dianamp@COMCAST.NET on fri 8 oct 04
Someone told me that before Hamada
glazed a pot, he would smear some iron oxide
on the place where he wanted the glaze to crawl a little.
I suggest you flux the stain a little more.
Diana
Ivor and Olive Lewis on sat 9 oct 04
This is an interesting suggestion <oxide
on the place where he wanted the glaze to crawl a little.>>
considering that people tell us that Iron Oxide is a flux and so might
be expected to act as an adhesive between clay and glaze.
Any suggestions as to why it would do the opposite? Is there a logic
in this contradiction?
Best regards,
Ivor Lewis.
Redhill,
S. Australia.
william schran on sat 9 oct 04
Ivor wrote: <oxide on the place where he wanted the glaze to crawl a little.>>
considering that people tell us that Iron Oxide is a flux and so might
be expected to act as an adhesive between clay and glaze.
Any suggestions as to why it would do the opposite?<
I would think the iron oxide smear might act like a dust to repel
adhesion of the glaze to the clay surface. When the glaze began to
sinter and then melt, the iron would not have begun to flux yet, thus
causing the crawling. This would especially be true when shino glaze
was used, as some components of this glaze would melt at a fairly low
temperature.
I would suspect iron was chosen to darken the area where the glaze
crawled to create a greater light/dark contrast with the glaze.
Bill, in Fredericksburg, Virginia where fall has begun, 70=B0F+ days,
40=B0F nights, my kinda weather.
Ivor and Olive Lewis on sun 10 oct 04
Dear William,
No problems with your notes except we were not speaking of Shino
(Though I do not recall David giving a recipe)
But, accepting your view of a Shino Glaze, then Sodium Carbonate melts
at about 850=BA C and is then an aggressive solvent.
I did think that manufactured stains, because they are basically
spinel by nature are highly refractory and need a flux to assist in
adhesion.
We do get some interesting things to think and write about.
Best regards,
Ivor Lewis.
Redhill,
S. Australia.
william schran on sun 10 oct 04
Ivor wrote:>No problems with your notes except we were not speaking of Shino
(Though I do not recall David giving a recipe)
But, accepting your view of a Shino Glaze, then Sodium Carbonate melts
at about 850=BA C and is then an aggressive solvent.<
You are correct, there were no glaze recipes mentioned in the query.
When I read the original message, I recalled images in my mind of
Hamada's work, specifically those with finger wipes in the
white/shino glazes.
Always pleased when I can recall anything these days ;-)
Bill
Joyce LEE on sun 10 oct 04
Bill Schran really tickled my funny-bone this morning with his oh!
too common remark about being lucky to remember anything
these days. Thanks for the chuckle, Bill.
I have two clay objectives at the moment.... one is to eventually
complete all the texture glaze tests on Brian Garthside's posters.
I'm doing a half dozen or fewer at a time with each glaze firing.
I've been compelled to try texture and crawl glazes since first
stumbling into the pottery world. Alisa inspires me regularly to
NOT try to do it all at once (which I can't, anyway.... wind up
with a Big Mess when I do...) but to enjoy the process and
examine the product before moving further ... as I build on the
newly acquired information. So I'm paying strict attention to
the thread on texture/crawl glazes. Thanks, guys. You enrich me.
The second objective is to Work on My Throwing!!! It's been a
major struggle but Peter the Pugger helps .... softer clay does
indeed make a difference, and as usual I'm gaining valuable
serendipitous knowledge about clay as I mix and pug.... the Journey?
yes, the journey beckons and teaches when we sometimes don't
expect it.... didn't even sign up for the course.
I keep telling myself that I was verging
on becoming a Decent Potter when Life came calling..... and that
I can get there again. I'm allowing myself to kind of Sink Into It
.... as I interpret Jon's (Formerly of D.C.) little Zen book to =
suggest......=20
which attitude on the days I can manage to Curb my Enthusiasm
(love that show!) is calming and leads to better results. This, of
course, is a Lesson I keep learning in All Aspects of my Life. Reckon
that's why I was led to pottery in the first place? Perhaps. Maybe
clay and Each of You Claybuds ..... and Clayart as an entity by
itself.... were part of my destiny. Maybe something figured that
what I needed was a group of several thousand teachers/guides...
since a few at a time through decades of formal education haven't
made much of an impact. If so, thank you for being there.
Several of you have taken the time to tell me about similar
times in your own clay experience. A special thanks to you
for sharing. So encouraging. I expect that the Mendocino Potters
Council get-together in January will give me a further nudge....
the topic is Throwing...... can the timing be more perfect?
Joyce
In the Mojave where the wind is cool .... more of a breeze so
far, but it's early yet. Everybody looks less desperate once the
heat lets up ...... saw two young roadrunners yesterday as the
westie and I pulled into the driveway... they looked so new and
clean ducking beneath a creosote... eye makeup experts, who take
pride in making their models eyes "pop," should study
the roadrunners' plumage around the eyes.... so striking!...
even Mojo paused a bit
before jumping out to re-enact her Daily Chase Scene..... don't
know what happened..... suspect that a mama roadrunner was
around the corner of the house... the westie returned in
maybe 20 seconds casually subdued. Maybe today that's what
I'll shoot for..... Casual Subduedness....... so far; so good...
brian on mon 11 oct 04
On 10/10/04 Joyce wrote ....
>I have two clay objectives at the moment.... one is to eventually
>complete all the texture glaze tests on Brian Garthside's posters.
I am joining this thread late....'been on "no mail" for a while and
too lazy to look up archives.
I have been working with practical workshops and classes for several years now,
encouraging the creation of "obnoxious' glazes.
Using familiar materials in much larger proportions than normal sure
lets you know how these minerals want to behave in heat. It is like
they have been given permission to be themselves at last.
I sometimes think that parts of the earth's crust could have been
randomly boiling, crawling, wrinkling, molten textures at some stage
Just a brief summary of technique
Best to have an irreverent regard for the rules throwing caution to
the wind and suspending expectations.
Use two equal handfuls of any dry powdered glaze ingredient (chosen
at random) and mix with water (or 2:1)
First tests to be done inside a square or round bisque tray....this
contains the boiling mixtures.
Make the mixtures very thick in the first instance and the same
mixture very watery in the next
Fire to your regular temperature
Recent experiments have revealed that many of the basic mixtures have
an immense firing range looking very similar in appearance at low and
high temperatures
This has been a surprising revelation. From Raku to stoneware, it
seems that when we use some minerals in such large proportions a
hundred degrees centigrade or more of heat makes minimal difference
I have collected many new low temperature photo samples and intend to
publish some sort of illustrated guide soon
"Of course it cannot be as simple as it sounds" you probably say and
must be more complicated than this sounds......well I have to admit
that I forgot to mention the pinch of coloured stain to "spice it up"
You might find extra guidelines on promising ingredients if you
plough through some of the articles that I have archived on the web
site below
--
Brian Gartside
http://www.gartside.info
Pukekohe, New Zealand
Alisa Liskin Clausen on mon 11 oct 04
On Sun, 10 Oct 2004 08:17:24 -0700, Joyce LEE wrote:
>I have two clay objectives at the moment.... one is to eventually
>complete all the texture glaze tests on Brian Garthside's posters.
>I'm doing a half dozen or fewer at a time with each glaze firing.
>I've been compelled to try texture and crawl glazes since first
>stumbling into the pottery world. >
The thread of texture glazes is a very interesting thread. Thanks to John
and Ron, we have many discussions about stable glazes and how to get
there. We miss Ababi's experiments and now Hal's contributions of his
glaze of the week experiments are also quiet in the archives.
It is essential to make safe glazes for food surfaces is we are making
functial pottery. In additon, I think we can afford to give equal attention
to glazes that are decorative. There are many potters who make challenging
and excellent craft pottery for food, who also push the cutting edge and
personal bests with "decorative" work. This meaning any ceramics that are
made to satisfy a desire to work with clay outside of their daily
functional realm. I am like that. I make pots that I want people to use.
I have learned immensly the importance of persuing a pallet of stable
glazes from John and Ron, etc. I also sometimes look down at a wad of clay
from a fallen ball that was supposed to be the next mug, and
say "mermaid". I start to build with clay and want some other type of
surface than the food safe glazes.
Ababi's crawl experiments got me started to mix percents of Magnesium into
any glaze. Brian's experiments got me mix 50/50 mixtures of one common
half like Ball Clay, with every other ingredient in the studio. When
Stephanie told us about Desert Slip, 50/50 Zircon and Borax, I started to
mix in oxides because it was a great surface, but really white. Then I
stared to see that I like Borax and mixed up all kinds of 20 x 5 glazes.
The last two I thought were good I posted on my last glaze tests.
Ian's grids gives me another whole load of tests to try. Make 35 tests
from a "home" recipe I made and see where that goes.
But, stop little kangaroo. Right, Joyce. Right. Take one group at a
time. Make all the cups of tests in that one direction and look at the
results. If you are all over the place, you never get anywhere, because
when the tests are fired, you sort of have pieces of a direction and will
have to go back in fill in more tests to get a substantial pattern in your
tests.
I know that I love to make these tests. The learning of materials through
intellegent people like Tom, Ivan, John, Ron, etc, books and computers is
important. The learning of materials through looking at what they look like
after they come out of your kiln is equally as valuable. The journey is
long and I hope we all get the chance pursue our curiosity towards making
the pots and work that make us potters and ceramists.
regards from Alisa Denmark
Ron Roy on tue 12 oct 04
Hi Alisa,
Wonderful post - I can add little to it - just to say - there is no good
reason that you cannot have stable glazes - that crawl - just in case you
wanted to use them as liner glazes in functioal ware.
RR
>On Sun, 10 Oct 2004 08:17:24 -0700, Joyce LEE wrote:
> >I have two clay objectives at the moment.... one is to eventually
>>complete all the texture glaze tests on Brian Garthside's posters.
>>I'm doing a half dozen or fewer at a time with each glaze firing.
>>I've been compelled to try texture and crawl glazes since first
>>stumbling into the pottery world. >
>
>
>The thread of texture glazes is a very interesting thread. Thanks to John
>and Ron, we have many discussions about stable glazes and how to get
>there. We miss Ababi's experiments and now Hal's contributions of his
>glaze of the week experiments are also quiet in the archives.
>
>It is essential to make safe glazes for food surfaces is we are making
>functial pottery. In additon, I think we can afford to give equal attention
>to glazes that are decorative. There are many potters who make challenging
>and excellent craft pottery for food, who also push the cutting edge and
>personal bests with "decorative" work. This meaning any ceramics that are
>made to satisfy a desire to work with clay outside of their daily
>functional realm. I am like that. I make pots that I want people to use.
>I have learned immensly the importance of persuing a pallet of stable
>glazes from John and Ron, etc. I also sometimes look down at a wad of clay
>from a fallen ball that was supposed to be the next mug, and
>say "mermaid". I start to build with clay and want some other type of
>surface than the food safe glazes.
>
>Ababi's crawl experiments got me started to mix percents of Magnesium into
>any glaze. Brian's experiments got me mix 50/50 mixtures of one common
>half like Ball Clay, with every other ingredient in the studio. When
>Stephanie told us about Desert Slip, 50/50 Zircon and Borax, I started to
>mix in oxides because it was a great surface, but really white. Then I
>stared to see that I like Borax and mixed up all kinds of 20 x 5 glazes.
>The last two I thought were good I posted on my last glaze tests.
>
>Ian's grids gives me another whole load of tests to try. Make 35 tests
>from a "home" recipe I made and see where that goes.
>
>But, stop little kangaroo. Right, Joyce. Right. Take one group at a
>time. Make all the cups of tests in that one direction and look at the
>results. If you are all over the place, you never get anywhere, because
>when the tests are fired, you sort of have pieces of a direction and will
>have to go back in fill in more tests to get a substantial pattern in your
>tests.
>
>I know that I love to make these tests. The learning of materials through
>intellegent people like Tom, Ivan, John, Ron, etc, books and computers is
>important. The learning of materials through looking at what they look like
>after they come out of your kiln is equally as valuable. The journey is
>long and I hope we all get the chance pursue our curiosity towards making
>the pots and work that make us potters and ceramists.
>
>regards from Alisa Denmark
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513
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