Dinah Steveni on wed 14 mar 07
Hi
Just joined this forum this week. Greetings fellow travelers.=20
There's a great reference out there: Nigel Wood Oriental Glazes. =
Unfortunately, out of print. But I do have a copy and was referring to =
it only yesterday so a bit of luck. There's a ref to "Mashiko Kaki" , =
1240dc to 1310 dc, oxidation or reduction.
Cornish stone 54.5
BKS (H) ball clay 10
Kalbrite 2K 12.5
Flint or quartz 9.0
Wollastonite 5.5
Talc 6.0
Red iron oxide 6.0
"This is a traditional Japanese (rather than a Chinese) glaze but it has =
been included because it is so exceptionally versatile, both as a highly =
attractive over-glaze and also as a basis for making good temmokus. It =
is a glaze that has been used to great effect by the famous potters, =
Bernard Leach and Shoji Hamada, particularly as an over-glaze and in =
combination with various methods of resist.
A good Kaki glaze used over another (usually more fluid) glaze gives =
a fascinating variety and richness of colour and texture, within the =
range of natural colours and tones typical of stoneware glazes, that =
cannot be obtained by other methods. The above glaze seems to show all =
the best characteristics of the Japanese original.[16] [[ ref to NW's =
source for the original glaze recipe. Can supply if asked.]]
By itself the Kaki glaze is a smooth rusty-brown glaze with a slight =
gloss, but it is best when used over slightly more fluid glazes such as =
celadons, temmokus or porcelain glazes. The extra flux supplied by the =
under-glazes seems to bring the Kaki glaze to life, making it appear a =
rich foxy-red colour where it is thick, dissolving into a brown-black, =
dusted with rust, where it is thinner....=20
Because the Mashiko glaze is originally prepared from a crushed =
rock, the above recipe has been designed with only enough clay to =
prevent it settling; the remainder of the clay being supplied by the =
"Kalbrite 2 K" [a good ref like the Hamer's will lead you to subs for =
testing] which is a calcined high-alumina ball clay supplied by Watts, =
Blake, Bearne and Co. As this material is slightly coarser than most =
glaze materials the glaze benefits from ball milling.
Used as a bases for temmokus, the Kaki glaze gives a most =
interesting series of glazes with additions of ordinary wood-ash from =
about 1-15%. Those glazes lowest in ash will soon change to fine =
glossy-black temmokus, and eventually to clear amber or green glazes =
with increasing ash. These latter glazes are often seen on Japanese =
country pottery. A particularly effective use of the kaki glaze is by =
trailing it on top of one of the Kaki/ash temmokus, a techniques often =
used by Shoji Hamada."
Hope that's helpful. =20
Now, I need advice. Recently moved back to USA after 25 years in UK and =
had to buy all new to set up studio. Nothing that plugged in could be =
shipped. No big bulk raw materials, etc etc. Red light stuff to customs =
searching for white powders.... It broke my heart to sell up some =
excellent kit. My late husband and I ran Dianthus Ceramics in =
Stratford-upon Avon and made commemorative creamware (jigger and jollied =
for the theatres there and in London etc etc; and also our own stoneware =
and porcelain studio ware.)
I bought a Thomas Stuart Legend -- new -- two years ago. Throws okay, =
foot control a bit crap compared to what I'm used to, but when it comes =
to turning I think it's out of alignment. I also use a GriffinGrip and =
have done for years and years. I've checked calibration on the GG and =
have got the numbers right. I also used a "true" fired and turned bowl =
of mine as a chuck the other day when turning, and still got a slight =
but annoying wobble. I'm out of warranty, but shipping it back is very, =
very tempting. Do I try a new wheel head? Do I adjust the GG to =
accommodate the wobble -- just thought of that solution -- Do I ask chum =
over with a pot they've thrown and invite them to turn it on my rig just =
to confirm my suspicions? Do I go back to basics: tap centering and =
wads of clay. (I can feel some of you rolling your eyes and thinking =
just get on with it, lady.) I like dealing with Seattle Pottery Supply =
which is not where I bought the wheel I might add. I despise the =
slight wobble. I feel hard done by with this wheel. Any other similar =
experiences and how have you dealt with them? Also I would like =
suggestions for a ramp rate for once firing to 1250dc. Using my own =
porcelain body recipes, plus commercial stone ware and porcelain bodies =
in tests.
Thanks. Dinah Steveni -- Dianthus Ceramics, Mount Vernon, WA.
John Britt on thu 15 mar 07
Hope it helps,
Grittner Kaki
Cone 10 Reduction
17.69 Custer Feldspar
30.98 Red Art Clay calcined
30.98 Red Art Clay
8.84 Silica
5.30 Dolomite
3.53 Bone Ash
2.65 EPK Kaolin
2.65 Red Iron Oxide
0.11 Manganese Dioxide
0.43 Rutile
Put over Randy=92s Temmoku.
(Like Fake Mashiko.)
MASHIKO KAKI 2
Cone 10 Reduction
55.00 Cornwall Stone
10.00 Silica
10.00 Kaolin
13.00 Kentucky Ball Clay
6.00 Wollastonite
6.00 Talc
10.00 Red Iron Oxide
If you need more let me know.
Happy glazing!
John Britt
www.johnbrittpottery.com
rfredjohnson on thu 15 mar 07
--- In clayart@yahoogroups.com, Dinah Steveni wrote:
[snip]
> There's a great reference out there: Nigel Wood Oriental Glazes.
Unfortunately, out of print. [snip]
There is a copy on eBay right now: http://tinyurl.com/2mbtm2
Ron Johnson, lurker
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