iandol on sun 18 jan 04
Dear Carol Tripp,
A Happy New Year to you and may many blessings be bestowed on you in the =
Year of the Monkey.
You ask <Make the glaze, frit it, then use it to make a glaze... What am I =
missing? ..>>
Good questions. Perhaps you are missing the historic context of the =
glazes Hal McWhinnie is presenting to us. Hal tells us these recipes are =
from a book published in 1960. So they will be based on several years of =
research, possibly going back to pre WW2. In those days much of the =
materials used by artists were based on what was available for =
industrial production. I know that in the mid fifties you could buy raw =
materials and prepared glazes from Wengers and other suppliers of the =
Staffordshire potteries cannot recall they had the wealth of prepared =
stains that are on the market today. So compounding your own ceramic =
colours in the way Hal describes might have been the very best way to =
create a wide spectrum palette such as an artist might wish to use. What =
was being done then may have been in imitation of commercial/industrial =
production.
Second point is, (and I don't have the recipes to hand nor do I intend =
delving into the archives to be sure) if Artigas was glazing at Cone 04 =
on earthen ware, making frits would have been the best way of getting =
some of the recipes to fuse at that temperature. I doubt if they had =
Gerstly Borate or the wealth of commercial frits we have today. Once in =
frit form the glass starts to soften in the 650-750=BAC region. this =
would ensure good fusion of the colours to the underlaying glaze.
Hal might be able to give more details of the techniques used and his =
information may confirm my guesses.
Best regards,
Ivor Lewis. Redhill, South Australia
Hal Mc Whinnie on sun 18 jan 04
thanks for the information.
the book is in spanish and mentions materials that we dont have. however this
seems to have been the essence of the artigas system
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