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Everything posted by preeta

  1. https://goo.gl/images/H8JVSa i am sad that both YouTube and clayflicks failed me in showing me how to throw this form. I know how to throw globular. But what about beyond that? i remember a long time ago when I was just starting out someone talking about stretching the top part of the pot before doing the bottom to avoid collapse or vice versa. I didn’t pay attention or understand because I had not sat on a wheel yet. I would imagine this pot needs either a heat gun or billow out the next day after some drying?
  2. I always have a damp towel on me. I basically throw with slip too. I also collect the slip to slip my pots. So I transform a liquid laundry container so I can have the sharp edges. To reach for my tools I swipe my hands on the sharp rim, then I wipe my hands on the damp towel. But by the end of the day my regular throwing tools get muddy. The container that holds my throwing tools is a plastic basket. I let it soak in the water at the sink then submerge again and run my hands thru so I don’t clean each tool. Nor do I lose any. I really like my damp towel and the kaftan/dress I wear to throw. Rinse them out at the end of the day and they are dry when I come in next day.
  3. Food for Thought hi Rex i thought I’d introduce you to one of my favourite artist at the moment whose work I want to copy sorta along Linda styles line. http://craigunderhill.blogspot.com/2013/08/the-colour-of-water.html?m=1 it isn’t the colours that interest me. It’s his use of different marks. To me the key is transparency. I love the weathered look -the layering not necessarily the colour. So next semester I am going to experiment with terra sig with mason stain colours and oxides too. I’ve chosen terra sig because they don’t have to be glazed. Still comes out bright. Unlike slip. Or even underglazes. This is the first time I found a video which actually shows the technique i find I’m leaning away from glazes to slip/terra sig just coz I don’t want to deal with multifires This is the artist who inspired me to think about terra sig. no glaze except on rims https://www.andrewclarkpottery.com/shop/cup-with-control-knob-3
  4. I am a big Linda Styles fan too. I also believe she multi fires
  5. Dick I would call that more yellow than orange. Perhaps orange is the wrong term. More of a bright red iron look. I have a bowl from a local potter with both the orange red and white. However I love yellow so I’d go for that. Is that a white claybody or does it have some iron in it. Do you do a regular firing or specific Shino firing? However I feel , quite like the Raku thought, should we even call this Shino? Maybe at least Western Shino or American Shino I want acolour Like this - where one coat is this orange red (though the colour on this one is affected by the claybody I imagine)
  6. Saw this not too long ago https://ceramicartsnetwork.org/freebies/free-guides/ceramic-mold-making-techniques/ Clayflicks has a great video by Guy Michael Davis.
  7. To be honest Gabby I can’t see how you could escape copying in clay. At our JC I see students bring in references - but they copy some aspect of it - not all. I’m constantly asking how did they do that - for both form and surface. However copying in clay is not always as precise as copying say in painting. I am originally a painter too and copied paintings to understand the surface. How to get skin tone luminosity depends totally on the underpainting. But I don’t have access to the real thing in pottery. Both surface and form and so I am always guessing. Throwing. I can’t see how one can copy without working in a series. You are drawing in air. Each pot is is one of the many lines one draws to get the final in a drawing. One of my inspirations is a Persian cup with blue stripes. Totally looks like something out of ikea. I have tried so hard to copy it - get its exact proportions but without seeing it in person it’s tough. I spend a lot of time looking at pots. In person and online. Not just clay. I have a gridded sketchbook. I spend a lot of time drawing to study proportions because I don’t have a wheel at home yet. Sometimes I feel like taking a class in CAD so I could superimpose. However to be completely honest with you - I cannot copy. I try. Before I sit at the wheel or the slip or glaze table I have already spent a lot of time studying it so I already feel I know it intimately. But at the last moment this “But what if you did this” guy jumps out. I most admire people like Margaret Odundo, Hans Coper who have changed form itself. Or Pippin Dysdale’s surface from Australia reflecting the countryside around her. I feel what I call my pots are really just a mush mash of others pots that was alive in me at that moment. I always sit with a plan in mind - very specific - but my end result never matches what my initial thought was. In other words my every attempt is a copy with the what if guy showing up. My pots are built on past pots. I can’t see how it can be anything else after thousands of years
  8. KAL. I suspect the culprit might be limewash paint. Esp if u see residue on your hands. After all they are used to paint lime bricks. If indeed it IS limewash paint - they are v hard to get off. Most people call in a professional service. Pressure wash. But I don’t think it will all cone off.
  9. Dick can you get that deep orange with cone 6 Shino? And then white on top. And satin. Once I get back home next week I’ll also post a recipe from my last JC which was a fake matte white Shino Cone 5 electric.
  10. Scott one more thing. Cone 5 -6 is termed mid fire/range - not low. Low is earthenware so cone 04/03. And Rick Malmgren did convert cone 10 to cone 6 and he explains the reason why. I think Oct 2000 issue
  11. Dick do you fire oxidation? where is the iron? Is this a real Shino or fake Shino? Of course my knowledge of Shino is limited to Malcolm Davis Shino (book knowledge - haven’t used it yet as don’t have access to ^10). In a week or so I can post our JCs Shino ^6 gas reduction recipe. Bland in oxidation. SAS check out an article in CAD written by Rick Malmgran
  12. Great you have a friend to help. Great potters don’t always make good teachers. One of my proff only knows how to teach advanced throwing which is very different from beginning throwing. But then you are limited to one point of view. Attend as many workshops you can. For me another great teacher are beginning students. I assist at my JC and helping students has been extremely beneficial. I am sorry to say but your words make you sound like a very closed person. Kinda I know person. Perhaps you are not that pompous. The thing is pottery out of all the simple art forms is very complicated. Science and art reside side by side. You have to REALLY know your materials, know your tools. There is a lot to learn. Which is why community is so important. You won’t find too many potters working strictly on their own. Dont worry. You will find your own voice. Be aware of safety issues - not only materials but also physically. In pottery your hands are just a tool. They are not what you throw with. You really throw with your body. If you plan to spend hours at the wheel for the rest of your life get risers so you throw standing up and not bent over. What is the largest you plan to throw in future? 50 lbs? 10 lbs? 5 lbs? Make sure your wheel can handle that. To be honest with you I’ve tried many types of wheels and really you can’t go wrong with any. My favourite is a fly wheel made from scratch 50 years ago. There is a feel to that I never get on an electric wheel. Too darn heavy to move unfortunately. If you are not new to clay but just to the wheel then just disregard my post!
  13. Areceli were you just going to use the styrofoam as backing to set up on but not hang? Grout is not enough to hold pieces together. The object of grout is beauty and fill in the gaps. If weight is concerned I’d make tiles from scratch instead of mosaics. But to hang and be safe you definitely need a backing to give it a long life. Which does make it heavy. With grout I think of mural.
  14. Jasmine is your claybody meant for cone 03 or higher? Just because you can’t see cracks does not mean they are not present in bisqueware. Glaze is surface. Not through claybody. If you flick your finger nail on bisqueware and hear a thud instead of a sharp tink sound you already have an unseen crack! Use it as glaze test Id say make some food colouring. Bright dark colour. Then dip your crazed cup in it and then take it out and wipe off. Or brush on and wipe off. Or India ink. You will be able to see where the water goes through crazing. If you refire to even 04 the colours should burn off.
  15. What shape are you thinking of? A cylinder? does a cup have to be exact? Ive watched videos of professional potters making and asked them questions to know (thanks IG) it differs from person to person. I make approximate. It’s more about the measure of clay (in throwing) than the height. A 12 oz cup could hold 13 or 14 oz but not less. Since you are slip casting I’d make a little more not common shape. Of course that is if you are making a simple 2 pc mold.
  16. Hi chip. Here is an article on Ron’s process. Mixed media. His work looks simple but his process is long and complicated. https://ceramicartsnetwork.org/ceramics-monthly/ceramic-art-and-artists/ceramic-artists/really-just-make-stuff-ron-nagle/#
  17. Hmmm doesn’t ink burn off (if it is the appropriate ink)? whether bisqueware or greenware or terra sig or slip should the ink not leave any residue? esp a clay studio I would imagine uses the appropriate ink. I would take a picture and fire and see. I am though concerned about the terra sig you rubbed. Might leave some mark. One time I used ink thinking underglaze. The result was bad. Nothing. So disappointed. Lesson learnt. Ask. Don’t assume!
  18. Andrea if the lid has a crack then forget it. It’s become a test piece... which is a happy accident. Just reglaze with white inside and see how it works. As a test I have glazed as a 3rd fire after taking it to cone 6. Some of the results I’ve liked because I like texture. But it’s been hard to replicate.
  19. If I have gravity’s help meaning I am not fighting gravity to keep it in place simple glaze works like a charm!!! Or epoxy after the firing.
  20. yappy i dont know about you but with me if i am not really connected/interested i dont want to proceed. so instead of just choosing something spend some time looking at cone 6 ware and see what characteristics call out to you. so what i'd do is first look at what kind of surfaces you like and then choose 5. think of characteristics - contrast - light dark, shiny matte, translucent/opaque the easiest is to use same base and add colorants to them. john britts book was overwhelming for me. a lot of pictures of glazes used would not happen with a beginning student. you'd have to do more. however i did read the book when i was trying to learn my materials. btw - do another check in. are you really invested in learning about glazes. i mean in depth or would you rather put more attention to form. if you find glazing wonderful while one base glaze with colourants is a great start - that's what it is. to know more you should try out others. or you can just choose one glaze and spend your life focused on nuances of that - that john britt is now doing with shino - at ^10 though. or you could be like sunshine cobb. know what you want. dont want to mix your glazes and so you buy premade glazes but dont follow the rules. sunshine overfires her glazes to get her look over stamping. she did have to test a lot initially. for myself while i love the headiness of glaze testing, where i find i spend most of my time is at the wheel drawing in air. however since i am at school and already have the glazes, i'd choose the ugly one, the ones made in small buckets that dont get remade the rest of the semester.
  21. Sorry “newbie” question here. You can work with ashes in ^6 glazes? Not soda ash. I tried soda ash just sprinkled on top of glaze and it came out rough. Not melted but underfired. I thought with right fluxes you can play with ash in ^10 Firing. Depending on when the wood and type of tree harvested I know how ash affects the outcome. I only have knowledge with ash glazes in woodfire. I’ve looked at 3 schools ^6 glaze glaze recipe but found no tree ash as an ingredient. One fired mainly electric, another mostly gas and the other - a 4 year college fired all kinds. Does that mean I can experiment with ash? I have some oak and pine that I washed and screened a while back.
  22. Jafa what cone are you firing to ? same cone for electric and gas?
  23. 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.
  24. i know you havent asked for this - but for non functional ware there are cold finish products today too.
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