Buonaiuto on thu 10 oct 02
>
>
> Try using engobes with mason stains -
Why didn't I think of that? We have a bunch of old mason stains around from
when we did ^ 04.
We do fire high reduction, but there are areas of the kiln that always
reduce less and I'll put some tests in there. It's also a good idea to have
some engobe mix around. Would it work to just use the dry ingredients of the
clay I use, if I can get them from the company who produces it?
The days when I used to make my own clay and glazes are long past...would
rather sculpt.
One more question. Do you ever just paint wet mason stain on without mixing
it with an engobe?
Thanks for your helpful answer. What do you make?
Shelley
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>
Snail Scott on fri 11 oct 02
At 01:02 PM 10/10/02 -0600, you wrote:
>> Try using engobes with mason stains -
>...Would it work to just use the dry ingredients of the
>clay I use, if I can get them from the company who produces it?
Well, that would give you a basic slip, but not really
an engobe. It'd be just like drying and crushing your
working clay. But you don't really have to start with
a full-out recipe from scratch, either. Try calcining
some of your regular clay and adding it to your plain
clay - about 30% should give you an engobe that you
can apply to dry greenware. 50% or more could give you
an engobe that can be applied to bisque. (These will
fire to look just like the plain slip.) To modify the
surface, take that basic engobe and add feldspar or
frit, 5% at a time, and test-fire the result. Too much
flux and you just end up with a badly-designed glaze;
it's in that lower range that you get useful engobes.
>One more question. Do you ever just paint wet mason stain on without mixing
>it with an engobe?
I find that it's mostly too dusty and doesn't stick
to the clay well, though it can be made to work on
porcelain, since the vitrification of the clay helps
fuse the stains to the surface. It's easier to mix
the stains with a bit of flux. I still use Gerstley
Borate for this at ^6, but most other fluxes will do
the job. Gerstley sort of sticks it together in the
green state, which frits (for example) don't do very
well, so adding some binder will help it stick in
place long enough to be fired, when the flux will
take over as the 'glue'.
>...What do you make?
I make coil-built figural sculpture, mainly at ^6
(oxidation) lately. I dislike glaze for these
pieces. Glaze may very well be the best surface ever
created for functional pottery, but sculpture has
different and more varied requirements. For most of
my own work, I find that glaze has a 'distancing'
effect on the viewer, often creating a surface which
is both visually dominating and tactilely sterile. I
dislike 'interesting' glazes especially! I want the
viewer's attention on the form, not the surface.
Gloss, for me, interferes with this, and even so-
called matte glazes often have more sheen than I'd
prefer. Engobes give me a way to apply color and
texture to my work in a manner that's archival and
weatherproof (unlike paint) while giving me a range
of surfaces that are more matte than glaze. Another
of my reasons for disliking glaze is its absolute
commitment. When you glaze something and fire it,
it's gonna look like that (give or take a little
tweaking) forever. Bad choice? Bad firing? Tough.
A pot with an hour's work in it can be sacrificed
to 'learning experience'; a sculpture containing a
month's effort can't be tossed out to 'just make
another one'. With engobes, I have a much better
control over the outcome, which is more predictable
than with glaze. And, I'm not tied to the result of
the first firing. I can overlay and modify the
engobes even after firing to maturity, more easily
and with greater predictability than with glaze.
'Accidents of the fire' are fine if you can stand
for some of the results to be bad, but I'm a
control freak at heart, and combining that with
the style of my work and its labor-intensive
nature, makes engobes a good choice for me for
many reasons. I do use glaze, but not often.
-Snail
Buonaiuto on fri 11 oct 02
> Thanks for the great answer, Snail. I printed it out and will take it to
the ceramic store. Would love to see your work. I've felt the same way about
glazes for a long
time with my round pieces, but my reliefs need something else. If you have a
web site, pass it on, but if not, I can accept gifs if you get around to
it...this computer won't open jpegs.
Where are you located, and do you ever give classes in engobes?
Shelley
http://www.alittlecompany.net
>
Catherine White on fri 11 oct 02
I, too, saved Snail's reply. Good comprehensive info. Snail, if you have a
web site, it would be nice to see your work.
Catherine in Yuma, AZ
Two ancient electric kilns. Both outside.
One partner, one kid, three cats. All inside.
----- Original Message -----
Subject: Re: June's glazes...to Snail Scott
> > Thanks for the great answer, Snail. I printed it out . Would love to see
your work.If you have a
> web site, pass it on, but if not, I can accept gifs if you get around to
> it...this computer won't open jpegs.
>
> Where are you located, and do you ever give classes in engobes?
>
> Shelley
Snail Scott on sat 12 oct 02
At 03:26 PM 10/11/02 -0700, you wrote:
>Snail, if you have a
>web site, it would be nice to see your work.
No website yet, sorry! Soon,I hope... (You can
see one piece on Janet's SUCAWS website, but no
engobes on that one.)
-Snail
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