October 29, 2008
Adding Depth to Your Ceramic Surfaces with Commercial Glazes, Part I
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A lot of potters have very specific attitudes about ceramic glazes. Well, we have very specific attitudes about a lot of things, but for the purposes of this feature we’ll just stick to glazes. There is a certain level of pride and accomplishment—even ownership—associated with mixing your own glazes. Why shouldn’t there be? Glaze mixing and testing is really complicated and can involve a lot of testing and time and effort, but not everyone has the interest or inclination to delve into the complexities of chemical and mathematical formulation. Luckily, some of the folks who really get into this kind of thing have jobs testing and making glazes—and then they make those glazes available for purchase. Some folks use commercial glazes exclusively, and a lot of educational institutions count on them for convenience and reliability. In this feature, one home-based educator and potter, Lisa Bare Culp, discovers the advantages of exploring commercial glazes, and some of her previous attitudes change in the process. The results are not only seen in wider options for her work and her students work, but projects for you to try as well. Enjoy!—Sherman Hall, Ceramic Arts Daily |
| As a potter and in-home instructor for ten years, I’ve always mixed my own glaze, or relied on other professionals who mix dry glazes to my specifications. Recently, an idea for a single pot challenged me to experiment with commercially made glazes. What changed my thinking on commercially prepared glazes was my desire to introduce bold new colors into my work. I envisioned a piece with contrasting matt black-and-white slip surfaces offset against a single area glazed in vibrant red. My local supplier recommended a food-safe, nontoxic red glaze: Mayco’s Stroke & Coat Cone 06. Below, I will demonstrate one project that you can try to experiment with commercially prepared glazes. Wednesday show you a couple more. Have fun experimenting with this great tool! | |
| Early Experiments Early tests resulted in pieces with dramatic and beautiful contrasts between my porcelain slips and the red glaze. In one test, I used Stroke & Coat SC-73 Candy Apple Red, to highlight areas of bisqueware. In another, I used SC-74 Hot Tamale. Sometimes I applied the glaze with a big brush in a single, expressive stroke. Other times, I squeezed the colors from a slip trailer and a turkey baster. | |
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After these loose applications, I dipped the entire piece in my usual Cone 6 glazes. Because of their gum content, the commercial glazes resisted my glazes slightly, making the bold strokes of color come through vividly. Where edges of glazes met, they blended and the colors were softly striking against the Cone 6 palette. I was satisfied with the melt (Stroke & Coat is a glaze, not an underglaze), the color and the absence of pin holing or other major flaws at Cone 6. |
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Project 1: Carving Apply a thick coat of Mayco Stroke & Coat SC-71 Purple-Licious and SC-74 Hot Tamale with a large brush to the interior surface of a leather-hard bowl. Once the colors are slightly dry, the design is carved through the glaze with a loop tool, then bisque fired to Cone 08. Dip the entire piece twice in a Cone 6 matt white glaze and fire to Cone 6 in oxidation. The commercial colors show well through the white matt. |
| Note: If the carved lines are too fine they may fill in when the glaze melts. | |
| A New Tool Further experiments with sgraffito, layering, mixing with slip and stoneware glazes, and multiple firings have opened up commercial glazes as a new artistic tool—albeit an unexpected one—to share with students. They have learned the importance of experimenting with new surfaces, new materials, combining techniques and achieving balance with different kinds of material. | |
| Mixing my own ceramic glaze recipes will always be an important part of understanding the science behind the art of pottery making. But successfully integrating commercial glazes in the mix is just one more way to pursue the function and beauty of ceramics. | |
| Lisa Bare Culp is a potter residing in Columbus, Ohio. To see more images of her work, visit www.bareclay.com. | |
Tags: Ceramic Glazing Techniques, commercial glaze, glaze, Glaze Application
