Jump to content


  • Content Count

  • Joined

  • Last visited

Posts posted by preeta

  1. On 8/20/2019 at 11:37 AM, Magnolia Mud Research said:

    I wonder if the apparent 'bleeding' is a technique used at the time the blue colorant was applied to the pieces - that was the way I achieved similar effect on canvas with water color and pastel crayons.  after lots of practice a "light" stroke with the "right" brush would produce the allusion of bleeding.   


    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. 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.

  3. Off topic

    Since you called yourself a gizmo guy here is a guy just up your alley.


    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 part of his creative process is creating tools. He creates his tools and then extrudes or molds his parts, then makes a series of taking pieces and parts and putting them together. 

    Also how about  Kate Malone. She coil builds her pots but all her embellishment comes out of molds. Huge pots. 


  4. 7 hours ago, docweathers said:

    What do you mean by "Personally until the science changes i stay away from glass"?

    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 and discovering what happens. The curious mind should be encouraged. 

    When science can discover how to put clay and glass together (a way to never have the glass pieces pop off, whether in a year or 10 years) when there is definite results i will use glass. 

    Having said that i can get the glass look. Unfortunately that’s because i have access to a gas kiln which turns the bottom of my Oribe bowls into bright glass like green (if everything is in order and the kiln gods say yes).  Porcelain (and I’m sure white clay body) and transluscent glazes have a glass like look. By glass like look i mean bright colors and the ability to see through the glaze. Even layers of colors. Which you dont get with UG and clear glaze. 

    Ceramics is complicated enough, without adding glass to the picture. 


  5. 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 advancements but they never put it together or any other culture for that matter. 

    However the potters here used it on their jugs to fix the cracked handles. I dont think they had a separate firing after glaze firing. NOt sure how that worked. 

  6. 20 hours ago, Pres said:

    plaster domed bat 

    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. 

  7. 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 aero plane wings and i was hooked. 


  8. 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.

  9. 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!!!

  10. 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 layering. I prefer thick and thin line. I prefer drawing with a brush though. Though i have yet to find a good brush without spending oodles of dollars. Am thinking of making some from my friend’’s dog. It is so hard to find a sumi brush that has a point. 

  11. 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.

  12. 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 game theory. Fascinating. 

    Today if we are serious about using less plastic what option do we have? Ceramics?

    Also some major art competitions don’t allow acrylics. How crazy is that. 


  13. 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?


  14. 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 oxides right? because pigment basically is some sort of oxide (i mean some sort of precious stone chemical form).  if they are from clay they burn out. but if they are rock based  pigment or created in a lab, then they  usually can withstand high temperature. 

    I am going to try your way as i have a few stains available to me at school.  because i am so confused. why is mixing the stain with glaze so big. is it easier to move with glaze?  ive used the 50% mix  to paint on bisque and then covered in clear.  on vertical faces the design does run a bit. (an effect i discovered by accident some people love). other than that i  have faced no issues.  ( i have had issues with black underglaze with too much clear which lead to leaking of blue).

    Old lady i had to take a materials class to understand medium. 

  15. 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.  

  16. 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 to touch clay. 

    Plus i’ve been brought up by old school potters who talk so much about wedging ‘waking’ up the clay. Their words live within me that i cant shake of. 

  17. 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.  

  18. 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 danger.

    You need a partner. Without being in the ceramic world you need some help. Or at least a consultation.  

  19. 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. 

  20. 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 love buying other potters clean lines, but myself making its boring.  

    I have actually wheel thrown a basic bowl to help with time and then trimmed it by pinching. 

  • Create New...

Important Information

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