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Product Description
Product Description
This is a new, revised and updated version of Brian Sutherland's classic book on making glazes from natural sources. It is essentially a practical book that deals with locating your own glaze materials, and how to construct, test and use the glazes you create. Rock types and likely sources of supply, making test pieces, the use of blend systems and the Seger system are all fully discussed. The emphasis is always on careful planning and control which ensures results are repeatable. This makes the science behind making glazes from natural sources both understandable and feasible.
About the Author
The late Brian Sutherland owned his own pottery for many years and was well-known as a founder member of Kent Potters. He also taught for many years and his work is featured in numerous books.
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First Sentence
One of the fascinations of working with ceramics lies in the opportunities that it provides for using local or 'found' materials in glazes, or in related ceramic surfaces such as terra-sigillatas or vitreous slips. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
One of the fascinations of working with ceramics lies in the opportunities that it provides for using local or 'found' materials in glazes, or in related ceramic surfaces such as terra-sigillatas or vitreous slips. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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Customer Reviews
Most Helpful Customer Reviews
14 of 15 people found the following review helpful
Format:Paperback
This book is aimed at me. It's for the kind of person who thinks that local is best. Who thinks 'not invented here' is something they don't want said about their work. It's for the potter who wants to find beauty or create beauty from whatever they are given, not from what they can get. Where simplicity, trial and error and the process of finding out something is almost as important as the end result.
There are quite a few potters who use what they can get locally - especially stone types and ash - look at Hamada for instance. I feel I ought to be digging my own clay too. This book offers a wealth of information of where to go and what to try.
There are quite a few potters who use what they can get locally - especially stone types and ash - look at Hamada for instance. I feel I ought to be digging my own clay too. This book offers a wealth of information of where to go and what to try.
25 of 29 people found the following review helpful
Format:Paperback
First of all, I'd better point out that I am one of the author's sons. But as such, I know that this book was never written as a big commercial venture but as an attempt to record the wealth of information that my father had accrued through years of practical work in the studio.
When Glazes From Natural Sources was first published in 1987, it was rightly considered a classic textbook by leading potters and colleges alike on the science and practical techniques of producing one's own glazes.
Before his death in 1998, the author had been working on a new edition of the book, updated with a fresh design and packed with many new colour illustrations, for leading craft publishers Adam & Charles Black.
The revised second edition was published in early 2006 in the UK. An exciting development is that glaze guru Nigel Wood has written an extensive introduction to glaze-making as an additional chapter for this new edition.
When Glazes From Natural Sources was first published in 1987, it was rightly considered a classic textbook by leading potters and colleges alike on the science and practical techniques of producing one's own glazes.
Before his death in 1998, the author had been working on a new edition of the book, updated with a fresh design and packed with many new colour illustrations, for leading craft publishers Adam & Charles Black.
The revised second edition was published in early 2006 in the UK. An exciting development is that glaze guru Nigel Wood has written an extensive introduction to glaze-making as an additional chapter for this new edition.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
6 reviews
17 of 18 people found the following review helpful
Classic handbook for craft potters
26 Feb 2006
Format:Paperback
First of all, I'd better point out that I am one of the author's sons. But as such, I know that this book was never written as a big commercial venture but as an attempt to record the wealth of information that my father had accrued through years of practical work in the studio.
When Glazes From Natural Sources was first published in 1987, it was rightly considered a classic textbook by leading potters and colleges alike on the science and practical techniques of producing one's own glazes.
Before his death in 1998, the author had been working on a new edition of the book, updated with a fresh design and packed with many new colour illustrations, for leading craft publishers Adam & Charles Black.
The revised second edition was published in early 2006 in the UK. An exciting development is that glaze guru Nigel Wood has written an extensive introduction to glaze-making as an additional chapter for this new edition.
When Glazes From Natural Sources was first published in 1987, it was rightly considered a classic textbook by leading potters and colleges alike on the science and practical techniques of producing one's own glazes.
Before his death in 1998, the author had been working on a new edition of the book, updated with a fresh design and packed with many new colour illustrations, for leading craft publishers Adam & Charles Black.
The revised second edition was published in early 2006 in the UK. An exciting development is that glaze guru Nigel Wood has written an extensive introduction to glaze-making as an additional chapter for this new edition.
13 of 13 people found the following review helpful
Very glad I bought it.
21 Jan 2008
Format:Paperback
I am a self taught potter who is still very much a student when it comes to the craft. I have read a great many books on the subject and this one is very well done. It is packed with solid and useful information. It is a great technical book on any form of glaze testing, it only focuses on natural sources.
I gave it 4 of 5 stars for a few reasons.
It was a little difficult to understand in places and I wanted more examples. It does a good job of spelling things out for the reader, but it could have gone further I think.
Also, I wish the examples were in metric units, (ml instead of pints) because I find those easier to understand, but that could just be me.
I wanted many more photos of line blend tests! I'd have loved to see what kinds of things to expect and what the outcome is likely to be. Some rocks and common blends are bound to be fairly typical. I wanted to see pictures of those. Some more insight on what to blend with what when testing would have been good as well. Do I mix my rock with clay or whiting? I know I can try it and see, but some expert suggestions are always nice.
Some of the more complex blending patterns seemed to be a bit silly, like the author was showing off somewhat and I found them difficult to understand.
I have always mixed my glazes dry, but the author suggests it is better do mix them wet, having each material suspended in water to start with. I had many questions about this method that were not addressed in the book, but many that were. It was informative enough to prompt me to try it.
Over all, this is a great book on the subject and a great book for anyone interested in glaze development. It doesn't have much needless text, which is nice. Short and too the point.
I gave it 4 of 5 stars for a few reasons.
It was a little difficult to understand in places and I wanted more examples. It does a good job of spelling things out for the reader, but it could have gone further I think.
Also, I wish the examples were in metric units, (ml instead of pints) because I find those easier to understand, but that could just be me.
I wanted many more photos of line blend tests! I'd have loved to see what kinds of things to expect and what the outcome is likely to be. Some rocks and common blends are bound to be fairly typical. I wanted to see pictures of those. Some more insight on what to blend with what when testing would have been good as well. Do I mix my rock with clay or whiting? I know I can try it and see, but some expert suggestions are always nice.
Some of the more complex blending patterns seemed to be a bit silly, like the author was showing off somewhat and I found them difficult to understand.
I have always mixed my glazes dry, but the author suggests it is better do mix them wet, having each material suspended in water to start with. I had many questions about this method that were not addressed in the book, but many that were. It was informative enough to prompt me to try it.
Over all, this is a great book on the subject and a great book for anyone interested in glaze development. It doesn't have much needless text, which is nice. Short and too the point.
6 of 6 people found the following review helpful
Excellent content, but could use some editing
19 Jan 2007
Format:Paperback
First the cons: this book is beautifully printed, but the editing could definitely use some work. It has several typographic errors that should have been caught. The writing is also occasionally stilted, and it could be a little more organized.
That said, this is an excellent book, especially for potters and students who are interested in using local materials in their glazes but don't really know where to begin. It is thorough, and provides not only the basics (ie., how to do line-blends), but also information on calculating a material's specific gravity, Seger/unity formulas, building your own ball mill, and more.
A recommended read for potters and students wanting to know more about glazes.
That said, this is an excellent book, especially for potters and students who are interested in using local materials in their glazes but don't really know where to begin. It is thorough, and provides not only the basics (ie., how to do line-blends), but also information on calculating a material's specific gravity, Seger/unity formulas, building your own ball mill, and more.
A recommended read for potters and students wanting to know more about glazes.
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