Recently, Yoko Sekino Bove conducted extensive tests to determine how several base glazes do
with a wide variety of coloring oxides and carbonates. Today we are
sharing the results!
Last summer we traveled to the lovely Bakersville, North Carolina, studio of John Britt to tap into his vast knowledge of glaze chemistry for a glazing DVD. I am super stoked to announce its release today! And, I may be a bit biased, but I think it will be a fabulous resource for anyone who wants to delve deeper into glazing, but finds the subject too intimidating.
In today’s video, I am sharing a clip (and a recipe) from it. In this (much condensed) clip, John shares his simple system for mixing up a color blend and tells us what to make of the results. Have a look and then mix up your own color blend and see what you get. – Jennifer Harnetty, editor.
Let’s face it. We’ve all had glaze disasters in the kiln. From the mild disappointment of a glaze not turning out exactly the color you were hoping for to a glaze completely running off a piece and ruining a kiln shelf. That’s why it is so important to test our glazes. Line blends are a pretty simple and straightforward way of testing glazes that can yield a wealth of information. In today’s post, an excerpt from Developing Glazes, Greg Daly explains how to do a couple of line blends and shares some recipes you can try. – Jennifer Harnetty, editor.
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.