John Britt's New Book of Glaze Recipes

John Britt's new glaze book, The Complete Guide to Mid-Range Glazes, is now available. You can get it from Amazon, but if you go through John's website (johnbrittpottery.com), $29.95, he'll sign it, and ship it for free. The book is getting rave reviews, and I have a feeling these first edition hardbacks won't be available for long.

I'm looking forward to trying out a lot of these glazes, starting with some self-reducing reds.
I've got a few pictures in the book - pots with Chartreuse and Marilee's Lava glazes (recipes included), as well as a cone 6 soda fired pot.

Here's the Marilee's Lava glaze on a pot going into the 2015 NCECA Biennial, coming up in January at Brown University:

The Lower Parking Lot

Porcelain, thrown and altered, with inclusions of dirt from the lower parking lot of the Annandale Campus of Northern Virginia Community College, fired to cone 6 oxidation, 9" x 10" x 10", 2014.

Now for the Dirt

Before I do anything with new dirt, I run it through a series of tests in the kiln. I make containers out of a known and trusted clay, fill with dirt, and run through both bisque and glaze firings. Some materials melt, showing potential as a glaze material. This clay from the Annandale Campus is highly micaceous, and fired up perfectly to cone 6. Here I am testing the clay after it has been fired above 1700 degrees, removing all of its molecular water and stabilizing its rates of absorption and shrinkage.

A Pretty Color for Dumpster Clay

After testing the clay, I prepare a larger amount for working into the clay. First I dry it out, then smash it up, and then sieve it to homogenous particle sizes.

Hammering clay from Shooter's Hill in Alexandria, Virginia.

Evenly screened clay ready to add to the drying porcelain.

Natural clay poured over sticky porcelain.

Wedging it in.

It tends to fall apart before it comes together.

Eventually the porcelain takes over.

Clay balls ready to throw. The porcelain has totally absorbed the dirt.

New Studio, New Series

I've moved into a new studio in Rappahannock County, Virginia, and it's time to get going on new work. I've poured some smooth slip of English porcelain into pillow cases to draw off the excess water and stiffen up the clay. Even when I buy clay in bags, I go through this process first to age and plasticize the clay. I've also taken the opportunity to add raw, chopped, flax fiber into the liquid porcelain. I hang the bags of slip up until the clay is almost ready to wedge; in this case, it took about two weeks.

Hanging Porcelain like a Side of Beef

Next the clay is removed from the pillow cases and set out on plaster and canvas to dry up the last excess water under constant supervision. Here is both porcelain and black clay. Porcelain is particularly likely to go from being too wet and sticky to suddenly hard without much warning. I drink a lot of tea and flip the clay over and over.

Airing Out the Last of the Extra Water

Hand-making clay like this is essential to get the perfect consistency and plasticity for it to be able to hold the variable materials I add to it without collapsing. 

Too Busy, but for Making Pots

My last post was in Ireland, last summer, which is hard to believe. Writing, unfortunately, lists somewhere below what is currently necessary, and I just haven't made it down that list this past year.
I recently moved to the Washington DC metro area from a town of 444 people halfway up a mountain in the high desert of northern Arizona, which was quite the culture shock. And I'm also now working at a college campus with a population of 20,000 students from 180 different countries! It is amazing.

Here are some of the Irish pots:

And some new work from Northern Virginia: