gwen olson on mon 27 oct 03
Hello! I'm new, all the way around, and I have a
question about mixing Mason Stains with slip and
applying it to my pottery. Should I go ahead and
apply the stained slip to the pots in the greenware
stage, fire to a bisque, and then glaze with clear and
high fire? Is the clear glaze still necessary for
Thank you so much for your help. :)
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Lois Ruben Aronow on mon 27 oct 03
It is best to apply the slip to greenware, as it can then shrink with
the pot in the bisque.
Clear glaze is a necessity for functional work, regardless of how
vitreous your clay body becomes. You can go for an eggshell or matte
finish - doesn't have to be glossy.
Do some tests with the clear glaze over the slip-covered bisque.
Different glazes might give you different results. Some might get
cloudy with the slip. Testing is always a good idea anyhow.
Lois Ruben Aronow
Modern Porcelain and Tableware
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Snail Scott on tue 28 oct 03
At 07:58 AM 10/27/03 -0800, you wrote:
>Hello! I'm new, all the way around, and I have a
>question about mixing Mason Stains with slip and
>applying it to my pottery. Should I go ahead and
>apply the stained slip to the pots in the greenware
>stage, fire to a bisque, and then glaze with clear and
>high fire? Is the clear glaze still necessary for
This is one popular option. Some sort of glaze is
pretty much necessary for functional pottery, at
least on the food-contact surfaces, and applying
it after bisque is more common that one-shot firing
(glazing while green). Don't restrict yourself to
just clear glaze, though. Interesting effects can
result from applying colored (but still transparent)
glazes over colored and/or patterned slips.
Lee Love on wed 29 oct 03
At 02:43 2003/10/29, you wrote:
>This is one popular option. Some sort of glaze is
>pretty much necessary for functional pottery, at
>least on the food-contact surfaces,
No, glaze is not mandatory on vitreous functional ware. It is
often not present in traditional wood fired work.
At my teacher's kiln, Tatsuzo Shimaoka, his work in the
firemouth and in the yohen chambers have no glaze applied to the
pot. Shigaraki clay is used. The only glazing present is from flyash, and
you don't always get much of this on the inside of pots, especially in the
yohen chamber and things like tea bowls that are sometimes fired upside
down on shells. The temperatures are such that the surfaces
seal. This is actually safer than an unvitreous clay body with a
glaze. It is an advantage of much high fire work.
My Australian Sempai (senior student of the same teacher) fires
much of his ware without glaze. His clay is a mixture of porcelain and
mashiko nami tsuchi. His clay has a smooth, shiny surface after it is fired.
With my Shigaraki ware, I sometimes glaze on the inside and
sometimes don't. Primarily, it is an aesthetic choice.
Lee In Mashiko, Japan