Description
Book SynopsisLearn how to use an electric kiln to attain the natural earthy colors and spontaneous patterns of alternative firing methods.
Trade Review“Guides the reader to generate sought-after atmospheric effects with the most accessible type of kiln. This book is a must-have for those looking to push past perceived limitations and expand their surface possibilities in electric firing.” -- Martina Lantin, Associate Professor of Ceramics, Alberta University of the Arts
“Excellent . . . the author describes step by step, with thoughtful advice and many photos, how to obtain the effects that normally are reserved for raku or pit firings . . . An invitation to experiment in complete confidence.” -- Ceramics and Glass Journal (La Revue de la Ceramique et du Verre)
“Numerous beautiful sample photos . . . detailed and very clear . . . a source of inspiration . . . Highly recommended.” -- Klei Keramiek magazine
“A carefully researched book documenting a unique pottery firing method. The text and accompanying photography is informative and excellently executed.” -- Jeff Zamek, founder, Ceramics Consulting Services, author of The Ceramics Studio Guide: What Potters Should Know
“Taking the ‘fear’ out of the atmosphere, [this] is an accessible how to guide for small scale studios looking for various combustible results within the controlled environment of electric kilns.” -- Ian McDonald, Artist-in-Residence and Area Head of Ceramics, Cranbrook Academy of Art
Table of ContentsIntroduction What Is Saggar Firing? Trying to understand the process — my 2016 jar project About this book Environmental and health issues 1. Making the saggar 2. Requirements your work must meet 2.1 Clay type and surface of the work 2.2 Using terra sigillata 2.3 Bisque firing temperatures 2.4 Glazing your work beforehand 3. Materials that give color to your work 3.1 Natural colorants 3.2 Metals 3.3 Oxides and carbonates 4. Attaching the coloring materials to your work 4.1 Natural colorants 4.2 Metals 4.3 Oxides and carbonates Results | before and after saggar firing 5. Loading and firing the saggar 5.1 Combustible materials 5.2 Loading the saggar 5.3 The amount of oxygen: reduction and oxidation 5.4 Firing the saggar 5.5 Results and finishing 6. Experimenting: looking for new possibilities 6.1 Experimenting with different types of saggars 6.2 Experimenting with clay and terra sigillata 6.3 Experimenting with combustible materials 6.4 Experimenting with coloring materials 6.5 Experimenting with firing methods 6.6 Experimenting with the finish 7. Something went wrong Gallery of work by workshop participants Conclusion Clays Glossary Media Acknowledgments
