I want bright glazes for these garden pieces and so have been trawling the books....
I have already tried one base glaze from Greg Daly's book, with different oxides and stains. Some of these crazed on the ES40 and Ashraf Hanna clays, so Dave suggested a different recipe with Potash Feldspar replacing the nephthelene syenite and frit, but with more kaolin. I have tried this too. Then I went on to a transparent stoneware glaze recipe with added stains only for yellow, orange and red. Looking back at some earlier issues of ClayCraft magazine, to articles by Linda Bloomfield, I read them with the new eyes of interest in glazes. I have culled recipes for satin matt purple (David Leach) and Tangerine (Jeannine Vrins). The test tiles have joined their cousins on the shelf and in the kiln waiting for firing. Not long now!
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Semester 2 on the UCLAN course has involved a series of weekly practitioner lectures from designers. Naturally the most engaging one for me was from Halima Cassell who also came back to the department afterwards to answer further questions and do a mini book signing. Many of the other talks were really interesting and potentially applicable to all of us, whether studying ceramics, textiles or illustration; some were seriously dull. We have to write up learning from these lectures together with our findings from four external practitioners relevant to our chosen field. I have been to see Dee Stewart (a garden designer), Gordon Cooke and Karin Hessenberg (ceramicists) and Patrick Mills (Garden Centre Proprietor). Many thanks to all these lovely people who so generously gave their time and advice. I have also had more useful discussions with Dave (Professor Binns, course tutor) and fellow students. I have decided to leave behind the ideas of growth / bursting seeds for outside work as the surfaces would be too vulnerable to damage and the concept less easy to adapt to a range of garden ceramics than the carved pieces. So now, the new plan. A series of spheres and other curved shapes symmetrical in at least two dimensions, made in moulds, for lanterns, totems and water features. Most will be carved with deep repetitive curved grooves. The patterns will recall weather maps, water eddies, Polynesian facial tattoos, lava flows (as seen in Tenerife) and doodling. .... They will be slightly undercut, like the SECC in Glasgow. The building is known as the armadillo, for obvious reasons. This one is carved and biscuit fired but not glazed. For contrast, in some of the pieces will have impressed texture in low relief. I will also try some forms with hands either holding the pieces or cupping the water flow. These ideas have had a mixed reception, as have the early attempts, so I need to do quite a bit of development on this. I am still working on developing a series of suitable glazes and am waiting for the glaze test results. |
AuthorI am indulging my passion for ceramics by undertaking studies for an MA at UCLAN Archives
August 2021
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