Wade Blocker on sat 10 jun 00
Dear Andie,Cindy and Dave,
Here are two tenmoku glazes that worked extremely well for me. They were
fired on a porcelain body, in an electric kiln to cone 9 plus.
Janice Tchalenko Harrow Tenmoku #2 cone 9 oxidation
Soda spar 25
Dolomite l5
EPK 25
Bone Ash 10
Flint 25
F2O3 10
Harrow Tenmoku #3 cone 9 to 10 0xidation
gloss brown cone 9 reduction
Potash spar 88
Whiting l2
Red Fe oxide 8
colemanite 4
Shiges Tenmoku cone 8 to 10 reduction
Dolomite 5
whiting 6
Soda spar 67
EPK 5
Flint 17
CO carb 3
Red Fe 5
Bentonite 1
for oxidation firing cone 9 change the oxides to the
following:
Red Fe 8
Cobalt carb 2
Here is another recipe that I checked with three checks, which means
gorgeous:
by Mia based on Michael Casson's recipe : Tenmoku reduction 1260 to
l300 centigrade
Cornish stone 85
Whiting l5
EPK 8
Magnetite 10
They should work for you. Hope you"ll like them Mia in ABQ
Sheron Roberts on sun 11 jun 00
The following is a glaze I found in
Conrad's Compendium(I think). I
have used it regularly without any
problems.
G468 Tenmoku Black
Potash feldspar 50.46
Silica 18.37
Whiting 14.41
Red Iron Oxide 9.68
Kaolin 6.51
Cobalt Carbonate .57
100.00
Temperature Cone 10
Surface @cone 10 Gloss
Fluidity Some ( I have never had a problem with this =
glaze running, I clean just about a 1/16 =
of an inch up the side from the foot and =
the glaze has never budged off that line)
Stain penetrate None
Opacity Opaque
Color: Oxidation Mirror black
Color: Reduction Mirror black-brown where thin
I use this on a white stoneware clay body and love it.
When fired to cone 8, just for experimentation purposes
it came out a weird green black, but still a mirror like
surface. To me this color is not pleasing at all. =20
I fire in a Skutt 1027 oxidation, to cone 9 -10 and soak for one
hour. Basically because some of the other glazes I use
need the long soak. One thing though, no matter how thick
or thin I apply this glaze it still looks a bit brown to me, not
jet black.
Sheron in NC
the Pottery Place on mon 2 oct 00
I very much want a Tenmoku glaze, so much so that i bought a =
commercially prepared one. (cone 10). My questions would be, must it be =
reduced? and, when i made up a pound of it for testing, it is extremely =
thick when adding the prescribed amount of water. Is this glaze thick =
and applied that way, or can i thin it to a "normal" consistency? I fire =
natural gas. gary@thepotteryplace.com
Donald G. Goldsobel on tue 3 oct 00
Although I started to mix my own glazes a long time ago, I still cling to a
Westwood Ceramics Tenmoku, now made by Laguna, that I can't reproduce on my
own. It must be reduced to make it look alive. Without reuction, no
crystals seem to form, there is a monotonous sameness to the whole of the
pot's surface. Contact with flame changes that side. The colors are rich
and the surface moves.
Yes, you need to reduce those commercial tenmokus, they are made to be
reduced.
They are slip glazes and need to be thicker rather than the usual cream.
Try a little, and I mean a little, raw ash on the lip
Donald Goldsobel, firing in a 12 cu ft natural gas kiln and I always reduce.
>I very much want a Tenmoku glaze, so much so that i bought a commercially
prepared one. (cone 10). My questions would be, must it be reduced? and,
when i made up a pound of it for testing, it is extremely thick when adding
the prescribed amount of water. Is this glaze thick and applied that way,
or can i thin it to a "normal" consistency? I fire natural gas.
gary@thepotteryplace.com
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