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Everything posted by preeta

  1. I had replied a while ago from my phone so I am surprised to see it not here. Gosh! You’ve told me the exact thing I don’t want to hear. I suspected iron and reduction can be problematic from past discussions here. I haven’t had the time yet to start calling but online research has revealed Lagunas WS-4 a white claybody that goes upto ^8. Lagunas Redstone is by far my fav claybody to date. I think I was the only one in my class who felt so strongly about it. It not only throws well but the key is it alters so we’ll in the soft leather hard stage. I did a lot of white slip
  2. If you are 75 mins from IMCO how far are you from Oakland? Because the Bay Area is the place to go. East Bay Clay in Richmond is famous for their ^10 bodies. They have prepared personal clay recipes for famous local potters and are allowed to sell them. I have yet to visit there but I know many potters who go down there to collect their favourite clay bodies. Definitely worth a visit to talk and bring some samples home. Does price play a factor in your choice? Isn’t Babu pretty expensive? Esp with its shrinkage levels. If you get geo stone would you post how it feels and g
  3. Sputty I am with you a hundred percent but esp where ceramics is concerned it’s such a different world. I mean for that matter was Japanese Raku an apppropriation from Korea I wonder. Don’t know that much history to know the answer. I feel cultural appropriation becomes a problem when the foreign culture makes money or some kind of gain at the detriment of others. Like Native American art and big corporations or even art for that matter (which I saw at the solar eclipse which was abhorrent). case in point - the chawan. Or teabowl or all the other names. Everyone maki
  4. Sputty honestly Japanese art philosophy is at such a different place that I don’t think any country can truly understand it. I mean if Warren McKenzie was walking down the street no one would utter in awed whisper there goes a famous potter, as they would a National Treasure in Japan. So I don’t expect the same reverence. I have no problem with cross cultural knowledge without the traditions carrying over. There was a great talk on tea bowls this year at NCECA on This very point that I watched on YouTube. But I get what you are saying esp when the name Raku is used. However
  5. Could you take a class to start with? I find clay so different from drawing and painting. Just like paints and charcoal you really need to understand your material that is clay. There are so many little things to know even before you make something that - for me it’s not worth fighting on my own. Clay as a material can be very frustrating. Plus a community is so important. To learn from. As students our text book is called hands in clay. Maybe a good place to start. Another great resource I am looking forward to diving in is clayflicks. I am so tired of seiving through
  6. Wow Denice and oldlady- you are describing true Japanese Raku, not the Americanised version it has become ( Mr Raku in Japan was so horrified when he heard how Raku was practiced in the US, that he forbade using his name to the process. But unfortunately Paul Soldners happy accident of dropping red hot ware on leaves and seeing what it did had become too popular and common for its name to go away) can you tell my profs have been Soldner’s students. Ive only heard and read about those parties, never met anyone who attended one. Wow that’s truly history! So the American Raku (which
  7. it depends on what I am doing. To me the real key is how well do you scratch the surface. Esp with sculpture. I score really well with a fork. That kinda creates the slip right there. Just water and a coil has always worked for me. I think students getting their slabs too wet is part of the learning process.
  8. I throw a lot. When I first started even more. I’d have 10 balls of clay - no more than 15 mins a ball and not get up from my wheel till I had thrown all 10. (If I did more than 10 then i’d get nauseous and light headed - so I always took a break at 10). I’d trim them. Then line them and decide which ones I liked and which ones fulfilled the goals i’d Set. Not all 10 made it to trimming because I was cutting them in half. If I could even center. I remember in begin wheel at the end of the semester my prof complaining I hadn’t thrown enough. I’d been busy handbuilding pieces for glaze test
  9. is $3 a bag a typo. That is absolutly ridiculous even including bisque and glaze firing. so basically you want to get better at the wheel right? that is first priority? IF you have space at home... to me it sounds like the best bet would be to continue taking classes (that way you get the community) and work at a wheel at home (maybe you could buy a second hand wheel). you wouldnt have to keep everything but you could check what the bisque and glaze firing rates are at the studios around you. i throw in series and keep a few of the best ones. the rest i recycle right away.
  10. Fredrin - here are my thoughts since i work mostly in a sculptural studio where none of the art is functional. First let me confirm these points. The clay is not a major program but i assume could be in future if interest is shown? the students are handbuilding and mostly big work.? Here is what I have noticed with most of the sculptors as students and artists i have interacted with. They want WYSIWYG. They dont want surprises or any chances. they have expectations and that's what they want to see. In that realm electric kilns are ideal. they either want bright colours which are mo
  11. West coast here. Our school is set up for cone 6 gas reduction. Sometimes the kiln reaches cone 7. when I go to buy my clay, I either find ^5 or ^10. How do I find a ^7 body? Or is the implication here ^5 is actually a range from ^5 to ^7? Before I start my research I was wondering if anyone else has had this problem and already found the answer? I know ultimately this means I have to test test test to figure out my clay body. I am going to talk to the manufacturers to find out about range. another line of thinking. Could I wedge well a ^10 body with ^5
  12. West coast cone 5 body - speckled buff cone 10 glaze that I can’t remember. Peterson’s white?
  13. I will also add the possibilities of multiple firings too. I have tried heat guns vs flames but it’s a different look. I prefer the torch . Sputty I am so sorry for your experience. I’ve had the opposite. However I’ve had your kind of experience in other fields. And heard others complain about other potters. This is a huge ongoing struggle for me now. A lot of my favourite artists are such €#%$¥. I like their work but not the person. I have not figured out how to feel about that.
  14. Mike how did you leave the lids to be fired? We’re they in the pot or next to the pot? For our studio if we have glazed the whole lid then the lid sits next to the pot and it is fired that way. However if you don’t glaze the whole thing you leave the lid on the pot. In other words things are fired as you leave them.
  15. Why porcelain. 1. Non porcelain yes. I’ve not seen any in porcelain. 2. Yes all the raw materials can be purchased. Unfortunately as hichmss pointed out you’ll need some practise. 3. Research ceramic store/ shop in your area. Or nearby. Talk to them. They will probably be able to help you more than we can. And they might offer classes for you to learn. Or look for a clay studio and ask them where they get their supplies. 4. If you are willing to make the financial commitment I don’t see why not. Again a local store or studio might give you better leads than here. You
  16. Porcelain slip on dark claybody is exactly what I love using. However cracks are about two clays shrinking differently. To get the raised effect in slip trailing I use as C Banks posted a defloculated slip or even casting slip (I add ball clay to thicken the casting slip so it won’t run when I am drawing lines with a hair dye bottle). Since the two bodies are not a good match I have to experiment a bit to see what leather hard or wet stage my claybody needs to be. For lines and dots I put the slip on immediately after throwing and then cover and slow dry. I do love cracks though
  17. Are you afraid to glaze because of the crack growing? How about low fire glazes? The crack should not grow and if it is not too wide glaze might seal it.
  18. i wish there was an easy answer, but there is not. the only way to know is to try it. however having said that there is not that much difference between 5 and 6 esp. if firing electric. at least there should not be. i will go out on a limb and say you should not have any real problems overall except in a few cases. if you know your glazes well you can tell how they are doing. ive taken ^5 to 6 but not the other way around. if anything you might have more problems with clay/glaze compatibility than underfired glazes. with glaze recipes i have seen the range for what
  19. OT... Me too. Me too fellow experimentor!!!! The thing that I just love about pottery is drawing in the air. I make certain forms over and over again because there are tiny differences that I need to hash out. I feel I truly live when at the wheel and the rest of the time I am waiting to get back on the wheel because my next pot appears in the middle of the present I am throwing and I have yet to throw it. This semester I swore no more bowls or cups. Alas I’d forgotten about empty bowls. And then my 15 year old brought up our search for our perfect mug. It’s that one variation
  20. I agree with you Joseph. It is different. For me the lack of grog makes a huge difference because I am still not a confident thrower. Not just porcelain but even b-mix without grog involves a whole different learning curve. Ultimately I discovered I preferred iron body clay with white slip because our school fires ^7 gas and clay reduction plays an important role in my surface thoughts. And also that I really didn’t care much for the porcelain look. I much prefer buncheong over porcelain. So doc I’d definitely encourage you to try porcelain - just to experiment. Not just with thr
  21. lol no. our whole class was actually joking about it. it was just like the movies. how you mix and cut and then arrange cocaine in a line - before you mixed in the liquid ingredients. the item we were using was a science lab spoon which had a quarter spoon measure at one end and a square flat piece at the end making you feel you were holding a blade. Marcia i try but if the \teacher doesnt insist on it then i cant do anything. i wonder if the teacher thinks once a week for maybe an hour (the dry ingredient state before we add liquids is very short) for maybe 5 or 6 weeks is enou
  22. Thank you all. You have provided me with the answer I needed. I have my own mask that I got after the discussion here last year. We are given disposable masks at our materials class in school but I am not sure if they are a P100 or not. Johnny I’ve been mixing glazes too. I am now taking classes at ARC which suits me better as I have more freedom to experiment. The ceramic department insists on masks but in our materials class it’s just a suggestion. Min thanks for the heads up on talc which I did not know about. That is interesting because I really dislike the texture of talc
  23. In my non ceramics materials class we learnt how to make Pastels. So I got some copper carbonate and cobalt oxide and made pastels out of them with the intention of experimenting on bisqueware to see if I like the look. If they pass muster I’ll try other oxides. The three additives we are using are calcium carbonate (ground marble), talc and kaolin. I notice while I take precautions when working with dry powder., many students don’t. The teacher does not insist because the class is provided with non toxic pigment. The room is big but it’s all closed in. No ventilation
  24. OH LT you just blew my mind. adding the stuff to slip!!! that's BRILLIANT!!! plus the weeping issues wont happen. and then to paint with texture rather than colour. wow that just opens a whole new door for me. i really like your thinking about the pan muck and glaze clumps. even with ^6 i think i can experiment at school since they only bisque to 010. i love experimenting. its what keeps me going.
  25. ah the indomitable Robin Hopper! You definitely wouldnt go wrong there. He has been one of my early teachers (through his books and videos) AAAAH oldlady. Thanks for the heads up. i've notice a stylus looking tool in my daughter's nail bag. i'll try that.
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