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Found 11 results

  1. Hi all! First off, my apologies if this is in the wrong section. I'm new to Celadons (are all transparent glazes Celadon?). I have yet to have a piece where the celadon is a uniform consistency, even on the flat areas (I'm aware that it should be darker for contrast in carving, etc.). Either drips show up or there is a slight unevenness. Is this just something you have to deal with in using these glazes or am I missing something in application? Some of the glazes I'm using are bought, one (Ms. Selsor's faux celadon )was mixed by me. Any help is appreciated!
  2. I have recently fired a cone 6 faux celadon glaze and ended up with crackle on some pieces and tiny bubbles which have produced a cloudy appearance on others. Can anyone say why I may have gotten two different results in the same firing. Here is the recipe if that will help... Birk's Turquoise Custer feldspar 58 Cal. carb. 17 Silica 14 OM4 (ball clay) 6 Zinc oxide 5 Copper carb. 1 Thank you! :)
  3. From the album: Curves and Crisp Edges

    Slab construction, stoneware with a crackle celadon glaze.
  4. finally got a passing jun glaze, that looks very nice, like the color of the water in a kaolin pit, just used some kaolin, silica,feldspar,bone ash,and Red rouge, and it got this nice color , funny thing is i only added .56 red rouge. fired to cone 8 reduction
  5. this is from my last firing, cone 8 reduction, needed just a bit more heat but turned out good . This is my anoka sand Celadon glaze, and porcealin both made with the anoka sand i use 56% anoka sand in the body and glaze, the anoka sand is an arkose sand having about 25% feldspar in it the iron deoration around the rim is diabase basalt 100%
  6. I just got done grinding up some lake superior agate to use in the recreation of a sung blue Celadon. seems like the agate has a lot of Iron in it , I also milled it pretty fine 325+ mesh nice color to it . it will make up 45% of the glaze and God willing i can get some warm weather so i can fire it up I also plan on testing some souix quartzite in the same amount to see which is better . I can tell you its a pain in the but to get the stone broken down , and wearing a good dust mask is mandatory
  7. From the album: newer work

    Hand pipe with bearded face sculpted on to bowl.
  8. Yoshi Fujii Seductive Elegance – Carving on Clay SF04 –Sunday, 10-4pm, July 20, 2014 Fee: $60 member/$85 non-member This 1-day workshop will introduce students to surface embellishment through carving the leather-hard surface. Yoshi will demonstrate using the potter’s wheel to create functional objects (simple cup & bowl forms) to serve as a collection point for visual inspiration. Students will explore the elegant quality of porcelain and seductive beauty possible through hand-carved pattern. Previous clay experience is required, open to hand-builders or potters. Students may choose to bring leather-hard pots or tiles with them, grog-free clay recommended. Course fee includes bisque firing. Yoshi Fujii is currently a resident artist and was the recipient of the 2008–09 Lormina Salter Fellowship and the newest addition to the Clayworks as well as the city of Baltimore. Yoshi received his B.F.A from University of Southern Mississippi in 2002 and his M.F.A. from Southern Illinois University Carbondale in 2008. His interest is in wheel-thrown porcelain utilitarian and sculptural work. His current work and additional information are available at: www.yoshifujii.com SF04 –Sunday, 10-4pm, July 20, 2014 Fee: $60 member/$85 non-member Contact Matthew Hyleck at matt.hyleck@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
  9. Hello, I am firing my work in a studio where I take class. The studio makes the glazes and does the firings. I love the combination of using shino with celadon where the celadon slightly overlaps the shino. I used to have great results but lately there are some rough spots where the glazes overlap. I have experienced this on bowls made using both white stoneware and porcelain. I am dipping half the bowl into shino and letting the shino dry for about 1-2 hours. Then I dip the other half in celadon. The rough spots are on both the outside and inside of the bowl but it seems worse inside. The glaze recipes can be found on either of the the following links: http://www.greenwichhouse.org/LiteratureRetrieve.aspx?ID=39879 http://webcache.googleusercontent.com/search?q=cache:4p1TaQ-Sb9sJ:www.greenwichhouse.org/LiteratureRetrieve.aspx%3FID%3D39879+&cd=1&hl=en&ct=clnk&gl=us 1) Adam Welch's Averaged Shino (AKA New Spotted Shino) 2) Nelson's Celadon Has anyone experienced this with shino and celadon? Any tips? Thanks so much!!!
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