My Favourite Glazes
People (I should say potters) often say to me "I
mean, you do so many things!!!". My response is always
the same. "All
I do is pottery!". One
potter looking at my work in a show said. "It
looks like a one person group exhibition!"
Anyway I have
clubbed together glazes, slips and decorative
techniques that I use in my work.
A word of advice. All my pots are biscuit fired to 750° centigrade.
If you fire higher it may affect results. Also the receipes do
not always come to
100. It is because as I have progressed I have added or substracted
materials and quantities without reference to whether it all
adds up to 100.
Doesn`t make any difference. Materials
here in Japan are different so use
these receipes as a guidline and use materials readily available
to you.
Your results are just as valid as mine-Unless of course you want
to repeat
exactly what I do and then we have to get into molecular weights
and glaze
chemistry-yawn!!!!
I do not claim these to be all original but developed over the
years-tips
from people or from a glaze workshop etc.
I thoroughly recommend this book. "Glazes for the Craft Potter" by
Harry
Frazer. Pitman Publishing. ISBN 0-273-00939-7. Worth its weight
in Silver Nitrate
Another tip-Keep things simple! and experiment, experiment, experiment!!!!
Thank you to everyone
who has
helped. Raku
My Body
Stoneware + grog
Tile Mix (for `in situ` firings)
Kanamatsutsuchi |
2 parts |
Sand |
2 parts |
Dosenbo |
1 part |
Raku glaze |
2 parts |
Nepheline Synite |
1 part |
OK, OK you are wondering what
dosenbo and kanamatsutsuchi is.
Dosenbo is a
very sandy clay that we use to support pots on in the firing.
Wadding is probably the best word to use.
Kanamatsutsuchi
is a yellow, soft rock that
is added to the soil for pottted plants and is obtained
from garden centres.
All materials are dry except the raku glaze. The mix is
very wet and is
applied by placing in a frame and smoothing over with a
piece of wood. Wire
netting in the middle helps keep the piece in one piece
because cracking is
normal. The body does vitrify!
Raku Body II
Wadding Clay |
6 parts |
Stoneware |
7 parts |
Talc |
2 parts |
Pulp |
2 parts |
Grog |
2 parts |
For high fired raku-we are talking about 1200°C
Slip for Naked Raku
China Clay |
50 |
Porcelain |
50 |
Raku Glazes 950°C-980°C Can go higher but no
good for the Copper Matt
Transparent |
|
Alkaline Frit |
85 |
China Clay |
15 |
|
|
White |
|
Alkaline Frit |
75 |
China Clay |
15 |
Tin |
10 |
|
|
Copper-Ruby Lustre |
|
Alkaline Frit |
70 |
China Clay |
10 |
Lead Bisilicate |
16 |
Copper Carbonate |
3 |
Bentonite |
1 |
Lithium Carbonate |
4 |
|
|
Copper Matt |
|
Alkaline Frit |
18 |
Copper Carbonate |
62 |
Lithium Carbonate |
12 |
Bariun Carboante |
12 |
Borax |
4 |
|
|
Gold |
|
Alkaline Frit |
75 |
China Clay |
15 |
Tin Oxide |
5 |
Silver Nitrate |
1 |
|
|
Chojiro Red (according to me) |
Alkaline Frit |
80 |
Red Earthenware |
20 |
(Though I have to admit, I use a redclay from
Tokoname called Shudei. It is so red it looks like the colour
of red chillies! Maybe ball milling red iron oxide and china
clay may be a substitute) |
Reduction Techniques
Once you get to temperature take out pieces and place in a container
with rice husks.
Throw a handful of ricehusks on top of the piece
and seal with lid. I use old oil drums from a local petrol station.
Leaves, pine needles and wood shavings are also used but rice
husk is my favourite.
With copper matt I place the piece on a
bed of rice husks and then cover with a tin. Wait for a few minutes
then lift off lid. Rice husks should re-ignite thus causing
flames to lick around the piece. You can see the effects before
your eyes. Stop when you see fit. Quickly cover with tin and allow
to cool.
A bit like gambling I am afraid!
|