my textures

White flowing on black sandstone

flowing white
White flowing on black sandstone

Here are some examples of pieces made with this enamel:

At the beginning of this research, the flowing aspect obtained was not the aspect we were looking for. But, as in many researches, one finds but not necessarily what one was looking for. Initially, I wanted to get a coarse crackle glaze that could resemble the one I had developed for raku. As below:

big crack raku

To try to find this aspect, my starting point was my raku recipe. A recipe for which I did not know the composition of certain components. It was difficult in this case to refer to the fusion diagrams. I decided to vary the proportions of the components of this recipe to try to reach a melting point corresponding to that of the stoneware. A similar effect was obtained but further experimentation will be necessary and will perhaps be the subject of a future article. During these tests, I also obtained a flowing glaze showing brown shades, in addition to the white, more or less marked depending on the thickness of the glaze layer (see the central test below).

white flowing enamel on black stoneware 1

The appearance of bubbles leads me to apply the same formulas but with doubled quantities, and here is the result:

white flowing enamel on black stoneware 2

My final choice is the central essay!

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my textures

Tenmoku

tenmoku

Here are some examples of realizations with this enamel:

Being very interested in ash-based work, I had set myself the goal of finding a recipe for Tenmoku (black glaze with a high concentration of iron oxide) to work on ash-based glazes overlays.

With the help of Daniel de Montmollin 's book "Pratique des émaux 1300°C", I decided to start researching diagram 33. I made my first test tubes, going through the diagram and varying the concentrations of iron oxide. Here's what I get: (the red dot near the sample indicates the one selected for further research)


here in zoom

On the sample, red spots appear. I hypothesize that this is due to the thickness of the enamel, which is thinner in this area. So, to test the hypothesis, I take the formula of this sample and double the quantity of enamel deposited on the test tube.

tenmoku close-up

I then proceeded to a finer test of the iron oxide concentration:


tenmoku % iron

The last test tube (bottom right) corresponds to the concentration used in the previous tests. From this result, I deduce that the concentration used during the first tests is satisfactory to make my Tenmoku.

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my textures

white enamel on Tenmoku

white enamel on tenmoku

Here are some pieces with this enamel:

Some discoveries appear after many hours of research and discouragement, while others, like this one, are due to chance or luck. The story behind this glaze is simple: I had developed a flowing white glaze that I applied to black stoneware. I said to myself: "Let's try this glaze superimposed on the tenmoku". and the result was as follows:


white enamel on tenmoku

"Yes it's not fair you'll tell me, but that's the way it is!"

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