Posted 10 August 2014 - 10:38 AM
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?
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.
- Diesel Clay likes this
Posted 10 August 2014 - 12:07 PM
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?
The beige is blinding!!!!!!
The middle of the road is boring
The true sign of intelligence is not knowledge but imagination.
Posted 10 August 2014 - 01:47 PM
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.
Immediate Past President; Potters Council
Professor of Ceramics; New Hampshire Insitute of Arthttp://www.JohnBaymore.com
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users