I got another nice bowl done today. For some reason, the clay just would not cooperate. I wedged it and slammed it and attempted to throw a bowl several times, but it would just not center -- maybe I should check to see if the wheel is level. Its been a while since I leveled it.
I finally left a well-centered lump on the wheel to take Max to the vet. I was afraid he had something wrong with him since he pants so much. Dr. Zahn said he looked very healthy. He checked his gums and teeth, and said that the age of 6 and a half years was about right. He said the dog's heart sounded good and the lungs were clear. The preliminary heartworm test looked fine, but the blood test would be more definitive tomorrow. Heartworms in a dog of his size and age are not really treatable. The treatment usually kills the dog before the heartworms do.
Max stayed with me in my studio while I threw. He went in and out some, to check things out. I did not want to keep him on a leash anymore -- I wanted him to get used to being on our property without a leash on. He seems to know pretty well what is his domain and what isn't.
I printed out two recipes that I will try and make tomorrow. I did not get all the glaze work done today that I wanted to, but bringing a new dog into the mx takes some time. I had to do some other errands also. But I DID get one good bowl made and trimmed well. Since I am not a production potter, it does not matter how much I make each day. I've got 8 bowls to make, and I've got four good ones done here at the home studio and some more already bisqued at the Lee studio. I want to make at least 16 good bowls to allow for damage and to allow for experimentation with other colors and shades of red, blue and yellow.
I will start mixing up glazes tomorrow.
I'm off to bed now.
DJ
Monday, September 27, 2010
Sunday, September 26, 2010
The Perfect Bowl
I just threw another noodle bowl today withthe cone 5 buff clay I got at the Ceramics Store to make Laszlo's Asian sets out of. He wants a noodle bowl, a tea bowl, a wasabi dip dish, and a chopstick holder -- two sets red, two sets yellow, two sets blue, two sets black.
I've been testing glazes to see which glaze will come out with the best color. Red is particularly difficult. In the firing I just completed, I tested several different ways of making red. The best solution is the candy apple red I made, substituting dark red mason stain for the deep crimson mason stain in the original recipe. The color came out a nice, even red. I need to mix some more of it up and do a large bowl with it, glazed inside and out.
I need to let Laszlo know how things are coming with his order. I need to photograph the firing and post pictures of it in the previous post so there will be a clear documentation of the various glazes I tested.
I need to mix up enough of the glossy blue glaze to glaze the interior of Mari's monster mug. I'd like to do another midrange firing this week, or maybe another bisque. I want to keep things moving forward with the glazings I need to get done. There will be a cone 10 firing coming up soon. I need to get a bunch of things glazed for it. I think the cone 10 firing may be October 5 -- I've got to check to be sure. That would give me more time to get some other things done.
At any rate, back to the perfect bowl. I guess I'll have to photograph it tomorrow. I threw it this morning. I used 3 lb. 4 oz. of clay to throw a bowl 9 inches across. I left a lot of clay on the base so I would not trim a hole through it when making the foot. The shape of the bowl was very nice to begin with. I let it sit all day while I did different things, including taking a loooong nap in the afternoon due to some acid reflux medicine I took that messed with my blood sugar and wiped me out completely.
Then we all went out to eat at Fuddruckers with Geordon and Chung Hwa. George and I, Truemy, Madison and Will went.
When I got back, I helped Madison edit his paper on the Puritans for his honors class. Then I went back out to the studio and checked the bowl that had been sitting on the shelf drying all day. I broke the fishing line tool with the fine line trying to run it under the bowl. Then I used a metal rib to slowly work under the bowl all the way around. Then I got the other fishing line tool and tried it but that was no good. So I worked with the metal rib a bit more. Then I got the wire tool and carefully inserted it under the bowl where I'd already made a gap with the metal rib. Then I began to carefully carefully pull. Because I have a Bailey wheel whose rim is above the wheelhead, I could not put the wire tool over the splashpan rim and pull down, since the height would make it pull up and slice up with the wiretool. I carefully pulled, then turned the wheel, then pulled again. Somehow, I got the wiretool successfully smoothly under the base of the bowl all the way across and it came free. I set it on the board in front of me, then I drew a couple of circles with a sharpie marker on the bat as it spun. I then carefully centered the bowl and secured it with more buff clay from the container where I keep it. Then I began to trim.
I used both my Kemper tools and Dolan tools to trim. I got it trimmed perfectly, to a beautiful shape. It is so round and smooth and Asian looking -- very very nice. Its now sitting on a shelf beside the wheel drying. I will try to throw one or two more noodle bowls tomorrow. I will try to make them as nice as this one. It really is the perfect bowl.
much love
DJ
I've been testing glazes to see which glaze will come out with the best color. Red is particularly difficult. In the firing I just completed, I tested several different ways of making red. The best solution is the candy apple red I made, substituting dark red mason stain for the deep crimson mason stain in the original recipe. The color came out a nice, even red. I need to mix some more of it up and do a large bowl with it, glazed inside and out.
I need to let Laszlo know how things are coming with his order. I need to photograph the firing and post pictures of it in the previous post so there will be a clear documentation of the various glazes I tested.
I need to mix up enough of the glossy blue glaze to glaze the interior of Mari's monster mug. I'd like to do another midrange firing this week, or maybe another bisque. I want to keep things moving forward with the glazings I need to get done. There will be a cone 10 firing coming up soon. I need to get a bunch of things glazed for it. I think the cone 10 firing may be October 5 -- I've got to check to be sure. That would give me more time to get some other things done.
At any rate, back to the perfect bowl. I guess I'll have to photograph it tomorrow. I threw it this morning. I used 3 lb. 4 oz. of clay to throw a bowl 9 inches across. I left a lot of clay on the base so I would not trim a hole through it when making the foot. The shape of the bowl was very nice to begin with. I let it sit all day while I did different things, including taking a loooong nap in the afternoon due to some acid reflux medicine I took that messed with my blood sugar and wiped me out completely.
Then we all went out to eat at Fuddruckers with Geordon and Chung Hwa. George and I, Truemy, Madison and Will went.
When I got back, I helped Madison edit his paper on the Puritans for his honors class. Then I went back out to the studio and checked the bowl that had been sitting on the shelf drying all day. I broke the fishing line tool with the fine line trying to run it under the bowl. Then I used a metal rib to slowly work under the bowl all the way around. Then I got the other fishing line tool and tried it but that was no good. So I worked with the metal rib a bit more. Then I got the wire tool and carefully inserted it under the bowl where I'd already made a gap with the metal rib. Then I began to carefully carefully pull. Because I have a Bailey wheel whose rim is above the wheelhead, I could not put the wire tool over the splashpan rim and pull down, since the height would make it pull up and slice up with the wiretool. I carefully pulled, then turned the wheel, then pulled again. Somehow, I got the wiretool successfully smoothly under the base of the bowl all the way across and it came free. I set it on the board in front of me, then I drew a couple of circles with a sharpie marker on the bat as it spun. I then carefully centered the bowl and secured it with more buff clay from the container where I keep it. Then I began to trim.
I used both my Kemper tools and Dolan tools to trim. I got it trimmed perfectly, to a beautiful shape. It is so round and smooth and Asian looking -- very very nice. Its now sitting on a shelf beside the wheel drying. I will try to throw one or two more noodle bowls tomorrow. I will try to make them as nice as this one. It really is the perfect bowl.
much love
DJ
Wednesday, September 22, 2010
THE FIRING
NOTE:
NEARLY ALL THE PIECES IN THIS FIRING HAD THE INITIAL COAT OF GLAZE BRUSHED ON.
I USED EITHER A CALLIGRAPHY OR HAKE BRUSH (or both!)
the clear glaze coating many of them was dipped on.
The cone 6 firing is underway! I mixed up the Strontium Opal Blue glaze this morning, looking like a Mad Scientist or the Spawn of Darth Vader with my dust mask on to screen out any particles of glaze ingredients that might have gotten airborn. I added one cup of water to the unmixed dry ingredients, then stirred them thoroughly. I strained it four times thoroughly through a little 80 mesh screen I bought at the Ceramic Store. Then I let it sit for a bit while I did a few things. I went back in to the studio after about an hour and stirred up the glaze in case anything had settled. I labeled it with my hot pink duct tape and taped the glaze recipe on it with clear packaging tape. Its also dated. I made a new area for mixed glazes on the big TV shelf that I stole for the studio to put large pieces on. It's empty, since I don't make large pieces. The shelf for the VCR and DVD players is where I put the large glass jar of glaze. I got the glass jars from a trash bucket at the Morgan ranch where Ken's mom, now deceased, saved hundreds of glass jars with lids to put things in! Sometimes I wonder if George and I should just sell everything and retire at the Morgan Ranch -- but then, I love it here too much, and I can't go barefoot there everywhere like I can on our two acres here.
I used a haki brush to brush on the glaze, layer after layer, on the little noodle bowl I made. Its really WAAAAAAAAY too small for a noodle bowl if you are Asian, but I am not, so I don't care that its too little. Its cute!
I took some other pieces I'd put slip or glaze on, plus an ugly white Ladymug demitasse that never got to cone 6 in its reduction firing, and off Hitomi and I went to the Lee College studio to do some work. I dipped a little jarrito mug with Indian designs I drew and painted on it with slip into the clear midrange glaze after stirring it thoroughly. I took a shelf out because I'd forgotton to add the kilnsitter cone -- Paula Rutledge helped me do that. I reloaded the shelves I had to take out, and then went to relax until Jen Herzberg, my professor, could come help me load the kiln.
Thatls when I got sidetracked. Jen was doing a throwing demo and I was watching it through a little gap in the tables when I finally realized I could stand up and go sit close and watch it. So I did that. Then Phil got into one of his narrative modes and started telling tall Texas true tales about Aggies and such while Jen threw. We all enjoyed watching Jen throw and listening to Phil's yarns. After about an hour, I realized I'd forgotton all about my original reason for coming -- to program the kiln and fire it!
Jen finished her throwing demo, did an errand then came back to help me program the kiln. I went and got the kiln log and she filled it out after checking about how to program a cool down soak. I had already put in a cone 8 cone in the kiln sitter, so that even if the kiln got real hot, it wouldn't trip the sitter and shut down the kiln, aborting the cooling soak.
Then I programmed it. I'll have to go get my notes, but it was a pretty simple ramp with just four parts:
Ramp 1 -- 150 degrees an hour until it reaches 250 F
Ramp 2 -- Then 400 degrees an hour until it reaches 1982 F
Ramp 3 -- Then 100 degrees an hour until it reaches cone 6 (2232 I think. Lemme check)
Ramp 4 -- Then cool as fast as the kiln will drop naturally until it reaches 1472. THEN an hour soak
THE END
Then open it when the kiln cools to about 130 to 100 degrees. I estimated about a 22 hour firing. Jen checked my work in the kiln chart and agreed with my assessment. I began the firing at abougt 3:30 pm or so today.
Som I will probably be able to open the kiln Friday morning and unload it! Yaaaay!
A couple of things I am worried about -- first, I wonder if I got the clear coat of glaze on the little Indian jarrito too think. It goes translucent when its on too thick. I counted to 30 when I dipped it and as I drew it out I was wondering if I was supposed to count to three Mississippi instead of 30 with no Mississipis (Southern way of measuring seconds. It takes one second to say a number and then say Mississippi after the number. In other words, it takes 3 seconds to say "one Mississippi, twoMississippi, thee Mississippi"
I also wonder about the cracking white glaze on the bowl I did gloss white, and on the interior of a "candy apple red" cup I glazed and gave a white interior. The candy apple red I substituted dark red mason stain instead of deep crimson. I did not have any deep crimson at home -- it is a really deep burgundy red -- but dark red is RED red. We shall see.
I am wondering how all the glazes and slips I made will turn out.
I made the following glazes to test in this firing
Noxema Blue -- cone 6
COMMENT FROM PERSON WHO GAVE THIS RECIPE, USED AT THE UNIVERSITY WHERE HE WORKS
DJ,
It is stable, and does not need to be thick. Good luck. I throw test tiles as a big ring in an upside-down "t" shape, then cut the ring into pieces about an inch wide when leather hard. If the upright, glazed section runs, it collects on the wide, flat base projections.
JQ James Q. Jacobs Professor of Archaeology and Anthropology
jqjacobs@yahoo.com
Candy Apple Red -- cone 6
The color came out a tad salmon and the clear glaze went slightly translucent in places.
Strontium Opal Blue -- cone 6
I made a turquoise slip also using the Helmer white slip for greenware. It's the same as Ike's White, only I added Helmer Kaolin to it instead of grolleg. It did not craze at all.
At any rate, I should have a variety of ways to create the colors of bowls Laszlo has requested, and also, hopefully have a good blue to line Mari's blue monster mug with -- Noxema blue.
Here are some beauties and beasts that I made
Kudos to the person who discovered that Cone 6 Ohata dipped first and then dipped in Floating blue makes a totally kickass combination! Click on the mug for a full view! The glaze texture is well worth it!
Here's a little Indian style mug that was underglazed with Lana Wilson white slip, and then painted with Amaco underglazes -- Teddy Bear Brow, Mahogany Brown, light red and turquoise. I dipped it in the clear gloss and it went on perfectly and fired crystal clear -- just gorgeous.
Well, that's all the detailed stuff I am going to write right now.
much love
DJ
PS -- this clock is 2 hours off on this blog. It is really 8:39 pm here in Texas.
NEARLY ALL THE PIECES IN THIS FIRING HAD THE INITIAL COAT OF GLAZE BRUSHED ON.
I USED EITHER A CALLIGRAPHY OR HAKE BRUSH (or both!)
the clear glaze coating many of them was dipped on.
The cone 6 firing is underway! I mixed up the Strontium Opal Blue glaze this morning, looking like a Mad Scientist or the Spawn of Darth Vader with my dust mask on to screen out any particles of glaze ingredients that might have gotten airborn. I added one cup of water to the unmixed dry ingredients, then stirred them thoroughly. I strained it four times thoroughly through a little 80 mesh screen I bought at the Ceramic Store. Then I let it sit for a bit while I did a few things. I went back in to the studio after about an hour and stirred up the glaze in case anything had settled. I labeled it with my hot pink duct tape and taped the glaze recipe on it with clear packaging tape. Its also dated. I made a new area for mixed glazes on the big TV shelf that I stole for the studio to put large pieces on. It's empty, since I don't make large pieces. The shelf for the VCR and DVD players is where I put the large glass jar of glaze. I got the glass jars from a trash bucket at the Morgan ranch where Ken's mom, now deceased, saved hundreds of glass jars with lids to put things in! Sometimes I wonder if George and I should just sell everything and retire at the Morgan Ranch -- but then, I love it here too much, and I can't go barefoot there everywhere like I can on our two acres here.
I used a haki brush to brush on the glaze, layer after layer, on the little noodle bowl I made. Its really WAAAAAAAAY too small for a noodle bowl if you are Asian, but I am not, so I don't care that its too little. Its cute!
I took some other pieces I'd put slip or glaze on, plus an ugly white Ladymug demitasse that never got to cone 6 in its reduction firing, and off Hitomi and I went to the Lee College studio to do some work. I dipped a little jarrito mug with Indian designs I drew and painted on it with slip into the clear midrange glaze after stirring it thoroughly. I took a shelf out because I'd forgotton to add the kilnsitter cone -- Paula Rutledge helped me do that. I reloaded the shelves I had to take out, and then went to relax until Jen Herzberg, my professor, could come help me load the kiln.
Thatls when I got sidetracked. Jen was doing a throwing demo and I was watching it through a little gap in the tables when I finally realized I could stand up and go sit close and watch it. So I did that. Then Phil got into one of his narrative modes and started telling tall Texas true tales about Aggies and such while Jen threw. We all enjoyed watching Jen throw and listening to Phil's yarns. After about an hour, I realized I'd forgotton all about my original reason for coming -- to program the kiln and fire it!
Jen finished her throwing demo, did an errand then came back to help me program the kiln. I went and got the kiln log and she filled it out after checking about how to program a cool down soak. I had already put in a cone 8 cone in the kiln sitter, so that even if the kiln got real hot, it wouldn't trip the sitter and shut down the kiln, aborting the cooling soak.
Then I programmed it. I'll have to go get my notes, but it was a pretty simple ramp with just four parts:
Ramp 1 -- 150 degrees an hour until it reaches 250 F
Ramp 2 -- Then 400 degrees an hour until it reaches 1982 F
Ramp 3 -- Then 100 degrees an hour until it reaches cone 6 (2232 I think. Lemme check)
Ramp 4 -- Then cool as fast as the kiln will drop naturally until it reaches 1472. THEN an hour soak
THE END
Then open it when the kiln cools to about 130 to 100 degrees. I estimated about a 22 hour firing. Jen checked my work in the kiln chart and agreed with my assessment. I began the firing at abougt 3:30 pm or so today.
Som I will probably be able to open the kiln Friday morning and unload it! Yaaaay!
A couple of things I am worried about -- first, I wonder if I got the clear coat of glaze on the little Indian jarrito too think. It goes translucent when its on too thick. I counted to 30 when I dipped it and as I drew it out I was wondering if I was supposed to count to three Mississippi instead of 30 with no Mississipis (Southern way of measuring seconds. It takes one second to say a number and then say Mississippi after the number. In other words, it takes 3 seconds to say "one Mississippi, twoMississippi, thee Mississippi"
I also wonder about the cracking white glaze on the bowl I did gloss white, and on the interior of a "candy apple red" cup I glazed and gave a white interior. The candy apple red I substituted dark red mason stain instead of deep crimson. I did not have any deep crimson at home -- it is a really deep burgundy red -- but dark red is RED red. We shall see.
I am wondering how all the glazes and slips I made will turn out.
I made the following glazes to test in this firing
Noxema Blue -- cone 6
Smooth satin coloration. Brushed on with calligraphy brush 3 or more coats. A very nice stable glaze. does not move.
| custer feldspar---------------48.3 | 483 |
| wollastonite------------------23.2 | 232 |
| kaoliN------------------------11.1 | 111 |
| gerstley borate--------------10.1 | 101 |
| flint--------------------------4.5 | 45 |
| cobalt carbonate-----------2.8 | 28 |
COMMENT FROM PERSON WHO GAVE THIS RECIPE, USED AT THE UNIVERSITY WHERE HE WORKS
DJ,
It is stable, and does not need to be thick. Good luck. I throw test tiles as a big ring in an upside-down "t" shape, then cut the ring into pieces about an inch wide when leather hard. If the upright, glazed section runs, it collects on the wide, flat base projections.
JQ James Q. Jacobs Professor of Archaeology and Anthropology
jqjacobs@yahoo.com
Back to DJ's blog:
However, I made another much nicer cobalt blue using the gloss white cone 6 recipe with cobalt carbonate rather than zircopax colorant added. The depth from the gloss gave it remarkable beauty.
see images below
COBALT GLOSS CONE 6 -- TWO DIFFERENT TEABOWLS
GLOSS BASE WITH 2.5 GRAMS OF COBALT ADDED
INSTEAD OF ZIRCOPAX
| Nepy Sy | 35 | |||
| Silica | 21 | |||
| EPK | 10 | |||
| Whiting | 8 | |||
| Gerstley Borate | 18 |
Using the same glaze recipe as above, I measured out 5 tablespoons of the base gloss and added 3 quarter teaspoons of praseodymium yellow mason stain to it. The yellow came out picture perfect, no crazing, with a very nice gloss.
GLOSS BASE WITH PRAESEODIMIUM YELLOW ADDED
Nepy Sy | 35 | |||
Silica | 21 | |||
EPK | 10 | |||
Whiting | 8 | |||
Gerstley Borate | 18 |
GLOSS BASE WITH TURQUOISE MASON STAIN ADDED
This turquoise, like all the other glazes, was brushed on with a calligraphy brush with 3 or more layers on the outside. I did less on the inside to see what would happen and the coverage is not good. The turquoise color is perfectly smooth and a very nice rich turquoise -- better than the turquoise Helmer slip dipped in clear gloss cone 6.
Nepy Sy | 35 | |||
Silica | 21 | |||
EPK | 10 | |||
Whiting | 8 | |||
Gerstley Borate | 18 |
Candy Apple Red -- cone 6
Candy Apple Red -- Satin to matte surface.
Very clean red -- can be brushed on very thick. Does not move. Very nice bright primary red. Dark Red Mason stain 6021 is the added glaze colorant in this mug shot. (heh heh. mug shot!)
By far the best result from the several reds -- both commercial and those mixed by me -- in the 9.22.2010 Kiln Firing.
(NOTE:I used dark red mason stain 6021 in my glaze instead of deep crimson in original recipe)
Very clean red -- can be brushed on very thick. Does not move. Very nice bright primary red. Dark Red Mason stain 6021 is the added glaze colorant in this mug shot. (heh heh. mug shot!)
By far the best result from the several reds -- both commercial and those mixed by me -- in the 9.22.2010 Kiln Firing.
(NOTE:I used dark red mason stain 6021 in my glaze instead of deep crimson in original recipe)
| Silica 31.0 | 62 |
| Neph SY 26 | 52 |
| Whiting 19 | 38 |
| EPK 19 | 38 |
| Gerstley Borate 5 | 10 |
| Dark Red Mason Stain 6021 6 grams | 12 |
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
AMACO VELVET BRIGHT RED UNDERGLAZE
-- SEVERAL COATS, DIPPED IN CONE 6 CLEAR GLOSS
I was very surprised that Amaco's gorgeous red slip performed less well than the candy apple red glaze that I mixed up. But it did. The tendency of the cone 6 clear gloss to go translucent did not help. Plus this damn stuff is $31 a pint and is too expensive to even look at!
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
AMACO SNAPDRAGON RED UNDERGLAZE
&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&
I brushed the underglaze on greenware and bisqued it. It came out so smooth and beautiful -- a very odd texture for underglaze, and yet, not quite a glaze feel to it. Then when I brushed the clear gloss on it, a crackle pattern appeared all over it that was in no way apparent in the underglaze. It fired a little weirdly with uneven coloration. As a stand alone color with a semimatte sheen, the snapdragon would be a lovely color on its own. don't know how well it would work on ware used for food.
HELMER SLIP WITH DARK RED MASON STAIN 6021 ADDED
DIPPED IN CLEAR CONE 6 GLOSS
Dark red slip made with the Helmar white slip I made. This one is a claybody with not so much grog in it. It crazed a lot. I measured 5 tablespoons of Helmer slip plus 5 quarter teaspoons of dark red mason stain 6021. I did a second teabowl on a groggy claybody, and the glaze over the slip did not craze at all on it. So,the groggy clay cuts down on the shrinkage and helps the glaze fit better, apparently.The color came out a tad salmon and the clear glaze went slightly translucent in places.
CLOSE UP OF CRAZING
HELMER SLIP BASE FOR GREENWARE
brushed on very thick with calligraphy brush
GOLD ART 25.77
FIRE CLAY 20.62
KENTUCKY OM#4 25.77
CUSTER 15.46
HELMER KAOLIN 10.31
SILICA 2.06
TOTAL 99.99
ZIRCOPAX 10
KENTUCKY OM#4 25.77
CUSTER 15.46
HELMER KAOLIN 10.31
SILICA 2.06
TOTAL 99.99
ZIRCOPAX 10
from Sanky database downloaded 8.18.2010
beautiful delicate periwinkle gloss. Care must be taken to put on at least 3 to 4 coats or more by brushing. If dipped, probably 3 seconds is fine. MAYBE 2 dipped coats. Moves slightly. Putting it on thin results in see-through patches to clay beneath.
beautiful delicate periwinkle gloss. Care must be taken to put on at least 3 to 4 coats or more by brushing. If dipped, probably 3 seconds is fine. MAYBE 2 dipped coats. Moves slightly. Putting it on thin results in see-through patches to clay beneath.
37.8 Custer Feldspar | 75.6 Custer Feldspar |
24.9 silica | 49.8 silica |
22.8 borate,Gerstley | 45.6 Gerstley Borate |
11.2 calcium carbonate | 22.4 calcium carbonate |
3.1 strontium carbonate | 6.2 strontium carbonate |
3 rutile, 0.4 cobalt carbonate | 6 rutile, 0.8 cobalt carbonate |
I made a turquoise slip also using the Helmer white slip for greenware. It's the same as Ike's White, only I added Helmer Kaolin to it instead of grolleg. It did not craze at all.
Helmer Slip
GOLD ART 25.77
FIRE CLAY 20.62
KENTUCKY OM#4 25.77
CUSTER 15.46
HELMER KAOLIN 10.31
SILICA 2.06
TOTAL 99.99
ZIRCOPAX 10
FIRE CLAY 20.62
KENTUCKY OM#4 25.77
CUSTER 15.46
HELMER KAOLIN 10.31
SILICA 2.06
TOTAL 99.99
ZIRCOPAX 10
5 tablespoons Helmer slip. 4 1/4 teaspoons turquoise mason stain.
Here are some beauties and beasts that I made
Kudos to the person who discovered that Cone 6 Ohata dipped first and then dipped in Floating blue makes a totally kickass combination! Click on the mug for a full view! The glaze texture is well worth it!
Here's a little Indian style mug that was underglazed with Lana Wilson white slip, and then painted with Amaco underglazes -- Teddy Bear Brow, Mahogany Brown, light red and turquoise. I dipped it in the clear gloss and it went on perfectly and fired crystal clear -- just gorgeous.
HERE'S A MUG DIPPED IN ROY ROY LICORICE 2 ON THE OUTSIDE AND GLOSS WHITE ON THE RIM AND INSIDE. I got the Ron Roy's Licorice 2 glaze on it WAAAAAAAAAAAAAAY too thick
It's a very nice glaze combination and works well toether, but I'll just have to not dip it so long the next time. This is the only piece out of all of the above that was dipped. Everything else was brushed using a calligraphy or hake brush.
Well, that's all the detailed stuff I am going to write right now.
much love
DJ
PS -- this clock is 2 hours off on this blog. It is really 8:39 pm here in Texas.
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