CENTRE FOR MODERN & CONTEMPORARY
STUDIO CERAMICS AND ORIGINAL ARTWORK

Thrown

Salt glazed Stoneware

Blue/green

Jane Hamlyn's stamp

UK AND WORLD WIDE SHIPPING NOT INCLUDED IN THE PRICE - CHARGED AT COST - For details
Tel 01905 7544840 or click on "Check" below.

Thrown

Salt glazed Stoneware

Green/blue

Potter's stamp

UK AND WORLD WIDE SHIPPING NOT INCLUDED IN THE PRICE - CHARGED AT COST - For details
Tel 01905 7544840 or click on "Check" below.

Thrown

Salt glazed Stoneware

Green/blue

Potter's stamp

UK AND WORLD WIDE SHIPPING NOT INCLUDED IN THE PRICE - CHARGED AT COST - For details
Tel 01905 7544840 or click on "Check" below.

Thrown

Salt glazed Stoneware

Green/grey

Potter's stamp

UK AND WORLD WIDE SHIPPING NOT INCLUDED IN THE PRICE - CHARGED AT COST - For details
Tel 01905 7544840 or click on "Check" below.

Thrown

Salt glazed Stoneware

Green/grey

Potter's stamp

UK AND WORLD WIDE SHIPPING NOT INCLUDED IN THE PRICE - CHARGED AT COST - For details
Tel 01905 7544840 or click on "Check" below.

Additional Notes

When salt is thrown into a hot kiln the sodium vapour comes into contact with the particles of silica on the surface of the clay pots and melts them, forming a glaze i.e. the skin of the pot itself becomes the glaze.

This is different from other types of glazes, which are an added layer covering the surface of the pot. Thus salt glazing has the potential to reveal the form rather than to mask it. Salt glazed surfaces can be infinitely varied by adjusting the alumina/silica ratios of both the clay body and the slips which are applied to it. More silica gives a higher shine, more alumina gives more matt surfaces, and often promotes golden or reddish brown colours. A further factor to be taken into account is the particle size of the silica present in clay and slips. Heavier 'orange-peel' texture can be promoted by the addition of sand into the clay body. The larger silica particles do not melt completely, resulting in a "bumpy" or reticulated surface where melted silica, combined with any iron present runs down and collects in the 'valleys' between the un-melted silica 'mountains'.

It is also especially important to note how the iron content of the clay and the amount of reduction, affect the colour response on the fired surface. Obviously, the amount of salt used per firing is a crucial factor since it provides the sodium vapour which actually melts the silica. Insufficient salt results in dull matt surfaces, oversalting can bleach out colours and melt pots till they stick to the shelves! Judging the right amount of salt is a matter of personal preference, related to the type of work and desired surface quality.

Ultimately it is through a potter's own experiment and experience that the full potential of salt glaze may be discovered.

Thrown and hand built handle

Salt glazed Stoneware

Green/grey

Potter's stamp

UK AND WORLD WIDE SHIPPING NOT INCLUDED IN THE PRICE - CHARGED AT COST - For details
Tel 01905 7544840 or click on "Check" below.

Additional Notes

When salt is thrown into a hot kiln the sodium vapour comes into contact with the particles of silica on the surface of the clay pots and melts them, forming a glaze i.e. the skin of the pot itself becomes the glaze. This is different from other types of glazes, which are an added layer covering the surface of the pot. Thus salt glazing has the potential to reveal the form rather than to mask it. Salt glazed surfaces can be infinitely varied by adjusting the alumina/silica ratios of both the clay body and the slips which are applied to it. More silica gives a higher shine, more alumina gives more matt surfaces, and often promotes golden or reddish brown colours. A further factor to be taken into account is the particle size of the silica present in clay and slips. Heavier 'orange-peel' texture can be promoted by the addition of sand into the clay body. The larger silica particles do not melt completely, resulting in a "bumpy" or reticulated surface where melted silica, combined with any iron present runs down and collects in the 'valleys' between the un-melted silica 'mountains'. It is also especially important to note how the iron content of the clay and the amount of reduction, affect the colour response on the fired surface. Obviously, the amount of salt used per firing is a crucial factor since it provides the sodium vapour which actually melts the silica. Insufficient salt results in dull matt surfaces, oversalting can bleach out colours and melt pots till they stick to the shelves! Judging the right amount of salt is a matter of personal preference, related to the type of work and desired surface quality. Ultimately it is through a potter's own experiment and experience that the full potential of salt glaze may be discovered.

Thrown and hand built handle

Salt glazed Stoneware

Blue and green

Potter's stamp

UK AND WORLD WIDE SHIPPING NOT INCLUDED IN THE PRICE - CHARGED AT COST - For details
Tel 01905 7544840 or click on "Check" below.

Additional Notes

When salt is thrown into a hot kiln the sodium vapour comes into contact with the particles of silica on the surface of the clay pots and melts them, forming a glaze i.e. the skin of the pot itself becomes the glaze. This is different from other types of glazes, which are an added layer covering the surface of the pot. Thus salt glazing has the potential to reveal the form rather than to mask it. Salt glazed surfaces can be infinitely varied by adjusting the alumina/silica ratios of both the clay body and the slips which are applied to it. More silica gives a higher shine, more alumina gives more matt surfaces, and often promotes golden or reddish brown colours. A further factor to be taken into account is the particle size of the silica present in clay and slips. Heavier 'orange-peel' texture can be promoted by the addition of sand into the clay body. The larger silica particles do not melt completely, resulting in a "bumpy" or reticulated surface where melted silica, combined with any iron present runs down and collects in the 'valleys' between the un-melted silica 'mountains'. It is also especially important to note how the iron content of the clay and the amount of reduction, affect the colour response on the fired surface. Obviously, the amount of salt used per firing is a crucial factor since it provides the sodium vapour which actually melts the silica. Insufficient salt results in dull matt surfaces, oversalting can bleach out colours and melt pots till they stick to the shelves! Judging the right amount of salt is a matter of personal preference, related to the type of work and desired surface quality. Ultimately it is through a potter's own experiment and experience that the full potential of salt glaze may be discovered.

Thrown and hand built handle

Salt glazed Stoneware

Blue/green

Potter's stamp

UK AND WORLD WIDE SHIPPING NOT INCLUDED IN THE PRICE - CHARGED AT COST - For details
Tel 01905 7544840 or click on "Check" below.

Additional Notes

When salt is thrown into a hot kiln the sodium vapour comes into contact with the particles of silica on the surface of the clay pots and melts them, forming a glaze i.e. the skin of the pot itself becomes the glaze. This is different from other types of glazes, which are an added layer covering the surface of the pot. Thus salt glazing has the potential to reveal the form rather than to mask it. Salt glazed surfaces can be infinitely varied by adjusting the alumina/silica ratios of both the clay body and the slips which are applied to it. More silica gives a higher shine, more alumina gives more matt surfaces, and often promotes golden or reddish brown colours. A further factor to be taken into account is the particle size of the silica present in clay and slips. Heavier 'orange-peel' texture can be promoted by the addition of sand into the clay body. The larger silica particles do not melt completely, resulting in a "bumpy" or reticulated surface where melted silica, combined with any iron present runs down and collects in the 'valleys' between the un-melted silica 'mountains'. It is also especially important to note how the iron content of the clay and the amount of reduction, affect the colour response on the fired surface. Obviously, the amount of salt used per firing is a crucial factor since it provides the sodium vapour which actually melts the silica. Insufficient salt results in dull matt surfaces, oversalting can bleach out colours and melt pots till they stick to the shelves! Judging the right amount of salt is a matter of personal preference, related to the type of work and desired surface quality. Ultimately it is through a potter's own experiment and experience that the full potential of salt glaze may be discovered.