Shino Glaze Recipe
Salt 2.0, NephSyenite 47.6, Spodumene 31.8, Zircon Opacifier 4.8, Alumina Hydrate 12.0, Bentonite 4.0
Eggshell Glaze Recipe
Stoneware Cone 10 reduction
Potash Feldspar 140
this gives a clear transparent glaze
For Eggshell White glaze, use Magnesium carbonate 25 Whiting 25 – instead of dolomite.
Steep approximately 2 tblspns tobacco in boiling water for about a week. Strain, squeeze out the liquid and reserve it. When dropped from a loaded brush onto raw pot or freshly applied slip, mocha tea fans out from the drop to make a fern like image. Several drops grouped make a decorative pattern. Camels’ urine may be substituted for the tobacco!
Base Glaze – Cone 010-06
Recipe 1) Soda Feldspar 39.0, Silica 39.0, Ball clay 12.0, Soda Ash 6.0, Sodium Bicarbonate 6.0.
Add up to 3% oxides or carbonates as a colourant.
Recipe 2) Soda Feldspar 35.0, Silica 35.0, Ball clay/China Clay 12.0, Bentonite 2.09, Soda Bicarbonate 6.0, Sodium Carbonate 6.0
Add up to 3% oxides or carbonates as a colourant.
Recipe 3) A more plastic body, Cone 09 – 08
Ball clay 25.0, NephaleneSyenite 25.0, Ferro Frit 3134 15.0, Silica 20.0, Fine Sand 5.0, Calcined Borax 3.0, Soda Ash 4.0, Bentonite 3.0
Add up to 3% oxides or carbonates as a colourant. Please note that maturing temperatures may vary due to differences in local materials.
1. Cover the glaze page you are using with a sheet of clear plastic and cross off each ingredient with a white board marker as you go.
Wipe clean when finished or discard.
2. To exchange cobalt carbonate for cobalt oxide – divide the carbonate amount by 100 and multiply by 63 to give the oxide amount.
Vice Versa: Divide the oxide amount by 63 and multiply by 100 to give the carbonate amount.
3. From Peter Rushforth: To avoid thick glazes or glazes prone to running from dripping down onto your kiln shelf, dip the lower half in water before dipping into the glaze.
It will then absorb a thinner layer of glaze.
Throwing & Moulding
1. Hand Moulding – Instead of the usual stocking filled with rice, try using a balloon filled with sand when pressing lay into a mould. It fits easily into awkward bends and corners, and leaves a smooth finish, eliminating any stray finger marks.
2. Throwing – A useful idea when throwing is to have a mirror propped in front of the wheel, at a distance to suit yourself. This enables you to see the development of the vessel easily and quickly without any discomfort.
1. Drinking straws can be used most effectively as armatures for arms and legs when making small ceramic sculpture. Use the heavy duty jumbo straws with ‘elbows’ that bend, the clay can be built around these in almost any desirable position. The main advantage in using these is that you have a built in air space that is indispensable in the drying and firing stages. Another advantage is that they will burn out in the firing.
2. Hand build delicate pieces on newspaper on a bat. This helps prevent distortion as the piece shrinks. The work can then slide easily without additional handling onto the kiln shelf: the newspaper burns away
3. (From Tricia Dean) When mixing a line blend test, if you add dry colourants to a small volume of base glaze in solution, first pour one teaspoon of water gently onto the surface of the glaze, than add the colourant. (This will enable the colour to quickly blend into the glaze with merely a quick stir and eliminate the need for sieving.)
4. When testing a glaze, the volume of water to add to the dry ingredients is approx. two thirds of the volume of dry ingredients. Use two identical cups to visually estimate this. Add the dry ingredients to the water and allow it to slake down (wait for about two minutes). There should be about 3 mm depth of water over the settled glaze ingredients. If there is more, touch the surface of the water with a small sponge and draw off the excess. Stir and apply to a test tile by dipping, pouring or brushing, as desired.
5. If you want perfectly texture free slabs, roll out the clay on Vilene. Vilene is a stiffening material which comes in several weights. Choose a heavy weight which will support the clay slab for transfer to the work surface. Vilene is used in dressmaking and can be bought at a fabric shop.
6. To remove unwanted wax from a pot, microwave on high for five minutes – no need to re-bisque.
7. Hard Clay – If clay has become too hard to use, cut it into pieces, spray with water, and microwave on high for five minutes in a plastic bag. The result should be soft clay.
8. Bats – Canvas cut to fit the wheel head can be used instead of a conventional bat. Attach the canvas to the wheel with slip, making sure it is wrinkle free. After throwing , slide your cutting wire under the canvas and the work will easily transfer to a board. When piece is firm the canvas can be removed.
9. Pots too Dry? To bring overly dry pots back to leather hard without cracking, wrap and line the pots with wet newspaper and leave for 24 hours. They should then be ready for turning.
10. Raku – For excellent crackle results, fire your pot, take out of the kiln and allow to rest for about one minute. When glaze ‘pings’ put the pot into the reduction container, cover with paper, allow to flame, then close the cover. Leave for about two minutes, lift the lid and allow the paper to re-ignite. Close the cover again and leave to reduce and cool normally.