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SAS Pottery

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  1. Lichen Glaze "peels" Off When Applied

    Marcia - did read Robin's article prior to my first post but he doesn't address my original problem of the Lichen peeling off if it is poured vs. brushing or spraying it on - I have done this process of pouring a few years ago and got the same "peeling off" problem but I then did it again and it stayed on. It cracked as it was going to anyway but stayed on the pot (the pot was spherical) and fired out really nice with no "flaking" issues in the firing. Trying it again now and the above post results are as I've mentioned. I did do an initial "using Lichen glazes" but not the word "applying" in my original Google search. I'll see if I can get other "hits" with that "applying" word. I'll also try to find the Clay Art posting you mentioned to see what else she has to say - applying it on "thick" may work - I have the Lichen glaze mixed as if it were a "normal" glaze to dip or pour - perhaps for its purpose, it does need a "thicker" consistency as if it were a slip. Other thoughts from members? Scott
  2. It's been a while since I've played around with a Lichen glaze and now remember about it "peeling off" my base glaze when I applied it. I sprayed on a matt black slip base glaze - waited for it to "dry" but not completely, then did a pour of the Lichen glaze around the neck of the pot - the Lichen glaze poured down the sides well but within 5 mins, it began to "peel off" the entire piece. I had to wash off the entire piece and will start from scratch again once it's dry. For those that do Lichen based glazes, thoughts/techniques to keep it onto the surface base glaze better? I've read about it being "brushed" on or "sprayed on" - but I like the poured on effect look. Does the Lichen glaze adhere better if the base glaze is completely dry, somewhat dry or just after it's applied? How have Forum members "overcome" the peeling problem? Thanks - Scott
  3. I have now ventured into my first "naked" raku test piece - it's been terra sig'd/bisqued and ready to go into the next phase. I poured a Soldate 60, thick but "runny" pudding-like slip over it and it "stuck" fine. However, it began to peel off as it dried - so I can't put the overglaze on it. My questions are: 1) Soldate 60 is my regular throwing clay - should I use a naked raku slip recipe instead? 2) Or is it my "process"? Do I just let the slip get to a "cool to the touch" (not entirely dry) consistency and then put on the outer glaze? 3) Am I firing the piece in the kiln as "bone dry" or just after the glaze has set up over the slip resist? The written materials I have read don't mention the issue of the resist slip peeling off the piece prior to firing it, so the naked raku community's help would be appreciated as I get off to a better start - thanks - Scott
  4. Wanting a lime/tea green raku glaze recipe that doesn't use copper carbonate. Our community studio's instructor had one we used but has since taken it out of the rotation due to proprietary reasons. I asked if her glaze recipe used copper carb and she said no. I have since tried using my own tests using clear raku glaze mixed with 1%, 3% and 5% colorants of copper carb and celadon mason stains respectively. The results are mixed - with the copper carb, depending on where the test piece was placed in the kiln, I got inconsistent green with patches of red - not bad but I want the "all green effect" on a regular basis that's not determined by placement in the kiln (closer or farther away from the burner). With the mason stain, the effects were either blotchy or too opaque - again not the effect I want. Based on pieces I fired using her recipe, I am pretty sure she uses a clear glaze mixed with a green colorant source - what other sources of green colorants have others tried? Underglazes? Chromium Oxide? Thanks for those who've got the raku experience before I continue my testing. - Scott
  5. Leopard Spot Shino Glaze-need a recipe for

    It is not an effect that is accomplished by glaze formula alone. It is also highly dependent on the application and the firing steps. It's rather complex but gives lovely effects when done right. I doubt that it would be a suitable addition to a community studio setting. Far too many variables involved. When done incorrectly, the results can be quite ugly and whole loads of ware can be ruined. You are probably correct as to the "best" results that can be obtained in the ideal firing setting - however, we do get some nice results with the SF Shino in a combined kiln with other glazed work. As I mentioned above in my last note, I'll mix up a "test" batch, apply it and see if this particular receipe will act in any way like what the "ideal" would look like - thanks for the continued interest in this posting. - SAS
  6. Leopard Spot Shino Glaze-need a recipe for

    Zac - thanks for the TC recipe - I have the MD recipe from the Dec 2000 CM - because the studio I am a part of is community based, not sure that the firing schedule is realistic for what we do. It would require the kiln to be loaded with shino only work - something the "community" may not want to do or the instructor for that matter. However, I'll try some test tiles on both glazes to see what they do and do a forum reply posting on the results. I am guessing they won't be as dramatic as what either TC or MD have gotten but then nothing ventured, nothing gained - regards back to you - SAS
  7. Leopard Spot Shino Glaze-need a recipe for

    That's actually MALCOLM Davis, not "Michael". (RIP) best, ...................john
  8. Leopard Spot Shino Glaze-need a recipe for

    Yes I saw that reference in my online search - also am aware of the Tom Coleman workshop - thought someone in the "community" might already have the recipe and would be willing to share it unless there is a proprietary factor. It's not "popping up" in the overall searches I have done and so I am thinking it must be a newer shino recipe or it's been developed specifically by Mr. Coleman.
  9. Our community studio has been using the San Francisco Shino glaze for some time with good results. I'd like to introduce a new Shino into the studio mix and was interested in the Leopard Spot Carbon Trap Shino as another possibility for our general use. My online search has come up with nothing specific. The closest II have found is the Malcolm Davis Shino. Does anyone who has the Leopard Spot recipe mind sharing it at this point? Thanks - Scott
  10. I decided to try a new terra sig recipe using Suzane Storer's Newman's Red recipe - I am hoping someone else has tried it as I am having a few questions re: the outcome. As a recipe it turned out "fine" - specific gravity was slightly over 115 but I mistakenly used a "double" portion of Sodium Silicate (I may have defocculated it too much as I didn't get a noticable "mid-layer") - It brushed on OK using a completely dry red clay body as a test piece. However, it dried out almost as fast as I brushed it on - even with the usual 3 coats. I had difficulty getting the usual "terra sig magic" burnish and it left brush marks (not expected but not entirely dissatisfactory as it gives the piece a "woody" look). My current concern is that it will "flake off" in either the bisque or saggar firing I had planned to do with this particular recipe. Would raising the specific gravity with more water slow the drying problem/brush strokes?. I'd like to get some feel of an answer before using what I have on other pots. Any thoughts from the terra sig users? Storer's recipe is using 4gal of water:20 lbs clay:60mls sodium silicate. I made only a small batch to test it out. Not wanting to be wasteful, yet by deflocculating my batch too much is it a "gonner" and just try again? Thanks
  11. OK - third time's a charm as they say - still looking to find a green celadon glossy crackle raku glaze recipe to replace one that our studio instructor removed for our use due to propriotory reasons. Question: can stains such as Mason stain be used with a basic white crackle glossy or clear crackle raku glaze to create the green celadon color I am after? What have been the Forum's experiences with this thought? - Scott
  12. Hello again - I am still trying to get a green celadon raku crackle glaze recipe either from the members of the forum or in internet-land - as my October post indicated, our local rec studio's instructor pulled her green celadon crackle glaze that we were using due to some propriortory reasons. I'd like to replace her glaze with one of my own. I had about 85 views but no responses - other ideas to find this illusive recipe? Also, I am looking for someone who's familiar with Randy Broadnax's work - he had a glaze called Randy's gold - anyone know of this recipe as well? Thanks for anyone's help - Scott
  13. I am looking for a green celadon raku crackle glaze recipe - my studio instructor has, up to this point, provided us with her own recipe. However, for some proprietary reason, she has taken the glaze out of the ones we use. I have used her glaze with great results but am now disappointed the studio is left without a recipe - does anyone care to share one of their recipes that I can introduce back into our studio for us to enjoy? thanks - Scott