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Trying out new glazing techniques is always exciting because you don’t know quite where you’ll end up -- even a mistake could hold a pleasant surprise! If you’d like to try something new, then one or all of these great glazing techniques may be just what you need. In Five Great Ceramic Glazing Techniques: From Crystals to Majolica (Maiolica), a Guide to Beautiful Glaze Surfaces, you'll find five terrific articles to give you some new ideas in the studio.
These five glazing techniques are as varied as their origins. Majolica (also spelled maiolica) originates from the Mediterranean and is the techniques of applying color on top of a glaze; Joanna Demaine brings us up to date with contemporary luster glazing techniques; and crystalline glazes originated in Europe and require specific glazes and firing conditions. Whether you’re looking for a fresh look or looking to see what you can do with a new glazing technique, you’ll find your answers in these five great approaches.
Here's an excerpt:
Application Suggestions for Majolica (maiolica) Glazing
by Linda Arbuckle
Both the best and worst thing about majolica glaze is that it doesn’t move when you fire it. Having a decent base glaze coating goes a long way toward being happy with the final product. Additionally, large bumps and voids in the raw glaze will leave evidence of brush strokes on top of them and emphasize your glaze application issues.
Apply glaze in the thinnest coating that will give you opacity, and attempt an even glaze coat. Dampen pieces slightly before dipping to remove any dust and moisten the ware for better glaze pick up. Dipping is my mode of choice, although I do know potters who spray effectively. I want to have a container that will allow me to do one dip of the bisqueware. If I have a piece that will not fit in my glaze bucket, say a long, oval platter, I use a different container for dipping. Garden stores often carry metal or plastic 5-gallon oval tubs. Oil change pans can be useful. I have flexible plastic tubs from a garden store that are wider than my 5-gallon glaze buckets, and will allow me to flex the bucket for longer-than-wide shapes and to form a spout to pour my glaze back into the bucket. In a pinch, I have used cardboard boxes reinforced with duct tape or dresser drawers double-lined with heavy trash bags to hold glaze for dipping.
For errors in glazing (and there are bound to be some) 400-grit wet-dry sandpaper will sand down lumps, or they may be gently scraped down with a sharp knife. When sanding or shaving glaze, do it over a container of water to trap the dust and prevent it from circulating in your studio environment.
Clay Body, Off-Gassing, and Firing Rates
I am still experimenting with firing rates. Several years ago something in clay materials changed and caused gassing in my clay, resulting in many white gas dots in the fired majolica surface, where the base glaze might seal over, but the colorant layer is so thin that it can’t seal and leaves a white spot. Many people maintain that firing slowly is the way to go, and it seems logical that any gas release would be more gentle the slower the firing. On the other hand, I fire many pieces in a small, oval, doll-body test kiln, which cools quickly, and these generally turn out less dotted. The same shapes fired about 200°F per hour in my regular kiln may be more dotted. It’s been an infuriating problem that I continue to research. If you have dotting, try bisque firing as high as you can without making the work too dense to accept glaze. This may drive off gassy materials before glaze application and firing. Bisque at a slower rate, vent your kiln, and glaze thinner if possible. Thinner glaze is less likely to trap the gas bubbles and cause dotting.
|Advantages and Disadvantages of Majolica-type Glazes|
The viscous glaze does not move when fired. The brushwork stays crisp, with no runny glaze to chip off shelves. Dry-footed areas
need less margin on pot bottoms or lid seats.
The viscous glaze does not move when fired, which means any lumps, drips,
or pinholes from application remain and do not heal over or smooth out
in firing. Thick glaze may crawl.
Because the raw glaze absorbs the color from the brush readily and does not move in the firing, the direction of brush marks, speed of the
brush, and loading of the brush show in the fired decoration, adding painterly, expressive qualities to the marks.
Because the raw glaze absorbs the color from the brush readily and does not
move in firing, direction of brush marks, speed of the brush, andloading of the brush show in the fired decoration, and may reveal hesitancies, touch-ups, and direction of background when painting around
motifs, etc., which may distract from the aesthetic impact.
|Thick glaze blankets the piece, which may forgive small handling errors like finger smudges in the surface.||Thick glaze blankets the piece, which may cover small details in clay handling. like carving or incised decoration.|
|The kiln is a passive tool, resulting in more predictable results from firing to firing. Someone else could fire your work and achieve the same results (easier to share kilns).||
The kiln is a passive tool, resulting in uniform color that may look flat
or does not describe the form. There are no gifts from the kiln gods.
A bright palette of commercial stains gives easy access to a range of pinks, oranges, yellows, and purples that work well
with the blue, green, and rust that are available with oxides.
|The bright color may look garish, or the entire palette may look too pastel and therefore lose impact.|
|Inexpensive color, because it takes less colorant to put a thin wash on the glaze surface than to color a slip or a glaze.|
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Five Great Ceramic Glazing Techniques: From Crystals to Majolica (Maiolica), a Guide to Beautiful Glaze Surfaces includes the following:
Layering Pottery Glaze Techniques
by Emily Donahoe
Sarah Jaeger is a fan of color. Here, we share her glazing process and a few of her glaze recipes. It all begins with the pot itself. Making a form that gives you glaze design ideas can jumpstart your creative process. Then comes the surface: from planning a design on the glazed surface of a pot to applying slip trailing designs, wax resist, and washes of color, Jaeger brings it all together in a joyful result.
Gold Luster and Beyond: Luster Glazes for Pottery
by Joanna Demaine
Luster glaze pottery has a metallic sheen on the surface that resembles a thin layer of oil on water. The effect is created by using a resinate luster, or luster overglaze. As the name implies, this solution of metallic salts in organic binders goes on over the glaze after the glaze firing and is then refired. In this article, Joanna Demaine demonstrates how to use lusters and gives important safety tips as well!
The Mystery of Crystalline Glazes
by William Schran
Crystalline glazes are among the most admired in ceramics. The fact that these crystals “grow” in the kiln seems a bit of a mystery to most, but to William Schran it was a mystery he had to figure out. Once achievable only at high-fire temperatures, Bill demonstrates how you can get elegant crystals at cone 6 using a programmable or manual electric kiln. He includes his recipes and his firing programs so you’ll achieve success.
Pouring Glazes for Pattern
by Sam Scott
Sam Scott was experimenting with glazing and brushwork techniques, when he discovered that if he poured glazes over select areas, he could get some cool patterns. He developed a black glaze to contrast with the white porcelain he was using and he knew he was on to something. Here he shares his poured glazing technique.
About Ceramic Arts Daily:
Ceramic Arts Daily is a free online website and newsletter written and produced for the benefit of potters and ceramic artists worldwide. The newsletter features both renowned and emerging artists, their work, techniques and artistic perspectives. Regular features include tips and techniques designed to help every artist expand their skill set and widen their artistic horizons. Ceramic Arts Daily also delivers video tips, in which potters and ceramic artists demonstrate various projects and processes. Think of them as e-workshops!
Ceramic Arts Daily is designed to be interactive, inviting your comments and fostering a community in which each person can contribute to the growth of their own and others’ skills. You may be surprised at what you learn!
Ceramic artists on Ceramic Arts Daily know what ceramic art is all about - from functional pottery to abstract ceramic sculpture. This is about community. You’ll be drawn in by artists’ stories, inspired by their work and find confidence to try some of their techniques. With Ceramic Arts Daily, you’ll learn a little bit of everything. Then you can choose the techniques you enjoy the most to create something new!
So start today by downloading our free Five Great Ceramic Glazing Techniques: From Crystals to Majolica (Maiolica), a Guide to Beautiful Glaze Surfaces. Then, get ready for Ceramic Arts Daily to introduce you to new artists and show you new techniques!