Ceramics Handbooks – serie

Explore the history of crystalline glazes and the various aspects of their production in this updated second edition.This book describes suitable clays and kilns, glaze recipes, glazing techniques and how to fire in both oxidation and reduction. This edition has been updated to include information about new crystalline glaze potters and redesigned with colour illustrations.

Soda glazing was, for many years, the neglected cousin of salt glazing. As pollution laws have become stricter, however, more potters have turned to soda and, to their delight, found not only the traditional orange peel surface but also a subtle palette of colors that have made them sit up and take notice.In this book Ruthanne Tudball discusses the history of and techniques involved in soda glazing. She includes body and slip recipes, kiln designs, and firing methods specifically developed for soda glazing. She illustrates her text with the work of an international group of artists.

Best known as one of the most widely used industrial ceramic techniques, slipcasting has become increasingly attractive to individual artists and craftspersons. Slip, a water and clay solution, is poured into porous molds. As the mold absorbs water from the slip, a layer of clay forms a cast. The excess slip is removed from the mold and the cast is stiffened, removed, dried, and fired in a kiln. Since the molds can be based on anything from delicate sculpture to found objects, slipcasting frees artists from the constraints of other ceramic techniques while allowing them to create multiples of their works.Sasha Wardell's Slipcasting is a straightforward, practical guide for those interested in the boundless possibilities of the technique. The book contains more than one hundred color illustrations, diagrams, and slip formulas. An inspiring "Individual Approaches" chapter discusses the slipcast work of a variety of contemporary ceramicists from around the world.

An essential guide to making ceramic jewellery from sourcing or creating fittings and findings, combining other materials and avoiding potential design issues.Ceramic jewellery is an ever-growing area of the ceramic world. Although ceramic beads have been around for as long as pots have, the idea of ceramic jewellery has been making a comeback in a much more glamorous and professional form than ever before. This book shows you how ceramic can be combined with other materials such as silver, gold, feathers, leather, textiles or stone to create some unique and innovative pieces. It teaches you how to source or create your own fittings and findings, common design problems and the practicalities of joining the various elements to create a successful piece. The book is well illustrated both with practical images and beautiful photos of finished work from an international range of artists.

The technique of soda glazing in ceramics is becoming more popular with potters, because, like salt glazing, it produces an attractive orange-peel" texture to the object to be glazed, yet offers a more subtle range of colours while being more environmentally friendly.The author of this book discusses the history and techniques of soda glazing, giving plans of kilns and detailed notes on how to produce this attractive effect. She compares its similarities to and differences from salt glazing.As air pollution causes increasing concern, and as governments legislate accordingly, soda glazing is likely to be used as a more welcome alternative to salt glazing.The work of an international group of ceramic artists is used to illustrate the text."

Learn new slipcasting techniques to create a wide range of beautiful and individualised pieces.In the past, slipcasting was primarily considered an industrial method. Today, however, ceramic artists are adapting its techniques to create a wide range of beautiful and highly individualised pieces. Sasha Wardell clearly explains and demonstrates the techniques involved and shows you how they can be adapted for the studio workshop. Full of colourful images, this book gives you a thorough grounding in all aspects of mould making and slipcasting. Get inspired by the work of an international group of artists which illustrate the breadth and versatility of the work that can be created. This second edition also contains a revised chapter on individual approaches by well-known contemporary artists.

An essential guide to low firing and producing natural finishes without using glazes.This book explores the techniques of firing and finishing at low temperature without using glazes or electric kilns. Many ancient cultures and contemporary potters use methods of low firing, adding slips and burnishing pieces to create a more natural finish. As these techniques can be achieved without a kiln, for example using old dustbins, pits dug out of the earth or bonfires, it means that providing you have some outdoor space, the process can be done on a low budget. With many illustrations of beautiful work by contemporary makers for inspiration, this step-by-step guide to low firing and natural finishes is suitable for potters of all levels, including beginners. Get started in no time with practical approaches to burnishing, terra sigillata, smoke-firing, pit-firing, saggar firing and raku techniques.

A comprehensive guide with recipes for making your own lustres and techniques for applying and firing them.A lustre is a thin layer of metal which is deposited onto the surface of the pot during firing and which produces a lustrous surface. Lustres are very sought after, fabulous surfaces which can lure you in and keep you spellbound. They can be coloured as golds, coppers, reds and blues, or have a colourless sheen like mother of pearl. Although lustre is a complex technique, this handbook explains and simplifies the process of creating various types of lustre for you to enjoy producing spectacular results. The book offers various recipes for making your own lustres and techniques for applying and firing, and shows you the results of Greg Daly’s extensive testing to point you in the right direction. One of the most commonly used lustres today is a resin lustre (known as the ‘commercial’ lustre) which contains some dangerous carcinogens thinners. There is therefore an advantage to making your own lustre using more natural materials, which will also give you an infinite variety of effects.