Though it would be nice to just mix up a glaze based on a photo and get exactly those results, we’ve probably all learned at one time or another that it doesn’t always work out that way in clay. There are so many variables involved in ceramic glazes – including firing schedules and differences in… Read More »
Remember, in high school chemistry class when you found yourself thinking, “when will I ever use this stuff in my life?” (unless, of course, you always dreamed of becoming a chemist). Well, once you have become hooked on pottery and ceramics, you will probably find yourself delving into glaze chemistry. Learning how different materials contribute to glazes and clay bodies is very important in expanding your abilities as a ceramic artist. So here we’ve gathered a bunch of articles and information on glaze chemistry to help you understand this incredibly complex and fascinating subject. 33 Tried and True Glaze Recipes, a perfect resource for potters and ceramic artists who are ready to experiment with custom glazes, or for those who have grown tired of their own tried and true glazes.
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… Read More »
If you like to pay attention to trends in color for wholesale orders or just 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… Read More »
Ah celadons, how I love celadons. These traditional east Asian glazes can produce translucent colors ranging from soft greens and blues, to blue-greens and gray-greens, to amber greens (like the one shown to the left). True celadons are high fire glazes, but there are lots of ways to get the celadon look at cone 6…. Read More »
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. Super excited! If you’re unfamiliar with majolica, it is a type of decoration typically done on terra cotta, with opaque white glaze… Read More »
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… Read More »
Ceramics workshops are the best. If you ever have the opportunity to attend one, by all means do it. There is nothing like watching another potter or ceramic artist do his or her thing. Even if you are extremely proficient in a certain method or technique, you can always benefit from hearing how someone else… Read More »
I looooooooooooove a matte glaze, especially those really buttery matte glazes that beg to be caressed. 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… Read More »
There are a lot of traditional reduction glaze recipes out there, and they are typically formulated for firing at cone 10. But Rick Malmgren decided that he wanted to fire lower and still use a lot of these traditional glazes. So he set out to reformulate and adjust these cone 10 glazes to function well… Read More »
Though many are unaware of it, poor glaze fit can reduce the strength of a fired ceramic piece to as little as one-fifth the strength of a similar piece with ideal glaze fit. While good glaze fit seldom occurs by accident, it can be planned for and controlled. Some ceramic artists use glaze fit to induce crazing as a decorative technique (crackling) while others artists may want to avoid a “crackle” glaze.