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F.A.Q's for Makers of Ceramics

  • It depends on the type of application, process and end result. As a general rule:

      - Earthenware clay (eg. Terra-cotta) is great for sculptures and ornamental work. Also great for outdoor planters. Its a low firing clay so it isn’t vitrified (non-porous) so it wont be sealed unless glazed all over. 

      - Mid-Fire clay can be used for functional ware (plates and cups etc), sculptures and ornamental work. Some Mid-fire clay is vitrified.

      - Stoneware clay and porcelain is a high fire clay and is suitable for functional ware (plates and cups etc), sculptures and ornamental work.

      - Air Dry clay doesn’t get fired in a kiln, will be porous and cannot be used for much other than ornamental work. You can paint it with acrylic paint and seal it. But it is not safe for food or water. 

  • If you use a low fire clay, you must use a low fire glaze. If you use a high fire clay you must use a high fire glaze. Clay and glaze need to “fit” each other when they get fired in the kiln. Putting the wrong glaze on the wrong clay can result in the glaze melting off the work or the clay melting under the glaze. Either way, it won’t be pretty - imagine trying to spread buttercream on jelly. It would just slide off - they just don’t go together. Glazes have different ingredients that react differently to each clay. Some look amazing, some look brown. 

    Here is a good tutorial for glazing: Glazing

  • There are so many reasons why work cracks. It is hard to determine the cause without examining the piece or seeing the making of it. One possible reasons is that it can happen when joining pieces together. Joining cracks happen when one piece is dryer than the other, or dries quicker than the other. It can happen during the making of the work but is only evident once it starts to dry out. The best way to avoid cracks in your hand built work is make sure the clay is at a workable (plastic) state and not too dry. Make sure that if you’re adding pieces like a handle or a foot that you use the scratch and slip method and that each piece has the same moisture content as the rest of the piece. Wrap the work in plastic so that air can get in but the air is slowed down, giving the work time to slowly dry out. 

  • I use a combination of cement sheeting and marine ply. Both are porous (clay won’t stick to it) and the board makes it easy to lift work without deforming it. I have a few A4-A5 sizes for working on and some larger A1 size pieces for drying and transporting around the studio. 

  • Once work is bone dry (no longer cool to the touch) it can have its first fire. You can pack greenware (unfired work) in a box with corn starch packing beans or wrap carefully in bubble wrap or old towels. Greenware is delicate, don’t grab it by the rim! Glazed bisqueware is still very delicate as some glazes turn to powder on the surface of the work. Transport with care. 

Adele's Hot Tips

  • It is imperative to know what temperature your clay fires to as that will dictate which finishes and glazes you can chose. All clays can be bisque fired to 1000°C. Earthenware glaze fires to 1050°C - 1100°C, Mid-fire glaze fires to 1220°C, and Stoneware glaze fires to 1280°C. Sometimes clays have a range listed on their bag, but be sure to test for vitrification (water-tightness).

  • The leather-hard stage is one of the most time-consuming and critical phases of working with clay. This is the point where the clay has firmed enough to hold its shape but still contains enough moisture to be carved, trimmed, altered, and joined. Many ceramic pieces require significant hands-on work during this stage, including refining forms, trimming excess clay, attaching handles, adding decorative elements, and surface decoration such as carving or sgraffito. Timing is crucial, as clay passes through the leather-hard stage at its own pace depending on weather, humidity, and the size of the piece. Potters must often monitor work closely over several hours or days to ensure each task is completed at the ideal moment. The leather-hard stage is where much of the craftsmanship and attention to detail occurs, transforming a freshly made form into a finished piece ready for drying and firing.

    Once you're happy with what you've made you can leave it to air dry to a "Bone-dry" state.

  • Preparing ceramic work for firing involves a considerable amount of time and care to ensure each piece can safely withstand the kiln. Potters must inspect every item for cracks, weak joins, rough edges, and areas that may cause problems during firing. Bases are cleaned to remove excess clay, pieces are carefully dried to an even moisture content, and kiln furniture is prepared and arranged to maximise space while maintaining safe airflow around the work. Loading a kiln requires experience and planning, as each piece must be positioned to prevent damage, warping but piece can be stacked. This preparation process is an essential part of ceramic production, helping to minimise losses and ensure the highest possible quality in the finished work.

  • Glazing is a skilled and time-intensive stage of the ceramic process that requires careful consideration of both aesthetics and technical compatibility. Each glaze must be selected to suit the clay body and the intended firing temperature, as using an incompatible glaze can result in defects such as crazing, shivering, pinholing, blistering, or even damage to the kiln. Potters must assess how different glazes will respond to the clay, apply the glaze evenly using appropriate techniques, and ensure the correct thickness is achieved for the desired result. Work is then cleaned of excess glaze, particularly on the base, to prevent pieces from sticking to kiln shelves during firing. This stage combines technical knowledge, testing, and artistic decision-making, with each choice influencing the final appearance, durability, and functionality of the finished piece.

  • Glaze firing is the final transformative stage in the ceramic process, where carefully prepared clay and glaze are permanently fused together through controlled heating and cooling. Before firing, each piece must be checked to ensure glaze has been applied correctly and that no glaze remains on the base that could cause it to stick to the kiln shelf. Kilns must be loaded with care, allowing sufficient space between pieces to accommodate heat circulation and any movement of glazes during firing. The firing schedule is selected according to the clay body and glazes being used, with temperatures and firing rates carefully managed to achieve the desired results while minimising defects. After the firing is complete, the kiln must cool slowly before unloading, and each piece is inspected for quality, functionality, and finish. Glaze firing represents a significant investment of time, energy, equipment, and expertise, with the success of the final work dependent on every stage that precedes it.

    The work involved in a ceramic piece continues well after the glaze firing is complete. Once the kiln has cooled and the work is unloaded, each piece must be carefully inspected for quality, durability, and finish. Potters check for glaze defects, cracks, warping, sharp edges, and any imperfections that may affect the function or appearance of the piece. The bases are often sanded to remove roughness and ensure they are smooth and safe for use on household surfaces. Functional ware may also undergo testing, including leach testing where appropriate, to assess the stability and food safety of glaze surfaces and confirm that materials perform as intended. Additional cleaning, sorting, and quality control are carried out before work is photographed, packaged, displayed, or offered for sale. This final stage is an essential part of the ceramic process, ensuring that each piece meets both aesthetic and functional standards before reaching its new owner.

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