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Home / Posts tagged “Workshop”

Tag: Workshop

Posted on November 10, 2018January 15, 2019 by Linda Bloomfield

Glaze course dates 2019

colour blend

I will be teaching more glaze courses in 2019.

Learn about mixing glazes, colouring oxides, colour blends and glaze chemistry.

13-14 April 2019 Forest Row School of Ceramics, East Sussex.

16-17 March 2019 Burnt Earth studio, Forest Row, East Sussex

25-26 May 2019 Studio45 Dartington, Devon.

Category: What I'm doing this week
Tags: colour, glaze, glaze chemistry, glaze course, Workshop

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Important information

Everything is dishwasher and microwave safe, except for the handmade cake stands.

All the handmade pottery is made by Linda in her studio in west London. All the manufactured pottery is made to Linda's designs.

The porcelain clay is mixed in Stoke-on-Trent. It is fired to a high temperature in electric kilns and resists chipping or cracking.
The glazes are made in the studio and contain no lead or cadmium.
Glaze materials: feldspar, quartz, kaolin, calcium carbonate, dolomite, and borax frit from CTM potters supplies. Colourants: small amounts of rutile, copper oxide, nickel oxide, cobalt oxide, and tin oxide.

Exhibitions
  • Sarah Wiseman Gallery
  • Yorkshire Sculpture Park x Design Nation MADE showcase
Open studios
  • Artists at Home
Past exhibitions
  • Critical Clay, Form Gallery
  • Design Nation Our Journey at The Hub
  • Fresh Air Sculpture
  • Oeiras Ceramic Art
  • On Air at Ceramic Art London
  • Pathways Art Trail
  • Plates with Purpose, Messums West
  • Stone Lane Sculpture
  • The Future of Craft
Restaurants
  • Leafwild Cafe
  • Luca
  • Royal Albert Hall Café Bar
  • Scarlet Hotel
  • The Clove Club
Shops & Galleries
  • Frivoli
  • G&G Goodfellows
  • Goldfinger Design
  • Masham Gallery
  • Pure Concept Store
  • Rye Art Gallery
  • Sarah Wiseman Gallery
  • Studio Eleven
@lindathepotter
Linda Bloomfield

@lindathepotter

Potter and author of Contemporary Tableware, #SpecialEffectGlazes, #ColourinGlazes, #ScienceforPotters Making functional ceramics, inspired by lichens
  • A lovely day eating cake and making glaze tests outside @the_ceramic_garden_ in Carshalton
    21 hours ago
  • Dimpled cups and pouring bowls. I’ve been making this range of dimpled ware since 2005. They are made from porcelain thrown on the wheel with a satin matt glaze on the outside and glossy coloured glazes on the inside. 

I started with just pale pink and pale blue and later added other colours including grey, turquoise and lime green. I’m thinking of reducing the range of colours and including a celadon blue. Which is your favourite glaze colour?
    3 days ago
  • Looking back to the Continuum exhibition in Oxford in May. There are still some of my pots available from @sarahwisemangallery in Oxford (all the turquoise ones have sold). The white, pink and grey vases are in the current summer exhibition and also available in the online shop at wisegal.com
    4 days ago
  • Glazing today
    5 days ago
  • This June I won’t be taking part in Artists at Home open studios in Hammersmith and Chiswick. I’ve been opening my studio for more than twenty years so I’m looking forward to having a chance to visit some of the other artists @artistsathome
    2 weeks ago
  • I’ve been making this tableware range for 20 years, porcelain with a satin matt glaze on the outside and coloured glazes on the inside. I use the same base glaze, a runny, glossy transparent, to which I add various colouring oxides.

We use these bowls every day and it’s interesting to see how they fare in the dishwasher. The turquoise glaze containing 1% copper oxide is still glossy after hundreds of washes in the dishwasher. However, the pink glaze containing 2% rutile and 4% tin oxide has turned matt and has some faint metal marking from cutlery.

I had a look at the molecular formula of the glaze, it’s chemically stable with a flux ratio 0.3:0.7 alkali metals to alkaline earths. Both copper oxide and tin oxide act like alkali metal fluxes. However, the larger amount of tin oxide (4%, 0.1 in the UMF) is bringing the total alkali metal flux close to the 0.4:0.6 limit for chemically stable glazes. 

Tin is essential for the pink colour in chrome-tin pink glazes. In this glaze, the chromium is one of the impurities in the rutile. While rutile stabilises the glaze, this pink glaze is slightly less chemically stable owing to the addition of tin oxide.
    2 weeks ago
  • To make this lava glaze @guldagergaard_claytopia we started with the flux materials, nepheline syenite and strontium carbonate, added coarse 120 mesh silicon carbide and titanium dioxide to make craters, then added kaolin along the top row and silica down the middle column.

Large amounts of kaolin caused crawling and large amounts of silica reduced the colour, copper oxide in the first image and I think it may have been rutile in the second. Titanium dioxide reacts with iron in the clay body to produce rutile.
    3 weeks ago
  • On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze.

The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
    3 weeks ago
  • On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. 

Tomorrow we will be making more glazes using wood ash and other materials.
    3 weeks ago
View on Instagram
A lovely day eating cake and making glaze tests outside @the_ceramic_garden_ in Carshalton
A lovely day eating cake and making glaze tests outside @the_ceramic_garden_ in Carshalton
@lindathepotter
@lindathepotter
•
Follow
A lovely day eating cake and making glaze tests outside @the_ceramic_garden_ in Carshalton
21 hours ago
View on Instagram |
1/9
Dimpled cups and pouring bowls. I’ve been making this range of dimpled ware since 2005. They are made from porcelain thrown on the wheel with a satin matt glaze on the outside and glossy coloured glazes on the inside. 

I started with just pale pink and pale blue and later added other colours including grey, turquoise and lime green. I’m thinking of reducing the range of colours and including a celadon blue. Which is your favourite glaze colour?
@lindathepotter
@lindathepotter
•
Follow
Dimpled cups and pouring bowls. I’ve been making this range of dimpled ware since 2005. They are made from porcelain thrown on the wheel with a satin matt glaze on the outside and glossy coloured glazes on the inside. I started with just pale pink and pale blue and later added other colours including grey, turquoise and lime green. I’m thinking of reducing the range of colours and including a celadon blue. Which is your favourite glaze colour?
3 days ago
View on Instagram |
2/9
Looking back to the Continuum exhibition in Oxford in May. There are still some of my pots available from @sarahwisemangallery in Oxford (all the turquoise ones have sold). The white, pink and grey vases are in the current summer exhibition and also available in the online shop at wisegal.com
@lindathepotter
@lindathepotter
•
Follow
Looking back to the Continuum exhibition in Oxford in May. There are still some of my pots available from @sarahwisemangallery in Oxford (all the turquoise ones have sold). The white, pink and grey vases are in the current summer exhibition and also available in the online shop at wisegal.com
4 days ago
View on Instagram |
3/9
Glazing today
@lindathepotter
@lindathepotter
•
Follow
Glazing today
5 days ago
View on Instagram |
4/9
This June I won’t be taking part in Artists at Home open studios in Hammersmith and Chiswick. I’ve been opening my studio for more than twenty years so I’m looking forward to having a chance to visit some of the other artists @artistsathome
@lindathepotter
@lindathepotter
•
Follow
This June I won’t be taking part in Artists at Home open studios in Hammersmith and Chiswick. I’ve been opening my studio for more than twenty years so I’m looking forward to having a chance to visit some of the other artists @artistsathome
2 weeks ago
View on Instagram |
5/9
I’ve been making this tableware range for 20 years, porcelain with a satin matt glaze on the outside and coloured glazes on the inside. I use the same base glaze, a runny, glossy transparent, to which I add various colouring oxides.

We use these bowls every day and it’s interesting to see how they fare in the dishwasher. The turquoise glaze containing 1% copper oxide is still glossy after hundreds of washes in the dishwasher. However, the pink glaze containing 2% rutile and 4% tin oxide has turned matt and has some faint metal marking from cutlery.

I had a look at the molecular formula of the glaze, it’s chemically stable with a flux ratio 0.3:0.7 alkali metals to alkaline earths. Both copper oxide and tin oxide act like alkali metal fluxes. However, the larger amount of tin oxide (4%, 0.1 in the UMF) is bringing the total alkali metal flux close to the 0.4:0.6 limit for chemically stable glazes. 

Tin is essential for the pink colour in chrome-tin pink glazes. In this glaze, the chromium is one of the impurities in the rutile. While rutile stabilises the glaze, this pink glaze is slightly less chemically stable owing to the addition of tin oxide.
@lindathepotter
@lindathepotter
•
Follow
I’ve been making this tableware range for 20 years, porcelain with a satin matt glaze on the outside and coloured glazes on the inside. I use the same base glaze, a runny, glossy transparent, to which I add various colouring oxides. We use these bowls every day and it’s interesting to see how they fare in the dishwasher. The turquoise glaze containing 1% copper oxide is still glossy after hundreds of washes in the dishwasher. However, the pink glaze containing 2% rutile and 4% tin oxide has turned matt and has some faint metal marking from cutlery. I had a look at the molecular formula of the glaze, it’s chemically stable with a flux ratio 0.3:0.7 alkali metals to alkaline earths. Both copper oxide and tin oxide act like alkali metal fluxes. However, the larger amount of tin oxide (4%, 0.1 in the UMF) is bringing the total alkali metal flux close to the 0.4:0.6 limit for chemically stable glazes. Tin is essential for the pink colour in chrome-tin pink glazes. In this glaze, the chromium is one of the impurities in the rutile. While rutile stabilises the glaze, this pink glaze is slightly less chemically stable owing to the addition of tin oxide.
2 weeks ago
View on Instagram |
6/9
To make this lava glaze @guldagergaard_claytopia we started with the flux materials, nepheline syenite and strontium carbonate, added coarse 120 mesh silicon carbide and titanium dioxide to make craters, then added kaolin along the top row and silica down the middle column.

Large amounts of kaolin caused crawling and large amounts of silica reduced the colour, copper oxide in the first image and I think it may have been rutile in the second. Titanium dioxide reacts with iron in the clay body to produce rutile.
To make this lava glaze @guldagergaard_claytopia we started with the flux materials, nepheline syenite and strontium carbonate, added coarse 120 mesh silicon carbide and titanium dioxide to make craters, then added kaolin along the top row and silica down the middle column.

Large amounts of kaolin caused crawling and large amounts of silica reduced the colour, copper oxide in the first image and I think it may have been rutile in the second. Titanium dioxide reacts with iron in the clay body to produce rutile.
@lindathepotter
@lindathepotter
•
Follow
To make this lava glaze @guldagergaard_claytopia we started with the flux materials, nepheline syenite and strontium carbonate, added coarse 120 mesh silicon carbide and titanium dioxide to make craters, then added kaolin along the top row and silica down the middle column. Large amounts of kaolin caused crawling and large amounts of silica reduced the colour, copper oxide in the first image and I think it may have been rutile in the second. Titanium dioxide reacts with iron in the clay body to produce rutile.
3 weeks ago
View on Instagram |
7/9
On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze.

The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze.

The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze.

The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze.

The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze.

The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
@lindathepotter
@lindathepotter
•
Follow
On the third day of our workshop with @swansonstudii @guldagergaard_claytopia I took the lead and we made various glazes, ash glaze, iron red, oilspot, lava and lichen, adjusting the alumina and silica to see how they affected the texture and colour of the glaze. The glazes we made from local clays yesterday were fired to cone 6 and we saw the fired results this afternoon, with the iron in the clay producing a range of ochre yellows and red-browns.
3 weeks ago
View on Instagram |
8/9
On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. 

Tomorrow we will be making more glazes using wood ash and other materials.
On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. 

Tomorrow we will be making more glazes using wood ash and other materials.
On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. 

Tomorrow we will be making more glazes using wood ash and other materials.
On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. 

Tomorrow we will be making more glazes using wood ash and other materials.
On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. 

Tomorrow we will be making more glazes using wood ash and other materials.
@lindathepotter
@lindathepotter
•
Follow
On the second day of the workshop we crushed local clays to make slips and glazes and added colourants and opacifiers. The clay body triaxial tests came out of the kiln, fired to cone 7. Tomorrow we will be making more glazes using wood ash and other materials.
3 weeks ago
View on Instagram |
9/9

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