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High Fire Glaze Recipes

High firing produces the most vitreous and durable ceramic work and many potters and ceramic artists choose to high fire for this reason. And most artists that fire to this range mix their own glazes. Fortunately, many of them readily share their high fire glaze recipes with other potters and ceramic artists. In this section, you’ll find a collection of high fire glaze recipes and methods and techniques for firing in this temperature range. And don't forget to download your free copy of 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.


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The Beautiful Variations of Chun Glazes

Posted On March 4, 2014 0 Comments

Those who know me know I have a thing for the pale blues and blue-greens. Actually you don’t even have to know me…just look at the CAD color scheme. So it is no surprise that Chun glazes are some of my favorites. In today’s post, an excerpt from his book The Ceramic Spectrum, Robin Hopper explains what makes these glazes so lovely. And he shares a couple of recipes for Chun Glazes.- Jennifer Harnetty, editor.

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Seamless Transitions: How to Spray Layers of Glazes to Softly Blend Glaze Colors

Posted On December 2, 2013 16 Comments

In today’s post, Martha explains that her glazed surfaces, which are often mistaken for soda-fired, are actually achieved through spraying on layers of various cone 10 glazes.

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Oil Spot and Hare’s Fur Glazes: Demystifying Classic Ceramic Glazes

Posted On January 14, 2013 4 Comments

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.


Mark Issenberg sprays fireplace wood ash glazes on pottery

Fireplace Ash Glazes: How to Clean Out Your Fireplace and Spray Wood Ash Glazes on Pottery

Posted On December 21, 2011 0 Comments
‘Tis the season of ice and snow, so I thought today’s post would be a fitting one since it involves fireplaces. Mark Issenberg shares some ceramic glaze recipes that utilize fireplace wood ash to create an ash glaze surface. Plus he shares his tips for using a spray gun to apply the glazes. Judging from… Read More »
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Local Color: A Potter Uses Local Vegetation in Ash Glaze Recipes

Posted On December 5, 2011 8 Comments

The late Sandy Vitarelli used local clay and gathered local vegetation from around her home in Hawai’i, such as
dried banana leaves, hibiscus hedge trimmings, kiawe, eucalyptus, guava
(to name a few), to create her ash glazes. In today’s post, I am sharing
her ash glaze recipes. Even if you are not lucky enough to live on a
tropical island, you could try experimenting with the vegetation in your
area.

1. Pigskin Temmoku, cone 10 reduction quick cooled

Roadside Glazes: Your Next Great Pottery Glaze Might be Just Down the Road

Posted On March 14, 2011 13 Comments

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.

Reitz Green Glaze over white stoneware, fired to cone 10 in a light reduction, by Dave Finkelnburg.

A Case of the Blues: All You Ever Wanted to Know About Cobalt But Were Afraid to Ask

Posted On January 3, 2011 40 Comments

In today’s post, an excerpt from the “Technofile” department in Ceramics Monthly, Dave Finkelnburg discusses the many possibilities that are possible with the multifaceted little colorant we call cobalt. Plus he shares some sweet cobalt glaze recipes.

Andrew Gilliatt’s work combines colored porcelain slip, brightly colored glazes, resist patterns, and simple decals to create pots that convey the fun he has working in the studio.

Layers of Color: Using Different Colors of Casting Slip, Resist Patterns and Decals to Create Graphical Pottery Surfaces

Posted On December 8, 2010 15 Comments

Today, Andrew Gilliatt explains how he arrives at his super fun surfaces by adding color in stages with colored casting slip, glaze, and decals. Plus, he shares his casting slip and a couple of glaze recipes!

Matt Jones sitting on the ware bed of his 600-cubic-foot wood-burning kiln with a large jug and an umbrella stand, 2008.

Seriously Playful: The Pottery of Matt Jones

Posted On October 20, 2010 37 Comments

Today’s post highlights the pottery of Matt Jones, Using local materials and decorative traditions, Matt’s work pays homage to the time when pottery played an important role in survival. Even the tools he uses exemplify this reverence for “our collective pottery past” as he puts it. Take, for instance “The Crusher,” Matt’s super low tech and incredibly brilliant homemade device for crushing old bottles into powder for his glazes. Matt explains how it works, and we have a video of it in action! So cool! He also shares a couple of glaze recipes.

Undulating Rim Platter, 16 inches in diameter, wheelthrown and altered white stoneware, with Blue-Green/Copper Red Glaze sprayed over scrap glaze, fired to Cone 6 in reduction.

Five Reasons to Convert Cone 10 Reduction Glazes to Cone 6: A Potter Shares His Rationale and His Recipes

Posted On September 22, 2010 34 Comments

Today, Rick Malmgren explains the benefits of firing his reduction glazes lower and shares some of his great cone 6 reduction glaze recipes.