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Everything posted by preeta

  1. Is it possible to wax over bisque then use a torch to remove it so one could glaze over the bare bisque? Kind of like the liquid frisket used with airbrushes? Why not use latex on glaze that you peel off before firing. not sure how latex would react over too powdery glaze. would it stick well enough?
  2. http://krismarubayashi.com/page12/page12.html a plug for our local paperclay artist who does NOT work exclusively in paper. but uses the qualities of paper clay to its fullest.
  3. Tom Jaszczak and Maggie Finlayson Sunshine Cobb is between earthernware and midrange - ^3/4 one common factor i have discovered while researching earthenware - most of the potters i have read about either graduated from Alfred or did a residency there. they all pay beaucoup bucks to get their clay shipped out from Alfred. esp. those experimenting with salt glazing on earthenware.
  4. 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
  5. 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
  6. oye vey. why are you complicating it so much? why dont you just throw with a bottom? a plate and a bowl. unless you are making a steamer or bundt cake. but even then. nope. too complicated (fairly newbie here soo....)
  7. i always apply slip to greenware after trimming. i have extensively played with slip. and how to wet a pot. in fact i must say proudly i have learnt quite a bit about wetting a pot. if your pots are pretty dry leatherhard - misting really doesnt do anything. it just gets teh surface wet. as neil pointed out you dont need to do that. however i love slip on bone dry pots. the slip cracks. i apply thick slip so the cracks stick. i manhandle my pot by spraying inside and outside if i see the slip peeling off. if my pot has become too dry i wrap a wet towel around the pot and then
  8. oldlady your words remind me of how the koreans make the onggi pots. cant remember if they just put or whack the clay ball but then they beat it till its the thickness they want and then they apply coils to pull up. a local potter here sorta uses that technique to show his students of how to throw plates. he doesnt throw the clay into a flat pancake but stomps it with rice bags to thin out the ball of clay after centering. his class does not have that many cracks as our class does with their thrown plates.
  9. Ron I have found test tiles are but step one. it gives you basic info. good info but not the whole answer. how it does on texture. but you need more esp with combos. AFTER test tiles i have found making small bowls and cylinders give a more 'truer' picture (or forms you make the most). there are so many variations. a tall bowl makes a difference than a wide bowl. i wish i could tell which glazes will be more apt to change. but right now my time is focused on throwing and i am not spending too much time with glazing. just jotting down my thoughts and questions when i am ready to experiment wit
  10. what i am getting from your post is that you are looking for two blues. similar blues - one bright and one not so bright. instead of looking for two glazes i'd just change to a different colour clay body which might mute the bright blue glaze in a way that you might like.
  11. Paul i look at your picture and i can't quite make out what you mean when you say craters. when i think of crater glaze i think of volcanic glazes with a lot of cratering. did you create the cracks or did the glaze create the cracks. or are the flecks the craters you are talking about. can you post a picture before the crater at ^6 please. just curious. i know lucie rie got pitted surfaces adding rice to her slip (i am in the process of trying that myself - with rice and cornmeal). have you ever tried that to see if you like the look. that would eliminate a 3rd firing.
  12. Jed if I remember right you focus on Native American flutes right?!! they are all so beautiful. wonderful glaze work. they all look so close to nature. the only one i feel strongly about are the white hole rims on the first flute. compared to the background the while is too jarring for me. the area surrounding the holes looks like bisqued clay body there but you can apply some oxides to it can't you? of course this is all through pictures. in an orchestra or even small group setting your flutes will definitely stand out.
  13. aaah chris the traditional chinese inlay technique is looking wonderful in your hands. i love the intentionality of it. i remember i was blown away by a chinese vase form where the inlaid pot had tree rings. you inspire me again to try another technique. the thick black slip is a brilliant idea. thank you joseph for doing the digging around so we could all see the article and learn how.
  14. but RonSa should it be about fixing or just about looking at it in another light. esp. greenware. of course take this with a grain of salt since its coming from a student perspective when time is not money yet. i love, love, love blemishes on greenware. it gives me the chance to break rules. it gives me the chance to experiment. i've turned a trimming hole on the side of a vase as part of design (making the fixing look intentional) and sometimes its become the focus point. in fact i've learnt more about trimming when i was rewetting a bone dry pot which i was told should not be done.
  15. i agree with LT. laying down a claybody slip and then carving sounds like a good idea. you've got to do something. either wax or slip on the body first. though to be honest with you i find wax to be much easier. i dont see how you can save time. i dont see wax taking any more time but definitely cost factor. with wax you apply the slip or underglaze and you can wipe right away. i've done it with a damp sponge, not wet sponge. you save the scraping time to apply wax and let it dry. with inlay its hard to figure out the just right temp. so depends on how leather hard your body is.
  16. Ohh, the possibilities! Thanks oh dont thank me. thank hamada. its his technique that i learnt when Marcia posted about it on a thread here. i havent seen the videos here but i have used wax to do multiple glazings without it being too time consuming. the thing about hamada's technique - for me was - that it made you think differently - and blew my mind to endless possibilities. it is brilliant in its simplicity.
  17. oooh Ronsa. welcome to the world of wax resist. endless possibilities. my favourite is carving the wax resist on the glaze and then washing the exposed area out and then applying another glaze. i dont do precise lines so i dont mind the wax peeling (in fact i prefer it). what i like about that is i get two layers of single glaze. not one on top of the other with iron rich glazes the edges of the carved out wax resist usually breaks into a different colour looking lovely.
  18. stephen thanks for this question. i learnt so much from the question and answers. things i hadn't even thought about. Is that the reason why in kiln loads with mixed forms you see the bigger taller forms on the top shelf of a gas kiln (i noticed when looking at pictures of loaded kilns (mainly updraft gas kilns) the taller and bigger forms are placed on the top? i would imagine the top would be hotter.
  19. Another important area which you should research and know about is safety. i would say this knowledge would be an important part of your tool kit. There are a lot of threads here talking about safety. safe about inhaling dry clay. dust. silica. simple things as how to clean your area (mop, not sweep), how to wash your clay clothes, how to be careful about clay laden water without hurting your plumbing. i am saying this because you want to make stuff seems like regularly - not just here or there.
  20. Pugaboo good luck!! please post how the glycerine went. i have testing dipping and it really does very well.
  21. aaah this is great stuff Tom. i was just getting ready to ask a question about how to tell about plasticity on the other porcelain thread. so the timing is impeccable.
  22. sadly Pres I am hearing that more and more. A friend took a ceramic class with Volkos. she saw him the first day of class where he went over the syllabus. and the last day of class where he graded their work. she was a painting major. we have students with masters degrees who have come back to take the pottery classes because they want to fill the holes they have. wow. what? i know for sure Sac State is not like that. LeeU so sorry to hear that. we went thru all that preteen. now its just teen irritation for anything from an adult, esp. mom. considering how much worse i was to my mom i gu
  23. i stand corrected. you are so right. its just one way not the way. oh how i could forget lana wilson. she was one of the first artist i discovered. i love her plop theory. opened doors for me. thanks for the links. off to check out. i have played with slip in school. i did slip trailing quite a bit but want to try other things. actually i am the only one in the whole clay department who plays with slip in a non specific way. but i came to the end of my experimentation. i need other ways of thinking to delve deeper with slip. so your links will be of great help to opening doors. ty
  24. phoebe i would not eliminate great white without trying out a bag first. i've learnt my lesson from B mix. some people LOVE Bmix. others dislike it. some people have problems with Bmix and others wonder what are you talking about. starry night is a particularly newer clay for IMCO. if you want to try out the ilmenite i would say go to alpha and buy Speckled Buff. the speckles are from ilmenite. big pieces. really beautiful with matte glazes. or satin glazes. i think in starry night its ground up so no speckles. i've done ^5 reduction with speckled buff and no - not a good idea. also
  25. awww pres. the prof. was just joking and meaning it more as a compliment. however i DID have a proff tell me to stop asking questions in class. give the others a chance. i used to give the others a chance to ask and when they didn't i'd ask. then a week later he apologized and asked me to ask questions again because it broke the ice. i always play devil's advocate too and i also ask for others who i know want to ask but are afraid to. i feel i have the advantage of having crossed my 40s where i lost my self consciousness and was no longer quiet and shy like them. so i feel i need to contri
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