Jump to content

Dick White

  • Content count

  • Joined

  • Last visited

About Dick White

  • Rank
    Advanced Member

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Dick White

    low fire reduction shino glaze recipe

    Preeta, regarding the Malmgren teadust temoku at cone 6. We tried that in the school studio and got no teadust. It's a nice temoku, but no teadust. I've met Rick Malmgren and asked him about it. He was emphatic that he gets teadust in his school's gas kiln, but we never did. Theoretically, teadust temoku requires magnesium to generate the iron pyroxene crystals and this recipe has none. There is discussion elsewhere of temoku going teadusty in hard brick kilns that take forever to cool. Scott, regarding the oxidation shinos, if you have John Britt's book on midfire glazes, there is a short section on fake shinos in oxidation. For that, we just go with the philosophy that "shino" is a visual outcome however you choose to get there and you can call it anything you want.
  2. Dick White

    Frit 3124 vs. Frit 3134

    3124 and 3134 have similar oxides but in different proportions. If you are considering the ^6 recipe by Ron Roy in the Mastering Cone 6 Glazes book, this is a recalculation of that recipe using 3134 instead of 3124: EPK - 22.1 Neph sye - 23.8 3134 - 13.4 Whiting - 14.7 Silica - 26.0 Zircopax - 16
  3. Gabby, dunno, I'm not very good at estimating clay amounts without a scale. In my work with moon jars, I can make one about 12" wide (and a bit taller with the neck and foot) with 8 lbs. of stoneware clay.
  4. Dick White

    Engobe question

    Yes, "...an engobe can be formulated for use at any stage..." but the formulation is usually different for the different stages. Engobes formulated for use at one particular stage may or may not work when applied to ware at a different stage. Read the instructions that are provided with that particular commercial product and follow them.
  5. The article about using the plumbing flange thingy was in Pottery Making Illustrated. I tried it and highly recommend the technique but not the plumbing pipe. The PVC flanges were heavy on the top of the pot and clunky to use. I now use the cut-off top rim of a big plastic drink cup from your favorite dispensary of drivethru junk food, e.g., a Slurpy, Big Gulp, or supersized soft drink. The cup needs to have rim big enough to comfortably fit your fist through and a sturdy flanged edge that would otherwise hold the lid on the cup. Cut the rim off the cup with a knife and scissors (start a rough knife cut in the middle of the cup and then cut around and around with scissors to sneak up on the ridge around the cup just below the rim) so that you have a ring about 3/4" high. (Picture below) Throw a tall thin-wall cylinder and collar/adjust the top rim of the cylinder so that the cup ring just fits inside. Gently work the ring down onto the cylinder rim until the flange of the cup ring is resting on the top of the cylinder wall. Gently collar the cylinder so that it is tight on the cup ring. This will solidly support the cylinder rim and keep it perfectly round. The problem I find with making the big bellied forms is the rim of the cylinder goes oval while stretching the belly, and then it collapses. This temporary plastic ring supports and prevents that. For an extreme belly, you may need to work in stages - stretch the belly a bit and let it rest for awhile to firm up (or, for the impatient, torch it). When the belly is finished, gently lift the plastic ring out of the rim (or cut it off with a needle tool) and continue closing the form to whatever neck you desire.
  6. Dick White

    low fire reduction shino glaze recipe

    Scott - Glazy.org is an open electronic public library of glaze recipes. One can establish a collection of your own recipes and browse through other's collections. Clara Giorella is a potter in Buenos Aires who has done a lot of glaze testing. The link to her collection in Glazy is: https://glazy.org/u/giorello That will bring you into the first page of her entire collection. Once there, enter the word shino in the search box midway down the left side of the page and that will narrow the collection to 15 recipes she has tried.
  7. Dick White

    low fire reduction shino glaze recipe

    Preeta, the color rendition in that photo is off, it was a quickie phone snap in the kitchen. The color is iron orange. Here is another pic in outdoor light, and including another bowl with the same glaze but different firing. Both clay bodies are a proprietary blend of mine that is so proprietary even I don't know what I mix in it (it's studio slurry reclaim...). It is brown, so some iron in the body. This glaze only goes orange when thin, so matte and not glossy like your picture, but I also get orange under wax brushwork on white stoneware when going for carbon trap in the firing . I get a stronger orange in the brushwork when I mix some red iron wash with the wax I will be experimenting this semester with this and other carbon trap shinos to develop both the trapping and color. One that I will be testing is a variant of a Malcolm Davis recipe with some added Red Art (and I've also heard of using Barnard Slip (higher iron than Red Art), which I have a half barrel of and nowhere to go...). Maybe this will bring color in when thicker? More to follow in the fullness of time. And yes, there is a tension out there regarding the term shino, and not just the commercial (Coyote) oxidation brushing glazes (blue? green? purple? WTF?) vs. reduction shino as we have here... but as you note, American/Western vs. traditional Japanese. Traditional Japanese potters are probably sitting over there gagging their tea that we would call this shino.
  8. Dick White

    low fire reduction shino glaze recipe

    Scott, my recommendation on the frit is start with 0%. Seriously, try your recipes as they are and then with just higher amounts of neph sye.
  9. Dick White

    low fire reduction shino glaze recipe

    Preeta, is this orange enough? This is a thin coat accomplished by wetting the piece before dipping it in the glaze bucket. Thicker will be white.
  10. Dick White

    low fire reduction shino glaze recipe

    Scott, I too have never fired a shino piece of my own in an electric kiln. But I am the studio monkey in a community college classroom, and there is no end to the crazy stuff students have done. From that, I can tell you that if you want pasty white in the electric kiln, just use a white glaze, don't waste my good shino. But when did any young student listen to this old fart... As for a high sodium frit, Ferro 3110 is the first to come to mind, but it has some calcium in it, which is notably absent from every shino recipe I've stumbled across. The next frit that comes to mind is Fusion F644 which is basically 2/3 Na and 1/3 Si. But it is hard to come by. (I have a bag of it for my crystalline glazes, but that's a different kettle of fish.) Are you looking for carbon trapping or just the orange and white?
  11. Dick White

    low fire reduction shino glaze recipe

    Preeta (and everybody) If a "shino" glaze is designed to be fired in oxidation (such as the Coyote line) it is not a real shino. (Let's not turn over that cowpie right now...) Real shinos when fired in oxidation will be pasty white as you note; reduction is a requirement. My recipe performs best on an iron-bearing clay body, but some color will be shown even on white bodies because of the lithium (from the spodumene) in the recipe. Keep those alternative recipes coming. I have access to gas kilns at school and will be testing as many varieties as I can this fall.
  12. Dick White

    low fire reduction shino glaze recipe

    The shino recipe I currently use at cone 6 is: Soda ash - 8 (dissolve in hot water first) EPK - 5 OM4 ball clay - 17 Neph sye - 40 Spodumene - 30
  13. I will not add to the discussion of why you should or should not calculate the unit cost of things you make, but I will note that I have done just that as part of my job managing a community pottery studio. We require that the students/users of the studio to use only clay purchased from us and use only the studio glazes. That required some cost estimating to reach an appropriate selling price of the clay. The basic price of the clay is simple - what we pay the wholesaler per box - but we load the price with a surcharge to cover glaze materials. The glaze calculation software I use (Glazemaster) has a feature that it will calculate the cost per pound of any recipe. So yes, the actual price of the glaze materials in any bucket is readily available, and can be adjusted as the price of raw materials changes. That leaves the question of how much glaze is used per piece. That's a relatively simple mechanical problem. I had a variety of bisque ware typical of the student work, which I carefully weighed on an accurate gram scale. I glazed each piece in the usual manner and let them dry. Then I weighed them all again, and calculated the increased weight of the glaze load now on each piece. I don't remember the numbers that were involved, but from here it is basic arithmetic to average out the cost per piece of glazing.
  14. Dick White

    Troubleshooting Paragon Kiln

    If you are going to replace the 30A breaker with 40A, you must also ascertain that the wire gauge is adequate, both for the intended amperage and for the anticipated voltage drop due to the circuit length.
  15. Dick White

    How to Make 4 Footed Pottery?

    If you are trying to make a 4-pinched-in-feet pot/mug vs. the 3-pinched-in-feet, it is very simple. Use the thumb and forefinger of both hands (4 pinching points) rather than just the thumb and forefinger of one hand with the forefinger of the other hand (3 pinching points). The challenge is, as JohnnyK points out, accurate layout of the 4 pinch points so that the feet end up even and level.

Important Information

By using this site, you agree to our Terms of Use.