I have to admit, I am somewhat organizationally challenged. It’s not that I don’t love being organized, it’s that sometimes I can’t keep up…yeah, that’s it. I’ll blame it on being busy!
This carries over into my studio way more than I would like. Again because of the limited time I get to spend there. I’d much rather make work than spend time organizing! So things aren’t set up in the most efficient way, glaze recipes and notes are scattered amongst various sketchbooks and scraps of paper. You get the picture.
So I am extremely excited by our latest development here at CAD – CeramicRecipes.org – not just because it is the beautiful result of lots of hard work by our team, but also because I am sincerely excited to use it! In addition to containing tons of glaze recipes that you can search in a number of intuitive ways, the site also has tools that will help you have organized access to your favorite glaze recipes wherever you are (it looks great on a phone!).
In today’s post, I thought I would share a couple of our video tours of CeramicRecipes.org to show how useful it really is. Plus I’m including a glaze recipe I found on the site that looks pretty cool! Enjoy, and I hope you find it helpful in your studio. – Jennifer Harnetty, editor.
The May 2014 issue of Ceramics Monthly is out, and with it the ever popular Emerging Artists feature. 2014’s crop of artists includes 14 potters and sculptors. In today’s post, several of them share the glaze recipes they use to make their fresh and interesting work.-Jennifer Harnetty, editor.
The Distressed Look: Using Texture, Engobes, Underglazes and Glaze to Create a Weathered Looking Surface
In today’s post, Lisa Pedolsky shares how she works in layers and stages to create her distressed surfaces. She also shares a low-fire glaze and engobe recipe.
In today’s post, our own Holly Goring not only includes some versatile three-ingredient base glaze recipes, but she also gives simple straightforward explanations of the chemistry behind them. If you have always wanted to experiment with your own glazes, but didn’t know where to start, this post is just the ticket. And even though these are low fire recipes, you might be inspired to experiment with the ratios of ingredients to come up with higher temperature glazes.- Jennifer Harnetty, editor.
In Today’s post, Shoko Teruyama explains how she creates her forms using coils and slabs over bisque molds. Plus she shares how she coats her pieces with slips and carves intricate drawings into them revealing the red earthenware clay underneath.
Today, in an excerpt from the November/December 2010 issue of Pottery Making Illustrated, Arthur Halversen takes us through the coil building process he uses to construct his flower brick forms. He also shares his recipe for the frosting-like glaze he uses – the icing on the cake, as they say. – Jennifer Harnetty, editor.
How to Test, Tweak, & Perfect Your Glazes with John Britt
In this all-new Ceramic Arts Daily Presents video, John Britt lets you tap into his encyclopedic knowledge of ceramic glazes to build your own understanding of this complex topic. Starting with glaze testing—because testing is key to understanding raw materials and ceramic processes—John explains various testing methods that will help you get great results quickly. On disc two, John geeks out on materials, diving into the three basic components of a glaze—fluxes, glass formers, and refractories—and how various ceramic materials fit into those categories and work together to produce myriad outcomes. With this video, you’ll be able to deepen your understanding of glaze chemistry and improve your glazes at your own pace.
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.
When Deanna Ranlett was in school, she wanted to find a glaze that looked like eye shadow. She liked the effects of some high-fire crystalline glazes, but could only fire low in the school studio. Undeterred, she started experimenting with Mark Burleson’s “Love Child” glaze. She tested and retested and came up with some sweet glaze recipes that gave her the eye-shadow look. In today’s post, she shares her recipes and some details on the experimentation that lead to them.
If you’ve seen anything I have made in the last several years, you know that I’m a little bit obsessed with pale-turquoise and pale-green glazes. I can’t get enough of them. So today, I thought I would share some samples of the glazes I obsess over. Linda Bloomfield explains the chemistry behind glazes ranging from the palest yellow-greens to some terrific teals. Plus she shares loads of recipes (for all firing ranges). There are many ways to get greens and blues in ceramics, but if you’re looking for a specific hue, this will help you find the right combination. – Jennifer Harnetty, editor.