Robin Wolf Pottery Handmade Stoneware With Antler, Wood & Copper Gallery

^6 Oil spot glaze testing using Cone 10 "3-D Black" as a base glaze 02.15.11

I have been experimenting with Oil Spot Glazes, using Alisa Clausen's base & cover glazes as my starting point. I fire ^6
oxi (gas kiln), and ^6 electric. The photos below are a test out of my electric kiln. In testing the oil spot glazes, I bisque
to ^04, and tried some high iron glaze I had on hand, ^10 3-D Black. I base glazed with the 3-D Black by dipping 1 time
for about 7 seconds. Then dipping for a single time (while base glaze is still damp) for 5 seconds in Alisa's cover glaze #2
with 4% Cobalt. This combination has had the occasional blister develop where it is thickest, like at the bottom of a run,
but I think that down-firing will help. I have been firing tests in a 1970's Cress C-20H, (amazing small kiln) with all peep
holes open the entire firing to ^6 tip touching, 1210 degrees C, holding for 15 minutes, then closing it tight and turning the
kiln off. Next step is to try down firing to grow the spots.

3D Black
Whiting                  12
Kaolin #6 Tile           7
Flint                       34
Red Iron Oxide        7
Cobalt Carbonate     1
Totals:                  105

This is supposed to be a
^10 glaze, but it is working
well as an underglaze for
oil spots at ^6.

Alisa's Cover Glaze #2

Custer Feldspar         48
Silica                         24
Whiting                     17
EPK                           11
Red Iron Oxide          10

Add:
Cobalt Carbide            4

Apply to damp
underglaze.

robin wolf pottery studio happenings

Cottonwood Glaze Cone 6 Electric - my very first successful original glaze concoction! February, 2011

appearance. I wanted a glaze that was brighter than the usual tans, brown, and greens. I like a satin to matte surface,
and love the tendency to grow a few crystals. This glaze will range from a silvery green that will grow a few small
crystals, a wide range of yellows from butter to burnt yellow, and even a Robin's egg blue.

I have fired it in the propane fired kiln in an oxidation atmosphere, and in the electric kiln with all of the peep holes left
open for the entire firing to keep the atmosphere very clear. If you don't keep a clean atmosphere, the glaze will not be
as bright and clean. I have yet to test it in reduction, will post results as soon as I do.

It obviously has strontium and copper in it, but I'm not yet ready to share the rest! Since this is my first success at the
glaze formulating thing, I am going to be a bit stingy with this recipe for a while.

Glaze-O-Matic

Studio Tool Project - December 2010

I built my own "Glaze-O-Matic" glaze
pump for under $30 with a hand operated
oil pump from Harbor Freight and stuff
found in the garage (milk crate, 5 gallon
bucket, rubber hose, hose clamps, PVC
pipe, nylon wire ties, and a lazy-susan).
The "GlazeO-Matic" sits on top of a
regular 5 gallon bucket of my liner glaze,
and allows me to quickly glaze the
interior of my pitchers, teapots, promise
jars and mugs without having to pour and
dump the liner glaze in and out of my
bisque ware. Sit the bisque containers
over the fountain head, pump the handle
once or twice to apply glazes as you turn
the container on the lazy-susan. The
glaze runs right back into the glaze
bucket, with minimal mess and stress.

The "Glaze-O-Matic" is totally portable,
and can be moved from bucket to bucket.

Earlier this spring Brenda Dewald, a gourd artist from Dover, Oklahoma, called and told me to apply for this prestigious
show. I laughed at the idea, but let her convince me that it couldn't hurt to apply. Much to my surprise, the First of May I
received my acceptance letter. This venue is billed as "a one-of-a-kind showcase for museum quality functional art. The
nation’s finest Western-influenced designers and artists from across the country apply to be a part of over 100 exhibitions
on display."

Dang, what a step this is. Best part is, I can have other artists in my sales booth with me. Brenda is diligently working on
amazing new work to take, oil painter Kathryn Leitner is sending original oil paintings with us, and jeweler Barbara
Jacques from Pawhuska is joining us.

September 5th we will head off to the great state of Wyoming, taking my daughter Kian with us, pulling a trailer full of
pottery, gourds, paintings and jewelry, looking at a whole new future.

Thank you Brenda for having faith in me and my art, your phone call that day has changed the path of my life and career.

Jackson Hole, Wyoming
September 8 - 11, 2011

Wow - what an amazing experience at the
Western Design Conference in Jackson
Hole!

Being awarded Best Artist - Accents was a
totally unexpected bonus. Thank you to
all that made it possible, especially to the
Walton Ranch of Jackson Hole, the
sponsor of the $1000 cash award.

Oklahoma art did well at the show,
Master Boot Maker Lisa Sorrell of
Guthrie, Oklahoma, won Best Artist -
Leather. Lisa will be featured on the PBS
series, "Craft in America" on October 17.

My friends that joined me for this trip
made it possible for all of us to make the
journey. The work, the driving, the
expenses, and the joys were all shared
equally between each of us,that being the
only practical option that any of us had to
make the 2500 mile round-trip excursion.
My most heartfelt thanks to each of them.

All of my love and gratitude to my
husband, Larry Wolf, and all of my family
that supported me in taking this chance,
otherwise I would still be sitting in the
studio, having day dreams of "what if I
had gone to Jackson Hole ..."

Best Artist - Accents Cone 6 Stoneware with Pete Pinnell's Weathered Bronze glaze.

Brenda Dewald, Robin Wolf, Lisa Sorrell, Kathryn Leitner, Barbara Jacques