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  1. .bumps Keep the shino posts coming.
  2. Aha... not your kiln. OK. So you have little to no control of the firings?. Yes this is true. The other people are using the same tried and true recipes. I m branching out to expand the current spectrum we have. You are not alone in thinking this. Stacking, cold spots, above or below the firewall etc.. Is the CO2 meter even used? At what point does reduction begin and is that change from firing to firing. The Pale shino itself is a carbon trap style. Yes The shinos that are available and used countless times in the kiln I suspect have had the flux % greatly increased. I will be bumping the flux up in both shinos. The kiln is loaded for another firing this weekend. I will try to get some pictures after this. Copper reds as of late have been an absolute disaster. They pop a horrible green. This itself points in a reduction problem. However the shinos have been spectacular, except for my new recipes. It is easy to say that kiln needs to be fired with more care. Problem is finding the person to stay there and invest the time over and over. ( which I will soon be volunteer for ) Thank you for the reply. Recently getting my hands dirty into glazes. Not my subject not in grasp yet but I hope it will be someday. I was suspecting it was a flux issue. However if someone said here is a picture what is wrong like I did. I would not have had a clue. A lot of what you have said here I have heard many times in conversations about our kiln, how it is fired. This just helps me move quicker in my experiments to develop these glazes. Again thank you. Thank you very much. So thank you for you eye and reply.
  3. Yes: The tiles yes or test pieces Right now everything has been tested on a stoneware. I will expand that this next week. TY
  4. I have that data ( they do maintain a log ) I will gather it from the log. Give me a few.
  5. Oh yes thank you: Here you go Cone 10 reduction, gas let me see if I can find a pic of it. pale Soda Ash 7.25% G200 Feldspar 35.5% Spodumene 32.25% Silica 2.5% EPK 14.5% OM4 8% the red Soda Ash 9.88 G200 Feldspar 44.44 Spodumene 37.04 Bentonite 2.47 EPK 17 OM4 13 Now I have seen pictures of these fire very well just not by me.
  6. I ask for any and all advise on this please. Some examples of my problems In the picture above it is half way okay. This is a Pale Shino the colour and breaking is where I want it. BUT On about 1/2 of each dish I will get a sheen the other part is a flat rough surface. Example 2 This one is a Red Shino. The entire surface has no sheen all rough. On most of it the colour really never broke out upon the surface. Libby's Shino below is a success of what I want the clean sheen glossy surface where the colour pops on the pot. Okay several things Placement in the kiln? Viscosity of the shino? I heard someone recommend adding salt to the Pale and red shino ( to help it melt better ) I have a pumpkin shino that is doing the same thing. I do not think it is an ingredient problem. Too much water not enough etc... I have dipped, sprayed and painted with the same mixed results that give me no clue. I have seen the results of both of these shinos and they are wonderful. I followed the recipe exactly. Worried or even hoping I may have added to much water or something like this. Any ideas?
  7. Nancy, gas and oil kilns do a different type of reduction compared to the old Mino kilns that created the original Shinos. Because my woodkiln in Mashiko did not do reduction like the gas kilns I was used to, none of my American shinos would work in it. What I noticed in the kiln, was that the kiln furniture were the reddest objects in the kiln. It made me wonder if more alumina gave better red color, like in the original Mino kilns, so I did a lineblend of Korean Kaolin with Neph Sye. I found that in this new atmopshere, having 50% or more Kaolin, gave me red color. In this situation, only a little iron is needed in the glaze or the clay body (Japanese shino clay looks like flesh colored crayon when plastic.) I also found in this situation, that I could substitute alumina hydrate for some of the Kaolin. Below, I have an larger photo example of the Shino I use now which uses alumina oxide and has no soda ash or clay. Could you try a line blend of kaolin in your shino and do some tests? http://3.bp.blogspot...Lee+Teabowl.jpg Amen what a wonderful glaze that is.
  8. Shinos crawl because of high clay content and shrinkage. Adding darvan may reduce the problem. Thank you Sir thank you thank you thank youÂ
  9. Shino libbys base with a flat shaners red on top. I wash of my bowls I take my time and prep them.  Wait for one to dry then dip it in the other. Any ideas on how to prevent more crawling or stop it? besides Kiln errors
  10. Thank you John. That would be very generous of you. You can also go to : http://ncclayclub.blogspot.com and search for "shino" . Lot of recipes and descriptions on how with images. John What a wonderful site. Â I have it now bookmarked ( thank you )Â
  11. Look I donot know so I m asking here. The kilns I have available to me fire at cone 10.I want to include some Celtic knot work ( black and white or many colours ). Â I was toldthis can be possible putting the knot on the pot or bowl in a cone 4 black orsome colour and then after that would dry spray it with a clear cone 10 glaze.That sounds great but is it possible just sounds fishy to me.
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