Saturday, November 5, 2016


Looking back to before and after shots in an attempt to piece together what led up to the results.

The piece was one of three thrown in a reclaimed cone 5 Laguna Hawaiian Red stoneware. The same clay body was reduce down to a slip to be used over a old and relatively weak (3% cobalt carbamate) cobalt slip that was brushed on the entire surface.

Experimentally, the red body slip was thinly applied over the stencils, and consequently, the absence of dramatic plane breaks in the stenciled surface didn't translate through the textured glaze layer.

The texture and crawl glaze was mixed thinly as well to see how it would effect the readability of the design.

The result was an extremely muted surface that's not easily readable in anything less than full sunlight.

Friday, November 4, 2016

Dem Bones

Crap shoot

One thing is set down on to the shelf in the kiln. It's not completely a total crap shoot. There's a plan. A pile of choices. Use this clay. Make this slip. Use a wash? Which oxide? Choose a liner. Choose a glaze.What kind of kiln? Where is it set in the kiln? Seriously. There's a plan. 
Still, One thing is set in the kiln. Another thing is taken out.

Dispite the plan, it becomes evident that even when all things are equal. That while it's not a complete crap's still a crap shoot.

Same clay.
Same slip
Same Glaze
Same kiln
Different levels in the kiln

This is one of the fundamental attractions to ceramics for many of us. That despite our need to be control freaks, at some point we have to let go and let things happen. The work that goes into the kiln does go in with a plan, but I we do our job right, it's Christmas when the door opens.