Red is a colour that attracts attention. At the very high temperatures we fire to (1280 degrees C or cone 10 in potters talk) copper is the material to produce the best reds. If you can separate copper from the oxidising effect of the oxygen in the atmosphere while sealing it in a glass layer, the colour illustrated is achieved. Sounds simple. Just ask another potter. It took me about 10 years of grand frustration before I finally achieved predictable reds. You wouldn't believe how many books, articles and notes have been written covering this procedure. Our kiln is a top-hat design, 50 cubic feet, LPG fuelled fibre lined machine with a computer as baby-sitter.
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32cm shallow bowl made from Imperial Porcelain. The clay is exceptionally white, left uncovered to contrast in colour and texture with the shiny copper red glaze |
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![]() Pot, 60cm in diameter and thrown in three parts has copper red glaze sprayed over the top half of the pot over a wax resist decoration. |
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![]() Without a computer helping me I don't think I could fire this glaze nearly as consistently |
Glazed and fired over and over. Most of the time multiple firings leads to disaster, sometimes something interesting happens. 23cm high |
Clean white edges are the result of using porcelain clay. A simple, confident pot design will always work. 35cm long
Vase,15cm high |
The bigger pots are made piece by piece firmed up with heat and assembled.
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The same copper "red" glaze fired differently
The right hand picture shows mugs fired in an oxygen starved firing (called reduction firing) and on the left, a neutral firing, same porcelain clay and same glaze. |
Web video on making a large pot
Revised: 09/06/07