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I mixed Epsom salt into slip and used it to create these raised lines on the surface.
I’ve tested this technique before on smaller pieces, but this is the first time I’m trying it on larger forms. I made these bowls for myself — partly as an experiment, partly just to explore the surface. I really like how they look in their raw state.
Now I’m unsure what kind of glaze to use. Something that highlights the texture? Or something more subtle and soft? I haven’t decided yet. Let’s see what they become after firing.
Over the past few weeks, I tried to achieve this effect using iron under dots applied under or just beneath the glaze. During firing, the iron melts and spreads slightly, with the center turning dark brown to nearly black, and the edges developing a subtle rust-like hue.
In my first attempt where I applied the iron very thinly, it flowed almost like water. In the areas where I applied it thickly, bubbling and separation from the surface occurred.
For the second attempt, I hadn’t planned on doing it but out of impatience I quickly added it to my Cone 6 kiln. The result was a dark blotch; without sufficient flow, the effect lost its vitality and looked unattractive.
For the final attempt, I refined the recipe and fired it at Cone 9. The effect I was aiming for finally appeared. The centers were dark, almost black brown, and the edges had a delicate, warm rust tone. The iron remained slightly flowed but maintained its form, creating the lively, balanced effect I had envisioned.The glaze itself was quite thick almost the consistency of yogurt, which added to the depth and texture of the effect.
Red Iron Dots Recipe
Red Iron Oxide – 45 g
Frit 3124 – 40 g
Kaolin – 15 g
Silica – 22 g
Gerstley Borate – 10 g
These small but effective adjustments allowed the iron to move naturally beneath the glaze, giving the surface a sense of depth and life and making each piece feel unique.
This week I also filmed a video for YouTube capturing my experience making a ceramic piece from start to finish. Now I’m waiting for the glaze to be fired but it was a great experience and I’ll be sharing it soon. I might also return to sharing on Instagram though writing here feels more personal and comfortable for now.
While working on the secret salt shaker, my main focus was creating a design that was both functional and included the hidden hole surprise. Shaping the clay on the wheel required careful attention to keep the walls thin and balanced; the bottom hole needed to be durable while still working smoothly.
The result is a handmade, slightly unique salt shaker—functional but also playful. Working on the wheel and bringing this design to life taught me a lot, especially about proportion and balance.
On light clay bodies, the glaze fired to a cool, silky matte white. On warmer-toned clays, it developed subtle brown speckles and the breaking effect became more pronounced, especially along the rims, where it really highlights the shape and texture.
Small plates fresh out of the kiln today.
I worked with a spiral-centered form;
The glaze results are simple but soft in their transitions — each piece seems to have found its own little character.
These small pieces feel good to make — both as tests and as part of the making process itself.
Today my new ceramic kiln arrived. Early in the morning my Nabertherm Top 60 was delivered equipped with the AC590 controller. As soon as I unpacked it I started the initial firing program which is designed to slowly remove any moisture inside the kiln. It’s still running as I write this.
Previously I had been using an old Keramikos kiln which I had bought second-hand. It was already quite aged when it came into my studio. Although it served me well for a time it started to show signs of wear, and technical support was almost non-existent. I struggled for weeks just to replace a kiln wire. Eventually I gave up trying to reach the supplier and began sourcing parts elsewhere, learning to repair it myself along the way. That kiln accompanied me through three years of making but in the end even turning it on required balancing a pen on a chair to press the power button. It still works so I’ve decided to keep it for occasional use.
This new kiln feels like a complete shift — both technically and emotionally.
The AC590 controller brings a whole new level of control and precision to my process. It allows me to store up to 50 custom firing programs each with up to 40 segments. This means I can design every stage of the firing process in detail with full control over ramps, holds, and peak temperatures.
The interface is user-friendly with a large color display that makes programming straightforward. It even includes a built-in assistant called “Conny” which simplifies the setup by guiding me through the essential settings — such as cone value, speed, and hold time — in just a few steps.
But what impressed me most was its integration with a mobile app. I can now monitor the firing process from my phone — tracking current progress, time remaining, and any errors or alerts in real time. I receive notifications when the program finishes or if anything unexpected occurs.
The kiln also features USB data export allowing me to save and review firing data later. This is incredibly useful for analyzing results, comparing tests, and building a consistent, documented workflow. There’s even the option to write programs on a computer and transfer them directly to the kiln.
I hadn’t planned to get something this advanced but now that I have it I’m committed to working in a more disciplined, planned and data-driven way.
With this kiln I also plan to transition to Cone 9 firings. That means I’ll finally be able to test glazes I’ve only dreamed of before and re-visit old experiments under proper high-fire conditions. More tests more clarity and — I hope — more consistent results.
I tried to match the lines and the texture of the plaster plates in every figure. The movement of the dancing figures is more clear because of the small bumps on the surface. The girl’s portrait is simple and calm, but it shows expression with the natural roughness of the material. Some details were tests to see the limits of the material.
These works are not just drawings; they are also important steps for me to understand how the plaster and glazes work together on the ceramic surface. When I fire them in my new kiln, I will learn more about the relationship between the material and the form.
Recently I have been making tests on different plaster plates to make molds. They are not dry yet, so I can’t finish or use them. But I bought a new kiln! It is coming from a factory in Germany, so I need to wait a little. I don’t want to fire these tests in my old kiln because I want to wait for the new one to make the first adjustments and tests.
When my new kiln arrives I plan to work mostly at cone 9-10 temperatures. I will try new glazes and clays to find the best results. The part I like most is not making many products but spending time trying and testing. Now, I keep the works I like and that work well, but I don’t make many copies yet. That time will come with the new kiln.
Because of the warm weather, the small plates are almost dry, but I will wait to fire them until my kiln arrives. After the first settings and firings, I will start to fire these tests.
A few months ago I decided to make my own grog. I started by drying out some of my red and black clays then crushed and sieved them into different particle sizes. After bisque firing the crushed pieces I mixed them back into fresh clay and made a series of small tests.
Texture-wise the grog size made a noticeable difference on the surface feel but in terms of color or contrast the results weren’t as striking as I had expected. I used fairly high grog ratios but I enjoy pushing materials a bit and seeing what happens when control gives way to play.
i wanted to try my jimny for camping and also make a bowl for this month’s video. i’ve always been interested in camping food, especially co...
