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preeta

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Everything posted by preeta

  1. I am a little confused. Do you want to make dolls made out of silicone or vinyl? No idea. Are the molds made from Porcelain?
  2. 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.
  3. Curious why you need such a bright white stoneware? I have never come across any claybody in cone 6 that comes out bright white and not grey/pink/tan. What do you mean you worry about Bmix strength? When you say strength i think of restaurant crockery where even the glaze has to be strong and scratch proof. I know a couple of potters who are making bmix table wares for restaurants but they are most concerned with the right glaze recipes.
  4. Off topic Since you called yourself a gizmo guy here is a guy just up your alley. http://www.barbotic.com/Bar-Shacterman-Gallery.php?gallery=mythology Bar finally landed in the US after traveling through many countries. He got his art education in Israel where he worked a lot with metal. All his sculptors are put together. They are not tediously hand crafted. His basic method is extruding and molds. In my opinion his skill is the ability to work with metal and create his own tools. I saw his demo and got a chance to talk to him. What i came away with - was that a major par
  5. Ok Doc i hope you dont mind my reply. But i no longer suffer fools. Glass and clay dont mix. Period. There are a lot of cutesy ceramic glass coasters and stuff people make. (Can’t stand cutesy inane stuff) Ultimately the glass is going to pop out at some point of time. You know like Corporations who are there to make a few bucks. Not to watch out for what’s good for mankind. Businesses who are putting clay and glass together dont really care for the longevity or safety of their client. They make sure its good for a while so they wont be sued. There is nothing wrong in experimenting
  6. Doc at school we do glass firing with the glaze firing at ^6. Even colored marble. Only as sculptural pieces. Always on horizontal surfaces. I believe Mark Hewit does it on green ware i believe, but i am not sure. He is the only guy i know who uses it vertically. Personally until the science changes i stay away from glass. I look back at history esp. at Persian ceramic history. They never used glass in their clay except at a period of time as their ‘glaze’ surface (powdered glass) before glazing was discovered. Glass was huge in that whole region which came along with the pottery ad
  7. 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?
  8. The secret that i discovered by accident is if you just wet your bisqueware (after you slip it during green ware state) you will see a brighter color close to how it appears under clear glaze but not a 100%
  9. Does Netflix still have Sky Ladder available to watch? Cai Guo-Qiana a chinese artist who now lives in New Jersey i think ‘paints’ with gunpowder. I hate watching cooking shows. I have a visceral reaction to them because i am surrounded by young people who don’t know how to cook. Actually young adults too. Those shows dont focus on the art of cooking, but more on competition and being really mean. Not all. But many do. Ive watched many Chihully movies. Amazing. I love architecture a lot. There’s a show i think called Amazing homes on Netflix. I watched house built under huge a
  10. In cases where you cant see the color food coloring is your friend.
  11. Ive used UG over white like majolica. The issue is don’t use too much UG over the glaze. No matter which company a thick coat comes out dry. Though I’m talking about cone 6. Ive seen Velvet on clay and no glaze come out bright and matte - on sculptural pieces at ^10. However know that if you are painting v. Tight designs over the glaze they will move with the glaze. So the design on the side of the cup may go all wonky but the floor of the bowl might not.
  12. 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
  13. The finest line i have ever achieved is with an exacto knife. From a potters video online. It sorta is the Mishima technique but quicker. Brush on wax resist. Wait for it to dry well. Then draw your lines with the exacto brush. Then brush on underglaze and wipe off. Super easy and quick (if you don’t count the waiting time). One time i spent hours doing Mishima with different colored slip. Swore never again till I learnt to play with wax resist. however drawing with an exacto knife is not easy because of its flatness. It still does a finer line that a sharp needle. I prefer l
  14. 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,
  15. While Hammerly is more visible many universities are really working with this medium. Most of their struggles are at the software state. This is still in fledgling state. I’ve played with it at my JC. While the printing is one thing, the real story is the software - creating that. There’s a lot of bugs to fix there. Those working in fine tuning scanning is struggling too. Personally i welcome it. It’s just ceramics at another level. I guess the next big technological move since the discovery of the pottery wheel itself. Like Math. No new concept after calculus until the modern
  16. Bisqueware at any temperature is fragile - whether earthenware or ^5/6 or ^10 claybody. because of its porosity. i would definitely experiment with earthenware just coz you have so much. you can use the principle of onggi potters. modern western ones who bisque and glaze fire but underfire the glaze and claybody so it remains porous but not as fragile as bisque. Could a vitrified earthenware be stronger than a cone 10 body glaze fired to cone 6?
  17. oooh so now i have questions. (sorry but i dont understand exactly what wares you are talking about? gradations of colour? kinda the feather pot bill posted above?) Because i am really interested in gradations of colour. 1 colour. how do you get that? do you further thin the glaze stain mixture to get different shades? Right now I am playing with Oxides. i make a base 50% oxide and 50% GB base. then i thin that base out like chinese ink painting so i can get gradations of colour. i wonder if i could do the same with Mason stains . Basically Mason stains are a mix of various oxide
  18. 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.
  19. Nancy I can so relate to you. I wrote a similar post a couple of years ago because I learnt so much from here despite being in a community college ceramics class. It's not just technical knowledge but I learnt so much about being an artist. And a machine who loves repetition. Welcome to the wonderful tribe here.
  20. Kristina this is the kind of question that will get you many answers, none of which is wrong. Are you a baker? Bake a lot? Wedging is not just about hands on clay mixing. its also about height of wedging area, your own body stance, AND unlearning other methods of kneading. I would try without wedging and see how you do. I’ve tried to not wedge, but when i touch the clay i feel its wrong not to wedge. It’s a head thing that i cant get out of. I think its because i really love the process of touching clay and deal with the rest to finish the product so I take every opportunity
  21. Anna did you know the one country where ceramics is mighty popular major where they are churning out gobs and gobs of ceramicists is actually S Korea specifically Seoul. The university there or that famous museum there might be better able to guide you. You are in the hotbed of ceramics. A lot to learn there I am sure. Hope you find the answers.
  22. Woah! That's a big can of worms. Here's my advice. 1. Check out some glaze books printed in the last 10 years. To see all the different thoughts that went into it. 2. Find a potter near you. Someone who has wood-fired, gas fired and electric fired and more. Someone who is still selling wares or teaching. Have this conversation with them. I am not familiar with LB. I really appreciate your generosity. I really do. There are lots of ingredients that have been taken out of glazes in the last 20 or so years. The future generation might even consider what we use a
  23. Aha Y if you post here you gotta give more info. I'm curious about general medium too. How thick was the underglaze you applied. How did you apply and how many layers did you use. Did the rest of your class use the same underglaze or did you make yours separately. Though my knowledge of earthenware is very limited I must admit.
  24. Curious why you would like to trim a pinch pot on the wheel? To make if look wheel thrown? My pinch pots are lumpy. I would never trim them on a wheel. How would I treat each lumpy area. For me I'd rather make a slab bowl on a mold. No trimming. I love pinch pot bowls. I love the gnarly feel on them (Tho I must admit I love gnarly. In fact I miss my old self. The beginning student bowls and cylinders. They had a natural movement that I have to now fake, but alas it's never like my beginning student work) I must also admit I love traditional pottery more than modern. I
  25. 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.
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