The Quiet Archive Behind My Test Tile Wall

In my studio, the most useful wall is not the one carrying my largest pieces. It is the quiet, uneven grid of small tiles above my workbench. Every square has answered a question: How does this clay behave under this glaze? Does the colour shift when applied thickly? Will the foot adhere when the form narrows? Keeping those answers visible saves time, reduces repeated mistakes, and gives every firing a clear starting point.

A test tile is a small ceramic sample used to investigate a clay body, glaze combination, decorative technique or firing temperature. The tiles may look decorative once they are on the wall, but their first purpose is practical. They are inexpensive experiments that show what happens inside the kiln before I risk a bowl, sculpture or large group of plates.

I began keeping the wall after noticing how much information disappeared between firings. Notes could record a glaze as “too pale”, but they could not capture its movement across a textured surface or its contrast with an iron-rich clay. A labelled tile preserved the subtler evidence. Over time, the collection became a visual record of my experiments, discoveries and changing preferences.

This approach is especially useful for Australian ceramicists working with limited studio space and finite kiln capacity. You do not need a dedicated building or expensive equipment. A shelf, piece of plywood or unused section of a garden wall can become a place to record useful results and build confidence in your next series.

What the Wall Records

Each tile should represent a controlled comparison. I write the clay body, glaze, application method and firing date on the back with a pencil or ceramic marker. When more than one glaze is involved, I also note the order of application and whether the surface was sprayed, dipped, brushed or poured.

The labels make the wall useful rather than merely decorative. Months later, I can separate a successful pale blue from the same blue applied over a different slip. I can also identify whether a dramatic effect came from layering glazes or from a change in kiln atmosphere. Small differences become much easier to understand when they sit beside one another.

I arrange the finished samples loosely by clay and glaze family, then leave spaces for future additions. This makes patterns visible. Certain colour combinations repeatedly look convincing beside warm brown clay, while others appear sharper over a pale body. The wall tells me which relationships deserve further testing before I commit to a collection.

Feedback That Changes the Work

A glaze may look predictable in a recipe, but clay, thickness, firing and application all alter the result. The test wall keeps my practice grounded in what actually happened in the kiln. Instead of expecting a formula to reproduce itself exactly, I learn how it behaves within my own conditions.

The archive also prevents me from making the same experiment under a different name. A recipe called “Ocean Mist” is not truly new if I used the same clay, glaze and layered technique last year. Comparing old and new tiles helps me distinguish genuine development from repetition and shows where a new idea might add something worthwhile.

My palette often begins with natural references, including Pacific Northwest moss and the muted tones of the Mediterranean coastline. Translating those colours into ceramics requires testing, since atmosphere and clay can shift a planned hue. To see how individual experiments develop into finished objects, explore Amelia Johannsen’s work. The range of pottery, decorative plates and sculptural forms shows how technical knowledge can support a distinct visual language.

Finding a Safe and Practical Location

The wall can go almost anywhere that is dry, stable and visible from the working area. In a home studio, a section of garage shelving, a sheet of plywood mounted above a bench or the side of a cabinet may work well. Outdoors, it must be sheltered from rain and direct sunlight, which can fade glazes and encourage mineral deposits on the surface.

Sydney and Melbourne apartments require particular care. Many walls are brick veneer, rendered masonry or paper-faced plaster rather than solid masonry, so ordinary fixings may not be secure. If the surface is part of a rental, obtain the landlord’s approval before drilling or adhesive is used. Tiles are heavy in aggregate, and a poorly prepared surface can damage the wall or allow individual pieces to fall.

A bathroom or laundry wall also brings building regulations into consideration. The National Construction Code and its state and territory variations set wet-area requirements for waterproofing, falls and finishes. A tiled splash zone may need more than a strip of adhesive and grout. Check the local requirements and use a licensed tradesperson when the installation affects waterproofing or structural work.

Building a Repeatable Testing System

Start with what you already use. Save thin offcuts from your normal clay, or buy a small bag from a local pottery supplier rather than preparing a large new batch. A Saturday hardware-store run is familiar to many Australian makers, and stores such as Bunnings or Mitre 10 are practical places to find tile trimmers, spacers, shelf brackets, grout and suitable fixings.

For a manageable first batch, prepare twelve tiles from one clay body. Apply three glazes across the set, varying thickness or leaving four tiles for one glaze as controls. Bisque, glaze and fire the tiles using the same schedule as your regular work whenever possible. This creates a reference that reflects your actual studio conditions rather than an idealised sample.

Cleaning is part of the method. Clay dust and dry glaze can contain respirable crystalline silica, so clean deposits with suitable extraction or wet methods rather than compressed air. Follow state and territory work health and safety laws and Safe Work Australia guidance, especially when sanding heavily glazed surfaces. Suitable respiratory protection and a fitted mask also reduce exposure while dusty work is unavoidable.

Turning Tests into Market Choices

Test tiles can inform a collection before the collection reaches the kiln. If customers at weekend ceramics markets in Melbourne and Sydney repeatedly respond to textured blue-green surfaces, you have evidence rather than a vague instinct. The same results can guide product photographs, workshop descriptions and online listings across Australia.

Keep food safety separate from visual appeal. A tile may look suitable for a plate without proving that the glaze is fully matured, durable or free from harmful leaching. Use appropriate food-safety testing before describing a functional piece as safe for food. When selling completed ceramics, the Australian Consumer Law also requires accurate representations and products that are reasonably safe and fit for their stated purpose.

I keep a separate visual file showing close-ups of successful edges, handles and surfaces. For playful exercises between firings, I also return to hands-on clay ideas. Testing does not have to become a serious production line. A small monthly batch can keep the process open while revealing which techniques are ready for wider use.

Start Small and Keep the Habit

Choose one clay body, one clear question and twelve small tiles for your first attempt. Give each sample enough surface to show the glaze at its normal thickness, but keep the pieces small enough to fit on an A4 sheet. After firing, label them while the details are fresh and attach the group to a simple backing.

Review the wall whenever you prepare to make a new series. Notice which tiles still look strong, which relationships need another test and whether your current work has moved beyond an old result. Replace weak samples only after you have recorded what they taught you. The archive should show development rather than constant tidying.

For a visual extension of this practice, explore Amelia Johannsen’s work, follow the studio on Instagram, or join the mailing list for workshop news. Choose one clay body, make twelve labelled tiles this week, and give your first test tile wall a place to begin.