September 28, 2009
With so many different firing techniques available to choose from, all with their own set of requirements, it can be difficult decide which is best for your work, or intimidating to experiment with a new one. High-temperature atmospheric firing techniques, like soda, salt, wood and reduction, can be the most challenging to learn because of the many variables involved. To help you get started with soda firing, we've put together Soda Firing Techniques, Tips and Soda Glaze Recipes as a free gift. Inside, you will find articles and images from Ceramics Monthly that demonstrate the exciting aesthetic possibilities with soda firing and share practical technical information, soda glaze recipes, atmospheric slip recipes, soda glazing techniques and tips for firing a...Already Registered? Please sign in.
April 29, 2009
Slipware has a long tradition of being used for commemorative wares has played an important part in marking historical events both for individuals and nations. This extra role makes this book essential reading both for potters and for ceramic collectors and historians alike. Mary Wondrausch on Slipware is a valuable reference tool as well as a lively read.April 19, 2009
Glazes & Glazing: Finishing Techniques covers many aspects of glazing—from formulating your own special concoctions to working with various combinations and applications.April 14, 2009
The accepted standard for understanding glazes, this book explores glaze and color making in a hands-on way that follows the empirical understanding used for thousands of years. Hopper provides an impressive description of his extensive research into glaze, color, texture, and surface enrichment. It is the perfect practical complement to any glaze theory or process of calculation, including glaze calculation software programs.January 5, 2009
Mimi Obstler's Out of the Earth, Into the Fire studies glazes by examining the connection between the ceramic raw materials and the surface of a ceramic form. This book presents a twofold approach to the study of claybodies and glazes that is both empirical and historical in nature. It is empirical because it seeks to create and understand ceramic surfaces in terms of a hands-on experience with the primary minerals of our earth. It follows a historical approach in its focus on a single mineral as the core of the glaze or the claybody.January 5, 2009
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.January 5, 2009
From the casual ceramic artist to the lifelong china painter, China Paint & Overglaze is the essential text for anyone interested in exploring these techniques. This ground-breaking book, the first to showcase the work of traditional china painters and studio ceramic artists together, includes many unique features on every aspect of this exciting and colorful medium. It contains a comprehensive history of porcelain and overglaze decoration as well as discussions on tools, equipment, mediums, solvents, chemistry, brushes and more. Professionals demonstrate their step-by-step methods on a variety of techniques.December 17, 2008
Decoration technique where strips of moist or adhesive paper are adhered to the surface to resist application of slip or glaze.December 16, 2008
A liquid mix where insoluble particles are distributed throughout without dissolving and may settle out from gravity, as in a glaze or slip.December 16, 2008
The weight or density of a liquid measured in proportion to that of water. A glaze with a specific gravity of 1.2 is 1.2 times as dense as water per unit of measure. See hydrometer.December 16, 2008
Range of soluble metallic salts like bismuth subnitrate, silver nitrate, copper sulfate, cobalt sulfate, ferric chloride, and stannous chloride, used to create fumed luster effects on glazed wares and to create surface effects on unglazed saggar-fired wares. Most are water soluble and highly toxic.December 10, 2008
A formula generated by glaze calculation, which lists all glaze oxides present in separate columns for fluxes, refractories, and glass-formers.December 8, 2008
Melty Goodness: Using Gravity and Layered Glazes to Add Depth to Pottery Surfaces
Greetings Ceramic Arts Daily readers! Well, I blinked and the next thing I knew it was time to shift my daytime focus from playing peek-a-boo and changing diapers to sending newsletters and updating web pages. Yes, my maternity leave has ended and I have taken back the Ceramic Arts Daily reins from Sherman Hall (thanks Sherman for doing my job these last ten weeks!). It was tough leaving my little one this morning, but the blow was softened by the fact that now I get to start thinking about clay again. Today's feature is just the ticket to get me excited about being back at work. Ceramic artist Kari Radasch explains how she piles glazes with various melting points onto her ...December 5, 2008
CaCO3—alkaline earth, contributing calcium oxide to glaze—powerful AT flux—major HT flux for glazes—gives strong durable glass. Sometimes used in low-fire claybodies to extend firing range and give greater fired strength.December 5, 2008
Classic East Asian transparent or translucent glaze with small percentages of iron and/or copper and/or chrome, giving range of soft greens, blue-greens, and gray-greens. Most desirable Chinese celadons often contain minute air-bubble inclusions, giving slight opalescence.December 5, 2008
Usually purposeful effect where carbon is trapped within surface of the glaze, giving smoky shaded areas, especially in shino glazes. Encouraged by slightly early body reduction; can be promoted in high-fire by brushing saturated soda ash solution over glaze.December 5, 2008
Ca3(PO4)2—HT flux—opacifier in LT glazes—translucence in HT glazes (from colloidal phosphorus globules) and especially in bone china (from supercharged glassy-phase). Toxic in inhalation.December 5, 2008
CaO×3B2O3—traditional important LT alkaline flux, but is no longer being mined. Replace with Ferro 3134 for LT glazes, commercial Gerstley borate substitutes for HT glazes. Test all substitutes.December 5, 2008
In glazes, phenomenon where a glaze gives different colors in thick and thin areas—the color breaks from thick to thin. Effect accentuated in reduction firing when glazes reoxidize to different color in thinner areas, as in Temmoku breaking from black to brown, or copper red from red to clear.December 5, 2008
Na2O×2B2O3×10H2O—a major LT alkaline flux, available in granular or powdered form.December 5, 2008
Ca3(PO4)2—HT flux—opacifier in LT glazes—translucence in HT glazes (from colloidal phosphorus globules) and especially in bone china (from supercharged glassy-phase). Toxic in inhalation.December 5, 2008
A specialized controlled-crawl glaze designed to crack and crawl significantly during firing (due to extreme L.O.I. in glaze materials), and then melt into isolated beads on the surface.November 21, 2008
Suspension agent/plasticizer similar to Bentonite and Veegum T. Up to 2% of dry-materials weight as plasticizer in high-kaolin claybodies. Up to 1/2 of 1% of dry-materials weight as suspension agent, brushing medium in glazes, and slips. Mix with water before adding other ingredients.November 19, 2008
Have you ever mixed or purchased a glaze, put it on a piece that you had been saving for that super-successful-surface-treatment that was going to take your work to that next level, break through that barrier you had been struggling against, make you rich and famous? Well, I have. I was living the good life in my head as I was glazing the piece. I was thinking of all the shows I was going to get into, all the awards I was going to win. Guess what—it didn't work. It's not that the glaze didn't work, it's that my expectations were so high that I could only be disappointed by the result. What I learned was that glazes ...November 5, 2008
Ceramic glaze recipes are to potters and sculptors like candy is to a kid on Halloween. We just can't seem to get enough! The cone 6 oxidation glaze recipes in today's feature were contributed by Lou Roess.November 3, 2008
Adding Depth to Your Ceramic Surfaces with Commercial Glazes, Part II
Last week, we shared one way to use a mixture of commercial glazes and custom-mixed glazes to make interesting surfaces on your pottery. Today, we’ll share two more effects Lisa Bare Culp has come up with using pouring and layering to create visual texture. She also uses a tactile texture to add another layer of interest and complexity. Try these techniques with the same glazes she uses or with your own. Happy testing!October 29, 2008
Adding Depth to Your Ceramic Surfaces with Commercial Glazes, Part I
A lot of potters have very specific attitudes about ceramic glazes. Well, we have very specific attitudes about a lot of things, but for the purposes of this feature we'll just stick to glazes. There is a certain level of pride and accomplishment—even ownership—associated with mixing your own glazes. Why shouldn't there be? Glaze mixing and testing is really complicated and can involve a lot of testing and time and effort, but not everyone has the interest or inclination to delve into the complexities of chemical and mathematical formulation. Luckily, some of the folks who really get into this kind of thing have jobs testing and making glazes—and then they make those glazes available for purchase. Some folks use commercial ...October 15, 2008
On Monday, we presented a couple of ways that you can expand your glaze palette without purchasing new materials or experimenting with new glaze recipes. If you missed that tip, you can see it in the online archives (along with every other feature we've published---just click on "Features Archive"). As promised, today, Lou Roess shares another handy tip for getting a lot more information out of the glazes you already have. You may discover something new and interesting right in your own studio!October 13, 2008
f you’d like a bigger selection of glaze colors, but don’t have the time or money it takes to mix and test new ones, don’t fret. Working with what you have on hand can yield some interesting results. Today, we’ll show you a couple of simple ways to get more from your studio glazes. Whether you mix your own glazes, use commercial glazes or both, it's easy to get comfortable using the same glazes the same way on the same pieces. That's not necessarily bad, because being comfortable with your methods builds confidence and consistency. However, it's also wise to experiment and stretch a little bit to discover new territory. The methods below show that new territory might not be that ...October 10, 2008
Pottery Decorating Video: Trimming, Slipping and Raw Glazing for Texture and Depth
Last week, Mark Peters made a bisque stamp and used it in making a cup on the wheel. IN this week's video, he shows us his technique for finishing that cup. He accentuates that great texture using slip and glaze at the leather-hard stage of drying. He includes recipes as well as tips for success along the way. If you missed last week's video, you can check it out in the archives by going to "videos" on the navigation above or click here. For this week's video, just click the link below.---Sherman Hall, Ceramic Arts Daily.May 12, 2008
Glazing for Success: 12 Tips to Help You Master Pottery Glazing
I have to admit, glazing is not my favorite part of the ceramic process. It’s probably because of its potential to make or break a good pot (and believe me, I have broken quite a few with poor glaze application). I tend to be a bit of a sloppy glazer and I sometimes rush through it a little more quickly than I should. Denver, Colorado ceramic artist Annie Chrietzberg is the polar opposite of me in the glaze room: methodical and precise. I know my glazing outcomes could be greatly improved if I followed just a couple of Annie’s tips, so I thought I would share them with the community. Hopefully you will benefit from Annie’s advice too!
