The best way to learn about ceramic glazes and glaze materials is to test them. By studying what happens when varying amounts of various ingredients are combined in a glaze and then fired to various temperatures, you start to understand how materials affect each other, and therefore how to troubleshoot when your results are not what you wanted. But it can be intimidating to delve into glaze chemistry. It is extremely complex, and includes the word ‘chemistry’ in its name, which to some (me included) is an immediate red flag. So in today’s post, Greg Daly gives five excellent tips for getting the most out of glaze testing. Read on, and then get out there and test!
Oil spot and hare’s fur glazes are beautiful and fascinating. In a nutshell, they are high-iron glazes that are applied in thick layers, which bubble up through one another and generate patterns ranging from metallic crystals to running streaks. These effects resemble, you guessed it, oil spots or the striated patterns in the fur of a rabbit. Of course, the explanation for how and why this happens is far more complex than that, but I’ll leave that to the experts. In today’s post, glaze expert John Britt explains the science behind these lovely glaze effects and shares a number of oil spot and hare’s fur glaze recipes.
If you like to pay attention to trends in color to keep up on what buyers are looking at, today’s post is for you. In our latest free download, the 2012 Ceramic Arts Buyers Guide: A Ceramic Studio Supply Resource, we translate one of the most respected sources (Pantone’s Home + Interior color forecast) for such things into glaze combinations. In today’s post, we excerpt from the Buyers Guide to share some of those color trends and give some suggestions for developing these colors in glazes. This can also serve as a guide to which prepared ceramic glazes may be the right choice for you to jazz up your work.
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.
Our summer of DVD filming continues and, in a couple of weeks, Linda Arbuckle will be coming to town to share her vast knowledge of the majolica (maiolica) technique on an instructional video. If you’re unfamiliar with majolica, it is a type of decoration typically done on terra cotta, with opaque white glaze and colored overglaze decoration. Linda is an expert on the majolica subject, and shared her knowledge in the written form in the latest issue of Ceramics Monthly. Today, I am presenting an excerpt from that article and in the next couple of months, her instructional DVD will hit the shelves of the Ceramic Arts Daily Bookstore. Stay tuned!
In today’s post, an excerpt from our latest free download, the 2011 Clay Workshop Handbook: Knowledge and Techniques for the Pottery Studio, Dave Finkelnberg explains four ways to get great red glazes and shares four fabulous red glaze recipes, from low-fire to high fire reduction. Have a look and then download your free copy of the 2011 Clay Workshop Handbook! Even if you are not going to a workshop this summer, there’s something in the handbook for you!
Learning how different materials contribute to glazes is very important in expanding your abilities as a ceramic artist. And the best way to learn about glaze chemistry is to test, test, test. By testing lots of recipes and varying the ingredients, you can become familiar how ceramic raw materials behave and interact. In today’s post, Richard Zakin explains his straightforward system for making and testing glazes. With this primer, you’ll be able to start testing away!
A couple of years ago, master potter Tom Turner hosted a two-day
workshop. Fortunately, for those who were not lucky enough to attend
the workshop, he had the whole thing filmed and turned it into a DVD.
The DVD is chock full of little nuggets of wisdom that come from
Turner’s many years of making pottery. I picked out three of those
little nuggets to share with you today.
I looooooooooooove a matte glaze, but I have to admit, other than some very basic information, I didn’t really have a good understanding of what makes a glaze matte…that is, until I read a recent Technofile article in Ceramics Monthly. What’s Technofile, you ask? It is a terrific new department in CM in which a technical issue in ceramics is explained in depth by an expert. Today, as a sampling of the great stuff in Technofile, I am presenting an excerpt on matte glazes (on account of my deep affection for these surfaces!).
In today’s post, crystalline potter Diane Creber explains the basics of growing crystals and how crystalline glaze potters have been recently experimenting using reduction to enhance the pre-formed crystals in their glazes. Plus she shares a couple of great crystalline glaze recipes and a crystalline firing program for a digital controller.