Glazing Method

My glazing process is a fairly organized affair. If I don't follow a certain order for my glazes I end up mixing them multiple times and I'd rather only stick my hands in the glazes once each. So here's what I do:

First I divide my bisque pieces into groups by the color combination they will receive. I do this based on what I am glazing and what recently sold.

Each group is placed by a label telling me what glazes they will be finished in. I have these in a certain order on my counter also. So I can be sure that each glaze is used as many times as I need it. A couple times I ordered these labels with one out of place and later realized I had completely skipped one combination and had to remix some glazes to finish those pots.

Next I wax all the bottoms of the pots. This keeps excess glaze from sticking to the foot of the pot and allows for easier cleaning. If there is any glaze left on the foot of the pot it will stick to the kiln shelf and cause all sorts of problems for me.

Then each piece gets the interior color poured in, the top rim dipped and the patterns applied. The pots are left to dry briefly while I complete all the other glazing necessary to finish before I can move onto the next color.

The outside color is applied by dipping. I go over each pot before I put it in the kiln to make sure no air bubbles caused gaps in the glaze and that the surface is smooth. If it has any problems I apply a little extra glaze or smooth it by gently rubbing my finger over the surface of the pots. This helps to prevent pinholes from forming.

Pots are loaded into the kiln one at a time. I always feel like I am playing a very careful game of Tetris. Except I don't want any of these pieces to touch each other. I try to fit as many pieces into a single kiln as possible so I try to have small pieces to fill in the gaps left by the larger pieces. The little pitchers, bowl, and the mini cup in the first layer were fillers for the four larger bowls.

There also has to be four shelf support posts on each level where another shelf will be placed above.

The top shelf in my kiln also gets a guide cone. I watch this specially formulated piece of porcelain during firing to make sure the kiln doesn't overfire. If the kiln reaches the correct temperature this cone will have a slight curve in it, if the kiln overfires the cone could end up as a puddle on the shelf and most likely the glazes will have started to melt right off the pots. Or worse.

 I never want a complete meltdown. That can more easily happen to a low fire clay like terra cotta or earthenware. I saw the results of an overfire like this in college. The inside of the kiln was coated in what looked like cooled lava. Black, bubbly piles of what used to be pottery and sculptures. The kiln had to have the bottom two layers of brick rebuilt, the affected shelves and support posts thrown out, and the person responsible was never allowed to fire the kiln again.

I was not the one responsible, and none of my work was in that kiln. Thank goodness. It was definitely a teaching moment. I hope to never have a problem this severe in my studio, which is why I always check on my kilns during firing. I'm a little bit paranoid when either of my kilns are running. But I'd rather be paranoid than have a meltdown or have to call the fire department!