I was greatly saddened to find that many of my favorite glazes and underglazes are being discontinued.

Mayco/Ceramichrome and Duncan are discontinuing a large number of their products. What is left will be a very small selection which I find very limiting to my creativity.

I understand part of why they are cutting back. It is the economy and the fact that the ceramics industry has fallen into a real depression. If a product does not sell, they cannot keep producing it. It is up to the consumer to support the manufacturers. The same thing has been happening to the mold manufacturers and the suppliers of all related ceramic products. That has been happening with all the ceramic shops that have gone out of business over the past few years.

This is a very sad thing and I hope that all of you will make a concerted effort to help revitalize the ceramics industry with your enthusiasm, support and efforts. We all have to fight forward and do what we can to support all aspects of this industry.

Knowing that many great products will no longer be available, I encourage you to contact your favorite suppliers and even new suppliers and stock up on any of your favorites that you find are being discontinued.

Go paint something today — have fun in the mud

The technique of salt glazing was discovered sometime in the 14th century in Germany. The process was originally used with low-fire ceramics, but quickly became a favorite technique with stoneware. Western Europeans used the salt glaze process in salt kilns quite extensively during the 16th and 17th centuries.

Americans have produced salt ware since early 1700s in Pennsylvania, Virginia and American Stoneware became the predominant American houseware during the 19th century. Today, North and South Carolina are well known for continuing salt fire production.

Salt firing is one ceramic process that was created outside of Japan and carried to their culture in the early 1900s. This method is one that is continuing to be used for experimentation and creativity in the field of ceramics and pottery. Modern potters and ceramists continue to explore many of the old techniques. One should keep in mind that this method is hard on contemporary electric kilns in that the fumes are corrosive and destructive to the kiln interiors. Most craftsmen opt to use gas kilns, specialty or home made kilns when using various salt methods.

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The Raku technique has its origins dating back to the 1500’s in Japan. Historians feel it was probably developed by Koreans under Japanese rule but the circumstances remain a mystery. Raku is a firing process that has been primarily associated with pottery, but in the last couple decades, ceramists have increasingly explored and experimented with the technique with positive results. So positive in fact, that it has recently become very popular with those artists involved with cast-ceramics. The exciting thing about Raku is that no two pieces turn out exactly alike.

The primary difference with Raku and other (glazed) finishing techniques, is the firing process. Normally ceramics and pottery ware are loaded into a cold kiln and the temperature is raised slowly until it reaches a set maturity level usually controlled with pyrometric cones, or electronic controllers. This process can take anywhere from 8-24 hours to complete the heating and cooling cycle. The Raku technique requires the item be either pre-heated and then loaded in a hot kiln; or loaded into a cold kiln with a fast heating process. The ware is ‘finished’ when it is removed from the kiln after reaching temperature in as short a period as 15-25 minutes. Sometimes, some effects can take considerably longer, but most normally it is a fast firing process.
Temperatures are not controlled by cones but rather by the ‘experienced eye’. Raku firing is always done on pre-fired ware, or bisque – NEVER on greenware.

When the glaze is ready, it is in a molten condition. The items are then removed with the use of long tongs and gloves and then they are plunged into some form of combustible material such as dried grasses, leaves, shredded paper, straw, etc. Each type of material creates different effects on the finished piece.

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Horse Hair Pottery

Horse Hair Pottery dates back many years and is credited to the Navajo. Some believe its origin was an accident when an Indian’s hair had been blown by the wind and attached itself to an item that had just come out of the firing pit. The Indian then, liking the effect, began applying hairs from their horse to their pieces.

This technique is very popular in Southwestern cultures and decor. Quite a few people have enshrined their favorite horses by having pottery made using their animal’s hair.

Basically, the process involves removing bisque from the firing while still hot (about 1300 degrees Fahrenheit) and carefully draping single strands of hair over and around the item. The horse hair will burn and shrivel up and will leave permanent imprints of its presence on the item.

To read more about how to make your own Horse Hair Pottery, click here.

The look of airbrushing on ceramics is age old. You can see its early effects on pieces like the ones done by Hull Pottery. The subtle gradation of shading cannot be matched by any other technique. There is simply no way to effect the gradual shading of hues from one color to the next with a brush.

The most important step to airbrushing on ceramic bodies is in the preparation of the surface. It is important that there be a smooth dust-free surface before applying glaze or any other airbrushed paint. Whether the piece be slip cast or hand built, attention should be given to remove all blemishes, seam lines, joinings/attachments, and all imperfections prior to firing the greenware piece to bisque stage. After the firing, the piece should be dusted off with a stiff brush, removing any remaining particles in the crevices or on the surface and then finally wiped down with a damp lint free cloth. Allow the piece to dry thoroughly before beginning to paint it. Airbrushing with underglazes is best done on greenware unless you are airbrushing over a matte glaze.

It is a good idea to apply a base coat of paint or glaze over the entire surface. This creates a sound foundation for the other glazes to rest upon. This base coat will blend with additional colors during the firing process. It is suggested that there be a strong base of white or cream for light clay bodies (normal ceramic). For dark clay bodies, a brown or gray base works best (colored stoneware, terra cotta, etc). Do not apply heavy layers because they may shift during the firing process and your colors will run.

Paints need to be thinned slightly when using an airbrush and you may need additional coats to get the effect you are seeking. You may want to practice on a few small items to get a feel for the amount needed for a smooth surface on the finished item when using glazes. You want a smooth glass-like finish. Too thin and the surface with be rough, too thick and the colors will run.

You can airbrush underglazes, glazes and non-fired stains and create beautiful works of art. As with all techniques, practice makes perfect. Make notes and keep trying, you will find it well worth the effort.

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The technique known as Spatter Ware or Sponge Ware was developed in England early nineteenth century. It was a very popular technique for inexpensive pottery and ceramic ware. Even today, if you peruse the home interior and accent catalogs, you will see evidence of this technique in current decorating trends. The technique lends itself to most any decorating theme and though blue and brown was the most prevalent colors, modern day artists and decorators utilize a multitude of color choices.

The process is relatively simple and requires little skill. Color is applied in a web-like pattern using a sponge.  Silk, or natural sponges work best as they have a coarser weave (pattern of holes). The artist can opt for all over application or selected areas. Though originally intended for use with glazed items, it can be modified for use on non-fired finishes.

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Lusters (Mother of Pearl, Mardi Gras, Halos) are chemically induced special effects that create a touch of elegance to glazed items.  These are iridescent over-tints of varying color and degrees of translucency.
Applied unevenly which is its purpose to create the greatest effect.  Can be applied to any color of glaze with differing results. No two pieces turn out the same.

When EPA and CPA got involved in the field of paint production, many of the wonderful lusters were taken off the market in the USA; however some manufacturers are making great strides in duplicating some of them.

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Fired Gold, Platinum, Silver are somewhat tricky to learn. Not difficult, but touchy and temperamental. These precious metals are suspended in a liquid and do not look at all like you would expect. Different brands have a color agent in them to help you see where you paint them. There are different grades, especially with the gold. Some is 14k, 12k, 10k etc. The metallic is released during the firing process. The resulting sheen will be affected by the sheen of the glaze. Gloss glazes will give a high sheen and Matte glazes with give a satin sheen.

Metallics are intended to go over a glazed item, but may also be used on prepared, fired porcelain bisque. The final results will never be shiny, but rather a matte, antique, burnished effect.

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Fired Decals are one of the most popular over glazes. They are painted pictures or graphics that are adhered to a plastic type film in reverse. This film is attached to a special paper backing, sandwiching the paint between the plastic and paper. Decals can come opaque or semi-transparent, so it is important to know this before applying to your glazed item. If you have a dark background, you will need an opaque decal or it will not show up.

Decals are fired on the ceramic item and become permanently affixed.

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An over glaze is anything that is applied OVER fired glazes to produce special effects. This can include: decals, china paints, gold, silver, and lusters like Mother of Pearl, Halo Gold, Weeping Silver, Weeping Gold, etc. One note: Metallics like gold, silver and platinum can be applied to unglazed porcelain bisque because of its lack of porosity; however the effect is considerably different.

In all of the above cases,  the over glaze is fired on after application. This is usually a much cooler firing which reaches temperatures just hot enough to mature it and bond it to the glaze. If fired too hot, the over glaze most often will burn off.

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