Beautiful, soft, muted-color brushstrokes and washes of water-soluble metal salts decorate Gary Holt’s translucent porcelain bowls and plates. The simplicity and quiet presence of his works belie the years that Holt spent experimenting and perfecting his technique. Using water-soluble metals salts (WSMS) demands excellent technical skills and careful attention to details.
Barium carbonate has long been used as an ingredient in high-fire glazes, sometimes conferring unique properties upon glazes. One of the alkaline earth carbonates, it has also been used as rat poison (large doses can be toxic to humans as well). Glazes containing it ought to be checked for barium leaching if they are intended to hold food or drink, or reserved for surfaces that do not come into contact with food. It is not my intent to present the research on barium toxicity here, but to present a course of action for replacing it in glazes.
One of the more fascinating, sometimes frustrating parts of ceramics is learning to balance the innumerable factors that affect the outcome of a firing. Glaze ingredients, the clay body used, firing cycles, atmospheres, kiln-stacking techniques and geography (to name a few variables) can all affect firing results.
How many times have you copied a glaze formula, only to find that it didn’t work as expected? It is not unheard of for glazes with the same formula to produce different results. While this may seem like a dead end, it does not have to be.
For the past few years we have utilized several forms of rapid prototyping to explore new methods of creating form. At The Ohio State University ceramics program, we have a large Techno Isel CNC (computer numerically controlled) router and a Konica Minolta Vivid 910 3D scanner, a Z-Corp 510 3D printer and a soon-to-be-operational Epilog laser cutter. In an environment where research and development are crucial activities, we willingly embrace these new technologies in search of a balance between traditional craft and industrial practice.
Most potters don’t give much thought to kiln wash and just use the recipe they used when they first learned about firing kilns or grab whatever happens to be in the kiln wash bucket. In today’s post, an excerpt from our new free download, Soda Firing Techniques, Tips and Soda Glaze Recipes: A Collection of… Read More »
Firing Atmospheres Glaze Recipe for “Modified Ohata Khaki” Atmospheric Controls What is perfect combustion? The description in the North American Combustion Handbook is rather simple: Perfect combustion exists when one carbon atom is combined with two atoms of oxygen to form one carbon dioxide molecule, plus heat. But when you are firing a kiln… Read More »
These tumblers by Erik Haagenson are an example of a nice Cone 6 reduction Temmoku As I have mentioned before in this blog, ceramics is not the greenest of art forms, but it is nice to know that, with a little effort, potters can reduce their carbon footprints. One way to do this is to… Read More »
The old adage that time equals money is especially true in any labor-intensive activity. Making pottery is certainly an endeavor that requires direct labor to produce pottery for sale. Handmade pottery by definition requires physical attention from the potter during many stages of the operation.
As a field, we are particularly good at time travel, but really only in one direction. We can, and should, start to look forward-further and more often than we do. Many potters define their work by how it differs from industrially made work. For example, the industrial pot is seen as flawless, boring, identical, sterile,… Read More »