Jada Ahern on sun 31 oct 99
------------------
Relatively new potter here... I have been firing a MFT to =5E10 Redux =
for a
little over a year. This morning I was humbled.
I opened my kiln to find some very fine examples of glaze problems. Glazes
that just melted off the pots and onto the shelves. Although I have had =
drippy
glazes before, I have NEVER not been able to remove the pot from the shelf.
(I'm off to buy some new grinder disks at this point=21) =3B) (I am also =
looking
for kiln shelf wash formula, and a formula for sealing the outside of my
kiln..just as well do it all at once=21)
I know from reading what to do about the current glazes that have fallen off=
the
pots. (My old glazes were made by the former potter at the facility who left
with the formulas...) A few of the new glazes worked well and the old =
glazes
worked well.
BUT... I need to know where to start over again. My shard pile is getting =
too
high.
I have never had any formal glaze training (or =5E10 firing training for =
that
matter)... would love a glaze class or workshop, but Tucson, Az seems to be
lacking in glaze classes. (I am willing to travel at this point for help =
with
this problem, if anyone knows where I can get some training) I am also =
willing
to do grunt work in exchange for training.. and/or pay for it.
I may be missing a step in my mixing, I may have calculated wrong, fired too=
hot
on top, etc. I have so so many questions now... ( I also still need to
study this fire more.. I was just so sad, and =22frisbee=22 threw so many =
pieces
that I had to leave for the day)
I am currently using the =22Advanced Technical Ceramics Manual=22, and a =
wide
variety of other sources including this newly discovered internet discussion
list. (thanks to you'all I don't feel so alone in what I am doing)..
I guess my main question is how do I start over? I have what's left of =
10000
gram batches of glaze... and what's left of the the old glazes. Should I
wait and get some real training? Shall I just proceed and hope for the =
best? I
have two other potters relying on me to create some useable glazes... and=
I
have lost a bit of my confidence. =3B(
Thanks in advance...
Advice and comisseration accepted and welcomed on and off list...
Jada
Hummingbird House Studios (and bed and breakfast=21)
Tucson, Az
jadaca=40uswest.net
Stephen Grimmer on mon 1 nov 99
Jada,
Do not give up hope! If you post the recipes you are using, I (and
others, I am sure) will try to help you figure out what's going wrong.
In the mean time, there is a wealth of good information about taking
control of your glazes at http://www.digitalfire.com/ Tony Hanson has done
a great job of explaining the problem with textbook glazes and how to easily
develop your own reliable, stable, functional glazes. There are even glossy
and matte base glazes posted to get you started.
Hang in there.
Steve Grimmer
Bowling Green State University
Bowling Green, OH
----------
>From: Jada Ahern
>To: CLAYART@LSV.UKY.EDU
>Subject: ^10 questions
>Date: Sun, Oct 31, 1999, 10:32 PM
>
>----------------------------Original message----------------------------
>------------------
>Relatively new potter here... I have been firing a MFT to ^10 Redux for a
>little over a year. This morning I was humbled.
>
>I opened my kiln to find some very fine examples of glaze problems. Glazes
>that just melted off the pots and onto the shelves. Although I have had drippy
>glazes before, I have NEVER not been able to remove the pot from the shelf.
>(I'm off to buy some new grinder disks at this point!) ;) (I am also looking
>for kiln shelf wash formula, and a formula for sealing the outside of my
>kiln..just as well do it all at once!)
>
>I know from reading what to do about the current glazes that have fallen off th
>pots. (My old glazes were made by the former potter at the facility who left
>with the formulas...) A few of the new glazes worked well and the old glazes
>worked well.
> BUT... I need to know where to start over again. My shard pile is getting too
>high.
>
>I have never had any formal glaze training (or ^10 firing training for that
>matter)... would love a glaze class or workshop, but Tucson, Az seems to be
>lacking in glaze classes. (I am willing to travel at this point for help with
>this problem, if anyone knows where I can get some training) I am also willing
>to do grunt work in exchange for training.. and/or pay for it.
>
>I may be missing a step in my mixing, I may have calculated wrong, fired too ho
>on top, etc. I have so so many questions now... ( I also still need to
>study this fire more.. I was just so sad, and "frisbee" threw so many pieces
>that I had to leave for the day)
>
>I am currently using the "Advanced Technical Ceramics Manual", and a wide
>variety of other sources including this newly discovered internet discussion
>list. (thanks to you'all I don't feel so alone in what I am doing)..
>
>I guess my main question is how do I start over? I have what's left of 10000
>gram batches of glaze... and what's left of the the old glazes. Should I
>wait and get some real training? Shall I just proceed and hope for the best?
>have two other potters relying on me to create some useable glazes... and I
>have lost a bit of my confidence. ;(
>
>Thanks in advance...
>
>Advice and comisseration accepted and welcomed on and off list...
>
>Jada
>Hummingbird House Studios (and bed and breakfast!)
>Tucson, Az
>jadaca@uswest.net
Tasha Olive on mon 1 nov 99
Jada, seems such a shame to have so much glaze and have that magnitude of a
problem with it. You didn't elaborate as to whether the glaze crawled
pulled away) from the pots or the glaze had run off the pots. If it was the
latter why don't you try just firing to a couple of cones lower. I always
fire to cone 8 reduction using lots of supposed cone 10 only glazes and have
had only a few disappointing results. At least would let you know if too
much heat is your problem or you have a faulty glaze. Am sure you will get a
lot more knowledgeable help from some of the others but thought this might
help. Tasha
-----Original Message-----
From: Jada Ahern
To: CLAYART@LSV.UKY.EDU
Date: Sunday, October 31, 1999 9:33 PM
Subject: ^10 questions
----------------------------Original message----------------------------
------------------
Relatively new potter here... I have been firing a MFT to ^10 Redux for
a
little over a year. This morning I was humbled.
I opened my kiln to find some very fine examples of glaze problems. Glazes
that just melted off the pots and onto the shelves. Although I have had
drippy
glazes before, I have NEVER not been able to remove the pot from the shelf.
(I'm off to buy some new grinder disks at this point!) ;) (I am also
looking
for kiln shelf wash formula, and a formula for sealing the outside of my
kiln..just as well do it all at once!)
I know from reading what to do about the current glazes that have fallen off
the
pots. (My old glazes were made by the former potter at the facility who left
with the formulas...) A few of the new glazes worked well and the old
glazes
worked well.
BUT... I need to know where to start over again. My shard pile is getting
too
high.
I have never had any formal glaze training (or ^10 firing training for that
matter)... would love a glaze class or workshop, but Tucson, Az seems to be
lacking in glaze classes. (I am willing to travel at this point for help
with
this problem, if anyone knows where I can get some training) I am also
willing
to do grunt work in exchange for training.. and/or pay for it.
I may be missing a step in my mixing, I may have calculated wrong, fired too
hot
on top, etc. I have so so many questions now... ( I also still need to
study this fire more.. I was just so sad, and "frisbee" threw so many pieces
that I had to leave for the day)
I am currently using the "Advanced Technical Ceramics Manual", and a wide
variety of other sources including this newly discovered internet discussion
list. (thanks to you'all I don't feel so alone in what I am doing)..
I guess my main question is how do I start over? I have what's left of
10000
gram batches of glaze... and what's left of the the old glazes. Should I
wait and get some real training? Shall I just proceed and hope for the
best? I
have two other potters relying on me to create some useable glazes... and
I
have lost a bit of my confidence. ;(
Thanks in advance...
Advice and comisseration accepted and welcomed on and off list...
Jada
Hummingbird House Studios (and bed and breakfast!)
Tucson, Az
jadaca@uswest.net
Chris Schafale on mon 1 nov 99
Jada,
As one relatively new potter (and one who has had my share of glaze
nightmares in the last year) to another, my deepest sympathy. The
glaze odyssey can be quite a troublous trek.
As far as how to proceed, I'm personally in favor of
understanding what you are doing, rather than testing a million
different recipes and having no idea why they work or not. Have you
looked at Ian Currie's book/system Stoneware Glazes: A Systematic
Approach? If you're willing to invest some time, it looks like it
would be a great way to really understand glazes. Others on the list
have had more experience with it than I, and can tell you more, I'm
sure. (It's written with cone 10 glazes in mind, and I'm firing to
cone 6, so it's a bit less directly applicable for me).
I also highly recommend getting glaze calculation software (such as
Insight or others) and learning to use it. Paying some attention
to limit formulas can prevent a lot of the worst mistakes when
you're getting started.
As you've already learned, it's best not to mix 10000 grams of a
glaze until you've tested it repeatedly with smaller batches (and on
real pots, too, not just on flat test tiles!) Then, if the big
batch doesn't work, you'll have some idea if it was the glaze itself
or your mixing that was at fault.
Along the same lines, make a whole bunch of small, quickly thrown
pieces (little bowls or cups, for instance) to use for glaze tests
-- you'll get the effect of the glaze on a real pot, but your shard
pile doesn't grow as fast if the mistakes are on small pots.
Above all, persevere!! If you've got a few glazes that work, rely on
them for now, but put at least a few tests of new glazes into every
firing, and eventually you'll have the variety you're looking for.
Another relatively easy way to get a range of glazes is to take a
couple of decent base glazes and try them with lots of different
colorants. If any of your glazes please you, try taking out the
colorants and substituting different ones. You might look at the
digitalfire.com website for more info on this approach.
Oh, one final piece of advice: Take copious notes and be sure you
label your test tiles clearly. You may think that you'll remember
what you did and why, but trust me, you probably won't. I've just
gotten back to glaze formulation after several months and I feel like
I'm starting all over again. (This is a case of "do what I say, not
what I do").
Good luck! If I can help with advice or commiseration, I'll be glad
to, anytime.
Chris
> ----------------------------Original message----------------------------
> ------------------
> Relatively new potter here... I have been firing a MFT to ^10 Redux for a
> little over a year. This morning I was humbled.
>
> I opened my kiln to find some very fine examples of glaze problems. Glazes
> that just melted off the pots and onto the shelves. Although I have had dripp
> glazes before, I have NEVER not been able to remove the pot from the shelf.
> (I'm off to buy some new grinder disks at this point!) ;) (I am also lookin
> for kiln shelf wash formula, and a formula for sealing the outside of my
> kiln..just as well do it all at once!)
>
> I know from reading what to do about the current glazes that have fallen off t
> pots. (My old glazes were made by the former potter at the facility who left
> with the formulas...) A few of the new glazes worked well and the old glazes
> worked well.
> BUT... I need to know where to start over again. My shard pile is getting to
> high.
>
> I have never had any formal glaze training (or ^10 firing training for that
> matter)... would love a glaze class or workshop, but Tucson, Az seems to be
> lacking in glaze classes. (I am willing to travel at this point for help wit
> this problem, if anyone knows where I can get some training) I am also willin
> to do grunt work in exchange for training.. and/or pay for it.
>
> I may be missing a step in my mixing, I may have calculated wrong, fired too h
> on top, etc. I have so so many questions now... ( I also still need to
> study this fire more.. I was just so sad, and "frisbee" threw so many pieces
> that I had to leave for the day)
>
> I am currently using the "Advanced Technical Ceramics Manual", and a wide
> variety of other sources including this newly discovered internet discussion
> list. (thanks to you'all I don't feel so alone in what I am doing)..
>
> I guess my main question is how do I start over? I have what's left of 10000
> gram batches of glaze... and what's left of the the old glazes. Should I
> wait and get some real training? Shall I just proceed and hope for the best?
> have two other potters relying on me to create some useable glazes... and I
> have lost a bit of my confidence. ;(
>
> Thanks in advance...
>
> Advice and comisseration accepted and welcomed on and off list...
>
> Jada
> Hummingbird House Studios (and bed and breakfast!)
> Tucson, Az
> jadaca@uswest.net
>
>
Light One Candle Pottery
Fuquay-Varina, NC
candle@intrex.net
Cindy Strnad, Earthen Vessels Pottery on mon 1 nov 99
Jada,
How discouraging. I know what it's like to lose a whole kiln load like
that--not nice. I'm sorry.
If I fired ^10 redux, I'd be happy to share glazes, but I *can* share some
practical advice. Never, never make a 10,000 gm batch of an untested glaze.
First (as in your case), it may not work at all. Second, even if it works,
you may not like its looks.
Glaze formulas that worked for one potter at one point in time, in one
location, may not work for you at all. Why? Well, as you stated to begin
with, your mixing/firing techniques may differ. Just as important, glaze
chemicals *do* differ from place to place and time to time. These minerals
come out of the ground, by various mining techniques, and all deposits are
not equal. Custer feldspar from one side of the cliff may be significantly
different from that dug out of the other side. These minerals vary even more
when they don't even come from the same part of the country (or the same
country, for that matter).
It's not at all like baking a cake. (Although if my experience is any
indicator, baking a scratch cake may just be a little more difficult
.) You don't start out with a full batch. First, I strongly recommend
you get a copy of Tony Hansen's glaze software. There are other good
programs, of course, but this is the one I'm familiar with, so I can
confidently recommend it. You can find it at the Digitalfire site (not sure
of the address, just do a search). Be sure to get the instructional book,
too, and read it. If you're anything like me, read it two or three times.
Possibly, you're in too much of a hurry for this. Don't neglect it, but if
you want to test glazes while you're learning, do limit the test batches to
100-500 grams. If your recipe calls for 10% silica, for example, make that
10 grams. If the recipe totals to 100, doing this will give you a 100 gram
batch. If you'd rather have a little more glaze to work with, then multiply
the "10" by 5, and ditto for the rest of the ingredients. This will give you
a 500 gram batch.
You can mix these mini-batches with a hand-held blender if you like (save it
for glazes only). If they contain colorants or lumpy stuff like
wollastonite, I recommend you screen them, also. You'll need good quality
screens, available from ceramic supply catalogs. No kind of kitchen screens
or etc. will work at all. Silk screening material is said to be usable,
however.
Test the glazes on tiles or mini-pots in a normal firing. It's important to
use the firing schedule and technique which will be used in real life, if
you want an accurate picture of what your glazes will look like/act like in
real life.
It will likely take you some time to develop a palate of glazes. In the
meanwhile, you may want to invest in some commercial glazes available from
your ceramic supplier. I don't like the idea of using them, but it sounds
like you're in kind of a fix, so it may be worth while for the interim.
Hope it works out well for you,
Cindy Strnad
Earthen Vessels Pottery
Custer, SD
Jean Cochran on mon 1 nov 99
Dear Jada:
There are as many reasons why a glaze jumps off a pot as there are pots in the
universe.
Try Lee's Kiln Wash, obtainable from Axner Pottery Supply 1-800-843-7057,
www.axner.com, e-mail Axner@ATTmail.com. This is good stuff, although expensive
Anyway, I would try one thing no matter what else might be wrong with your glaze
Be sure your glazes are absolutely dry before firing. Go up slowly until the
CHEMICAL water has left (till the pots take on a glow of their own). Jeff Zamek
published articles in Ceramics Monthly on the subject of crawling glazes. Check
ClayArts archives for advice. I have spent YEARS dealing with this problem.
Good luck (and keep your chin up and keep trying and trying and trying).
Yours for fine crafts,
Jean Wadsworth Cochran
Fox Hollow Pottery
Jada Ahern wrote:
> ----------------------------Original message----------------------------
> ------------------
> Relatively new potter here... I have been firing a MFT to ^10 Redux for a
> little over a year. This morning I was humbled.
>
> I opened my kiln to find some very fine examples of glaze problems. Glazes
> that just melted off the pots and onto the shelves. Although I have had dripp
> glazes before, I have NEVER not been able to remove the pot from the shelf.
> (I'm off to buy some new grinder disks at this point!) ;) (I am also lookin
> for kiln shelf wash formula, and a formula for sealing the outside of my
> kiln..just as well do it all at once!)
>
> I know from reading what to do about the current glazes that have fallen off t
> pots. (My old glazes were made by the former potter at the facility who left
> with the formulas...) A few of the new glazes worked well and the old glazes
> worked well.
> BUT... I need to know where to start over again. My shard pile is getting to
> high.
>
> I have never had any formal glaze training (or ^10 firing training for that
> matter)... would love a glaze class or workshop, but Tucson, Az seems to be
> lacking in glaze classes. (I am willing to travel at this point for help wit
> this problem, if anyone knows where I can get some training) I am also willin
> to do grunt work in exchange for training.. and/or pay for it.
>
> I may be missing a step in my mixing, I may have calculated wrong, fired too h
> on top, etc. I have so so many questions now... ( I also still need to
> study this fire more.. I was just so sad, and "frisbee" threw so many pieces
> that I had to leave for the day)
>
> I am currently using the "Advanced Technical Ceramics Manual", and a wide
> variety of other sources including this newly discovered internet discussion
> list. (thanks to you'all I don't feel so alone in what I am doing)..
>
> I guess my main question is how do I start over? I have what's left of 10000
> gram batches of glaze... and what's left of the the old glazes. Should I
> wait and get some real training? Shall I just proceed and hope for the best?
> have two other potters relying on me to create some useable glazes... and I
> have lost a bit of my confidence. ;(
>
> Thanks in advance...
>
> Advice and comisseration accepted and welcomed on and off list...
>
> Jada
> Hummingbird House Studios (and bed and breakfast!)
> Tucson, Az
> jadaca@uswest.net
Hank Murrow on tue 2 nov 99
>----------------------------Original message----------------------------
>Jada,
Have you
>looked at Ian Currie's book/system Stoneware Glazes: A Systematic
>Approach? If you're willing to invest some time, it looks like it
>would be a great way to really understand glazes. Others on the list
>have had more experience with it than I, and can tell you more, I'm
>sure. (It's written with cone 10 glazes in mind, and I'm firing to
>cone 6, so it's a bit less directly applicable for me).
Dear Jada and Chris; Ian's book refers mainly to C/10 recipes and testing
regimes; but his web site addresses the C/5 realm wonderfully, as do his
workshops here in the states. Try http://ian.currie.list.to/index.html for
a thorough discussion of his method. And look out for his next visit
stateside in the summer. Hank in Eugene
Dorothy Weber on tue 2 nov 99
First thing you need is to make sure you have plenty of cones, Cone 8,9, 10,
11 and 12 if you think there is a chance you went that high. Place them all
over the place so you can "read" your kiln in the next firing. Recheck the
glazes, watch out for flame impingement. Consider ITC as a sealer for kiln
shelves and interior of the kiln, consider fiber blanket for the exterior of
the kiln. Then run you glaze formulas through a good glaze calculation
program. Good luck.
Paul Taylor on thu 4 nov 99
Dear Jada
Here are some of the reasons glaze runs off pots .
The first is the obvious ,that a mistake was made in your weighing out this
is the easiest thing to do especially if you are as absent minded as me.
The second is over firing of the glaze.
The third is that some materials like colemenite and any material
that is too soluble will spray glaze all over the place if it is fired too
quickly at the beginning of the firing 0-300 centigrade something to do
with chemical water.
A forth is that your clay has changed and your glaze body layer has
a less firm grip on the glaze .
All that sounds simple but it never is.
The materials manufacturers put water around 15 percent into Quarts
Spars and any thing they take a fancy may be dangerous to the lungs. In most
glazes a bit of dead reckoning will do to make up the difference. But not in
a aventurine matt blasted to cone ten.
However some glazes are more prone to over firing and running than
others and they are the ones that we like to use. Glazes that are matt ,
break over the serfice of a pot, or form crystals, take preseis firing
especially those that stray away from the balance between silica, alumina,
lime and spars that make up commercially sold glazes. A generously applied
Lime (calcium) matt slightly over fired has ruined many a kiln shelf .
Were as a good old Leach cone 8 glaze has a wide temperature range and is
very difficult to over fire.
Also there are the different firing philosophys a fast firing to
cone 10 is at more risk to over firing than a slow crawl to cone 8. My
superstition is that the slow crawl is more reliable letting heat work do
some of the melting : and I think that less damage is done by accidentally
going ten or twenty degrees over from cone 8 than cone 10. I realize that
modern equipment is so accurate that I should be less paranoid. But I am old
fashioned and so is my kiln .
I try to use fritted materials when ever possible this avoids
crystallization in the slop and also increases the efficiency of the
material in the melt. I use walistoneite as opposed to whiting and Quarts
and again superstitiously feel that it gives a better firing range to my
glazes.
As for learning about glazing there are as many methodologies as there
are potters and we all swear by the one we use.
I suspect different methodologies suit different people and different
situations. I being mathematical use proportionate analyses for building
glazes. Nigel Woods explains-Oriental glazes - Pitman publishing it all very
well and gives understandable basics including eutectics. I do all my
calculations on a spread sheet so I can play about and see what is happening
while I do calculations.
If simultaneous equations scare you. The organized mind looks at the
glaze from the materials point of view and line blends , biaxial or trivial
blends.
If your into arithmetic use unity formulas Michael Cardews book
Pioneer pottery explains how. The disadvantages of this method is that it
leaves out some of the trace elements in the materials of which some are
important like titanium in a celadon glaze.
The culinary types try lots of recipes from books. Adding a bit of this
and a bit of that until they get what they want and using experience to
sort the duff glazes out.
There are the few who bung stuff in a bucket and with luck, instinct
and good records make glazes. They use a lot of materials they dig
themselves. If you have ever chucked a load of dirt into a glaze to see what
happens This maybe your style with a bit of biaxial blending when your
instincts let you down.
There are computer programs that you can get I should try one myself.
We all however know the basics. Glass which is usually quarts is
melted with stabilizers usually alumina using fluxes and the principle of
eutectics; ie two oxides heated together can melt at a lower temperature
than either. The glass formers and others are found as rocks and clay ground
and mixed , then heated. There is not much more to it .
It looks like you have come to the point ware it is back to
basics; a point to which I have so often returned and will no doubt again
return . I suspect you know more than you think and did not realize the
importance of some facts over others like that relying on eutectics to melt
a glaze gives a lot better firing range to a glaze than relying on fluxes
and a quick reread on what the various glaze minerals do will probably do
the job. However I had a titanium mat that started to pinhole . I never
found out why so cutting my losses I started again. The whole chebang new
designs every thing the best thing that ever happened I much preferred the
new work.
The most important thing I think to remember is that recipes are most
times use less without an indication of their firing cycle . A cooper red
receipy is almost totally useless with out the Exact firing cycle. Recepies
of commercial clear glazes will forgive almost any thing and are the most
tolerant.
Beware non specific recipes. that contain unspecific ingredients
like for instance ' Ball clay 21.254' percent. The chemical makeup of
materials suggested can be very different from manufacturer to manufacturer
the silica content of different ball clays can differ by 20 percent but
manufactures do make an effort to keep a consistency in what they do sell.
A knowledge of basic glaze theory should help sort which material is meant
. And given that ball clays come with a fluctuating amount of moisture
included ,any measure finer than 0.5 is just coddology.
A real difficulty for any body starting out to learn about glazes is
that art potters are looking mainly for expression and commercial
manufacturers of ceramics are looking for reliability and to two very seldom
meet together in one book. But although the commercial glazes can be a bit
boring. I would endeavor to understand their make up first because art
potters glazes bend so many rules it is difficult to understand what is
happening in them. and difficult to know what went wrong when they are
melted all over your kiln shelves.
I can not help with what you are going to do with that old glaze
since I dont know what materials you used to make it up or your firing
cycle. If you sent the recipes I could speculate more accurately.
I would throw it all out -----------------------
Well after bunging a few things in it to see what happens.
Paul
----------
>From: Jada Ahern
>To: CLAYART@LSV.UKY.EDU
>Subject: ^10 questions
>Date: Mon, Nov 1, 1999, 4:32 am
>
>----------------------------Original message----------------------------
>------------------
>Relatively new potter here... I have been firing a MFT to ^10 Redux for a
>little over a year. This morning I was humbled.
>
>I opened my kiln to find some very fine examples of glaze problems. Glazes
>that just melted off the pots and onto the shelves. Although I have had drippy
>glazes before, I have NEVER not been able to remove the pot from the shelf.
>(I'm off to buy some new grinder disks at this point!) ;) (I am also looking
>for kiln shelf wash formula, and a formula for sealing the outside of my
>kiln..just as well do it all at once!)
>
>I know from reading what to do about the current glazes that have fallen off th
>pots. (My old glazes were made by the former potter at the facility who left
>with the formulas...) A few of the new glazes worked well and the old glazes
>worked well.
> BUT... I need to know where to start over again. My shard pile is getting too
>high.
>
>I have never had any formal glaze training (or ^10 firing training for that
>matter)... would love a glaze class or workshop, but Tucson, Az seems to be
>lacking in glaze classes. (I am willing to travel at this point for help with
>this problem, if anyone knows where I can get some training) I am also willing
>to do grunt work in exchange for training.. and/or pay for it.
>
>I may be missing a step in my mixing, I may have calculated wrong, fired too ho
>on top, etc. I have so so many questions now... ( I also still need to
>study this fire more.. I was just so sad, and "frisbee" threw so many pieces
>that I had to leave for the day)
>
>I am currently using the "Advanced Technical Ceramics Manual", and a wide
>variety of other sources including this newly discovered internet discussion
>list. (thanks to you'all I don't feel so alone in what I am doing)..
>
>I guess my main question is how do I start over? I have what's left of 10000
>gram batches of glaze... and what's left of the the old glazes. Should I
>wait and get some real training? Shall I just proceed and hope for the best?
>have two other potters relying on me to create some useable glazes... and I
>have lost a bit of my confidence. ;(
>
>Thanks in advance...
>
>Advice and comisseration accepted and welcomed on and off list...
>
>Jada
>Hummingbird House Studios (and bed and breakfast!)
>Tucson, Az
>jadaca@uswest.net
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