> > > > >glazes and have hesistated thinking it might be
> > > > overly presumptious. I must
> > > > >admit I also have an ulterior motive. I started
> > > > firing to ^10 a few months
> > > > >back
> > > > >and since I am self taught without any formal
> > > > training, I never had the
> > > > >advantage of university glaze depositories. So
> > far
> > > > my favorite is the
> > > > >following
> > > > >that I obtained from a Pete Pinnel's workshop:
> > > > >
> > > > >Reitz Green ^10 Reduction
> > > > >neph syenite 70
> > > > >
> > > > >whiting 5
> > > > >
> > > > >gerstley borate 2
> > > > >
> > > > >petalite 15
> > > > >
> > > > >kaolin 8
> > > > >
> > > > >add:
> > > > >
> > > > >cobalt carbarbonate 1
> > > > >
> > > > >rutile 2
> > > > >
> > > > >This is a nice green with black breaking where
> > thin
> > > > >
> > > > >Tom Sawyer
> > > > >
> > > > >Orlando, FL
> > > > >
> > > > >tgschs10@msn.com
> > > >
> > > __________________________________________________
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> >
> >
> >
> __________________________________________________
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