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Visually Identifying Clay Bodies


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I have been exploring a lot (finished pieces and videos) on the internet.  Is there is any way to know what kind of clay body the artist used - when you can't seem to locate on their website?  I may not be using the proper term. I don't mean particular formulas - but earthenware vs stoneware vs porcelain.

 

I thought I was pretty clear on knowing the difference between terracotta and stoneware.  I realize was just associating high grog with terracotta; which is not necessarily the case.  

 

 

 

 

 

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Many, but not all, state what type of clay is used.  Sometimes that info is in an artists statement, sometime with the photograph.  Another way is if they state the firing temperature -- although some earthenwares can be fired as high as cone 6 without issues (other than they turn more of a brick red in color).  Sometimes the surface treatment can help -- majolica is generally low-fired.  I have some items that are just oxide and underglaze washes on the outside that customer's think is raku -- but is actually fired to cone 6.  So, you just can't go with looks all the time. 

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Like many others, I narrow it down by touch and sight ... which is why most potters turn over a pot to look at the unglazed bottom where you can see and feel the bare clay.

But it is difficult. Grog can be added to any clay so that in itself does not tell you much and can throw you off. The way it was fired can sometimes help as only certain bodies can be high fired but everything can be low fired. Color can help but when you get into creams and tans ... too many options that look and feel alike.

At many pottery shows you will hear your question asked over and over ... It's a fun debate.

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Yeah, I work with low fire white, in my classroom, and I've gotten pretty good at layering certain glazes that give it the look of mid to high fire.  You'd probably be able to tell, by picking them up, but otherwise, it can be difficult to tell.  

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I'm with Benzine. I use whiteware as well, but one way I can tell the difference between whiteware and porcelain is that whiteware has a more "flat" and harsh bright white than porcelain. Porcelain tends to have a soft buttery quality that whiteware doesn't; think cream cheese vs candy-cane white. Hard to explain, haha.

My instructors were always astounded at my ability to identify what clays were used and what ingredients I saw in glazes, but I was a huge geek for it back then. I kinda suck at it now, haha!

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I've had the same problem with my own experimental pieces, having moved from a smooth white earthenware to a white stoneware. I had bisqued pieces made from both on my shelves and wasn't sure about one particular bowl. After transparent glazing (I hedged my bets and went for something with a wide firing range, in case you're wondering!) I could tell it was stoneware by the weight, predominantly. This problem arose because I don't make a large quantity of work at any one time, so have things sitting around - in damp boxes, or on the shelves waiting to be finished, and I've learnt that despite what I think at the time, if I don't label, or make notes, or have a system, I DON'T always remember what's what!!!

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@Celia UK I think you probably have your answer by now.  The last sentence of your post this morning  is the solution that I have found most beneficial: label, make notes, organize green ware on shelves (or divided shelves).  I would go as far to say it is just as important to have separate buckets for slop/scraps as you work...with labels to identify the different clay bodies.  I have had my share of happy accidents (and unhappy accidents) when two clay bodies of different firing temperatures have been mixed, then ultimately high fired.

 

All that to say, whatever you do, don't stop experimenting...that is much of the fun!

 

-Paul

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Yes Paul - I've learnt to do most of this - my scrap buckets are labelled, I make notes, but they're a bit random and need to be more systematic, I take photos (sometimes) and my shelves are labelled! For it to be foolproof, I need to develop a more systematic system!!! I tried to rationalise my notebooks about a year ago, but found it difficult to let go of my original journal which contained everything - design ideas in the front, photos, pictures for inspiration in the middle, technical stuff - clay and glaze notes, firing etc. etc. at the back. It worked in the early days, then I started looking at mixing my own glazes and trying different clay bodies and making different pieces so I got more notebooks - and tried separating out all the different things. This was an academic exercise in its own right and it's still not perfect so I'll keep on honing it!

 

What's got you up so early in the morning?

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How odd....I used the word ###### in my post to Guinea about her spirit and it came up all ####  ???? I am writing it again here to see if it does it again...no clue why alpha-text would convert to symbols like that.  YEP---did it again

 

s

p

u

n

k

 

Ha---got it!         Anyone know why it does this with this word???

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Thanks!! That all makes perfect sense :)  I am glad that you all brought up identifying old pieces and having separate buckets. (That was something else in the back of my mind)

 

 I have been thinking about just mixing what i have together just to use for making molds instead of trying to identify and reclaim.  The challenge with that (having no pug) would be to have a consistent texture so I don't get sagging in more defined areas of the mold - longer air drying may help a little with that. I'll try it and see how it goes. 

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