Kat on tue 16 sep 03
I am the proud owner of a book dealing with eating clay and
using it to cure skin rashes, sores and the like. One of the
examples the author gave was how animals cover themselves
up in clay when they have a wound. She suggested taking two
eggs, one engulfed in dry clay and the other egg leave out at room
temperature. Measure both at the beginning and then the end.
The one emerged in clay will have lost weight, the one at room
temperature will have lost no weight. I did this and it was true.
To prove that clay absorbs toxins?
Still there wasn't "scientific" evidence to back up her facts.
There are clay baths... how does that work?
Anyway's I still wasn't convinced to eat clay...
Maybe if it was deep fried, with a thick batter and dipped
in tartar sauce.. with pickles of course and wobbly pop.
I have a Shino Glaze. I quite like it, I know how to carbon
trap it if I want to, get great orange effects with wax resist.
I know which clay bodies it looks great on. etc....
The only problem is that it doesn't "fit" any clay bodies
very well. I can tell it weakens the pots, but oh it looks
soooooo good. The price of beauty -right.
Tony H is shaking his head..why why? as I open up the
kiln full of Shino pots. I do have a liner glaze but it doesn't
seem to help the fit.
Maybe I should design a clay body to fit my Shino?? hmmmm.
Kat
kat@digitalfire.com
----------------------------
Tony Ferguson on tue 16 sep 03
Convert your ball clay to kaolin as a starter. If that doesn't work, then
covert your kaolin to ball clay.
Thank you.
Tony Ferguson
On Lake Superior, where the sky meets the Lake
Custom & Manufactured Kiln Design
Stoneware, Porcelain, Raku and more
by Coleman, Ferguson, Winchester...
http://www.aquariusartgallery.com
218-727-6339
315 N. Lake Ave
Apt 312
Duluth, MN 55806
----- Original Message -----
From: "Kat"
To:
Sent: Tuesday, September 16, 2003 8:52 AM
Subject: book on eating clay and my shino glaze...
> I am the proud owner of a book dealing with eating clay and
> using it to cure skin rashes, sores and the like. One of the
> examples the author gave was how animals cover themselves
> up in clay when they have a wound. She suggested taking two
> eggs, one engulfed in dry clay and the other egg leave out at room
> temperature. Measure both at the beginning and then the end.
> The one emerged in clay will have lost weight, the one at room
> temperature will have lost no weight. I did this and it was true.
> To prove that clay absorbs toxins?
>
> Still there wasn't "scientific" evidence to back up her facts.
> There are clay baths... how does that work?
> Anyway's I still wasn't convinced to eat clay...
> Maybe if it was deep fried, with a thick batter and dipped
> in tartar sauce.. with pickles of course and wobbly pop.
>
> I have a Shino Glaze. I quite like it, I know how to carbon
> trap it if I want to, get great orange effects with wax resist.
> I know which clay bodies it looks great on. etc....
> The only problem is that it doesn't "fit" any clay bodies
> very well. I can tell it weakens the pots, but oh it looks
> soooooo good. The price of beauty -right.
> Tony H is shaking his head..why why? as I open up the
> kiln full of Shino pots. I do have a liner glaze but it doesn't
> seem to help the fit.
> Maybe I should design a clay body to fit my Shino?? hmmmm.
>
> Kat
> kat@digitalfire.com
> ----------------------------
>
>
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Hank Murrow on tue 16 sep 03
On Tuesday, September 16, 2003, at 06:52 AM, Kat wrote:
> I have a Shino Glaze. I quite like it, I know how to carbon
> trap it if I want to, get great orange effects with wax resist.
> I know which clay bodies it looks great on. etc....
> The only problem is that it doesn't "fit" any clay bodies
> very well. I can tell it weakens the pots, but oh it looks
> soooooo good. The price of beauty -right.
> Tony H is shaking his head..why why? as I open up the
> kiln full of Shino pots. I do have a liner glaze but it doesn't
> seem to help the fit.
> Maybe I should design a clay body to fit my Shino?? hmmmm.
Dear Kat;
The clay bodies of the original Momoyama pots were not vitreous, and
seemed more like Raku ware than stoneware. I have made bodies that
emulate the qualities of the originals by using one third each of
Roseville fireclay, McNamee Kaolin, and Kyanite. When tea is whisked in
bowls made from this body, the sound is like rain on thatch, soft and
soothing sounds. Can't vouch for the strength, but I haven't broken one
yet.
Cheers, Hank in Eugene
www.murrow.biz/hank
John Baymore on wed 17 sep 03
I have a Shino Glaze. I quite like it, I know how to carbon
trap it if I want to, get great orange effects with wax resist.
I know which clay bodies it looks great on. etc....
The only problem is that it doesn't "fit" any clay bodies
very well. I can tell it weakens the pots, but oh it looks
soooooo good. The price of beauty -right.
Tony H is shaking his head..why why? as I open up the
kiln full of Shino pots. I do have a liner glaze but it doesn't
seem to help the fit.
Maybe I should design a clay body to fit my Shino?? hmmmm.
Kat,
Hey... with the digitalfire.com address.........
just turn around and talk to Tony H.
. He da' man! if anyone can wire this ...... he (or Ron Roy) likely=
can.
Shino glazes and body fit are typically a problem
..... IF you look at ANY crazing as a "problem". =
Shino's that carbon trap really well are usually high in =
Na......usually sourced from soluble soda ash and also some of it leachin=
g
out of slightly soluble high soda materials like neph sy or high soda
feldspar over time. The soluble content is the "trick" in the carbon
trapping....but ALSO in the high Na content lies the main problem with fi=
t.
Na imparts a very high coefficient of thermal expansion in the glaze. S=
o
it shrinks a lot on cooling once the glass "sets". Hence the crazing as =
it
shrinks more than the clay under it.
A bad combo would be a shino glaze on a brittle, weak clay body. A high
iron clay reduced early having a lot of FeO flux action on the silica wou=
ld
be a likely culprit for a weak body. =
If you look at a lot of real Japanese shino pieces..... the clay is quite=
light in color and somewhat open in structure.... and seems kinda "punk".=
=
Not highly vitreous. The traditional shino glazes were fired for quite
long cycles. A shinoware potter I visited in the Seto area in 96 was
telling me that in his GAS kiln he fired them for 48 hours on the up cycl=
e.
My guess is that those clays had quite a bit of cristabolite in them. S=
o
they shrank a lot on cooling too. Hence a better clay / glaze fit. Not =
to
say that the body didn't have thermal shock issues . (Plus the
traditional Japanese shino glaze is VERY different from "American" shino.=
) =
Just went and looked at three of my Japanese shino pieces now (all
contemporary) ........ =
all crazed... but more subtly than most "American" shinos craze.
Li compounds can be added in a glaze to reduce the CTE....and as a flux
they are very similar in action and "power" to Na. With a LOT of playing=
with the balance of Li as a flux to the Na part of the total flux
component....... you MIGHT be able to balance the expansion issue out on =
a
claybody. If yours is like most "American" shinos..... it probably has
quite a bit of Li to start with though. But I'd bet you would lose the
character of the glaze a bit in making the fit work....... particularly t=
he
carbon trapping qualities.
Personally, I just accept the crazing in my own shino formula as one of t=
he
necessary "trade offs" to get the look out of the glaze that I want. Bac=
k
to your "cost of beauty" comment . I have people using my dishes with=
that shino glaze that have been in kitchen plate type use for over 27+
years. They are still OK visually and have not experienced excessive
breakage.
best,
...................john
John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086-5812 USA
JBaymore@compuserve.com
http://www.JohnBaymore.com
603-654-2752 (studio)
800-900-1110 (studio)
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