Theme: Challenging Techniques
We’re starting off the New Year with a few challenging techniques you can really sink your teeth into (yuck! now that would leave a bad taste in your mouth!). On the cover of this issue we feature Hiroe Hanazono and her wonderful double-walled cast vessels. And though it’s freezing cold out there right now (in our neck of the woods anyway) her ice cream sundae set will be the perfect thing for the summer—you just have to get started soon because the process is involved. Another challenging technique in this issue, called zogan yusai, comes from Mashiko potter Fumiya Mukoyama. Montana artist Lauren Sandler then demonstrates a slab and coil building method using a leather-hard mold form then applying terra sigillata to convey complex images. And finally, Michelle Erickson has reverse engineered an historic technique for throwing agateware. You’ll find this and much more in our first issue of the year . . . read on!
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Then Soda, Clay and Fire by Gail Nichols is an indispensable resource on the materials, processes and aesthetics of soda fired pottery! Nothing matches the rich, vibrant texture and colors of soda firing. The orange peel, the flashing of the flame, the various effects of soda during the firing—they all add to the beauty and… Read More »
With so many different firing techniques available to choose from, all with their own set of requirements, it can be difficult decide which is best for your work, or intimidating to experiment with a new one. High-temperature atmospheric firing techniques, like soda, salt, wood and reduction, can be the most challenging to learn because of the many variables involved. To help you get started with soda firing, we’ve put together Soda Firing Techniques, Tips and Soda Glaze Recipes as a free gift. Inside, you will find articles and images from Ceramics Monthly that demonstrate the exciting aesthetic possibilities with soda firing and share practical technical information, soda glaze recipes, atmospheric slip recipes, soda glazing techniques and tips for firing a soda kiln.
Get the glaze recipe for Matt Glaze Recipe, Cone 06-04 oxidation
Titanium ore, used as source of titanium dioxide, contains iron, other trace minerals—gives tan color, promotes crystallization giving mottled multicolor effects in some HT glazes, or in overglaze stain (very refractory, use sparingly). Gives rich mottled medium blue in some HT glazes. Dark rutile contains higher percentage of iron. Source: Clay: A Studio Handbook
Small stamp wheel with raised pattern around the rim, which when rolled along a plastic clay surface leaves a band of relief pattern. Usually formed with damp or dry clay and bisque-fired. Source: Clay: A Studio Handbook
Beveled edge obtained by rolling the outer edge of the foot of a soft leather-hard pot at an angle against a hard flat surface. Source: Clay: A Studio Handbook
Wide, flat handheld tool used to shape, smooth, and/or scrape clay surfaces; usually wood, rubber, plastic, or metal, either rigid or flexible, with straight, curved, or profiled edge. Source: Clay: A Studio Handbook
Variable electric switch often found on forced-air burners to control blower speed. Small inexpensive rheostats used on most power burners are imprecise, and adjustments should always be made on basis of flame at burner tip, preferably with an air- shutter on the blower-intake for fine adjustments. Source: Clay: A Studio Handbook
Material used in glazing and decorating that can be applied to surface to prevent adhesion of slip or glaze. Source: Clay: A Studio Handbook