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preeta

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Everything posted by preeta

  1. this is an interesting conversation here. one of the things i am discovering as my 15 shares her world history thoughts with me is that there is no 'one' society. As we talked about suffragette i suddenly realized that is the history of one part of society, not all of it. that privilege for some others still had to wait 50 years. yes one part of society is valued by money. but that makes sense doesnt it? when we have such an elitist society. perhaps if we had more of an egalitarian society money wouldnt be such a big thing. i think the world is full of non Robert Fourners, but there are always a few Robert Fourner's who do question and survive. while maybe the majority values dont match the minority value, but there are people who ARE choosing family over a better paying job. the minority does have a voice and it does exist. bottom line is we have to choose which way to go. what we want to do. there is still a choice. its these teenagers who have helped me see that. they are not falling into the buy in. even though they realize they are biased by the ads they are struggling and suffering to be true to their own beliefs. i mean today we still have handmade embroidery. we really shouldnt have since the sewing machine came out over 200 years ago.
  2. not sure though what would be available in South Africa.
  3. Doesnt Gt. Britain have a different policy than we do. dont they accept lead bisilicate glazes too?
  4. are they matte? i wonder if the maker used bright underglaze colour or slip and then used a white matte to tone down the colour? that's a student talking tho'. as a professional potter i'd go with Neil's method.
  5. I would test first and see what you like. i personally dont like the colour of slip/engobe and even some underglazes directly under clear glaze. i prefer to apply them in the greenware state and then after bisque fire you just simply dunk in clear glaze. if you engobe greenware, a trick i discovered if you dunk the bisque ware in water you can see what the colour (not exactly, but quite close since the bisqueware looks faded and does not show the real colour) would look like after high fire or even under clear.
  6. Ditto here depending on which side of the tracks you live in. Social apartheid is alive and doing well here. I am so glad you tried to check Tyler’s profile. Perhaps I should not have assumed you did not. It’s weird you could not see it though. The danger of any metal - lead or cadmium is exposure over time - not a one time thing.
  7. Thank you Neil for answering the unasked question - that is always there at the back of your mind, but is drowned out by other more pressing issues.
  8. Vivk I have some advice for you. Anytime as a newbie when you read a reply look at the person’s profile before you reply. Check out other posts they’ve asked/replied. Esp. When you use such strong language. Unless you are a troll and planned this... either way good info here for future readers here. Did you google this before? Did you notice the EU has been trying to bring legislation to outlaw cadmium? Not sure how that applies to their glaze industry....
  9. Andrea with my experiments I’ve found slip applied to bone dry cracks. Casting slip cracks even more. Plain surface casting slip will do. Carved surface - casting slip will hide carving. I am still not very good with brushing on slip to get even coat so I like dipping in casting slip and making sure to take any extra slip off esp in bowls as the crack during glaze firing. I’m curious to see what The King of slip here says.
  10. That was true of George Orr too. He died a mechanic, not a potter. And his burnt babies sat in a box for 50 years in a museum before they were discovered. I think by accident. I forget the historical east coast family that could not even hold on to their property and had to sell it in 2015/16 I believe. Locally I have watched a local pottery factory get smaller and smaller. It makes me sad for the history we are losing... I feel it’s similar to farming. Old farmers are dying without passing on their knowledge. Yet I see new farmers come up who have to learn from scratch. I hear young potters in the age of 3D printers say why learn the wheel. Yet ceramic programs in Asian universities are growing. Its all changing and evolving!!!
  11. My mother gave up her teaching job to be a stay at home mom till at least we finished school. Her mother was a working mom so my mom missed her terribly. Ma cooked for us healthy many course meals. As a single working mother I cannot continue the specific cooking tradition of my mother. I still get the a nutritious meal on the table but it’s a one course meal cooked every 3 days. Life does not allow me my family tradition of cooking. I love cooking and it helps relax me. On particular hard days I actually cook to relax me. It’s also a creative endeavour since I don’t follow recipes. If you really look say at the tea ceremony it grew out of a need of peace during very violent samurai phase. Well Japan has changed and evolved. If anything (my opinion based only on what I read without having lived in Japan - just visited) they need a new tradition to help them not die from overwork. Tea ceremony’s beautiful but the reason it was created no longer exists. The samurai life has gone. We need new traditions.
  12. Waltraud that is exactly how we mix the plaster. Our molds were plastic stuff that we cut away. That’s why I guess we tapped the mold for 5 mins.
  13. In my personal experience from glazing (maybe I am a slow learner) it’s the repetition that helps. Two semesters ago I changed schools. Whole new studio, glazes and philosophy. First semester my glazing was awful. My bowls developed extra feet from all the drips. By the end of semester I finally got it (so much so that some of my pots disappeared - I took that as a complement) i discovered I was slow. My counts were slow. I was following the guidelines but interpreting them differently. I am now trying to ‘understand’ brushed on glaze to have more depth with two toned glazes.
  14. RR still cow but cows tongue shape. I am not certain for sure but I think it’s japanese in origin. https://www.google.co.uk/search?q=guebera+pottery+tool+cows+tongue&client=safari&sa=X&hl=en-us&prmd=sivn&tbm=isch&tbo=u&source=univ&fir=SVQ4GIBzKIvYtM%3A%2CmNyTVOlUU7CwbM%2C_%3Brmcr7Xok7KkSBM%3A%2CBsKG11Fb-OcoqM%2C_%3Bw99gHj8vhQEY7M%3A%2CmNyTVOlUU7CwbM%2C_%3BmUufSfca-goKEM%3A%2CmNyTVOlUU7CwbM%2C_%3BDntiILBwHpHDuM%3A%2CmNyTVOlUU7CwbM%2C_%3Btz0Y6GpUDgjKiM%3A%2CMBkTjHOj1dyE6M%2C_%3BDGGfGh4Y3_tTmM%3A%2CmNyTVOlUU7CwbM%2C_%3Bm27zsv2-3Q5JbM%3A%2CF_Bvaq-fXoCIhM%2C_%3BJQsHoHL8AwJSVM%3A%2CMBkTjHOj1dyE6M%2C_%3BfMLDOtjtjcHr1M%3A%2CmNyTVOlUU7CwbM%2C_&usg=__MgZnXLZKqnABKzYK59_JsNqKxrg%3D&ved=0ahUKEwjtuue4u8XbAhUJrVQKHffOCNQQ7AkIUA&biw=320&bih=445#imgrc=fMLDOtjtjcHr1M:
  15. In theory yes Neil. I had access to fine grog. The sand particles was much bigger so they kept catching. Yes yappy. In wet clay to see what texture it would give, and if it would stain the claybody. Ive tried rice in slip applied on the pot. Too sharp. I used basmati rice. Wonder if I used jasmine short grained rounder rice. But I’ve lost interest in that. Its been fun trying different organic material to see what stain the left behind if any and what texture. i had fun with chicken grit. Now I am more into trying low fire stuff and see if they turn glassy into glaze!! Like what happens to red art at ^7.
  16. Aah so the important part that makes the difference is the metal at the end of the circle Pres are you trying to use the principle of the gyureba rib! I found this in my local ethnic grocery store that makes a great rib for the inside of a bowl. They are not as big as those pictured here but it does a great job.
  17. Cone 6 electric right? why are you thinking about sand? tried it in wood fire with clear. My intention was surface since the sand was full of dark bits. I wanted the flex to show through. It’s one of my favourite bowl. I mixed it with a cone 10 white claybody. And I threw it a little thicker. I didnt see any warping. Oh wait! Construction sand a couple of years ago in cone 5 electric. Boring did really nothing. Slight specs seen through claybody Where throwing talk is concerned I would imagine it would help as long as you don’t mind the slight coloration in the claybody. I don’t mind rough claybodies. Grog is kinder on the hand than sand. Personally I would only experiment with sand if I had access to cone 10 kiln. for me cone 6/7 is fun to play with organic matter. Like cat litter or cat food that I have not tried yet.
  18. Not just cars, but I believe cell phones too!!!
  19. Learnt from Simon Leach. A blob of clay on the rim of the splash pan. Stick in your gauge which usually is a stick. I use a brush. It’s still that point idea which give you both width and height at one point. Very accurate. Basically a throwing gauge I still prefer the red dot pointer light but haven’t rigged it up yet.
  20. If you are not using any glaze then treat the underglaze as bisqueware only if you fire at the temperature the underglaze advices you to. Sometimes underglaze can stick but that’s usually darker colours. Not neon yellow.
  21. I am curious why you want to use an underglaze. Bleed and run are quality of glazes. Why can’t you use glazes like Stroke and Coat instead. It’s colours are kinda like underglazes. Though not all the colours go to cone 6. I don’t know much about commercial glazes to give you suggestions. If you can test a lot overfire a clear to make the underglaze run the way you would like. However running is gravity so it will only happen on vertical walls. On flat surfaces as others have pointed out the thick clear will turn smokey white.
  22. Plaster is really hard. It’s very difficult to shave. It squeals like a chalk board. Very painful for the ears. but plaster still takes in water. However it is still somewhat fragile. You can get cracks. i can’t imagine how big and heavy the table is. With lots of people around we have moved large heavy wedging table. 15 to be precise in a school setting. Can you throw a pizza party to get manpower.
  23. Do you burp the plaster to get the air bubbles out? ihave not used plaster in pottery. Whenever we poured plaster for sculpture for 5 mins after pouring the plaster carefully to avoid bubbles, we had to slap the sides to encourage the bubbles to get out.
  24. I have done both with no problem. Store bought underglaze and studio made slip that was tested to fit the claybody. But I don’t know how to answer your question before I learn the answers to the questions below. How do you apply the underglaze and slip? On greenware or bisqueware? When it is bone dry or leather hard? How many coats? How long do you wait between the coats. Your answers will help us troubleshoot. What kind of underglaze and slip? Store bought or home made? What kind of slip - casting slip or regular porcelain slip?
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