Lee Love on fri 19 apr 02
----- Original Message -----
From: "clennell"
.
> If I wanted a blue, I'd probably do the same thing. Take a strong blue
> (mother in laws) and keep adding to my favourite oatmeal or satin matt
> increments 1:10, 20:80 on up. until I had a pleasing less harsh blue.
> Fun in the glaze kitchen with Tony, keep the weenies in the glaze lab.
Or try slips. Here is a John Baymore slip that will turn Shino you put
over it
blue (Works with Linda's Pink) Put on before bisque:
EPK 25
OM4 25
G200 (I used Custer)
Feldsp 20
Flint 20
Borax 5
Zircopax 5
9% RIOx
.25% Cobalt carb.
I've always mixed shinos too. From the beginning, I've mixed
Linda's
Pink with MacKenzie's Shino type glaze. I also mix Craig Edward's cone 6
and
cone 10 shinos. Cone 6 is great for the cold spots of a wood kiln. You
can
probably find the recipe in the archives.
Lee in Mashiko
._____________________________________________
| Lee Love ^/(o\| Practice before theory.
|
| Ikiru@kami.com |\o)/v - Sotetsu Yanagi - |
`~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~'
John Baymore on sun 21 apr 02
Lee-san and all,
Or try slips. Here is a John Baymore slip that will turn Shino you put
over it
blue (Works with Linda's Pink) Put on before bisque:
EPK 25
OM4 25
G200 (I used Custer)
Feldsp 20
Flint 20
Borax 5
Zircopax 5
9% RIOx
.25% Cobalt carb.
Thanks for the "credit" Lee. But........ =
No big magic in that base slip recipe....and it ain't really "mine". It =
is
the Rhodes cone 9-10 base slip out of "Clay and Glazes for the Potter" fr=
om
about 30 years ago. Been using that same slip base for a LONG time now. =
Starting to get to know it .
The important piece of information ............ that I had given to Lee-s=
an
a while back..... which he just shared in his last post, is the colorant
ratio. The basic idea for that ratio was given to me when I was in Japan=
by a shino-ware potter, Sato-san, in the Seto/Tajimi area......... as the=
way to get nezume shino (mouse grey). He uses gosu...impure cobalt.....b=
ut
we figured out the rough cobalt and iron equivalent....... using my first=
grade Japanese and his first grade English.... plus a lot of "body Englis=
h"
and over a pretty long conversation . To get an even closer rendition=
of nezume.... put a "pinch" of manganese dioxide in it too .
The slip goes on the raw leatherhard piece (over a light-ish clay body) =
and then you carve through the slip where you want a lighter pattern /
design / image....exposing the light clay underneath. The piece is
bisqued...and then the shino glaze is applied and fired "as normal"
(whatever the heck THAT means when it comes to shinos ). Where ths sl=
ip
is, the shino looks a blue-grey. Where the slip isn't, the shino looks
it's normal coloration....which on a light body..... is sort of whitish. =
I've played around with putting on the nezume shino slip, carving a patte=
rn
through it, then inlaying a porcelain slip in that carved pattern, and th=
en
scraping it off down to the nezume shino slip layer. Labor intensive....=
..
but can be quite effective.
Please remember that traditional Japanese shino tends to look VERY
different from contemporary American shino. (I have a nice piece brought=
back from Japan that I sometimes bring out in my workshops....... and
American potters often don't even recognize it as a "shino" piece .) =
So
the contrast between the nezume areas and the light areas will typically =
be
less stark with most American formulations and bodies. Japanese shino ca=
n
be VERY white, and it tends to texture through pinholes...... not the mor=
e
crawl-like alligator skin of the American variations.
If you are not familiar with the "grey" shino, if you go to my website's
gallery section, there are some nezume shino pieces. =
I also often use that same base slip with 1 percent cobalt carbonate unde=
r
shino. This gives more of a blue tone. Looks great when contrasted with=
white slip.
And Lee-san..... thanks for sharing the Japanese material equivalent of m=
y
other shino formula the other day. If you fire more pieces with it on it=
in Shimaoka-sensei's kiln.....I'd love to see some pictures of it.
Enjoy.
Best,
..............................john
John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086 USA
603-654-2752 (s)
800-900-1110 (s)
JohnBaymore.com
JBaymore@compuserve.com
"DATES SET: Earth, Water, and Fire Noborigama Woodfiring Workshop Augu=
st
16-25, 2002"
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