lili krakowski on mon 24 nov 03
These are recipes from The Ceramic Review Book of Clay Bodies & Glaze =
Recipes. Again, I am pretty sure we are talking Seger cones.
From John Davies
Celadon Glaze Cone 8-9 Reduction
Potash Feldspar 41.75
Quartz 27
Limestone 17.50
China Clay 13
Ochre 3
He says: "Needs thick application, best over high-iron bodies. It also =
is useful as a porcelain glaze. Gives a pleasant pale green (not =
greyish), and a nice fat quality."
From Peter Lane
Dry Ochre Glaze 1280 -1300 C Oxidation
Mixed Ash 50
China Clay 50
Yellow Ochre 5
He says: "Fascinating texture when thickly applied. Additional colour =
and surface variation come from the selective use of tenmoku glaze =
brushed on the bisque before spraying the ash glaze."=20
From Bryan Newman
Dry Feldspathic 1260--1300 C Reduction
Potash Feldspar 20
Whiting 40
China Clay 80
Colemanite 4%
Ochre 5%
From Owen Thorpe
Stoneware Glazes 1250C
Feldspar (potash) 50
China Clay 16
Whiting 16
Magnesium Carbonate 10
Yellow Ochre 2
Rutile (dark) 2
Iron Spangles 1
He says: "Buttery satin sandy colour."
No info about whether reduction or oxidation. I kept the plural of =
"glazes" as that is how it is in the book, and there are several, but no =
more with ochre.
Now. As to TITANIUM. (A promise is a promise)
When we were talking about the importance on glazes of what is in the =
body, something snagged my memory. Vide Nigel Wood, Oriental Glazes.
In talking about Chekiang glazes he mentions that the body they use has =
"a slightly higher content of iron and titanium." Later he writes: " =
The use of porcelain stone would have been more likely to produce the =
bluest celadons, as this material contains less titanium dioxide that =
the white and purple earths, and it is titanium that is mainly =
responsible for the green tones in celadons, because of its modifying =
effect on the iron oxides in the glazes."=20
He says more but I cannot copy the whole book! Still as the amounts of =
titanium in the bodies are very very small, it shows again and once more =
what I so boringly repeat all my life: the most important factor =
(probably) in glaze results is the body underneath. Many of you out =
there struggling to get a glaze right, flagelating yourselves because =
you feel such a failure, would be well advised to try otherr clay =
bodies, use a slip whose content you really know, etc.
Hand surgery tomorrow, so I may be silent for a while. Whoopie. Best =
to you all
Lili Krakowski
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