Some folks feel like using commercial glazes is cheating, but I say, hogwash! I have been using commercial glazes for the past couple of years because, with very limited time in the studio, I don’t have time for mixing and testing. I have discovered some commercial glazes that I am very fond of and if I can find any ways to maximize my time making, I am all for it. Plus, with a little experimentation, you can make them your own.
In today’s post, an excerpt from the September/October 2014 issue of Pottery Making Illustrated, Deanna Ranlett explains some ways she has found to create great surfaces with commercial glazes.- Jennifer Harnetty, editor.
Recoloring a Classic: Trying New Colorants in a Classic Pottery Glaze Recipe Can Lead to Some Great Results
It’s hard not to love a good old classic glaze like a Shino or a Celadon. But sometimes you just need a change. Deanna Ranlett pushes experimentation with her students to make glaze mixing fun as well as educational. In today’s post, Deanna explains a recent experimentation on the classic glaze Falls Creek Shino. In addition to sharing how they conducted the experiment, Deanna shares the recipes and results. -
Glaze mixing can be daunting to the novice, especially when the recipe contains an ingredient that is unfamiliar or unavailable. But with a few simple melt tests, you can learn a lot about what materials do at your firing range and start making educated guesses as to what might make a good substitute for the unfamiliar ingredient. In today’s post, an excerpt from our new Ceramic Handbook Cone 5-6 Glazes: Materials and Recipes, Deanna Ranlett walks us through the testing she did to find substitutes for some frits. By following her lead, you can figure out substitutes for the materials you might be missing in a glaze! – Jennifer Harnetty, editor.
I have been using commercial glazes lately, because I have been working out of my home studio since I bought myself a kiln last year. This has been working okay so far, and some of these commercial glazes will remain in my repertoire, but I really want to start making my own so I can tweak them to be exactly what I want. But starting from scratch and figuring out what you need in your pantry can be pretty daunting. Not anymore thanks to Deanna Ranlett’s article in the November/December 2013 issue of Pottery Making Illustrated. Today, I am sharing an excerpt from that article, along with a pretty handy materials chart showing how commonly certain glaze materials are used at various firing temperatures. – Jennifer Harnetty, editor.
The options are many when it comes to creating decoration on your pottery with resists. In the latest issue of Pottery Making Illustrated, Deanna Ranlett put several of them to the test.
In today’s post, we’re sharing Deanna’s assessment of wax resist and latex resist. For more, check out the September/October 2013 issue of Pottery Making Illustrated! – Jennifer Harnetty, editor.
When Deanna Ranlett was in school, she wanted to find a glaze that looked like eye shadow. She liked the effects of some high-fire crystalline glazes, but could only fire low in the school studio. Undeterred, she started experimenting with Mark Burleson’s “Love Child” glaze. She tested and retested and came up with some sweet glaze recipes that gave her the eye-shadow look. In today’s post, she shares her recipes and some details on the experimentation that lead to them.