A beautiful documentary on an amazing Potter in an amazing place.
Yunomi Stand by Matt Fiske
An interesting view of my most recent round of test glazes. Each Oil Spot variation was dipped in porcelain and red stoneware with the red stoneware tiles shown. The firing was: 10 hr oxidation to Cone 7, 2hr oxidation slow climb to Cone 8, 3 hr slow climb to cone 10, 1 hour oxidation hold @ cone 10. The results were pretty cool, and under magnification they had just the right amount of galactic goodness. The pictures were taken with a USB digital microscope! Magnification is about 30-40x
For the longest time I’ve wanted to try firing oil spot glazes, and after a bit of research it was pretty satisfying to make it happen. I decided to begin by concentrating on black, single glaze variations – the recipes of which came from a number of sources, mainly John Britt’s ebook and Complete Guide to High Fire glazes, a few from Michael Bailey’s Oriental Glazes, and a couple from Hopper’s The Ceramic Spectrum. The next step is to start zeroing in on some of the more spectacular variations and then start changing up the recipes and the firing schedules for maximum effect. Enjoy!
Taken in 2007 during my studies in Jingdezhen, China. This thrower uses the traditional gaolin china clay. I drew a picture of a large round vase with a small neck and then he proceeded to make exactly what I drew while also making the clay do some truly remarkable things!
In an efferot to further explore the different variations of Iron Oxide, Ilmenite, and Rutile – I’ve run a series of tests substituting Red Iron Oxide, for other oxides available in my lab. It was a pretty good series, although on some of the oxides, I overshot the ideal % and on a few I think it could be more.
Notice the 12% addition of Earthenware clays in 8,9, and 10 produce some pretty nice Celadon glazes!