Overview

If you enjoy the adventure of alternative firing but have only an electric kiln, this is the guide for you. Learn how to use an electric kiln to attain the natural earthy colors and spontaneous patterns of alternative firing methods. Step-by-step instructions together with nearly 200 photos show how to get good results with saggar firing in an electric kiln, without damaging your kiln. Understand every aspect, from making the saggar and understanding your work's requirements to using terra sigillata, firing the kiln, and more. Along with clearly supplying the exact parameters you need to succeed, the guidance here also allows you the space to experiment and use your own creativity. This resource helps you extend your work with the colours and freedom of alternative firing. AUTHOR: Ceramist Jolanda van de Grint found that the unpredictably beautiful aesthetic of alternative firing changed her art's focus. After years of research and experimentation with electric kiln capabilities, she now teaches workshops in saggar firing. She lives in the Netherlands. SELLING POINTS: . Gives ceramists with only an electric kiln the opportunity to enjoy the adventure of alternative firing . Learn to attain the natural and unpredictable results of alternative firing methods, with less investment . Offers the creative potter exact how-to info, but also enough room to experiment successfully 206 colour illustrations

Full Product Details

Author:   Jolanda van de Grint
Publisher:   Schiffer Publishing Ltd
Imprint:   Schiffer Publishing Ltd
Weight:   0.499kg
ISBN:  

9780764362323

ISBN 10:   0764362321
Pages:   96
Publication Date:   02 November 2021
Audience:   General/trade ,  General
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

Introduction 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  

Reviews

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 nbsp; A carefully research 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

"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 A carefully research 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, Saggar Firing in an Electric Kiln 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"

“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 research 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

Author Information

Ceramist Jolanda van de Grint found that the unpredictably beautiful aesthetic of alternative firing changed her art's focus. After years of research and experimentation with electric kiln capabilities, she now teaches workshops in saggar firing. She lives in the Netherlands.

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