Alisa Liskin Clausen on fri 13 sep 02
Dear Ron and Clayart,
I think it is immeasurably good feedback you give on the tests I make. =
I don't make the glazes, I just test them...
My glaze records have Ron's comments next to the results. This is a =
very appreciated help in evaluating the glazes
for further testing or use. Even if they look good, it is good to be =
able to jump over them after the first test if Ron
gives them a poor evaluation based on his calculations. There are so =
many glazes to chose from, this testing and
educated feedback helps to sift through and organize the seemingly =
infinite choices.
Now, for crystal glazes. I have never thought about crystal glazes as =
functional glazes. I tested these glazes with the hopes of
growing crystals. I had thought about them for small dished and curved =
tiles that I use for things like jewelry and paper napkins,=20
etc. No food at all. I like how they look and will try them on some of =
these non food surfaces. I think it is a very good idea
to test glazes for stability in terms of John and Ron's definition. =
Very important to send the message that this is an area
that needs work in many studios. However, if a glaze, like a crystal =
glaze, fails the stability test, I would not shelf it.
I would use it as I described above. I think there is a need and room =
for non food safe but all right decorative glazes. In my notes,
I have a small section for decorative glazes that fail stability =
standards. But because they do not have other faults, like
crazing or shivering, pinholing or other surface faults, I use them. We =
have discussed a lot the ability to make food safe
glazes that are also interesting. The book from Ron and John has given =
me a lot of good possibilities in that category. Certainly,
a difficult one that Ron and John have mastered, to make a pun if I may. =
=20
However, there are surfaces, like craters, crystals and crawling, that =
visually tell us they are bad choices for food surfaces,=20
but I think still have their claim in the world of ceramics. =20
Secondly, if I say Borax Frit, Ababi, (thanks for being my fan) I mean =
(try with the ones you have) a Borax Frit. It would not help anyone, =
except Scandinavians, more to say Frit J or=20
Frit 169. You do not have it. It is the same as when I read tests on =
Laguna bodies or with Frits I do not have. The idea is that
we can not spoon feed with exact information that will definitely work =
for you wherever you are. Some glazes do travel really well,=20
others do not. I have sent the analysis of my local frit, 169 or also =
called 623, several times so people can compare.
Most of my tests are from recipes outside of Denmark and with my =
adjustments based on the similar materials at hand. Most of
them visually work, and then I have the luxury of Ron's comments to help =
me find out if they are worthwhile glazes for the surface I intend=20
on using them on. =20
I said Borax Frit because those crystal recipes are from Denmark and =
call for the "Borax Frit" I assume the author of
the book means, because it is the most common here. It was up to me to =
test the recipe with the Borax Frit I have on hand and look at the =
results. =20
So, we all have our work to do. I am extremely happy in my new studio. =
We are many people under the same roof, all with a lot of work to do.
Some are in the shop, some in the kitchen, cafe, farm hands, candle =
makers, handyman, caterer, butcher and more. Everyone does their jobs =
and=20
we all sit down together for our lunch and afternoon coffee. In many =
ways it is like ship life again. We all do our work and everyone is =
busy at the same time,
so no one feels that anyone is loafing while others are working. The =
energy feeds off of each other in the working hours and we have our time =
everyday to be social.
It is a very good social structure for work and play. =20
regards from Alisa in Denmark
on no mail reading the archives.
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