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The Handbook of Glaze Recipes is an essential studio companion for any potter. Covering a comprehensive range of glazes including porcelain, crystalline and raku as well as stoneware and earthenware, each recipe is illustrated with a useful test tile to demonstrate the effects of opaque, matte, and transparent glazes on different clays and at varying temperatures, and numbered for ease of reference. The book also features an introduction to the basics of mixing, applying and adjusting glazes, and correcting typical glaze faults. It also includes many clay body recipes, including a variety of ones for porcelain, wood firing and even Egyptian paste. Compiled by studio potter and glaze expert Linda Bloomfield, and based not only on on years of meticulously recorded tests, but also researched from a large assortment of established ceramic artists, The Handbook of Glaze Recipes is a must-have resource for any potter wishing to experiment or expand their glazes and clay bodies.
Traditionally potters fired their work either at low temperatures, as for earthenware, or at the high temperature that stoneware requires. However, a growing number of potters, particularly those who use electric kilns, are firing to a middle-range temperature, of which cone 6 is typical. Using middle range temperatures saves fuel and expense, reduces wear on electric elements, and yet allows the potter to achieve features shared by earthenware and stoneware. Because of the popularity of this technique, pottery suppliers have recently begun developing clay bodies and glazes suitable for the temperature range. In Glazes Cone 6 Mike Bailey surveys the growing trend in middle-temperature firing and guides the reader by practical knowledge. He discusses a range of different glazes, including special effects, glaze stains, and underglaze colors, giving both recipes and tips for ensuring success.
Book Description: Electric kilns are a wonderful thing! They're so readily available and simple to install that any artist can take advantage of the incredible potential this tool has to offer. Nearly every ceramic artist now uses one in some capacity in their studio because electric firing offers a control and dependability not found with any other type of firing. As the popularity of electric kilns has increased over the past few decades, manufacturers and suppliers made this tool even more versatile. Advances in controllers, energy efficiency, materials and safety make it possible for studio potters to take advantage of this tool for relatively little investment. In Electric Firing: Creative Techniques you'll discover the contributions of studio artists who use electric kilns. They eagerly share the results of their experiments, their research and their artistic successes. Build on what they've learned through the up-to-date information on processes, glazes, tools, materials and techniques they provide. At one time you could make Low-Fire Electric Reds by mixing your own. David Gamble explores the new types of commercially-available reds that will add zing to your work. Gail Kendall demonstrates her step-by-step for decorating colorful work using a variety of methods in Low-Fire Surface Decoration. DaNisha Sculpture is the collaboration of two talented artists, Nisha and Dan Ferguson. The electric kiln allowed them to concentrate on their elaborate forms and decoration. Using the vessel for narrative storytelling inspires Jitka Palmer, who says she enjoys painting on curved surfaces because it makes the images more dramatic. See examples of Using Colorful Underglazes in a variety of ways by top artists. Each winter Kesl and Tilton collaborate on work and their story is intriguing. You'll get a rare look at a sustained involvement of a passionate team. Scott Bennett finds inspiration in jewelry and explores what happens when you make brooches, pins and rings monumental in size. V'Lou Oliveira uses commercial glazes for the brilliant colors that enhance her playful iconclastic approach to her work. China Paint is at the lowest end of the temperature range in ceramics and Paul Lewing guides you through the basics to get you started. Joan Takayama-Ogawa uses china paints to decorate her unusual teapots and constructions sometimes taking up to 9 firings to finish a piece. Versatile Recipes for engobes, slips, glazes and self-glazing clays can add a lot of character to your work. Looking at one of the most influential potters of all time, John McQuistion pays Homage to Palissy in his artistic work. Palissy would be amazed at the modern twist. When it comes to Surface and Form Kelly King achieves a personal and contemporary sense of design sure to inspire you. Faith Rahill shows you that Creating Neriage Blocks provide a great way to work three dimensionally with patterns and images. Laura Kukkee reveals how her subtle change in a technique lead her to impressive results with her slip decorating. Paul Wandless maintains that Testing Your Clay provides you with information you can observe, touch and feel firsthand in your own environment. You can expand the capabilities of your electric kiln with gas by Building a Gas/Electric Kiln. It's all about hybrids now. We live in an era of recycling so it makes sense to have a description for Converting an Electric Kiln for Wood or Gas Firing. If you missed the lecture on kilns, you'll appreciate this refresher course on the Ten Basics of Firing. And much much more!.
Ash Glazes has been designed as an introduction and practical handbook to this glazing technique, covering the history of ash glazes and the practicalities of collecting and testing wood ashes and transforming them into glazes. It will provide inspiration for working potters and delight all those interested in contemporary ceramics.
A collection of articles published in Ceramics Monthly dealing with glazes. Written by and about artists and experts, these articles cover a wide range of materials, recipes, and techniques used in the glazing of work by both studio potters and ceramic artists. This book is a great example of how the modern potter uses a combination of trial-and-error discoveries along with information from scientists and engineers in the field to achieve unique effects that are the signature of the current ceramics art movement.

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