I have been stuck on whether or not to glaze my three large vessels (terracotta, buff stoneware and black stoneware). On one hand, leaving them plain provides a neutral space for the smaller vessels I have glazed maximally. Furthermore, the terracotta clay will stay a bright orange if I don't fire it any further. However, as individual pieces when removed from the collection of work, these wouldn't be representative of my style or reiterate the ideas I aim to communicate in my MA collection. Due to this, I have decided the larger vessels need to be glazed in some way to keep with my general work style.
Following my tests and sampling during the past couple of weeks, I want to use the wax crayons to add gestural marks to the bisque-fired surface, using copper and cobalt oxide and red. Following this, brushing my matte white glaze (no. 28) over the surface, but leaving the bottom quarter unglazed, with spots of jade and oatmeal glaze to add variations of colour and sheen. I also loved the effect of the glass frit additions on my tests, so want to include this on my large vessel also.
I feel far more conflicted about this piece. I really like the bright orange of the clay, and firing it at any high temperature turns it a very dark brown. Nevertheless, terracotta works very well with my matte white glaze (no.28) as I developed last unit and the SWG matt white in the glaze room. Furthermore, additions of jade glaze spotted about the surface and patches of silicon carbide produce a beautiful frost-like finish.
For this piece, I think I will use wax crayons over the surface, also using a white crayon. Then, I want to brush the SWG matt white over the surface but leave the bottom third unglazed, allowing some of the matt white to drip down. Following this, I will add patches of jade, silicon carbide, oatmeal and the glass frit.
Large black stoneware:
Following my tests, I'm fairly confident with how I want to glaze this vessel. I will use white, red, and cobalt wax crayons over the full surface, reiterating the idea of movement and gestural marks. The SWG matt white glaze will then be brushed over the top third of the vessel, leaving the bottom third glaze-free, with spots of jade, silicon carbide, oatmeal, and glass frit over the surface.
I also want to test my Kuan crackle recipe (no.35) on a test tile to see how this would look on the black clay. If successful, I also want to add spots of this over the surface.