The bold black and white patterns on Sam Scott’s pots look so precise that you would think he spent hours masking off the surface. But it is really much simpler than that. In today’s post, an excerpt from our free download Five Great Ceramic Glazing Techniques, Sam explains how he makes a splash with poured-on glaze decoration.- Jennifer Harnetty, editor.
To see how Sam makes this jar, download your free copy of Five Great Ceramic Glazing Techniques!
In ceramics, finding the perfect glaze for your work is only part of the challenge. If the application is sloppy, it doesn’t matter how beautiful the glaze is! So in today’s post, Frank James Fisher shares some handy tips to make sure your glaze goes on right. He also shares recipes for three cone 6 glazes that work very well together. – Jennifer Harnetty, editor.
With a seamstress as a mom, it is no wonder that textile-inspired designs have made their way into Colleen Riley’s work.
In today’s post, an excerpt from our new book Glazing Techniques, Colleen shares how she found a way to create beautiful fabric-inspired surfaces by layering colored slips, saturated matte glazes and bare soda fired clay.–Jennifer Harnetty, editor.
For those of us who don’t have a kiln in our studios, transporting glazed ware is a frustrating necessity. But things just got a little easier, thanks to Chanda Zea. Chanda came up with a brilliant solution for keeping glaze on pots while in transit. In today’s post, an excerpt from the January 2015 issue of Ceramics Monthly, Chanda shares her secret!- Jennifer Harnetty, editor.
I use paper stencils with underglaze a lot in my work. With a little water, the stencils stick to greenware beautifully providing a nice resist. But it is a bit more tricky on bisque ware. The paper doesn’t stick to the dry surface very well. Jay Jensen has a great solution to this. He uses adhesive vinyl stencils on his bisque and then glazes over them, creating lovely patterns. In today’s post, an excerpt from our new book release Glazing Techniques, Jay shares his technique.- Jennifer Harnetty, editor.
Some folks feel like using commercial glazes is cheating, but I say, hogwash! I have been using commercial glazes for the past couple of years because, with very limited time in the studio, I don’t have time for mixing and testing. I have discovered some commercial glazes that I am very fond of and if I can find any ways to maximize my time making, I am all for it. Plus, with a little experimentation, you can make them your own.
In today’s post, an excerpt from the September/October 2014 issue of Pottery Making Illustrated, Deanna Ranlett explains some ways she has found to create great surfaces with commercial glazes.- Jennifer Harnetty, editor.
As detailed in the direct and stencil approaches shown previously, glaze application methods are as infinite as our imagination. Nearly every item around the studio or house has the potential to be a glaze applicator. It just takes a little imagination to see the potential, and experimenting is key to discovering new ideas. Today, Frank James Fisher will present the transfer method that he uses to create beautiful patterning on his pots.
Ceramic stains and underglazes mixed with water painted on unfired white-glazed bisque is pretty similar to watercolor painting on paper. The main difference is that the glazed bisque surface absorbs the color and water mixture more quickly. But once you get used to that, you can create beautiful watercolor-like surfaces. In today’s post, an excerpt from the July/August 2014 issue of Pottery Making Illustrated, Laurie Curtis shares her simple technique.- Jennifer Harnetty, editor.
Oribe ware is a type of ceramics that originated in the 16th century and is known for its copper green glaze and bold patterns. Ben Krupka is a fan of the experimental and playful feel of Oribe. In today’s post, Ben explains how he uses slips, wax resist, sgraffito and inlay techniques to create his own interpretation of this historical style.- Jennifer Harnetty, editor.
If you have ever experienced using a tried and true glaze in one firing and had the exact same glaze come out completely differently in a later firing. There are lots of different reasons why this could happen, but a common one is that the glaze density was not consistent from one glazing session to the next. In today’s post, an excerpt from her new DVD Flat to Functional: Handbuilding and Slip Decorating, Lisa Naples gives some great tips for making sure your glaze results are consistent.- Jennifer Harnetty, editor.