Clay/Glaze Descriptions
Glazes
Considering that we are working with a firing process that enhances the pieces to a degree that provides depth and varation of surface that is beyond our expectation in many cases...we, for the most part, use traditional glazes...shino, temoku, celadon and, most currently, a copper carb Oribe...this one creates amazing fuming on porcelaneous stoneware an porcelain. About 2/3 of the pieces in each firing are armed with only a liner glaze...a practice that has encouraged focused firings that rely on firing technique, experience and familiarity...not an easy path...but a satisfying one ;)
Val Cushing Celadon: This is a glaze that performs well in the Pyranhagama...especially on porcelain. Buttery where it is cool (^9-10)..that's how I find it to be most pleasing. I have noticed that with the extended firings of the recent past, the glaze pooled a bit in bowls. Responds nicely to ash with golden hues.
Revised Wirt Shino: This is the original American Shino, devised at the University of Minnesota.
I found the response to ash and anagama firing to be brilliant immediately...although shivering was an initial problem. The feldspar was increased by 5% from the original...no problems since. Also works well applied thin so as to attract ash accumulation. I use this on the interior of porcelain bowls especially, the glaze will often break from a cream to grey and hints of purplish magenta.
Oestreich Temoku: This glaze absolutely loves the wood-firing process. On stoneware it can go completely metallic along with turning rust red. On porcelain, the color range goes from standard shiny black to clear, yellow and red...greens and yellows show up once in a while too Use for a liner in small pieces...tends to pool in large bowls.
Green Oribe: A new glaze that has show itself to be a fume and flash catalyst. A large glove was recently placed in the top center of the Pyranhagama and gold and copper glashing complimented chocolate orange flashing patterns...so exciting! Responds well to ash, producing a range from grey to muted green with golden crystals and so much more...best with direct ash accumulations
Clays
I use a hawthorn fireclay and goldart clay body...a fireclay along with a porcelaneous stoneware and grolleg porcelain. An endless variety of surface effects spring from these three clay bodies...stack pattern, wood condition and type, weather, temps...atmosphere and more all play influential roles in the final outcome of each firing...keeping the clays and glazes simple, for me, allows for the ash and flame to have a lead role in the fired surface.
Considering that we are working with a firing process that enhances the pieces to a degree that provides depth and varation of surface that is beyond our expectation in many cases...we, for the most part, use traditional glazes...shino, temoku, celadon and, most currently, a copper carb Oribe...this one creates amazing fuming on porcelaneous stoneware an porcelain. About 2/3 of the pieces in each firing are armed with only a liner glaze...a practice that has encouraged focused firings that rely on firing technique, experience and familiarity...not an easy path...but a satisfying one ;)
Val Cushing Celadon: This is a glaze that performs well in the Pyranhagama...especially on porcelain. Buttery where it is cool (^9-10)..that's how I find it to be most pleasing. I have noticed that with the extended firings of the recent past, the glaze pooled a bit in bowls. Responds nicely to ash with golden hues.
Revised Wirt Shino: This is the original American Shino, devised at the University of Minnesota.
I found the response to ash and anagama firing to be brilliant immediately...although shivering was an initial problem. The feldspar was increased by 5% from the original...no problems since. Also works well applied thin so as to attract ash accumulation. I use this on the interior of porcelain bowls especially, the glaze will often break from a cream to grey and hints of purplish magenta.
Oestreich Temoku: This glaze absolutely loves the wood-firing process. On stoneware it can go completely metallic along with turning rust red. On porcelain, the color range goes from standard shiny black to clear, yellow and red...greens and yellows show up once in a while too Use for a liner in small pieces...tends to pool in large bowls.
Green Oribe: A new glaze that has show itself to be a fume and flash catalyst. A large glove was recently placed in the top center of the Pyranhagama and gold and copper glashing complimented chocolate orange flashing patterns...so exciting! Responds well to ash, producing a range from grey to muted green with golden crystals and so much more...best with direct ash accumulations
Clays
I use a hawthorn fireclay and goldart clay body...a fireclay along with a porcelaneous stoneware and grolleg porcelain. An endless variety of surface effects spring from these three clay bodies...stack pattern, wood condition and type, weather, temps...atmosphere and more all play influential roles in the final outcome of each firing...keeping the clays and glazes simple, for me, allows for the ash and flame to have a lead role in the fired surface.