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About preeta

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

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  1. West coast cone 5 body - speckled buff cone 10 glaze that I can’t remember. Peterson’s white?
  2. Glaze or clay effect?!

    I will also add the possibilities of multiple firings too. I have tried heat guns vs flames but it’s a different look. I prefer the torch . Sputty I am so sorry for your experience. I’ve had the opposite. However I’ve had your kind of experience in other fields. And heard others complain about other potters. This is a huge ongoing struggle for me now. A lot of my favourite artists are such €#%$¥. I like their work but not the person. I have not figured out how to feel about that.
  3. Firing Pots With Lids

    Mike how did you leave the lids to be fired? We’re they in the pot or next to the pot? For our studio if we have glazed the whole lid then the lid sits next to the pot and it is fired that way. However if you don’t glaze the whole thing you leave the lid on the pot. In other words things are fired as you leave them.
  4. Unusual Questions

    Why porcelain. 1. Non porcelain yes. I’ve not seen any in porcelain. 2. Yes all the raw materials can be purchased. Unfortunately as hichmss pointed out you’ll need some practise. 3. Research ceramic store/ shop in your area. Or nearby. Talk to them. They will probably be able to help you more than we can. And they might offer classes for you to learn. Or look for a clay studio and ask them where they get their supplies. 4. If you are willing to make the financial commitment I don’t see why not. Again a local store or studio might give you better leads than here. You might have to negotiate or not get exactly what you want. Or you might something even better. However even painting is a learning process. Are you willing to put in the time and effort? 5. Not sure why you have to hire them if you are talking about some simple bowls. Walk into any studio and see what they have to offer. Different sizes of bowls are one of the most common things potters make.
  5. Porcelain slip on dark claybody is exactly what I love using. However cracks are about two clays shrinking differently. To get the raised effect in slip trailing I use as C Banks posted a defloculated slip or even casting slip (I add ball clay to thicken the casting slip so it won’t run when I am drawing lines with a hair dye bottle). Since the two bodies are not a good match I have to experiment a bit to see what leather hard or wet stage my claybody needs to be. For lines and dots I put the slip on immediately after throwing and then cover and slow dry. I do love cracks though when I slap on slip so I tend to use that on bone dry greenware or almost bone dry to get a variety of cracks.
  6. Are you afraid to glaze because of the crack growing? How about low fire glazes? The crack should not grow and if it is not too wide glaze might seal it.
  7. CONE 5 VS CONE 6

    i wish there was an easy answer, but there is not. the only way to know is to try it. however having said that there is not that much difference between 5 and 6 esp. if firing electric. at least there should not be. i will go out on a limb and say you should not have any real problems overall except in a few cases. if you know your glazes well you can tell how they are doing. ive taken ^5 to 6 but not the other way around. if anything you might have more problems with clay/glaze compatibility than underfired glazes. with glaze recipes i have seen the range for what is called cone 6 is actually cone 5 to cone 7. i think john britt talks about this in his mid range book. however it depends on how finicky your glazes are. i have local potters here who have experimented a lot with their glazes and they have actually overfired to get the effect they want.
  8. OT... Me too. Me too fellow experimentor!!!! The thing that I just love about pottery is drawing in the air. I make certain forms over and over again because there are tiny differences that I need to hash out. I feel I truly live when at the wheel and the rest of the time I am waiting to get back on the wheel because my next pot appears in the middle of the present I am throwing and I have yet to throw it. This semester I swore no more bowls or cups. Alas I’d forgotten about empty bowls. And then my 15 year old brought up our search for our perfect mug. It’s that one variation that keeps me going. After 3 years I still find bowls and cups still very exciting. But this semester is about the bottle. But yes I dislike repetition- esp with glazing - usually. Which is why I love the gas kiln. Glazing for me is an emotional response to the pot. Is this going to be a calm pot or is it asking for a punch. Does it need a wax resist drawing? Which is why it is super exhaustive for me. I can easily spend 8 hours at the wheel and still be energised. But 2 hours glazing and I am completely drained. Even if I’ve decided before hand the final glaze is chosen when I pick up the pot. And then access to a gas kiln... I can get so many variations just out of two glazes. The difference between vertical and horizontal forms.
  9. I agree with you Joseph. It is different. For me the lack of grog makes a huge difference because I am still not a confident thrower. Not just porcelain but even b-mix without grog involves a whole different learning curve. Ultimately I discovered I preferred iron body clay with white slip because our school fires ^7 gas and clay reduction plays an important role in my surface thoughts. And also that I really didn’t care much for the porcelain look. I much prefer buncheong over porcelain. So doc I’d definitely encourage you to try porcelain - just to experiment. Not just with throwing but how differently you also have to relearn glaze application. And I will admit 3 bags of porcelain improved my throwing abilities. Just like a student driver who finally had to get on the freeway.
  10. 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.
  11. 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 .
  12. 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?
  13. 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.
  14. 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.
  15. 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.

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