Marj Beynon on sun 26 nov 00
I have recently had some very positive results with a shino glaze. I =
would like to put a small note of explantion about this glaze, its =
history and westernization with groupings of these pots in my shop. =
They are very different from my usual work and would initially give some =
information to my customers. I do leave the wheel etc. and go into =
gallery area to talk to them or handle a sale, but feel a note would at =
least be an introduction to this new work and would be helpful to other =
sales staff. Any suggestions?
I am curious about the different results on varied clay bodies. What =
causes the glaze on a very dark clay body to result in a surface/colour =
that looks like a lustre finish? Very nice but at this time I prefer =
the more expected result that I have achieved on lighter clay bodies. =
Certainly can see some possibilities with dark slips on light bodies to =
see if I could capture that bronze coloured lustre look in appropriate =
areas on pieces. Is this result of the interaction between clay and =
glaze or the firing or the cooling?
Did not realize how addictive shino work would be. It is very =
interesting to observe/hear the response from customers. Often the =
customer that you did not expect "to get it" is the one that does. =
Saleable results from first load were scooped by one customer who I had =
thought would appreciate the work, but not that much ! Sure is nice to =
have this happen near the end of the year when the energy level is =
starting to wane and the clay is getting too damn cold ( next problem to =
solve) Thank you for any suggestions/answers. Marj B.
Liz Willoughby on mon 27 nov 00
Hello Marj,
I use shino too, on stoneware and porcelain, and get more depth of
color and also gold lustering on some of the stoneware pots, IF the
carbon trapping is successful. I believe it has to to with the iron
in the stoneware claybody. Any small amount of iron in the clay body
with make it more orange and also will sometimes give this luster
appearance. One of the stoneware clays that I use has kyanite in it,
and I have wondered if that made a difference.
I also put some alumina hydrate in, (about 8 %) and I have found that
the 200 mesh size is fine enough. Does not settle in the bucket, (of
course with all the soda ash), and also does seem to melt well in the
glaze.
Glad you have found out what an exciting glaze shino's can be. They
can be contrary though, just when you think you have it all figured
out, it throws you a curve ball.
Maybe Ron or Craig can give a better explanation. Seems to me that
Craig was talking about lustering with iron slips before. Look in
the archives for more info.
Meticulously loose Liz
>I have recently had some very positive results with a shino glaze.
>
>I am curious about the different results on varied clay bodies.
>What causes the glaze on a very dark clay body to result in a
>surface/colour that looks like a lustre finish? Very nice but at
>this time I prefer the more expected result that I have achieved on
>lighter clay bodies. Certainly can see some possibilities with dark
>slips on light bodies to see if I could capture that bronze coloured
>lustre look in appropriate areas on pieces. Is this result of the
>interaction between clay and glaze or the firing or the cooling?
>_
Liz Willoughby
RR 1
2903 Shelter Valley Rd.
Grafton, On.
Canada
e-mail lizwill@phc.igs.net
mel jacobson on sat 5 jun 04
some simple answers:
1. most carbon trap shino's of the wirt tradition
are the same. very little difference.
mainly the addition of iron. (do the math, it
will show you.)
2. thickness is important when applying. and,
shino likes hot. cone 11.
3. i like a cone 08 bisque.
4. i have carbon trapped on the way up,
and, on the way down. so, i still do not
know if the early trapping is that important.
trapping carbon (or soot) is the important thing.
the more carbon, heavy reduction, the more
is trapped. soda ash traps the best.
if you put it on the surface, it will trap.
(you do not have to know the science. just keep
track of what you do, and what you get. let others
debate. i want to make pots.)
there are hundreds of recipes. most are the same.
they just have different names, from different places.
the wirt idea still is the best.
it is one finicky, maverick glaze. that is why potters
love it, industry would hate it.
there are dozens of fine potters here in north america
that have made great carbon trap shino. liz in canada, connie
c. in colorado, hank in oregon (not as much carbon)....and, i have done one
or two
good pots. when you want to see a really great shino pot,
go to florida...armory pottery. snap your head back. (harvey sadow)
the list is long...and all have had great success, and some
miserable failure. but, fun every time.
it is about adventure, fun and joy. when they are good, they
are very very good, but when they are bad...they are horrid.
malcolm davis has been kind and generous with all. he shares
everything he knows. he is not a bit selfish. just wants others
to enjoy `american shino`.
i have put it away now for three years. will do some at the
farm, just for fun next week. kurt is going to spray a great
big pot...almost too big for him to handle alone. we will
put a pix on the website when it is done...maybe july 1 or
so.
if you want to predict results, don't use shino.
if you don't mind losing some pots, and you
don't throw golf clubs, try shino.
hay creek is almost ready to start. we are all ready.
i hope others will look at starting adult camps and retreats.
great fun, great learning, and wonderful knowledge passing.
`adult shared learning`. what a concept. try it, don't wait.
just invite some friends to gather and make pots.
it works.
if you get a dink in the bunch, throw them out.
easy.
mel
From:
Minnetonka, Minnesota, U.S.A.
web site: my.pclink.com/~melpots
or try: http://www.pclink.com/melpots
new/ http://www.rid-a-tick.com
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