Jump to content


  • Posts

  • Joined

  • Last visited

Everything posted by preeta

  1. LT i was looking at the cups really closely and thinking what you are thinking because the bleeding is so uniform in the first set of cups. Almost like a perfect outline width of bleeding. When i had bleeding it was more like the white cups. Wonder if they didn’t like the bleeding and so applied gold on top.
  2. WOAH!!! <Mind Blown> didn’t even knew such a thing existed. Other than this platter what other reasons would you use a domed bat for? Curious Pres why you threw it and didn’t make it out of a slab. Maybe too big a slab to handle? Does throwing a slab make the slab stronger? @Alice - i bow down in awe. Even I haven’t been able to fire 1/4 inch thick plate without warping. Maybe need to use sand too. Doc by Golly!!! I would be so super disappointed. Also i am wondering. You are slow drying your platters. If there’s condensation then was there any drying happening? Is there such a thing as covering too much? Ive been taught at school not to allow condensation to happen. In fact from some of the sculptors in my class (past students using the studio) they dont completely cover their pieces. They leave a little airhole. We have a damp room at school. The only sculptors who completely cover their work are those who take 6 months to finish a piece.
  3. i haven’t done this in a while but if i remember right the black mostly bled and i think a dark almost black blue bled. does the clear move? i achieved the bleeding by applying the underglaze and immediately applying the clear glaze. lots of it - but not too much to cause the cloudiness. thin lines have not bled that much. thicker lines with 3 or 4 coates of ug has bled. if i want the design to move i’ve applied glaze and then applied underglaze (though mostly cobalt) on top of the glaze. it does not bleed. it just shifts. also if i remember right, my walls bled, not the floors of the pots. good luck!!!
  4. In a way i feel this change is actually a way of continuing tradition. The tradition of Japanese pottery responding to huge cultural change. I think its the history of Japan, except this time they did not have to kidnap makers from any other place. I am excited by En iwamura’s work. Ive seen his demos and I’m blown away by how fast he works. His work, similar to Otani’s is actually inspired by the Haniwa’s which is his basis to which he tries to involve cartoons he grew up with or were inspired by. What i really find inspiring is not so much their work changing - that is a given, but its that philosophy - the philosophy of the maker - whether it be sculpture or pottery - is still passed down from generations past. Yes there is money issues, but the makers thoughts feelings, why they are making, how they are making, how they see their world i find its still the same. Ive run into students from China and Korea who are not in the art field just for the money. It was very inspirational to hear these young people talk - because so far i have only come across that amongst the Native American makers here. I’m so glad they are not a Jeff Koons or Damien Hirscht. so what one calls modern Japanese ceramics is really japan evolving to catastrophic change much like the tea ceremony that is not all that old - 1300s? Which evolved again in the 1500s. I wonder though are we going to go back to ceramics if we try to cut down our use of plastics and paper?!!! and I’ve also seen this whole Sculptor vs potter attitude from all over - from artists in the Middle East, to Europe to the Far East. In fact people make faces when i say i do mostly pottery and not sculpture. The whole art vs. craft deal. anyways i am rambling, just trying to make sense of the thoughts running through my head. i wonder are potters now going to treat cobalt blue like blood diamonds? Whole ‘nother Subject.
  5. I've helped a classmate with her mothers ashes. ^6 electric - using school glaze. Thus a community area. Her urn had shoulders. What we found is if we dusted some of the ash on wet glaze right after dipping everything went well. Used a fine small kitchen sieve. If we dusted the ash on dry glaze the ash did not melt and left a rough area.
  6. Wow Marcia. These are spectacular. So unusual. The blooms. Like flowers. If you fired them in your Raku kiln did you fire one sagar at a time? this is nothing like I’ve seen before. Seems like a contender for a CM cover.
  7. the presence of ingredients. i feel like oil paints glazes dont spoil as in lettuce. they cure/change depending on chemistry. here we come across old stuff in garage sales all the time. many years old. one immediately wonders about 'spoilage, but its more about what ingredients are in it.
  8. Well. If one talks of functional ware... in a way yes... like paint ... depending on how old. Lead barium lithium
  9. Briana you are a newbie you said. I’d say forget about keeping. Forget about firing. Just keep throwing. And trimming and then slicing in half to check for area of improvement. It’s been 2 1/2 years since I first touched the wheel. I have kept none of the murder weapons from my first year. I’ve always kept one piece from each semester to see how good I’ve gotten, but otherwise I’ve given away (mostly) sold (a few) almost all my pots. I do bring them home to use to see what I like. So at the end of my semester I do a drastic cut of what I had at home from the previous semester. In the meantime try to find a studio or potter who will bisque for you.
  10. As long as you keep good notes and know exactly what you knew when you trimmed the pot then time is no limit. However know that bone dried greenware is the most fragile state of clay to be moving around. Pack well but be prepared to lose some stuff. The other thing is sometimes you create cracks from too much handling that you might not see till after the glaze firing. So watch out for the ping after bisque. If you hear a thud or dull sound then either throw out or use it for glaze test. I have know people who have fired after 5 years. But they hadn’t moved and they had notes.
  11. honestly so not worth the effort (unless lots of carving on the cup). she can easily pull off another cup and handle in the time she will use to fix everything. and this will be a second time around. just tell her to make another one. the second one always comes out better. more practice. this is a death defying activity. handle on the cup going against gravity. unless she props the handle against the cup. she already learnt a huge lesson about drying from this cup anyways.
  12. for decorative i've used shells as sprigs. used the shells to make a negative and positive imprints. esp since the texture that i like the 'sea creatures' shell thingy is very fragile. i like doing sprigs because it leaves me the freedom to use as a shell or form other things. i have a couple of giant shells and thought they looked like ribs. never thought about using them as ribs though.
  13. Benzine i am curious to know too. i just tried with rice and the resultant piece is very fragile - and VERY sharp. same principle as your quote. the gaps are creating the fragility. i cant even hand sand/burnish with the diamond sandpaper without losing something.
  14. dani what cone are you looking for? ^6 or higher? or lower? in my limited experience i have not really seen many speckled white ^6 glazes. i havent seen them in the studio, neither at ceramic shows. ^10 i have come across quite a range of them. in all sorts of white. cool whites. warm whites. not just at studios but also people selling gas fired ware. i agree with Neil. I really enjoy playing with speckled clay and then using slip and transparent glaze; and also two coats of white glaze.
  15. Joseph I dont remember what cone you fire at? ^6? and what clay are you using?
  16. this semester yappy everyone in my class is surprised how few of my things are coming out of the kiln. i've been destroying more than firing. because i would only fire perfect ones. (however i have recently been firing some close to perfect forms to do some slip tests) i have to learn how to throw perfect before i even learn the art of the asymmetrical. i am hoping maybe in 10 years i will learn the art well enough that my warp will be beautiful. in teh meantime i am honing my senses by studying elements of design in other art classes too.
  17. aaah that darn cobalt. the problem is not the glaze. it is the underglaze. what is your underglaze? made in a studio? store bought? i have used Amaco's jet black V-361 underglaze. never had an issue of bleeding lines on greenware or bisqueware. actually any underglaze or slip without cobalt i have had no problem with bleed. have used mason stain black slip (NOT cobalt free) drowned in clear glaze. ooooh. lots of bleeds just like yours. however it looks really cool so i've manipulated to purposely get the bleed. IF you look at the masters doing buncheong/mishima - you will see they use black and white clay. you dont really see colour. hmm!!!! wonder why? perhaps to make work easier. my favourite - using red clay using white slip. and trying different colour transparent glazes. just some other options. to truly get what you want - the only way i have succeeded is by using cobalt oxide directly on top of clear glaze. i've never succeeded bleedless under the glaze.
  18. if you are in the US - the oven broiler goes upto 500 - 550F (260-290C). if you want to eat out of your dishes - if you use the lowest temperature clay - that is earthenware - you need to fire (1,800 and 2,100 °F) 1,000 and 1,150 °C and glaze-fired to between (1,740 to 1,920 °F) 950 to 1,050 °C. if you make vessels to use as sculpture (so not to eat out of) you could either raku fire it (still need to bisque fire AND then glaze fire but still need heat at least to 1470-1830 F or pit fire in your backyard (still need to bisque fire) and then fire in a barrell or pit (if its legal where you are) to about temperature above 1000F. that means you need a kiln. or have access to a kiln. if you have a ceramic supply store in your time you can enquire and find out if they fire individual pieces for customers or they know a place that does it. that said i know some members here have built their own kilns from scratch. do you have space and time and means to do one? you have to bisque fire first. well... and then instead of glazes you can use things like shoe polish or acrylic paint to paint on your pots. but for eating use you need a kiln. i have never heard of non heat based glazes. even in cooking you need heat to glaze the meat. but then just coz i dont know doesnt mean it does not exist.
  19. Mark why do you prefer the slab roller? even thickness? time saving? having used a slab roller (thick canvas and then a thin canvas on the bottom and same on top) i will say given a choice i prefer using a rolling pin or punching with a fist. i find machine slabs dry out too much. i usually work with soft slab and not really almost leather hard slabs. if i was making a set of 4 bowls by the time i finished no. 3 the 4th was too hard to manipulate. i guess i could keep the slab moist. that is rolling slabs out for 4 bowls at the same time.
  20. yup to kev. that's what my friend does. my friend uses the left over to mix in with recycled clay and makes bonsai and cactus planters out of them.
  21. actually i just use a wooden dowel. not even a rolling pin. i like the freedom of size it gives me.
  22. wow i am surprised it sticks. apparently clay is not supposed to stick to silicone. one of my classmates brought her silicone baking sheet to school and the clay never stuck to it. interesting!
  23. marcia this is AMAZING!!! i love it. i always enjoy texture. Now off to your gallery to see if i can spot these in their full form. i have been checking your site out and am really getting interested in alternative firing.
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.