cHuCk on fri 8 sep 00
Regarding making slips that resemble salt glaze:
Richard Zatkin's book on electric firing has some wonderful simulated salt
glazes. Seems like the ones I tested had dolomite as an important component.
My results were better when I sprayed it on. (shudder)
Living in Indiana makes one big on limestone. (8+D
Chuck
- in Rockville, IN
- about a month till Covered Bridge Festival
- the humidity final subsided and the clay dried out.
Lorraine Pierce on fri 8 sep 00
Hi Chuck...which book of Richard Zakin's are you referring to? I would like
to check these simulated salt glazes out. Lori in New Port Richey, Fl.
Earl Brunner on sun 10 sep 00
Some of us live in places that don't allow us to fire the
types of kilns that would normally give us the affects that
we love, and want on our pots. We then resort to trying to
obtain the affect some other way. Your argument may work in
a perfect world. Mines not perfect. I can't have a salt
kiln or a wood kiln.
david mcbeth wrote:
>
> Though I have not followed this thread very closely and I may be repeating
> comments others have made, (but Mel won't let that happen) the aspiration
> to fire a pot so that the surface looks like it was salt-fired isvery
> disturbing.
>
> Why aim to make a uniquely individual clay form look like something it is
> not? Why not make the work and celebrate what it is? Next we'll be
> talking about glazes that make clay look like tupperware.
>
> dave
>
> David McBeth, MFA
> Associate Professor of Art
> 330 B Gooch Hall
> Department of Art, Dance and Theatre
> University of Tennessee at Martin
> Martin, Tennessee 38238
>
> 901-578-7416
>
> ______________________________________________________________________________
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--
Earl Brunner
http://coyote.accessnv.com/bruec
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cHuCk on sun 10 sep 00
Well, I wish I could find it. The one positive is that while looking for the
book I found a lot of other things I was looking for. I think it might have
been called "Oxidation Firing", but I am not sure. I will follow up on it
and get back to you.
> Hi Chuck...which book of Richard Zakin's are you referring to? I would
like
> to check these simulated salt glazes out. Lori in New Port Richey,
Fl.
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
david mcbeth on sun 10 sep 00
Though I have not followed this thread very closely and I may be repeating
comments others have made, (but Mel won't let that happen) the aspiration
to fire a pot so that the surface looks like it was salt-fired isvery
disturbing.
Why aim to make a uniquely individual clay form look like something it is
not? Why not make the work and celebrate what it is? Next we'll be
talking about glazes that make clay look like tupperware.
dave
David McBeth, MFA
Associate Professor of Art
330 B Gooch Hall
Department of Art, Dance and Theatre
University of Tennessee at Martin
Martin, Tennessee 38238
901-578-7416
Diane G. Echlin on mon 11 sep 00
> Why aim to make a uniquely individual clay form look like something it is
> not? Why not make the work and celebrate what it is? Next we'll be
> talking about glazes that make clay look like tupperware.
Dave,
I respectfully disagree. Is it inherently wrong to want to apply the effects of one
technique to another? What is wrong with trying to achieve a particular result
from a method that differs from the original method used?
Some of us through choice or circumstances are unable to have a salt kiln, yet we
yearn to harness the skill to replicate the effects in our own way. It's simply
another direction of exploration.
Are you fearful that using a "fake" salt glaze will somehow dilute the validity of
real salt glazing? If this is the case, should I also abandon my efforts to use a
^6 electric Shino, even though I know it is quite disssimilar from a gas or wood
fired shino? And by your logic, it seems we should cease to do raku because what
we commonly call raku in America today is miles away from the original raku
process.
I guess I don't understand the purist attitude. It feels very discouraging.
Diane in CT
wiwiz on mon 11 sep 00
I'm one of the new ones out here in the Peanut Gallery...
not a ceramic regular...
Clay, now, happens to be right for some of my art.
I'm mostly in the archives.
I do follow the conversations hoping to aquire enough speaking vocabulary
preparing myself to properly verbalize the problems I no doubt will have
when taking the next step into color & glazes.
It is the salt glaze surface that got my attention. I saw a soft sheen
found in none of the other pieces I saw when wandering about the Lill
Street(Chicago) studios/galleries. I'm using clay for sculptural
reasons...I'm about ready to dive into stains...but it has been the final
glaze that has stopped my progress. I can't bring myself to coat my work
with a typical clear glaze...
so, I've been spending my spare time in the archives trying to track clear
glaze possibilities for electric low fire...don't want to burn out the
colors.
I only have access to an electric kiln...but with so many possibilities I
believe I might find something that won't make my work feel like they have
been vacuumed packed or coated with some protective coating.
I'd like to find something that lets me feel more in touch with the clay
surface.
(The best I can explain this is that some oil paintings are varnished and
aquire an unnatural shine. I did some homework and found an alternative
that I am happy with...and I have been in the process of doing the same kind
of homework here...hoping to find something that would fit my needs.)
and in drops iandol's suggestion of Conrads book that has a simulated salt
glaze!
I haven't gotten the book...but I will.
For me it is not a matter of trying to make one thing be another...it is a
desire to achieve a feeling I got...and however I get there, I'm all
for...and will be proud to label it as such.
By the way...I wish you guys knew how valuable your conversations are to
me....
Thanks.
Linda Kelen
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