The problem with making so much stuff is that it comes back and then you’ve got a whole heap of glazing to do! I don’t think I’ve ever had so much back from the kiln in one go.
I worked initially on all the pieces that had come back from their second bisque firing, heading into the glaze room armed with stain, slip and the temple glaze I’ve started using. In the interests of cohesion I picked a large plate, small plate, medium bowl and small bowl and tackled these together. All have been washed over with a black stain (newly mixed and with cobalt carbonate instead of oxide this time) and then using some of the left over emerald/iron oxide slip (5% emerald, 3% black iron oxide), I applied some areas of colour using the mono printing method. I diluted the temple glaze down with 50% more water and this was then applied using a brush.
For the two rectangular plates I mixed up some slip with 5% azure blue stain and 3% black iron oxide. After applying the usual black stain wash I then applied a wash of the slip but just in certain areas. I’ve been tending to use slip reasonably thickly and now want to experiment with a more washed effect. I’m hoping this will be a good way of building up the colour layers.
With the pieces I’m testing overall coloured slip on I’ve kept things very simple. Just the stain wash and dilute glaze.
The rest of the work was mainly first bisque stuff so all of that has been covered with white slip. Again I’ve applied this on some of the pieces very thinly, more as a wash. I still feel there’s a lot of tweaking to do get to the surface I see in my head. The work is becoming much more iterative now that I’m settled on some core forms and I feel that is really helping with the surface colour and patina development.
The bowl form above I’m finding interesting. I’ve been playing with the salvage texture on both the inside and the outside. Then it’s a decision as to how I treat the other surface. I’ve been enjoying just scraping it back with a metal kidney. This tends to pull out the grog from the clay which leaves pits and trails in the surface which I like. It also lends itself well to patching in strips of clay if the slab I’m working with isn’t quite big enough to line the mould. Some of the joining lines on the outside I feel really enhance the finished bowl. I’m finding that these are fast becoming my favourite forms.