clennell on sun 24 oct 04
Hank and Mel
Thanks u 2. One for being the inventor and to the other one for pushing me
over the cliff. The lustre is like something I have never seen before except
perhaps on the dreaded raku. My copper red knackers were red thru- out the
kiln and a small pocket of oxidation that i have on the right hand side by
the flu is mysteriously gone. I have farted with fine tuning the back 4
burners and shelf placement to no avail. clay colour is excellent. the
lustre turned from gold to what i would call bronze and i had two large 15
lb bowls where the lustre is turquoise- these 2 bowls went from my usual
$225 to $300. One just may find it's way to the shino gig in Baltimore. This
lustre is all the result of a local creek clay that i dig. Nothing at all
to do with my brain power.
Like always in this game when one door open another one shuts. Unlike Hank
we don't like the shino orange- we like it whiter. It could be that our
glaze application was on the thin side for this cooling technique cause we
have the fire colour which hides the chinese blue brush work Sheila has been
doing.
So I'm asking myself instead of holding for 3 hours will one hour give me my
local clay lustre and keep my glaze whiter. I did have lustre before with
just a crash cool to 1900 but this gave me lustre on every friggin' pot.
The lustre on some of the plates was so matt i' don't think it would be a
good functional surface, but it sure looks good.
I momentarily felt depressed that the ideal is so elusive but then I came to
my senses and figured I'm venturing where few have travelled so it is going
to a bit rocky.
Thanks for the gravel road u 2.
Cheers,
Tony
Tony and Sheila Clennell
Sour Cherry Pottery
4545 King Street
Beamsville, Ontario
CANADA L0R 1B1
http://www.sourcherrypottery.com
Tony and Sheila Clennell
Sour Cherry Pottery
4545 King Street
Beamsville, Ontario
CANADA L0R 1B1
http://www.sourcherrypottery.com
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