It is because of this trimming process that we divide the molds horizontally rather than up and down the way most potters do. Having the mold seam mark run around the lamp like a belt makes it much easier to scrape off with the lamp spinning on the wheel. Trimming the whole surface of the lamp assures an even application of glaze.
This is a picture of George weighing out glaze materials to make a batch of glaze.
Our glazes are all our own, and are the result of a lifetime of experimentation. Some colors are the result of hundreds of hours of experimentation, and others are simple adaptations of classic stoneware and porcelain glazes. Put simply, our glazes are mixtures of minerals like flint, limestone, feldspar and clay, suspended in water. These minerals melt into a glass coating on the lamp when it is fired in the kiln. The glaze colors are derived from oxides of metals such as cobalt, iron, copper and chrome. In the heat of the kiln, the clay is hardened, and the surface is sealed by the molten glass of the glazes.
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