The Irresistible Surface: Layering Glazes and Trapping Carbon to Create Loosely Geometric Repeating Patterns
Peter Karner developed his surface decoration through years of trial and error and he continues to try new things so that his surfaces continue to evolve. In today’s post, Peter explains how intuition combined with experimentation helped him perfect his beautiful glaze surfaces. Plus he details how he uses wax resist and layers of five different glazes to develop his gorgeous glaze patterning.
In today’s video, Cathi Jefferson demonstrates the decorative brushwork techniques she uses on her salt glazed work, showing both the decorative process and the finished results after the firing. Even though Cathi fires in a salt kiln – something I (and probably most of you readers) don’t have access to – I was completely inspired to try some of these techniques with the glazes I use at cone 6 electric. You should too! (And send me photos of the results! I might just post some on the daily blog!)
As Clay Cunningham explains in today’s post about Posey Bacopoulos, majolica is the perfect technique for potters with small studios because it requires only one glaze, a few overglazes, and an electric kiln. I am sure many of you can relate to the small studio factor, so I thought this would be a good technique to excerpt from our latest free download: Three Great Ceramic Glazing Techniques: How to Formulate Successful Crystalline Glazes, add Depth Through Carving and Layering, and Glaze in the Majolica (Maiolica) Style.
Preferring the look of poured or dipped ceramic glazes to brushed or sprayed, potter Daniel Johnston had to come up with a system of pouring his glazes that minimized waste and gave him the look he wanted. So he came up with the perfect tool – a glazing wheel. Today, Daniel shares how he made his glazing wheel and discusses his glazing technique. Plus, he tells us a little about the large-jar construction techniques he learned in Thailand.
In today’s feature, Ceramic artist Kari Radasch explains how she piles glazes with various melting points onto her handbuilt terra cotta pottery and lets gravity do its magic in the kiln. The results are luscious surfaces with luminous depth…just the ticket (I still miss my boy though)!
In today’s post, Nicole Copel describes how Yoshiro Ikeda has worked out a system of multiple firings that allows him to assess the application of glaze at each stage of experimentation. More important than his glaze recipes (at the end of this feature) are his techniques for using them.
Jeannean Hibbitts tells us how to make this handy glaze storage system. Not only does it make glazing easier on the back (less bending over the glaze bucket), but it can keep your glazing room or area neat and organized – a must for small studios.
In response to our recent features on using direct, stencil, and transfer approaches to achieve glazing patterns, many readers asked about the glazes that were used and where they could get the recipes. So, today, you’ll find recipes for three glazes used to illustrate the techniques detailed previously. You’ll also find some handy tips to keep in mind when you’re ready to get glazing!