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Found 93 results

  1. Min recently asked the following question, and it runs differently than most of the ones asked in the pool. It has also been bumped by LeeU in a post that she like Min's question. . . so: Do you make feminine, masculine or gender neutral work and is it a conscious decision? I have never thought about masculinity or femininity of any work. Looking over my work, I believe it is all over the gender situation. I have biases that I will admit when throwing work: I really do not like to see a flat spot in any curve, I consider the diameter of bottoms in proportion to height as not wanting a piece to be visually too bottom heavy or too spindly because of a narrow base to a tall form, I like shoulder accents in "S" shaped curves to slow the motion to the neck or rim, I love to texture the piece before shaping(something that has only happened within the last two years, and I have a tendency to follow the "Golden Mean" when throwing, handbuilding or combining forms. In much of this I do not pre sketch unless I am constructing a form either of slab, thrown or combined pieces. Most of my work is completed visually within the throwing and trimming. I throw lots of pieces of the same genre (mug, bowl, honey pot etc) at a time, breaking off in different directions in the form as I see something I particularly like at the time, then head in another direction. You could look at my gallery, or blog to see if you find a gender in my pieces, I really don't know as I have one. best, Pres
  2. Tea Bowls: Form Function & Beauty www.pocosinarts.org Explore the processes and aesthetics of making winter and summer tea bowls for Tea Ceremony. Learn about the architecture of tea bowls, the art of trimming tea bowl feet including: aesthetics, proportions, preparing clay bodies, wheel, hand forming and carving methods, throwing off the mound to achieve fluid tea bowl forms. ALL LEVELS some clay experience handy Session runs October 4 – 7, 2018 9:00 a.m. – 5:00 p.m. daily, open studio hours on select days. $375 tuition + $35 registration fee Artist Bio: KRISTIN MULLER is a studio artist who began her study of Chawan making with Peter Callas and Takao Okazaki in 1994. She purchased Okazaki’s studio and anagama kiln in 2000 and completed an MFA thesis focused on Tea Bowl forming and firing techniques in 2014. Kristin is also the Executive Director of Peters Valley School of Craft, adjunct faculty at Hood College, author of The Potter’s Studio Handbook: A Guide to Hand Built and Wheel-Thrown Ceramics and co-author of Making Good: An Inspirational Guide to Being an Artist Craftsman. www.Kristinmuller.com $410
  3. Hello, Everyone. I'm looking for a week-long (approx) ceramic workshop someplace warm in March, April or May 2018. Anywhere! Thank you in advance for your suggestions. These are the kinds of things that I enjoy making, but I'd be happy to experiment with something new.
  4. It has been a long time since I have done anything with molds as I am mainly a wheel thrower. I have a plaster fruit bowl mold (hump mold over a year old but have never used it before until now) and my clay won't release from it and I'm scared that if I don't take it off soon that it will crack (its been on the mold for almost a full day uncovered). I can't get it off, what should I do? And how do you keep your clay from sticking to your plaster molds?
  5. 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.
  6. I'm not sure which section this would be best under, so I'm putting it here first. If anyone thinks it would be better under a different heading, I'll switch it. My family is heading to Saipan for Christmas break next week. Several years ago I began collecting handmade mugs or cups from different places I visit, rather than buying Starbucks city/place mugs like some of my friends and coworkers do (I work in an international school in China, so there's a lot of travel to interesting places going on). I am looking for locally-made pottery to add to my collection of mugs. So far I've only been able to find one shop via Google that sells handmade pottery but their site doesn't say if it's locally made or not. Does anyone know of any actual pottery shops on Saipan? I did so a search here on the forum, but it yielded no results for Saipan. Thanks. Bob
  7. Art Students League of Denver Please join us for our upcoming workshop “Abstract Archetypes” with Marty Fielding (https://martyfielding.com/ ) April 26, 2018 - Artist Talk -- 6 -7:30 pm April 27, 2018 - delecTABLE Exhibit Artists Reception with Marty in attendance -- 5:30-8:00pm April 28-29, 2018 - Demonstration Workshop -- 9 am- 4 pm During his slide lecture, Marty will speak about his career, philosophy and approach to working with clay. His demo workshop will explore slab building techniques for constructing functional pots such as cups, dishes and pouring vessels and surface decoration with underglazes. To Register, please call 303-778-6990, or register online at: http://asld.org/adult-classes-workshops-student-information/visiting-artist-series/ This Visiting Artist Series workshop will be held in conjunction with the juried delecTABLE exhibit - April 6 – May 18, 2018. To view images of juried artists and dates for exhibit and receptions: http://asld.org/delectable/ Thanks! Shelley Schreiber Ceramics Studio Manager Art Students League of Denver s.schreiber@asld.org
  8. Call for Entries: The Art Students League of Denver will be hosting delecTABLE: The Fine Art of Dining - Fourth Biennial Juried Exhibit of Functional Ceramics in April-May 2018. This is a national exhibition of ceramic works from artists across the United States chosen to represent the best in contemporary tabletop clay. The exhibit will feature ceramic works by juried artists, juror Marty Fielding, the ASLD ceramics faculty and 'cuisine themed' two dimensional artwork by select artists. Juror: Marty Fielding Eligibility: Open to US ceramic artists over age 18. Apply at www.CallforEntry.org between October 2, 2017 and January 22, 2018. Exhibit Dates: April 6 - May 18, 2018 Visiting Artist Workshop with Marty Fielding: April 28-29, 2018 For further info contact s.schreiber@asld.org View flyer: delectable 2017-flyer-1.pdf More info to follow....
  9. Week 30 Houses in the form of burial urns, Soul houses fully furnished, and other houses of all sorts are_____________________. often very detailed universal world wide can be functional or decorative all of the above Taws or _________________ were stoneware or earthenware balls of apparently solid clay, and used in a game of “bowls”. One plain ball and six with colored rings made up a set. Some modern potters have made them. Spindles Carpet balls Pugs Carpet bowls A bowl on a stem, a Eucharist wine cup, all describe a form that general form that has persisted in great variety of proportion and shape for thousands of years. The name for this object is__________________. goblet chueh chalice fuddling cup Traditionally, a container with a large mouth big enough to insert the hand. Strangely , it is not mentioned in Early American Folk Pottery, Guiland, which suggests that it was not common at the time in the settlement of America. These forms are known as_____________________. salt cellars salters/Salting pan/Ham pan salt pot/kit salt shakers This weeks questions come from Illustrated Dictionary of Pottery Form, by Robert Fournier, c.1981, Van Nostrand Reinhold Company Note from Pres: Last week a new book, this week an older one. This book is an excellent dictionary to identify forms, to explore functional forms and to understand how these forms work. It is one of my most worn books, and the cover is tatered but the information is still relevant. Answers: 4. all of the above-Pots and containers in the form of stylized houses and other buildings date back more than 5000 years. In Palestine, 3500 B.C., we find house-shaped burial urns. Other types of dwellings from all over the world include many from Han tombs-—five-storied houses of great magnificence; and smaller, very detailed models with doors, roof finials, windows, and shutters, etc.; a house on legs from 3rd to 6th century Japan has a pot neck incorporated in the roof. There are ”hut urns," models of simple houses with thatched roofs from Iron Age Europe, reed and mud houses from pre Dynastic Egypt . . . 4. carpet bowls-CARPET BOWLS Called taws in Scotland, where many of them were made, these are earthenware or stoneware balls of apparently solid clay, about 4 inches/l00mm in diameter, that were used in the game of "bowls" played in a carpeted corridor. One plain ball and six with colored rings made up a set. 3. chalice-CHALICE A bowl on a stem. The term now generally applies to the Eucharist wine cup, but it is also used to describe a general form which has persisted in great variety of proportion and shape for several thou- sand years. Early Minoan stem cups are described as chalices by Lacey (see L.GPBA in Booklist), some with handles or trefoil bowls; a tall, handsome 13th century B.C. Egyptian goblet shape is called a ”chalice” in the Fitzwilliam Museum; a much wider and squatter form is known as the "Etruscan bucchero chalice." The form is akin to the Greek kylix,or kalyx, from which its name probably derives. 3. salt pot/kit-SALT POT/KIT Traditionally, a container with a large vertical mouth big enough to insert the hand. Strangely, it is not mentioned in G.EAFP (see Booklist), which suggests that it was not common at the time in the settlement of America. In fact, most examples date from the late 18th or 19th centuries, although a 1749 Nottingham salt-glazed kit is in the Fitzwilliam Museum. Note from Pres- in the strand this week I posted some tips/hints. The link to Salt pigs was intentional, as the form is actually a word derivation from Salt Pot/Kit. Seems they looked like pigs when placed on their mouths and therefore Salt Pig became more prevalent. The word game Till Willy-just an old thinking game where words were mentioned as “She liked Potters, but didn't like pots, or she liked Glass, but didn't like glaze.” The answer was not in the words but the word structure. . .Till Willy liked pairs! So I was referring to the answer sequence 4433. All in all quite a week.
  10. This week is ad interesting question that I posted into the question bank recently. However it is not mine, as Lou sent it to me in a PM when the forum ICAN network was locked. So he asks Aside from a nearby sign, hangtag, or stuck-on label, how do you determine whether a specific pot was handmade or not? ( or substitute for "handmade": wood fired, soda fired, Raku, ...) I will rephrase his question to read: When looking at pottery, how do your determine or identify whether the pot was handmade, and what type of construction and firing was used to create it? I have often had problems identifying pottery that is thrown or slab, poured or otherwise. I find that often I feel the inside of the form to see if there are throwing ridges, or look at the bottom to see how the trimming was done, but often get thrown off. My main way of finding a "tell" is to talk to the potter if he is available, or the clerk if in a gallery. With a matter of a few questions, discussions of firing temperature, differences in slab rollers, and wheels, throwing speeds, clay weights. . . . . . all of my questions are answered with certainty. Some of them do leave me lacking as the persons level of expertise does not match that of the pot, this when talking to the potter. Sometimes I have to further research the potter, to understand more of what I would wish to know, especially when my original queries were with a clerk, not the potter. I used to have high respect for a local potter and professor in our area. This gentleman did very large. . 24-36" platters in redware, slip decorated in traditional decoration. I always admired his ability to throw these platters with throwing marks and nice transparent glazes, even though I was not into redware. We had discussed the ability to center and throw larger amounts of clay for the platters, and he always would carry a good conversation. Later on in my career, I attended a workshop where he demonstrated making the large platters. He placed a large plaster form on the wheel using bat pins, rolled out a large slab using a slab roller, and then proceeded to fit the slab to the form, using his fingers to run throwing marks into the slab and to firm the shape up to the form. Threw a foot ring on the bottom, and then set it aside to stiffen up while he proceeded to demonstrate slip trail design using a template for division marks. I guess I am a purist, and felt I had been deceived. In the end, looking at a piece How do you really identify it? best, Pres
  11. Maria Longworth Storer: 1849-1932 * founded The Cincinnati May Festival in 1871, which continues today. The first woman in US history to start an annual music festival. * one of the first women to exhibit their pottery at the first US held World Fair in 1876. * founded the Rookwood Pottery in 1879 with fellow female artist Mary Louise McLaughlin. * one of the first American potters to incorporate Japanese cultural art into their work. Mary Louise McLaughlin 1847-1939 *co-founder of the Rookwood Pottery in 1879 * in 1876, she became the first US potter to use the "underglaze" technique in pottery. She actually developed the technique that was a closely guarded secret of the Haviland Pottery in Europe. * wrote one of the first books on China Painting: China Painting: A Practical Manual for the Use of Amateurs in the Decoration of Hard Porcelain). * in 1880 she wrote the first book on "underglazing": Pottery Decoration under the Glaze * in the 1890's, she began producing porcelain fired pieces in her backyard: making her the first studio potter in the United States. The work of both of these women can be found at the Cincinnati Art Museum. Feel free to add your favorite artist/potter from our history, but please use the format shown. Nerd
  12. June 3rd and 4th we are organising the big 2 day Craft in Focus festival in Industry City in Brooklyn. This event will host inspiring workshops, masterclasses, lectures and documentary films from master craftsmen and -women from around the world. Our festival is entirely about experience: we invite the audience to try out different crafts to inspire them to learn and explore further. We still have room for a workshop on Ceramics! Are you experienced with workshop teaching and interested in teaching a workshop at the festival? Please contact me at: film@craftinfocusnewyork.com More info on the festival: http://craftinfocusnewyork.com/
  13. The Question of the Week this week comes from yappystudent, a newer member of the forum who hails from Idaho. The question comes from the pinned strand, participants pool, in the Potters Council Operations and Benefits section. . . Please participate in this pool. Her question is: Do you tend to end up using the same general color schemes in your glaze work intentionally or unintentionally? (I do. It's various whites over dark clays, usually with the speckles coming through.) I have a tendency to work with earth tones-Cream, white, browns, blues and greens. I admire Copper Reds, and have experimented with local reduction, but not the same. I also like purples, and have some recipes that will go in that direction. As I have been working on a medium dark clay body(hazelnut) of late, the purple looks too dirty on it without a white slip or glaze underneath it. I will be working on a white stoneware soon, and hope that this will shake up the glazes once more, as the change to hazelnut did. best, Pres
  14. From our UK friends at the BBC, a new series is beginning this fall that follows the baking competition that is also produced by the same team. The link below has the story. YouTube has a promotional video. Search the title of this post. http://realscreen.com/2015/09/17/sky-vision-love-shape-pottery-format-for-mipcom/ For us outside the U.S. we will need to wait next year to catch it.
  15. I am new in the pottery. I try to make glaze from raw material. It has so many recipes, which one should I start with? Please give to me some advice.
  16. Hi, I am new to ceramic glazing. Are there any methods that can duplicate fire-based glazing on ceramics? I work at home, so i do not have access to kiln. I have read there are oven-based glazes and non-fire based glaze. How effective are they in terms of the glaze (will it be similar to fire glazed plate)? Thank You.
  17. I am pretty much a self taught potter and have never had any formal training on mixing glazes so I buy all of my glazes. Some from a local studio that they mix and some that I get online. I am still in search of a bright medium blue that I like. And a medium blue that isn't so bright. Does anyone have any suggestions on a specific glaze? or you can just share what glazes you like to use. Oh and I fire to cone 6.
  18. firenflux

    finished wave teapot

    From the album: Favorites

    I don't make many teapots, but I had the idea for this teapot with a hollow wave cut out of the body. It was an experiment, and it's not perfect but I still really like this piece. Wheel thrown and hand built with applied engobe and underglaze, sgraffito and hand painted waves. Fired to ^6 electric.

    © Firenflux

  19. firenflux

    Big circles vase (1)

    From the album: Favorites

    This is my favorite piece I have made to date. I sold it about a year ago but haven't made another one yet. It's wheel thrown with applied colored engobes. It's hand carved and textured with pulled handles and commercial glazes. Fired to ^6 electric.

    © Firenflux

  20. porcelainbyAntoinette

    Online Workshops At Teaching Art.com

    Hi guys, TeachinArt.com Online School of Art is pushing forward this year and is offering more and more opportunities to learn at your own convenient time, in the comfort of your own studio. The first batch of classes are posted here: http://teachinart.com/index.html and the schedule for more and completely new classes will be posted soon. You can view our first instructors here: http://teachinart.com/our-art-instructors.html. We are in the process to add instructors Nan Rothwell, Marie Gibbons and Paul Lewing among others to the group. We are bringing a variety of workshops to you. If you know of someone that is successful and may be interested to join our team of skilled instructors, please inform them about our workshops. We strive to bring opportunities to educators and students in a way it has never been done before.
  21. JamesP

    Here it is all loaded

    From the album: Gas Kiln

    Well thanks to the community here I loaded this kiln and I believe I solved my problem of not having enough air flow in-between the shelves. Thanks everyone who helped, the kiln is firing right now so hopefully it turns out perfectly.
  22. Lucy POTTERY

    Check My Work

    Hi to everyone. Please check my YT channel and let me know:-) https://www.youtube.com/channel/UCqGNbVXdITzcuqsUJaaP-mw
  23. Lucy POTTERY

    Bowl with liquid effect

    From the album: My work - Lucy POTTERY

    Bowl with liquid effect made from glass. You can see instruction video here: https://youtu.be/9uFZ1OxogDo

    © Lucy POTTERY

  24. Lucy POTTERY

    Forest Guardian

    From the album: My work - Lucy POTTERY

    Guardian of forest. For more visite me: https://www.youtube.com/channel/UCqGNbVXdITzcuqsUJaaP-mw

    © Lucy POTTERY

  25. Hi, my name is Celinda and I'm new to this forum. My dad is having a rough time financially right now so he's having me sell some of his items on eBay. One of the items is a beautiful native american vase by Robin Sanchez Aragon. I was hoping some of you nice people Ceramic Arts Daily could tell me if I have it priced correctly or if I'm way off. I read the FAQ & it says I can't put a link to my eBay listing, so instead I'm posting a picture of the piece & the description. I've priced it at $345.00 based on another piece by her that is going for 429 Euros ($455) elsewhere on the internet. I'll thank you in advance for any help. Here's the description: Thank you!!
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