Wednesday, September 14, 2011
In addition to a new glaze, there is a series of glaze tests I want to proof in an actual firing. That gives me the best and most accurate account of the results. What would another firing be without more glaze tests and even a couple of new forms I have been sketching out recently. New forms also dictate having some understanding of how to address the surfaces. This, as any potter knows, can be a bit tricky as what looks great on one pot is simply an eyesore on another. An excellent example of this is copper red. Back at CSU, I tested and made up a large batch of copper red based on a Tom Coleman recipe. This glaze was made up for the students and because it was RED, everyone decided that every pot should be glazed copper red. Though a few students used the red with discretion and fore-thought, the sheer number of inappropriate red pots that came out of the kiln, forced Dick Schneider to put the kibash on the “copper red experiment”. A good thing to, as it was running off most of the pots!
Illustrated is a tall cylindrical vase glazed in my temmoku and iron red glazes. This pot was in the last stoneware firing and is another typical example of the drippy and runny glazes that I am rather fond of. These styles of glazes certainly owe their inspirations from some of the early 20th century glazes of the Art Nouveau and Arts & Crafts movements.