June Perry on sat 27 apr 02
formatting)
In addition to the sound advice given about keeping one bucket or bin open
at
a time and checking off each ingredient as you mix, etc I also make sure
that
I mark on my sheet what clay and spar I have used, the mesh of the silica,
etc.
I write all my test recipes on a separate sheet that I use for the batch.
Sometimes you get to the studio and you're out of one Potspar or clay and
sub
another, so I note that on my sheet. I save all those sheets for quite a
while. If I've subbed a raw material in the test, I note that in my glaze
book. and on my glaze result sheets.
I have over 8,000 recipes that I've compiled over the years and I mark the
ones I've tested, and I mark the ones that I have sheets on waiting to be
tested. Years ago I designed a glaze form where I enter all the information
on a glaze test, i.e. #, name, cone, type (barium matt, etc.), atmosphere,
kiln used, placement in kiln, firing schedule, claybodies (I often test on
several bodies), engobes or oxides used, surface, opacity, weather, and on
and on. I usually fill these out the minute I get the glazes out of the kiln
(but not always! :-(
I've copied my form and pasted it below, but unfortunately, lost all the
lines/formatting in the form, but it gives you an idea of what I put in the
form. I juse used my regular word perfect to make the form.
GLAZE RECIPE AND TEST RESULTS
# NAME: CONE: RED: OX:
COLOR/S:
SURFACE: OPACITY: TYPE:
BATCHED: TESTED: DATE:
FIRING INSTRUCTIONS:
INGREDIENTS: BATCH WT % MOLECULAR FORMULA
OXIDE WASHES
ENGOBES
COLOR VARIATIONS:
TOTAL:
STONEWARE: PORCELAIN:
BISQUE CONE: GLAZE CONE: GLAZE THICKNESS:
POSITION IN KILN: KILN LOG #: GLAZE FIT:
FIRED SURFACE: FIRED COLOR: L.O.I
ASSESSMENT:
FOLLOWUP:
Heading for the studio to actually do something other than unpacking and
organizing!
Regards,
June
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