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A Glaze of Color: Creating Color and Design On Ceramics
The development of paint-your-own ceramics studios, at which ready-made bisqueware and studio time for decorating it are sold, has made pottery decoration accessible to a wider public than ever before. Ceramics artist Jane Davies demonstrates how to decorate the surface of ready-made bisqueware and tiles using commercially produced decorating colors known as underglazes and other materials to create beautifully colored pieces. Practical step-by-step demonstrations of a variety of application methods-including brushing, shading, sponging, masking, sgrafitto, spattering, stamping, stenciling, marbling, majolica, and underglaze pencils-provide inspiration for decorating tiles, plates, cups, bowls, lamps, vases, and decorative platters. Davies also explores the creative possibilities of colored glazes, as well as decorating pieces after firing with acrylic paint and paper collage.
• All of the techniques discussed are applicable to ready-made bisqueware, as well as wheel-thrown or hand-built ceramics
• Explains the entire glazing process, from color and design to kilns and firing
• Demonstrates a wide variety of techniques for applying underglaze as well as information on colored glazes and post-firing techniques
• Beautiful color photograph throughout
• There are over 1,000 paint-your-own ceramic studios in the US
• All of the techniques discussed are applicable to ready-made bisqueware, as well as wheel-thrown or hand-built ceramics
• Explains the entire glazing process, from color and design to kilns and firing
• Demonstrates a wide variety of techniques for applying underglaze as well as information on colored glazes and post-firing techniques
• Beautiful color photograph throughout
• There are over 1,000 paint-your-own ceramic studios in the US
112 pages, Paperback
First published May 1, 2004
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December 29, 2024
In A Glaze of Color: Creating Color and Design on Ceramics, Jane Davies crafts a compelling guide that bridges the technical aspects of ceramic glazing with the intuitive artistry of design. The book is not merely a manual for ceramists but an exploration of the nuanced interplay between surface, texture, and color, making it a valuable resource for artists, educators, and enthusiasts alike.
Davies approaches her subject with the precision of a craftsman and the curiosity of an artist. The text is meticulously organized, moving seamlessly from the foundational principles of glazing to advanced techniques that encourage experimentation. Her explanations are lucid, demystifying complex processes such as layering glazes, controlling firing variables, and integrating pattern and form. For the uninitiated, her straightforward language and ample illustrations act as a bridge to the often intimidating world of ceramics, while seasoned practitioners will find her insights both affirming and inspiring.
What sets this book apart is its visual richness. The photography, often featuring close-ups of finished pieces, highlights the transformative power of glaze. The images serve not only as demonstrations of technique but as provocations, urging the reader to consider the infinite possibilities of surface design. This visual component aligns with Davies's thesis: that glazing is as much about feeling and instinct as it is about chemistry and process.
Davies’s tone is encouraging, almost conversational, which reflects her ethos of fostering creativity over rigid adherence to rules. Her inclusion of "what if?" moments—instances where unexpected outcomes lead to new discoveries—captures the serendipitous nature of ceramics. This philosophy resonates with the broader context of contemporary art, where the boundaries between craft and fine art are increasingly blurred.
The book also delves into the historical and cultural significance of glaze, albeit briefly. While it is clear that Davies’s primary aim is practical instruction, her nods to the long tradition of ceramic art imbue the book with a sense of continuity and respect for the medium’s heritage. This connection to history, however, could have been explored further to enrich the reader's understanding of how modern techniques are both informed by and deviate from past practices.
A minor critique is that the text occasionally prioritizes breadth over depth. While this broad approach makes the book accessible, some sections—particularly those on advanced techniques—feel somewhat cursory. Readers looking for an exhaustive technical manual may need to supplement their learning with additional resources.
In the realm of instructional art books, A Glaze of Color strikes an admirable balance. It educates without being pedantic, inspires without being overly abstract, and encourages risk-taking while grounding the reader in fundamental skills. Jane Davies has crafted a work that not only informs but also ignites curiosity, making it a vital addition to any ceramicist’s library.
For artists like Mario Perron, who appreciate the wabi-sabi aesthetic and the embrace of imperfection, A Glaze of Color offers tools and insights that align beautifully with such a philosophy. It reminds us that in ceramics, as in life, the interplay between control and surrender often yields the most striking results.
Davies approaches her subject with the precision of a craftsman and the curiosity of an artist. The text is meticulously organized, moving seamlessly from the foundational principles of glazing to advanced techniques that encourage experimentation. Her explanations are lucid, demystifying complex processes such as layering glazes, controlling firing variables, and integrating pattern and form. For the uninitiated, her straightforward language and ample illustrations act as a bridge to the often intimidating world of ceramics, while seasoned practitioners will find her insights both affirming and inspiring.
What sets this book apart is its visual richness. The photography, often featuring close-ups of finished pieces, highlights the transformative power of glaze. The images serve not only as demonstrations of technique but as provocations, urging the reader to consider the infinite possibilities of surface design. This visual component aligns with Davies's thesis: that glazing is as much about feeling and instinct as it is about chemistry and process.
Davies’s tone is encouraging, almost conversational, which reflects her ethos of fostering creativity over rigid adherence to rules. Her inclusion of "what if?" moments—instances where unexpected outcomes lead to new discoveries—captures the serendipitous nature of ceramics. This philosophy resonates with the broader context of contemporary art, where the boundaries between craft and fine art are increasingly blurred.
The book also delves into the historical and cultural significance of glaze, albeit briefly. While it is clear that Davies’s primary aim is practical instruction, her nods to the long tradition of ceramic art imbue the book with a sense of continuity and respect for the medium’s heritage. This connection to history, however, could have been explored further to enrich the reader's understanding of how modern techniques are both informed by and deviate from past practices.
A minor critique is that the text occasionally prioritizes breadth over depth. While this broad approach makes the book accessible, some sections—particularly those on advanced techniques—feel somewhat cursory. Readers looking for an exhaustive technical manual may need to supplement their learning with additional resources.
In the realm of instructional art books, A Glaze of Color strikes an admirable balance. It educates without being pedantic, inspires without being overly abstract, and encourages risk-taking while grounding the reader in fundamental skills. Jane Davies has crafted a work that not only informs but also ignites curiosity, making it a vital addition to any ceramicist’s library.
For artists like Mario Perron, who appreciate the wabi-sabi aesthetic and the embrace of imperfection, A Glaze of Color offers tools and insights that align beautifully with such a philosophy. It reminds us that in ceramics, as in life, the interplay between control and surrender often yields the most striking results.
Displaying 1 of 1 review