Hank Murrow on thu 9 jun 05
On Jun 9, 2005, at 10:21 AM, Liz Willoughby wrote:
> sometimes I add Las Vegas clay from
> the flats that I dug up when nceca was in Las Vegas. It has iron in
> it, but not much, it does tend to lustre. God knows what is in that
> stuff, and most importantly why am I using it? Just experimentation.
Dear Liz;
It is likely that the lustre is from the solubles that are certainly in
that desert clay you dug. Just like soda ash, they will give
irridescence.
Cheers, Hank
www.murrow.biz/hank
Liz Willoughby on thu 9 jun 05
Dear Hank, Craig, John, Mel, and others that have pitched in on this
discussion about re-firing shinos,
a big thank you. Because of your curiosity and your thirst for
knowledge, your intuitions and your honest research, you have made it
easier for someone like me to come closer to understanding this very
interesting glaze. This is what makes clayart so wonderful. Nice
interaction of trying to find out the truth in what is going on
without confrontations!
You guys are great.
(and a special thank you to Craig, who years ago suggested that I add
more alumina to my shino.)
o.k. here is another question? Why is it that shino is whiter on
porcelain when it is applied thicker, or double dipped? this happens
even though I add alumina hydrate to my glaze. And my glaze recipe
that I use is:
Cone 10 R Malcolm Davis adjusted Carbon Trap Shino
F4 spar 9.3
Nep.Sye 38.6
OM 4 13.0
EPK 8.5
Alumina 8.5
Hydrate
Soda Ash 16.3
total 94.2
opt. 4-6 % redart
Meticky Liz in Grafton, Ontario, Canada.
p.s. Gail, yes, certainly the iron in the redart will certainly
affect the color of the glaze, and even more so when refired in an
electric kiln to 1950 F and soaked for 2 hours. I do not add the
redart to malcolm's glaze, but sometimes I add Las Vegas clay from
the flats that I dug up when nceca was in Las Vegas. It has iron in
it, but not much, it does tend to lustre. God knows what is in that
stuff, and most importantly why am I using it? Just experimentation.
Lee Love on fri 10 jun 05
Liz Willoughby wrote:
>
> p.s. Gail, yes, certainly the iron in the redart will certainly
> affect the color of the glaze, and even more so when refired in an
> electric kiln to 1950 F and soaked for 2 hours. I do not add the
> redart to malcolm's glaze,
Doesn't MD recommend adding RedArt if the glaze is used on porcelain to
make up for the iron not in the body?
Your glaze is white because you don't put RedArt in it.
--
李 Lee Love 大
愛 鱗
in Mashiko, Japan http://mashiko.org
http://hankos.blogspot.com/ Visual Bookmarks
http://ikiru.blogspot.com/ Zen and Craft
"With Humans it's what's here (he points to his heart) that makes the difference. If you don't have it in the heart, nothing you make will make a difference." ~~Bernard Leach~~ (As told to Dean Schwarz)
Liz Willoughby on fri 10 jun 05
Lee, just a clarification about the shino glaze that I use. It
usually is peach to orange, unless it is applied thickly, then it is
white, and I alway double dip the rims, for more carbon trapping,
which does work for me. I was just curious as to why the glaze is
white when applied thickly.
Malcolm uses the redart in his glaze because he wants it quite
orange/red. Without the redart, and if the glaze is applied to
stoneware, there is a greater depth of color, but not red.
Liz
>Liz Willoughby wrote:
>>I do not add the
>>redart to malcolm's glaze,
>
>Doesn't MD recommend adding RedArt if the glaze is used on porcelain to
>make up for the iron not in the body?
>
>Your glaze is white because you don't put RedArt in it.
>
>--
>=F3=F5 Lee Love =EB=C2
>=E0=A7=C5@=C5@ =C5@=C5@ =F3=FF
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