Chris Schafale on sat 7 jan 06
I never mind sharing my recipes -- I don't worry about copycats because
most people are not going to get the same results anyway. Why? Usually
because they won't take the trouble to test thoroughly on application
thickness, clay bodies, firing temps, etc. If it's a very special recipe
that millions of other people don't already have, usually it's going to be
finicky about some or all of those factors. Not to mention the problem of
variable materials. So I'll provide the recipe and basics about how I
fire, and the rest is up to them.
Chris
At 11:54 AM 01/11/2006, you wrote:
>I've always been willing to share any information I have including glaze
>recipes. The only exception is when the potter who so generously shared
>it with me asks that I not pass it on. That is why I will not share any
>glaze recipes from John and Ron's book. They asked us not to.
>
>Kathi
>
>______________________________________________________________________________
>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
>melpots@pclink.com.
gordo on sun 8 jan 06
hello all, havent posted in a while but saw the topic come up that i =
just dealt with, friday we were doing a raku firing in the street at our =
shop and another potter came by that was new to raku and buying glazes =
by the gallon from a supplier, he asked about one that i really love and =
have great success with and i immediatly gave up the name of the glaze =
and source, he was shocked because he had asked others and nobody would =
give up the secret. i told him i did not invent anything about the glaze =
and said go to the guys web site for recipes and firing tips. he called =
the shop the next day and still could not get over what happened. no =
skin off my #@%. see ya gordon earthbound arts
"Whether you think you can or you can't, you're probably right" Henry =
Ford.
John Britt on sun 8 jan 06
Gordo,
Sounds like you are qualified candidate for the "Glaze Free Trade Society".
Our motto: "Pass on the Love"
John Britt
President of the Glaze Free Trade Society
www.johnbrittpottery.com
Donna Kat on mon 9 jan 06
I have always firmly believed in sharing recipes of any type and that
includes my own programming code (Unix was always freeware). There is very
little out there that is truly original and most of us got where we are with
a hands up from someone. I also believe in supporting both artist and
programmers who are making a living off of their work. So I'm pretty
careful to purchase the shareware I use and not to pass on that registration
code. I do not share the MC6 glaze recipes because it was requested that it
not be done and I respect that. I also agree with their philosophy that a
potter should understand their glazes.
Just my 2 cents and probably not worth that... :)
Donna
Alyssa Ettinger on wed 11 jan 06
i'll happily share basic recipes, tips for making them work, tips for
finding similar ones or fow how i went about calculating and mixing them,
etc. but... there are some i've slaved over and tested and retested, ones
that make my pots unique; it's not that they're trade secrets, but in doing
the more commercial work i do (and will be continuing forth with a few quite
trendy lines) i can't see being totally forthcoming. of my three studio
mates, all of whom are well-known in design circles and make rather funky,
unique goods often featured in magazines, two have had their work completely
"ripped off" by other "artists."
i guess if i did different work for a different audience, sharing glazes
would be an absolute given. but in this kind of situation, it makes me
nervous and protective.
Mary/Adams on wed 11 jan 06
I can totally relate to this. I agree. You work hard and when you get a
recipe that really works (I mean REALLY -- all through the process and into
the following months), it's almost like your baby! And, it would be darn
hard to give away your baby..... I think that folks who ask for them are
just not aware of how really hard it is.
m
Kathi LeSueur on wed 11 jan 06
I've always been willing to share any information I have including glaze
recipes. The only exception is when the potter who so generously shared
it with me asks that I not pass it on. That is why I will not share any
glaze recipes from John and Ron's book. They asked us not to.
Kathi
Bruce Girrell on wed 11 jan 06
Mary/Adams wrote:
> You work hard and when you get a recipe that really works,
> it's almost like your baby! And, it would be darn hard to
> give away your baby..... I think that folks who ask for
> them are just not aware of how really hard it is.
And it's almost a damned if you do, damned if you don't situation. You
strove to get the glaze to work for you on your clay body with your
materials and your firing schedule.
If you choose not to give away your recipe, then you are mean and selfish.
If you do chose to give away your recipe, it very likely won't work for them
because they will do something different with it and then you are a liar -
you didn't give them the *real* recipe, because their glaze doesn't look
like yours, right?
Bruce "stuck in the middle" Girrell
John Britt on wed 11 jan 06
I will share recipes with anyone. Bring it on!
I know how hard it was to find someone who would share them with me and I
remember being turned down many times when I asked about glazes or firing.
I later found out how many established potters have the same recipes and
often sharing recipes amongst themselves but not the newbies. So I decided
to pass on the love.
Glazes and knowledge about glazing is essential to making good work and I
think it is ridiculous that everyone has to reinvent the wheel, alone in
their own studio. I remember reading about William Howson Taylor and his
father, Edward Taylor who ran the Ruskin Pottery after they bought the
name from his (Ruskin=92s) granddaughter. They had discovered many wonderful=
glazes recipes which William destroyed when his father died. I was struck
at the waste of this priceless information that could have been so easily
been passed on to future generations and helped pottery to evolve much
faster. But it wasn=92t!
Of course, I am not telling anyone else what they should do. Nor am I
trying to convert anyone. I am merely stating my position and its
evolution. I understand why potter=92s hold on to their precious recipes, as=
the work (and luck) it takes to find them is incredible. I also understand
the history of pottery, and how one recipe could be the difference between
the survival of a family or destitution and even eventual death. So
keeping recipes a secret is a valid position.
But I have found that sharing recipes opens up others to share what they
have learned. Rather than being something that is lost, the recipes allow
us to participate in the infinite variety of glazes that are out there.
There is no end to the variety and beauty of glazes. (Writing this I am
reminded of the world=92s best novel, =93Silas Mariner=94.)
So I find that clinging to my own tiny pearls and counting them every
night by fire light pales in comparison to participating in the vast
infinite ocean of pearls out there. That is why I will share what I have.
It is also why I put so many recipes in my book. I think that seeing the
variety helps us to understand how glazes work, and this knowledge in turn
allows us to create our own unique glazes and combinations.
So if I can help anyone by sharing recipes, I will. I also think that this
is the most wonderful thing about Clayart too! That people are willing to
spend there precious time to share and help others with no thought of
compensation.
Finally, I don=92t think Ron and John asked us not to share their recipes,
rather not to publish them on Clayart. (Although I could be mistaken.
Please correct me if I am wrong.)
John Britt
President of the Glaze Free Trade Society
www.johnbrittpottery.com
Annie Chrietzberg on thu 12 jan 06
Don't worry, I'll be there, to collect all the free recipes & then
publish them for profit. Down with the GFTS!
On Jan 12, 2006, at 9:56 AM, Jon Pacini wrote:
>
> Greetings All ---Hi John
>
> As Social Chairman of the GFTS I propose a meeting of the Society
> be convened during NCECA this year at Portland. All members and
> interested parties wishing to attend should come prepared with at
> least one previously non-published clay or glaze formula to share
> with the Society.
>
> The meeting will be held at a brew pub to be named later ---I am
> open to suggestions regarding specific locations to scout out :)
>
> Cheers
>
> Jon Pacini
>
> Social Chairman
>
> Glaze Free Trade Society
>
>
>
>
>
Elizabeth Priddy on thu 12 jan 06
The one and only time I have ever refused to give a
glaze or process was when I was at a gallery opening
with a new potter to the area that I knew of, but we had not
been introduced. His father came over to me and without
introducing himself as such, or himself for that matter,
and asked me how I was getting the look on my pieces.
That was rude and hostile. If the guy himself had asked,
I would have told him. We are not friends to this day. Other
stories about him have come my way through the local grapevine
and my weasel-instincts were correct.
Trust your feelings, Luke!
E
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
---------------------------------
Yahoo! Photos
Ring in the New Year with Photo Calendars. Add photos, events, holidays, whatever.
Lee Love on thu 12 jan 06
On 2006/01/12 6:30:36, bigirrell@microlinetc.com wrote:
aterials and your firing schedule.
>
> If you choose not to give away your recipe, then you are mean and
selfish.
> If you do chose to give away your recipe, it very likely won't
> work for them
> because they will do something different with it and then you are a
liar -
You need to give the recipe, explaining that it is just a starting point
& that there are all sorts of variables that will effect the final
outcome. I have an unusual kiln, so it really is the rule with my
glazes. In fact, when my friend Genevieve, who has a wood kiln based on
the same design as mine and even uses the same kind of wood, fires my
glazes in her kiln, they never look like the same glazes out of my kiln.
Viva la difference!
I think it was MacKenzie who explained, that back in the '50s, when
studio ceramics was just getting started in America, most work came out
of industrial production and was cone 6. When folks made new
discoveries, they kept it secret. But Hamada came with a different
perspective and was willing to share his glazes, explaining that
"Secrets hinder progress."
The other aspect of the control required to make glazes come out the
same time after time, , very often make these glazes look like factory
glazes. It might be an aesthetic that appeals to some folks, but it
isn't mine.
--
Lee Love
in Mashiko, Japan http://mashiko.org
http://seisokuro.blogspot.com/ My Photo Logs
http://ikiru.blogspot.com/ Zen and Craft
"The way we are, we are members of each other. All of us. Everything.
The difference ain't in who is a member and who is not, but in who knows
it and who don't."
--Burley Coulter (Wendell Berry)
Lee Love on thu 12 jan 06
On 2006/01/12 1:54:08, kathi@lesueurclaywork.com wrote:
> recipes. The only exception is when the potter who so generously shared
> it with me asks that I not pass it on.
I thank the potter if they make this provision, and explain that my
policy of sharing everything I know does not allow me to accept "secret"
recipes.
I think secrets really set you up with the wrong creative attitude.
--
李 Lee Love 大
愛 鱗
in Mashiko, Japan http://mashiko.org
http://seisokuro.blogspot.com/ My Photo Logs
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)
Jon Pacini on thu 12 jan 06
Greetings All ---Hi John
As Social Chairman of the GFTS I propose a meeting of the Society be
convened during NCECA this year at Portland. All members and interested
parties wishing to attend should come prepared with at least one previously
non-published clay or glaze formula to share with the Society.
The meeting will be held at a brew pub to be named later ---I am open to
suggestions regarding specific locations to scout out :)
Cheers
Jon Pacini
Social Chairman
Glaze Free Trade Society
May Luk on thu 12 jan 06
Hello all;
Sharing is a good thing. I am not comfortable about the free flowing of
recipes for the beginning students though. It doesn't help for glaze
learning for the beginners. Having the recipes without sound glaze
knowledge is very frustrating and pointless. From my personal
experience, some potters think that glaze making is merely about
collecting recipes; mix and fire and keep going until they hit the lucky
draw.
When I first starting messing with glaze. My friend showed me this glaze
book collection with 1000 recipes (from famous potters, no less) -
little pictures, cryptic descriptions and the book costs about 15. We
tried out a bunch and we were just going about in circles. We were so
cross with the book - One thousand recipes meant very little because we
didn't have the foundations.
I think every potter should have "Out of the Earth, Into the Fire"-
before any glaze book - in their library. Read a little bit every night.
It's boring, but it's not going to kill you.
People shouldn't ask unless they know their health and safety and their
raw materials - my opinion.
With that said, I tell people everything I do in my studio. I am
enthusiastic about my work and the process. Good ideas come about when I
chat with visitors in my space.
Regards
May
London, UK
Paul Lewing on thu 12 jan 06
on 1/11/06 6:48 PM, John Britt at jbritt@MAIN.NC.US wrote:
> I will share recipes with anyone. Bring it on!
I'm with you, John. My hero all through my career has been Dave Shaner. Is
there anybody in this country working at cone 10 that hasn't used one of his
glazes? There's probably a barrel of some Shaner glaze in every community
pottery. I have, a couple of times, seen a barrel of cone 5-6 glaze in a
community studio with my name on it. I don't think anything has ever made
me more proud.
I was once part of a conversation at NCECA about how sharing potters were.
One guy said, "Well, sure, they know it's not going to work for you anyway".
I figure it's not the glaze- it's what you do with it. I also am not
worried about people copying me. I figure that by the time someone else
figures out how to do what I do as well as I do, they will be able to do
something of their own, and I'll be onto something else.
Paul Lewing, in RAINY Seattle. Sure wish we could ship some of this to
Texas and Oklahoma.
Lee Love on thu 12 jan 06
On 2006/01/12 6:30:36, bigirrell@microlinetc.com wrote:
aterials and your firing schedule.
>
> If you choose not to give away your recipe, then you are mean and
selfish.
> If you do chose to give away your recipe, it very likely won't
> work for them
> because they will do something different with it and then you are a
liar -
You need to give the recipe, explaining that it is just a starting point
& that there are all sorts of variables that will effect the final
outcome. I have an unusual kiln, so it really is the rule with my
glazes. In fact, when my friend Genevieve, who has a wood kiln based on
the same design as mine and even uses the same kind of wood, fires my
glazes in her kiln, they never look like the same glazes out of my kiln.
Viva la difference!
I think it was MacKenzie who explained, that back in the '50s, when
studio ceramics was just getting started in America, most work came out
of industrial production and was cone 6. When folks made new
discoveries, they kept it secret. But Hamada came with a different
perspective and was willing to share his glazes, explaining that
"Secrets hinder progress."
The other aspect of the control required to make glazes come out the
same time after time, , very often make these glazes look like factory
glazes. It might be an aesthetic that appeals to some folks, but it
isn't mine.
--
Lee Love
in Mashiko, Japan http://mashiko.org
http://seisokuro.blogspot.com/ My Photo Logs
http://ikiru.blogspot.com/ Zen and Craft
"The way we are, we are members of each other. All of us. Everything.
The difference ain't in who is a member and who is not, but in who knows
it and who don't."
--Burley Coulter (Wendell Berry)
David Hewitt on fri 13 jan 06
I agree with what May has said. There is a lot more to a glaze working
for you than just the recipe.
I quite often get asked for recipes and I am quite happy to pass on what
I have. A a general rule, however, I like to give the analysis as well
as the recipe. This I think should be considered a must. The glaze
application and the firing can obviously make a big difference, as can
the clay body on which it is being applied
Of the glazes that I use the one that I am asked about most frequently
is my oil spot. The following is what I give in my reply. As you will
see I ask to know how the recipient gets on with it. Sadly to say I
rarely hear anything more, so I presume that it has not worked for them.
David
OIL SPOT
You are very welcome to have the recipe, but I would ask that you will
acknowledge its origin if you do use it or put it on your web site.
Also, if you try it, I would appreciate knowing how you get on with it.
Transporting glazes is not always straight forward as I have indicated
on that particular page of my web site. Also, please note that the
application of the glaze and the firing can make all the difference
between a mediocre and a good result. My procedures are given below in
some detail.
Oil Spot recipe ref:- HAE8
Nepheline Syenite 150
China clay 350
Whiting 80
Talc 80
Quartz 340
Red Iron Oxide 80
____
1080
I do not think that any of these materials should present too much of a
problem for you. My analysis of his recipe is:-
K2O .04 Al2O3 .98 SiO2 6.15
Na2O .14 Fe2O3 .29
CaO .46
MgO .36
Apply the glaze fairly thickly. Fire at least to cone 9 well down in
oxidation and soak for at least 30 minutes. I also fire down by reducing
the temperature by 20 oC and holding for 15 minutes and repeating this
down two more steps. You need to give the 'spots' time to develop. Some
tendency for pin holing on outside / underneath surfaces of bowls if you
do not soak or fire down long enough. If you find at first that the
surface oil spots have not smoothed out, re-fire the pots. They won't
run. Precise firing will no doubt depend on your particular kiln, its
size, rate of temperature climb and cooling at top temperature etc., but
I am sure you will know about all this and the differences you can get
between one kiln and another. The firing is important to produce good
oil spots. The results I have shown have been produced in a small
electric kiln, a Cromartie CTL75 on Potclays 1149 porcelain.
In message , May Luk writes
>Hello all;
>
>Sharing is a good thing. I am not comfortable about the free flowing of
>recipes for the beginning students though. It doesn't help for glaze
>learning for the beginners. Having the recipes without sound glaze
>knowledge is very frustrating and pointless. From my personal
>experience, some potters think that glaze making is merely about
>collecting recipes; mix and fire and keep going until they hit the lucky
>draw.
>
>When I first starting messing with glaze. My friend showed me this glaze
>book collection with 1000 recipes (from famous potters, no less) -
>little pictures, cryptic descriptions and the book costs about 15. We
>tried out a bunch and we were just going about in circles. We were so
>cross with the book - One thousand recipes meant very little because we
>didn't have the foundations.
>
>I think every potter should have "Out of the Earth, Into the Fire"-
>before any glaze book - in their library. Read a little bit every night.
>It's boring, but it's not going to kill you.
>
>People shouldn't ask unless they know their health and safety and their
>raw materials - my opinion.
>
>With that said, I tell people everything I do in my studio. I am
>enthusiastic about my work and the process. Good ideas come about when I
>chat with visitors in my space.
>
>Regards
>May
>London, UK
--
David Hewitt
Web:- http://www.dhpot.demon.co.uk
Jonathan Kaplan on fri 13 jan 06
Hey....
I'm in.
I'm sure Annie wants in. Is there a secret handshake? A decoder
ring? I know! You need to bring 1 pound of any ceramic material that
is no longer available such as:
1. Albany Slip (still around but $$)
2. Oxford Spar
3. Michigan Slip
4. Bainbridge Feldspar
5. Eureka Feldspar
6. PBX Fireclay
7. APG GReen Fireclay
8. Narco Fireclay
9. Kaiser Fireclay
10. Any AP Green hard brick in reasonable condition!
11. A Babcock and Wilcox K23 IFB in reasonable condition
12. Calvert Clay
13. Jordan Clay
To be auctioned off for the charity of your choice that must have
something to do with beer!
Let's all bring a copy of what we have for say "Secrest Black" or
"Mamo Matt" or even better, "Ohata Kaki" (Tomato Red) and see how
many diffferent variations of the same.
Jonathan
On Jan 13, 2006, at 8:59 AM, Jon Pacini wrote:
> Hey Jonathan---- John Britt and I have been having some fun and
> thought you might like to join in----jon
>
> -----Original Message-----
> From: John [mailto:jbritt@main.nc.us]
> Sent: Friday, January 13, 2006 4:37 AM
> To: jpacini@lagunaclay.com
> Subject: Re: giving up recipes
>
> ok, but at least charge him a 12 pack to get in.
>
> Thanks,
>
> John Britt
> www.johnbrittpottery.com
> ----- Original Message -----
> From: Jon Pacini
> To: John
> Sent: Thursday, January 12, 2006 6:33 PM
> Subject: RE: giving up recipes
>
> I'm the social chairman not the treasurer---:)----I think we should
> make jonathan kaplan the treasurer-- jon
>
> -----Original Message-----
> From: John [mailto:jbritt@main.nc.us]
> Sent: Thursday, January 12, 2006 3:20 PM
> To: jpacini@lagunaclay.com
> Subject: Re: giving up recipes
>
> Wait until you get the bill!
>
> Thanks,
>
> John Britt
> www.johnbrittpottery.com
> ----- Original Message -----
> From: Jon Pacini
> To: John
> Sent: Thursday, January 12, 2006 5:47 PM
> Subject: RE: giving up recipes
>
> Hi John ----so far it's been very low maintanence and the dues are
> reasonable :)----jon
>
> -----Original Message-----
> From: John [mailto:jbritt@main.nc.us]
> Sent: Thursday, January 12, 2006 2:35 PM
> To: jpacini@lagunaclay.com
> Subject: Re: giving up recipes
>
> Jon,
>
> Sounds like a great idea! I love this Society ...we haven't had
> one meeting yet and look at all that we have gotten done.
>
>
> Thanks,
>
> John Britt
> www.johnbrittpottery.com
> ----- Original Message -----
> From: Jon Pacini
> To: jbritt@MAIN.NC.US
> Cc: clayart@lsv.ceramics.org ; earthtoannie@ceramicdesigngroup.net
> Sent: Thursday, January 12, 2006 11:56 AM
> Subject: Re: giving up recipes
>
>
> Greetings All ---Hi John
>
> As Social Chairman of the GFTS I propose a meeting of the Society
> be convened during NCECA this year at Portland. All members and
> interested parties wishing to attend should come prepared with at
> least one previously non-published clay or glaze formula to share
> with the Society.
>
> The meeting will be held at a brew pub to be named later ---I am
> open to suggestions regarding specific locations to scout out :)
>
> Cheers
>
> Jon Pacini
>
> Social Chairman
>
> Glaze Free Trade Society
>
>
>
>
>
>
Jonathan Kaplan
Ceamic Design Group
PO Box 775112
Steamboat Springs CO
80477
970 879-9139
info@ceramicdesigngroup.net
www.ceramicdesigngroup.net
Kathi LeSueur on fri 13 jan 06
David Hewitt wrote:
> I agree with what May has said. There is a lot more to a glaze working
> for you than just the recipe.>>>>>
I absolutely agree with this. A friend who shared a recipe for a glaze
couldn't firgure out why mine was a slightly different color. We checked
chemicals. Custer and custer, EPK and EPK. But, wait. She got her silica
from one source and I got mind from another. I gave her some of mine to
try. The glaze came out the same. Then there is the issue of water. My
great pink was always blue when I used the water from south Texas. But
when I brought some Michigan water back with me to use in it I got pink.
Kathi
>
>
>
Ivor and Olive Lewis on fri 13 jan 06
Dear Friends
Consider the case of delivering a workshop where the objective is to =
learn how to make glazes, creatively, as a design project, where =
students start with an idea and use basic principles and fundamental =
knowledge. You guide your students through learning process that ensures =
they have the intellectual and physical skills to accomplish this task.
At the end of the course you are asked by a student if you would share =
the recipe for your favourite glaze, which happens to be your signature =
glaze.
If you were the instructor, what would your response be ?
Best regards,
Ivor Lewis.
Redhill,
South Australia.
William & Susan Schran User on sat 14 jan 06
On 1/13/06 2:10 AM, "Ivor and Olive Lewis" wrote:
> At the end of the course you are asked by a student if you would share the
> recipe for your favourite glaze, which happens to be your signature glaze.
>
> If you were the instructor, what would your response be ?
I would provide it to them, in fact, I would probably have included it with
written workshop materials/information.
Most of the glazes I use I have gotten from other sources and have altered
them to suit my specific needs and materials that I use. I also state where
the glaze came form and what changes I have made.
Different materials, different ways of applying the glaze, different firing
schedules = different results.
-- William "Bill" Schran
Fredericksburg, Virginia
wschran@cox.net
wschran@nvcc.edu
Fred Hagen on sat 14 jan 06
Ivor and Olive,
My response would be --sure here it is --(and I would think --now try and get the same results that I get with it). Problem is that very few students in your class could duplicate your results --I know this as I'm often a student in workshops and know that I'll never get them to work as well as the originator---especially true of high fire recipes in reduction.
Fred Hagen
Ivor and Olive Lewis wrote:
Dear Friends
Consider the case of delivering a workshop where the objective is to =
learn how to make glazes, creatively, as a design project, where =
students start with an idea and use basic principles and fundamental =
knowledge. You guide your students through learning process that ensures =
they have the intellectual and physical skills to accomplish this task.
At the end of the course you are asked by a student if you would share =
the recipe for your favourite glaze, which happens to be your signature =
glaze.
If you were the instructor, what would your response be ?
Best regards,
Ivor Lewis.
Redhill,
South Australia.
______________________________________________________________________________
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Chris Campbell on sat 14 jan 06
The point of the workhsop is to
learn how to make glazes
NOT ...
How to demand instant gratification.
So, if you truly consider the job of
teaching to be more than just passing on
information ...
should you share the recipe for your
favourite glaze?
How does this help them learn?
I guess I would challenge them to a trade.
They re-work one of the recipes you already
provided and present it to you ...
then you will send them yours.
I know we are all supposed to be nice and
share but there are some people who just
want the answer ... they have no intention
of ever doing the work or giving anything
back ... they just take and take and take.
There is only just so long you can keep
giving to them without finally asking them
to do some of the heavy lifting too.
A potter I know researched and tested for
many years to re-create an ancient glaze ...
should that potter be required to share the
recipe with anyone who admires the results?
Sometimes you have to earn the right to
pick other peoples brains ...
Chris Campbell - in North Carolina - who does share
and play nice (almost) all of the time .... honest!
Chris Campbell Pottery LLC
9417 Koupela Drive
Raleigh NC 27615-2233
Fine Colored Porcelain since 1989
1-800-652-1008
Fax : 919-676-2062
website: www.ccpottery.com
wholesale : www.wholesalecrafts.com
Lee Love on sat 14 jan 06
On 2006/01/13 16:10:32, iandol@westnet.com.au wrote:
> At the end of the course you are asked by a student if you would
share the
> recipe for your favorite glaze, which happens to be your signature
glaze.
>
> If you were the instructor, what would your response be ?
" Sure! But you have to promise not to keep it a secret:
3 ladles washed wood ash
2 ladles Gariomi ball clay
1 ladle Amakusa stone.
This is a variation of my teachers basic 50% wood ash 50% ball clay (by
wet measure.) with additions of kaolin from 5% to 25%, depending on the
temp in the kiln. If you want this to be more bluish than greenish,
avoid high iron wood ash. The Amakusa is a porcelain stone from Arita
and you could try a porcelain clay body slip as a substitute. It takes
gloss off of the glaze and adds some opacity.
I guarantee you it will be different in your kiln. But if you test like
I showed you in the work shop, I am sure you will get something you
like. Of course, application is important too. If you do inlay
decoration, you need to put this on thin so it will show through. Also,
applied thin, it can take more temperature variation. Mine works best at
cone 9/10, at a variety of atmospheric conditions."
--
Lee Love
in Mashiko, Japan http://mashiko.org
http://seisokuro.blogspot.com/ My Photo Logs
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)
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