Georgies' cone 6 crackle glazes give their best and intended results when used on porcelain or tight white stoneware clay bodies. Crackle glazes are not food safe because of the nature of their fired surfaces. Samples on the right show color results with India ink applied after firing. Crackle glazes are not food-safe. India ink will highlight the crackle patterns in the fired glaze. India ink, however, SHOULD ONLY BE USED WHEN THE CLAY BENEATH THE GLAZE IS VITREOUS (fused and waterproof as a result of firing). If the clay is not vitreous, the India ink will soak into the clay body and spread, with less-than-desirable results. If the ink soaks in, there is no cure other than refiring the piece to burn out the ink. About this glaze: A clear crackle with a bright lustrous finish. The color of your clay body will directly affect the results. For different contrasts try inks in colors other than black! Downloadable glaze info: Glaze Color Chart Crackle Glazes Color Chart Color Play/Combos Pg 1 Color Play/Combos Pg 2 Color Play/Combos Pg 3 Color Play/Combos Pg 4 Interactive Pigments for 2015
Stoneware Specialty
It all begins with an idea.
Artist Andrew Boswell is a nationally-recognized expert in the art of crystalline glaze and has developed a level of control and consistency that's unparalleled in the ceramics world. Starting with a Grolleg procelain, the piece's form is slip cast, then carved and smoothed to further refine its shape. Once dried and fired, Boswell paints a crystalline glaze onto the surface; with the right temperature, the glaze forms crystals, and these crystals form rings due to Boswell's cooling and reheating technique. Finally, each piece is soaked in acid to strip excess metals, then soaked in a solution to make it food safe. The result is an artful mug that's as beautiful as it is functional. Due to the nature of the glazing process, each piece will vary slightly.
The pieces are hand-built in sculpture clay and brushed with experimental glazes mix and textured surface, resulting in slight variations with each piece. Glazed both inside and outside 7 1/2" H x 6" DIA. Clean with damp cloth or small brush * to order 4-5 weeks
Cabinet de curiosites
Short List / Evoke the Spirit in Sayulita, Mexico
Pottery is one of the oldest human inventions. Some fragments of ancient pottery found in southern China date back 20,000 years.
An interview with Los Angeles Potter and Sculptor Adam Silverman. We discuss his career, monograph with Rizzoli, and his background in art and design.
An acclaimed international artist, Western Australian Living Treasure and Master of Australian Craft, Pippin Drysdale’s career as a ceramic artist spans over 40 years. Her passion for her arts practice merges with the love of the landscape, which has extended across … Continue reading →
If you purchased a class prior to May 1st, 2023 you will still access to your classes through TerriKern.com. The email you received upon your class purchase
White stoneware, thrown and carved. Reduction fired.
Lucy Rie These are notes from a few scraps that were found swirling around. Been looking for anything I could find regarding the glaze shown above. If anyone has any more tidbits, I'd be really keen on adding it to the pile. All Experts Pottery/glaze recipe. Advertisement Expert: Ti Phillips - 10/19/2008 Question I am looking for a "crater"type glaze similar to those used by Lucy Rie, the english potter. I dont think she shared her recieps widely. A matt, firly thick buttery glaze that forms craters due to the release of gasses close to its melting point. I fire cone 9. 1260.C. any Idea? Thanks Chris. Answer Dear Chris, Thank you for your recent question. Crater glazes are also known as volcanic or froth glazes. Although these are commonly described as defects, a glaze purposely created for this type of "defect" is no longer considered a defect to the glaze surface, but a decorative surface. Lucy Rie purposely created glazes to achieve this type of effect, but there are other potters who find the froth surface a unique and beautiful design, if done correctly. The key to a froth or volcanic glaze is silicon carbide or barium sulphate. These two ingredients create a bubbling effect under the glaze. When fired, the kiln must be turned off and temperature brought down to a dull red at a specific time in order to achieve the effect. Although commonly performed on low fired ceramics, this process can be achieved on high fire, if you take the time to watch your kiln. To create the volcanic reaction, create a slip using the same clay body your pot is made from. For every 100 grams of wet slip, add 10 grams of silicon carbide or barium sulphate. Sieve into a 300 mesh sieve. Mix and apply where you wish the froth to take place. Use the recipe below and glaze your pot as normal. The recipe will create a buttery glaze matt at cone 9 Custer Feldspar 50 Dolomite 20 Cadycal 100 5 EPK Kaolin 25 Colorant Vanadium Oxide 5 Once the glaze has been applied and you are ready to fire, careful watching of the kiln near the maturing point is essential to achieve the froth. Viewing the glaze through the peephole will allow you to see when the kiln should be turned off. You will see an orange peel affect and even some popping of the glaze. This is when the temperature should be reduced. Although this is my way of achieving the froth effect, please test this method on sample tiles prior to using it on your work. Let me know if I can be of further service to you. Good luck! Sincerely, Ti Phillips Earth Stoke 'N Fire Pottery Studio and Artist Retreat www.earthstokenfire.com Technical Notebook PITTED WARE 1971―73 & 77 I first used silicon carbide between 1971―73 at 1300°C in a reduction atmosphere stoneware kiln. Modified Daniel Rhodes Clear Porcelain (Stoneware and Porcelain, p.82) Silica 32 Whiting 20 Feldspar 33 Kaolin 15 Zinc oxide 15 Silicon carbide (600 mesh) 20 This glaze contains a ridiculous amount of silicon carbide to produce the volcanic effect, but I also used it for its greyness. The post-London pieces after 1977 initially had the following slip banded onto the leather-hard turned piece: Silicon Carbide Slip Body clay 100 Whiting 50 Silicon carbide (400 mesh) 3 Using a reactive slip means you can place it where the froth from the covering glaze is not going to stick to the kiln shelf. The ultimate slip is achieved by putting the additive directly into the clay. I use this technique for pitted agate. In later work I cut out the slip stage and mixed two versions of the glaze, the second with 3% silicon carbide added. Because I spray my glazes, I am able to spray the foot and grade upwards with the non-reactive glaze and then do the rest in the reactive. It achieves the same result as placing the slip and avoids pitting near the base. Yet using a slip is more precise, as it produces a definite cut off point. The following two glazes are oxidised to 1220°C. Matt Magnesia/Zinc Potash feldspar 31 Whiting 20 Talc 10 Kaolin 29 Silica 10 Zinc oxide 10 This was originally a Len Castle high temperature reduction glaze to which was added 10% zinc oxide to melt at a lower temperature Tourquoise Matt (from Ceramics Monthly, July 1984, p.66) Barium carbonate 24.4 Dolomite 12.2 Petalite 12.2 Cornwall stone 12.2 Nepheline syenite 12.2 Kaolin 12.2 Silica 14.6 Tin oxide 4.9 Copper carbonate 3.5 The reaction between the silicon carbide and the copper carbonate often produces local artificial reduction resulting in copper reds. If the froth is ground off, the red becomes more prominent.
These are the pieces from my last post. They have now been glazed and covered in oxides to help create an decayed surface, inspired by erosion from the ocean. Generally, I'm really happy with these results. Some need a bit of refinement, especially with the (bright blue) cobalt oxide. I will definitely be using more copper oxide (green) to create more natural shades and to stop the blue being quite as striking. Opening a kiln in sometimes really nerve-wracking so I'm really happy to have some tests I'm pleased with, finally! I'm excited to create these surfaces on larger vessels and refine all of the techniques I've experimented with. If you're interested in adding colour to ceramic surfaces or just want to know more about the processes involved, here are some useful, informative links: http://ceramicartsdaily.org/free-gifts/how-to-add-color-to-your-ceramic-art-a-guide-to-using-ceramic-colorants-ceramic-stains-and-ceramic-oxides/ https://www.youtube.com/watch?v=tSsJb0uTp9M
Whilst researching my dissertation proposal I discovered the work of Jan Lewin Cadogan, she makes forms decorated with barium and lava glazes, however these glazes are fired in oxidisation, …
Tenmoku (also spelled "temmoku" and "temoku") is a dark glaze with a surface that resembles oilspotting. It is made of feldspar, limestone, and iron oxide. The more quickly a piece is cooled, the...
Ceramic artist Kevin Kowalski creates bold surface designs on clay that transform right in front of your eyes. Using a mesmerizing pottery technique
Alison Thyra Grubb worked extensively with in-glaze lustres during her studies to create geometric forms with rich iridescent surfaces. She shares how her interest began along with the recipes for creating them
When looking at Liz Pechacek's work, one might think the decoration is made using the sgraffito technique. But Liz actually uses a combination of wax
It is not surprising that the green, blue and ochre glazes have properties similar to some of the surface colours and textures of rocks and pebbles where I am living. Being near the sea has probably had an effect on the banded decoration I use, either reflecting the movement of water and waves or the dips and folds of the strata revealed in cliff faces. John Ward here (via a pale novel)
Watch in awe as organic designs instantly spread across the surface of glazed pottery in a method called the "mocha technique."
Colored stoneware. Nerikomi technique with colorful stoneware. Clear Glossy glaze on interior. Gold glaze on rim. All FOODSAFE ceramic glazes. Handmade and handbuilt. Size: approximate 9.75" diameter, 0.5" height. copyright 2024 Lydia Kardos This MORNING SHELLS Nerikomi Plate is a one of a kind ceramic piece, handmade with love. This unique large plate is full of wonderful surprises! Colorful patterns lay over marbled swirls of pastel colors all over. A glossy glaze makes the patterns pop and contrasts the bottoms smooth raw marbled clay. A gold rim adds a luxurious touch! Perfect as a dinner plate, passing plate or a decorative centerpiece, this plate is large enough to hold a meal and anyone's attention! Enjoy!
