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MFP

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Everything posted by MFP

  1. Then the missing 50 is not EPK. The properties everyone keeps describing on here are not present in this glaze. It is not fussy in any way.....doesn't run, matures everywhere in the kiln just fine, does not craze and is durable So EPK is incorrect.
  2. Hmm...plastic vitrox? Is there another name for it? I think not as I do not recall that material. I cannot remember if I ever used it for anything. You guys on here are so sophisticated compared to the time I worked. We were "make do with what you have" potters....and the simpler the better. Glaze theory was only done at universities. And everything was a big secret!
  3. They do not claim that the body matures for that whole range. It is for raku at 04, still open at 6 and vitrifies at 10
  4. Yes....I have seen that Laguna has gerstly. I bought a small amount of this clay body from a local vendor. It is made by a professional clay company. The 04 is for raku...and sounds like what we used to do with our cone 10 body....that the raku was one step above bisque. They were clear that the body is still open at 6 and does not vitrify til 10. I am teaching someone to throw and this was the only white body around here with grog in it. It's much easier for a person to learn with a stouter body. I only bought 200 pounds of it...so if it turns out to be crap...no problemo. Since I know virtually nothing about these new white bodies, some experimenting is inevitable. I just know I don't like throwing with cream cheese.
  5. Glad to find someone on here of the same genre as myself. I never considered myself an "artist"....I was a "functionalist" and made things that people used. I was a production potter for 10 years....at about the 7 year point, my mother pointed out to me that it was kicking my ass at age 26...so what did I think it was going to be like when I was 40? I was firing a 20 cubic foot downdraft a week. I also have always known that what is going to kill me is my lungs....and pottery is not a good profession for people with lung problems. So I went back to school, got a PhD and worked in another field for 35 years. I have however been packing a studio around for all those 35 years....at one point I was disgusted with my new occupation and bought the biggest Olympic updraft they made with the intention of resuming pottery.....but then something happened that pointed out to me that I needed to remain at what I was doing. So, ironically, I have a huge gas kiln that has never been fired. I recently scored an old smaller Olympic cone 10 electric kiln for bisquing. I can sure see that the change to oxidation really ramped up people's investigating glazing and glaze theory. In looking at stuff on here, I feel like some kind of primitive.....glazing and decorating have become way more sophisticated. But I must admit that I cringe at the idea of oxidation...but I plan to do a bunch of testing. But somehow, I think I will wind up back with reduction. Besides...like you...I have a bunch of glazes that haven't been seen in 25 years. It's not like I am going to be selling again or trying to win art contests....I just want to do some stuff for myself. This revival all started with a young man who does work for me asking to buy the gas kiln.....after questioning him, he clearly had no idea what he was doing...so I told him I would teach him if he helped me set up the studio. Yes....I saw that Laguna had some gerstly...so was a bit confused by people saying it was not available. I know it is a powerful flux which adds more credence to the idea that the other 50 was Kingman. It warms my heart to know that you were able to make a living doing pottery all these years... I loved pottery and was sad to have to leave it. Remodeling!! Ack!! We sold our place on five acres out of town because we couldn't manage it any more....and in the process virtually completely remodeled the inside...then we moved back into our small house we had in town....I never want to remodel anything again! But good luck...and look forward to hearing from you!
  6. I think the missing 50 is Kingman feldspar....since nothing else makes any sense.
  7. A fellow Kingman user brought to my attention that the missing 50 might be Kingman. Since it was the only feldspar my center used at the time....it would make the most sense that I wouldn't think about writing it down....and the Colemanite was what I had to remember. But since gerstly borate is not longer available it is a moot point. Thanks very much for your help
  8. All my old potter friends have forgotten it as well. It is interesting that they all now act as though having been a professional potter at one time is something they want to forget. I am wondering if you are right...and the missing 50 is Kingman. We didn't use any other feldspar....so it is quite possible that that is the missing piece. Yes...the spots are from the clay body and very heavy reduction. We must have worked at the same time. My last fire was in 1983. Congrats on scoring all that Kingman.....your glazes are probably unique because of it. I am really astounded at the changes in glazing since I last did this....undoubtedly because of the shift to oxidation.....but because I still have a gas kiln, I am not sure that I will switch over completely....old habits die hard. Thanks for your input. I would be interested in your white recipe if that is something you want to share.
  9. Thank you all so very much for your responses. I am new to this and not sure how to respond to people individually. It was either EPK or Silica. I don't quite understand the comment about durability....I have a 35 year old piece sitting in my garage with this glaze on it and it looks the same as the day it came out of the kiln. This glaze had a huge maturing range and had a nice semi gloss finish with small dark spots....even in heavy reduction with wood ash. It took oxides very well. It had a nice clean appearance. It was a nice one dip glaze that stayed put and was really nice for doing things like Chinese brush on, with minimal blurring. It was also literally a nonstick surface....for the insides of casseroles.....nothing stuck to it. It did need bentonite or it would settle out. Does that mean we are incorrect about the EPK? We mixed up five gallon buckets at a time. I was previously using a grey clay body with 2% iron. I now have a white clay body with grog from clay art that has an 04-10 range. My interest in resurrecting this glaze was that it is fine at either 6 or 10. I am imagining that it is even more white in an oxidation atmosphere. I have hopefully attached a picture. All my firing was cone 10 reduction.....with 18 inch cedar sticks pushed into the ports for four heavy reductions from 6-10. It was a 20 cubit foot sprung arch down draft. I have a cone 10 Olympic electric and cone 10 updraft now. All your input would be appreciated. Anyone know a good substitute for Kingman feldspar? When the buckets of glaze I have packed around for 30 years are gone....it would be nice to know how to replace them.
  10. Hi! I am starting to do pottery again after a 35 year hiatus. I used to have a wonderful, simple white glaze that matured from cone 1-10 and was good in either atmosphere. The recipe was 50 Colemanite, 50 something, 15 zircopax and 2 bentonite. I can't remember what the stiffener was. So if anyone knows this recipe, I would appreciate knowing what my missing 50 is. It was so simple that I didn't write it down in my glaze book of course! My brain keeps trying to tell me it was ball clay but that makes no sense. Any help would be most appreciated!
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