All of these are on BUFF CLAY

 

Blue Stone over Emerald Falls

Winterwood OVER Chun Plumb

Textured Turquoise 

 over Ancient Jasper.

 

 More glazes…

Ancient Jasper , Textured Turquoise 

Blue Stone-on Buffalo Wallow

Oatmeal on Buffalo Wallow

Tourmaline with Oatmeal over. Buffalo Wallow

 Stoneware Combos and more….

        Seaweed over Iron Yellow on Buffalo Wallow

Vintage gold below

Mars red

Tigers eye

Seaweed over Ancient Jasper

light flux over raspberry mist

Cordovan

                    

Top left Obsidian under all, Chun Plumb, Smokey Merlot and Rutile Blue.

                                                   Emerald falls

       

Stoneware glazes

 So, I have moved to cone 6 stoneware with Buff and Buffalo Wallow clays. These show my glazes for reference and evolving style. Below is Rutile blue on Buffalo Wallow.

Cenote on Buff

Ancient jasper with globs of Oatmeal and a bit of Rutile Blue on rim

old Brick on Buffalo Wallow.

Blue Surf on Buffalo Wallow

Ancient Copper

Smokey Merlot over Chun Plum with Ancient copper on seal. Buffalo Wallow

Old brick with Cactus ash above

Underglazes and cover coats with zinc free clear on buff clay.

Winterwood and Ancient Copper on Buffalo Wallow

Cactus ash and Desert Dusk on Buff

Copper and blue rutile

Leaves and more...

GLAZE LEAVES...

Sometimes I use leaves as glaze tests...there are millions in the yard right now. They end up as saucers for plants on my window ledge in the kitchen. The lighter ones are Amaco Tawny/ 3 coats and the underneath is iron wash with clear glaze on top.. More interesting than the little folded pieces but I do still use both forms.

JAPANESE TISSUE PAPER TRANSFER

It's cold out! Too cold to get into the corner of the garage even with a heater. I read about this technique online and it involves specially treated Japanese tissue that uses clay infused underglazes. The trick here is to apply it to a damp bisqued piece. The tissue is applied to a dampened bisque ware and then sponged with a damp sponge. Use a tamping motion. If you try to move the sponge back and forth, it will smear. It should not be too wet as it will run. My sponge was squeezed [on the drier side] and then went to the tile piece. After it dries for a few hours, you can put clear glaze on and fire. 

These papers come in red, blue and green depending on the pattern and cost under $3 for a sheet. The detail is pretty amazing. 

Here are two tiny tiles that I tried. The tile underneath was applied with a rubbing motion with the sponge. The top tile was tamped with a sponge, left to dry for about two minutes and the paper pealed off. Pretty interesting!

More glazes....

I tend to like throwing on the wheel and handbuilding about the same. The project is what determines the process. Here are some other recent examples:

Hand built serving dishes:

Both are Longhorn White clay with Longhorn red appliqued leaves. Amaco Camel and Amaco Exotic Blue glazes respectively. The Camel glaze is actually more yellow than the image shows and on red clay turns a dark mottled brown. The Exotic Blue tends to have more depth with red clay.

One of my preferences for hand built pieces is to reflect the process. I do glaze all pieces on the bottom and stilt them for firing. Both of these glazes have three flowing coats applied. The non opalescent glazes tend to be more forgiving of brushwork than the opalescent ones.


Tiles:
I invested in a metal tile cutter while visiting Santa Fe, New Mexico and love it. I use tiles to experiment with different textures, painting and images. This tool makes a crisp edged uniform piece.

Pine Cone Tile: The edges are unglazed. The cones are wiped with iron and white Duncan Cover Coat is the background with clear glaze over the white areas.  Longhorn Red clay.

Oak Leaf Tile: Longhorn red clay. Background is carved with iron wash. Covercoat white was applied to the leaves only and after bisque fire, Mayco Frosted Emerald was applied with 2 coats. The iron showed through part of the leaves and made the dark detail. The edges are Amaco Camel. This tile was fired an extra time to touch up iron and edges.


Mugs: Wheel Thrown

Amaco Bluebell Opalescent Glaze [ two coats] with clear inside.

Amaco Bluebell [two coats] and Camel [one coat] over it. Inside is camel. Looking at both glazes, it is hard to understand the color combination of Camel OVER the Bluebell on the outside would create this blue. It appears in looking at both mugs that the lower one is a bit more muted by the application of the camel. Brush strokes do matter in the applications depending on the look that one wants.


Hearts and Bowls..

These are are both Longhorn Red clay glazed in two flowing coats of Amaco Bluebell and one coat of Amaco Sand Bar over them. The back heart is more uniform application and the front one is more mottled. These glazes are close in appearance to cone 10 reduction firing.

This clover leaf bowl is simply three coats of Amaco Bluebell. In looking at the rim, you can see how the red clay breaks through the blue. I've used white clay with this glaze and it lacks the depth.



Little Things...

Handbuilt tiny jar...texture applied after slab is rolled, bisque fired and Duncan Cover Coart white applied and wiped with a sponge. Clear glaze brushed over all after while applied. Height is approx. 4 inches. 

Wheel thrown tiny cup with clear glaze application. Making these is a real discipline. I throw off the hump and historically have had a 50/50 success rate. This cup and saucer are about one inch tall.

Beginning...

LINDA'S POTTERY......

Basically, this blog is a journal of glazes and projects that I am doing in clay.  There are a lot of choices out there and this is an easy reference to what I have done before the pot goes off to another home. If you are interested in purchasing anything, just email me at Linda.Allen.Woodward@gmail.com

The blog, I imagine, can be used as a spring board of ideas or glaze references to others. I am fine with sharing what I try in the creative process. Some of my artist friends have asked for images...so this simplifies the process. There might be a few notes as to what might be avoided, as well. I am using Longhorn Red clay and firing to cone 05. I do not use a computerized kiln so my firing schedule is usually 2-3 hours on low, same on medium and up to high. I plug the kiln for a slower kiln cooling.





This wheel thrown mug has the entire surface glazed with two coats of Tawny Amaco Artist's Choice glaze and one coat of Camel. The word is not glazed and was iron washed before the bisque firing.

Greenware drying... [above]

Hand Built Pie Crust Bird House with Basket Weave Texture

The pot was handbuilt after the slab was rolled out with texture. It was assembled at the leather hard stage and bisqued. After bisquing, I used a light green Duncan Cover Coat underglaze and wiped with a sponge to show the texture. After it dried, I applied two coats of Spectrum 700 clear low fire glaze. This glaze fires to cone 05 while Duncan is a lower temp. If you use the wrong temp.to fire, it may blister. Spectrum has worked great with being able to keep all of my earthenware firings at the same temperature.













Same handbuilt birdhouse with dark brown Duncan underglaze and clear Spectrum 700.