Resist techniques

I am enjoying the effects of glaze layering and creating pattern. Here I am using wax resist over frost glaze, wiping away around the wax and dipping in another glaze. It will be interesting to see the outcome from the kiln and how the two glazes mingle side by side.

Covered Vessels

Commissioned for a wedding ceremony, these two vessels feature a combination of three glazes. The white alludes to the foamy rush of the waves meeting the layered blue glazes around the knob. The interior mimics the mixing blues and grays of deeper ocean water.

The pieces above are from the firing that resulted from the steps depicted below. Unfortunately due to heat escaping, several of the pieces (not pictured here) did not reach the proper temperature and will need to be fired again. These pieces, however, were in a place in the kiln where they maintained the heat necessary to create the beautiful glazes I was going for.

loading it up!

Loaded up the kiln last night with a plethora of new votive and intention bowls. Some tests of new glaze combinations as well as some new soup bowls for at home as well. I’ll be firing the puppy up on Monday after the big kiln finishes firing so I can use some of the shelves. It isn’t often both are firing. Here are some shots from my phone of some of the steps in the process. Not only is divining form a process, so is envisioning the glaze outcome and how to get it to what you want it to be. Somehow it’s never simple!

A few freshly thrown pieces from the wheel

Once the pieces reach what's called a 'leather hard' stage, they can be safely flipped over and the bottom trimmed to have a foot or be a rounded bottom.

Waxing the bottom of the pot helps to save glaze waste. It's also helpful for waxing between glazing steps which is what I do on my vessel lips. I apply one or several glazes on the lip or elsewhere on the pot. Applying the wax cause the further glazing to repel from it therefore not tainting the first applied layers of the glaze.