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porcelainbyAntoinette

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Everything posted by porcelainbyAntoinette

  1. Paul Lewing one day demonstration in the studio of Antoinette Badenhorst, Saltillo Mississippi. Paul Lewing, author of “China Paint & Overglaze”, will demonstrate and discuss china painting (insert when and where). China painting is a 1000-year-old technique, which was incredibly popular 100 years ago, and is undergoing a revival today. Clay artists love its painterly quality, from the boldest colors to the subtlest shadings. Painters in oil, watercolor or acrylic looking for a more permanent medium welcome the fact that colors do not change in firing. Any effect or technique in any form of paint or ink is possible with china paint, and clay artists will be astounded at the materials and processes possible. Paul is one of the few links between the potters’ community and the world of traditional china painting, and a leader in the synthesis of the two. He has been working with clay and glazes for over 50 years and has painted well over 1000 tile commission using china paint. Details and registration available here: http://teachinart.com/index.html
  2. Hi Guys, I am not sure if this is the right place to post this, but I would like to share this interview with you. I will be teaching porcelain in Europe again in 2018. This video is a glimpse of the fantastic opportunity I had in the summer of 2016. I taught in 6 different countries. This video was made in Slovenia
  3. Sorry that I came across this only now. Will take me a day to read through it, but I am very curious to see what you finally came up with. PorcelainbyAntoinette TeachinArt
  4. bciskepottery, you nailed something that I thought of after I posted here. My clay changed from a grolleg based one to Southern Ice, which means I do not know which feldspar is in the clay! Thank you guys, I think this glaze may have to go back to basics from what I saw you say here. Dick I actually do have a batch of the old G 200. I use it very sparingly, but it is worth a test series, because I am working on a glaze workshop for my students. I've got info from other sources too that the Custer is probably the culprit; the last place where I would have looked. Since I do want to make the glaze somewhat harder, it may be worth it to add more Custer, but I think it will need a total re calculation. According to Ron Roy, all Custer as far back as 15 years ago, lacks about 3 % potash. I've also received information that the bone ash may be hygroscopic, changing the volume needed - Mississippi is extremely humid.... The suggestion was that I add more bone ash in increments to see if it may fix it. Thanks for the link Fred. I will check it. I wish I had my Matrix software program under my belt by now, but I am still learning to use it, because that may help me understand the glaze better........which is what I am really after... Okay, I will work on it and let you know if I hit something worthy.
  5. The next series of online classes are posted on TeachinArt Instructors to look for is Marcia Selsor that is pushing forward with discovery in Alternative Firing. David Voorhees is giving tips about successful throwing of porcelain. Connie Christensen makes a tea set; tray and all and later this year we will add her shino expertise to this school. Nan Rothwell is the latest addition and we are very excited to add her stoneware throwing class. Antoinette Badenhorst added 4 classes in porcelain from Understanding porcelain to making projects in hand building to wheel throwing. Her pinching teapots for the complete beginner is very popular and the pinching porcelain teapots will be available late fall to early winter. An introduction to understanding glazes will also follow later this year. Instructors to look forward to is Paul Lewing, Curtis Benzle and Marie Gibbons. Each one bringing their specialty to TeachinArt.
  6. Hi Guys, I am looking for answers everywhere........Maybe I will find it here......... I have mixed up a iron red glaze that I did not mix for a while. I used ingredients that is 10 years old and older. The end result was a flat brown instead of the rich red brown that it was before. I repeated the recipe, thinking I made a mistake, ending up with the same results. Then I thought maybe I used the wrong recipe and compared it with similar recipes getting to the conclusion that I did not make a mistake. So someone said the problem is the iron that changed over time. This was the first time I heard that in all the 36+ years I am in clay. Is that true and if so, can I fix the iron, or do I trash it? I assume that if that is true, it has to do with the oxidation process. Then someone mentioned the bone ash - artificial versus real, which raised the question with me if the bone ash may "expire", since I used the real thing. As I said: I used the exact same materials that I used on porcelain before. All these (except the silica and maybe the Custer) came from batches that I had in my studio for the best part of 15-18 years. (yes I have some valuable materials.....) The recipe is no secret, it is similar to many others available online, but the reason I want to do it again is because over time some of the plates that I glazed with it, wore off, which told me that there is maybe not enough silica in this recipe. So I want to alter it some, but first need to make sure I have the color right. Ralph’s Terracotta. Custer F. 41 Talc 9 Bone ash 13 Lith Carb. 2 Kentucky Ball clay 13 Silica 13 Add: Iron ox 9 Ideas please........... PorcelainbyAntoinette TeachinArt
  7. Thanks guys. Just received a bag of each "current" custer and mahavir. Will start testing next week. I am interested in a very white translucent workable porcelain clay body, with as little bentones in it as possible. It seems like I ran into a gold pot of gurus! Will keep you posted.
  8. Hmm, worth looking into the Custer too. Some years back it was said that the g 200 was more pure. I just compared the two and it seems that the Custer is even less complicated. Someone said it changed,; I wonder if I still have the old one.........bought mine about 10+ years ago. Thanks Kaolinwasher.......I will check and definitely consider testing that in a recipe or 2
  9. Also hard to carve. As the solubles settle to gel, nothing works until the particles get heated again. When I was teaching in Europe in 2016, someone gave me a piece of Mont Blanc porcelain. I managed to throw a small piece, but when I tried to trim it, it broke the foot like hard toffee that dropped on the floor!
  10. Thanks. Just have to shake the gray matter in my brain around again. Just finished with a series of tests with the 200HP. It is frustrating when materials change so fast. I try to stay away from natrium based materials. Neph Sye is one of them. I prefer shorter clay over thixotropic clay. Will let you know if something comes of it. http://teachinart.com/index.html PorcelainbyAntoinette
  11. If anyone is still interested in signing up for the wheel thrown demonstration by Nan Rothwell this coming weekend in Tupelo Mississippi, you can do that here: http://teachinart.com/index.html Nan Is the next instructor that will come on board with TeachinArt this year. We will be video taping her workshop next week. Feel free to check our online workshops out. We are growing and will soon reach the 500 th class mark. We plan some interesting event. If you have ideas of how we can do that, feel free to share your idea with us. http://www.porcelainbyantoinette.com/index.html http://teachinart.com/e-courses-online-workshops.html
  12. Thank you Glazenerd. That was quick. I see the biggest differences is in the Calcium and the Magnesium. I wonder how much I should worry about that or if I must find something in addition to fill the deficiency up. Whiting maybe in small percentages, or dolomite that contain both calcium and magnesium. http://teachinart.com/index.html http://www.porcelainbyantoinette.com/index.html
  13. Hi Guys. What is the latest changes on G 200 and or the HP? I saw some Spanish Feldspar somewhere at $3 per lb, which is way over what I would like to spend. I know Custer and the soda spars that is available, but before I make the final changes to some porcelain clay recipes, I would like to look at all the possible options. Thanks for any information. Antoinette TeachinArt.com PorcelainbyAntoinette
  14. I am curious Joel Edmondson; You say you use vinegar in your glazes. I use vinegar in my clay water on the wheel. It grow bacteria there ,so I was wondering if it does the same in your glazes? Also it must loose its power over a period of time. How do you control that? I started to experiment with bentones in my clay bodies to improve plasticity. I have learned that Veegum T also acts as a flux, so I wonder what would happen in glazes if we would add small amounts in the glaze to aid the Thixotropic character. I am saying small amounts, because we also know that bentones slow the drying processes down.
  15. I agree there must be clay in the glaze; also to add body and "glue" to the glaze. But it needs to be understood, or else it can become a headache for some. Glazes with the right amount of clay in, helps to have a very user friendly glaze. It will also allow easy brush decoration.
  16. Someone asked me recently how I get the smooth interiors of my bowls. Potters that want smooth "non-drip" appearing glazes often struggle with it because they do not understand that clay(and opacifiers) in the clay will basically form a double layer in the areas where drips are formed. The only ways to prevent it, is to spray the glazes in a very controlled manner, or to sand drips that form down very carefully after it dried completely. Of cause drips are not necessarily wrong, but it must work along with the design of the object and not fight it. Anyone that have more ideas around this? Antoinette Badenhorst PorcelainbyAntoinette.com TeachinArt.com
  17. Good morning everyone. Thank you for allowing me to announce the online workshops available at http://teachinart.com/index.html again. I would like to draw your attention to the class of Marcia Selsor particularly. Unless you are going to attend her workshop later this year in Italy at La Meridiana, this is your opportunity to learn from this highly recommended artist. During this online workshop, she show and tell in detail how she prepare , raku, obvara and two kinds of saggar fired pottery pieces for alternative firing, all conducted in a small raku kiln. Marcia designed and built this little mobile raku kiln specifically for this online workshop and she discuss the making process in detail. Other detailed discussions is about the chemicals she used to obtain results. This is a class that will give anyone that would like to start working with alternative firing a very good kick start, more so because she is available to answer questions right throughout the 6 weeks that the class is online. Other classes currently open are porcelain dinnerware workshops by Antoinette Badenhorst and a beginners pinching teapot class by Antoinette. Connie Christensen will be featured with her workshop in April. Other instructors on the list for 2017 is Nan Rothwell, Paul Lewing, Marie Gibbons and a follow up shino workshop by Connie Christensen. If you are interested in more details, you are welcome to contact Koos@TeachinArt.com As always: we are calling for instructors. Thanks.
  18. 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.
  19. If you have electricity this is the answer........ http://www.envi-heat.com/
  20. Great great info; as always John. I agree with the teapot peetra. There is a South African tea, Rooibos which is one of the examples that I want to mention. Rooibos is an herbal tea, but different in the sense that gets better when steeped over a period of 3 days. I use it in any form I get it in the USA, but the only teapot that work for me is a metal one that sits on the stovetop. Every day I will drink some, top it up with water and more tea and at the end of 3 days it is a rich deep red tea. Most Americans that do drink it, drink it incorrectly. Then there are the different Asian tea ceremonies that each have it's own needs. However, when we as potters talk about a "teapot" , there are specific, known elements. Those elements must function correctly if it is meant for utilitarian uses. It does not matter how it is designed, as long as it works and do not look like one thing, but function incorrectly. I think that is true for most nations.
  21. Sydney, that is in case the right lid breaks. LOL. Make your measurements well and remake if necessary, but it is best to keep your teapot under covers untill everything works out well to go into the bisque. Babs, you will not need to hold the lid if you make sure the flange goes in deep enough. The rule of thumb is that the flange measurement ( in lenght) must be a little over half the width of the teapot opening
  22. Registration for the next series of online classes are open. You can view the contents here: http://teachinart.com/index.html Questions are welcome. Remember this is a school for artists from artists. Thanks. Antoinette.
  23. Thank you for your responds everyone. I see it has been discussed before. We live in an era in which chefs and their food get great attention. There are new ideas for serving food and some very creative I have to say. I think by using different objects for different purposes, expand the opportunity for potters ( and other artists) to sell their products. I also think we must explore how old ideas may get new purpose. I have a yonomi cup ( as I would define it - taller than wide) with kosher salt in next to my stove top. I am also using tea bowls to serve snacks in. Of cause, some may call it a cereal bowl, which I agree with. Now...........when does a plate become a bowl?
  24. On this topic: I have some odd clay ad glazes in the studio that we use to make empty bowls with. The clay is a mix of porcelain and some stoneware. A while back I used two glazes: a midnight blue and a rusty brown (both mixed from scratch some time back) on a batch of bowls. The midnight blue bowls turned out fine. The rusty brown ones bubbled, but the bubbles was in the clay itself ( that is how it appear at least and nothing burst). I came to the conclusion that the iron in the glaze interacted with the open structure of the porcelain clay, while the cobalt in the midnight blue stayed more refractory. To make a exact conclusion, I will have to look up the recipes, but maybe you have some different idea as to why this happened. All the possibilities of shelves and pots packed too tight and uneven firing is canceled out. This was the first time that I saw a glaze interact in this way with porcelain. www.PorcelainbyAntoinette.com www.teachinart.com/index.html
  25. Once again Babs: I agree. Make many teapots with well fitting lids in my lifetime as a potter...................... too tight........especially if you do not make a hole like so many potters not do..............cause a problem. Maybe you saw my teapot review in CM October 2011 about teapots and all its features.
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