Brian Molanphy on sun 14 oct 01
mia wrote:
'Brian,
The rims are unglazed so that two bowls could be stacked on each other.'
i understand that the pots may be stacked with unglazed rims, but whence the
red color? these were porcelains, so the color doesn't come from the clay. i
think i have seen in my own pots what earl refers to as follows:
'when the glaze is very thin you can
get a reddish brown from the interaction of the glaze and clay and this
could happen on the rim where the glaze "breaks"'
but the stuff i saw at the museum had a much thicker layer. some were 20th
c. japanese pots, not just old chinese ones, so somebody is still doing
this. mia also wrote:
'Yellow enamel is different from a yellow glaze. Mia in ABQ'
i think the chinese imperial yellow is ubiquitous in museum collections and
in photos in books. until seeing it labelled as enamel in denver, i thought
it was a glaze. which is it, enamel or glaze? if it is a glaze, how was it
made?
Wade Blocker on sun 14 oct 01
Brian,
I think a lot of people would like to know how the yellow glaze was
made. Otto Heino has some pots with a high fire yellow glaze he formulated
which fetched a tidy sum from Japanese collectors. You can easily make a
yellow glaze by simply adding 5 - 10% of yellow stain to your favorite
glaze.
Yellow enamel is a low fired decoration. Mia in ABQ
Hank Murrow on sun 14 oct 01
>mia wrote:
>
>'Brian,
> The rims are unglazed so that two bowls could be stacked on each other.'
>
>
>i understand that the pots may be stacked with unglazed rims, but whence the
>red color? these were porcelains, so the color doesn't come from the clay. i
>think i have seen in my own pots what earl refers to as follows:
>
>'when the glaze is very thin you can
>get a reddish brown from the interaction of the glaze and clay and this
>could happen on the rim where the glaze "breaks"'
>
>but the stuff i saw at the museum had a much thicker layer. some were 20th
>c. japanese pots, not just old chinese ones, so somebody is still doing
>this.
Dear brian;
My take on this is that where the glaze is very very thin, the body
becomes an important constituent of the 'glaze' at that point. If I am
right, the resultant glaze would be alumina-rich, and therefore by
definition a shino......with its defining color. I believe Pamela Vandiver
(who studied my samples) would be in agreement on this. Could you think
about them this way?
Cheers, Hank
Ababi on mon 15 oct 01
You can take this "formula" as a starting point. no guaranty:10
Titanium 5-6 Rutile even 20 Titanium-10-14 rutile
Ababi Sharon
Kibbutz Shoval- Israel
officially Glaze addict
sharon@shoval.org.il
http://members4.clubphoto.com/ababi306910/
http://www.milkywayceramics.com/cgallery/asharon.htm
http://www.israelceramics.org/
---------- Original Message ----------
>Brian,
> I think a lot of people would like to know how the yellow glaze was
>made. Otto Heino has some pots with a high fire yellow glaze he
>formulated
>which fetched a tidy sum from Japanese collectors. You can easily make a
>yellow glaze by simply adding 5 - 10% of yellow stain to your favorite
>glaze.
> Yellow enamel is a low fired decoration. Mia in ABQ
>________________________________________________________________________
>______
>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.
Lawrence Ewing on mon 15 oct 01
Hi Brian,
A couple of my students recently completed an al2o3 / sio2 quadraxial blend
based on a celedon and fired it to C.10 reduction. Some of the tiles showed
very distinct red colouration where the glaze is thinner but maintained the
typical celedon colours where thick. You can see all of these tiles in this
quad at www.Matrix2000.co.nz
Just follow the links to Otago Polytechnic Glaze research and look for Tina
Hendriks & Namsook's work.
Lawrence Ewing
Senior Lecturer
Ceramics Department
School of Art
Otago Polytechnic
Dunedin
New Zealand
email: lewing@clear.net.nz
phone +64 03 472 8801
MATRIX GLAZE CALCULATION SOFTWARE:
http://www.Matrix2000.co.nz
GLAZETEACH:
http://www.Matrix2000.co.nz/GlazeTeach
MATRIX TUTORIALS:
http://www.Matrix2000.co.nz/MatrixTutorials
MATRIX ADDITIONAL MATERIALS RESOURCE:
http://www.Matrix2000.co.nz/MatrialsWeb/default.htm
-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of Hank Murrow
Sent: Monday, October 15, 2001 4:01 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: mia & earl on red-rimmed celadon, etc
>mia wrote:
>
>'Brian,
> The rims are unglazed so that two bowls could be stacked on each other.'
>
>
>i understand that the pots may be stacked with unglazed rims, but whence
the
>red color? these were porcelains, so the color doesn't come from the clay.
i
>think i have seen in my own pots what earl refers to as follows:
>
>'when the glaze is very thin you can
>get a reddish brown from the interaction of the glaze and clay and this
>could happen on the rim where the glaze "breaks"'
>
>but the stuff i saw at the museum had a much thicker layer. some were 20th
>c. japanese pots, not just old chinese ones, so somebody is still doing
>this.
Dear brian;
My take on this is that where the glaze is very very thin, the body
becomes an important constituent of the 'glaze' at that point. If I am
right, the resultant glaze would be alumina-rich, and therefore by
definition a shino......with its defining color. I believe Pamela Vandiver
(who studied my samples) would be in agreement on this. Could you think
about them this way?
Cheers, Hank
____________________________________________________________________________
__
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.
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