Glazing Pottery Jugs and Vases


Yesterday I found some time to post a few pictures of some vases and jugs and pitchers and told you a little about the “steps in the process.” I thought I’d take the next step here, and show you the pieces as they appear now.

Lidded Vessels, Pitchers, and Vases
Lidded Vessels, Pitchers, and Vases

They have all been through a bisque fire, and that’s been followed with an initial glaze firing.

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We do the first glaze fire at a bisque fire temperature, though in the case of the pieces shown above, we have also used engobes  (we can use some engobes on either leather-hard clay or bisqued ware, while glazes are applied only on the bisqued ware). It allows the powder to fire onto the pieces and makes it possible for them to retain their porous bisque nature which then allows them to receive additional overglazes.

Drying on Kiln
Drying on Kiln

The alligator, or crawl glaze, is particularly tricky. These glazes are reminiscent of dried clay in desert dry areas. As the moisture evaporates, the glazes shrink (almost crawling) to allow for the engobes and underglazes to show through the cracks that appear. I can handle the upper section of the jugs, since the alligator glaze is not on that part of the surface; however, the vase shown below must be lifted carefully with fingers only on the inside of the vessel.

Tricky Glaze Drying
Tricky Glaze Drying

This process is particularly fragile, with the slightest shake allowing bits of the glaze to fall off the pieces, and it’s a special problem on some of the vertical forms. Glazes and engobes are applied in stages, with for example, the glaze on the interior of these pieces allowed to dry for a full day before the additional glaze is applied to the lower sections or exteriors of the pots.

platter glaze detail
Glaze Detail Skylight Platter

When we’re working on plate or platter forms, we actually have to wax surfaces where we don’t want the texture of the alligator glazes. However, on such forms, we truly delight in seeing the lift and separation of the alligator glaze. After all, we know that in the heat of the stoneware firing, the glaze will lay back down and fuse onto the clay. The waxing process makes the plates and platters truly labour intensive, but the end results are always amazing. It seems most of our pleasure derives from the process, and perhaps that explains why the bulk of our work truly is just that: time and labour intensive.

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I’ll be sure to “blog” about the very special dinnerware set that Vic’s making for an upcoming Art Show. The hours spent on creating this one-of-a-kind set will ensure that it is most highly-collectible and will remain one-of-a-kind.

Glazed and Drying Dinnerware Set
Drying The Alligator Glazed Dinnerware

All the work made in our Ladysmith, Vancouver Island, BC studio is actually truly one-of-a-kind. Being the nature of our work, every item is individually hand-crafted. Of course when it comes to dinnerware, we try our best to keep to uniformity, allowing for a true set. Still, it’s like having babies, each one has a personality, making them all extra special.

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