With a degree in ceramic engineering, as well as a BFA and MFA in ceramics, potter Po-Wen Liu knows a thing or two about glaze chemistry. In today’s post, Po-wen shares his beautiful powder-blue Ru Celadon glaze, and explains the firing process he developed to get it just right.- Jennifer Harnetty, editor.
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.
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.
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.
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.
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
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.
Layers of Color: Using Different Colors of Casting Slip, Resist Patterns and Decals to Create Graphical Pottery Surfaces
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!
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.