Peter Atwood on sun 20 feb 00
Tom,
I figured you might like this glaze even though I'm a couple of
weeks late in responding to the thread. This glaze has been my
favorite for quite a while for several reasons. It never crazes,
pinholes or runs. The surface is a beautiful gloss which has a
rich sensuous feel to it and the decorative possibilities seem
to be endless.
Baymore Tenmoku #1 (cone 9-11 R)
G200 4926
flint 2231
whiting 1116
stron. carb 101
zinc ox 232
EPK 557
RIO 837
bentonite 2%
I mix this one a hair on the thin side and put on multiple coats.
If applied thin it will tend to be transluscent amber, thicker will
yield a deep black. The color is a little richer than other Tenmokus
that I have seen.
To my taste it works best on white stoneware or porcelain. If used on
stoneware it starts to become more brown with patches or streaks of black
depending on thickness and the amount of iron in the claybody. On a
medium iron stoneware with a a fair amount of reduction and normal
cooling sometimes a rich sprinking of tiny silver spangles occurs.
Rims and edges will break a pleasant peachy brown. This glaze never runs-
at least not so far- and I find that I can glaze all the way to the bottom
without fear.
Now for the best part. The decorations I have used are what has kept me
interested in this glaze. Some really dramatic results have come out this
past year. The most basic is brushing a 50-50 mix of gerstley borate and
rutile over the top. A thick application yields reddish gold streaks with
gold crystals sometimes edged in blue. It will sometimes go matt in the
center of the brushstroke if the application is thick enough. I like to
make sort of abstract oriental characters on the sides of vases and mugs
using this technique.
The most dramatic results I have gotten have been using other glazes over
the tenmoku. Rutile blues work fairly well although I have had a lot of
pinholing, crawling and other frustrations. Pete Pinnells's Cranberry Red
which has been discussed at length recently is the best I have seen over
this glaze. If placed in our kiln correctly and fired in medium to heavy
reduction starting at 012 for one hour then backing off to medium reduction
for the remainder of the firing I have gotten breathtaking mottled
leopardskin reds. Sometimes. Other times I get a mottled leopardskin with no
red or just a tinge of pink. It really depends on where it is placed and how
thick it is and whether the gods are smiling down on me.
A variation on the Cranberry is to add 2% Titanium dioxide to it. Mix a
small
batch of 100 or 1000 grams of this and try it as an accent. It will go to
a pale watery blue which is full of bubbles or a dramatic dark purple-red.
It looks fabulous inside bowls or on the outside of vases.
That ought to give everyone something to chew on! Thanks very much to
all who have contributed glazes to this list. I have gotten some nice
ones and even the ones that didn't work taught me something.
--Peter Atwood
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