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Found 181 results

  1. Dirty Scot Pottery

    IMG 20130514 194522

    From the album: Dirty Scot Pottery, 2013

    Naked Raku vase with horse hair, almost done.
  2. Dirty Scot Pottery

    IMG 20130505 192940

    From the album: Dirty Scot Pottery, 2013

    Greenware of a 12" pot. Will be finished Naked Raku with horse hair.
  3. Dirty Scot Pottery

    IMG 20130523 123324

    From the album: Dirty Scot Pottery, 2013

    Early stage of a bowl. Pierced design in a four pointed Celtic Tree of Life combined with Celtic Cross.
  4. Dirty Scot Pottery

    IMG 20130523 123334

    From the album: Dirty Scot Pottery, 2013

    Finished Celtic Tree of Life bowl. Multiple firings with layered glazes.
  5. Dirty Scot Pottery

    IMG 20130510 150610

    From the album: Dirty Scot Pottery, 2013

    Early stage of a bowl. Pierced design in a four pointed Celtic Tree of Life combined with Celtic Cross.
  6. Dirty Scot Pottery

    IMG 20130510 150600

    From the album: Dirty Scot Pottery, 2013

    Early stage of a bowl. Pierced design in a four pointed Celtic Tree of Life combined with Celtic Cross.
  7. Terri Saulin

    gardenofforkingpaths 1

    From the album: Terri Saulin Frock: The Garden of Forking Paths

    Terri Saulin Frock: The Garden of Forking Paths October 4 – October 27, 2013 Opening Reception: Friday, October 4, 2013, 6pm -10pm PHILADELPHIA, PA- Tiger Strikes Asteroid welcomes you to our October exhibition, The Garden of Forking Paths. The show features the work of TSA member Terri Saulin Frock. This is her second solo exhibition with the gallery. Please join us for the Opening Reception Friday October 4, 2013, 6-10pm “The Garden of Forking Paths is an incomplete, but not false, image of the universe as Ts’ui Pên conceived it. In contrast to Newton and Schopenhauer, your ancestor did not believe in a uniform, absolute time. He believed in an infinite series of times, in a growing, dizzying net of divergent, convergent and parallel times. This network of times which approached one another, forked, broke off, or were unaware of one another for centuries, embraces all possibilities of time. We do not exist in the majority of these times; in some you exist, and not I; in others I, and not you; in others, both of us. In the present one, which a favorable fate has granted me, you have arrived at my house; in another, while crossing the garden, you found me dead; in still another, I utter these same words, but I am a mistake, a ghost.†- Jorge Luis Borges Saulin Frock considers The Garden of Forking Paths a chapter in an endeavor that has been developing over the past ten years. As drawings and objects accumulate, they function as “visual counterpoint," layering information to produce an imagined time-lapse view/code of a world. The vocabulary of forms is culled from a variety of sources such as maps of her urban garden, home renovation, travels abroad, the writings of Jorge Luis Borges, and Glenn Gould's "Goldberg Variations: The Well Tempered Clavier." Terri Saulin Frock received her MFA from the University of the Arts and her BFA from Moore College of Art and Design in Philadelphia. Currently, she is teaching the course "Critical Discourse" at Moore College of Art & Design, and a variety of ceramics and sculpture classes in the BFA & Young Artist’s Workshop programs. Additionally, Terri Saulin Frock also teaches Pre-school classes to children at Society Hill Synagogue. Terri Saulin Frock: The Garden of Forking Paths October 4 – October 27, 2013 Opening Reception: Friday, October 4, 2013, 6pm -10pm * Partial funding for this exhibition has come from a Faculty Development Grant from Moore College of Art and Design. Many Thanks! * This show is dedicated to the loving memory and history of friendship Terri shared with Deborah Ann Deery. Thank you Deborah for your constant and generous positive energy, support and brilliant light that shines in all you have touched. Press for the show: http://www.knightarts.org/community/philadelphia/terri-saulin-frock-the-garden-of-forking-paths Interview: http://www.behance.net/gallery/A-Conversation-with-Anne-Schaefer-Terri-Saulin-Frock/11489045 Photos by Jaime Alvarez: http://www.jaimephoto.com/
  8. Hi, I am a total newbie to making glazes and I just ran some tests at ^6 on Laguna Frost. My objective was to find a clear glaze that didn't craze, and I tried a few glossy and a few satin/matte options hoping to find some success. To test for crazing, I used a procedure described in Mastering ^6 Glazes, where the sample is heated in an oven at 300 degrees, then quenched in water. Then I used a blue sharpie marker to reveal any cracks that formed. All of my samples crazed after this test, so I am hoping to get some advice on how to interpret the results. I've attached a couple images of the results. The tiles are arranged in order of the expansion coefficient (as generated in GlazeMaster), with the lowest on the left (6.29) and the highest on the right (7.16). The tiles labeled 9, 6, and 11 are satin/matte and the rest are glossy. Tile 15, on the left, is the low expansion recipe from Mastering ^6 Glazes, which I had been optimistic about since the book suggests it won't craze on the majority of Cone 6 bodies. I've read that adding silica will help solve crazing issues, but since even the low expansion glaze crazed, it leads me to wonder if I am doing something else wrong that is causing problems with the clay body itself? I bisqued the tiles to ^04, but did not do any sort of controlled cooling on the bisque. Also, the cracking seems to extend pretty deep into the porcelain body, as shown in the detail image. I added more ink to the sample on the unglazed portion to reveal the cracking. Is that a normal byproduct of crazing, or is it possible the body itself is cracking and the glaze defect is actually appearing as a result of that? A few more details: The witness cones on the same shelf as the test tiles show the 6 cone bent properly and the 7 cone just starting to lean. I tried to do a controlled cooling using a portable pyrometer (it's a manual electric kiln) but suspect I went a bit faster than is recommended in M^6G. When I opened the kiln to take everything out, I got a reading of 185F on the pyrometer, so it seems that should have been a safe temperature. Any advice on next steps I should take would be appreciated. Adding silica to the glazes is on my list, but are there other things I should be considering? Thanks in advance for any help.
  9. Jennifer McCurdy Testing the Limits of Porcelain: Thrown, Altered and Carved Sculpture WS01 – Saturday & Sunday, 10-4pm, February 15 & 16, 2014 Fee: $200 member/$225 non-member This 2-day demonstration/discussion based workshop that will explore basic wedging, centering, and throwing techniques unique to porcelain. McCurdy will take participants through the production process of forming the cylinder followed by the technique of “dry throwingâ€, using two metal ribs to create the shape of the piece. Next, she will show her technique of altering these pieces off the wheel to create soft shadow ad movement. Day two will demonstrate carving techniques on leather hard porcelain vessels. The workshop will conclude with a discussion of sanding techniques and firing strategies for porcelain which take advantage of the material’s qualities. McCurdy will discuss the concept of “strength vs. plasticity†inherent in the porcelain as it moves through the working stages; from wet to bone dry and finally through vitrification; the transformation of porous clay to translucent porcelain through heat fusion, a process that occurs in the firing. Jen will offer candid conversation about the creative process, the importance and value of setting personal goals and about the development and transition of her work over the past thirty years while offering tips on making a living in the art world. This course is recommended for students with a working knowledge of clay coupled with a willingness to explore new ideas before enrolling. JenniferMcCurdy received a BFA from Michigan State University in 1979 and then learned how to formulate and throw porcelain at Florida Atlantic University under John McCoy in 1980. She has been selling her porcelain in art shows and galleries for the last thirty years, and her work is included in the collections of several museums, including the Smithsonian Renwick Gallery in Washington, DC. She maintains a studio in Vineyard Haven, Massachusetts. Her focus on the reflective and bone-like quality of the bare porcelain has led her to explore the light and shadow of the clay forms, resulting in a unique melding of line and structure. She is looking forward to sharing some of the tricks she has learned along the way – tricks of the trade, and tricks of porcelain. Perspective students are encouraged to review Jennifer’s website at www.jennifermccurdy.com. WS01 – Saturday & Sunday, 10-4pm, February 15 & 16, 2014 Fee: $200 members; $225 non-members Contact Matthew Hyleck at matt.hyleck@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209
  10. I am just getting back into clay after a long hiatus due to lack of studio space and other responsibilities. In the past I have usually known other potters where I could get some leads on good clays and glazes and check out some samples. I don't know any potters where I live and have had to rely on manufacturers write ups and test tiles at a supplier. At the clay store everyone says "you'll have to test it". Well, that's for sure but without a glaze studio I have accumulated some clays and glazes that are not working the way I hoped. I am hoping I can shorten the learning curve with some advice from those who have used Western clays. I do smaller scale hand-building: a good cone 5/6 porcelain and a white stoneware with a bit more strength (really fine sand or grog only) would both be desirable (no wheel work). So far I have had a lot of glaze fitting issues with the bodies I have tried (some success with clear glaze on porcelain, but success with a celadon type glaze is on my wish list) My location is Arizona so I would probably be looking at California manufacturers. I am considering a couple of Aardvark clays for my next clay trials (Nara 5 and BeeMix with sand), any comments on those? I do both slab construction and pinching and like a smooth body. I prefer white bodies so that I lessen the chances of contaminating porcelain with another color and I also plan to use body stains in porcelain. Firing is electric oxidation. Just to eliminate a few questions: I have already tried to fine tune bisque firing and I don't think it is the problem. I have called the clay manufacturer and spoke to a tech guy there, and I also talked to a guy in the back at the clay store. In the end I got honest comments about both clays I have been using that lead me to think they are less than ideal for my purposes and one is particularly difficult to get a good glaze fit under any circumstances. So I am back to looking at trying other clay bodies and hope that I can stick with one manufacturer to help with shipping. With any luck I might even find that some of the glazes I have already purchased might fit better on another clay. It isn't practical for me to start up a glaze studio right now so I would probably do best to find commercial glazes but would use glazemixer.com for a proven winner. I would be grateful for any suggestions since my time is limited and I want to reduce stress in my life by having more fun with clay and enjoying the end result. As you might imagine, this is my first post.
  11. Hello all! My name is Michael. I am a woodworker by trade, and have always wanted to integrate ceramics into my furniture and other pieces i make. I think the time has finally come to dive in, as I have a real project I want to try. I have a CNC router I use for making complex things my meager carving skills cannot do. Of these things, backlit lithophanes in corian is one of them. They come out wonderful, but my problem is the cut time- for a 5x7 litho, you can be looking at 5 hours each. Also, there are more people with CNCs in their garage that are playing with lithophanes; the market online is getting flooded with people putting out product. My idea is to manufacture the original style lithophanes- in porcelain. The plan is to make a master on the CNC, use that to make a plaster mold and slip cast out of the mold. These will be made into luminaries, lamp shades, art pieces, etc. I have the corian. I have the plaster. I need a kiln, I need slip. - I am thinking to go with a medium fire porcelain, something ^6 max for the kilns I've been looking at. Needs to have good translucency for the lithophane to work. Any ideas on a slip to use? I am in Southern California, so it seems Laguna is the standard around here. -Kiln; 110v or 220v? Here's the contenders thus far: -Paragon A-88B. 220v. Comes with 6 half shelves. $100 -Cress B1411-H. 120v. Comes with 1 shelf. $75 -Cress B27-H. 220v. Comes with an analog pyrometer and a couple ceramic casting molds. $100 I am on a very tight budget to try this out, which is why I'm looking at these options. from a price perspective, the Paragon seems to be the cheapest option to get started, as it comes with shelves. The others are pretty much useless without further expenditure on furniture. Both the Paragon and the B1411 have chipping and small missing pieces of the firebrick, with cracking in the bottom. The B27-H looks to be in very good shape with minimal fire brick chipping, no real breaks and no cracks in the bottom. From a condition standpoint, the B27-H is the best option. For ease of testing, footprint and electrical use, the B1411 is the best. I know slip casting lithophanes will take some testing to learn how to do properly, trying to get a good firing without warpage or cracking due to the thinness of the material. Is this really much harder than I think it is? Am I doomed to failure without years of experience with other materials/ designs? Any input would be greatly appreciated. Thank you, Michael
  12. Anamica

    IMG 7912

    From the album: Going with the flow

  13. Unique pieces for the unique individuals. Enjoy a piece of art in your everyday life, something you can touch and use, that expresses yourself. That is not mass manufactured, provides ergonomic hold with different texture, satisfy your sensation in visual, touch and taste. Enhance the experience of drinking tea, like the Japanese tea ceremony. The purpose of my collections are to bring joy to people through the appreciation of the beauty in ceramic, and carry the passion from one to another in our daily life. The stamp you see on the pieces is the last word of my Mandarin name, pronounced “showâ€, meaning Jade like stone. I stamp this on my pieces in hope that it will be as what the word represents. Please come and have a look during Oct. If you would like to have a chat, I will be there on the 5th of Oct fro 1-3pm. If you would like to see more, please visit http://imisabellawang.blogspot.com.au/ I am also on intragram - username: imisabellawang Have a look, let me know what you think.
  14. Hi all, I have been throwing with Babu porcelain, glazing with Reeve's Clear glaze. I fire to cone 10, in a light reduction, gas kiln. I notice that the Reeve's clear seems to craze more than I want in a food vessel, even when thinly applied. It seems to fit stoneware better than porcelain, with much less crazing. I know Babu shrinks more than stoneware, so it's clearly a glaze fit issue. Has anyone found a better clear glaze that doesn't craze, for use on cone 10 porcelain? Do you have any suggestions as to how I might get a better glaze fit on Babu? I use Babu because of its clear, white color. I'm willing to use a different porcelain if I can get better results and keep the white color. Any ideas? It's very frustrating. I want to use this clear base and add colorants, such as Mason stains to get translucent, "celadon-like" colors. Thanks for any help.
  15. I have been given a 25kg bag of powdered porcelain. If I want to use this to make casting slip, what other ingredients would I need and in what proportion? Also, could I use it for throwing - if so, same question, what else would I need to add? I hate to waste a 'freebie' so would welcome any helpful comments.
  16. From the album: Gas kiln 2013.09.05

    gas kiln, reduction , cone 10
  17. From the album: Gas kiln 2013.09.05

    gas kiln, reduction , cone 10
  18. From the album: Gas kiln 2013.09.05

    gas kiln, reduction , cone 10
  19. Mart

    Small porcelain bowl

    From the album: Gas kiln 2013.09.05

    gas kiln, reduction , cone 10
  20. Carson

    Porcelain Slip

    I'm back after I long hiatus! Pottery, I've missed you so. After careful consideration of my physical abilities I chosen slip casting molds as a start. I have made molds in the past and am now brushing up on the steps. I want to start with porcelain slip casting; however, I cannot seem to put my fingers on a supply of porcelain slip here in Palm Springs California. I looked at one recipe online to make porcelain slip myself and would like guidance on a good recipe for porcelain slip. Is it hard to make? If so, maybe someone could point me in a direction to buy porcelain slip here in the Palm Springs area. I am setting up the studio now and I look forward to getting started. Thanks in advance.
  21. From the album: Return of the Duck - Return of the Duck in Orange Sauce

    ^06 glazes over previously fired ^6 glazes, with melted glass sauce

    © Norm Stuart

  22. Jack Troy – Pottery Forms: Intention and Happenstance WS05 – Saturday & Sunday, 10-4pm, November 9 & 10 Fee: $200 member/$225 non-member This 2-day demonstration/discussion workshop includes presentations on Japanese teabowls as well as both contemporary and historic pots to help enlarge our approach to our persoanl work and emphasize the evolution of personal forms — pots with a unique identity. Using the cup as a take-off point, Jack will demonstrate how the cup reflects a concern for functional and aesthetic values, including surface decoration, tactile qualities, inside-outside considerations, spontaneity and control, as well as focusing attention on the cup as a whole: weight, lip, foot, body, handle. Thrown cups will be altered by faceting, carving, paddling, stamping and heavy slip application. His most recent, tactile, sculptural teabowls are altered significantly from thrown components. Jack will demonstrate extending the scale of work, and will apply a variety of altering techniques to thrown forms while addressing how and why some pieces are made specifically to be fired with wood. Pitchers, jars, and bowls of various scales with be thrown and altered, befriending asymmetry. Jack Troy's anecdotal style of information-sharing covers a wide range of topics, including technical and aesthetic issues in ceramics, personal goals, and the dilemma of being a literate potter while knowing that most of the world's best pots were made by people who couldn't read, write, or do glaze calculation. The aim of the workshop will be to meet each other and exchange ideas that help extend our personal knowledge of forming and firing so the choices we make about our work might enliven the clay we use. Participants are asked to bring with them 2 pots “lived with over time†– one made by the individual and one by someone else – to illustrate two types of “meaning†with regard to how a piece convey’s significance to us. 2013 is Jack Troy’s 51tst year of making pots. During the past year he fired 11 different kilns, including the anagama at Golden Bridge Pottery, in Pondicherry, India, in February 2013, where he taught his 230th workshop. Other events include workshops in Washington State, at Fern Hill Pottery, Brush Prairie; and Shoreline Community College, Seattle. In Maine, he held a Residency at Watershed Center for the Ceramic Arts, judged the 2012 Strictly Functional Pottery National exhibition, and received the 2012 Excellence in Teaching Award from the National Council for Education in the Ceramic Arts (NCECA). His education in ceramics has included trips to 26 countries. Having published over 80 articles in ceramics publications, he also wrote Salt Glazed Ceramics, Woodfired Stoneware and Porcelain, and Calling the Planet Home, [poems]. His work has been exhibited widely, and is in numerous collections, public and private. He has said, “I made my first pot - a wretched little bowl with a pitted glaze - in November, 1962. This simple act changed my life, leading me to believe, 51 years later, that potters may change the world for the better, one handful at a time. “We potters finish our work, but only others can complete it, through use. Pottery, then, is only finished once, but can be completed endlessly, by a succession of users, keeping it active in a variety of settings.†WS05 - Saturday & Sunday, 10-4pm, November 9 & 10 Fee: $200 members; $225 non-members Register on-line or contact Matthew Hyleck at matt.hyleck@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
  23. Pompots


    From the album: New works July-2013

  24. Pompots


    From the album: New works July-2013

  25. Pompots


    From the album: New works July-2013


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