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Tamas

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About Tamas

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  1. Interesting, and makes sense! Thank you.
  2. Thank you, Min - but what is the payoff? The cost saving can't be that enormous? Will the glaze behave dramatically differently during the glaze firing?
  3. Hello everyone, I have been watching some Japanese videos about making kohiki ware lately (like this one: https://www.youtube.com/watch?edufilter=NULL&v=bdwDsUNL0f8) and noticed that they bisque fire to 700 degrees centigrade (which is like cone 018?) and glaze fire to 1230 degrees (cone 6-7) in reduction. Is their clay that different, or is there some other consideration behind this technique? Can organic matter fully burn out with that bisque technique? Thank you Tamas
  4. I have a related question. I have been watching some Japanese videos about making kohiki ware lately (like this one: https://www.youtube.com/watch?edufilter=NULL&v=bdwDsUNL0f8) and noticed that they bisque fire to 700 centigrade (which is like cone 018?) and glaze fire to 1230 degrees (cone 6-7) in reduction. Is their clay that different, or is there some other consideration behind this technique? Thanks.
  5. This Val Cushing recipe is 50% GB, 50% EPK, if you add the Zircopax you get the white. Not sure about the durability though https://glazy.org/recipes/1213
  6. Hi Natalie, there're q few cone 6 purple recipes on Glazy.org, perhaps you can find the one you used to have, or something close? https://glazy.org/search?keywords=purple&base_type=460&cone=30
  7. You might try a clay that is speckled in oxidation and see if that gives you the result you are looking for - by varying the thickness of the slip coat you may find out whether the speckles come through. I don't know what's available to you where you live - here's an example of a speckled clay from the Scarva website: https://www.scarva.com/en/Scarva-Earthstone-Professional-PF109-Speckled-Stoneware/m-38.aspx
  8. I, too, have read/seen examples of mixing mica into clay to achieve the speckled effect - here's an example:
  9. I am not native English so "purple" may mean different to me, but here is a manganese-cobalt purple which is glossy and not a very complex recipe.
  10. Over at Glazy Clara Giorello has posted a lot of midrange shino recipes and tests with silicon carbide: https://glazy.org/u/giorello
  11. I can heartily recommend John Mathieson's book Techniques Using Slips. It is from a UK perspective, but still a very good overview, and it gives you insight how different ceramic artists use slips at different firing temperatures and atmospheres. Tons of recipes, too. Link to the book on Amazon
  12. Thank you very much for the explanation - it's a fascinating effect. Yes, I know lead is a contentious topic, although as far as I am aware the acceptable limits are higher here in the UK and several distinguished slipware potters still use lead based frits on their ware.
  13. Hi Everyone, how are modern Whieldon glazes made/achieved? Here's an example: Sean Gordon teapot. Is this a specific type of recipe, or a layering technique? Thanks in advance!
  14. Thank you, yes, the next step is indeed to try it on different bodies, and on actual pots.
  15. Hi why-not, thanks for sharing this - your post has inspired me to try the same in my electric kiln - and to my amazement it worked :) I must have put in a bit too much charcoal as I had know idea about the amount required. But the results are promising, here's a dark celadon and a copper red tile.
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