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Found 177 results

  1. ChenowethArts

    Commissioned 'Piano' Bowl

    From the album: Custom Mugs and Commission Concepts

    This is a large, 3.5+ quart, mixing bowl that is part of a commission project for a retiring university dean. You might guess that the dean had something to do with the music program...and that would be correct. The bowl stands 7" tall and is a full 12" wide at the rim. The black keys were added individually to the wheel thrown piece and later brushed with Amaco Velvet underglaze. The exterior is glazed with Woo's Blue. The interior is Pete's Cranberry. A final light coat of clear was sprayed over the underglazes section for additional sheen. This is a Cone 10 reduction piece.

    © Copyright 2016 - Paul Chenoweth - Nashville, TN USA - All rights reserved.

  2. ChenowethArts

    Commisioned 'Piano' Mugs

    From the album: Custom Mugs and Commission Concepts

    These are the final mugs of the commissioned work for the dean of the College of Visual and Performing Arts.

    © Copyright 2016 - Paul M. Chenoweth, Nashville, TN USA - All rights reserved.

  3. ChenowethArts

    Tennis Net Mugs

    From the album: Custom Mugs and Commission Concepts

    These two mugs are a hybrid combination of hand-built and wheel-thrown construction. The rim is the only wheel-thrown piece and is included only because I have never been quite satisfied with my efforts to hand-build rims on mugs. Unique to the stamped-on, tennis net theme are the athletic shoe & tennis ball finials to the pulled handle. The mugs are 14oz-16-oz capacity stoneware, fired Cone 10 reduction. Interior glaze is Woo's Blue. Exterior is clear, sprayed on in two light coats.

    © Copyright 2017 - Paul M. Chenoweth, Nashville, TN USA - All rights reserved.

  4. ChenowethArts

    Piano Mug - 12oz. - Side View

    From the album: Custom Mugs and Commission Concepts

    This is a 12oz-14oz. stoneware mug with a piano/keyboard theme. The rim is wheel thrown and re-assembled into a hand-built, slab-constructed base that has been stamped and stretched/altered. Handle is pulled and attached after the rim is in-place and black keys have been cut from a slab and attached/scored & slipped. Interior and rim is glazed with Woo's Blue. Exterior parts are brushed-on Amaco Velvet underglaze sprayed with a couple of light coats of clear. Mug is fired to Cone 10 reduction.

    © Copyright 2017 - Paul M. Chenoweth, Nashville, TN USA - All rights reserved.

  5. ChenowethArts

    Tennis Net Mugs - Handle Finial Detail

    From the album: Custom Mugs and Commission Concepts

    These two mugs are a hybrid combination of hand-built and wheel-thrown construction. The rim is the only wheel-thrown piece and is included only because I have never been quite satisfied with my efforts to hand-build rims on mugs. Unique to the stamped-on, tennis net theme are the athletic shoe & tennis ball finials to the pulled handle. The mugs are 14oz-16-oz capacity stoneware, fired Cone 10 reduction. Interior glaze is Woo's Blue. Exterior is clear, sprayed on in two light coats.

    © Copyright 2017 - Paul M. Chenoweth, Nashville, TN USA - All rights reserved.

  6. ChenowethArts

    Tennis Net Mugs

    From the album: Custom Mugs and Commission Concepts

    These two mugs are a hybrid combination of hand-built and wheel-thrown construction. The rim is the only wheel-thrown piece and is included only because I have never been quite satisfied with my efforts to hand-build rims on mugs. Unique to the stamped-on, tennis net theme are the athletic shoe & tennis ball finials to the pulled handle. The mugs are 14oz-16-oz capacity stoneware, fired Cone 10 reduction. Interior glaze is Woo's Blue. Exterior is clear, sprayed on in two light coats.

    © Copyright 2017 - Paul M. Chenoweth, Nashville, TN USA - All rights reserved.

  7. I've bought about a dozen different Terracolor glazes, which are supposed to have "built in effects", looking very much like Raku... Two of the more solid color glazes look and work as they do on their product images, and one of the effect glazes also works beautifully and looks exactly like their product image. However, all others I've tried are complete disasters compared to the product images, and I've tried to vary water content, bisque firing temps, application thickness, firing temps... the lot! I don't want general tips, because even Terracolor themselves can't give me good pointers as to what I'm doing wrong. My question is this: Has anyone here used Terracolor, and what are your experiences?
  8. GiselleNo5

    Wildflower Mugs in Red and Peach

    From the album: Pottery 2016

    Wheel thrown in buff stoneware with speckles. Carved with wildflowers and grass. Underglazed with Duncan Concepts Bright Kiwi. Interior glazed with Laguna Dynasty Red or Peach Blush. Flowers in Peach Blush, Dynasty Red, and Blackberry Wine. Exterior aside from flowers left raw, although I dipped the first couple inches of the top and the handle in Laguna Clear Bright. Nicer to touch and put your mouth against.

    © Giselle No. 5 Ceramics 2016, all rights reserved

  9. From the album: Pottery 2016

    Wheel thrown in buff stoneware with speckles. Carved with wildflowers and grass. Underglazed with Duncan Concepts Bright Kiwi. Interior glazed with Laguna Peach Blush. Flowers in Peach Blush, Dynasty Red, and Blackberry Wine. Exterior aside from flowers left raw.

    © Giselle No. 5 Ceramics 2016, all rights reserved

  10. GiselleNo5

    Scarlet Poppies Teapot

    From the album: Pottery 2016

    White stoneware, thrown on the wheel as a "chopstick" jar and then altered into a teapot. I added the little hand-shaped flower knob. Fired at ^6 in an electric kiln. Laguna's Dynasty Red and Peach Blush, Duncan Concepts Bright Kiwi as the underglazed leaves and stems. There are some issues with it as a teapot. It's a bit thicker and more bottom heavy than I'd like. It's also smaller than I intended, only holds 16 oz. However, there are a lot of things I did right. The lid fits really nicely. The handle is comfortable for fitting all your fingers in and pouring even with the teapot full. The spout works (a couple of tiny drips but not bad at all) and the strainer works too. I tried it. So I would say this was a very useful learning experience. And I am far from unhappy with my very first teapot!

    © Giselle No. 5 Ceramics 2016, all rights reserved

  11. ChenowethArts

    House Wine

    From the album: Forum Discussion Images

    This is strictly a whimsical demo experiment of taking a wheel-thrown vessel and doing several treatments on it. This one has been pinched, paddled, appended stamped, textured and converted to a pouring pot. The 'pun' is a little more sublet (for some at least).

    © Copyright 2016 - Paul M. Chenoweth - Nashville, TN USA - All rights reserved.

  12. ChenowethArts

    Pian-ocarina Jazz

    From the album: Ocarinas, Flutes, & Aerophones

    Fully functional ocarina/flue that plays one octave. Handbuilt stoneware, approximately 12" tall, with red iron oxide stain, Amoco Velvet underglaze, and clear glaze fired to cone 10 reduction.

    © Copyright 2016 - Paul M. Chenoweth - Nashville, TN USA - All rights reserved.

  13. ChenowethArts

    Three Living Room Ocarinas

    From the album: Ocarinas, Flutes, & Aerophones

    These three instruments represent the experimentation with building, glazing, and firing ocarinas (flutes) over the period of 2013, 2014, and 2015. The shadowbox idea is the direction I plan to take for displays, although the lighting may need some help by a minor adjustment in the box depth. Friends here on the CAC Forum might recognize the "Witch is Dead" themed piece in the middle as a spin-off of a Community Challenge project.

    © Copyright 2016 - Paul M. Chenoweth - Nashville, TN USA - All rights reserved.

  14. Dears I recently made tea pots based on the old japanese houhin design. Hence it does not need a metal seeve. However, after using them some dark spots appear on the bottom side. Perhaps this is just the color of the tea slowly leaking through. I wonder if it could be an unhealthy fungus. It was fired approx 1250 degrees. For comparision, the inverted teapot on the top right of the photo does not have dark spots. Because it is glazed on the inside as well. Any experience or ideas on that? Thanks. kind regards Zustand
  15. ChenowethArts

    Hydria Work-in-Progress

    From the album: Sketches by Paul

    Upper parts of the hydria are starting to come together. The container is just over 18" tall at this stage and was wheel thrown in two parts, assembled on the wheel, allowed to dry for a few hours and then given the final shaping/neck-forming. With the addition of the footed-base, the greenware will stand just under 24" tall...that cannon happen until the base is hardened sufficiently to hold the weight of the upper portions.

    © Copyright 2016 - Paul Chenoweth - Nashville, TN - All rights reserved.

  16. ChenowethArts

    Hydria - Work-in-Progress

    From the album: Sketches by Paul

    Realizing that the greenware portions of the container will all of the assembled parts will weight 12-14 pounds, I changed the plans for the base to be more than just stocky feet. This will dry slowly over night since the wheel thrown pieces and the hand built feet are at different degrees of dryness. All together, the bas will have to be quite dry before assembling the top to the base.

    © Copyright 2016 - Paul Chenoweth - Nashville, TN USA - All rights reserved.

  17. ChenowethArts

    Hydria - Work-in-progress - Horn

    From the album: Sketches by Paul

    The horns on this project are the side handles for a hydro-like container. If pulled like one might make a handle for a mug, the large end of the pull would be nearly 2" in diameter...and there are weight and drying issues that make that a poor option. In this instance, the horns started as a 1.5 pound lump of clay pulled over a wooden tool that is sold/marketed as a spout maker. Once the basic form/thickness is established on the spout maker, there is a small amount of traditional pulling involved before forming the twist on the horn.

    © Copyright 2016 - Paul M. Chenoweth - Nashville, TN USA - All rights reserved.

  18. ChenowethArts

    Hydria Work-in-Progress - Side View

    From the album: Sketches by Paul

    Side view of the completed assembly.

    © Copyright 2016 - Paul M. Chenoweth - Nashville, TN USA - All rights reserved.

  19. ChenowethArts

    Hydria Work-in-Progress - Front View

    From the album: Sketches by Paul

    Front view of the complete assembly. Detailing steps to follow.

    © Copyright 2016 - Paul M. Chenoweth - Nashville, TN USA - All rights reserved.

  20. ChenowethArts

    Hydria - Work-in-Progress

    From the album: Sketches by Paul

    Close-up of the ram's head hydra with all parts assembled. At this stage the piece will be allowed to rest until leather hard, then additional details will be carved, scraped, textured, etc.

    © Copyright 2016 - Paul M. Chenoweth - Nashville, TN USA - All rights reserved.

  21. ChenowethArts

    Hydria - Work-in-Progress - Horn

    From the album: Sketches by Paul

    This is the first of the two ram horn handles attached to the hydria project. From the original sketch, the ram's head and horns were to scale as an attachment for the hydra...now, it is starting to feel a little more like a ram's head with a hydra attached. All to say, sometimes you just roll with it and see how things turn out. Some minor alteration of the belly of this pot has been done (i.e. the round form has been elongated slightly)...I'll sleep on this change before making additional alterations. The forming of the ridges on the horn does take a bit of time...probably an hour and a half, plus 2 cups of coffee . -Paul

    © Copyright 2016 - Paul M. Chenoweth - Nashville, TN USA - All rights reserved.

  22. From the album: Wheel Thrown Work, 2015

    Moroccan Sand clay from Laguna with carved modern leaves. I applied white stoneware slip inlay and glazed the interior in their Navy Blue.

    © Copyright Giselle No. 5 Ceramics (Giselle Massey) 2015, all rights reserved

  23. GA_Clayman67

    Apple Mug #1

    From the album: Glaze Combinations

    Mug for a local apple merchant. The body glaze is Coyote Red/Gold with a small accent of Gun Metal Green on the rim. Best results are achieved by leaving the upper 1/4-1/2" unglazed and then dipping into the green. The apple embellishment is hand-painted: Mayco Caramel (Cone 05) - Coyote Really Red and whatever green I'm in the mood for! Clay is Laguna BMix5

    © Whistle Tree Pottery - Ellijay, GA 2015

  24. GA_Clayman67

    Bowl

    From the album: Glaze Combinations

    Cone 6 firing - base glaze is Amaco Ancient Jasper with 3 coats of Coyote Red/Gold on the exterior and interior rims. Clay is Laguna BMix5

    © Whistle Tree Pottery - Ellijay, GA 2015

  25. Note: This post discusses an Australian cone 10 body few will know anything about - I hope it will still be possible to discuss generalisations and brainstorm causes! Ok, my local pottery use a fine, white, 120mesh, high-fire cone 10 porcelaneous stoneware clay (Walker Ceramics PB103), this has been the primary throwing clay for at least the last decade. This year, almost every glaze firing has produced ware with some kind of surface debris of a tiny (1mm) to small (8mm) size. The debris appears on the unglazed pots, as well as scattered below every glaze, but it doesn't break the glaze surface. When you see the debris on the unglazed part of the pot, amidst the off-white clay body, the debris is bright white in colour, and looks for all the world as if you could flick it off with your nail. Sometimes the problem looks like a round pimple, other times it is completely irregular in shape. The pieces are mostly utilitarian ware, bowls, cups, plates, some decorative and sculptural. Regardless of whether the surface has been untouched from wet/trimmed at leather hard/or sanded/sponged from bone dry, the debris appears. The biscuit firing shows no issues, but almost every glaze fired piece shows symptoms (but not *always*!) After the first instance of this problem, the recycled clay anyone was using was dumped. Yet firings from the new bagged clay showed the same issue. (We were monitoring the clay being used carefully, as we were all working toward producing ware for a fundraiser.) We are quite perplexed. The group are mostly old school potters, I mention this because the internal discussion about our problem has no consensus. While there are a lot of folk with knowledge of the body, the kilns, and the process, no can agree whether the body is at fault, or something else. I am young, technically-minded, and have OCD - I want to understand and know why! While I know my clays, I know less about their kilns and firing. Is is the body? Is it dirty shelves? Is something inside the kiln deteriorating? Is it organics not burning out? We wondered about over-firing, but we did a few firings where the cone 9 did not go flat, so over-firing seems unlikely. The pottery is communal, different glazes are used, sometimes no glaze, and still the debris. We work exclusively with high-fire stoneware or porcelain. No low or mid-fire bodies are allowed inside the studio, or their electric kilns. No personal glazes, no experimentation, they risk nothing. I know little about the firing specifics, but apparently no firing programme changes have been made. I know they fire at a rise of 150°C per hour, top fire to 1280°C. I know this post is all over the place and a bit rambling, and I apologise. I just want to know if anyone has seen or heard of anything like this before? (I have enquired with the manufacturer, and am taking my dSLR to get detailed shots of the problem to send to them, when I have them I will post the images here.) Many thanks.
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