AMACO Mid to High Fire Glazing Tutorial.

Hi, my name is Jennifer Houlihan. I'm a studio potter educator with Amaco. Today, I am gonna be working with milk chocolate clay. It's one of the new premium clays. It's beautiful, it's luscious, smooth, and creamy. It's easy to throw. Fires a rich, deep brown color. And it's manganese-free, which if you've ever worked with a dark clay, they can be very difficult to glaze. The clay body kind of eats the glaze. But with these dark chocolate and the milk chocolate, they're manganese-free. So I'm gonna work with the dipping and layering glazes. They come dry, and it makes a little bit over a gallon. I like to dip and pour, but I also really like to use them as liners. Now on the outside of the glaze of the pots, I will be using Potter's Choice and Potter's Choice Flux. So they are compatible with the brush-on glazes. For the liner glaze today, I'm gonna use DL-23 Ultramarine Blue. Stir this up. I'm just gonna fill this cup up. Gonna clean the rim up where any glaze got onto the rim. You don't have to, but I like to have that nice line where it's just on the inside. I'm gonna set this aside to dry. So this one I did already, and it's all ready to be glazed on the outside. I'm gonna use one of my favorite combinations of working with PC-15 Satin Arribe. This is Satin Arribe down here. It is just beautiful on that dark clay. And since it's a stiffer glaze, and it doesn't flow, and it doesn't run, it also helps as a glaze catcher for the runnier glazes on top to kind of reign them in. It's a number six fan brush. They're the best glazing brushes. They hold a lot of glaze. If you've been using a synthetic brush, it's really hard to get a good coat of glaze on with a synthetic brush. You're getting about half of a coat versus a natural brush. I'm doing a wave pattern so that when all the glazes are layered up, it creates a little bit of flow and organic movement. All right. So that guy is good to rest for a few minutes. So I've got my three coats of Satin Arribe on here. Did a nice wave pattern to create some organic movement. You can see how it helps with the fired result to get a little bit of flow instead of just bands across the top. Next, I'm gonna apply Smoky Merlot to introduce some red and purple tones. Going to overlap that with the Satin Arribe by about an inch or so, following that same wave pattern. I like to use Smoky Merlot a lot because when you layer it with other glazes, with the PCFs, you really get some cool colors in there. I'm not going all the way to the rim. I wanna leave some bare clay for the next glaze that I'm gonna use, Rose Mist, Potter's Choice Flux. And while I typically do three coats, I don't always do them even. That will create some movement and flow too. That'll be a little bit different with a glaze that's thinner. My Smoky Merlot is dry. I'm ready to put on Rose Mist, part of the Potter's Choice Flux. Create a little bit of flow. It's gonna go over that, overlap the Smoky Merlot about an inch, go all the way to the rim. But I'm also gonna wrap it inside the rim here and have it overlap the Ultramarine. I'm gonna let that dry. Okay, so my Rose Mist is dry. That's the glaze that's up here on top of the Smoky Merlot, so on top of the Satin Arrive. And I'm gonna do one final coat of Oatmeal. I'm gonna do kind of a thick coat. I'm gonna go all the way down, past the Smoky Merlot just a little bit. I love Oatmeal PC31. It is such a great glaze for adding flow and movement. When you use it on top of a stiff glaze, like Satin Arrive, it'll kind of stay in place and model. And then that's good. We'll set this down. And this is the same combination of what it'll look like when it's fired. You can see all that feathering in there. And the Oatmeal brings it down to kind of this tan ochre color line. And the Satin Arrive keeps it all in place.