LSPS-LC’s Glaze Test Tile Wall
“Spectra Chroma” the studio’s glaze test tile wall in process in 2022
When the studio first opened on Lincoln Avenue in 2003, there were eight glazes present for the induction. Volunteer, architect and artist Shiela Schaefer took on the responsibility to create the first iteration of the glaze test pieces, taking form from long cylinders of extruded clay. She added onto the collection each time a new glaze was introduced.
Meg Biddle, founder of LSPS-LC, had a hard time getting rid of glazes, even as more exciting colors came in. The test tile wall continue to balloon as she chose more enticing glazes. With the ever-growing spectrum of samples, studio intern Chentell Stiritz (her Instagram) put pen to paper and came up with an entire new system of exhibiting the tiles (2011). Instead of the longer cylinders, Stiritz extruded 1” x 2” oval shapes. Each piece received two dips of a single color, allowing 3/4 of the tile to show off a saturated option, with the remaining 1/4 showing a sheer, 1 -layer look. The new wall showcased the best of the glazes, which made planning a project or getting spontaneous easy.
Chentell Stiritz’s master plan for the glaze wall in 2011
Great Lake Clay Company (Carpentersville, Illinois) was the go-to place for LSPS-LC for many years. The company had an impressive lineup of glazes, stains, tools and stoneware clays. Studio favorites like Nutmeg, Caramel, Pond Scum, Mottled Red and Maize were a mainstay (and had to be replenished often). Students loved Nutmeg for its speckles, as well as its sheer nature that let underglaze decals and a variety of surface decorations show through. Pond Scum was a scrappy glaze that had both shiny and matte components (“dry”) that off-gassed onto pieces around it. Depending on how tightly it was packed into the kiln, a soft red blush would appear on certain surfaces that were placed next to Pond Scum. This effect mimicked work that went through a wood firing process, and it was immensely popular..
Biddle, who is loyal when it comes to her local distributers, stood by Great Lakes as long as she could. The company began to have supply and distributions problems, leading to some very hairy moments. Delayed clay and glaze deliveries began to stress the studio- its 80+ students needed supplies for their classes, and the clay room sometimes sat nearly empty. Biddle saw the writing on the wall and split ways with the company, which ultimately closed in 2015. Laguna Clay filled the studio’s needs for a short year, and then Minnesota Clay (Plymouth MN) came into play. The company seemed to be the antidote to all the problems, and the studio finally made the switch and never looked back.
Unloading a glaze and clay delivery (not light work). Volunteers that help put away the boxes get complimentary clay from the studio!
Making a transition to an entirely new set of clays and glazes is never easy, but overhauling an entire test tile display is tediuos work. Alice Huang Hollowed (volunteer extraordinaire), along with Paul Schultz and a handful of students, got together and extruded hundreds of yards of clay tiles to start fresh yet again. Hours of cutting samples, loading kilns and carefully dipping (and recording) each piece finally came together. The newest catalogue of samples looks like a monumental, undulating color wheel.
Meg Biddle, left, going over notes pertaining to new glazes, and Volunteer Alice Huang-Hollowed getting ready to glaze new bisque test tiles
A new test tile hanging off its designated glaze bucket. Black designer liner was used in the surface cut to show how sheer the glaze can be
The new glazes by Minnesota Clay seemed to pair well with their stoneware. The formula settles comfortably on the surface, isn’t overly drippy and is consistent in its application and appearance. Biddle is thrilled with the company’s customer service and ability to deliver when she needs restocking. She is however, still chasing the Great Lakes glaze dragon. Her hunt for a comparable Caramel and Nutmeg glaze still has her on the hunt. Ian Wallach (his Instagram), a former LSPS-LC student and volunteer, now provides a few glazes that fill the void. Wallach, who went to school at the School of the Art Institute of Chicago, also studied with Carl Mankert of Chicago Kiln Repair (his Instagram). Between his education and apprenticeship, he now works on creating unique glazes for himself and buyers. LSPS-LC often re-orders Ghost White, Indigo Marble and Cream Rust from him, and they have quickly become favorites. Ghost White is second only to clear, providing a bright, creamy and layered look to any piece.
Artists at LSPS-LC not only enjoy exploring the 500+ glaze text tile wall, but can delve into other endless surface options. Underglazes, Wonderglazes, stains, China paints, underglaze decals, metallic leafing, small batch commercial glazes and specialty Raku surfacing workshops make ups some of the creative fodder that keeps students interested and challenged. If you’ve worked at our studio and feel overwhelmed by the choices, talk to Biddle, or any of the long-time artists. Each one will gladly share their enthusiasm for the multitude of options that make their work special!
Watch Meg Biddle, founder and instructor at LSPS-LC, delve into some fascinating information surrounding the test tiles, and how to get a handle on all the beautiful combinations and outcomes: