The editorial staff asked these five artists a series of questions that covered both the practicalities of designing and making sets meant for use, and the ideas that drive each artist to create these kinds of pieces. The artists also share details about their studio process along with slip and glaze recipes.-Jessica Knapp, editor.
I think that for most ceramic artists, some of this collected work reminds us of the maker, who is also a friend, mentor, or someone we’re inspired by (a.k.a. a ceramic crush). Some pieces are great for dinner parties, while others are our daily companions. As makers, I think we are so lucky to have this cross-over experience, of both understanding how something is created, and understanding the important role that handmade objects play. They make experiences and our environment special, they connect us to others, make us think, and inspire us in the studio.
–Jessica Knapp, editor.
The September issue always feels a little bit like the first day of a new school year for me as we get back into the rhythm of the monthly magazine schedule. This year I feel that way even more so, as I step into my new role as editor. Like Sherman, my experience in our field is as both a maker as well as an editor. It’s a privilege to come to work and research different artists, exhibitions, events, and technical topics in my chosen field. It’s also a great environment because I work with an editorial and production team made up of people who also have backgrounds in ceramics. –Jessica Knapp, editor.
Good news for those of you who use earthenware and low-fire glazes in your studio! We’ve gathered some of our favorite earthenware glaze recipes in a convenient recipe-card format, perfect for printing and taking to the pottery studio. If you are interested in building a collection of beautiful low-fire ceramic glazes, or adding variety to the one you already have, you’ve found the perfect resource. If you’ve been looking for a new low fire glaze recipe to use as a base glaze for functional work or for some different surfaces in the low fire temperature range, here’s a great assortment of low fire glazes to start with, from textured to matt, and from majolica to glossy transparent glazes. If you already have a repertoire of glazes and want to mix it up a bit, try out a few of these. Adding different colorants to the glaze bases extends the possibilities for new discoveries even further.
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.
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