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Found 42 results

  1. From the album: July 2019

    Thrown porcelain vase, cut vertically from rim. Textured slab attached with slip. Copper & cobalt oxide wash applied to bone dry greenware. Bisqued to 1000oC. Transparent glaze poured inside and brushed on textured addition. Fired to 1200oC (cone 6/7). Gold lustre highlights added then fired to 780oC.
  2. Linden Sweden Deep Notched Rolling Pin Available at Amazon: https://tinyurl.com/yb4j8pcz I see that the price has gone up 25% since I bought mine a year ago, but I still think it's a good price for a great product - you can also use it for making Swedish flatbread, IF you thoroughly wash all the clay off first. One charming review reads, "This item was ordered in the UK, was dispatched from the USA and was made in the Czech Republic, despite being "Swedish". Although I initially bought this for surface texture, I have found other applications. It's great for brushing a glaze on and then sponging it off the high points - if you're good, maybe you could apply a second glaze to just the high points. It's also excellent for using with glazes that "break" with changes in surface texture. One of my pieces uses that, but it's on a dark clay so the glaze doesn't achieve its full effect. Yet another thing I've tried is dropping a bit of varying glazes in each pocket, OR doing the same with small bits of other clays - either wet or as grog. However, in this last case I'd suggest tamping the clay insert down a bit, and best to do this on pieces that will lie flat. I built one of my slab-wrap cups doing this, and it was a horror show trying to roll the slab vertically without the clay bits falling out. Perhaps a better approach might be dropping multiple clay slips in after formed? The one thing I would suggest is filing/sanding the outside before using, as there is a fairly sharp point on each of the protrusions.
  3. I am new to clay, both hand-building and throwing, and have been making images on pots in two ways- by painting in underglaze and by using commercially available texture mats and roller stamps. I would like to learn to carve into the clay myself. Can anyone recommend some good resource or resources to help me learn to do this? I would be particularly happy for book recommendations.
  4. Hello all! I was researching opacifiers today and came across the page for Titanium Dioxide on Digitalfire.com (https://digitalfire.com/4sight/material/titanium_dioxide_1644.html). It says that you can spray it over a glaze to achieve variegated effects, like a crystalline tea-dust look. I was wondering if anyone here has had experience with this and could give me some tips for dry material to water ratio, or any other knowledge that may come in handy. I have never sprayed any glazes before. Thanks much!
  5. From the album: WIPs

    More WIP. Some molds I made along with some random objects used for impressions, including a cameo of Dante. -The cup in the upper left is not my work btw.
  6. I am having a friend save me some guitar strings to experiment with firing a piece that is wrapped with them to see what kind of effect the melting/burning of the strings has on the clay and glaze. I swear I have heard of this being done before, but I am struggling to find anything on it via Google. Has anyone experimented with guitar strings in their firings before? I'm wondering if I'm wasting my time or if it could have some cool results. Thanks in advance!
  7. Guest

    John Baymore Bottle 2 detail

    From the album: Images For Misc. Posts

    This is a detail shot of the surface on the bottom of Bottle 2.
  8. Guest

    JBaymore BottleForm

    From the album: Images For Misc. Posts

    Image of a bottle form made from the altered clay shown in another image.
  9. Guest

    JBaymore VaseForm

    From the album: Images For Misc. Posts

    A vase form made from the clay in a prior posting here.
  10. Jeremy Randall: From Flat to Form WS02 – Saturday - Sunday, July 8 & 9, 2017 10-4pm, Fee: $200 members; $225 non-members www.baltimoreclayworks.org In this 2-day workshop, Jeremy will present his techniques for using tarpaper templates to make repeatable and adjustable pottery forms out of textured earthenware slabs. Focusing on the development of form and the terra sigilatta surface, he will assemble the form, discuss line and surface elements in his pots. Eccentric finishing techniques using non-clay elements like carpet tacks and wire for accent for his vessels will be demonstrated. Open to all skill levels Jeremy Randall received his B.F.A. from Syracuse University and his M.F.A. in ceramics from the University of Florida, and has been making his hand built pottery professionally since 2005. He currently lives in Tully, New York, where he owns and operates his home studio. Jeremy is a visiting instructor of art at Cazenovia College in Cazenovia NY, and an adjunct professor of art at Syracuse University. Jeremy has been involved in numerous national and international shows, is represented by Red Lodge Clay Center in Red lodge MT, The Clay Studio Philadelphia, Society of Arts And Crafts in Boston, among others. He also has work included in the permanent collections of Robert and Jane Myerhoff in Baltimore, Bailey Pottery Equipment permanent Collection, and the Southern Illinois University Museum in Carbondale, Illinois. Questions? Please contact Mary Cloonan at [email protected]<script data-cfhash='f9e31' type="text/javascript">/* */</script>
  11. http://i.imgur.com/Qwn2HPQ.jpg This does not look like two clays wedged together... is it color slip or underglaze? How can I achieve this? Advice would be much appreciated!
  12. From the album: Winter 2016

    Thrown white earthenware, cut and altered. Slabs textured and added. Copper oxide and cobalt carbonate washes when bone dry. Bisqued to 1000oC. Transparent glaze poured over, fired to 1100oC.
  13. From the album: Winter 2016

    Thrown white earthenware, cut and altered. Slabs textured and added. Copper oxide and cobalt carbonate washes when bone dry. Bisqued to 1000oC. Transparent glaze poured over, fired to 1100oC.
  14. From the album: Winter 2016

    Thrown white earthenware, cut and altered. Slabs textured and added. Copper oxide and cobalt carbonate washes when bone dry. Bisqued to 1000oC. Transparent glaze poured over, fired to 1100oC.
  15. From the album: 2016

    Thrown bowls, cut at right angles to the rim. Thin slabs textured with bark, stamps, shells etc. - pieces attached to back part with front cut edge eased forwards to emphasise the contrast between the organic and engineered. Oxide washes applied at dry greenware stage, fixed in the bisqued firing. 3 back pieces were dipped in transparent glaze, front one dipped in tin white (to cover a repair that fired a different colour!). Fired to 1100oC in electric kiln.
  16. From the album: Favorites

    This one is fresh from my latest firing. I'm in love with this one. It's wheel thrown with a pulled handle, underglaze decoration, and hand carved texture. It's glazed in 3 different commercial glazes and fired in my electric kiln.
  17. 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.

  18. I searched old posts but couldn't find an answer to this. I used a couple of different sized elephant ear leaves to press texture into a slab, did some additional carving to get texture deep enough and cleaned up the edges. They have been sandwiched between drywall drying for weeks and are completely flat. If I bisque'd these right now I have great molds for future platters. What I want to do is roll a fresh slab over the bonedry slab so that I get both positive and negative molds that are the same size to bisque and that could be used to create texture on the front and back of a slab at the same time. I know that greenware is very fragile but since these are flat and supported fully by the drywall I think that will be less of an issue. But is the fresh clay slab going to stick to the bonedry slab? Should I put something like plastic over the bonedry? Or maybe dust with cornstarch? Clay is ^6 stoneware.
  19. From the album: Handbuilding work

    This little bisque tripod pot was formed using Sandi Pierantozzi's method. Slab rolled, gutter cover rolled into the slab with a pony roller then formed into a cylinder and pinch the feet. I added the lid using the same method except it was four "feet" and using a different gutter cover for the texture.
  20. Hi guys, I'm looking for anything that I can add to my porcelain slip (cone 10) that will result in a fine surface texture. This could be fairly uniform almost sandpaper-y, to just varied and rough. Like below: http://www.walkerceramics.com.au/images/Compressed%20images/BRT%201280%20R%20054.jpg http://claymotion.com.au/wp-content/uploads/2013/05/brtsample.jpg Not necessarily the colors I"m after, more just the texture, but open to any suggestions. Any thoughts would be great!
  21. From the album: Handmade Clay Stamps

    These pyramid stamps are great space savers. Four stamps in one.

    © Giselle Massey, Giselle No. 5 All Rights Reserved

  22. From the album: Handmade Clay Stamps

    This one spells out L O V E with two other decorative sides.

    © Giselle Massey, Giselle No. 5 All Rights Reserved

  23. From the album: Handmade Clay Stamps

    These cube stamps are great space savers. Six in one.

    © Giselle Massey, Giselle No. 5 All Rights Reserved

  24. From the album: Handmade Clay Stamps

    These cube stamps are great space savers. Six in one.

    © Giselle Massey, Giselle No. 5 All Rights Reserved

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