Ceramic glazes and underglazes are varied and wondrous concoctions. For ease of use and time savings, most of us use commercial ceramic glazes to some extent. Chances are, even if you are a ceramic glaze-mixing master, you have a few commercial ceramic glazes or underglazes around the studio. Getting the Most out of Ceramic Glazes and Underglazes: Using Commercial Ceramic Glazes and Underglazes to Achieve Color, Depth, and Complexity provides several approaches and techniques to successfully identifying, applying and firing commercial ceramic glazes.
Here is a sampling of what you’ll find in Getting the Most out of Ceramic Glazes and Underglazes: Using Commercial Ceramic Glazes and Underglazes to Achieve Color, Depth, and Complexity:
Adding Depth to Your Ceramic Surfaces with Commercial Glazes
by Lisa Bare Culp
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 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.
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.
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.
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Getting the Most out of Ceramic Glazes and Underglazes: Using Commercial Ceramic Glazes and Underglazes to Achieve Color, Depth, and Complexity also includes the following articles:
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