oldlady
-
Posts
6,338 -
Joined
-
Last visited
Content Type
Profiles
Forums
Gallery
Everything posted by oldlady
-
From the album: glazed for blandy 2015
tiny bit of Wettlaufer XS shiny white glaze sprayed over the sapphire blue fins did this wonderful watery look. -
From the album: glazed for blandy 2015
nobody wanted fish on mother's day. -
From the album: glazed for blandy 2015
leaves made from rubber matting, berries darkened at stem end with Stroke n coat Fruit of the vine purple. -
From the album: glazed for blandy 2015
oribe green on entire tray. leaves are made from rubber matting. detail in next picture. -
From the album: glazed for blandy 2015
and sold, i think, at the Blandy arboretum sale on mother's day, 2015. oribe green sprayed on leaf area and Bill vanGilder's rutile green BASE recipe with cerulean blue stain in place of the green.dragonfly stands out in Stroke n coat Fruit of the vine purple. -
From the album: glazed for blandy 2015
this glaze was reviewed by an expert who said it is a strange recipe with almost no clay. it is a cordovan leather color in my opinion. -
gorgeous! -
From the album: platter with peaches, 2009?
touching up color where too thin or where it disappeared in the firing. refired to cone 6 in a cool spot to avoid cracking. cannot get the final glazed pot to post here. computer threw up its hands and screamed ENOUGH when i tried. i had only been trying for several hours. the whole thing froze up and nothing would work for over 25 minutes. it is now 12:58 am. good night all. tried again next day. got it to post in only an hour or so of fighting. final peaches is the name it is under. -
From the album: platter with peaches, 2009?
slip and underglaze to give color to the fruit and rim, washed with red iron oxide. peaches covered with weighted craft foam cut to fit fruit shapes. glaze sprayed over all. fired to cone 6. some colors washed out or were too thinly applied so a second firing was necessary to complete the piece. -
From the album: platter with peaches, 2009?
inspired by card purchased at the Ashmolean museum in london. rim of wood-like branches done with red iron oxide. clay is little loafers. size aprox 18 in. -
saw this done in england, the potters were dressed like astronauts. serious protection needed. they put the pots onthe ground on old kiln shelves, sprayed the chemical and quickly put a bucket on top. then they added ashes all around the metal bucket to prevent smoke. gorgeous results, check out Eeles family pottery. -
pieces made with Mahoe Hibiscus leaves and other florida leaves during the winter of 2014-15.
-
-
From the album: Pots
using 3 identical forms would seem to mean everything is identical. not so. placement of the leaves is the design challenge and cutting the edges is the technical part. keeping the bottom flat and trimming are also important. -
From the album: Pots
this style was finished with Oribe green glaze sprayed pretty close to the leaf lines and a turquoise-ish blue on the other end. the green overspray was wiped off with a scrubby and the blue done secondly. the dragonfly is wiped with a tiny stiff brush to remove some of the overspray and then a loaded brushful of dark purple Mayco stroke&coat is touched to the deep impression. i only have one left after the mother's day sale. -
From the album: Pots
more kiln fillers. the lace hearts and leaves are popular with buyers who want something distinctive but not too pricey. Mahoe leaves are used several times before they become too ragged. people can see that each one is different and shaping them emphasizes their uniqueness. glazing in more than one color works in the fall but green ones sell regularly as spoon rests for the stove. -
From the album: Pots
stacks of small bisqued stuff to be packed. some are really wonky and will be hammered. tiny ones are $5 bigger ones $7. young people like the moon and stars in blue and the others are done in green glaze. great corner fillers in the kiln. dipping them into hot wax is not a lot of fun but it teaches good hand eye coordination! -
From the album: Pots
-
From the album: Pots
how should this be glazed? there are other shells on the opposite corner. tray formed by laying a textured slab into a glass form. WD-40 is the separator. influenced by walking along the beach and picking up shells. -
From the album: Pots
detail of shell relief and intaglio used on plate edge. now that i've made it, i have no idea how to glaze it! -
From the album: Pots
bisque plate ready to pack. the seashells in relief are made from little loafers clay that was pressed into bisque molds made from actual shells. once they completely dry, putting them onto the completely dry dish is easy. decide where to put the clay shells and hold a fully water-loaded #3 brush just touching the top of each shell. water will run down the shell without disturbing the delicate pattern and firmly stick the shell to the plate. DO NO TOUCH OR DISTURB IT UNTIL THE NEXT DAY! the dryness of both the shell and the plate allows for multiple trial locations until you are satisfied. -
From the album: Pots
second load of bisque ready to be packed into boxes for the trip home. a lot of work fits in a medium size kiln if it is stacked. the slab roller makes a useful table without the handle that is stored on the floor out of the way. a shelf under the slab roller holds the 6 whole and 1 half shelf for this kiln. the thick plywood shelf is supported by 2 threaded rods running from the front legs to the back legs at a level that allows clay to be stored below the shelf. small studio, lots of storage space. -
From the album: Pots
imaginary fish. the shapes are cut with a needle around 1/4 inch plywood fish that were made on a bandsaw. the only thing constant is the eye which is drilled through the plywood form and marked onto the slab. i have 4 sizes at different prices and they are all fun to do. some have fins on the side that are grooved with a large seashell that i roll over a thin slab. the rolling firmly attaches the fin in place. the big lips are deliberately oversized. -
From the album: Pots
shelf loading on lowest shelf. notice that the original owner did not use a shelf here and placed work on the bottom of the kiln. glaze spashes show in upper corner. shelf rests on pile of grog that was leveled to counteract the sloping floor under the kiln. the shelves now sit level but the floor under the kiln slants noticably toward the wall. it matters in glaze firing that pieces be level as much as possible. pieces are fired on medium grog to allow movement during shrinkage. -
From the album: Pots
a variety of shapes can touch each other in a bisque firing without causing problems. hanging over the edge of the shelf works too if there is firm support for the item. one inch posts allow stacking of the short things. for one and a half size posts, put a dab of glaze on the top of a 1 inch post and put a half inch post on top. fire together to cone 6 and you have a permanent 1 1/2 post. use a non-running glaze. -
From the album: Pots
this shelf has only a few things on it and the posts are 1 1/2 inches high. note the kiln sitter just above. this spacing allows for a 3 inch post on the next shelf to clear the sitter by half an inch. the interior of this kiln is much larger than my shelves because it has thinner bricks. my big kiln in WV has only an inch of space on each side of the shelf for my fat fingers to place it.
