as the “baked potato” approach to ring. Just like allthe seasonings are held in place by the oil to soak intoa potato when you bake it, all your combustibles areheld in place to “season” your clay.
What to Expect
As with any alternative ring process, getting suc-cessul results on the rst try can be elusive and un-predictable. Preparing your pieces properly to take ulladvantage o the uming materials in the saggar atmo-sphere is the best way to achieve good results. Anotherimportant actor or alternative ring is having realisticexpectations o achievable results. Every ring tech-nique has certain parameters or what can be achievedvisually on the surace. Many o the colors are subtleand it oten takes more than one ring to achieve thevisual eects you want.
Preparing Your Work
For this saggar ring technique, you’ll need bisque-ware, brushes and underglazes, and a clear low-reliner glaze (gure 1). The color o the clay and the tem-perature you bisque re at strongly infuence suraceeects. Porcelain, white or light-colored clay bodies al-low the creation o more subtle colors on the surace,while a sot bisque (cone 010–06) keeps the clay bodyporous enough or umes to better penetrate the sur-ace. Bisque your clay body at dierent temperatures(e.g., cone 010, 08, 06) to see which porosity worksbest. I you preer deeper values and richer blacks, usedarker clay bodies and suraces. Another option is to
Sources of Color
Foil saggars produce strong contrasts between darksand lights, with blushes and ﬂashes of color from apalette of earth-tone hues. The temperature reachedinside the kiln and length of ﬁring also greatly affectsthe color results. The strongest colors appear fromlocal reduction, which is where direct contact is madebetween the surface and the materials. Here are a fewexamples of materials to use, but not a complete list.Experiment with other oxides, carbonates and com-bustible materials that fume to see what else you cancreate on the surfaces of your work. The temperaturethe kiln reaches and how long you ﬁre also affect yourresults. Keep good notes of every ﬁring.• Oxides, salt and soda ash washes yield fairly strongcolors depending on the strength of the mixed solu-tion. Fuming in the gaps between the surface and foilcreates more subtle ﬂashes of colors.• Copper carbonate gives ﬂashings of deep red tomaroon and shades of pink.• Copper wire can result in the same colors but, whenin contact with the surface, often just leaves behindblack lines.• Miracle-Gro®, which contains copper sulphate, alsoproduces the same hues and colors as copper carbon-ate, but it’s a stronger chemical to work with. If itcomes in direct contact with the surface or too much isused, it can leave a crusty, dark green or black surface.• Salt/salt washes, baking soda, soda ash/soda ashwashes and seaweeds introduce sodium and giveﬂashes of pale yellow and ochre. Sodium washes workvery well when brushed or sprayed on the surface.