In today’s post, an excerpt from Linda Bloomfield’s Colour in Glazes,
I am presenting a plethora of purple glazes – from low fire earthenware
recipes to mid-range and high fire stoneware and porcelain, there
should be something for everyone interested in making some purple
The Distressed Look: Using Texture, Engobes, Underglazes and Glaze to Create a Weathered Looking Surface
In today’s post, Lisa Pedolsky shares how she works in layers and stages to create her distressed surfaces. She also shares a low-fire glaze and engobe recipe.
In today’s post, our own Holly Goring not only includes some versatile three-ingredient base glaze recipes, but she also gives simple straightforward explanations of the chemistry behind them. If you have always wanted to experiment with your own glazes, but didn’t know where to start, this post is just the ticket. And even though these are low fire recipes, you might be inspired to experiment with the ratios of ingredients to come up with higher temperature glazes.- Jennifer Harnetty, editor.
Today, in an excerpt from the November/December 2010 issue of Pottery Making Illustrated, Arthur Halversen takes us through the coil building process he uses to construct his flower brick forms. He also shares his recipe for the frosting-like glaze he uses – the icing on the cake, as they say. – Jennifer Harnetty, editor.
The intricate and vibrant surfaces of Liz Quackenbush’s work are mesmerizing. They are also the result of many layers and firings. In today’s post Liz shares how she creates these incredible surfaces as well as the recipes for her low-fire clay body, glazes and overglazes.
When Deanna Ranlett was in school, she wanted to find a glaze that looked like eye shadow. She liked the effects of some high-fire crystalline glazes, but could only fire low in the school studio. Undeterred, she started experimenting with Mark Burleson’s “Love Child” glaze. She tested and retested and came up with some sweet glaze recipes that gave her the eye-shadow look. In today’s post, she shares her recipes and some details on the experimentation that lead to them.
I just love the sugary matt surfaces, color schemes, and subtle layers in Kristen Pavelka’s work. Kristen uses gorgeous red earthenware to her advantage by creating linear sgraffito marks through white slip. Then she creates subtle layers of glazes — often using two tones of the same color — in a paint by number fashion. The result is work that looks as yummy as a frosted sugar cookie. In today’s post, Kristen explains these decorating techniques. She also shares glaze and slip recipes!
In today’s post, an excerpt from the May/June issue of Pottery Making Illustrated, Jake Allee shares what he learned when he recently delved into the Majolica technique. I really like the advice he gives on experimenting in your work. This may be just the impetus I needed to start some majolica experiments myself.
Throw, Cut, and Paste: Combining Wheel Throwing and Handbuilding to Create Distinctive Vibrant Forms
Potter Joan Bruneau wanted a little more lift from her thrown vase forms, but pesky old gravity was keeping the bottoms looking static. So she started to think of other ways she could make more gestural forms and came up with what she calls her “cut and paste” technique. Today, Joan shares that technique with us.
Today, Joseph Pintz shares his clay body and glaze recipe he uses to give his work that vintage, rustic look. Plus he talks about the process behind his rough-hewn, handbuilt pottery.