New Shino Mugs

Shino glazes were speculated to have been developed in the late 16th century in Japan. The formulas we use today have to take into account the materials we have access to today, but the glaze characteristics are very similar to those historical shino glazes.

Shinos certainly aren't everyone's cup of tea. They have a more rustic, almost primitive or primal quality that evokes a sense of the materials from the earth that comprise the glaze. I also incorporate a few application techniques and other glazes that produce the results that I like.

Consider a commercial coffee mug that's glazed with a solid color. The glaze on that mug is highly refined and predictable, making it look exactly like the others. Shinos allow for variations and unique, one-of-a-kind characteristics, which is also a great way to enhance the wheelthrown, handmade nature of my pottery work.

Color

I'm working with a handful of different colored slips for this project, mixing the colors together much like paint with the knowledge that the fired color will be different than what I see here. Colors change in the kiln as the slips (or glazes) are fused or melted, depending on the ingredients of the slips or glazes in question, so I'm mixing and applying the colored slips with that in mind. The temperature will also influence the color, as well as the texture or sheen. The bisque firing takes place at around 1860 degrees, while the final firing I intend will be even hotter, meaning, the slips will deepen or become somewhat richer still.

That said, here are a few photos of the dragon platter after the application of various colored slips using a few different techniques, all of which incorporate a brush.

Once bisque fired, I'll apply several other engobes, overglazes, and washes before the final firing, after which, I'll also enhance the piece with oil paints to achieve the look I'm intending. This is a sculptural piece as opposed to a functional piece, so it's not necessary that the entire surface treatment be fired on, though the permanency of that is somewhat appealing.

More progress to come.

Developing a Slipped Surface

Slip is basically liquid clay. In this case, a specific formula of ceramic materials I've chosen for their specific properties. I've decided to color this first coat of slip with a specific ratio of  iron oxide and cobalt carbonate for a dark reddish brown once it's fired. The consistency of my slip is like buttermilk for this particular application. I'll lay on a variety of other colored slips over this, as well, not unlike the way I do an underpainting when I'm oil painting.

Dragon Platter Sculpting Complete

Photos of the completed claywork.

Now I'll begin developing the surface with colored slips.

Small Shino Serving Dish

A definite shino shiner in my book. Porcelain w/shino glaze with other glazes on top, as well as a sprinkle here and there of wood ash. Shinos are such interesting glazes, especially in reduction (gas or wood) firing. They have the potential for so much variation, both in color and texture - all in the same glaze on the same pot.

To illustrate my point about variability, the burnt-orange color inside of the dish and the whitish rim seen below are the exact same shino glaze. This is where ceramics is like jazz. Those who aren't into it won't think much about it, while those who dig it, REALLY dig it. Control freak that I am with the clay and my forms, I love letting the glaze and the fire do its thing on top.

New Vases in Progress

Two of the new vase forms I'm working on. The first photos show the bare clay pieces and the last photos show these vases covered in a white slip. I like to use a slip that's formulated not only to make glaze colors brighter (like on porcelain), but help the glazes melt out just a touch more than if they were on the bare stoneware. I'll post more photos of these once they've been glaze fired.

Lidded Casserole

With a copper red glaze and a thrown knob.

Here's the casserole prior to bisque firing: