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Ki-Seto Glazes

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#21 Diesel Clay

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Posted 10 August 2014 - 10:38 AM

"Fine sandy high refractory clay is required"

Nothing mentioned is without importance. We tend to adjust glazes for fit, rather than clay bodies here to deal with crazing. But would a Japanese master?

#22 Tyler Miller

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Posted 10 August 2014 - 11:21 AM

Got it covered, Diesel, the clay I'm using is the closest I can get.   :)  I think in this glaze the crazing is to be tolerated.  Not much can be done in an ash and feldspar glaze--both ingredients have such high coe's it would be hard to fit it to any body at all.


What I've been fussing about today and last night was the silica content of the glaze.  All three 50/50 mixes yield a very low silica glaze, below the limits for even low fire glazes, especially the blend with neph. sy.  I'm tempted to add 5% silica, but it was more of an exercise in fanning the flames of self-doubt to run it through a glaze simulator, and I should just accept that this glaze falls outside limits.  

#23 Biglou13


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Posted 10 August 2014 - 12:07 PM

With few conversations I've had with John B. San . A lot of things in japan bend, break, even shatter modern pottery rules and thinking. Potters of 100 years past didn't think out side of box........the box did not yet exist.
The ki seto potter as most traditional potters use local; clays, glaze ingredients, kilns , and fuel, might as well add local traditions and knowledge.
The mino feldspar is much different than American feldspar.
I read some about this, lee love might be a go to guy for this information.

What's the formula for leach seto?

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#24 jrgpots


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Posted 10 August 2014 - 01:47 PM

If you want to increase silica in the glaze, use ash from faster growing plants, rice husk for example. Ash from any monocotyledon plant( where the veins in the leaves are parallel) such as grass, bamboo, cattails will have higher amount of silica which may be suffient to reduce/prevent crazing.


#25 JBaymore



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Posted 11 August 2014 - 06:18 AM

With Ki-Seto ignore the "science".  With a lot of traditional glazes... ignore the science.  ("Reach out with your feelings, Luke".)  The only "measureing stick" that was used traditionally was the eyeball and the piece in typical useage.  Since there are no toxic materials in the glaze... if it is "low silica" or not is not any kind of health issue........ and the Japanese aesthtic accepted (and accepts) the change in object over time (glaze changing sue to instability) as a part of its natural life.


Technically that interesting surface in the "best" stuff....... is a techinical defect.  Just like the pinholing in the best shino glazes.


The Ki Seto I've seen has faint crazing evident.





John Baymore
Adjunct Professor of Ceramics; New Hampshire Insitute of Art

Former Guest Professor, Wuxi Institute of Arts and Science, Yixing, China

Former President and Past President; Potters Council



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