Earth and Fire Pottery on sun 24 apr 05
Hi folks
I'm doing a study of Ferguson's Yellow, one of my favorite glazes. I have one recipie, and would like to know if anyone has a different one. Mine is
custer 44
kaolin 21
dolomite 14
whiting 9
zircopax 9
bone ash 7
red iron ox 1
bentonite 2
I would greatly apprieciate any and all information on this glaze, formulas, historical info, whatever.
thanks gregg
Also, in a somewhat related matter, I tried to access the archives, but yahoo puts their little tag in the body of the message, thus causing the acers site to reject the post. Does anyone know how to get rid of that annoying little addiction to my post. See below for their little add on add. gregg
Gregg Allen Lindsley
Earth and Fire Pottery
Instructor - Mendocino College
Board Member Potters Council
Mail only: PO Box 402
Cobb, Ca. 95426
UPS etc.: 10325 Brookside Drive
Whispering Pines, Ca. 95426
e mail: gerrg@yahoo.com
http://www.earthandfirepottery.net
__________________________________________________
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Louis Katz on mon 25 apr 05
I have a glaze in my Glaze book circa 1979. I typed up 100 pages of
glazes that I copied from many sources. Most of the cone 10 ones were
from other Kansas City Art Institute Student notebooks. Then I sold the
books to students xeroxed for $7.
I have Ferguson Yellow
Custer Feldspar 50
Kaolin 23.86
Dolomite 15.91
Whiting 10.23
___________
Tin Oxide 5.1%
Bone Ash 4.5%
RIO 1.1%
I did not use the glaze much and don't remember it.
Louis
On Apr 24, 2005, at 10:25 PM, Earth and Fire Pottery wrote:
> custer 44
> kaolin 21
> dolomite 14
> whiting 9
> zircopax 9
> bone ash 7
> red iron ox 1
> bentonite 2
Mayssan Shora Farra on mon 25 apr 05
Hello Gregg:
What temp. and atmosphere is that? just out of curiosity.
Also here is my favorite link to the archives:
http://lsv.ceramics.org/scripts/wa.exe?A0=clayart&D=0&F=P&H=0&O=D&S=&T=1
Mayssan, in getting nicer by the minute Charleston, WV
http://www.clayvillepottery.com
Steve Irvine on fri 29 apr 05
Hi Greg,
The version of it that I have dates back to '75 and is similar to the version posted by Louis, except
that the bone ash is higher:
custer spar 50
EPK 24
dolomite 16
whiting 10
tin ox. 5
bone ash 8
red iron ox. 1
Steve Irvine
http://www.steveirvine.com
Ron Roy on fri 29 apr 05
Same ratio as the other Fergusod yellow but quite a bit more refractory -
more alumina and more silica.
Expansion still high.
I'm guessing it probably needs some iron or rutile to get yellow o r at
least be on a dark body.
RR
>I have a glaze in my Glaze book circa 1979. I typed up 100 pages of
>glazes that I copied from many sources. Most of the cone 10 ones were
>from other Kansas City Art Institute Student notebooks. Then I sold the
>books to students xeroxed for $7.
>I have Ferguson Yellow
>Custer Feldspar 50
>Kaolin 23.86
>Dolomite 15.91
>Whiting 10.23
>___________
>Tin Oxide 5.1%
>Bone Ash 4.5%
>RIO 1.1%
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513
Ron Roy on fri 29 apr 05
Hi Gregg,
This is a typical alumina matte - because the silica/alumina ratio is below
5 (4.75) - this kind of glaze will devitrify (crystalize) on cooling. Clay
mattes don't usually have enough silica to be stable by the way - the SiO2
is very low in this one for instance.
Expansion is high (because of the low silica) so it will craze on many clay
bodies. The up side is - it is not likely to crack pots because of glaze
dunting.
Not recommended as a liner glaze.
It adds up to to 107 - am i working with the right numbers?
RR
> I'm doing a study of Ferguson's Yellow, one of my favorite glazes. I
>have one recipie, and would like to know if anyone has a different one.
>Mine is
>
>custer 44
>kaolin 21
>dolomite 14
>whiting 9
>zircopax 9
>bone ash 7
>red iron ox 1
>bentonite 2
>
>I would greatly apprieciate any and all information on this glaze,
>formulas, historical info, whatever.
>
>thanks gregg
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513
Earth and Fire Pottery on sun 1 may 05
Luis K., Steve and all-
Thanks for the recipies for FY. I now have three, with several more on the way. One subs zircopax for the tin. We'llsee what the difference is on comparison.
I'll let everyone know how they turn out.
Just back from the Sculpture conference in Davis Calif. A wonderful, exciting conferece. 500 folks from all over, and tons of galleries with work, like at NCECA.
There was a fabulous party last night, I'm still fuzzy this afternoon. Held in a three story huge house, loaded with art and a warm pool. Johnathan K and Annie were standing just in side the door when I walked in. Fabulous! Joe Koons let me hold a 1,000 year old pot he got from China last week. Amazing. What a feeling. Demonstrations this morning and afternoon. As a vessel maker, I have often found real abstract sculpture vexing, to say the least. What does a piece mean? Often I don't know. Like most of the pictures in Ceramics Monthly. YOu can often hear me say, 'What?' in a loud voice. I find it frustrating. I've come away from this event with a little different viewpoint. In talking with some of the participants, I've come to see that I've been looking at it backwards. I keep looking for the meaning in the piece as the artist intended. I want to know what is going on. Most times, there is no way i can know. So I don't get it. I was given the viewpoint this weeknd that when
one makes a sculpture, you do it with all your heart and soul, and give it what it needs until you are satisfied with it. Then what happens after that is what happens after that.
I attended a slide lecture last night, where an artist was talking about her work. She has been making for years a series of strange double headed figures, with monkey faces and baby faces and a woman's bare torso mounted on various things. Just strange to look at. But when she told the story of what they were and what was going on in her life at the time of each of them, they were very accessible. It mostly centered around her daughter being born and how it affected her life. When I learned the story, I understood the work better.
It reminds me of when I spent a summer with my college art professor in his loft two blocksfrom the old twin towers in NYC. I wanted to do realism, and the art world was painting a red square with a brown square around it, and a 25 page manefesto explaining it all. I sure didn't get that. If a work of art can't say to me what is intended, it's a failure. Why do I need a thesis to go along with it? This has vexed me for years. I think know, when I see a piece I don't get, and I will continue to do so, I won't let it bother me. Who knows? The viewer brings the meaning to what is viewed anyway.
I have found that this has been very liberating for me. I now can begin to produce pieces with a sculptural bent, and possibly in a fully sculptural mode. Just do it, and as long as it has the meaning i intended, that's it. The rest will take care of itself. Everyone can bring their own meaning to the work, and that's ok. My functional work, which is tight Bauhaus, always has meaning you can see. It's meant to use. I think now I can work with 'meaning' in a place where I can feel comfortable. A very nice weekend indeed!
gregg
Gregg Allen Lindsley
Earth and Fire Pottery
Instructor - Mendocino College
Board Member Potters Council
Mail only: PO Box 402
Cobb, Ca. 95426
UPS etc.: 10325 Brookside Drive
Whispering Pines, Ca. 95426
e mail: gerrg@yahoo.com
http://www.earthandfirepottery.net
__________________________________________________
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
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Teresa Wooden on mon 2 may 05
Hello,
Does anyone know if there is a recipe for Ferguson Yellow or Gold in cone 6
oxidation? Or something close to it? I love that glaze but have an
electric kiln. I've been trying to re-create it but all of my experiments
have turned out pretty ugly.
Thanks,
Teresa Wooden
a newbie but learning fast
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