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  1. PKQothW 40 When doing _________________ decoration on bottles and closed forms, it is important to choose a clay type and thickness that will keep its shape. engobe incising impressed underglaze Agate, and agate paste are techniques that require the use of two or more colored clays. The ___________ technique requires slight wedging of the clays together. Whereas, the ___________ technique is more of an assembly of the clays, thus more controlled. Agate paste, agate Engobe, agate paste Agate, agate paste Agate, engobe ______________ overglazing is one technique used to overglaze pottery that has already been fired. Using solvents from ceramic suppliers, the oxides and solvent are mixed on a glass plate and then painted onto the glaze fired piece. Glue based Oil-based Lacquer based Rubber cement _________________ is a technique used to separate colors from each other on a piece, usually flat. It involves mixing manganese dioxide and a dry transparent glaze in a mortar and adding this black dust to turpentine with turpentine oil. This is then painted on to the piece before other colors are applied. Mishima Sgraffito Paper resist Cuerda Seca This weeks Pottery Quiz of the Week questions come from: Ceramic Class: Decorating Techniques, Joaquin Chavarria,c. 1999, Watson Guptill Publications/New York Note from Pres: This is the second book out of a series of four in this Ceramics Class. All of them are quite thin, and quite packed with information. Excellent resource for any library. Answer Key: 3. impressed- Because the pieces have to be soft for the impression to be effective, they should be handled with care. Also, with open forms (such as bowls or boxes), it is necessary to support the walls on the inside so that they do not become deformed. With closed forms (bottles, vases, and the like), be sure to use a clay type and a thickness that will keep its shape. 3. Agate, Agate Paste-paraphrased from the text. Pp.14-15 2. Oil-based-This variation of the previous process is used to decorate pieces covered in glaze that have already been fired. Before beginning the decoration, the piece must be clean, dry, and dust free. The design can be transferred onto the piece using carbon paper. The colors are mixed with 2O to 30 percent of an oil solvent, which is available from ceramics suppliers. You can also use turpentine essence, which can be diluted with a little turpentine if it is very thick. Mix the colors with the oil on a sheet of glass, using a palette knife, until they reach a uniform, fluid consistency. Besides a paintbrush, a pen and nib are also very useful for drawing the design. In this case the color should be dissolved a little more and the nib cleaned, since the color will dry very quickly, preventing it from marking the image. It is easy to correct mistakes with this kind of deco┬╗ ration because the glaze does not absorb the color; simply remove it by scraping it off the surface and paint over it again. 4. Ceurda Seca-This method is used to separate glazes of different colors and to prevent them from mixing. It is prepared using manganese dioxide, adding about 15 to2O percent of transparent glaze; mix the materials in a mortar. The result is a black dust that is then mixed with turpentine diluted with turpentine oil; this enables paintbrush to move easily over the bisque surface. Since the mixture evaporates rapidly, just prepare it as you need it, making only a little at a time. The left- can be kept in a closed container, covered with a light layer of turpentine. Other oxides and pigments can also be used. After firing, check whether the cuerda seca stains, by passing a finger over it. If it does, you have to apply the cuerda seca again, increasing the percentage of flux. Before glazing check that the pattern you have made using this process is completely dry, so that the glaze will not be discolored by absorbing part of the damp cuerda seca.
  2. Come join us for an intimate (limited to 20 participants) weekend workshop with Tim See: potter, teacher, Periscoper, and the acclaimed moderator of Facebook's Clay Buddies. His two days of workshops here in San Antonio promise to be both informative and entertaining. REGISTRATION: https://www.eventbrite.com/e/a-weekend-of-workshops-with-tim-see-tickets-24749727100 Saturday, October 15, 2016, 9 a.m. - 5 p.m.: Throwing and Assembling Industrial Forms (Demos) - Tim will demonstrate his techniques for throwing and assembling his famous forms. The techniques presented will be invaluable. Tim demonstrates with solid instruction every step along the way. Even if you're not interested in industrial forms, what you learn can be applied to anything you do create. Sunday, October 16, 2016, 9 a.m. - 5 p.m.: Decorating Techniques - Tim is the master of decorating techniques using slip, underglaze, and glazes for his effects. Spend the day learning different ways to finish your pieces and all the variations on those techniques. Each day will have a one-hour break for lunch. Several restaurants are within comfortable walking distance from the studio. There are also ample VRBO and airbnb accommodation offerings within walking distance to and several hotels a mile or less from the studio. Single day registrations (if still available) will open on September 15. Contact us directly if you are interested in this option, letting us know which day you prefer. Who is Tim See? A working ceramic artist born and living in Syracuse, New York, he began working in clay while studying art at Onondaga Community College and completed his BFA in Ceramics with Honors at Syracuse University in 2004. His award-winning work has been shown at the Smithsonian Museum in Washington, D.C, the Everson Museum in Syracuse, NY, the Memorial Art Gallery in Rochester, NY, and, Baltimore Clayworks in Maryland, to name just a few. He has taught beginning, intermediate and advanced pottery to adults in a community-based ceramics studio at Clayscapes Pottery, Inc. since 2006. He and his wife Brenda Pierce live in Bridgeport, NY with their cat, Viggo. (MEOW!) WHEN Saturday, October 15, 2016 at 9:00 AM - Sunday, October 16, 2016 at 5:00 PM (CDT) WHERE Alamo City Pottery Workshop - 718 Labor Street, San Antonio, TX 78210
  3. Hi I'm fairly new to ceramics, so forgive if I seem a bit clueless. I am using commercial underglaze on porcelain but am finding the consistency a bit too watery and would like to experiment with a thicker mixture. Could I simply make a slip from dry powdered porcelain + water and mix this with the underglaze to thicken? I realise it would lighten the colour as the porcelain is white, I don't mind this. I'm just looking for a simple way of thickening the mix and adding some variation as I don't want to get too technical at this early stage by creating my own recipe with ball clay, fluxes etc. I also have some oxides that I'd like to add to my simple clay body + water slip. Would this work or is it necessary to have all the other ingredients? Thank you for any advice Emma
  4. Hi Eveyrone, thanks for all the help so far on this site, its a fantastic community! i have a small question about Liquid Bright Gold; can i apply it over a glaze that i have already fired - at witness cone 06? i have some pieces that were fired at 06, then glazed and fired at 06, now i would like to add some further decoration with the liquid bright gold, which says it needs to be fired to 019-018. so the simple question is: can i apply it over already fired glazes? sorry if it seems a stupid question! i'm learning all the time! thanks so much! Toni

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