My lovely daughter, Liz, brought this to me from the USA. It was in my pottery studio in Texas and I missed it so!
I bought it in Budapest at a Christmas craft fair. It is so unique and lovely! Just thought I’d share it!
Why do we blog about pottery, clay and the processes surrounding it? For me, it is the ultimate way of recording what has been a miracle in my life. I would like to share it with the world and the teacher/educator in me feels the need to pass along my hard-learned knowledge.
Other potters, such as Scott Cooper, write blogs and he was also contemplating this exact thing – why do we blog?!
Scott started that “it works as both a photographic record and firing record.” He also mentions Michael Kline, “who’s just back from a blogging sabbatical, and the man I think of as the Godfather of potter bloggers — has been writing about the whys and wherefores of his endeavor over at Sawdust and Dirt.”
Another potter/blogger that he touts as a great influence is Carter Gillies. His post about pottery eyes is brilliant! He states, “This is the critical role of my blog. It is a tool to pry open our eyes and our perceptions.”
So, I will continue to blog. As a record. As a tutorial for others. As an inspiration for others and myself. And, ultimately, as a tribute to the love affair of my life – CLAY!
The glaze chemicals that I “inherited” when buying my gas kiln were in a variety of container and marked, but it was hard to work with them.
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So I put them in newer plastic containers and labeled them. So good! Now I could easily see what I had, didn’t have, and what I had to work with. Amazingly, I’ve had to buy only a few chemicals to mix the glazes I chose to try.
I also “inherited” lots of tools for mixing glazes. Great savings!
This is a view of the shelf with the 36 glazes that I decided to test.
All nice and clean and lined up!
I glazed the inside of some test bowls one colour each and the outside of the bowl another colour. Thinking this would give me a good idea of the way the glaze would “fit” the piece.
I’ve learned since doing this a couple of things:
1. Number each bowl
2. Take better notes on what you do to each bowl or test piece-exactly!
3. What “fits” on the inside isn’t necessarily what will “fit” on the outside.
4. The overlapping areas are sometimes the most interesting.
5. I must do more tests, on more pieces, do more overlapping, take better notes! and number each piece with info on the clay type as well!
After the glazing and firing, the buckets aren’t quite as pristine and clean, but what the heck!
I’ve done test tiles and attached them to most buckets. All in all, it was a great exercise. I’m learning more and more about glazes, mixing them and testing them. Onward and upward.
In the 90’s, I attended a workshop at Pine Mills Pottery in Pine Mills, Texas. David Leach was doing a workshop for Daphne and Gary Hatcher as the two of them had apprenticed with David in the 70’s.
As part of the weekend workshop, the Hatchers provided the evening meal which was served in the studio. It was the first time I had ever seen pottery serving food in such a way that it made the food seem grander, tastier, more beautiful – it was definitely a foodie experience! The banquet that they served that night in their studio blew my mind! – not just the food, but the presentation and the beautiful serving dishes.
The huge, gorgeous pottery platters laden with meats, the gloriously glazed bowls filled with fresh salads and the gorgeous goblets of wine made the experience seem so synthesised – one could enjoy the tastes of the food while admiring the beautiful art work of their pottery.
It was then that I had one of those “epiphany” moments – that was the type of pottery that I hoped someday to create! I have worked to that end since and have only recently begun to have some mildly acceptable results.
Here is a platter and a bowl that I recently made – it is a start!
I don’t know if I’m going to do this, but it looks great!
An online pottery course is a new idea for me! But I have been involved with e- learning and it can be fantastic! Work at your own speed, when you have time, etc. Check it out!
“Colour is my day-long obsession, joy and torment.” Claude Monet
ME TOO!!! I obsess about color and glazes all the time! So glad to know that I am in good company.
I went to the GOMA Monet Exhibit in Brisbane and was reminded of the fabulous effect of color!
Be sure to visit the exhibit if in the area-it is awesome and the interactive section is so fun! It is all about sketching or drawing! both digitally and with pencil and paper (analog).
So when I get a glaze that turns out like this, I’m super excited! Now to replicate!
In preparation for my second firing of my fibre-lined gas kiln, I took the advice of Ray Cavill, an interim instructor at Tweed Unlimited Arts in Banora, NSW, and made heaps of cone packs. Ray had looked at the results of my first firing and after an extended conversation, he recommended that I fire the kiln fully loaded, but also have cone packs at the front and back of each shelf so that I could determine where my hot spots and cooler spots were in the kiln.
When I purchased the gas kiln, one of the bonuses was getting all of the chemicals for mixing glazes from the former kiln owner. The chemicals were a “throw in” and what a good deal! I don’t have any idea how much they were worth, but it was a great bonus! When I got the chemicals, they were in plastic containers of various sorts and poorly marked, so I repacked them in smaller containers provided by my husband’s work and labeled them for easy access.
I had done lots of research on glazes and made small batches of 36 different glazes to test. I numbered and labeled each bucket with the name of the glaze and any particular chemicals added. I was good to go and started glazing. For many of the glazes, application was a combination of dipping, pouring and spraying (but more about that in another post).
I stacked the kiln and placed cone packs in the front and back of the lower, middle, and highest shelf. I made sure that each cone pack was fully visible from the bung holes in the front door.
The kiln was packed tight and I thought was packed well!
Samantha Scout, my pottery dog, thought so too!
So, we were good to go! and 9 hours later we were done!
The firing records indicate the kiln’s progress. We put the kiln in reduction later this time – @ 925 degrees celcius. The kiln got to 1276, all cones appeared to have bent, so we turned the kiln off and closed it up after 9 hours – Not bad! Although I thought I was taking really good notes and recording everything involving the firing and glazes, I have found that it is inadequate. One cannot take TOO MANY notes, record too carefully, or document the process too much. It is very important and I’m still working out the kinks in that process.
Upon opening the kiln, I was giddy with excitement! I could see COLOURS and no major problems!
Here is a second view of the kiln after opening.
It was immediately apparent that the lower shelf’s cones had not even bent! Once again, I had placed the lower shelf too low to the bottom shelf, not allowing for enough air flow-when will I ever learn! But….I did get some nice reds at that temp!
The middle of the kiln (the cones I could see from the peep hole) were all completely down. So I definitely had some variation in the heat in the kiln – more work for the third firing! I also had some stickage and runny glazes. Great! I love cleaning up kiln shelves!
One of the main purposes of this firing, was to see if the kiln would reach cone 10 temperatures and to also test 36 different glazes in various combinations. I put in lots of test tiles and also some tiles like the one above to test the combination results of glazes. I’m doing a post later on the lessons learned from these tiles, so stay tuned!
The results from the second kiln firing were exciting! Lots of interesting colours! The following pics are of various glazes and the results. I MUST take better notes next time though. For although I did record the glazes, I didn’t number the bowls and they all run together and are not individually distinguishable. Next time. Enjoy!
Ebay…oh yeah! I was looking for an electric kiln for firing my bisque ware, when another gas kiln appeared before me! I couldn’t resist a bid and ended up with a gas and electric kiln – both in the New England area of Australia – a good 5 1/2 hour drive one way – but with a trailer, it turns into a marathon day of driving! But we made it!
The gas kiln made the trip fine and was in awesome shape. The kiln has a wonderful, hinged door – versus the other gas kiln which has to be closed with a clamp!
The electric kiln was in pretty good shape, but we unfortunately loaded it in the back of the trailer and it felt every bump in the road!
Although we had packed and wrapped the electric kiln, when we unwrapped it, it was not good!
The bumpy ride had rattled the electric kiln and loosened the brick, grinding them to dust and the bottom of the kiln was crumbling! Although it can be fixed, it will take tons of work, so that is a project for another day. I just bit the bullet and bought a nice, big, digital Paragon kiln (again, a referral from Brad at Picasso’s Ceramics!-Thanks!). So now I’m set – I can bisque in the electric kiln and I’ve got the gas kilns for the second firing. Cool!
One of the amazing perks of buying used kilns seems to be that you get all the peripheral equipment as a throw in. So I’ve bought the kilns used and also got the kiln furniture, shelves, cones, pyrometer, gloves, and all kinds of bits and pieces. I feel very fortunate and can’t wait to fully utilise these kilns to try to create the art I imagine in my head and heart.
Blog post by Musings About Mud
It is so sad to read of passings. This blog post from Musings About Mud gives the details regarding two amazing potters. Although I have never had the pleasure of meeting him or seeing him work, I am sadden by the loss of him to the world of pottery. He will be missed.
I had just tested a glaze recipe from Emmanuel Cooper – a chun from Peter’s Pottery in NZ.
His book, The Potter’s Book of Glaze Recipes, is highly regarded and a wonderful addition to any potter’s bookshelf.
Emmanuel Cooper jug
I especially like this jug and the colour of it!
Rest in peace, dear sir.
Just gorgeous!
Jan Cockrell Pottery
Here is Jan’s Facebook post explaining how she gets this effect:
Jan Cockrell – “The mother of pearl and dark blue area are painted on first and fired. The gold is then floated on water and the pot immersed catching the patterns the lustre has formed on the surface and the piece fired again.”
Very cool! On my list of things to try!