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  1. Week 10 Wide open bowls should be thrown _______________ in order to control the movement of the clay. quickly slowly thinly wetly Pottery making falls into three categories: hand-making techniques, wheel techniques, and _____________________________________. 3-D printing techniques Swaging techniques Jiggering techniques machine poduction or reproduction by mold making techniques. English Wedgewood is a famous example of _________________ used to decorate clay using slip as an adhesive. Mishima Inlay Sgraffito Sprigging A sense of and a feeling for _________________________is an essential hallmark of all good pottery. Light and shadow color and value shape and form mass and weight This weeks questions come from text in The Potters Manual, Kenneth Clark, c. 1983, Chartwell Books Inc. Note from Pres: Another highly recommended textbook that is especially astute in areas of weaving clay, decorating clay and throwing a wide variety of forms. Answers: 2. Slowly. . . .First center the day and insert a thumb inside the shape to determine the inside curve of the bowl. The thumb and fingers areused to squeeze the clay firmly into the required basic form of the bowl. Wide open bowls should be thrown slowly in order to control the movement of the clay. 4. machine production or reproduction by mold making techniques.. . . Pottery making falls into three categories: hand-making techniques, wheel techniques (a combination of the hand and machine methods), and machine production or reproduction by mold-making techniques. 4. Sprigging. . . This technique has been used in one form or another throughout the history of ceramics - the most famous example being blue and white English Wedgwood. It is the applying of relief-molded, decorative forms onto a clay object, using slip as an adhesive. The method consists of carving the design into a hard or soft material and taking a clay impression, from which the relief image is produced. This is then applied to the surface of the leather-hard ceramic article with a thin adhesion of slip (if too much is used the sprig will lift off). 3. shape and form. . . A sense of and feeling for shape and form is an essential hallmark of all good pottery.
  2. Week 9 In the opening paragraph of Chapter 1, Robin states: Some subjects learned in formal or foundational art training are invaluable to a lifetime of personal artistic growth, regardless of the medium in which we later work. One of the subjects he names is Drawing, the other is _____________________ Sculpture Mixed Media Color Theory Chemistry For convenience in calculation, materials are put into three columns with the Base (flux, also known as RO or R2O, sometimes referred to as the ____________ of the glaze) on the left, Amphoteric (usually clay, also known as R2O3, sometimes referred to as the muscle) in the center, and the Acid (glass-former, usually silica, also known as RO2, sometimes referred to as the bones of the glaze) on the right. Nerves brain organs blood Mocha diffusion, a slip technique that resembles moss agate gemstones is made by using a slip with a high degree of ball clay or plastic kaolin, such as EPK, along with an acidic material known as Mocha _____________. Tea Wash vinegar coffee Ceramic Decals have come a long way form their invention in England by John Stadler in ____________. These early decals were printed on tissue paper using etched or engraved copper plates inked with underglaze. 1850 1755 1910 1820 This weeks questions come from text in Making Marks, Discovering The Ceramic Surface, Robin Hopper, c. 2004, KP Books Note from Pres: If you do not own this text, or have not read it, it is the definitive text for decorating pottery at any stage from greenware through the firing. Other texts will give you more detailed information in some areas, but known of them that I have seen will give you the names and understanding that will allow you to search for more information as much as this one does. Answers: 3. Color Theory. . . .Some subjects learned in formal or foundation art training are invaluable to a lifetime of personal artistic growth, regardless of the medium in which we later work. Drawing and color theory are two such academic studies. Even if your ceramic work never directly utilizes them, it will improve because of your greater awareness and understanding of these two fundamentals. 4. blood. . . . . For convenience in calculation, materials are put into three columns with the Base (flux, also known as RO or R2O, sometimes referred to as the blood of a glaze) on the left, Amphoteric (usually clay, also known as R2O3, sometimes referred to as the muscle) in the center, and the Acid (glass-former, usually silica, also known as RO2, sometimes referred to as the bones of a glaze) on the right. It is the ratio among the three material types that determines the ï¬ring range, but primarily the fluxes that control color development. 1. Tea. . . The mixture used to form the patterns is called “mocha tea.†It originally was made by boiling tobacco leaves to form a thick sludge that then was thinned with water to a working consistency and mixed with color. 2. 1755. . . John Sadler of Liverpool, England, is credited with inventing ceramic transfer printing in 1755. He saw children placing printed material onto ceramic shards and rubbing the back of the print. As the ink technology was relatively crude, inks of the era were not especially fast drying, and the rubbing transferred the image to the broken crockery. Sadler’s “invention†was to ink etched or engraved copper plates with overglaze enamels.
  3. 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
  4. Okay, I have a decision to make. I've always felt that bowls for actual use are often best at displaying food if the interior of the bowl is white. On the other hand, decorating the exterior of a shallow soup bowl means that no one will see the decoration without taking the time to pick up the piece. So I've almost always decided in favor of decorated interiors. I still feel that the interiors of large shallow bowls make the best canvas for decorative surface treatments, but now I'm trying to decide if I should change my ways and make my smaller bowls with white interiors and decorated exteriors. I did a batch of these, and I'll include a couple poor photos of one of these smaller bowls, plus a pic of a big bowl decorated on the inside. So how do you feel about this decorative principle? Would you decorate these bowls on the inside, or the outside? Or both?
  5. Sue Tirrell Workshop: Folkloric Pottery with a Modern Sensibility WS04 – Saturday & Sunday, 10-4pm, November 7 & 8, 2015 Fee: $200 member/$225 non-member In this 2-day hands-on workshop Sue will demonstrate the construction and decoration techniques she employs to create her colorful, animal-centric porcelain pottery. Using both the potter’s wheel and hand-building techniques Sue will demonstrate her unique approach to form and surface, drawing and carving, and the use of color to weave the pottery narrative. Additional discussion topics will cover Idea generation – folklore, allegory, material meaning and personal narrative – as they help to shape and inform the work. Participants will have the opportunity to employ these ideas through their own work during both days. Please bring a sketchbook, personal carving tools and any reference material you would like to incorporate in your work (photos, drawings, etc.) Bio Born and raised in Red Lodge, MT, Sue Tirrell received a BFA from the New York State College of Ceramics at Alfred University in 1997. She served as Education Director for the Custer County Art & Heritage Center in Miles City, MT for seven years where she implemented arts education outreach to rural schools and communities. She has been a resident artist at the Archie Bray Foundation in Helena, MT; California State University, Chico; and the Custer County Art & Heritage Center in Miles City (also director of education from 1998 to 2005). Tirrell's work has been included in regional and national juried and invitational exhibitions and museums. Sue's work explores themes of the West and nature. She investigates cultural stereotypes of the west in a witty and whimsical way with her cowgirls and cowboys that have an underlying tongue and cheek humor to them playing with sentiment, nostalgia and kitsch. Her rich glazes have a seductive quality while the work refers to several ceramic traditions from Greek to Chinese to Folk art. Tirrell's work has continued to gain widespread attention and acclaim. In 2006, images of her work were published in the book "500 Animals in Clay" (Lark Books). WS04 – Saturday & Sunday, 10-4pm, November 7 & 8, 2015 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 www.baltimoreclayworks.org
  6. Help And Advice On Transfers

    I'm beginning a new collaborative project with an Illustrator and to be able to capture the detail of her drawing's I want to use transfers within the work but I'm really struggling to find somewhere that can produce Gold transfers for a good price and without a large minimum order, can anyone help? Thank you
  7. Lately I've been trying to do some new stuff with slips. I make my slips by using my porcelain trimmings, mixed with stains and/or oxides. I've experimented a bit with adding titania to some slips, which gives a different surface to some glazes applied over the slip-- glazes that are on the edge of developing matte surfaces will go matte reliably over the slips. But I'm wondering if I could make slips more reactive or to put it another way, more interactive with both body and glaze by adding small amounts of flux to them... say 5 % of gerstley borax. This might not be a good idea when slips need to retain a hard edge, as in some resist work, but an example of what I'm trying to do is to spray bands of colored slips onto pots and have those bands interact and fuse in an interesting way. Has anyone experimented with fluxed slips made from a porcelain body, and what were the results? Or do you know of potters who have explored this area?
  8. Joe Campbell – The Potter’s Brush Workshop WS02 – Saturday & Sunday, 10-4pm, April 25 & 26, 2015 Fee: $200 member/$225 non-member The tools we use in our studio can and should be an integral part of what we say with our work, and their voice should be heard. Good brushes, chosen for their particular ability, and used with skill, are critical to the success of our pieces. In this 2-day, hands on workshop, we will visit the history of the potter’s brush, explore techniques for the application of ceramic materials, and learn to build good ceramic brushes. Slides, videos, handouts, and instructor demonstrations will weave together the process for making brushes, and their skillful use with slips, engobes, underglazes, glazes, and wax resist. During the class students will make 3 brushes of their choosing, and have the time and opportunity to enhance their decorating skills using these new tools and new knowledge. All necessary materials for brush construction will be provided. Joe Campbell has been making pots for over 45 years, and making his own fine brushes for over 25. He is Professor Emeritus from Frederick Community College, having retired after 33 years of college level instruction in Ceramics and Art. Joe received his MFA in Ceramics from Ohio University in 1976, and his BS in Ceramics from Frostburg State College in 1973. His ceramic work has always been involved with the making of vessels, with a particular focus on the surface. “Yes from a functional standpoint, I want my pieces to work well, but shame on me if that is all they do. Great pots should strive to be every bit as engaging as a good painting or sculpture, and have as an added bonus, their physical function in our kitchens and our homes. This has always been my challenge in the studio. †His brushes are a natural outgrowth of this same challenge, seeking to be great decorating tools, and beautiful, intimate little pieces of sculpture in their own right. Joe has conducted numerous workshops in brush making and decorating throughout the nation, and done artist in residence stays from Watershed in Maine, to Tierra Hermosa Studios in New Mexico. WS02 – Saturday & Sunday, 10-4pm, April 25 & 26, 2015 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 www.baltimoreclayworks.org
  9. Wondering if there is a clever way to do gradient slip decoration where one color fades into another. My idea so far has been to water down the slip and get progressively thicker as I want the darker color. But I think that it would end up being a gradation of stripes. I may be able to brush from each application downward into the thinner applications to mask the lines though. Anyone tackle this before?
  10. I was in the studio yesterday unpacking the last of my pots. Day after Christmas. My son looked at a plate and said;"Dad, you really "effed it up on this brushwork!" It was a bird on a dinner plate. The brush had skipped along the bottom line. My other son called me aside and said in a low, conspiratorial voice; "Dad, I want you to REALLY try your best on this next batch of work." I said I would try. I thought I was trying my best. They are both teenagers. They mean well and are genuinely thinking that they are helping me.Maybe I need to try harder and do better work in 2014. TJR
  11. Hi all, Intermediate level-I'm trying to make some slip transfers with slips/underglazes with some of my drawings on leather hard pieces. I tend to use stoneware and/or terra cotta clays and bisque to cone 06. I tried rice paper, but it's too fibrous, it seeps into the work and the decoration loses clarity (see rice paper transfer photo examples). I recently bought transfer paper to try, it's a bit dry (I tried to use underglaze on this) and not all of the decoration transfers across to the piece. I used two coats of underglaze on the last try with transfer paper. I'm hand painting the decorations onto the paper using some of my drawings. I put the paper on the leather hard piece, gently wet the back of the paper until it has "traction" on the piece, then rub the decoration with the back of a spoon. I gently peel back the paper on a corner to see how much of the decoration has been transferred. This almost worked (especially with the transfer paper), it missed in a few areas, so I just touched up with the same underglaze. It'd be nice to be able to transfer the decoration with this type of application instead of having to touch up areas. Any suggestions for a better application? Thanks in advance! mel340
  12. Hello there, Im not a ceramicist (Im learning little bits here, doing workshops there...), Im an illustrative designer, but I would like to create decals of my designs and put them onto dinnerware. I was hoping someone out there could give me a bit of information....I have a few questions. First: I would like my designs to be transfered onto stoneware or porcelain. As far as I can tell there is no issue with that? My designs have very fine line detail, so I feel that an onglaze digital decal (as opposed to a tissue transfer, or screenprint) would probably ensure a sharp image. However, these decals can often look raised or "stuck on"...Im trying to avoid that. I have seen coloured digital decals that dont have that raised effect...so how is that achieved? Do they apply the digital decal on bisque....then fire, then clear glaze, then fire again? Or can you apply the decal, just wait for it to dry then glaze and fire? would that affect the vibrancy of the colours printed, as I understand with digital systems you can have the whole cmyk gamut? I understand there is an entire science behind the make up of clay, glazes and firing. If I wanted to apply a digital decal to bisqued stoneware for example, would it have to be a decal especially for stoneware? Additionally, I was interested to know how difficult/easy it may be applying a seamless design to the inside of a bowl or curved surface? I imagine that you would have to follow maybe a cone shaped template, so it can be applied? Second: Being dinnerware, I would like the decals to be food safe. Even if the decal manufacturer claims it is food safe, are there other factors that could cause problems? for example the type of kiln you use, or other things that may be in the kiln while your firing? Is it expensive to test? Lastly, and thank you so much for you time, As far as producing my dinnerware, I have found plenty of businesses that will custom make digital decals. but Im finding it difficult to find any that will make AND apply the decal to your piece...even though I know they are out there. Iam in Australia, which doesnt host such industry, but if anyone has any leads on any smaller run manufacturers or business (closer to me the better, naturally) That would be appreciated... maybe also because Im new at this, Im not quite sure how to search for this type of business, so any resources or "buzz words" that might help me would be great. Any info at all would be appreciated and helpful. Thanks a lot. J.
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