Chasing the Iron Dot Effect

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.

A Cup With Two Ears

This little two-handled cup has been with me for about two years now. I first made it after reading some Etsy reviews where people were looking for cups with two handles—I hadn’t known before that for some, holding a regular cup can be tricky.

While making it, I didn’t focus only on that need; I wanted it to feel sweet and a bit playful too. The handles turned into ears, a tiny nose appeared in the front, and suddenly it became more like a character than just a cup.

It’s still one of my favorites, maybe because it carries both a story and a smile.

Testing Clay as Grog

 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.

Visually the grogs from both clays behaved quite similarly once mixed in. At first I thought the red grog had completely melted away but after the second firing I could still spot both the red and black particles—though only if I looked closely. Especially under a thin layer of transparent glaze, it was hard to distinguish them in the final pieces.

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.

These kinds of small tests often start spontaneously in the studio, but end up leading to more serious thoughts. I’ll keep experimenting with different ratios and glazes to better understand how the material responds.