Once a glaze is applied and the piece is fired—causing a chemical reaction and, often, a transformation in color—the outcome is magical. But creating fired pottery pieces is not all hocus-pocus. A basic understanding of glaze application and firing yields consistent and desirable results, as the key components of different glazes each have their own function. When making your own glazes, products like quartz, flint, and pure silica can be added as the glass-former. In fact, if you get it hot enough, silica forms glass all by itself. However, silica’s melting point (approximately 3100 F or 1710 C) is hotter than can be obtained by any ceramic kiln. Therefore, silica cannot be used on its own as a pottery sealer. Not only does alumina stiffen a glaze, but it also helps to disperse fine gas bubbles that can form in the firing process. Additionally, alumina enhances pink hues used in coloring the final piece. Each flux works in its own peculiar way. Some are very active, allowing the glaze to mature at earthenware temperatures. Others are less active, and useful only when firing at mid- to high-range temperatures. It is important to note, however, that many of the metallic oxides used as fluxes are toxic and can be respired in their immature state. Use care and wear a dust mask when handling them. Also, make sure the final bowl, plate, or cup has reached full maturity to prevent any leaching into food served on or in it. Before firing, take into account what colorant you are using and do the math to make sure your firing temperature is correct. Also, raw metal oxides usually bear no resemblance to the color they produce in the glaze. Knowing what minerals create which colors is key to making your end product yield the hue you are going for. In addition to colorants, other modifiers may be added to glazes that affect opacity, iridescence, or the working quality of the glaze when it’s still raw (unfired).
