Denice

Woke up at 3AM, have had this cup in my head since then. Finally sketched it just to get it out of my thoughts.

Top part is unglazed with my black crackle slip, sprayed with wood ash mixture lightly to sheen versus too rough of dry feeling to the lips, but still will be tactile so that you know what you are drinking from.
Inside glaze is a high iron glaze like an oilspot, but slightly oversaturated and crystallized as it cools, sheen but satin not to take or distract the eyes from the eruption of the cylinder.
Bottom half of the cup is a cracking pinholing glaze, sort of like my surface experiments but safe in the hands, tactile but not sharp coning into the surface of the black cylinder.
raw  clay foot allowing the pinholes and cracks in the white glaze to match so that it isn't flawless design but purpose.

This sculpture by JH Slick is a Cybis 'Nashua' Thoroughbred racehorse produced in porcelain.  A client of mine wanted me to replace the huge, clunky base it originally came with to which he was epoxied.   So I sculpted a new base and cast it to fit this particular commission.  Then I claybody customized the mane and tail by resculpting them and low fired them.  I then went onto reglazing the piece -  which already had a very flat matte bay finish that was rough textured and captured dust so that it was impossible for her to keep clean.   My client wanted this piece slick finished and have lighter highlight areas and dappling with more white markings than the original.  So I painstakingly refired this sculpture many times to first lighten up his base color, then to dapple and redarken using a combination of opaque enamels and translucent china paints.  Whew!  He measures a bit over 12 inches tall by 14 inches long and has a brass halter ring.  Overall his surface area is four times as much as my usual pieces.   Private collection.

In this second photo I have progressed my oil clay relief sculpture a great deal more.  It is still in a very rough stage, working out final compositional elements before smoothing and detailing.  Working from real horse reference photos and my own sketches, relief sculpts like this are a great way to practice sculpting and making your own fairly simple molds for slip casting.  Be very, very careful of undercuts!  This piece eventually will be used for a small resin cast edition as well as a porcelain edition - it measures 5.5 inches tall at this point.  A piece like this can easily be sculpted on a piece of glass as I have done here, or a glazed ceramic tile.   I intend to use this as one of several show awards I will be giving out for a judged event that includes classes for pieces of my own work.  I also take a lot of step by step photos to help me see how the piece is progressing, flip it horizontally to check my design and make my brain see it anew, and later can use the documentation to write up how to articles for publication.

'Dante' sculpted by Sarah Minkiewicz-Breunig and made of earthenware ceramic. This boy came to me as a damaged bisque with two broken legs which I kiln repaired. Then I custom glazed him to this high contrast dappled bay going grey with coppery haunches for a client. He is completed with a high gloss finish and is a large mini in scale, standing 4 inches tall by 4.5 inches long.  All work fired in the kiln cones 04, 06, and 016. See more at hynpatty.com

English fine bone china 'Loco Motion' sculpted by Chris Jolly and shown here in progress being custom glazed by Hyn Patty, 2021. Here the first layers of underlgaze have been airbrushed on, masking latex removed, and the overo pinto pattern all cleaned up and detailed for first firing. This piece was initially fired in my small Olympic Doll E kiln. As it is mounted on a base, the piece is stilted so that the base and the horse don't cool at different rates that may cause the legs to break if the base remained hotter too long. Mane and tail were claybody customized with earthenware added to bone china bisque before underglazing which is a very touchy process I won't go into here. I use a much larger kiln for other pieces or groups.

Slab

Shown here without the 10 liter porcelain jar, this is my Shimpo Ball Mill I use to make my own slips. Both a custom earthenware for fine art casting as well as for refining my English bone china slip.

ANOTHER VIEW.

A simple yarn bowl that a customer bought for an art piece...

H  23 CM     X     L  27 CM