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Everything posted by preeta

  1. how much time are you spending on a pot? in the actual throwing. esp if your bottom is pretty thin.
  2. the color of the clay body should not really matter in an indirect way. if you have colored clay then you should use more layers of UG. i have seen brilliant colors like that on black clay body too. i've used slip on red clay body and noticed i had to use more layers of slip. wonder if michael kifer spray's his UG on
  3. duh OL serves me right to be on the internet at 3 in the morning. yes u did say it was a glaze. when you say mix with underglaze. that is very interesting that you say SnC can be mixed with underglazes to create new colors. you mean mix like paint or blend two colors together like kim's flowers. in the pottery world at school we've been told mixing like paint is a big no no. if you do mix slip, test it first. ron if your wife gets super adventurous and wants to play with black clay - the velvet underglazes especially do very very well on them. i saw a cone 10 black mountain sculpture with
  4. aaah john i had no idea the texture of the clay below mattered. no wonder i wasn't getting the texture i wanted. i also played with the thickness of slip. i am still trying to figure that out.
  5. masco's stroke and coat - aren't they a glaze? a glaze that holds its color good if you fire at the right temperature. i remember reading they can be used on greenware (weren't allowed to do that in our class) but they weren't allowed to be stacked like slip coated greenware can be to be fired. i think they recommend firing temperature to ^05. their bottles gives specific instructions for higher firing and the resultant color. I've tried taking some of their colors to ^5 and they turned another color. i specifically remember the one named wine to go. it turned a very light lavender on me
  6. 47 i am still a student. the heat gun allowed me to go tall and big bellied. i borrowed it from the sculpture dept. (simple, new, very light) honestly if you are careful there is no need for any melting to happen. before the heat gun i tried many different things trying to go taller - different clays, different grogs. but nothing worked till i used the heat gun. no way would i work with a hair dryer myself to make big pieces during the rains. however this is winter rainy season (yes we had rain last week). heat gun worked GREAT!!. i even experimented with throwing a bowl and heat
  7. 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.
  8. laundry? why do you need to do laundry except your own clothes. my towels i hand wash in the bucket of water and rinse and that's as far as i go. once in a while i'll throw them in the laundry. wheel i wipe off with a sponge.
  9. how about a different functional use - like as a planter?
  10. WOW!!! i would happily buy one but never make one. no patience. i love his integrity of seeing his basket right thru to the end of firing. and destroy at the slightest of errors. would the gum arabic also slow down drying? i just keep looking at that and thinking woah can i do that so easily in a dry climate. hmm he also uses olive oil. does that slow down drying too? he is using it to stop sticking. they added salt to the slip. why. i think he is licking his flower petals. how do they get the larger dried flowers to stick? bone dry clay to wet clay? i guess that's one
  11. all my test tiles are actual things. bowls or cups or pencil holders or planters. at the end of the semester i put them in a box with a free label and put it out on the street or a friend's street which sees more traffic. there is never anything left. in class i have learnt someone's reject is another person's treasure (i have a couple of them myself) that is the reason why i make things to use as tiles.
  12. OP i have experimented a lot with white engobe and slip both on greenware AND bisqueware. i've actually worked my way down to look like yours. it was easy for me to get super white. but i prefer your look so that took some time experimenting. i agree with all the voices that shared here. i've tried layers, less water and deflocullated slip. the best white coverage i got was with deflocculated slip but i had to apply that to pretty wet greenware to get it to stick well. it was a porcelaineous slip which looks super wonderful white in ^04 but changes to off white at ^5 with or without clear
  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. well. i think the original intent of small holes WAS to catch the leaves. but in reality they dont work. i've used it all my child hood with all sorts of tea. and the long good expensive tea - still a few manage to escape. (wonder if reading tea leaves are a so i've been studying old english paintings and there is always a stylish strainer with each tea set to catch teh leaves. the holes are not small enough. i have seen heirlooms of cutlery containing a matching strainer. or a fancy tea set come with a matching strainer (strainer made of metal but maybe a matching procelain handle) in in
  15. mea been there done that. actually too often!! there's a wheel genie that gets me the exact moment i sit back and stare at my masterpiece. i step forward absentmindedly on the foot pedal and watch my hard worked piece fly off the wheel. my best pots have always landed at my feet. its a v. painful place for me since throwing is still so much a challenge for me. its taken me a long time to like my pieces. now that i do i feel sad when i lose the very one i was successful at.
  16. which country are you from? and which part? that will give us a big clue. i agree. the ware looks like pit fired earthenware. in the US if you are doing this on your own it will be far easier to use ^6 claybody and glazes. commercially available. as neil pointed out the others are available too.
  17. 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.
  18. Joseph I dont remember what cone you fire at? ^6? and what clay are you using?
  19. wow mark you did some night diving too!!! i always have had an affinity for the sea as i grew up on Jacques Cousteau. Great, great pictures. glad you were safe from feeling drunk.
  20. I am curious Giselle. what red clay do you use. in your speckled buff set did you line the inside with some slip too so the specs dont come through so much. or is it the glaze?
  21. bwahaha!! just you wait. you might like it and find throwing is not enough. which part of the country are you in. coz different clays are available on different coasts.
  22. curious about your question. what do you mean. throwing? handbuilding? i am still a wet behind the ears student so go nowhere near porcelain. like food, unfortunately i dont have one favourite clay. (that might be a student answer though). ^10 - somehow i have enjoyed with most ^10 clays i have worked with. they throw well and handbuild well too. i like the surface. 811 buff, Soldate 60, Sierra Gold. ^5/6 for forms i want to play with after throwing - Laguna Redstone (might be my fav. i love how it feels. because it has fine grog it dries differently making it more malleable.
  23. 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.
  24. john perfect example is warren mackenzie right? Silicosis. would also affect the glass industry too right? glass artists?
  25. Ronsa i know there is one designed for ceramics. the water colour one wont work. but i dont know if any type of latex would work too. the key with latex is just like water colour you ultimately have to take it off before firing. then there is shellac too. i think any shellac will do. i havent tried it yet. its something i would like to at least once. paint with shellac and then wash a couple of layers of clay away so the design stands out. the water carves out the design. like wax it burns off. http://ceramicartsdaily.org/pottery-making-techniques/ceramic-decorating-techniques/etched-in-c
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