Fired Crazy Pots from Larson Workshop

I glazed and fired the work from my Jomon / Crazy Pots workshop in June. The work is boxed up and will be taken to Larson Gallery today for people to pick up their work. 

Most people chose to have me glaze their work after the workshop. All the students applied underglaze (which is basically colored slip) to their pieces during the workshop. The underglazes added color to the surface, but fired alone would leave the surface looking matte. Most people chose to have me spray on a layer of clear glaze to make the surface shiny. 

 

Neither of these pieces has underglaze color added to the interior, but each has glaze and underglaze on the exterior surface.

These three artists chose to use just one underglaze color.

Since it worked with some other stuff I needed to fire, I believe I ended up firing the matte, unglazed work to a slightly lower temperature than the glazed work. I bisqued all the work before applying the clear glaze to some pieces because I had room in the kiln I was firing anyway and because the pieces would be a little safer to glaze after they had been fired once.

This piece has underglaze on the exterior and raw clay visible inside.

 both of these works have underglaze but no glaze inside and out (mostly).

Most of the students applied their color evenly and it looks good after firing. Underglazes can be tricky, since three full coats are required to create even coverage. Fewer coats or thinner coats of underglaze can result in irregular, streaky color.

The underglaze coverage is a little bit thin, but it looks  good here since it is consistent. 

This piece has raw clay with glaze and well as a thick coat of blue and yellow underglaze.

 

 I've always thought red underglaze is one of the hardest colors to use well.

The piece on the right may have looked completely red before firing, but the irregular coverage shows up with glaze. 

I sprayed all the glazed work pretty evenly and at the same time. Surprisingly, two of the pieces turned out a little rough. I'm not sure why, since they were spread out in the kiln and were glazed at the same time as everything else. I suspect these two colors might not be as well formulated as the rest of the colors. Unfortunately there's not much I can do about it.

The glaze on this piece is a little rough, not sure why.

The glaze on the lid is rough, but the base seems even. Maybe this one was just the texture of the clay itself.

If you took the class and have any questions about how the work turned out, feel free to contact me through my blog or through my website, or by commenting below. I hope you like the work.