In today’s post, Martha explains that her glazed surfaces, which are often mistaken for soda-fired, are actually achieved through spraying on layers of various cone 10 glazes.
In this edition of the Ceramic Arts Daily Presents video series, Ben Carter shares his methods for integrating surface design with altered wheel-thrown and handbuilt pottery. Referencing pillows, tufted furniture, and quilts, Carter imbues his pots with softness in a variety of ways—from altering freshly thrown pots to create volume, to stretching soft clay into foam slump molds. Using this overfilled aesthetic as a metaphor for the comfort of southern hospitality, he complements the soft forms with slip and underglaze decoration using sgraffito, slip trailing, and painting techniques.
Glancing at Scott Dooley’s pots, you might not immediately think there was just one glaze recipe used. But it’s true. By using a copper wash under one base glaze with a variety of colorants, Scott creates his lovely mottled surfaces. In today’s post, Scott shares his process. To boot we’ll give you the glaze recipe! – Jennifer Harnetty, editor.
Cone 5–6 Glazes: Materials & Recipes provides an easy way to create your own glazes by understanding and testing what’s already been tried. This glaze book is a first of its kind because it pulls together more than 180 glaze recipes and hundreds of variations from 30 different artists in one book.
I think everyone who has a passion for making pottery has experienced the heartbreak of making a great pot and then ruining it in the glaze stage. I certainly have. In fact, I think glazing and decorating is the most challenging part of this medium. So today I am sharing this video clip from Linda Arbuckle’s Majolica DVD. Not only does Linda give excellent advice and show examples for how to develop successful decoration. But she also shares a number of great technical tips for painting with majolica colors. Though this clip was condensed quite a bit for web posting, I still think it is packed with great information.
Glazes are sometimes formulated to intentionally crawl and create reticulated surfaces resembling lichens, leopard coats, or lizard skin. Today, Robin Hopper presents a slip recipe and a base glaze recipes for such an effect, and gives examples of this slip and glaze combination with various ceramic colorants added.
Robin Hopper talks about the importance of a good brush and demonstrates one type of maiolica-style on-glaze decoration that can be created on pottery using different colored glazes, a brush and a slip trailer.
As most any potter will tell you, glazing is probably the most challenging part of making pottery. It takes a lot of practice and experimentation to get it right (and it is easy to ruin a successful pot by getting the glazing wrong).
Sarah Jaeger is one of those potters who gets it so right. In today’s video, an excerpt from her new DVD Throwing, Altering, and Glazing For Function and Beauty, Sarah takes us through the glazing process of one of her gorgeous pots (a process developed after plenty of practice and experimentation!).
It is especially true in the ceramics world that one person’s fault is another person’s fancy – especially when it comes to glaze “defects.” Many ceramic artists deliberately create faults in their glaze surfaces to achieve a particular aesthetic. But, of course, there are some cases in which a glaze must be perfect for reasons of safety or hygiene. So just in case glaze defects are driving you “craze-y” (sorry, I just couldn’t “resist”), today Robin Hopper gives some expert pointers on how to solve five of the most common pottery glaze problems (such as crawling, shown at left). – Jennifer Harnetty, editor.
This book is an introduction to the use of additions in clay bodies, from hard materials like stones and glass to combustible matter, fiber, metals and color. It looks at the work of a range of contemporary international makers who are using additions to create remarkable new forms and textures in ceramic work. With an emphasis on creativity and experimentation, ceramicist Kathleen Standen reveals a range of possible effects, and profiles the extraordinary work of contemporary makers using additions in their practice.