mel jacobson on mon 24 jan 05
several of you have given me some good thoughts.
it is interesting that there were two plates
on one shelf. both glazed with pete's cranberry..
and yes, that is a copper red glaze.
the second/ companion plate is pure red.
i am convinced that their was a swirl of reduction
/no reduction on that plate. and, that is always a gift
waiting to happen.
it is rare when you get on one surface, everything that
can happen with one oxide. blue/green/gray/purple and red.
and, of course, as some have pointed out, those are the
things that copper does.
as many know, when copper red is a bit over-fired, say
to cone 11, the purple does begin to happen.
also, take note that the photo was taken into a shaft
of sunlight. it does make a difference. to the casual view
that blue/green is just a warm blue. light it and wow.
i love to show these strange and unusual glaze happenings.
it proves over and over that we are not in charge, but we
are often at the mercy of weather, stacking changes and
firing cycles. (i fired this load during a snow storm/barometer
very crazy, and it was windy.)
the same for traveling glazes. the clay body, the timing of your
kiln all make so very much difference.
i have given the rhodes recipe to hundreds of people. they often
come back to me with...`what a puke glaze`.
they use it on buff clay bodies with limited reduction...and man
is that a puke.
rhodes 32 was developed by david shaner when he was working
for dan in the 60's at alfred. david was using high iron/recycled
clay from his public school teaching job. he just added fire clay
to amaco red/mid range body. (just as i was doing at the same time)
hate to throw away decent clay...just add to it. anyway, that glaze
was meant for high iron clay bodies...so it worked like magic for me.
others that did not have that body were always pissed off that
i have left something out of the recipe...of course i added rutile
and a bit more silica...to warm it and make it more stable.
(john hesselbreth was very proud of me.)
i love that recipe/theory.
i keep repeating that all recipes are theories. you do not
have a clue until you have worked it over with your clay, your
kiln, and of course your glaze timing.
i was chatting with john pancini about bmix. it is such a strange
clay, made famous by one potter, and many have not a clue
how to use it. but, on it goes....a best seller, that i would never
use, ever. far too fussy. it is a one man dog. it will bite you
if you are not familiar with it.
mel
mel jacobson/minnetonka/minnesota/usa
http://www.pclink.com/melpots
http://www.rid-a-tick.com
John Britt on mon 24 jan 05
Mel,
Hate to say this, but I don't want folks thinking that these glaze effects
are illusive or difficult. The color on your plate is, in fact, typical
of copper reds and particularly Pete's Red when it is thick on a platter
or in the bottom of a bowl. When it pools it will often form this color.
I am surprised that you have not seen this color until now, but I am glad
you have finally experienced it. It is wonderful. You will also find this
color with Flambe recipes.
Glazes Rule!
John Britt
www.johnbrittpottery.com
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