Jump to content


  • Content count

  • Joined

  • Last visited

About preeta

  • Rank
    Advanced Member

Contact Methods

  • Yahoo

Profile Information

  • Gender
  • Location
    Sacramento, California
  • Interests
    Cooking new things, especially vegetables I am not familiar with, starting a garden, reading, my sketchbook, writing, hiking and camping

Recent Profile Visitors

2,598 profile views
  1. Oxide Pastels - Safety Issues

    lol no. our whole class was actually joking about it. it was just like the movies. how you mix and cut and then arrange cocaine in a line - before you mixed in the liquid ingredients. the item we were using was a science lab spoon which had a quarter spoon measure at one end and a square flat piece at the end making you feel you were holding a blade. Marcia i try but if the \teacher doesnt insist on it then i cant do anything. i wonder if the teacher thinks once a week for maybe an hour (the dry ingredient state before we add liquids is very short) for maybe 5 or 6 weeks is enough to lead to lasting health effects. however the teacher always asks everyone to put on their mask. she has even warned if we blow our noses and see colour in the tissue to definitely wear the mask. i warn kids all the time. many dont like it. esp. in the ceramics department. they know better but choose to ignore the information. i get real dirty looks and many snarky comments.
  2. Oxide Pastels - Safety Issues

    Thank you all. You have provided me with the answer I needed. I have my own mask that I got after the discussion here last year. We are given disposable masks at our materials class in school but I am not sure if they are a P100 or not. Johnny I’ve been mixing glazes too. I am now taking classes at ARC which suits me better as I have more freedom to experiment. The ceramic department insists on masks but in our materials class it’s just a suggestion. Min thanks for the heads up on talc which I did not know about. That is interesting because I really dislike the texture of talc for pastels and was going to stop using it. There is not a lot of material one is mixing to make pastels but you are definitely closer to the materials which you mix using the cocaine and paint technique. 2 to 6 teaspoons of materials times 6 - 10 batches. i will be making pastels either in my garage or empty room in school .
  3. In my non ceramics materials class we learnt how to make Pastels. So I got some copper carbonate and cobalt oxide and made pastels out of them with the intention of experimenting on bisqueware to see if I like the look. If they pass muster I’ll try other oxides. The three additives we are using are calcium carbonate (ground marble), talc and kaolin. I notice while I take precautions when working with dry powder., many students don’t. The teacher does not insist because the class is provided with non toxic pigment. The room is big but it’s all closed in. No ventilation that I can tell. Will my pastel making be injurious to my other classmates health? Especially as their paste are basic generic ones which they rarely use?
  4. Chicken Scratch

    OH LT you just blew my mind. adding the stuff to slip!!! that's BRILLIANT!!! plus the weeping issues wont happen. and then to paint with texture rather than colour. wow that just opens a whole new door for me. i really like your thinking about the pan muck and glaze clumps. even with ^6 i think i can experiment at school since they only bisque to 010. i love experimenting. its what keeps me going.
  5. Carving into clay

    ah the indomitable Robin Hopper! You definitely wouldnt go wrong there. He has been one of my early teachers (through his books and videos) AAAAH oldlady. Thanks for the heads up. i've notice a stylus looking tool in my daughter's nail bag. i'll try that.
  6. Carving into clay

    oh gosh Gabby there is really nothing to carving in clay. you have to try it yourself to see which kind you like. just make little tiles and experiment. try different things from your kitchen drawer. there are so many layers to be discovered. try carving in clay with various level of dryness and see which ones you prefer. i am going to try using clingwrap on wet clay so i dont have to deal with burs (or i hope i dont have to deal with them). i'll use a dull point to draw on the clay. i'd read as many books as you can lay your hands on. flip through them no matter how old because you'll always find a kernel that might teach you a new technique or change your thinking. there is no one book that covers it all. like clay inlay or buncheong. have you done any printing classes. woodcut or lino cut. you can apply those principles to clay too.
  7. Chicken Scratch

    Thank you all for the heads up about resizing pictures. i'll know the next time if i was successful. Wow Joseph you tried a lot in your clay. Am curious to know what were you hoping to achieve all the sands and grog? was it fine grog ? Please update after your glaze firing too. i'd like to see if there was pitting. One of our 4 year college students said he stopped using chicken grit because he felt the ingredients list was not honest and he had too many cracking and glaze issues. Thought you might enjoy this article. https://ceramicartsnetwork.org/pottery-making-illustrated/article/shigaraki-surfaces/# One of the things i want to try this time is coat the feldspar with either copper or cobalt , bisque it (cant think of the right terminology) and then add it to the clay as Rimas tried. I've tried various sands and fine grog (what they had in school) and i wasnt impressed with ^6 firing. i made vases. some areas were rough otherwise it just made my surface appear peppered. i'd love to try rough clay surface, but i havent been able to come up with the right glaze to use on it. however those surfaces looked fantastic in soda with and without glaze.
  8. Chicken Scratch

    look for the chicken grit that specifically says granite. i've used it and it just stands out up on the walls. you cant really see it in bisqueware, but it shows thru after glaze firing. i've done ^6 and ^7 glaze firing and ^10 soda fire (but i think it didnt go past ^8) Rimas VisGirda has a very good article about additions called Let it Bleed. he though talks about feldspar. the free article does not have pictures. the pictures are very helpful to understand. <duh the article min posted> i think the granite chicken girt has feldspar. though you can also buy custer feldspar in different sizes from home depot (as i've been told). HOLY COW!!! so sorry dont know how to reduce the size of the picture.
  9. David the birth of my daughter taught me not to take those comments to heart. I did not really appreciate my mom till i became a mother myself. i did of course appreciate her but not to the level i do now. which i feel sad about. the context does matter a lot. i grew up in india where i accept the compliment with a smile because talent usually means - you put in all the hard work and look how nice it looks. whereas i put in all that work and mine comes out looking like nothing. these are people who have done art and know what it means to persevere. here i just feel sad. because i feel people are missing out on so much (lack of any art education/appreciation). or the big factor. the fear thing. perfectionism. not being able to overcome the fear of underpar work. the nostalgia of wanting to create but being afraid to because of the horribleness that comes forth - in their estimate. the comment that makes me really sad is 'i can't sing because i haven't been taught to'. anyone can sing. instead of singing to their kids i see parents play their recorded music because they are not good. who cares. just sing. why read story books at night all the time? tell stories. stories of your childhood, your ancestors. so for a lot of people i feel its also nostalgia. i really feel underneath they would like to create but feel paralyzed by their inner critique. yet for me the problem is how to learn what a 'good' pot is. i can after 10 tries make a perfect technical pot - but what makes a pot a strong pot. so in their books i might be 'talented' but in my own books i am trying to figure out what kind of a pot am i?
  10. Really. You won’t drive 95 miles - a day trip to get maybe half a year if not a years supply, but you’ll spend so much more time in mixing claybodies. My circle is full of hobbyists and we do at least that much driving to get cheaper clay. The ones I know would much rather play with firing and glaze making I guess because they have found a claybody that works for them. I guess it’s more exciting playing with 10gas. Now if you are passionate and intrigued by the constituents of a claybody then it’s a whole different ballgame. I am lucky because where I live within a 100 miles lies great ceramic stores and clay companies that stock a wide varieties of claybodies.
  11. Cautionary Tale

    is this for personal education or is it for the longevity for the kiln.
  12. Atmosphere Kiln

    I am trying to understand firing with a living fire as opposed to just heat. Talking broadly here. Wood and gas including soda vs electric. Not including other firings like pit, raku... Even with the different kind of atmospheric firing are there some principles that are common to all atmospheric firing like how you get flashings if you have the right kind of clay/ slip? Would there be flashings In both wood or gas. I keep coming across flashings in soda firing and wood of course, but I don't hear the same when it's just a gas firing. I am curious what flame does to a body - glazed/ unglazed. I understand I've opened Pandora's Box. I understand there are so many intricacies to even each kind of firing. It's the flame that interests me. Including the flame that Native Americans use since I assume flame because they are not using sawdust. Is there a difference between natural gas and propane flame? Difference between firing with wood vs firing with charcoal. Could I fire a pot in my charcoal BBQ or propane BBQ. seems would be like a pit firing. What do I get with flame and air that is different than electric firing. Beyond color change. Beyond reduction. Sorry if I don't make sense. I keep thinking of cooking analogies here. They still apply. I am slowly getting to understand heat work - kinda. How it's different for a bowl vs a vase no matter what the firing.
  13. Neil do you mix your claybody for the right iron or do you go with a commercial body? Could you use iron engobe or slip or even an iron wash over non iron clay to get similar response?
  14. Totality=One Lucky Guy

    Even for partialers it was quite an experience. I had seen mine in India some moons ago so wasn't so keen in the heavens. It was everything else that was magical. The sudden drop in temperature. The different light. Like sunset in the morning - yet it was a very odd light and you had afternoon shadows and day sky. There was something different in the air around. Not sure what it was. Almost like a world I no longer knew. Very mysterious. I also noticed a stillness in the air. The dogs were unusually quiet and not many birds in the sky and no squirrels on the fence. Watched going ons on tv and NASA. It was still a very moving time for me. I was almost in tears imagining what ancient man would have gone through. I mean today we don't get that experience anymore. We usually know or get a warning. I was grateful my 14 year old was In Madras,OR with fellow enthusiasts and scientists and was moved by the experience. The worst part for her was trying to return home the same day. Nightmare. They had to go back and leave the next day.
  15. Danish Matte Glaze Recipe?

    felipe what exactly do you like about the look. the matte? the colours? the grainy mix...? were you looking to make dinnerware or vases/show ware? have you ever thought about stains? what do you think about the surface of Pippin Drysdale? http://www.pippindrysdale.com/she even explains her technique i think in a vimeo video. her process is fascinating.

Important Information

By using this site, you agree to our Terms of Use.