Tuesday, September 14, 2010

Shino, Shino, Shino

Apparently they say every potter has their dalliance with Shino. And why not? The mysterious glaze is both stable and reliable, yet beautiful and somewhat unpredictable. You can be reasonably certain it won't run, but you never know exactly how it will look. Will it be white? Will it be orange? Will it have carbon trapping? And it's easily decorated with iron oxide, or with gosu slip underneath.

I've been making a lot of work in the past month or so, and glazing most of it with a Shino recipe that I modified. I honestly can't recall where I got the original recipe, but I've went and added a little more silica and a little less bentonite to reduce the crazing, and a tiny bit more EPK and a tiny bit less OM4 to make it more white and less orange. We'll see what happens after the next firing...


  1. Thanks for the response on the other post!
    I'm interested in seeing the results!
    Also wondering how boosting the kaolin and backing off on the ball clay affects the color.
    I always thought the orange came from the spod.
    Oh, and I like the gloss.
    Nice work.

  2. According to John Britt's book, there is iron oxide in the 0M4 ball clay, and none in the kaolin, so even though there is still iron in the spodumene, there should be less overall. There seems to be plenty in the clay body I use (Standard 153) so I still expect some orange.