Hare's fur/pheasant feather/oil spot Tenmoku
BTripper
these amazing glazes. I've tried the Carolina site, and the SDSU site without
producing anything.
Thanks.
Mishy Lowe
BTripper wrote:
Seems like I've seen oilspot Tenmoku recipes over at the SDSU site in the
database.
Hare's fur glazes are a white glaze over a tenmoku where the tenmoku bubbles
through, it's a wonderful effect.
I have some recipes here somewhere but no time to type them in right now, I'll try
to get to them soon.
Email me to remind me ;-)
--
Michelle Lowe, potter in the Phoenix desert \|/ |
mish...@indirect.com -O- | |
mish...@aztec.asu.edu /|\ | | |
|_|_|
____ |
http://www.amug.org/~mishlowe -\ /-----|-----
( )
<__>
BTripper
>Seems like I've seen oilspot Tenmoku recipes over at the SDSU site in the
>database.
>Hare's fur glazes are a white glaze over a tenmoku where the tenmoku bubbles
>through, it's a wonderful effect.
>I have some recipes here somewhere but no time to type them in right now,
>I'll try
>to get to them soon.
>Email me to remind me ;-)
Thank you for responding. The white glaze over the tenmoku, is it a white like
Yanigahara white? I'm excited to try out some of these things. I'm so new at
pottery, but enjoy everything I learn about Chinese and Japanese pottery. Hope
you'll have time soon to send me some of the recipes you mentioned.
Thanks again.
Bruce Triplett
Mishy Lowe
BTripper wrote:
>
> Thank you for responding. The white glaze over the tenmoku, is it a white like
> Yanigahara white?
I don't know that glaze but I would suggest trying this- dip a pot in your favorite
iron saturate glaze (Tenmoku) let it dry, then dip the top 1/3 or so in any white
glaze you use. Watch out about having it too near the bottom of the pot, because
it becomes very active and can run a bit. Inside bowls can be very effective.
> I'm excited to try out some of these things.
Here is an oil-spot temmoku recipe from the CeramicsWeb clayart glaze database, I
have tested this glaze with beautiful results-
Glaze Name: Yuteki (Oilspot) Tenmoku
cone: 9 - 10
color:
surface:
firing:Untested
date: 4/21/95
recipe:
64.67 Potash Feldspar
24.88 Silica
5.47 Whiting
4.98 Talc
100.00 % Totals:
Also add:
7.96 Red Iron Oxide
1.99 Cobalt Oxide
> I'm so new at
> pottery, but enjoy everything I learn about Chinese and Japanese pottery. Hope
> you'll have time soon to send me some of the recipes you mentioned.
>
For Hare's Fur try this white over the oilspot above- (or just use your own white
glazes, it's likely they will work)...
White Liner
20 Custer Spar
20 F-4 Spar
20 Whiting
10 EPK
30 Flint
10 Zircopax
2 Bentonite
Stephen Mills
Are these Electric or Reduction glazes?
Steve
Bath
UK
In article <36DEB69C...@indirect.com>, Mishy Lowe
<mish...@indirect.com> writes
--
Steve Mills
steve...@mudslinger.demon.co.uk
Mishy Lowe
white liner will work in oxidation or reduction. Both are cone 9-10...
Mishy
Stephen Mills wrote:
--
Kevin Hulmes
In article <36DD78EF...@indirect.com>, Mishy Lowe
<mish...@indirect.com> writes
>Hare's fur glazes are a white glaze over a tenmoku where the tenmoku bubbles
>through, it's a wonderful effect.
I agree that what you describe is a very effective and attractive glaze,
but my understanding (confirmed by reference to Grebanier, Hamer &
Hamer, Nigel Wood and others) is that genuine Hare's Fur is a variety of
Tenmoku as seen in Chinese Chien ware.
And Bruce, did you get the wrong game bird? I think you mean Partridge
Feather!
These "special effect" glazes are said to be brought about by bubbles
disturbing the natural layering of the molten high iron glaze. I suggest
you get the following books out of the library for a detailed
description and recipes ...
Chinese Stoneware Glazes - Joseph Grebanier - Watson-Guphill
ISBN 0-8230-0625-5
Oriental Glazes - Nigel Wood - Pitman
ISBN 0 273 01102 2 (hardback); 0 273 01056 5 (paperback)
You didn't say how you fired, and these glazes traditionally are High
fired reduction (cone 10/11), though there are some oxidation versions
around. Greg Daly's book includes a cone 8/9 oxidation Oil Spot, and
Cooper's book "Potter's Book of Glaze Recipes" (ISBN 0 7134 1997 0)
includes a cone 5 "Hare's Fur Effect" glaze:
Standard Borax Frit (Ferro 3134) 85
China Clay 15
Red Iron Oxide 10
Mishy, I'd like to take this opportunity to thank you for the many, many
contributions you have made to the international pottery community
through this newsgroup, through Clayart, and through your Web site. Your
generosity is greatly appreciated!
.... Kevin
--
Kevin Hulmes
Mishy Lowe
Kevin Hulmes wrote:
> Mishy,
>
> In article <36DD78EF...@indirect.com>, Mishy Lowe
> <mish...@indirect.com> writes
> >Hare's fur glazes are a white glaze over a tenmoku where the tenmoku bubbles
> >through, it's a wonderful effect.
>
> I agree that what you describe is a very effective and attractive glaze,
> but my understanding (confirmed by reference to Grebanier, Hamer &
> Hamer, Nigel Wood and others) is that genuine Hare's Fur is a variety of
> Tenmoku as seen in Chinese Chien ware.
Ah, thanks for the correction, I was not familiar with the traditional Hare's Fur
glaze.
> Mishy, I'd like to take this opportunity to thank you for the many, many
> contributions you have made to the international pottery community
> through this newsgroup, through Clayart, and through your Web site. Your
> generosity is greatly appreciated!
Well thank you Kevin! I enjoy participating...and now I have a question for
you...
Could you possibly find a cone 10 reduction Hare's fur recipe to post for us
here? I would love to give it a test in my upcoming glaze firing next week....
I would be ever so grateful!
Thanks again,
Mishy
Kevin Hulmes
>Could you possibly find a cone 10 reduction Hare's fur recipe to post for us
>here? I would love to give it a test in my upcoming glaze firing next week....
>I would be ever so grateful!
My pleasure, Mishy.
First, a warning! Hare's Fur and related glazes owe their effect to
bubbling while running, pulling the minute bubbles down in fine lines.
They run thin at the rim, and collect at the lower glaze margin in a
sort of roll, so it's a good idea not to dip all the way down. They run
off altogether if the temperature's too high or if applied too thickly,
and if allowed to pool in a bowl they're not attractive. Too thin, and
they look like varnish. They remain dull and boring below 2300dF.
Without reduction, you get a Tenmoku.
Grebanier uses "Red Slate Powder" from Granville, New York. If you have
access to it, I'll send you his recipes.
Herbert Sanders claims that you can make them by making an Oil Spot
glaze more fluid, by increasing the flux.
Nigel Wood worked on the analysis of a number of fine Chinese glazes and
developed recipes to imitate them. This is one of them.....
"In a 1280dC (2336dF) reduction firing, this glaze produced a fine
"Hare's Fur" Tenmoku of the South Chinese or Chien type."
Cornish Stone 42.5
BBV Ball Clay 15.0
Molochite (dust) 13.0 (or non-calcined China Clay 15.0)
Dolomite 15.5
Silica 7.0
Red Iron Oxide 4.5
Rutile 0.5
Mishy, I've never fired a Hare's Fur or Partridge Feather glaze, so the
above is NOT from experience (I just read a lot!). Good luck with it.
I'll be interested in your results!
If I can ever help with anything else. Please let me know.