Atmospheric firing is really exciting because you can continue to influence the surfaces of your pots all the way through the firing process. Plus there’s always an element of surprise when the kiln is unloaded.
In today’s post, an excerpt from Soda Firing (which is now available as a download!), Gail Nichols gives pointers on how to get great effects on your soda fired pots by creative kiln loading. Some of these techniques could be helpful in wood and salt firing as well. – Jennifer Harnetty, editor.
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.
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.
potter John Mathieson provides a clear and concise overview of the raku
process, covering all the essentials—clay types, post firing reduction
methods, and equipment. You’ll also enjoy the tips and techniques
shared by 30 experts on topics spanning the entire raku process from
conception to final reduction.
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.