Glazing Possibilities- 28 Different Approaches to Glazing Pottery!

Summary

This instructional video from a ceramics studio at Mason High School in Ohio offers an in-depth look at 28 diverse glazing techniques for pottery. The host demonstrates methods like dip glazing, brush application, wax resist, and texture application, catering to students preparing to glaze their pieces. The video also includes preparation tips, glaze selection guidance, and a follow-up showcasing fired pieces, providing a comprehensive resource for ceramic artists of all levels.

Takeaways

• 🎨 The video demonstrates 28 different pottery glazing techniques for wheel-thrown pots.
• 🏫 It is intended for the instructor's ceramics students at Mason High School in Ohio, who will be glazing their pieces soon.
• 🔗 The video description contains a link to a Google Slide document showing fired pieces and a follow-up video for the final results.
• 🛠️ The process begins with surface preparation, including filing off sharp edges and cleaning with abrasive stones.
• 💧 Rinsing the pieces under running water is crucial to remove dust and fingerprints before glazing.
• 📏 A pencil line is used to mark the foot of the pot for even wax application, which prevents wax transfer between stacked pots.
• 🎨 Glaze selection is important, with labels indicating compatibility and application instructions.
• 🥄 Tools such as a whisk, measuring cup, and plastic tray are necessary for mixing and applying glazes.
• 🍽️ Glazing methods include dipping, brushing, pouring, wax resist, tape resist, and using texture to create effects.
• 🖌️ Detail painting with glazes is showcased, as well as the use of underglaze and carving for intricate designs.
• 🌟 Special techniques like Shino, celadon, luster, mishima, and graffito are explained for unique glaze effects.
• 📋 A kiln ticket is filled out to record glaze details, ensuring proper firing and identification of the student's work.

Q & A

What is the main purpose of the video?

The main purpose of the video is to demonstrate a comprehensive approach to glazing pottery, showcasing 28 different techniques for students to learn and consider for their own projects.

Why is it important to file off sharp edges before glazing?

It is important to file off sharp edges before glazing because any sharpness will be intensified after glazing, which could lead to injury or damage.

What is the significance of the pencil line on the pottery during the waxing process?

The pencil line on the pottery serves as a guide for waxing, ensuring that the wax is applied consistently about an eighth of an inch up from the base on both the inside and outside of the pot.

How does one prevent wax transfer when stacking glazed pots?

To prevent wax transfer when stacking glazed pots, one should place a piece of paper towel between each pot to avoid inadvertently transferring a wax ring to the pot underneath.

What does the shelf tag indicate in the context of selecting glazes?

The shelf tag indicates the cart location where the glazes can be found and also matches the color on the lid to help identify the correct glaze.

Why is it crucial not to get clay debris into the glazes?

It is crucial not to get clay debris into the glazes because it can affect the glaze's consistency and final appearance on the pottery.

What is the first method demonstrated for applying glaze using solid color?

The first method demonstrated for applying solid color glaze is dipping the pot using tongs, grasping it firmly on the inside and outside, then dipping it into the glaze, turning it upside down, and shaking off the excess vigorously.

How many coats of glaze are recommended when brushing on the inside and outside of a pot?

It is recommended to apply three coats of glaze with a fluffy brush on both the inside and outside of the pot for even coverage.

What is the purpose of using a sponge when pouring glaze on the exterior of a pot?

The purpose of using a sponge when pouring glaze on the exterior of a pot is to tidy up any uneven areas where the glaze might have pooled or dripped.

How does the wax resist technique affect the glaze on the pottery?

The wax resist technique causes the glaze to bead up where the wax is applied, creating a unique texture and pattern once the wax is removed after the glaze has dried.

What is the Texas Two-Step glazing technique mentioned in the script?

The Texas Two-Step is a glazing technique that involves applying an undercoat followed by an overcoat. The undercoat consists of multiple layers, and the overcoat is applied in a similar manner, creating a distinctive spotted or textured appearance.

Outlines

00:00

🎨 Introduction to Pottery Glazing Techniques

The video script introduces a comprehensive guide on pottery glazing techniques, featuring 28 different examples. The instructor, based at Mason High School in Ohio, presents various methods such as dip pore, brush, scruffito, and mishima. The video is tailored for students in the ceramics class who will be glazing their pieces soon. The instructor emphasizes the importance of surface preparation, including filing sharp edges and cleaning with an abrasive stone. A Google Slide document and a follow-up video showcasing fired pieces are mentioned for further reference.

05:01

🖌️ Glazing Preparation and Application Basics

This section details the initial steps of glazing, including rinsing pottery pieces to remove dust and fingerprints, allowing them to dry, and preparing them for waxing. The use of a pencil line as a guide for wax application is highlighted, along with the importance of not stacking glazed pieces directly on top of each other to avoid wax transfer. The process of selecting glazes based on shelf tags and labels is discussed, as well as the tools needed for glazing, such as a plastic tray, whisk, measuring cup, and towel. The script also covers the preparation of glazes using a whisk or electric mixer and the method of dipping pottery in glaze using tongs.

10:01

🛠️ Advanced Glazing Techniques and Clean-up

The script moves on to advanced glazing techniques, including solid color application by holding the edge of the pottery, brushing methods with a focus on using a fluffy brush for even coverage, and pouring glaze inside and outside the pottery. The importance of stirring glaze between dips and cleaning the jars properly is emphasized. The video also demonstrates overlapping glaze application, wax resist over glaze, and tape resist methods. The clean-up process after each technique is described, including the use of a needle tool for removing tape and the handling of dry glaze during the process.

15:02

🏺 Specialized Glazing Methods and Textures

This part of the script explores specialized glazing methods such as dipping in low buckets, double dipping rims with specific glaze series, and blending layers to create overlapping effects. The use of texture in glazing is introduced, with techniques like applying glaze to textured pottery and using underglaze with carving. The script also covers the use of a bulb syringe for detailed glazing, the process of cleaning the syringe, and the application of glaze over carved designs with underglaze and transparent glaze effects.

20:02

🌈 Color Layering and Shino Glaze Family

The script describes the process of layering full colors of glaze, such as violet and sapphire, to create depth and visual interest. It also covers the use of texture glazes like root beer and celadon, emphasizing the need for fewer coats on textured surfaces. The Shino family of glazes is introduced, highlighting the effects of using black as a base layer and then applying a Shino glaze over it. The script also touches on the use of slip trailing with underglaze on bisque-fired pottery to accent existing designs.

25:03

👷‍♂️ Safety and Technique in Luster Glazing and Mishima

The script discusses safety precautions and techniques for applying luster glaze, including wearing gloves and ensuring good ventilation. It then explains the Mishima technique, which involves carving into leather-hard clay and filling the carvings with black slip. After the slip dries, it is scraped off to leave an even surface. The script also covers the use of transparent glazes like sapphire over the Mishima work to maintain the visibility of the design.

🎨 Detail Painting and Graffito Technique

This section focuses on detail painting with glaze on both satin and glossy pottery, comparing the effects of using underglaze on different surfaces. The script then introduces the graffito technique, which involves applying multiple layers of underglaze to greenware and carving designs into it once dry. The process of bisque-firing the pottery and then dipping it in clear glaze is described, along with a unique approach of applying additional glaze to the inside of a piece post-firing.

🏵️ Final Glaze Application and Pottery Preparation for Firing

The final part of the script details the process of applying the final coats of glaze, including the Texas Two Steps technique, which requires multiple coats of both undercoat and overcoat. The importance of allowing each coat to dry thoroughly is emphasized, suggesting the use of a hairdryer to speed up the process. The script concludes with instructions for cleaning the pottery base, preparing a kiln ticket with all necessary glaze information, and placing the pottery on a patty for firing. The need for thin, tortilla-like patties that dry quickly is highlighted, along with the reminder to check for advice and view the next video showing the fired pieces.

Keywords

💡Glazing

Glazing is the process of applying a thin layer of glass-like material to the surface of pottery to create a smooth, often glossy finish. In the video, the instructor demonstrates various glazing techniques, such as dip glazing and brush application, to achieve different aesthetic effects on pottery pieces.

💡Dip Poring

Dip poring is a glazing technique where a pot is partially dipped into a glaze, leaving a distinct unpainted edge. The term is used in the script to describe a specific method of applying glaze to emphasize the rim of a pot, which can create a unique visual contrast.

💡Brush Scruffito

Brush Scruffito is a technique where a glaze is applied and then partially removed while still wet, creating a textured surface. The script mentions this technique as one of the many ways to manipulate glaze on pottery, allowing for a more rustic or handcrafted appearance.

💡Mishima

Mishima is a pottery technique that involves carving into the clay before applying a glaze, revealing a different color or texture underneath. The script describes this process, emphasizing its use for creating depth and pattern in the final piece.

💡Wax Resist

Wax resist is a method where wax is applied to certain areas of pottery to prevent glaze from adhering, creating a design or pattern. The script illustrates this technique, showing how wax can be used to create intricate designs that stand out against the glazed background.

💡Tape Resist

Tape resist is a technique where tape is used to mask off areas of the pottery that should not receive glaze. The script mentions this method, explaining how it can be used to create clean lines and shapes on the pottery surface.

💡Texture

In pottery, texture refers to the tactile quality of the surface, which can be smooth, rough, or patterned. The script discusses applying glaze to textured surfaces, noting that certain glazes work well to enhance the texture of the clay.

💡Underglaze

Underglaze refers to colors or designs applied to pottery before the glaze is applied, which can then show through the glaze layer. The script describes using underglaze in combination with carving and other techniques to create detailed designs on pottery.

💡Luster Glazing

Luster glazing is a type of glazing that adds a metallic sheen or iridescence to pottery. The script mentions this technique, noting the importance of safety precautions such as wearing gloves and good ventilation when applying luster glazes.

💡Graffito

Graffito is an ancient pottery decoration technique where a sharp tool is used to scratch through a layer of glaze to reveal the clay body underneath. The script describes this technique, emphasizing its use for creating detailed patterns and designs on pottery.

💡Texas Two-Step

Texas Two-Step is a glazing technique that involves applying multiple coats of glaze, allowing for a rich, layered effect. The script explains this method, highlighting the importance of applying multiple coats to achieve the desired visual impact.

Highlights

Introduction to a comprehensive approach to glazing techniques with 28 examples.

Use of various techniques like dip pore, brush, scruffito, and mishama in pottery.

Preparation of pottery surface for glazing by filing and cleaning to avoid sharp edges post-glazing.

Rinsing pottery to remove dust and fingerprints before drying for glazing.

Technique of waxing the pottery foot to prevent glaze transfer during stacking.

Importance of selecting the right glaze and understanding the labels for successful pottery glazing.

Instructions on preparing glaze with a whisk for a smooth application.

Demonstration of dipping pottery in glaze using tongs for a solid color effect.

Technique of holding the pottery edge for a full coverage glaze, excluding the area touched by fingers.

Brushing glaze onto pottery with a focus on using a fluffy brush for even application.

Pouring glaze technique for both interior and exterior of pottery with attention to drip control.

Glazing with wax resist to create unique designs on pottery.

Using tape resist over bare clay before dipping in glaze for a distinct pattern.

Dipping pottery in low buckets by tilting for access to deeper glaze.

Double dipping rims with specific glaze series for a particular aesthetic effect.

Creating blended layers with overlapping colors for a gradient effect on pottery.

Organic pouring technique to mimic natural landscapes on pottery surfaces.

Layering full colors on pottery with attention to sponge wiping the bottom to prevent running.

Dipping pottery with texture and using contrast glazes for emphasis.

Combining solid glaze with underglaze and carving for a detailed pottery design.

Using a bulb syringe for detailed glazing and the importance of cleaning it properly.

Outlining and painting pottery with glaze for detailed areas after using the bulb syringe.

Shino family glazes with black as a base for unique effects when combined with chinos.

Slip trailing on bisque-fired pottery to accent existing designs with underglaze.

Luster glazing as an overglaze technique with safety precautions like wearing gloves.

Mishima technique involving carving and filling with black slip followed by transparent glaze application.

Detail painting on pottery with glaze for a refined look.

Graffito technique applied during the greenware stage with multiple layers of glaze and carving.

Texas two-step glazing process involving undercoats and overcoats for a distinctive finish.

Final cleaning of pottery foot and ensuring glaze is wiped an eighth of an inch from the bottom.

Preparing kiln tickets with detailed information about the glazing process for future reference.

Instruction on making a tortilla-thin patty for pottery and its importance for successful firing.

Placing pottery on a patty and wear board before putting it in the drying cabinet.

Anticipatory guidance to check the next video for fired pottery outcomes.

Transcripts

[Music]

[Music]

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hi everyone welcome to my classroom

studio here

at mason high school in mason ohio this

video is going to be

a video that i'm trying to show a bunch

of different techniques

a comprehensive kind of approach to

different ways that you can glaze a pot

in fact i'm going to show 28 different

examples

in this video i have 28 wheel thrown

pots and i'm trying to show

a wide variety of techniques things that

cover things like

dip pore brush scruffito mishama

all sorts of things overlapping just

experimenting with some

different techniques that some of my

students might want to use

i've made this video actually for my

ceramics three kids

who will be glazing their pieces later

this week and next week

we have a remote learning day on

wednesday of this week so they're going

to be watching this at home

so they have a better idea of what to do

when they return to school later in the

week

so also check in the video description i

will be having a link

to a google slide document which will

show

uh the fire finished fired pieces

also i will have a follow-up video that

shows the finished fired pieces

so do check that out and i'll have links

to timestamps of the different

techniques in the video description as

well so

good luck shoot me any comments below

that you might have and don't

forget to subscribe if you want to learn

more about clay

so we always start off by prepping the

surface by filing off anything that

might be

sharp and just cleaning it off with one

of the abrasive steel stones that i keep

up front your signature or if you've

carved it's very important if you maybe

you slip trailed

you can just get anything sharp off

before you glaze because

if it's sharp now it will be way sharper

after you have glazed it so file that

down

first then you're going to rinse your

pieces

under running water you want to make

sure that it's rinsed really well to get

any of the dust off

if you've had dirty fingerprints you

want to get that off and you can set it

aside to dry for a couple hours or even

a day

next you're going to prep it for

possible waxing

remember to lay a pencil flat on the

table and rotate the pot

and that will give you a line an eighth

of an inch up away from the table

you will want to do that inside and

outside and then you can

wax now you want to condition or

moisten your wax brush before you use it

that'll make sure it's clean and it'll

allow the wax to flow off of it a little

bit more easily

if you've made the pencil line you can

use that reference

as a guide for when you wax remember it

should be up

an eighth of an inch on the inside and

the outside

of the foot now don't stack them

together instead of direct stacking them

make sure that you

put a piece of paper towel in between

them so you don't transfer

a wax ring inadvertently to the one

that's underneath

selecting a glaze is very important

remember that

the shelf tags indicate the cart and it

also says on the label where you would

find

those glazes and they also are color

coordinated on the lid to match that

shelf tag if you see something that has

like the dashed lines

like these four are part of the archie's

base series

pay attention to the stop signs it's

telling you important information

such as don't put it all over the

outside of a pot or it will run like

crazy

you will see indicators if things are

good with texture

or maybe in the case of the texas two

coats

and i also have some other glazes as

well besides the coyotes

now when your glazing you will often

need a plastic tray

a whisk which is in the wisk drawer near

where the trays are

you will also probably need to get a

measuring cup and a towel so if you're

going to work at the buckets you will

need all these things now when you take

the lid off the buckets there's

sometimes debris on there so be very

careful not to dump that

clay dust into the glazes or you could

say

take your orange towel and wipe that off

just don't get the clay debris in the

glazes

now you're going to take your whisk and

very vigorously whisk

up that glaze it takes a good deal of

effort when the glazes have been sitting

for a while to get it nice and smooth

you might also need tongs for what i'm

going to show you here

this first method of dipping in a solid

color is going to be using the tongs

grasping it firmly on the inside and the

outside

you dip it turn it upside down and

shake it off vigorously you can even

kind of like tap it against the side of

the bucket

you keep shaking upside down until it

stops dripping

it might take you a minute or two the

next method

is also a solid color but this time i'm

holding the edge

so if you hold the edge you can dip it

until you're covering

almost the whole thing except for the

part where your fingers are located

and then when that dries i will

take it and i can turn it and i can get

the other part

again that might take a few minutes

because i have to allow it to dry

you also would want to stir it between

dips to make sure it's mixed next we're

going to do

a brushing of the inside and the outside

first of all condition or moisten your

brush

you want to make sure it's number one

it's clean and

again it helps the glaze to flow a

little bit better now when you get a jar

of glaze out you can mix it with brushes

you can mix it with a little spatula

a whisk or even you could use the hand

mixer with one blade

or beater just cover the top when you do

that

here i mixed it with the whisk and now

i'm applying my glaze

when you brush use the biggest fattest

brush that you can and you want to do

three coats on each uh

each color so three coats with a

fluffy brush inside three coats with a

fluffy brush outside

you always want to use a fluffy brush to

make sure it is

going on evenly wipe the rings of the

jar off

before you put the lid back on next one

i'm going to pour the inside

so whenever you're pouring pour the

interior before you do the exterior

and then again hold it upside down so

you're encouraging all the drips to come

off the top you don't want it to run to

the inside or you'll get a big puddle

then i'm just tidying up with a sponge

on the outside where maybe it was

a little bit uneven now i'm going to

pour

the exterior it's a little trickier to

pour the exterior though

oh here i'm using my electric mixer if

you get a super thick glaze like in the

case of this one

i use the electric mixer now in the case

of this

i'm going to take my watch off because i

know i would be getting it all over my

watch

if i didn't so i'm holding it upside

down and

i'm just trying to pour over the whole

thing

and and shake it off this

cactus green is unfortunately fairly

thick

so it's not shaking off as easily as

maybe a thinner glaze would

next method is an overlap it's a

two-thirds dip and a two-thirds dip

so i dip two-thirds and the darker of

the two colors that i'm going to be

using and when that's dry i'll come back

and dip two thirds on the other side in

a different color

so in the middle it has an entire third

that's overlapped

next is the wax resist over glaze so

here i already have a glazed form

and i'm just doing some wax design i

believe that steel gray chino is my

base glaze on this and after i do my wax

design

i'm going to be dipping it into

i think this is desert sage that i'm

using

here and um you can see that the wax

is starting to feed and make the glaze

bead up

and then after that's dry i'm going to

come back in here with a sponge

and then just take a little bit more off

of the waxy area

so just a slightly dampened sponge will

get

the rest of it off the wax so that's two

layers

with wax now i'm going to wax over just

bare clay

so this is an unglazed pot i'm doing a

wax design

and as i dip it you'll be able to see

how the wax will allow the glaze to just

kind of

bead up on this so you can see it's

starting to separate already

and again when that is dry same as

before i'm going to take my sponge

and just kind of lightly sponge off the

areas you'll be able to see

where the wax is it's it's somewhat

obvious

because it tends to pull a little bit

there next we're going to do some tape

resist

now this first one i'm going to do tape

resist over

bare clay so there's no glaze there and

as you put that on there i'm just trying

to make my

edges or the ends kind of meet up i'm

holding it with tongs and then i'm going

to dip it in and this is

desert sage as well that i'm using for

this one

and when it's fully dry

i will be removing the tape you could

use say an exacto knife if you need to

i'm just using a needle tool

i had a couple little round stickers

that were like those little

reinforcements that you might use on a

three ring binder paper

and again i probably should have had an

x-acto knife but i was just using my

needle tool

now as you pull this off it makes a mess

dry glaze goes everywhere so make sure

you can clean that up

next is the same thing except i'm

putting it on a glazed pot

so this is a pot that has steel gray

chino on it

and after i get the tape on there it

doesn't stick

quite as well as it does on the bare

clay but it it'll still work

and then i'm going to dip this into

chino

so steel gray shadow with chino over it

this does create quite a bit of bubbling

but i will buff that with my hands to

get all

some of the bubbles worked out a little

bit on that now you can see

the steel graciano underneath that okay

next is how do you dip in a low bucket

so when the bucket is low enough that

you can't really

physically fit it all the way down in

there you can always

tilt the bucket so it's at an angle so

you have more of a

corner that you're working with that'll

allow you to get deeper

next is i'm going to double dip a rim in

one of the

archie's base series now these glazes

are very particular

you can use them on the inside you can

use them on the rims but

don't use them all over they will shiver

off sometimes

okay so i'm dipping the rim

about an inch never go more than a third

of the height of the piece

and here i just did it at about a half

an inch so not

quite as deep as it was the first time

now as you flip it over

try not to allow it to drip if it does

drip you want to kind of solve that

so they don't drip because it'll run

like crazy

next i'm doing blended layers that are

overlapping

and kind of making a blended effect um

so i'm blending cobalt red and then

violet will be my three colors so

um the little bit of a blending comes

toward the end of the layers when you're

taking a wet brush and kind of blending

them together

next is pouring organically so on this

one i'm going for kind of a mountain

scene and i'm doing

desert sage which is a light green uh

in kind of an organic band around the

middle

i should have done the interior before i

did the outside but here i did the

interior

with the desert sage now i'm doing blue

chino which is a darker blue on the

bottom and i'm kind of overlapping a

little bit

on the desert sage and then after

that dries then i'm going to come in

here and i'm doing

light chino for the upper part so i'm

trying to create

sort of a mountainy kind of an effect

okay and just making sure i don't have

any bare clay that's visible there

and then i'm just touching up a little

bit on the inside where apparently i

missed it

okay next is now i'm just going to layer

full

on colors so here i'm just doing violet

first i'm not using the tongs because

again this bucket was kind of low

so i had to turn it on the corner so i'm

just doing um

where i'm getting most of it with my

hand now i'm going to get the last

corner

okay and as i do dip you can see i keep

a sponge in my hand so i periodically

i'm just wiping off the bottom as i go

okay after the violet is dry now i have

sapphire which is um that real pretty

celadon

blue i'm just dipping it in one coat

real kind of quickly like when i

do this i'm probably holding it in there

for about one second

and then taking it out upside down and

just tapping it to get all of the drips

off the runnier the glaze is

you know it might take a little bit

longer for it to

fully drip next one is dipping

with texture so i'm also doing uh

a contrast glaze on the inside so i'm

putting black on the inside

first so i'm gonna have two layers of

color on the interior

um that it's better to have two on the

inside than two on the outside because

two on the outside of course can run

now i'm plunging the whole thing into i

believe that's desert sage

because any of the chinos are going to

be excellent on texture

number 15 is now i'm just going to

again on texture i'm going to use some

of the celadon so here i'm using root

beer on the inside

and sapphire on the outside now when

you're brushing texture

you only need to brush two coats on

texture

but three coats on smooth so here on the

smooth parts

i'm doing three coats but on the texture

i only

am doing two coats and then on the

interior i also brush

three next is using a solid on

with underglaze and carving so this pot

had carving on it i'm putting under

glaze in it first

now i'm going to take my sponge i'm just

sponging off

the extra under glaze so it's just

leaving the design

in the carving and then i'm using

sapphire on the inside

i'm doing some rainy day for the

mountains

some peacock i

meant to do key lime i think somehow i

forgot keylime and then sapphire for the

sky

so these should have a transparent

effect

i'm doing three layers of those next is

i'm using under glaze again and some

carved lines

and uh in the case of this though i am

glazing the the areas separately and for

this

i'm going to use the bulb syringe i'll

go ahead and i'll paint the three layers

on the inside

now if you want to use the bulb syringe

i do have them in the rubbermaid tub

just make sure that you see me when you

check it out and when you check it back

in i need to check it

the bulb syringe is designed to hold

glaze and squeeze it through the little

metal tip

take the tip out make sure you don't

have water in it and that it is clean

squeeze the bulb insert the tip of it

down

into the glaze okay now i'm going to

turn it over and shake that glaze down

to the bottom of it squeeze out more air

and then when you put it back in release

it and it'll suck up more glaze

you can put the tip back in and then you

can wipe off the

excess glaze that you might have on

there so you don't get it all over you

and then once you have it full of glaze

then you're ready to go ahead

and glaze now you want to do this almost

like you're just drawing with it

you squeeze and then kind of pull the

glaze around

as you squeeze you're pulling around as

you go the whole time though you should

be squeezing

to get enough glaze that's coming out

squirt the glaze back

in the jar when you're done and then to

wash it out get like a water dish and

you're going to run water through the

wall

multiple times and when that's clean run

a whole thing of clear water through the

bulb

and then to check to see if it's

actually clean i squirt the back of my

hand

if you see any clay residue you know you

need to do it again

so here i'm just doing another color now

i did note right here that you can

wax over a glazed design

and then you could dip if you would want

to so here i'm just cleaning again i'm

done with the red at this point

running the water through it again

and once you run an entire clear thing

of water through it you should be good

now the last bit that i'm going to do

here is i'm

outlining with the outside color

then i'm going to paint it in with a

paint brush to get three layers

you only need one coat if you use the

bulb syringe but

if you paint with a paint brush you use

three

so the advantage is it goes a little bit

faster when you have detail area

okay and then lastly i know it's a lot

of cleaning out that's the hardest thing

about the gold syringe is making sure

it's

really super clean and again i'm just

cleaning off the bottom of my pots as i

go

now lastly i am going to clean out the

grooves

where perhaps i got some glaze

inadvertently into the little black

under glaze lines that helps to clean it

out

and then i just kind of gently dust it

with a soft

brush and whatever you do don't try to

refill

under glaze on the lines next is the

shino family

with black underneath it black is such a

great base if you want to do chinos over

the top you get some really cool effects

you can use chinos by themselves but if

you dip black first and then a shino

over the top you can get some really

pretty pretty effects

it's kind of nice and this is

a light chino over black next is

celadon's the character of the celadon

glazes

are that they are transparent and they

show texture gorgeously so if you have a

good texture on a pot you might try a

solid on

now slip trailing is something that can

be done of course

in the green wear stage when you slip a

slip trail actually

liquid slip onto it when it's leather

hard here though

it's been bisque fired so i'm just

putting some under glaze on and i'm just

trying to kind of

accent the design a little bit that's on

there so

we've done things similar to this before

i'm just leaving almost like a little

black outline

and now i'm dipping this into the salad

on dusty rose

because i'd like for it to be somewhat

transparent and i want to be able to see

the under glaze

and usually those celadons will allow

you to see that

okay so next is the luster glazing

now here i have a bowl that's dipped in

half

matte white which is alabaster satin

white and then half glossy white

it has been fired and now after it's

been fired now i'm

doing the overglaze the luster glaze

so this has already been fired to cone

six and

notice that i'm wearing gloves you

should normally be doing this

out on the patio where you have

excellent ventilation

the only reason i'm not out on the patio

now is that the patio is all covered

with snow

and then clean your luster brush off

when you are done

you again you want to wear the gloves so

you're not touching the luster

next one is mishima mishma is a

technique that's done with

green wear so i'm carving into it while

the pot is leather hard

and then after i clean my carving i'm

now going

to take black slip so it's just slip

where i've added a stain to it

and i'm filling it in with i have a

ziplock bag and i'm just squeezing it

through so

it's sort of like um icing maybe i'm

i'm icing cookies or something once it's

dry then i'm going to scrape

off the black slip and i'm left with

an even surface where it just has

the black slip that's showing um

so it's works best to be honest on a

non-grogged clay

this was grogged but it'll still work

now it's been bisque fired

so the slip has been misfired and

everything

i am dipping it into sapphire which is

again a celadon so it's going to have a

transparent look

and i should be able to see it so you

don't necessarily have to use clear but

you want to use a transparent

next is i'm going to use some glaze

for detail painting now this blue pot

is a satin pot and i also did it on a

glossy i just forgot to film it

this one is the same sort of thing but

i'm using a blue

under glaze on a white gloss so i have a

white gloss

with normal cobalt glaze a blue satin

with normal cobalt and now i have

a white gloss with under glaze so we'll

do a comparison and see what they look

like

next is graffito graffito

is a glaze technique that's done in the

greenware stage

you apply three to six

layers of your glaze

and i do have cone six under glazes

these are coyote under glazes that i

happen to be using

and then i'm just tidying up the edge so

once your

under glaze is dry

dry enough that you can handle then you

can carve now

as i carve this you can think about more

than just

lines think about carving away full

areas you know you can carve away the

background it makes it much more

interesting than if you just have skinny

old lines in there

okay and i i'm just going to take a few

minutes

and make sure that i'm cleaning up

any rough edges with this it's a little

bit harder to clean

this when it's graffito but then bisque

fire it gets bisquired

now i'm dipping it and clear now

after i did this i realized ah nuts

i meant to glaze the inside with really

red

so i tried something that i've never

done before here after

the clear dried i went ahead and i put a

couple of coats of really red on the

inside

i wasn't too sure what would be

happening with this

but um it does seem to work it just gets

a little clear near the top

and then we have two more things we have

the last we have the texas two steps

now the texas two steps have an

undercoat

so i have two undercoats i have licorice

and coffee bean

and they also have an overcoat

so the undercoat that i just did there

that's coffee bean

and then i'm dipping this is my second

coat that i'm dipping in the blue moon

so you need to have a generous amount of

coats

so i have two coats of blue moon over it

now that's one coat of white marshmallow

and then when that dries again i'm going

to do one more

little section of white marshmallow

it really has to be dry between those

coats it might take you a couple days

to get it all glazed or you could also

use a hair dryer

you can also conversely just brush

texas two steps but be generous with

your numbers of coats

so when you do the undercoat the base

coat

again you have to have a minimum of

three coats so

that's equivalent to a dip and here i

just poured the inside

with the marshmallow and now i'm just

going to do some

stripes now when you do this though

keep in mind it might take a while for

it to dry

so again you could wait a day or dry it

with a hair dryer

here i'm doing a second coat on the

interior

and then another coat on the rim

and i'm notice i'm using the turntable

and i'm just rotating the turntable

holding the base part of the turntable

that makes it a little bit easier

i'm getting multiple coats on there it's

probably like four

at least four coats of the

uh overcoats there so i've got both

marshmallow

and blue moon it's at again at least

four coats of each of those

the heavier the coats get the more

pronounced your

um kind of your spotted

look is that you get next i'm doing the

final cleaning of the foot

you always want to sponge not only the

bottom but

up an eighth of an inch this is so

important

kids i'm not going to be doing it for

you if you glaze down too far

it's going to get fused so remember you

can take the pencil

rotate the pot up against the pencil and

that is going to make a line

an eighth of an inch up if you

are unsure where to glaze please do the

pencil line

okay you want to make sure it's inside

and outside of the foot

if you have a thick amount of glaze

maybe you have to scrape it

you can always put something flat

against the bottom to see how deep your

foot is as to whether or not you should

do that next i'm going to make a patty

take a golf ball size hunk

and i'm just flattening it out and

i'm stretching it so i'm hitting the

side closest to me

first as i do this set your pot on the

patty and cut it three quarters of an

inch bigger than the base of the pot

then go over to the light switch into

the little silver basket and grab

yourself a kiln ticket

you will be riding down oh and grab a

wear board

from the wear board rack you're going to

be filling out the kiln ticket

to tell me everything that i need to

know about the glaze so set your patty

on the wear board

oops and i almost picked that up with 30

fingers set your

pot on the patty complete your kiln

ticket

okay so notice again it's three quarters

of an inch bigger than the base

of the pot all the way around complete

your kiln ticket you're going to have

your name your bell the date

the clay body which is stoneware in that

case

the glaze names or numbers uh

the cone of the glaze check whether or

not it's dinnerware safe

have you wiped the bottom and the

corners

up an eighth of an inch free of glaze

and then

also have you made a tortilla thin patty

just make sure those patties are

thin like a tortilla if they are too

thick

it will blow up it has to be thin

because it needs to dry out

in like an hour then put the whole board

with your kiln ticket and your patty

into the drying cabinet and remember to

check those signs for advice

and check the next video that i have

which i will show

these fired pieces so you can see just

what they look like

when they come out of the kiln

you