iandol on thu 6 apr 00
------------------
I think Jeff van den Broeck raises some interesting points about the way =
glaze
information is shared and it is interesting to search out assumptions =
relating
to the belief that all glaze recipes should be freely disseminated.
There are several attitudes which any potter of teacher can adopt at a =
workshop
or in a long term teaching situation.
1 Share your recipes. What you take away is used at your own risk. It works =
well
up to a point, but when things go wrong the one who has acquired this new =
recipe
is in a hole. Without deeper knowledge they are lost unless a generous =
person
sorts it out for them.
2 Share none of your recipes. Seems very mean but it may encourage people to
stand on their own feet and do their own research. Big drawbacks are the =
time,
cost and effort needed to get anywhere near success
3 Give the old stuff but not the new. What has been successful is given with
caveats about use so that newcomers have a starting point.
4 Share the ways and means. This means that the teacher is preparing a =
student
for independence, for self reliance.
5 Encourage diversification. This means promoting learning of design skills =
as
well a ceramic knowledge.
I=92m sure my ideas can be shredded and others will add to the list, but it =
is an
interesting exercise to assess the attitudes one meets in terms of =
assumptions
and conjectures to test the validity of their beliefs.
I feel that a person who teaches without sharing in the most supportive way
possible is masquerading and may be concealing their own inadequacies.
Any more opinions?
Ivor Lewis. Still enjoying the challenge of research and teaching by proxy
printed pages.
tgschs10 on fri 7 apr 00
Ivor,
A few weeks back I asked if listserve members might share their favorite
cone 10 recepies since I had started firing at this temperature a short
while ago. I reasoned that I might save a lot of time experimenting if
respected potters shared. I received about a dozen replies and am still
sifting thru the recepies. I have tried 4-5 in various combinations, some of
which are wonderful. Some responses were less than generous and one that
someone else took exception to his reply later sent the most marvellous
receipe to date [thanks again Hank]. I am still working thru the information
shared. One opinion that I in part share is that one must learn the glazes
you use and this means that you should fire them on more than one ocassion
and in different combinations. At some future point I hope to come back and
add something of value in terms of my experience.
As an aside, I still interested in "professional" potters who might wish to
share their favorite glaze with a struggling retired physician, attorney,
potter in Orlando.
Tom Sawyer
Orlando, Fl
tgschs10@msn.com
----- Original Message -----
From: "iandol"
To:
Sent: Thursday, April 06, 2000 12:03 PM
Subject: : what is clayart? sharing glaze information
----------------------------Original message----------------------------
------------------
I think Jeff van den Broeck raises some interesting points about the way
glaze
information is shared and it is interesting to search out assumptions
relating
to the belief that all glaze recipes should be freely disseminated.
There are several attitudes which any potter of teacher can adopt at a
workshop
or in a long term teaching situation.
1 Share your recipes. What you take away is used at your own risk. It works
well
up to a point, but when things go wrong the one who has acquired this new
recipe
is in a hole. Without deeper knowledge they are lost unless a generous
person
sorts it out for them.
2 Share none of your recipes. Seems very mean but it may encourage people to
stand on their own feet and do their own research. Big drawbacks are the
time,
cost and effort needed to get anywhere near success
3 Give the old stuff but not the new. What has been successful is given with
caveats about use so that newcomers have a starting point.
4 Share the ways and means. This means that the teacher is preparing a
student
for independence, for self reliance.
5 Encourage diversification. This means promoting learning of design skills
as
well a ceramic knowledge.
I'm sure my ideas can be shredded and others will add to the list, but it is
an
interesting exercise to assess the attitudes one meets in terms of
assumptions
and conjectures to test the validity of their beliefs.
I feel that a person who teaches without sharing in the most supportive way
possible is masquerading and may be concealing their own inadequacies.
Any more opinions?
Ivor Lewis. Still enjoying the challenge of research and teaching by proxy
printed pages.
Antoinette Badenhorst on fri 7 apr 00
Ivor, may be after this comment I will be very unpopular, but this is my idea
about feeding one with a spoon or give one a spoon to feed one self. I do not
think it is a good thing to just give away recipes, patents etc, etc.
Although, I also try out others recipes that is taken up in books, but most
of the times have to adjust them. I think one should become independent in
what one do. It is one thing to give a recipe, but another to show the way to
create a recipe. In that way you give a person more than just a recipe. On
the other hand, some people specialize in glazes rather than make pots. This
is very time consuming and costly. I think it is just fair that people pay
then either for the recipe or the ready mixed glaze. There are people that
disagree with me on this, but what make a recipe different from a patent of
some machinery?
Now go ahead al of you out there and cut of my head!
Antoinette.
Antoinette Badenhorst
PO Box 552
Saltillo,MS
38866
martin howard on sat 8 apr 00
Ivor Lewis gives us some possible lines of thought here.
Here are a few Queries? That is our Quaker way of progressing thought and
action.
It is a little less harsh than saying "YOU should do this."
What kind of world are we trying to promote?
Where do the values of community, beauty, freedom of information, lie in
your scale of values?
Is profit more important than sharing in your pottery life?
Is giving of higher importance than receiving?
Have you not found that when you give freely, something of value comes back?
I know this way of thinking could lead you to bankruptcy, IF that is what
you fear.
Nevertheless, it is an adventure and COULD lead to previously unknown
happiness.
Sharing glaze and raw material information, for me, is exciting.
But, please, are there any of you out there who fire at cones 02-2 on
earthenware?
It seems that postings are mainly raku, or cones 5 -10.
Martin Howard
Webb's Cottage Pottery
Woolpits Road
Great Saling
BRAINTREE
Essex CM7 5DZ
01371 850 423
martin@webbscottage.co.uk
www.webbscottage.co.uk Should be ready for 2000 :-) or 2001
Hank Murrow on sat 8 apr 00
>----------------------------Original message----------------------------
Some responses were less than generous and one that someone else took
exception to later sent the most marvellous receipe to date [thanks again
Hank].
I still interested in "professional" potters who might wish to
>share their favorite glaze with a struggling retired physician, attorney,
>potter in Orlando.
>Tom Sawyer
Dear Tom; I still stand by my advice in the original response, which was
that you try Ian Currie's method as it will familiarize you with the
materials very quickly, AND you'll have lots of glazes to work with. He'll
be returning in September, so keep an eye out for a workshop near you.
You're Welcome! Hank in Eugene
Cindy Strnad on sat 8 apr 00
Geez, Antoinette.
If it's your glaze and you formulated it, you certainly have a right to do
whatever you please with it. No one's going to cut your head off for that.
If you want to sell it, sell it. If you want to keep it as a proprietary
formula, then keep it. Lots of people like to share their glazes freely, and
there's nothing wrong with that, either.
Cindy Strnad
earthenv@gwtc.net
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
Dave Finkelnburg on sat 8 apr 00
Tom,
As an ex-professional just learning pottery I've probably spent more
time in the last two years on glaze devellpment than throwing. It's a
complex, challenging subject. Have you studied glaze formulaion? As
bright as you are, I'm sure you have. It will save you a lot of time in the
long run, though it's time consuming to start.
Last month I switched to cone 10, so like you, I'm searching out new
glazes. I needed a liner white glaze for some mugs I wanted to take to
Denver, so I came up with this one. I think you should remember, your
mileage will vary, test it first, it may not fit, etc, etc! Good glazing!
Dave Finkelnburg in sunny southern Idaho
test white, c10, 3/17/00
WHITING............. 16.00
TALC................ 10.00
CUSTER FELDSPAR...45.00
EPK KAOLIN.......... 17.00
SILICA 20.00
ZIRCOPAX............ 5.00
========
113.00
tgschs10 on sun 9 apr 00
Antoinette,
Like most things in life there are grey zones. Most everything I know
someone taught me or at least pointed me in the right direction. When I
taught in Medical School, my department chairman would always say to a
resident asking a question - my that a good question why don't you research
it and let us all know tomorrow. I was never quite sure whether he knew the
answer or not. When I was asked a question and I knew the answer, I told the
resident and informed him of the source often copying articles so that he
could read the source. I always thought it somewhat wasteful for people to
look at dozens of dead ends. I know there is great value in being able to
find the answers yourself. But if I want to cook a special food for the
first time, I thing that it is more efficient to ask someone for a receipe.
On the otherhand, I understand that a potter might be reluctant to share a
glaze with a local competitor but for gods sake what is the disadvantage of
someone out of state or county sharing; could there ego be such that they
are contemplating world wide sales. All I know is that I'm glad the hundreds
of persons that I have learned off of in my life have been sharers. Thank
God for the Einsteins who share scientific discovery and the artist who
share technique.
Tom Sawyer
Orlando, Fl
tgschs10@msn.com
----- Original Message -----
From: "Antoinette Badenhorst"
To:
Sent: Friday, April 07, 2000 10:27 AM
Subject: Re: : what is clayart? sharing glaze information
> ----------------------------Original message----------------------------
> Ivor, may be after this comment I will be very unpopular, but this is my
idea
> about feeding one with a spoon or give one a spoon to feed one self. I do
not
> think it is a good thing to just give away recipes, patents etc, etc.
> Although, I also try out others recipes that is taken up in books, but
most
> of the times have to adjust them. I think one should become independent in
> what one do. It is one thing to give a recipe, but another to show the way
to
> create a recipe. In that way you give a person more than just a recipe. On
> the other hand, some people specialize in glazes rather than make pots.
This
> is very time consuming and costly. I think it is just fair that people pay
> then either for the recipe or the ready mixed glaze. There are people that
> disagree with me on this, but what make a recipe different from a patent
of
> some machinery?
> Now go ahead al of you out there and cut of my head!
> Antoinette.
>
> Antoinette Badenhorst
> PO Box 552
> Saltillo,MS
> 38866
>
iandol on sun 9 apr 00
------------------
Thanks for the notes Tom. Well, since I am about to go of an a tangent into
compounding my own porcelain, first batch made form ball milled kaolin 60=25
400=23silica and 200=23 potash felspar is dewatering, I will be concocting a=
whole
new book of glazes, base on four square blends.
So you and others who are up in the stratospheric cone 10 levels may like to
have a go with this one.
Soda Felspar 12=25NaO2 52=25
Petalite 13=25
Whiting 10=25
Silica 200=23 20=25
Kaolin 5=25
This glaze has a brilliant gloss surface reminiscent of the old lead glazes.=
It
responds will to colouring oxides and carbonates, forms a great Tenmoku, and=
if
oversaturated and boosted with 5=25 bone ash throws sparkling crystals.
One word of warning. It was formulated to fit the white clay called Walkers
PB103. It has always
crazed on every other clay I have put it on
Ivor Lewis.
Paul Taylor on sun 9 apr 00
Dear Antoinet
Most of the best potters supply all the information they can. This takes
courage the same courage it takes to be the best. The only time I have ever
have come across secrecy was from people who were second rate and their
illusions were such that they didn't realize that any potter with a good
knowledge of glazes knew roughly what was in the glaze any way.
Also potters share their recipes to pay back the debt they owe to others
that gave them recipes to start off with, without which there would be no
craft pottery movement to be a member of.
Some people who have a lot of insite in to glazes and have done a lot of
work take payment for publishing and I am grateful that they have. However
every one of those people would have given me any of the recipes for free if
I had asked. You pay for the convenience of the media not the secrets.
To be in front of ones piers parting with information is also the
recognition or ones arrival as a master potter. That does not excludes
others from master ship. It is just a right thing to do for a master.
Manufactures produce glazes made by named potters. Here again you are
paying for the convenience because most of these glazes are published in
articles or given out at seminars.
All my artist friends envy me when I talk of the great times potters have
sharing information at camps and seminars how we cooperate on marketing etc
. Is it just a coincidence that so many potters make a better living from
pottery than other artists or is there a tenuous connection with our
customers and the positivity that is generated by sharing.
The Irony is that for all the generosity the glaze received can be a
disappointment, unless the body is the same as the potters, the firing the
same and on the same style of pot. Even if you get it right, all you will
have to look at is a pale imitation of the real thing, and since the potter
who gave it to you is moving creatively the glaze may look dated and the
pots derivative old hat.
There are a few secrets that I do not know. I have had great answers
from this list and drawn one blank, since I have never seen glazes of the
quality I seek outside a museum I surmise that we all know how these glazes
were made but do not actually know how to make them. When I find those
secrets I shall publish them with enthusiasm. Not because I am a great
potter but because I aspire to be.
Regards Paul T
What do I do with this head I just cut off.
>From: Antoinette Badenhorst
>To: CLAYART@LSV.UKY.EDU
>Subject: Re: : what is clayart? sharing glaze information
>Date: Fri, Apr 7, 2000, 6:27 pm
>
>----------------------------Original message----------------------------
>Ivor, may be after this comment I will be very unpopular, but this is my idea
>about feeding one with a spoon or give one a spoon to feed one self. I do not
>think it is a good thing to just give away recipes, patents etc, etc.
>Although, I also try out others recipes that is taken up in books, but most
>of the times have to adjust them. I think one should become independent in
>what one do. It is one thing to give a recipe, but another to show the way to
>create a recipe. In that way you give a person more than just a recipe. On
>the other hand, some people specialize in glazes rather than make pots. This
>is very time consuming and costly. I think it is just fair that people pay
>then either for the recipe or the ready mixed glaze. There are people that
>disagree with me on this, but what make a recipe different from a patent of
>some machinery?
>Now go ahead al of you out there and cut of my head!
>Antoinette.
>
>Antoinette Badenhorst
>PO Box 552
>Saltillo,MS
>38866
Antoinette Badenhorst on mon 10 apr 00
Cindy,don`t understand me wrong, I am not saying that it is wrong to share
glazes or other recipes. In fact I also use other than only my own glazes. I
am talking of making a profession of glazes. I will share any ceramic info
with a smile, as I believe most of you will know by know, but when teaching,
I think one must lead a student to understand what he or she is doing, rather
than just send them away with recipes. That is what I mean by giving a spoon
to feed one self, or feed with a spoon. I still believe that if someone wants
to sell rather just give away a recipe (and that will not be me, because I do
not specialize in glazes),that will be acceptable. That is one of the reasons
why we find glaze books for sale with only recipes in.
My comment on chop my head of was meant tongue in the cheek. I have some
humor buried somewhere in my personality. Difficult to pick that up on the
net, so I inform you.
Good luck.
Antoinette
Antoinette Badenhorst
PO Box 552
Saltillo,MS
38866
Antoinette Badenhorst on mon 10 apr 00
Tom I share your gratefulness of sharing. What I do not appreciate though, is
not my competitors same glaze, but a lack of unique work out there in the
world. How often do you see work that you think you've seen a 1000 times in
your life? Is that not part of the reason why some artistes come up with the
weirdest ideas?
Antoinette.
Antoinette Badenhorst
PO Box 552
Saltillo,MS
38866
Antoinette Badenhorst on mon 10 apr 00
Hi Paul, so easily you will not cut my head. Seems to me if one really want
reaction on this net you have to say something you know most people will
disagree with you. I did not bring this up for that reason, but I am sure you
will agree with me that too many potters just follow instead of lead the way
in their field. Is this because they are only learned to follow? Someone, I
think it was Tom, said that they were given projects to do in school. Is this
not what pottery teachers should do also? In fact, I had very little formal
training, but I remember the one incident where Ralph Johnson let us make up
glazes from scratch. Each student got their order to fill out. We fired those
and compared the differences and developments.
You are right if you say that a good potter will guess what is in the glaze
anyway and those potters are not my problem. My problem comes with the ones
that has no clue what they are doing. How do you educate them? Will they know
by looking at a glaze whether it is food safe or not? Will they know what
that glaze should look like when it is fired correctly etc.
I like to believe that most potters want to do their work in such a way that
the public can rely on them, but what about those that don `t learn the way.
Believe me, there are thousands of those out in the field.
I think education in clay should be between ourselves first, before we can
conceder the public. If a potter do not understand the basic of glazes, how
can they tell someone their glaze is microwave safe (just so that I can burn
my hands on their glazes)
I do not say one need to know what Ron Roy knows, I say get the basic! Even
if you do not have an interest in glazes, you are still responsible for the
stuff that you put on your pots. The best way is to rely on your own
knowledge. What if your unknowledgeable friend tells you a glaze is safe and
it is not!
Then there is the thing about diversity that Ivor brought under my attention.
If you know a little about glazes, you can start changing a good recipe to
become your own. Think how much more pleasure you will then have to look at
more beautiful glazes and the challenge of trying to create them yourself!
See my head is still there!
Good luck.
Antoinette.
Antoinette Badenhorst
PO Box 552
Saltillo,MS
38866
Ron Roy on tue 11 apr 00
------------------
Hi Ivor,
I should say - I am not directing this at you - I just got going a bit -
subject close to my heart - I know you share.
While I understand what is being said here - and agree with much of it - I
also think we are dealing with a special situation. The road to
understanding clay and glazes is long - and takes time. When I was in
school I spent most of my time learning to form clay, make clay and fire
the kilns. I think it is necessary to give the glazes and clay bodies
freely to all the students simply because there is so much to learn at the
beginning. I also think the beginning of understanding of the technical
side should be taught - and how important it will eventually be for the
ability to solve studio problems - never mind develop personal glazes and
bodies.
Part of the problem potters face is the perceived difficulty of learning
the technical aspect. I share what I do on this list partly because I want
others to realize it can be done. If I place no value on the glazes I post
here surely that will mean something to others - =22he finds it easy=22 they
might say. And I do - I don't mean to say I am smart - I have lots of
evidence every day to prove other wise - if I can learn to manipulate
glazes so can most others.
Part of the problem here is the feeding of potters by authors who simply
sell recipes with no attempt to give the crucial info needed to manage
them. This is compounded by the lack of ability and/or desire to teach the
subject properly in most of our class rooms.
There will always be those who simply take and give nothing in return -
they will always be the majority. On the other hand - this list is a great
example of what can happen when the spirit of giving can actually turn the
world around. Take a look at what has happened over the last few years -
it's a bloody miracle.
I encourage the sharing of information - there will be those who will put
it together and we will all be better off in the long run.
And to those who want to keep their secrets - just make sure you don't take
anything you are not entitled to.
RR
=3E----------------------------Original message----------------------------
=3EThere are several attitudes which any potter of teacher can adopt at a =
workshop
=3Eor in a long term teaching situation.
=3E
=3E1 Share your recipes. What you take away is used at your own risk. It
=3Eworks well
=3Eup to a point, but when things go wrong the one who has acquired this new
=3Erecipe
=3Eis in a hole. Without deeper knowledge they are lost unless a generous =
person
=3Esorts it out for them.
=3E
=3E2 Share none of your recipes. Seems very mean but it may encourage people=
to
=3Estand on their own feet and do their own research. Big drawbacks are the =
time,
=3Ecost and effort needed to get anywhere near success
=3E
=3E3 Give the old stuff but not the new. What has been successful is given =
with
=3Ecaveats about use so that newcomers have a starting point.
=3E
=3E4 Share the ways and means. This means that the teacher is preparing a =
student
=3Efor independence, for self reliance.
=3E
=3E5 Encourage diversification. This means promoting learning of design =
skills as
=3Ewell a ceramic knowledge.
=3E
=3EI=92m sure my ideas can be shredded and others will add to the list, but =
it is an
=3Einteresting exercise to assess the attitudes one meets in terms of =
assumptions
=3Eand conjectures to test the validity of their beliefs.
=3E
=3EI feel that a person who teaches without sharing in the most supportive =
way
=3Epossible is masquerading and may be concealing their own inadequacies.
Ron Roy
93 Pegasus Trail
Scarborough
Ontario, Canada
M1G 3N8
Evenings 416-439-2621
Fax 416-438-7849
Ron Roy on sat 15 apr 00
Hi Dave - I've been messing around with your liner glaze - sorry - couldn't
help it.
The first one is almost exactly the same as your original - just made it
total 100 without the pax.
It has an expansion of 479.88 on the scale I use - this may be low for some
clay bodies - and it also may craze on some porcelains.
I have reformulated it to a second version which has an expansion of 579.95
- enough for it to craze on some stonewares.
I left out the pax to get those expansion numbers by the way.
You can now use the two of them to make a lineblend to find out about fit
on your clay body. To find the middle one simply add the two amounts of
each oxide and divide by two - whiting for the middle one would be
15+21divided by 2= 18 for instance. You can get the glaze between the first
and middle and middle and the end the same way.
Call yours #1 (lowest expansion)
Call mine #5 (highest expansion)
Call the others 2,3,and 4.
You now will have a set of glazes that will help you determine what is a
safe expansion for a liner glaze. Lets say #3 crazes. Tou can then say the
crazing starts between #1 and #3. Then do a further line blend between #3
and #1 to determine where the crazing really stops - drop down far enough
to make sure there is no delayed crazing - test well to make sure it
neither crazes or breaks pots.
Just make sure you understand - each clay has a different expansion on
heating and contraction on cooling - use glazes to find liner glazes that
do not give problems. Remember - crazed glazes don't break pots so don't go
any father than you need to to stop the crazing..
Daves original Glaze - cone 10
Whiting - 15.0
Talc - 9.5
Custer - 41.5
EPK - 16.0
Silica 18.0
Total - 105.0
Ratio - 7.66
Expansion - 479.88
Rons revision to raise expansion.
Whiting - 21.0
Talc - 1.5
Custer - 51.5
EPK - 12.0
Silica 14.0
Total - 105.0
Ratio - 7.13
Expansion - 579.95
RR
>----------------------------Original message----------------------------
>Tom,
> As an ex-professional just learning pottery I've probably spent more
>time in the last two years on glaze devellpment than throwing. It's a
>complex, challenging subject. Have you studied glaze formulaion? As
>bright as you are, I'm sure you have. It will save you a lot of time in the
>long run, though it's time consuming to start.
> Last month I switched to cone 10, so like you, I'm searching out new
>glazes. I needed a liner white glaze for some mugs I wanted to take to
>Denver, so I came up with this one. I think you should remember, your
>mileage will vary, test it first, it may not fit, etc, etc! Good glazing!
> Dave Finkelnburg in sunny southern Idaho
>
>test white, c10, 3/17/00
>
> WHITING............. 16.00
> TALC................ 10.00
> CUSTER FELDSPAR...45.00
> EPK KAOLIN.......... 17.00
>SILICA 20.00
> ZIRCOPAX............ 5.00
> ========
> 113.00
Ron Roy
93 Pegasus Trail
Scarborough
Ontario, Canada
M1G 3N8
Evenings 416-439-2621
Fax 416-438-7849
Dave Finkelnburg on tue 18 apr 00
Hi Ron!
Thank you for looking at my liner glaze! I can always use help to
improve my glazes, especially from you!
I am really busy and won't test this for a bit, but I'll try your
suggestion.
I have a question about the method you are using to calculate expansion.
Can you refer me to an available source which explains how you are doing
this? The scale is different than I am used to, so I am curious about it.
Also, I am wondering how it handles TiO2, B2O3 and SiO2.
Thanks again, Ron!
Dave Finkelnburg
-----Original Message-----
From: Ron Roy
To: CLAYART@LSV.UKY.EDU
Date: Saturday, April 15, 2000 8:35 PM
Subject: Re: : what is clayart? sharing glaze information
----------------------------Original message----------------------------
Hi Dave - I've been messing around with your liner glaze - sorry - couldn't
help it.
The first one is almost exactly the same as your original - just made it
total 100 without the pax.
It has an expansion of 479.88 on the scale I use - this may be low for some
clay bodies - and it also may craze on some porcelains.
I have reformulated it to a second version which has an expansion of 579.95
- enough for it to craze on some stonewares.
I left out the pax to get those expansion numbers by the way.
You can now use the two of them to make a lineblend to find out about fit
on your clay body. To find the middle one simply add the two amounts of
each oxide and divide by two - whiting for the middle one would be
15+21divided by 2= 18 for instance. You can get the glaze between the first
and middle and middle and the end the same way.
Call yours #1 (lowest expansion)
Call mine #5 (highest expansion)
Call the others 2,3,and 4.
You now will have a set of glazes that will help you determine what is a
safe expansion for a liner glaze. Lets say #3 crazes. Tou can then say the
crazing starts between #1 and #3. Then do a further line blend between #3
and #1 to determine where the crazing really stops - drop down far enough
to make sure there is no delayed crazing - test well to make sure it
neither crazes or breaks pots.
Just make sure you understand - each clay has a different expansion on
heating and contraction on cooling - use glazes to find liner glazes that
do not give problems. Remember - crazed glazes don't break pots so don't go
any father than you need to to stop the crazing..
Daves original Glaze - cone 10
Whiting - 15.0
Talc - 9.5
Custer - 41.5
EPK - 16.0
Silica 18.0
Total - 105.0
Ratio - 7.66
Expansion - 479.88
Rons revision to raise expansion.
Whiting - 21.0
Talc - 1.5
Custer - 51.5
EPK - 12.0
Silica 14.0
Total - 105.0
Ratio - 7.13
Expansion - 579.95
RR
>----------------------------Original message----------------------------
>Tom,
> As an ex-professional just learning pottery I've probably spent more
>time in the last two years on glaze devellpment than throwing. It's a
>complex, challenging subject. Have you studied glaze formulaion? As
>bright as you are, I'm sure you have. It will save you a lot of time in
the
>long run, though it's time consuming to start.
> Last month I switched to cone 10, so like you, I'm searching out new
>glazes. I needed a liner white glaze for some mugs I wanted to take to
>Denver, so I came up with this one. I think you should remember, your
>mileage will vary, test it first, it may not fit, etc, etc! Good glazing!
> Dave Finkelnburg in sunny southern Idaho
>
>test white, c10, 3/17/00
>
> WHITING............. 16.00
> TALC................ 10.00
> CUSTER FELDSPAR...45.00
> EPK KAOLIN.......... 17.00
>SILICA 20.00
> ZIRCOPAX............ 5.00
> ========
> 113.00
Ron Roy
93 Pegasus Trail
Scarborough
Ontario, Canada
M1G 3N8
Evenings 416-439-2621
Fax 416-438-7849
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