How to Test, Tweak, & Perfect Your Glazes with John Britt
In this all-new Ceramic Arts Daily Presents video, John Britt lets you tap into his encyclopedic knowledge of ceramic glazes to build your own understanding of this complex topic. Starting with glaze testing—because testing is key to understanding raw materials and ceramic processes—John explains various testing methods that will help you get great results quickly. On disc two, John geeks out on materials, diving into the three basic components of a glaze—fluxes, glass formers, and refractories—and how various ceramic materials fit into those categories and work together to produce myriad outcomes. With this video, you’ll be able to deepen your understanding of glaze chemistry and improve your glazes at your own pace.
Kilns can be built out of many things and castable refractory is one of the materials we rarely consider. Perhaps it should be considered more since it is reasonably priced, easy to mix, and easy to use. As John Britt explains in today’s post, if you are comfortable with casting plaster and making molds, you can handle building a solid arch kiln with castable refractory.
I have been messing around with crazing as a deliberate decorative effect lately. But the crackle surfaces I have been creating pale in comparison to the Snowflake Crackle glazes John Britt writes about in the November 2011 issue of Ceramics Monthly. As you can see here, these crackled surfaces are pretty spectacular. Today, I am giving you all a sneak peek at that article, which includes lots of snowflake crackle glaze recipes!
Celadons at Cone 6: A Traditional High Fire Pottery Glaze is Well Within the Reach of Cone 6 Potters
True celadons are high fire glazes, but there are lots of ways to get the celadon look at cone 6. In today’s post, an excerpt from the September 2011 Ceramics Monthly, John Britt explains one way: converting an existing cone 10 recipe to cone 6. To see some other ways, check out the full article in the September CM.
In today’s post, potter and glaze expert John Britt explains how he has successfully developed glazes from materials found in roadway cuts. He also shares some resources for finding out just what exactly you’ll find in the roadside cuts in your areas. And of course, he shares his roadside recipes.
When potter John Britt was approached by Lindsey Elsey, a student who was looking for a research partner on a study of Peach Bloom glazes, he gladly signed on. Six hundred test tiles later, John and Lindsey uncovered some of the secrets to developing gorgeous peach bloom surfaces. In this excerpt from the October 2010 issue of Ceramics Monthly, they share the results of their research, and a bunch of Peach Bloom glaze recipes.
The Many Layers of Kiln Wash: How to Find the Best Kiln Wash for Your Firing Temperature and Methods
In this post, John Britt explains that giving a bit more consideration to kiln wash might help potters avoid some of the common kiln wash headaches – like scraping cracked kiln wash off shelves or lamenting an otherwise perfect piece that was ruined by a flake of kiln wash. Plus he shares some kiln wash recipes for various firing techniques.
As John Britt points out in today’s post, firing to cone 6 reduction is cheaper, faster, and the results can be almost indistinguishable from high fire.
In the May 2007 issue of ,
John Britt contributed an essay to the Comment column, which suggests
simple changes that potters can make in their studio habits to help
make their practice more Earth friendly. I am excerpting a couple of
highlights from his essay here.