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  1. Thanks for the replies. I think I have enough for a first attempt. Andthanks for the URL for Riggs Pottery. When I get some results, I'll check in with them.
  2. I got Sumi von Dassow's book on pit firing (Low Fire and Burnishing) and I'm near ready to do my first. Most of my pieces will be white earthenware. I'd like to try to get some of the effects shown in the pot below. The ingrediants are listed as wood shavings, steel wool, copper and salt. From the blue tones, I suspect some cobalt compound was also used, but my question here is, What produced the red/orange tones on the top? Copper? Steel wool? Both? Thanks.
  3. For those who fire gas/reduction, how important is it to have an oxygen probe? I'm about to fire my first gas kiln. I'm also going to be breaking in some new glazes which call for reduction at different points in the firing cycle. I've never used one before, and early research seems to put the starting point for oxygen probes at around $1000+ Is it worth it?
  4. Thanks a million! I think I'll just buy it on-line, but our local UMass campus at Dartmouth has a ceramics program and library. I'll check them out.
  5. Shinos that I've used in the past tend to go rust red where thin, white where thick. Did you apply your test glaze thickly?
  6. Is this a 'white' shino as illustrated above, or rust red?
  7. Thank you, JBaymore. When you said 'Contact Malcom...' I went back to the pic. in Ceramics Monthly to find out 'Malcom who?' Malcom Davis? And why should that ring a bell? Because in John Britt's "The Complete Guide To High-Fire Glazes" they give the formula for 'Malcom's Shino'. Thank you for helping my neurons make the necessary connections. MALCOM'S SHINO 40.9 Nepheline Syenite 9.8 F-4 Feldspar 18.2 Kaolin 13.8 Ball Clay 6.0 Redart Clay (optional) 17.3 Soda Ash
  8. Just saw an example of a "White Shino" in the latest Ceramics Monthly. I've never heard of this, but it looks really great. Anyone know a formula for White Shino?
  9. Better yet...I got a reply from Emmaneul Cooper. Dear Robert Kelley, The Crafts Study Centre has forwarded your enquiry about Lucie Ries's glazes. Yes, these have been transcribed and fully listed. These are available in back copies of the magazine Ceramic Review. If you check on the website there is a search engine, but I am sure you will find what you want. Good luck with your research. Sincerely Emmanuel Cooper So far, I'm stymied on using the search engine. I entered (1) Lucy Rei glaze formulas, (2) Glaze formulas, and (3) Lucy Rei. Got zero returns on all of them. A bit of a surprise. I've sent off a query to the editorial staff. In the meantime, I'll start through the Archive year-by-year and see what turns up. At least we now know they exist.
  10. The Lucy Rie Archive sent a reply yesterday. Alas! The news is not good. Here's Ms Vacher's response... Dear Mr Kelly, Thank you for your enquiry regarding Lucie Rie's glazes. Unfortunately, we don't have a transcribed set of recipes that I am able to send you. The Rie archive has been fully catalogued and I have attached a screenshot of what we have in terms of glaze recipe books. This gives you a broad idea of what the archive contains, but short of inviting you to see the material for yourself, I am afraid that I am unable to be of help. Moreover, as you see there is the additional problem that some of the earlier notebooks are written in German. Emmanuel Cooper, ceramicist and former editor of Ceramic Review has been using the Lucie Rie archive extensively to write a book on her (as yet unpublished), and might be able to answer some technical questions. I should be happy to forward on an email from you. I replied that I would indeed appreciate it if she'd forward my query on to Emmanual Cooper. [We'll see what we see.] However, in the list of things shown in the screenshot [which was a directory tree of items in the collection] I saw "Book of Hans Coper recipes". I asked her about that since Hans Coper and Lucy worked together for so long. Indeed, he was her apprentice and as such would have used [and mixed] the glazes in her studio. I said that even if his glaze notebooks were untranscribed, if the pages were legible to an English speaker, I'd love to see a .pdf file copy. So...we may have a side door to Lucy's glazes yet.
  11. Yes, I imagine the Pippenburg book would look different with pre-internet eyes. Thanks for the pics; the turquoise/red is a real knock-out. Glad you liked the website. Those ceramics were done in the late 80's at Fort Mason Community College in San Francisco.
  12. Thank you for the recipes, and the offer of pictures. They are both very welcome. My e-mail address is kelley02790@charter.net My website is at http://www.robertgkelley.com; click on the 2D side of the site. I also got Pippenburg's raku book. Unlike yourself, I was bitterly disappointed. He had very few illustrations of traditional raku though he discussed it at some length. Virtually all illustrations were of ghastly modern non-functional sculptures. The text was aimed at an audience that was coming to clay for the first time, and the glaze recipies he recommended were not (or I think not) used in the photos. There were no glaze tiles. I spent fifteen minutes ripping out all pages that had pictures on both sides, plus the entire gallery section. Then I felt better. The one delightful epiphany I got was of tiny wood-fired kilns on the beach. Somehow I always had this assumption that wood kilns had to be huge, hill-climbing anagamas. It had to be neck-or-nothing. I have a big yard, and a wood kiln is now within the realm of possibility.
  13. Thanks. I'll take a flyer on it. As you say, their 'previews' are amazingly unhelpful. Who would think that Copyright pages, Tables of Content, and random Index pages might help a person evaluate a book on, say, butterflies, or ceramics?
  14. I'd like to find a good book on Raku glazes that is well illustrated so I don't have to mix so many test batches. Something on the order of John Britt's book on high-temp glazes. (tho' that would be something of a tall order.)
  15. I agree with janwallace, less reduction, more oxidation.
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