Rikki Gill on wed 18 aug 04
Hi all,
When I first made pots, my intention was to use their surface as canvas. =
I have always painted, and since I was never confident enough to want =
to become a traditional painter, I decided to paint my pots. =20
To begin with, I started to divide my surface area into two or three =
different glazes. Then I treated each area differently, with different =
decorations and colors. Occasionally I noticed I didn't like the color =
of the overlap. I avoided that combination usually, or devised a way to =
minimize its effect. I really wasn't studying overlaps per se, just =
developing a palette. I typically use four base glazes, and three or =
four colorants per piece. In other words, I compose glaze paintings. =
These I fire in reduction to cone 11. At that temperature, at the end =
of a firing, because of the gaseous nature of glaze, and the action of =
carbon on glazes, it is hard to get colors that are not compatible.
I adore color. I believe that the color of a perfectly fired glaze far =
exceeds the most brilliant paint, as such, but it's what you do with =
each that counts. =20
I was surprised by this current thread. It never occurred to me to do a =
study of these effects. I just picked up a paint brush and painted. =
Some were better, some worse, I tried to remember the better ones. In =
traditional paintings, that is how every painter found her/his palette. =
By trying to remember what works. =20
If you would like to see my results, please go to=20
www.rikkigillceramics.com =20
I am getting ready to redo my site, which is badly in need of updating.
Best wishes, Rikki Gill
Ivor and Olive Lewis on thu 19 aug 04
Dear Rikki Gill,
It is amazing how interactions of two glazes at an edge add vibrancy
to the overall effect.
I like examples which result from using a light/dark contrast in
association with contrast of complementary hue. Your work that
includes these as part of the design has greater visual power.
Best regards,
Ivor Lewis.
Redhill,
S. Australia.
.
mel jacobson on fri 15 jul 05
i think one of the great searches in pots/glazing
is finding glazes that overlap well.
it is a quest. no easy answer...testing and then some more.
throw out pots and try again.
i overlap almost everything..three laps in most cases.
if you use the same glaze base, change the color...you
know it will work.
rhodes 32 base
rhodes 32 blue
rhodes 32 rutile
base over.
works almost every time.
same for almost any base glaze.
why use 5 bases? then complain it
does not work. often the potter has no clue
what makes the base...(right ron?)
keep it simple...one base....mix in the color.
and then...try a few other glazes...see what happens.
right now i love iron red (susan karrisch persimmon)/rob's green/edges.
they work well together.
temmoku with pete's red, mel's orange.
been doing that for 18 years.
nothing seems to work under shino.
ever.
mel
from mel/minnetonka.mn.usa
website: http://www.pclink.com/melpots
http://home.comcast.net/~figglywig/clayart.htm
for gail's year book.
Tova Gabrielle on fri 15 jul 05
how about shino over shino (2 kinds)?
--- mel jacobson wrote:
> i think one of the great searches in pots/glazing
> is finding glazes that overlap well.
>
> it is a quest. no easy answer...testing and then
> some more.
> throw out pots and try again.
>
> i overlap almost everything..three laps in most
> cases.
>
> if you use the same glaze base, change the
> color...you
> know it will work.
>
> rhodes 32 base
> rhodes 32 blue
> rhodes 32 rutile
> base over.
> works almost every time.
>
> same for almost any base glaze.
> why use 5 bases? then complain it
> does not work. often the potter has no clue
> what makes the base...(right ron?)
>
> keep it simple...one base....mix in the color.
>
> and then...try a few other glazes...see what
> happens.
>
> right now i love iron red (susan karrisch
> persimmon)/rob's green/edges.
> they work well together.
>
> temmoku with pete's red, mel's orange.
> been doing that for 18 years.
>
> nothing seems to work under shino.
> ever.
> mel
> from mel/minnetonka.mn.usa
> website: http://www.pclink.com/melpots
> http://home.comcast.net/~figglywig/clayart.htm
> for gail's year book.
>
>
______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change
> your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be
> reached at melpots@pclink.com.
>
Tova
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Mark Tigges on fri 15 jul 05
On Fri, Jul 15, 2005 at 10:36:51AM -0500, mel jacobson wrote:
> i think one of the great searches in pots/glazing
> is finding glazes that overlap well.
For the MC6G folks out there I have had wonderful results with the
following:
V Blue under Field Mouse Brown.
Clear liner over Anything.
- Multiple dips ... even up to 6 layers of just the rim of the pot
ends up with the most beautiful variegation with V. Blue, and with
FMB.
Waterfall Brown over Field Mouse Brown
- this combo was my stay at home mug exchange, you can find an image
(poor photograph though, sorry) at the web page for that.
Waterfall Brown over Bone.
NB: I use Laguna BMix 5. Results vary with other bodies. Especially
Calico, I'm really sorry I have so much of it. I don't like it much
at all. Nothing looks better with Calico than it does with BMix. But
Soldate 60 gives nice results. Different but nice.
Mark.
Gordon Ward on fri 15 jul 05
Mel,
I haven't seen much that works under shino either, but I have gotten
some outstanding results with red iron oxide underneath. Maybe you've
tried it.
Gordon
On Jul 15, 2005, at 8:36 AM, mel jacobson wrote:
> nothing seems to work under shino.
> ever.
Diane Palmquist on fri 15 jul 05
Shino over shino works very well. Did you ever hear the saying "shino
first or be cursed?" well. that is because shino crawls when it is applied
over other glazes. It looks pretty cool on sculptural pieces however.
Diane
Hank Murrow on fri 15 jul 05
On Jul 15, 2005, at 8:36 AM, mel jacobson wrote:
>
> nothing seems to work under shino.
> ever.
> mel
Dear Mel;
Hank's shino works well both under and over Pat's Black as outlined
here:
http://www.ceramicsmonthly.org/mustreads/shinofire.asp
Cheers, Hank-who-loves-the-exceptions
..........sort of made a career out of them.
www.murrow.biz/hank
John Britt on fri 15 jul 05
The beauty of knowing the priciples is that they make sense out of common
wisdom.
So the maxim is: "Shino first or the pot is cursed".
This is because shino's typically have a high clay content(20 - 40%),so
putting a high clay shino over a fluid glaze will result in a crusty surface.
But...not all shinos have this problem...like high feldspar shino's. Check
your recipe and see how much clay is in it, then you will know. Some high
feldspar shinos only have small amounts of clay which will make them able to
be used over other glazes with no problem.
John Britt
www.johnbrittpottery.com
>nothing seems to work under shino.
>ever.
>mel
>from mel/minnetonka.mn.usa
>website: http://www.pclink.com/melpots
>http://home.comcast.net/~figglywig/clayart.htm
> for gail's year book.
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
Bert Gibson on sat 16 jul 05
Here is my example of a shino over satin black.
http://home.comcast.net/~lazybpottery/wsb/html/view.cgi-photo.html--SiteID-2295077.html
Bert Gibson
> Hank's shino works well both under and over Pat's Black as outlined
> here:
>
> http://www.ceramicsmonthly.org/mustreads/shinofire.asp
Ann Brink on sat 16 jul 05
Hello Bert- I went ahead and saw the rest of your slide show, after the cup
you mention below, and was struck by the samples of kaki over celadon,
particularly the line of color below the kaki ...what I will call oxide
creep. I really like this effect; the kaki ends in a sharp line, yet some
color drifts downward. Thanks for sharing.
Ann Brink in Lompoc CA
----- Original Message -----
From: "Bert Gibson"
> Here is my example of a shino over satin black.
>
>
http://home.comcast.net/~lazybpottery/wsb/html/view.cgi-photo.html--SiteID-2295077.html
>
> Bert Gibson
>
> > Hank's shino works well both under and over Pat's Black as outlined
> > here:
> >
> > http://www.ceramicsmonthly.org/mustreads/shinofire.asp
>
>
Lee Love on mon 18 jul 05
Gordon Ward wrote:
>I haven't seen much that works under shino either, but I have gotten
>some outstanding results with red iron oxide underneath. Maybe you've
>tried it.
>
Usually, you want to put softer glazes on top of harder glazes.
I have used a strontium blue/red/green with success, over shino.
Adding a little cobalt to your RIOx slip, can give you Nezumi shino.
--
Lee Love
in Mashiko, Japan http://mashiko.org
http://seisokuro.blogspot.com/ My Photo Logs
"We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep."
-- Prospero The Tempest
Shakespeare
Lee Love on mon 18 jul 05
John Britt wrote:
>But...not all shinos have this problem...like high feldspar shino's. Check
>your recipe and see how much clay is in it, then you will know. Some high
>feldspar shinos only have small amounts of clay which will make them able to
>be used over other glazes with no problem.
Depends upon your "underlapping" glaze too. If your second glaze is stiffer than your shino, it can go underneath. Also, using different shinos layered on each other can work. A friend of mine used my "Linda's Pink" shino, with pink or yellow mason stain this way.
--
Lee Love
in Mashiko, Japan http://mashiko.org
http://seisokuro.blogspot.com/ My Photo Logs
"We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep."
-- Prospero The Tempest
Shakespeare
Bert Gibson on fri 16 sep 05
Hey Mark,
Can you further explain your "Clear liner over anything" a little more? Do
you cover the whole pot with clear and are your multiple dips of the rim
just the clear liner? Any other pointers?
I've been off on cone 10 this summer and am just getting back to cone 6 this
fall. Here are my websites:
http://home.comcast.net/~lazybpottery/
http://home.comcast.net/~mc6gtest/
Thanks,
Bert Gibson
----- Original Message -----
From: "Mark Tigges"
To:
Sent: Friday, July 15, 2005 9:06 AM
Subject: Re: overlapping glazes
> On Fri, Jul 15, 2005 at 10:36:51AM -0500, mel jacobson wrote:
> > i think one of the great searches in pots/glazing
> > is finding glazes that overlap well.
>
> For the MC6G folks out there I have had wonderful results with the
> following:
>
> V Blue under Field Mouse Brown.
>
> Clear liner over Anything.
> - Multiple dips ... even up to 6 layers of just the rim of the pot
> ends up with the most beautiful variegation with V. Blue, and with
> FMB.
>
> Waterfall Brown over Field Mouse Brown
> - this combo was my stay at home mug exchange, you can find an image
> (poor photograph though, sorry) at the web page for that.
>
> Waterfall Brown over Bone.
>
>
>
> NB: I use Laguna BMix 5. Results vary with other bodies. Especially
> Calico, I'm really sorry I have so much of it. I don't like it much
> at all. Nothing looks better with Calico than it does with BMix. But
> Soldate 60 gives nice results. Different but nice.
>
> Mark.
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Mark Tigges on fri 16 sep 05
On Fri, Sep 16, 2005 at 11:43:55AM -0700, Bert Gibson wrote:
> Can you further explain your "Clear liner over anything" a little more? Do
> you cover the whole pot with clear and are your multiple dips of the rim
> just the clear liner? Any other pointers?
>
Sure. Generally I use variegated blue as the base. Then on top of
that I dip about 80% of something else. Either clear liner, or field
mouse brown. Then I might dip the top 10% and less of the pot with
more clear liner (maybe even 3 more dips). This causes a whitish blue
to fade into the soft variegated powder blue of the single coat over
the variegated blue.
I have taken to making my vases with a very flat shoulder, and none to
very small lip. The reason for this is overglazing. If I work with
either field mouse brown or variegated blue as the base, then I will
overglaze the shoulder with alternating coats of the blue and clear
liner. It looks amazing. With the very flat shoulder, the glaze
separates into pools of colour, similar to the waterfall brown example
in the book. I do this with lamps quite often, and people love them.
I don't have very many pictures of my work. Just very early on when I
was playing with the glazes. I really need to take more photographs.
waterfall brown over field mouse brown.
http://24.81.101.43/data/2004-11-25/brownbowl.png
This is bottom half blue with two coats of clear (hence the very
whitish blue, and the blue ring. Top half is fmb with clear over
everything, and then a very short dip of waterfall brown.
http://24.81.101.43/vase1.jpg
FMB, with multiple alternating dips of clear and fmb. There was one
dip of VB too. This pot sold VERY quickly. I don't like the form
very much around the lip, but the lady who bought it said she was
looking for a vase to display azalea blooms. It was nicely
serendipitous that she was there.
http://24.81.101.43/vase2.jpg
Mark.
NB: The calico that I kind of disparaged below has found a very good
use. While I teach (if I'm just watching her throw) I make mushrooms.
Like a pinch pot with a big fat knob inside. Then I pull the knob
into the stem of the mushroom, like pulling a handle. They are garden
ornaments, and waterfall brown is perfect for this. I haven't had a
chance to try and sell any yet, because I keep putting them in my own
garden. We will see if people like them.
>
>
> ----- Original Message -----
> From: "Mark Tigges"
>
> > On Fri, Jul 15, 2005 at 10:36:51AM -0500, mel jacobson wrote:
> > > i think one of the great searches in pots/glazing
> > > is finding glazes that overlap well.
> >
> > For the MC6G folks out there I have had wonderful results with the
> > following:
> >
> > V Blue under Field Mouse Brown.
> >
> > Clear liner over Anything.
> > - Multiple dips ... even up to 6 layers of just the rim of the pot
> > ends up with the most beautiful variegation with V. Blue, and with
> > FMB.
> >
> > Waterfall Brown over Field Mouse Brown
> > - this combo was my stay at home mug exchange, you can find an image
> > (poor photograph though, sorry) at the web page for that.
> >
> > Waterfall Brown over Bone.
> >
> >
> >
> > NB: I use Laguna BMix 5. Results vary with other bodies. Especially
> > Calico, I'm really sorry I have so much of it. I don't like it much
> > at all. Nothing looks better with Calico than it does with BMix. But
> > Soldate 60 gives nice results. Different but nice.
> >
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