A fired visual effect on bare clay surfaces in fuel burning kilns (especially wood). Clay surfaces that have been flashed have been subjected to a thermal history of variations in flame, ash, kiln atmosphere and even imposed vapors (like salt and soda). The degree to which these forces have varied determines the visual variation across the surface of the ceramic. Historical ceramics often had flashing simply as a consequence of the lack of control of the process of clay preparation, forming, drying and firing. In recent years there has been a focus on the reproduction of this rustic look, various methods seek to reproduce the process, others only the final product. A popular method is the application of slips having a makeup likely to react with the atmosphere or flame in the kiln. Slips of high alumina content, for example, are likely to react with an atmosphere containing ash (since the ash can be high in silica and soda). Likewise, a slip high in fine silica and alumina is likely to react with fumes of soda. Slips containing some iron will exhibit differing coloration where differing amounts of flame has touched.
Example of flashing on ware from a Manabigama wood fired kiln
From Robert Self. This firing went past cone 13. The body is Laguna Speckstone.
Example of flashing from wood firing
Made by Robert Self. This is Laguna White Stoneware body fired to cone 13 in a Manabigama wood fired kiln.
This piece is thrown from calcined kaolin
Calcined kaolin has zero plasticity. 25% bentonite had to be added to make it plastic enough to make this piece. Why bother? Because this will flash heavily in reduction firing.
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