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1. Amazing Glaze: Techniques, Recipes, Finishing, and Firing (Mastering Ceramics)

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6. Amazing Glaze: Techniques, Recipes, Finishing, and Firing (Mastering Ceramics)

7. Amazing Glaze: Techniques, Recipes, Finishing, and Firing (Mastering Ceramics) DESCRIPTION Contents of Amazing Glaze: Techniques, Recipes, Finishing, and Firing Get ready to glaze I often refer to the glaze area of our studio as “the glaze kitchen.” While you should never bring food and drink into the glazing area, there’s a good reason for the name. The glazing area in any studio should be set up much like a commercial kitchen. You want clear staging areas and a flow that lets multiple people work without getting in one another’s way. The area should be designed with safety and efficiency in mind. In this chapter, we’ll cover how to set up a glaze area so that your workflow can be natural, with a focus on safety and minimal physical strain. We’ll also cover the tools necessary for glazing—and some fun extras! Applying glaze (aka the dance) You may have encountered people who badmouth glazing. You may have even met people who hate glazing. You know the

8. type: they would rather do just about anything (even clean the studio!) other than glaze their work. These people often see glazing as a necessary step to finishing a piece. They must check it off the to-do list to get back to the more enjoyable process of working with wet clay. It is true that glazing can be intimidating, especially when you have fear of ruining a good pot with bad—or perhaps worse, boring—glaze. If you or your studio mates are in the “hate it” camp, chances are there’s more you can fix than the recipes you use. Going further with glaze It may take a kiln load or three to master those basic dance steps of glazing taught in Chapter 2. Having put in the time to master a set of glazes and glaze combinations, you may feel a sense of satisfaction—as well you should! Mastering glaze techniques, even the fundamentals, is no small feat. While it might be tempting to rest at the first feeling of contentment, I encourage you to continue the glaze journey with me. Examine the techniques in this chapter with an eye toward bringing additional variation and layers of expression to your work. Contents of Amazing Glaze: Techniques, Recipes, Finishing, and Firing Special topics The Japanese say it takes ten years to master the skill of centering clay. Not just to center at its most basic, but to do it masterfully, with grace. All master craftspeople follow similar yet individual paths. First, as students of a craft, they copied the masters who came before them. They became completely absorbed in their craft, developing competence in the basic techniques. They then began to improvise, and in so doing discovered their own voices. With repetition, dedication, and passion, they created something new, memorable, and of undeniable artistic merit. In this chapter, we will explore several special topics with masterful glaze artists who have established themselves within modern American ceramics. Firing, finishing, and fixing About thirty thousand years ago, humans began making and firing figurines in fire pits. With experience, these early ceramic artists were able to increase the temperature of their fires, eventually constructing the first primitive kilns within small caves by digging into the mountainside. Around seven thousand years ago, Egyptians discovered a clay body amenable to firing composed predominantly of glass and fluxes. The advent of Egyptian paste represents the beginning of glaze history, as potters began to experiment with the use of these materials on top of clay vessels to create a skin—a less permeable surface on the pot. The recipes The Odyssey ClayWorks glaze kitchen has built an impressive array of glazes, slips, and washes over the years. The recipes have come from a number of sources: instructors, resident artists, and students have all left their mark. Some of these recipes are popular, reliable classics found in many communal studios. Others are obscure gems found through mining old texts. Still others are the result of experimentation and tweaking. No matter the source, these glazes represent a living history, culled from dozens of workshops, hundreds of firings, and an innumerable number of tests. Credit is given to the source of the glaze whenever it is known. Thousands of color and texture combinations are possible using these recipes.