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Interested In Firing Leopard Spot Shinos...

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I've been doing some research and asking around to anyone that knows about leopard spot shinos....

alot of people that have used Macolm Davis Shino say they have seen this effect with this glaze but without consistency or knowing why it happens.  I noticed there is alot of Soda in the Macolm Davis Shino Glaze and I'm wondering if the soda could be causing the spots?

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The soda ash will migrate to the surface of the glaze. If you apply a wax resist to the glaze, the soda ash migrates around it, leaving a nice mark on the shino. People try countless ways to manipulate the soda ash . . . putting the pot in a box in the dark, concentrating the soda ash by soaking the bisque in a soda ash solution before glazing, applying the glaze weeks before the firing so there is lots of time for the soda ash to reach the surface, etc. But, that is only part of the end result . . . the key part is how you fire the pot, when you go into reduction, for how long, identifying sweet spots in the kiln for shinos, etc. The glaze is your admission ticket; the firing is the actual event that produces the result. And, for every one of the nice pots you've posted pictures of, the makers likely have a trash can full of snot-green failures -- even from the same firing.

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Manipulating the Soda Ash, that's what it's all about !!!

just finished a week long workshop with Tom Coleman at Pottery West in Las Vegas, NV.

We all threw a ton of pots and did 2 -cone 10 Gas Reduction firings, in their 24 cu. Geil Car Kiln. What an incredible facility & staff. Had a Great Time.

This workshop -  glaze wise - focused more on Porcelain Slips with Chun Glazes but there was also Shino glazes there for us to experiment with.

 

I always thought the dark line around the wax line was carbon.  But I learned it is a mix of the two basically, carbon and the soda ash. 

I learned alot about shinos this trip and I think I might be taking that Geil / Coleman Workshop in October, to get a better understanding about the leopard spot process specifically.  

I appreciate all of your suggestions, I should get time to try some this summer.  Will post photos if I get anything special.

I hear they are getting incredible results at this workshop wish I can go in June workshop argghhhhhh patience is a virtue yes?

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unfortunately the thread link you posted above is not working.

 

I am thrilled to say, I'll be going to the Geil Coleman Workshop this weekend, to explore this process in more detail.  Being able to glaze my own pieces and fire them with some of the pros to help me is just what the doctor order .:-)

 

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In case you didn't catch this in the Education Forum...

 

I did it. I took the 3 day firing workshop with Geil Kilns and Tom Coleman! and OMG!
I'm not sure this is the only way to get leopard spot shinos but based on my research, I believe it is the easiest and these guys have dialed it in and have uncovered the mysteries on how to get these little beauties.
 
As was earlier stated... glaze application is important, you want to make sure you get the glaze on thick enough,
but there was no waiting, no drying, ...we pretty much, glazed our pots and stuck them right into the kiln and lit it up.
 
At around 200-300 degrees we could open up the kiln and see the spots forming in front of our eyes.

It was amazing.
The Geil Kiln fired incredibly even top to bottom.  There were some special firing techinques, discovered by Paul Geil that we followed.
And not only did we have Shinos in the kiln we also had Copper Reds, Celadons, Teals and a Yanagihara white glaze that was reformulated to be a white micro crystal glaze that we all got to experiment with Teal and Vegas Red oversprays. 
 
I've attached a few images I took quickly as the kiln was being unloaded.

 
I'd say, It was one of the best workshop experiences I have ever had and I've been to plenty. I'd recommend this workshop to anyone looking to fire their gas kiln with better results, no matter what your preference is for glazes. 

The biggest problem was not everyone put the glaze on thick enough. 

Other than that, the results were amazing!

 

ps:to the glaze section. .  I was really impressed with this new reformulated micro crystal glaze based on a Yanagihara formula.  It was awesome by itself on porceclain and worked really well with other glazes as accents, changing the color of the crystals.

 

 

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