Elizabeth Priddy on sun 2 jan 05
I have been getting a beautiful red for years. It is a bought iron red, saturated.
Makes this red on every clay I have tried it on. Electric oxidation.
It is the firing that makes it have the texture and feel of these glazes. Try this:
take your standard iron red glaze and fire it one cone higher than it is rated to.
when the cone hits, open all the holes and allow it to cool completely with all holes open.
you will get rich dreamy reds with texture to die for.
I don't know why this works, I would like to know. Any ideas, glaze folk?
You can look here to see it:
http://www.elizabethpriddy.com/pictures/red_plates.jpg
http://www.elizabethpriddy.com/pictures/red_plate_detail.jpg
John Britt wrote:
Bonnie and all,
There is no need to reformulate the recipes. There are many oil spots that
work well at cone 10 and certainly lots of Kaki/iron reds that work at
that temperature. Did you know that at 107 degrees F rise per hour the
Elizabeth Priddy
252-504-2622
1273 Hwy 101
Beaufort, NC 28516
http://www.elizabethpriddy.com
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Sam Hoffman on sun 2 jan 05
OK John-
I'm totally game! I've been collecting tidbits of info through =
books =20
& articles (yours included) about oil spot, but have yet to commit to =20=
firing up some tests. I saw some phenomenal examples in Japan this =20
summer; both contemporary and historical. You have inspired me to =20
begin this potentially consuming experiment.
I am quite fond of your pieces with the yellow glaze over the =
oilspot. =20
What I would love to achieve is the coveted iridescent blue/black that =
=20
is found on some of the Song temmoku teabowls.
As my gas kiln is to large to commit to a cone 10 oxidation =
firing =20
(initially, anyway), so I will be trying with a small electric Skutt. =20=
I look forward to trying oil spot on both dark and buff clay bodies. =20=
(my suspicion is that the darker bodies will be nicer)
Hopefully, there will be some other takers to your challenge. I =
look =20
forward to meeting you in person at NCECA.
Take care,
Sam
S.L. Hoffman Pottery
Corvallis, Oregon
www.samhoffman.com
On Jan 2, 2005, at 4:42 PM, John Britt wrote:
> Bonnie and all,
>
> There is no need to reformulate the recipes. There are many oil spots =20=
> that
> work well at cone 10 and certainly lots of Kaki/iron reds that work at
> that temperature. Did you know that at 107 degrees F rise per hour the
> difference between cone 10 and cone 11 is 16 degrees F! Not very much
> difference. Lets say it was 120 degrees per hour rise, that would a 2
> degree rise per minute, so in 8 minutes you would get 16 degrees!
> Certainly a half hour (plus or minus) soak at 2350 would be sufficient =
=20
> to
> drop 11.
>
> There is no need to drool over these glazes =96 just fire them =
yourself!
> These glazes (oil spots and kaki) are well documented as is the firing
> cycle. Harding Black had an article in Ceramics in 1954, Bro. Anthony =20=
> in
> 1980 and I had one in 2002.
>
> http://www.ceramicsmonthly.org/mustreads/oilspot.asp
>
> http://www.ceramicstoday.com/articles/oilspot.htm
>
> I also have a section in my book on the subject!
>
> Michael Bailey and David Hewitt have done work on them for Ceramics
> Review, Greg Daly has a recipe in his book, Ian Currie talks abou them
> in =93Stoneware Glazes=94and there are others I can=92t think of at =
this =20
> time.
> There are many Japanese websites showing people who are working in =
this
> area. Can you imagine how many Chinese potters are working in this =20
> area!!
>
> Dorothy Davis, of Chapel Hill, NC, has been firing them for over 22 =20=
> years.
> She fires in electric oxidation to cone 10 and gets great results. =20
> Brother
> Montmillon of France has and article on the web as well as several =20
> books
> on talking about these types of glazes. (you need to speak French to =20=
> read
> them but the description is detailed Perhaps Edouard B. coud help us
> translate!!??). There are many dissertations on the subject of oil =20=
> spots
> particularly Donald Warnock June 1967 from San Jose State College.
>
> I challenge anyone interested to =93resolve=94 to make your own oil =
spots =20
> this
> year before NCECA and bring them to show everyone. I challenge =20
> teachers to
> get your classes to take on this project, I challenge all ceramic =20
> students
> whether in college, high school or art centers to take this on!! This =20=
> can
> easily be done by anyone on this list. Just get several of your =20
> friends or
> fellow students (3-5) and have everyone make 20 or 30 bowls. That will
> easily fill a kiln. Then mix up the recipes and fire in oxidation. If =20=
> you
> don=92t have recipes contact me off list and I will give you a series =
of
> tests (line blends) and recipes that will work for you. I will give =
you
> the mixing, application and firing instructions. This will open up a =20=
> whole
> new world for you. Firing in oxidation is as wonderful and exciting as
> reduction firing. Everyone is just locked into the =93standard=94 =
cycle. I
> challenge you to break out.
>
> The bowls that are not perfect we can donate to EMPTY BOWLS in your =20=
> town.
> I do this all the time. If your town doesn't have one I can contact =20=
> John
> Hartom and we will find one near you or send them to John Williams in
> Dallas. He has a monster Empty Bowls festaval every year raising =20
> thousands
> for the hungry. Or we can take them to NCECA and donate them to The =20=
> Studio
> Potter sale. I am sure Gerry Williams will love it!
>
> Believe me there is no description, no picture or technical analysis =
of
> these glazes that will hold a candle to the joy and sense of
> accomplishment you will feel when you see these glazes on YOUR pots.
>
> Contact me and we can get started today. But remember "NO EXCUSES" and =
=20
> "NO
> WHINING"! We wil start the Clayart Glaze Club. After Oil spots we =
will
> try another glaze type.
>
> It is a New Year so let's get it on!
>
> John Britt
> www.johnbrittpottery.com
>
> =
_______________________________________________________________________=20=
> _______
> 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 =20
> melpots@pclink.com.
>
John Britt on sun 2 jan 05
Bonnie and all,
There is no need to reformulate the recipes. There are many oil spots that
work well at cone 10 and certainly lots of Kaki/iron reds that work at
that temperature. Did you know that at 107 degrees F rise per hour the
difference between cone 10 and cone 11 is 16 degrees F! Not very much
difference. Lets say it was 120 degrees per hour rise, that would a 2
degree rise per minute, so in 8 minutes you would get 16 degrees!
Certainly a half hour (plus or minus) soak at 2350 would be sufficient to
drop 11.
There is no need to drool over these glazes =96 just fire them yourself!
These glazes (oil spots and kaki) are well documented as is the firing
cycle. Harding Black had an article in Ceramics in 1954, Bro. Anthony in
1980 and I had one in 2002.
http://www.ceramicsmonthly.org/mustreads/oilspot.asp
http://www.ceramicstoday.com/articles/oilspot.htm
I also have a section in my book on the subject!
Michael Bailey and David Hewitt have done work on them for Ceramics
Review, Greg Daly has a recipe in his book, Ian Currie talks abou them
in =93Stoneware Glazes=94and there are others I can=92t think of at this tim=
e.
There are many Japanese websites showing people who are working in this
area. Can you imagine how many Chinese potters are working in this area!!
Dorothy Davis, of Chapel Hill, NC, has been firing them for over 22 years.
She fires in electric oxidation to cone 10 and gets great results. Brother
Montmillon of France has and article on the web as well as several books
on talking about these types of glazes. (you need to speak French to read
them but the description is detailed Perhaps Edouard B. coud help us
translate!!??). There are many dissertations on the subject of oil spots
particularly Donald Warnock June 1967 from San Jose State College.
I challenge anyone interested to =93resolve=94 to make your own oil spots th=
is
year before NCECA and bring them to show everyone. I challenge teachers to
get your classes to take on this project, I challenge all ceramic students
whether in college, high school or art centers to take this on!! This can
easily be done by anyone on this list. Just get several of your friends or
fellow students (3-5) and have everyone make 20 or 30 bowls. That will
easily fill a kiln. Then mix up the recipes and fire in oxidation. If you
don=92t have recipes contact me off list and I will give you a series of
tests (line blends) and recipes that will work for you. I will give you
the mixing, application and firing instructions. This will open up a whole
new world for you. Firing in oxidation is as wonderful and exciting as
reduction firing. Everyone is just locked into the =93standard=94 cycle. I
challenge you to break out.
The bowls that are not perfect we can donate to EMPTY BOWLS in your town.
I do this all the time. If your town doesn't have one I can contact John
Hartom and we will find one near you or send them to John Williams in
Dallas. He has a monster Empty Bowls festaval every year raising thousands
for the hungry. Or we can take them to NCECA and donate them to The Studio
Potter sale. I am sure Gerry Williams will love it!
Believe me there is no description, no picture or technical analysis of
these glazes that will hold a candle to the joy and sense of
accomplishment you will feel when you see these glazes on YOUR pots.
Contact me and we can get started today. But remember "NO EXCUSES" and "NO
WHINING"! We wil start the Clayart Glaze Club. After Oil spots we will
try another glaze type.
It is a New Year so let's get it on!
John Britt
www.johnbrittpottery.com
terryh on mon 3 jan 05
John Britt wrote:
>
>Incidentally, you can also refire kaki glazes, which have gotten brown
>from too much reduction, to bisque temperature (1700 – 1900 F), including
>a soak, in either electric or gas and get an orange color. You are just
>reoxidizing the iron.
>
i always refire Ohata Kaki to Cone 5 with slow cooling in the electric kiln
to get red/orange kaki-iro (persimmon color). i didn't know (and i haven't
tried myself) that i get it by refiring 'only to bisque temperature'.
(save energy, next time.) thanks.
terry
terry hagiwara
terryh@pdq.net
http://www.geocities.com/terry.hagiwara
John Britt on mon 3 jan 05
Terry,
It doesn't "always" work, depends on the glaze. I have had a shift in the
tomato red color when applying decals too. (cone 018)This shift in coulor
also happened with a copper green and decals.
John
www.johnbrittpottery.com
terryh on tue 4 jan 05
John Britt wrote:
>
>It doesn't "always" work, depends on the glaze. I have had a shift in the
>tomato red color when applying decals too. (cone 018)This shift in coulor
>also happened with a copper green and decals.
thank you, john. i don't expect "always" :)
i have seen the shift in colour by refiring copper greens.
but, what's in the decals? silica?
(is the effect something reminiscent of leaf-silhouet?,
i mean, beneath the decals, or in the surrounding?
just wondering.)
terry
terry hagiwara
terryh@pdq.net
http://www.geocities.com/terry.hagiwara
John Britt on thu 20 jan 05
Hello all interested it the Red Temmoku Challenge.
The most recent successes are available for viewing:
http://www.msnusers.com/redtemmoku
(Recipes will only be revealed after Mel's and Joe's article comes out.)
John Britt
www.johnbrittpottery.com
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