As someone with no interest in having to go to some stupid art store or pottery website this is super useful. You have no idea how long I spent looking at websites trying to find a single glaze that didn't require exotic chemicals from pottery shop dot something. It's like bitch please mud bowls are the earliest tech humans made 150,000 years ago surely we had glazes before pottery shop dot something existed.
I subscribed immediately when you talked about using local found materials for glazes. I too am from the resourcefulness tribe (though only just beginning to learn how to throw pottery).
I made something like this today. 75% local clay, 25% mixed wood ash. Sadly my kiln was not hot enough to melt it though at 1000 C. I am not sure if I can manage 1300 C so will look for lower firing temperature glazes.
That's a brutal insult. The guy who pisses and shits in his own hands for fun and a creepy guy who only plays one character, Marky Mark, in every show he's cast in? Yeah, brutal dude.
Dear Simon, I wish you lived in Ohio where 90% of the materials you need to make Δ10 stoneware and dozens of natural Δ10 glazes are located right in your back yard. The book by Harry David "A Potter's Alternative" and also your videos have inspired me to be as self reliant as possible. Being self reliant is thoroughly enjoyable, and also gives me a greater understanding of the science in pottery.
The recipe is for red clay that is because it melts at high temp and has iron in it which helps it melt and gives it colour. Red terracotta clay is available from most clay suppliers. Dry it out before weighing with the ash. Farmers know where to find red clay ! it is pretty much everywhere.
So how'd you all get the ash glaze to melt? You all have kilns? I really have a hard time trying to translate what fluxes are into my language, let alone getting some, but I gather it's for lowering the temperatures at which the glazes melt... Sooooooo... I dont have a kiln... Can anyone recommend me a flux that can be sourced from natrue (Eastern Europe) around the world?
Simon, on the contrary, you are not a lazy potter, I feel you have just made some compinsations to work everything all in to date! Now you are stretching out a bit and helping us all to do the same! Thank you Just got back from camping on the Cashe La Poudre River, in Colorado Mntn's threw several pots up there while the weather was nice. We out ran the 8+ Tornado's on Thursday last, many of which took out part of a town not far away from us! Prayers to all in Windsor CO Many Thanks Simon!!!
I love experimenting with glazes! I'm afraid I get a bit hampered by the 'science' of it though. Without knowing what the clay is made of, how do you know it's going to contain enough flux material to melt the glaze? Just curious - looks like fun! :)
I have been experimenting with ash glazes for many years and had many many total failures and yet half a dozen wonderful results. Ain't it the name of the game? I only just came across your 75 to 25 part iron-bearing local clay and almond wood ash. I will never cease to be fascinated by the main result from wood ash being dependant largely on the type of wood and also where it has grown and also the proportions of the formula. Thanks for your formula, can't wait to try it out. Peter NZ.
So....what next?...oxidation...reduction?...what does fired glaze object look like etc?No one hardly ever posts finished pot regardless of instruction...weird!?
Excellent. I've been testing some Ash glazes lately. I'm useing my local Eucalyptus trees. Also the local clay. Thanks for the book ref. Cheers, Andrew.
Hi Simon, I have been using an ash glaze from Amaco that has ash from Pompei. It also contains a lot of cobalt. It produces a nice effect, but I like using in conjunction with other glazes. Have fun! Janice
Do you ball mill your raw materials? I've started using wood ash and find that upon application the particles to be very coarse even after it's been screened. Maybe try a finer mesh.
How much water do you add, also I have some local dug clay from my old homestead that is basically straight kaolin, would this be good to use in this recipe?
The "Illustrated Dictionary of Practical Pottery" by Robert Fournier, recommends a "ball mill" for milling your grit into usable form. Michael Cardew's book, "Pioneer Pottery" has an appendix on ball mills. It's basically a rock polisher type cylinder which tumbles your "charge" with a "grinding medium" consisting of flint pebbles, or porcelain balls. Harry Fraser, describes a much faster technology, the "vibratory mill" in his book, "Glazes for the Craft Potter"
Take copper filings and add a little water and wait for it to go blue/green, I think a weak acid like vinegar could speed up the process as might a weak electrical current. But yeah, copper oxide is copper rust.
I have local clay dug from where I grew up. I was lucky enough to meet someone with the Army eng. that offered to test it for me and found that it was primarily kaolin with very little other additives. It has a lovely lavender color that they could not determine the source of. I'm going to try this with it, will be very interesting to see if the natural color of the clay imparts anything to the glaze! Thanks for sharing!
Debi Lane Amazing ! i've spent this year in the rainforest in Qld australia and the tributary im camped on has a huge mound of lavender colored clay, when it's fired it turns a very beautiful dark brown or a lighter brown depending on the temper. its amazing to work with, it smells beautiful and it's basically faultless, is yours that color in the ground ?
@@zwigoma2 aha !! I have a local (South-east West Oz) deposit of lavender clay that fires to a fresh straw colour. Does yours have a "greasy" or "silky" feel to it, when it's raw ? High Kaolin, you reckon ? Mine's good on the wheel, eh.
We have a red clay locally in Dorset that I've been told is suitable as a terracotta - it bisque fired fine. Do you think might work in this recipe? I also have access to a large quantity of mixed wood ash so I might give this glaze a go. I like the look of the test piece you did, it'd be nice to get more of a close up. I'll be watching these videos of glazes from local materials with great interest. Thanks.
Ok - one more question then if you have time.:) I'm still learning about mixing glazes and their components. What would be the difference between this glaze and an engobe?
Hi Simon. Thanks for sharing. I look forward to what you will be up to next! I assume this glaze will be fired to cone 10? Do you know if a glaze like this would be suitable for firing to cone 6 oxidation? Im sure the result would be different? Thanks, Sue.
Hello from the Yukon once again....was pleased to see your clip on making glaze from local materials. We have many different natural deposits in the Territory...volcanic ash, glacial silt, calcium carbonate..as a mining community copper, nickel, zinc..lots to experiment with which has been my passion every since moving here some 36 yrs ago...cheers...thanks for sharing..someday if I ever get to Spain !!??
Oh... this video is so much in line with the kind of potter I want to become. I just wish I could know what substance gives what color, at least indicatively. Where are these lots of books about it you talk about? I haven't had much luck so far. Please give us a few titles.
Do you think that this would work on a Cone 6 stoneware if I were to use a local terracotta? I also have a local lead colored clay too. I am making some chestnut, butternut and locust ash to test for my locavore glazes. I am just starting to fire and glaze my own work so I find the technical stuff difficult to predict. Any help would be appreciated about proper melting at cone 6. Thank you
Хобби
As someone with no interest in having to go to some stupid art store or pottery website this is super useful. You have no idea how long I spent looking at websites trying to find a single glaze that didn't require exotic chemicals from pottery shop dot something. It's like bitch please mud bowls are the earliest tech humans made 150,000 years ago surely we had glazes before pottery shop dot something existed.
I subscribed immediately when you talked about using local found materials for glazes. I too am from the resourcefulness tribe (though only just beginning to learn how to throw pottery).
Same here, that hit me hard too.
I was wondering where you got to, with pottery?
I made something like this today. 75% local clay, 25% mixed wood ash. Sadly my kiln was not hot enough to melt it though at 1000 C. I am not sure if I can manage 1300 C so will look for lower firing temperature glazes.
You look like a mix between Ron Perlman and Mark Wahlberg.
The 8 Bit Guy 😂😂
@@guntherhuemer1767 Better than "6 bits"!
That's a brutal insult. The guy who pisses and shits in his own hands for fun and a creepy guy who only plays one character, Marky Mark, in every show he's cast in? Yeah, brutal dude.
Dear Simon, I wish you lived in Ohio where 90% of the materials you need to make Δ10 stoneware and dozens of natural Δ10 glazes are located right in your back yard.
The book by Harry David "A Potter's Alternative" and also your videos have inspired me to be as self reliant as possible. Being self reliant is thoroughly enjoyable, and also gives me a greater understanding of the science in pottery.
Any reasonable person could assume that double penetration is always libertarian capitalist propaganda.
My line blend is going in the kiln on tuesday :D
Can't wait to see your results on a pot
The recipe is for red clay that is because it melts at high temp and has iron in it which helps it melt and gives it colour. Red terracotta clay is available from most clay suppliers. Dry it out before weighing with the ash. Farmers know where to find red clay ! it is pretty much everywhere.
If it's right out of the ground it can be green in color.
Very interesting. I just found a 'Leach White'. I assume that is from your family, Simon? Any experience with that one?
So how'd you all get the ash glaze to melt? You all have kilns? I really have a hard time trying to translate what fluxes are into my language, let alone getting some, but I gather it's for lowering the temperatures at which the glazes melt... Sooooooo... I dont have a kiln... Can anyone recommend me a flux that can be sourced from natrue (Eastern Europe) around the world?
Simon, on the contrary,
you are not a lazy potter, I feel you have just made some compinsations to work everything all in to date! Now you are stretching out a bit and helping us all to do the same! Thank you
Just got back from camping on the Cashe La Poudre River, in Colorado Mntn's threw several pots up there while the weather was nice. We out ran the 8+ Tornado's on Thursday last, many of which took out part of a town not far away from us! Prayers to all in Windsor CO
Many Thanks Simon!!!
........come to the point..........think i have to find an other video
Could this type of glaze be used in functional ware?
Hi Simon. Do you bisque fire first. Thankyou
Get your premium sifted wood ash at mrdirtfarmer.com
I love experimenting with glazes! I'm afraid I get a bit hampered by the 'science' of it though. Without knowing what the clay is made of, how do you know it's going to contain enough flux material to melt the glaze? Just curious - looks like fun! :)
Thank you for this! I am inspired... now to find some native red clay.....
I have been experimenting with ash glazes for many years and had many many total failures and yet half a dozen wonderful results. Ain't it the name of the game?
I only just came across your 75 to 25 part iron-bearing local clay and almond wood ash. I will never cease to be fascinated by the main result from wood ash being dependant largely on the type of wood and also where it has grown and also the proportions of the formula.
Thanks for your formula, can't wait to try it out. Peter NZ.
How many degrees need to fires on ash glazes.
Can i glaze earthware clay with ash glaze
Does it have to be red iron oxide clay? And what to do if in one's local area, only clays that are not red exist? Does this make a difference?
Simon there is a wonderful book called 'Glazes from Natural Sources' by Brian Sutherland, I urge you to look it up, you won't regret it.
Great tip ! Thank you
Thank you for this! I have been burning wild rose bushes lately, now I am going to sift and save it for my next pottery project.
So....what next?...oxidation...reduction?...what does fired glaze object look like etc?No one hardly ever posts finished pot regardless of instruction...weird!?
Excellent.
I've been testing some Ash glazes lately. I'm useing my local Eucalyptus trees. Also the local clay. Thanks for the book ref.
Cheers, Andrew.
What firing temperature for this simple glaze?
Hi Simon,
I have been using an ash glaze from Amaco that has ash from Pompei. It also contains a lot of cobalt. It produces a nice effect, but I like using in conjunction with other glazes. Have fun! Janice
leweeja66 j
Do you ball mill your raw materials? I've started using wood ash and find that upon application the particles to be very coarse even after it's been screened. Maybe try a finer mesh.
Beautiful work. I have question did the ash glaze make pottery waterproof (I have 0 experience in ash glaze)
How much water do you add, also I have some local dug clay from my old homestead that is basically straight kaolin, would this be good to use in this recipe?
The "Illustrated Dictionary of Practical Pottery" by Robert Fournier, recommends a "ball mill" for milling your grit into usable form.
Michael Cardew's book, "Pioneer Pottery" has an appendix on ball mills. It's basically a rock polisher type cylinder which tumbles your "charge" with a "grinding medium" consisting of flint pebbles, or porcelain balls.
Harry Fraser, describes a much faster technology, the "vibratory mill" in his book, "Glazes for the Craft Potter"
Very nice. Do you know how process raw cooper for coope oxyde and make glze from it?
Take copper filings and add a little water and wait for it to go blue/green, I think a weak acid like vinegar could speed up the process as might a weak electrical current. But yeah, copper oxide is copper rust.
Thks will try it soon. This friday I will try firt time coking in home made anagama kiln, in Ibague Tolima Colombia.
ARMOR LEBIHAN can you English tho
I have local clay dug from where I grew up. I was lucky enough to meet someone with the Army eng. that offered to test it for me and found that it was primarily kaolin with very little other additives. It has a lovely lavender color that they could not determine the source of. I'm going to try this with it, will be very interesting to see if the natural color of the clay imparts anything to the glaze! Thanks for sharing!
Debi Lane Amazing ! i've spent this year in the rainforest in Qld australia and the tributary im camped on has a huge mound of lavender colored clay, when it's fired it turns a very beautiful dark brown or a lighter brown depending on the temper. its amazing to work with, it smells beautiful and it's basically faultless, is yours that color in the ground ?
@@zwigoma2 aha !!
I have a local (South-east West Oz) deposit of lavender clay that fires to a fresh straw colour. Does yours have a "greasy" or "silky" feel to it, when it's raw ?
High Kaolin, you reckon ?
Mine's good on the wheel, eh.
The lavender may come from manganese... I've a deposit that's a rather faded lav' hue.
@@residentenigma7141 That's kind of what mine looks like. I have used manganese as a wash before but it renders a dark brown not lavender though.
We have a red clay locally in Dorset that I've been told is suitable as a terracotta - it bisque fired fine. Do you think might work in this recipe? I also have access to a large quantity of mixed wood ash so I might give this glaze a go. I like the look of the test piece you did, it'd be nice to get more of a close up. I'll be watching these videos of glazes from local materials with great interest. Thanks.
could we use a cone 10 store bought clay body for this glaze as well?
If so I will check it out.
Thank you.
Liam
Ok - one more question then if you have time.:) I'm still learning about mixing glazes and their components. What would be the difference between this glaze and an engobe?
Hi Simon. Thanks for sharing. I look forward to what you will be up to next! I assume this glaze will be fired to cone 10? Do you know if a glaze like this would be suitable for firing to cone 6 oxidation? Im sure the result would be different? Thanks, Sue.
Hello from the Yukon once again....was pleased to see your clip on making glaze from local materials. We have many different natural deposits in the Territory...volcanic ash, glacial silt, calcium carbonate..as a mining community copper, nickel, zinc..lots to experiment with which has been my passion every since moving here some 36 yrs ago...cheers...thanks for sharing..someday if I ever get to Spain !!??
Hey Simon,
was the red clay that you were mixing in with the ash a cone 10 clay or was it a low fire clay?
thank you
Liam
Oh... this video is so much in line with the kind of potter I want to become. I just wish I could know what substance gives what color, at least indicatively. Where are these lots of books about it you talk about? I haven't had much luck so far. Please give us a few titles.
you look like kind man and you make beautiful every thing
helooo master
could you please tell us abaut the appropriate temperature for this glaze ?
thanks a lot !
How does the ash glaze turn out in an oxidation kiln?
Thank you for the helpful information. I appreciate the glaze composition lesson.
THANK YOU THANK YOU THANK YOU! I love your style.
Is this glaze food safe
Yes it is food safe at high temperature, stoneware.
Would this work on cookware?
Love the scales ❤
he wasn't even drinking water !!!!!!!!!!!
Thanks for such a great video I am really impressed
But for howlong you have to soak it before final baking? That is one info i could not find:(
well done
Never too late to experiment !
Thanks.
V informative. Thank you.
Do you think that this would work on a Cone 6 stoneware if I were to use a local terracotta?
I also have a local lead colored clay too.
I am making some chestnut, butternut and locust ash to test for my locavore glazes.
I am just starting to fire and glaze my own work so I find the technical stuff difficult to predict. Any help would be appreciated about proper melting at cone 6.
Thank you