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About preeta

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    Sacramento, California
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    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. I would make it out of one thrown piece. A bottomless big ring on a plastic bat. Then I’d turn it into an oval. I would then alter with the ribs on the side like the way bill van guilder alters his bowls. Let it be to stiffen a bit or until clay not tacky. Then I would push out the pillowy sections. I might even throw the cylinder to the sides to stretch a bit. The bottom is like Martha Grover. She has a few v. Helpful videos on YouTube. When you stretch you get the wavy form or you cut. And then attach the bottom. The decoration looks like slip trailing to me. Ooh Min I’m just seeing your reply. Yup on the rim. She is pushing down. Gabby if you are not good at throwing yet, don’t make a bottomless pot. They are really hard to do. Keep a bottom but make it very thin.
  2. Brian make some test pieces(it goes without saying eh?!). In my limited experience at our JC low fired tiles didn’t do very well (however we did not do China paint). The high fire did much better. Finish was better. We ended up using the low fire tiles in murals
  3. Doc do you want to get the marbling effect! Like Callie pointed out i watched the slip videos from Greek and some exUSSR countries. I think Robin Hopper shows a different one. I’ve only tried liquid on liquid with slip where I’ve gotten nice sharp lines. With clear glaze on top. At my previous JC I remember the prof. Constantly reminding us glazes don’t work the way acrylics do. You can’t mix white and red and get pink. I a.m. taking a guess that with the right consistency glaze trailing is possible. I use a hair dye bottle to trail with. I let the poring consistency air dry to slightly thicker. Wonder if you could also use sodium silicate or darvan to thicken glaze
  4. What are going to do with those painted and fired tiles? Countertop? Or a wall piece. Wonder if you can find out if they are high fire or low fire tiles. Ive used underglazes 04 glazes and even phototransfer with Oxide ink on them.
  5. preeta

    COE and Thickness

    Uhhhh Neil. I see your excitement so I assume you got your answer. but I don’t understand. Does this mean you are going to play with the COE till the extra thick 10% fits? In other words was Min’s COE of her bomb clear glaze set so that no matter how thick it always fits. Does her numbers help you figure out her COE. Learnt even more here.
  6. I make two rounds for test tiles for glaze I’m making from a recipe where I see just a test tile as reference. Round 1 - Typical thrown or slab built test tile (thanks to John Britt) quick check on expected characteristics. I keep using that design. Second round - Small bud vases and small bowls with different clay bodies. I keep these as my reference pieces esp for glazes where gravity plays a big part. They do occupy a lot of space but they give me so much more info. The best part, if I don’t want them and they are decent looking they make good gifts.
  7. preeta

    low fire reduction shino glaze recipe

    So I just made a discovery! it doesn’t matter what the glaze is named as long as we have the right colours right?! here is a glaze recipe I just came across from a free CAD download. The glaze is eggshell pg 14 of https://ceramicartsnetwork.org/freebies/free-guides/33-tried-true-ceramic-glaze-recipes/ there is a picture but no explanation so I assume the pot only uses eggshell. I do see the RIO in there. i also love tea dust. Pg 12 there is a cone 10 tenmoku that works at cone 6 too. A Malmgren recipe of course. Which is hard to believe. Perhaps the surface in 6 won’t be that spectacular as a 10 surface!
  8. preeta


    Ont where are from? East coast west coast or a non us country? Both sides have speckled claybody that you could use. At cone 6 I have not seen speckling caused by glaze, only from the claybody. Cone 10 I’ve seen a few glazes that gets its speckles from glaze additives. But that maybe due to my limited knowledge. Regarding mica (don’t know much about mica) but I do about ilmenite which gives the speckles in Speckled Buff Claybody from Laguna on the west coast. You need a certain grain size to be seen as speckles in the glaze. None of the stores where I live have coarse ilmenite. They have the fine powder. However I have used black sand (laying by a building site that they didn’t mind me having a couple of fistfuls) in my light clay body. Under a clear glaze I loved the peppered look. http://www.potters.org/subject12287.htm
  9. preeta

    Engobe question

    If you want WHITE then use porcelain casting slip that you can dip into right after trimming. Though if you really want WHITE Use a white underglaze. Nothing in my experience will get you white under clear like underglaze. You are not going to see too much difference with engobe. Under clear it does not retain that white. Neither does Dave’s or Tom’s porcelain under clear. But white underglaze under clear remains white. Why are you getting both? To experiment? So the slip/engobe will act as a canvas right? If you are using underglaze to draw and watercolour then the engobe/slip raw layer is fine. However if you use pencils I am not sure if you will like the quality of marks. I played with hard Oxide hard pastels in spring and I had to have a bisque surface underneath to get the kind of line quality I wanted. Otherwise the slip came off or wouldn’t record a line. I think of engobe sorta as a glaze. Use both on bisque and raw. But slip only on raw. If I use engobe on bisque I like to fire it to 04 before glazing as I have not liked the way raw engobe looks under glaze.
  10. preeta


    Well you know there is a potter Sunshine Cobb who sand blasts her pieces to get the finish she likes. You are entering the world of multifires. As an experiment anything is possible. Most people just use another glaze on top. Just as long as you consider that your already glaze fired piece will never hold glaze the way a bisque piece would. Take pictures. make Notes. I am assuming you are talking about a pot and not an intricate sculpture. If you didn’t spend too much time doing intricate work, why not hold on to the piece and make another one. Then come back later and see how you feel. Do you still dislike it.
  11. Thanks guys. This is the easy part. I can do a globular moon jar shape. Its the oblong seed jar shape I need help with. Which part is pulled out first to avoid collapse. The bottom or top? i haven’t had time at the wheel to experiment myself.
  12. https://goo.gl/images/H8JVSa i am sad that both YouTube and clayflicks failed me in showing me how to throw this form. I know how to throw globular. But what about beyond that? i remember a long time ago when I was just starting out someone talking about stretching the top part of the pot before doing the bottom to avoid collapse or vice versa. I didn’t pay attention or understand because I had not sat on a wheel yet. I would imagine this pot needs either a heat gun or billow out the next day after some drying?
  13. I always have a damp towel on me. I basically throw with slip too. I also collect the slip to slip my pots. So I transform a liquid laundry container so I can have the sharp edges. To reach for my tools I swipe my hands on the sharp rim, then I wipe my hands on the damp towel. But by the end of the day my regular throwing tools get muddy. The container that holds my throwing tools is a plastic basket. I let it soak in the water at the sink then submerge again and run my hands thru so I don’t clean each tool. Nor do I lose any. I really like my damp towel and the kaftan/dress I wear to throw. Rinse them out at the end of the day and they are dry when I come in next day.
  14. preeta

    Flat Brushable ^6 + glaze

    Food for Thought hi Rex i thought I’d introduce you to one of my favourite artist at the moment whose work I want to copy sorta along Linda styles line. http://craigunderhill.blogspot.com/2013/08/the-colour-of-water.html?m=1 it isn’t the colours that interest me. It’s his use of different marks. To me the key is transparency. I love the weathered look -the layering not necessarily the colour. So next semester I am going to experiment with terra sig with mason stain colours and oxides too. I’ve chosen terra sig because they don’t have to be glazed. Still comes out bright. Unlike slip. Or even underglazes. This is the first time I found a video which actually shows the technique i find I’m leaning away from glazes to slip/terra sig just coz I don’t want to deal with multifires This is the artist who inspired me to think about terra sig. no glaze except on rims https://www.andrewclarkpottery.com/shop/cup-with-control-knob-3
  15. preeta

    Flat Brushable ^6 + glaze

    I am a big Linda Styles fan too. I also believe she multi fires

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