Tony Ferguson on wed 17 apr 02
Craig,
It's a love hate relationship. My experience has been:
-On porcelain pots nearest the flames I get black, gold, orange, red, ooh,
baby, yes its hot!
-Overnight, I load the next day, no sitting for weeks or hot, sody baths
-Crystals have to do with a slow cool, just like expressing love
-Mel or someone else might recommend that you fire down if you want to
enchance crystal growth--even Malcolm if he's lurking may chime in. He is
after all, the master of this glaze.
-Early reduction (although I have already been boxed, jabbed, and upper
cutted on this) seems for me to get the carbon trapping.
-I have laughed & I have cried.
-It's a love hate till someone teaches me or I learn otherwise.
Good luck and skill and karma and paid confessions or whatever else works
for you.
Eat your spinach
fergy
----- Original Message -----
From: "cd"
To:
Sent: Wednesday, April 17, 2002 6:41 PM
Subject: Re: shino recipes "Halo's"?
Been playing with Malcolm's Carbon trap glaze. In an attempt to save myself
untold hours of experimentation I thought I would ask the list if anyone
has been able to isolate what causes those beautiful haloed black crystals
on Malcolm's pieces? I have been able to get very black pieces, but thus
far no crystals. Any and all thoughts appreciated.
Craig
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cd on wed 17 apr 02
Been playing with Malcolm's Carbon trap glaze. In an attempt to save =
myself untold hours of experimentation I thought I would ask the list =
if anyone has been able to isolate what causes those beautiful haloed =
black crystals on Malcolm's pieces? I have been able to get very black =
pieces, but thus far no crystals. Any and all thoughts appreciated.
Craig
Matt MacIntire on thu 18 apr 02
I recently took a Shino workshop from Malcolm. One of the aspects of
his glaze that surprised me was how much effect the drying process has
on his fired results. (just what we need - another variable! )
Malcolm indicated that if pots dry for too *long* that they often turn
completely black, since the soda ash crystals cover the glaze surface
more completely. Malcolm prefers to glaze a couple days in advance. He
evidently doesn't like to have pots sit around much longer. =20
I'd suggest that you try several experiments to vary the drying process,
and therefore the way that the soda ash crystals accumulate on the
surface. Try exposing some to drafts. Maybe even use a blow dryer on
some. I also noticed that Malcolm blew onto his pots while the glaze
was wet to make a variety of glaze thickness. I concluded from what he
said and how he seemed to work that variation in glaze application and
drying yield variation in the fired result.
I think Malcolm would be the first to admit that he cannot "control" his
glaze. Like the rest of us, he seems to work in ways that tend to yield
the most happy accidents. His glaze is deliberately designed to be
variable, and even he must deal with the uncertainty. =20
But as far as I could tell, the key appears to be in how the soda ash
crystals form on the surface. As to what causes those halos... I had
the impression that Malcolm didn't know exactly either.
Good luck! Let us know what you learn!
Matt
-----Original Message-----
From: cd [mailto:haywyre@CYBERTRAILS.COM]=20
Sent: Wednesday, April 17, 2002 9:41 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: shino recipes "Halo's"?
Been playing with Malcolm's Carbon trap glaze. In an attempt to save
myself untold hours of experimentation I thought I would ask the list
if anyone has been able to isolate what causes those beautiful haloed
black crystals on Malcolm's pieces? I have been able to get very black
pieces, but thus far no crystals. Any and all thoughts appreciated.
Craig
Dannon Rhudy on thu 18 apr 02
At 06:41 PM 4/17/02 -0700, you wrote:
>Been playing with Malcolm's Carbon trap glaze. In an attempt to save
myself untold hours of experimentation .... isolate what causes those
beautiful haloed black crystals on Malcolm's pieces? .... I have been able
to get very black pieces, but thus far no crystals......
You get those beautiful haloed blacks by untold hours of experimentation.
And even THEN you don't always get them. Even Malcolm doesn't
always get them. Not only do you need to experiment, you need to
keep really careful notes. And then, sometimes, if you're really
really good, and don't yell at anyone all week, and hold your
mouth right, you will get an occasional piece with haloed blacks.
Liz Willoughby gets them. Sometimes. I get them. Sometimes.
I'm sure others get them - sometimes. But there's no easy way.
Too much depends on YOUR methods, YOUR kiln, YOUR shino/ingredients.
That's not the answer you want. But that's the answer.
regards
Dannon Rhudy
Lee Love on fri 19 apr 02
----- Original Message -----
From: "Hank Murrow"
>
> Lee is speaking of the phenomena of soda evaporating where it
> is not resisted by some covering (wax, plastic, etc), so the soda
> moves to the uncovered portion of the pot. The carbon trapping
> happens largely where the soda is on the surface of the piece. Have
> no idea how Malcolm employs this principle to glaze his pots.
Another thing to keep in mind, is that Malcolm's type of shinos (I
prefer to
call them Carbon Trap glazes. This is what I call my "American" shinos in
Japan. That way, nobody can tell me that they aren't shinos, because it is
the
wrong clay or wrong feldspar or because I didn't fire for 12 days), are all
put
on a white body. I used some similar glazes and most of the iron was a
part of
the glaze and not the clay body (in the form of Red Art.) Also, if you
use
porcelain or a white stoneware, you can decorate (as they did traditionally
with
shinos in Japan) by putting oxide bearing slips on the clay body before you
bisque.
Another thing that effects carbon trapping (and is related to
evaporation and the use of wax resist on top of the glaze) is the speed
that
the glaze dries. I get the best C.T. effect from glazing the inside first
and
then the outside of the pot and doing the glazing just before the kiln is
closed, so that it dries rapidly while the kiln is candling.
In the past, I have reduced at cone 012, slight reduction/neutral
until
cone 9 and then a heavier reduction at the end, finishing with clean
oxidation
for the last half hour.
Lee in Mashiko
"The lyfe so short, the craft so long to learne." - Geoffrey Chaucer
(c.
1340-1400).-
._____________________________________________
| Lee Love ^/(o\| Practice before theory.
|
| Ikiru@kami.com |\o)/v - Sotetsu Yanagi - |
`~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~'
"All weaves one fabric; all things give
Power unto all things to work and live." - Goethe -
Lee Love on fri 19 apr 02
You can control where the carbon trapping black goes by using wax resist.
Where ever you put the resist, the black is absent.
--
Lee in Mashiko
"The lyfe so short, the craft so long to learne." - Geoffrey Chaucer
(c.
1340-1400).-
._____________________________________________
| Lee Love ^/(o\| Practice before theory.
|
| Ikiru@kami.com |\o)/v - Sotetsu Yanagi - |
`~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~'
"All weaves one fabric; all things give
Power unto all things to work and live." - Goethe -
| |
|
