This subject area is vast with options and possibilities seemingly endless however there are limitations as to what is and isn’t possible especially in our area of specialisation where the ceramic items are of immense size.
When dealing with pottery ceramics and glazes as applied here there are a few points to note:

• Ceramic manufacture and glazing of ceramics is not an exact science nor is it precision engineering, it is an art form and variations will and do frequently occur from one item to the next.

• All ceramic lamp bodies are handmade, the physical shape and size will vary from one vase(pot) to another.

• Our potter uses a strong dark blended red clay, this is considered to be a course clay hence the finished fired surface can have a slight texture or roughness to it. The advantage is that the finished pots are immensely strong for a ceramic and also frost tolerant. When glazed this largely goes undetected, it can yield the odd surface pin hole and when painted a slight textured feel to the surface will be evident.

• The general thickness of all ceramic bodied lamps is 2cm consequently these large lamps are heavy.

• Various finishes can be applied to the bisque (biscuit) fired pot including full or partial paint or ceramic glazes. Whilst various glaze colours and patterns are possible and can be offered, due to the processes of applying and firing the glaze results cannot be guaranteed. Many see this as a desirable effect, where no two pots are ultimately identical, each being an original and unique in their own right. However the interaction between two or more glaze colours/patterns can turn up the occasional surprise as one glaze interacts with another, fuses or flows in a different manner, this might delight or could potentially disappoint.

• The odd surface artefact or unexpected localised colour change can occur and is potentially more prevalent on large glazed ceramic items like these.

• Surface crazing, a cracked egg shell type appearance presents itself on all glazed ceramics, often it is invisible to the naked eye, occasionally it is deliberately enhanced for effect and at times it can appear across one colour or localised area on a pot but not generally seen elsewhere.

• We use a number of glazers employing different techniques to produce a range of different effects and finishes. These are artists applying the glaze ostensibly using ‘free-hand’ processes.

• Obviously we work very closely with our experienced glazers and can advise on the finish types and colour combinations that work well. As we grow as an organisation we are establishing a growing collection of sample pieces and images of glaze colours and patterns that we know work well.

One of our glazers is now able to offer a limited range of paint options, including a highly textured paint finish and clear glaze. This opens up a range of further possibilities where pots can be part glazed only, part colour and part clear glazed, part or completely painted only or part glazed and part painted. As examples become available they will posted on the news page or here. Note paint finishes are not as durable as glaze and may be rubbed, scraped or washed off with abrasive or solvent based clearers. Clear glaze brings out the natural fired colour of the clay which is a rich red/brown terracotta colour.

If your desire is for something different and unusual please call for a friendly discussion to explore