So I’ve got all the chemicals I need to make a vast amount of glazes in my simple palate and color range. Testing to cone 8 in my electric kiln so I can tweak it as close as I can before putting it into the big gas fired kiln at cone 10.
Zircopax white over temmoku
White over Celadon
Temmoku over Celedon with a dip into the red iron oxide (FE2O3) as a differentiator test
Clear glaze by itself
Zircopax white by itself.
Im really excited about these simple glaze combinations. Along with red wild clay slip from the lake and black slip that goes to cone 10 I have a wide range of decorating possibilities to play with.
Previous Celadon glaze tests with incrementing FE2O3 from 2% to 12%
Testing the specific gravity of the glaze with hydrometer.
The only thing I may want to do different is to get more flux into the white glaze to have it run, almost like a Nuka style glaze over Temmoku.
John Britt’s Complete guide to High Fire Glazes has enough information to keep me busy for many years! Big thanks to Jay Benzel of Benzel Pottery for loaning it out to me.
Another thing I was working on was pulling technique and made a nice delicate serving spoon. Beautiful right?!
Not anymore! Haha! The spoon is just a spoon. That’ll learn me to put stuff on the counter!
Years and years ago I got up the courage to develop my own black and white film after reading an article that gave me the very basics in a way that I could understand. That understanding only took place after researching over the period of many months.
I’m experiencing the same thing with glazing. After seeing the results of cone 10 glazing and seeing the depth that it creates I’m ready to take it on.
Cone 6 in oxidation just pales in comparison. It looks as if there is a film of glass on top of some clay. Sure some of it looks good but cone 10 just has something that makes it sing. It’s as if the glaze is a part of the clay itself.
I had previously bought chemicals for some cone 6 testing so I have a lot of 2 gallon buckets with a lot of the chemicals I need but cone 10 calls for some specifics. So I’m off to my supplier in a few days to pick up the rest of what I need.
I’ve made up some small pinch pots to test without fear of melting stuff to the kiln shelf. These will also be to test the creation of a black englobe to go along with the buff white clay body I’m using. I want to get 2 complimentary glazes, and with the color of the at body and a black englobe I will have a decent start for decorating and making functional wares with my OWN glazes.
I’m very excited to get some good reliable glazes:
From Wikipedia – In music, a motif or motive is a short musical idea, a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition: “The motive is the smallest structural unit possessing thematic identity”.
In my last firing I started thinking about decoration of my vessels. After a decade in photography I realized that I had an enormous amount of knowledge and was able to solve just about anything that came along. I had my own language.
So now I have a template to go by for learning and mastering what I want to create in ceramics. The template is repetition, the ability to solve problems and exercising your imagination. Once you get it rolling you are able to create a motif of your own with infinite variations.
“Repetition is the mother of learning, the father of action, which makes it the architect of accomplishment.”
– Zig Ziglar
You start with the basics: Color & Texture.
Single Solid Color
Blending of two or more solid colors
Where do you create the delineations of colors / textures / shapes
Color Combinations – What looks good together
The breaks can be on any part of the vessel, what parts look good?
Patterns, both in color and or texture
Other things I cant think of at the moment
The sketchbook is out and I’ll try on paper each variation and combination and see what suits me. The happy accidents are the deviations that can lead you down a new path.