Kiln Firing 11/16/09

It is difficult to choose the best of the kiln. Sometimes all the pots look equally beautiful but the newest pieces will be the ones that make the top grade. That's because they are special to us for pleasing us with their success. It could be a new glaze, new glaze combination, a new form or just a perfect balance between form and glaze that captures our appreciation. Sometimes the artists' pick of the kiln really should be two pieces... a toss up! Well, that is the case tonight. I can't choose between these two. The bowl is a new shape Steve threw and large as well. It also has our new glaze on a geometric design....very handsome.

However, I have to show you this white lotus. It is gorgeous.



So there you have it ... two for one, so to speak....
We leave for Florida now and will catch up with you on our return.....
Have a good Thanksgiving. We are grateful for your support.

Kiln Firing 11/14/09

Sometimes the kiln is just filled with special pieces. This kiln firing was one of those. Just look at these wonderful pots. The pedestal made it! I'll post some more photos of Steve making and glazing that piece. To give you a better idea of the accomplishment, I should mention that the finished pedestal measures 20 1/2" high and 12" wide. The bowl pictured actually is not the one he made for it but another darker one we have. The bowl in the kiln firing tonight is glazed similarly.
The next piece is beautiful as well. It is close to an original Teco design. At 17 1/2" high it is quite large too.

and this is the lotus I was making in an earlier post.

The making of a Lotus

There is a special beauty of a pot just decorated. It is what it is. You can feel confident that you've done your best and appreciate your success. Subconsciously I often consider the piece finished at this stage. The amount of control I have is larger. Once it is bisque fired, there is no more manipulation of the material only glaze application and firing. Glazing and firing are the more scientific side of ceramics. They are extremely important because obviously, if the glaze quality doesn't match the quality of the craftsmanship of the pot, then it fails as a piece. It is also a bit of a gamble, less so with experience but still there are variables that can go askew. Materials can vary as mines become depleted of chemicals you use in the glaze. You can space out (!) while you are mixing the glaze and end up with a disastrous glaze. (You can not see the glaze colors until after they are fired.) Thickness of the glaze is an intuitive thing too. We use a hydrometer to measure the thickness of a new batch of glaze but after that, it is really by feel that you decide the glaze is good to go. Kilns fire differently depending on the number of pots you put in the kiln and their placement within the kiln not to mention the firing schedule. Fortunately, kilns themselves are much more controllable today than in the 1970's because of the ability to digitally program your firing schedule, once you decide on it.

I was working on a Lotus today. It really turned out beautifully. Take a look.