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| | This specialist course is aimed at students with some previous experience.
The course is tailored to the need of each individual so, whether you are a
professional or keen amateur, you should find the experience extremely
rewarding.
| Deborah says, "From my earliest
awareness of pots I have been attracted to the warm golden browns and orange
peel texture of salt glaze seen mostly on jars and old bottles in junk
shops. They were usually very cheap and I bought them because I felt
they needed a good home! So in 1985 I fulfilled an ambition and built my
first salt kiln." |
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"When I finally achieved the alchemy that creates the
glaze in the fire I felt like the sorcerer's apprentice with the book of
spells. Unfortunately, like him, I found that it wasn't that simple - but
nothing in pottery ever is! However, the buzz from unloading a kiln after
a good firing is beyond compare. So since 1986 I have held a specialised
salt glaze course which includes making through to firing. A physically
exhausting two weeks, but well worth it when we unpack the kiln on the last
day." |
| Since the 1980's salt glaze has become increasingly popular with studio
potters. The rich surface texture, warm colours, and capricious
unpredictability of the technique make it a rewarding challenge. |
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Over the course we cover the entire process - from making to firing.
A good number of pots need to be completed by the end of the first week so
that they can be biscuit fired in readiness for salt firing a few days later. |
| Both handbuilt and thrown pots can be made and decorated with a variety of
coloured slips. Salt glaze is particularly effective when used with sprig
and relief decoration. Deborah has a large collection of both modern and
antique salt glaze which can be studied and provides a good source of ideas and
a starting point for students' projects. |
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A maximum of six students are taken per course to ensure that each person
receives plenty of attention. Tuition is from Monday to Friday each week
and is packed with demonstrations, discussions, and personal help. |
| The middle weekend is free for you to
get out and about and visit local places of interest. Colchester with its
Roman remains and castle is only a short drive away. As are Aldeburgh and
Snape - famous for concerts and the music festival held every July. (See Local
Scenery) However, if you wish to continue potting, the studio will be
open and available at all hours during the weekend; as it will be throughout the
course. |
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The second week concentrates on glazing, packing and firing the 27 cubic foot
oil fired kiln. The firing takes around 18 hours. |
| To watch the
temperature rise 'til the pots shimmer golden with heat, put in the salt and
withdraw a shiny glowing test ring must be one of the most exciting experiences
in ceramics. We finish firing at 1300° C. The kiln takes another 36
hours to cool down. During this time we fire a wood fired Raku kiln (See Raku
Evening). |
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Adding salt at 1200°C |
| On Friday afternoon we unpack the salt kiln and marvel at the results of all
our hard work. Any pots made during the second week will be fired
later. Ten pots are included in the fee for the course. Extra pots
will be charged for by weight. |
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| Salt kiln, packed, before firing |
Salt kiln, after firing |
Accommodation and meals are to our
usual high standard beginning with an excellent three course dinner on arrival
plus bed, breakfast and delicious lunches during the week. For more
details see our week long course information.
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