If you’ve seen anything I have made in the last several years, you know that I’m a little bit obsessed with pale-turquoise and pale-green glazes. I can’t get enough of them. So today, I thought I would share some samples of the glazes I obsess over. Linda Bloomfield explains the chemistry behind glazes ranging from the palest yellow-greens to some terrific teals. Plus she shares loads of recipes (for all firing ranges). There are many ways to get greens and blues in ceramics, but if you’re looking for a specific hue, this will help you find the right combination. – Jennifer Harnetty, editor.
Tom Turner has a new glaze video out and today I’m happy to announce that it’s available in the CAD bookstore! In this clip, Tom explains simple modifications you can make to a glaze recipe that can often lead to numerous new glaze discoveries! For example, by removing the iron from his example recipe, he comes up with a beautiful magnesium matt base glaze that could then be tested with other colorants. Have a look! – Jennifer Harnetty, editor.
It is especially true in the ceramics world that one person’s fault is another person’s fancy – especially when it comes to glaze “defects.” Many ceramic artists deliberately create faults in their glaze surfaces to achieve a particular aesthetic. But, of course, there are some cases in which a glaze must be perfect for reasons of safety or hygiene. So just in case glaze defects are driving you “craze-y” (sorry, I just couldn’t “resist”), today Robin Hopper gives some expert pointers on how to solve five of the most common pottery glaze problems (such as crawling, shown at left). – Jennifer Harnetty, editor.
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!
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!