Drawing on more than 30 years of experience in ceramics, author Vince Pitelka has created the most practical, all-inclusive studio handbook for students, studio artists, educators and all those interested in the art of clay. The ten chapters in Clay: A Studio Handbook address the full range of ceramic processes, and bring a lifetime of ceramic knowledge directly into the hands of potters. Concerned about safe and efficient studio operation, Pitelka pays diligent attention to safety practices.
In this post, experienced wood firing potter John Thies tells us about an instructional wood kiln he designed and shares his kiln plans. Plus, one of John’s students shares her experience using the kiln.
Ceramists choosing to work in home studios are praising the safety, convenience and economical benefits of the electric kiln. Now in its third edition, Electric Kiln Ceramics helps the ceramist create work exclusively intended for firing in the electric kiln. This valuable guide is an exhaustive review of clays, glazes and techniques designed to benefit the seasoned professional, as well as the less technically educated beginner. Renowned ceramist and respected author, Richard Zakin provides information on kiln construction, routine aintenance, loading and firing, the influence of firing temperatures and the application of oxidation surfaces. State-of-the-art health and safety concerns are also addressed, including the kiln atmosphere and the strengths and weaknesses of the oxidation atmosphere. Recipes for commercial and homemade clays and glazes guarantee successful results.
This updated and revised Ceramic Arts Handbook edition of Advanced Raku Techniques contains information on forming, glazes and glazing, kiln construction and firing, as well as inspirational stories from some of the most influential raku artists working today. For any potter who has experienced the excitement and immediacy of the raku process, this book is a must.
This is a book about variety and about possibilities. It’s a compilation of techniques from a wide range of experienced clay artists who have figured out something unique in ceramics, perfected it, and documented it so others could take it to the next level. In this book you’ll find techniques for double-walled vessels, miniatures, templates, carving, sculpting, mixed media, throwing, handbuilding, surface decoration, photo transfers, and much more.
In Electric Firing: Creative Techniques you’ll discover the contributions of studio artists who use electric kilns. They eagerly share the results of their experiments, their research and their artistic successes. Build on what they’ve learned through the up-to-date information on processes, glazes, tools, materials and techniques they provide.
If you think about it, Pottery Making Illustrated is like a
two-month ‘workshop’ delivered to your door. In the July/August issue
we’ve assembled a group of potters and experts exploring some
firing-related topics you’ll find exciting.
Though many are unaware of it, poor glaze fit can reduce the strength of a fired ceramic piece to as little as one-fifth the strength of a similar piece with ideal glaze fit. While good glaze fit seldom occurs by accident, it can be planned for and controlled. Some ceramic artists use glaze fit to induce crazing as a decorative technique (crackling) while others artists may want to avoid a “crackle” glaze.
As a studio artist, it is often hard to spend large sums of money, even if doing so would pay off in the long run, so glass artist Hugh Jenkins set out to determine just how well he could do with a home-built heat recuperator.