Do you Raku? Ten Tried and True Raku Glaze Recipes Available for Download

We are rolling out another in our series of free downloads today – this one is for all you raku firers out there. Ten Tried and True Raku Glaze and Slip Recipes: Recipe Cards for our Favorite Raku Pottery Glazes includes a fantastic assortment of raku glaze recipes including several copper matts, a white crackle and even a shino! Today, I am excerpting one of those glazes – the shino – as a sneak peek. – Jennifer Harnetty, editor.

Left: Teabowl with Kelley’s Low-Fire Shino Glaze, by Steven Branfman.

Kelley’s Low-Fire Shino
Glaze Material
Lithium Carbonate 26%
Nepheline Syenite 64%
EPK Kaolin 10%
Total 100%
Add:
Light Rutile 6.0%
Manganese Carbonate 0.5%

This is a semi-opaque glaze with an excellent crackle texture and tan to silvery color characteristics,
depending on firing temp. Works well in combination with other glazes.


Comments
  • can’t get the recipes to load, using a Mac, is that the problem?

  • Tracey – Your MAC should not be causing any problems in downloading the raku glaze recipes. I am guessing that you need to update your Adobe Acrobat Reader software. You can download the latest version here:
    http://get.adobe.com/reader/

  • I am wondering about the firing temp for the recipe listed which produced the photo result shown.

  • I can’t say for sure on the temperature. Most raku glazes are formulated to melt at around cone 06, but a lot of raku firers just do it by observation – looking into the kiln for a desirable glaze melt. I would say, use 06 as a rough starting point, but monitor the firing closely and remove when the glaze is molten. – editor.

  • Mark Lusardi
    Directions pottery
    1411Hidden Oak Trail
    New Richmond, WI 54017
    Lusardi@frontiernet.net

    I am responding to the comment about firing Raku Glazes and what cone temperature would be the desired choice. The Choice of temperature depends upon the artist and what type of glaze that they are using. If you are using a matte glaze or patina, then you only need to get to 1600 degrees to get the glaze to respond. If your firing a white, gloss, or like the one listed above then you can fire it from 06 up to 04 to obtain a variety of effects. I use a parameter to fire my glazes as well as the visual observation, and I will let my pieces cool in the kiln to around 1600-1400 before I start pulling them to the reduction bins. I tend to go hot and let the glazes run like a salt fire and the results are truly amazing.

    I have also another comment and that is about the continuation of glazes utilizing the Gerstley Borate Material, so I have added a little bit about glazes that I have reformulated to match the tried and true soldner clear and various others with great success.

    I have been making and firing Raku pottery and glazes since 1986 and I have adapted my glazes to new materials as old materials like colemanite or Gerstley Borate are no longer available. I know that you can get still get Gerstley Borate, but it hasn’t been mined since 2000 and the potters in my area have found that this material doesn’t respond like it used to. In 2003 I reformulated my glazes and came up with a base that is similar to the old Paul Soldner recipe, and acepts the addition of colorants just like the old base glaze. i just wish that when we are printing new material that we look into the possibility of using the materials that were designed to replace the out going product. The glazes that I use incorporate Gillespie Borate a product of Hamill and Gillespie the company that was mining and supplying Gerstley Borate. I find that the color is more vibrant and that the flashes of copper patina have stayed the same since I made those changes and that my work is selling due to the stronger pallet. I have listed below a couple of glazes that utilize Gillespie Borate and would encourage other Raku Artists to give it a try.

    Thanks

    Lusardi Clear Base ^06-^04
    (Matches the old Soldner Clear)

    Gillespie borate 62.5%
    Nepheline Syenite 8.9%
    Custer Feldspar 8.9%
    Epk 11.0%
    Silica/flint 8.9%

    For Copper Glazes follow below:
    Delfavaro
    base 100%
    Copper Carb 2%

    Copper Penny
    Gillespie Borate 62.5
    Nepheline Syenite 8.9
    G 200 Feldspar 8.9
    #6 Tile Clay 11.0
    Silica 325msh 8.9
    ochre 8.0
    Black copper ox 2.0
    cobalt ox 1.0
    Harvest Wheat
    Base 100%
    Copper Carb 4%
    Yellow Ochre 8%

    Copper flash
    Base 100%
    Copper Carb 5%
    Stannous Chloride 2%
    (Mother of Pearl Luster also works at 1/2 an oz per gallon) this addition will also thicken the glaze, but produces wonderful purples/gold/copper patinas

    Sandy Scott Revised
    Gillespie Borate 38.00
    Lithium Carb 17.00
    Spodumene 19.00
    G-200 Feldspar 8.50
    Superpax 10.00

    Copper Carb 4.00

  • looking for a slip to dash on either wet or greenware or bisque which would put low fire electric fired oxidation (cone 05,06) overglazes into some runny motion and which might do the same for gas fired raku reduction glazes. Any suggestions? Thanks.

  • is it possible to raku fire to 08 nor 09? If so have you any recipes please.
    many thanks

  • Kelley’s Low Fire Shino – I fired this glaze last night with great results! I mixed the glaze a day before firing, sieved with 60 mesh. Mix to heavy cream consistancy. I poured it on my pot. It goes on thick and I had heavy overlaps. I was tempted to fettle the overlaps smooth but didn’t. I fired it in my raku kiln to *1650f then put the kiln into reduction. I kept it that way till *1850f then soaked for about 15 minutes. When I opened the kiln I removed the other pieces first so several minutes passed before I put this pot into the reduction container with paper. It flamed up and I put a little more paper in then sealed the container up tight. I left it in there for around 20 minutes then cooled it in water and then scrubbed it clean. It came out looking as if it were cone 10 reduction fired but with a very nice crackle pattern! I am very excited about this glaze. If anyone has any questions let me know. mtpp@cni.net – Paul
    Thank you Ceramics Arts Daily for posting this glaze!

  • I forgot to mention that this glaze stays put. I glazed right down to the foot of the pot which is only about 3/16″. So half of the foot is glazed. The glaze has some mottling effects and great colors. Some pin holes occurred but in my opinion it doesn’t detract from its beauty. If the pin holes bother you perhaps a longer soak at *1850f will help to heal them. -Paul

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