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Everything posted by preeta

  1. https://2000cranes.com/product.php?product=467 for the first time i got access to the inside and outside and i can see how the surfaces are different. how is the outside created? is it created during the throwing/trimming stage? slip application? or is the roughness created with glaze application?
  2. i am waiting for our local specialist in leaf prints - oldlady - to give you her exact method. if you look for her under members and then look at her gallery you can see the leaf plates she has. but if i remember right its how callie described it. i remember oldlady created a hump mold. i can see why callie is talking about a disposable plate.
  3. Neil when i was last at our local state univ, attending the visiting artist workshop, i met a bunch of kids who had come from many different community colleges around California. i was blown away how different the policies are in all the community colleges (ccs). if i drive an hour or hour and half and attend a couple of community colleges i would have much more freedom to do things. make my own claybody, make my own glazes and fire my own kiln. the philosophy where i am - the idea is if that can be done in a 4 year college then you cant do that in the community college. it takes 6 yea
  4. sorry no answer here either. but more questions. in the first orange cup did u use orange ug and when the glaze crawled it showed the white body on it? what i am trying to understand in that picture is did the glaze 'leach' out the ug leaving clay body or next layer of ug exposed? is the same thing happening in the other cup? did the green of the ug crawl along with the glaze? did some black leach into the glaze staining it? the only difference i have found in my limited use of ug - on greenware - no seeping of ug onto clear glaze. but if i used ug and then dipped glaze right away
  5. thanks john. i had learnt about elements from my very first ceramic class where the proff. was saving the elements of his skutt kiln and so wouldnt go higher than ^04. so the importance of elements was drilled to me from a professor who saved his job and a ceramic department by keeping his kiln going (this was a satellite little college where the dean would not allow even a raku kiln). i just learnt about insulation when the lab tech walked me through the electric kilns we have (3 skutts and one bailey). our school never fires beyond ^5 in our electric kilns. nor do we as students
  6. thanks john. broad generalities give me a starting point.
  7. all the glazes used were not commercial glazes but recipes handed down. John That is the answer i was looking for. the interface layer. i have not seen any ^10 electric that i am aware of. would melding together apply in the ^10 electric too and so the surface would actually feel/look like skin rather that something sitting on top - similar to ^10 reduction? therefore does that make the surface stronger? meaning restaurant ware which takes a lot of beatings. i know here at the state university they went through a lot of ^10 testing (both wood and gas) to get the right combination for a pa
  8. is there a difference in look of how the glaze sits on the pot depending on the type and source of the heat. i've done ^5 electric and ^6 gas (reduction) firing (both at school) AND ^10 natural gas reduction firing at a professional potters studio. and there is a difference in how the glaze sits on the pot - i feel. ^5 electric the glaze looks like clothes on a person. like a winter coat. ^6 natural gas reduction fire - like a leotard. no glaze made specifically for reduction. use the usual ^5 glazes and see how they act on reduction. but ^10 reduction firing the glaze f
  9. Update A few months ago you all helped me understand reduction firing ^6 i went back and forth to school taking your answers and asking my professor and then back to you guys again. And i kept talking to students too making do with the glazes we had at school. woohoo!!! Proff. paid attention and did great reduction fires in both our smaller and larger Alpine gas kilns last week. very successful, which sends me back to the drawing board again as i tried mostly on red clay this time. not only did we have two successful glaze fires, we are in the process of starting a THIRD r
  10. one fires would just be called single fires right?!!! marcia earlier this year i was reading about islamic pottery - persian. it was interesting to me that they commonly found was non glazed ware. only the rich could afford glaze. there was some reference to minai ware that i didnt look closely into but saw pictures of. so marcia i understood in persia they managed to get glaze to stay on by using lead and frit (if i understood right) on bisqueware. so is that where it first began and it caught on and we have it today. i find in countries where ceramics wasnt a major art for
  11. in the history of pottery when did bisqueware make its appearance and why? i guess you could call islamic pottery history mostly of bisque fire with a few glaze fired. today are most japanese traditional style pottery once fired or bisqued and then glaze fired.
  12. are bagged clay pugged clay? or bunged clay? instead of pugmill if you wedge clay from throwing scraps do the same principles apply for aging clay as a pugmill? what is the aging philosophy for hand wedged clay scraps? now it makes sense why the japanese gathered clay for the next generation. there is no question of dehydration in damp caves.
  13. Congratulations!!! the pugs must be happy that they now have a namesake in the studio. i remember reading about Warren McKenzie being excited about his pugmill as he said it allowed him to continue with clay. CM March 1997 Studio and Showroom Organization by Dick Lehman shows how ingeniously he has set up his pugmill and how it cuts the clay into the pieces he needs.
  14. here's another kind of wedging which i have seen some english potters use.
  15. oldlady i am a little confused. do you do some slab built bowls and some wheel thrown bowls, or do you put your slab built bowl on the wheel to trim? boy am i discovering the importance of evenness. i am a student. i throw at school and handbuld at home. i cant believe how many of my handbuilt bowls (pinch with coils, then sureformed and ribb trimmed and therefor not as even as wheel thrown bowls) have cracked. simple air drying with no cover. or have fine cracks. i've learnt to identify the bisque sound which tells me which pots have some sort of cracks which i can see or not. so i c
  16. S what kind of lines are you interested in. for casual lines i've done what matthiew does. white glaze then cobalt lines and then clear glaze. actually since this is a vase form i would not even finish off with a clear. for sharp lines ive done white porcelain slip with mason stain blue and clear over. never to be repeated again. i do not like tedious precise work. what i have also done (which i learnt here from Marcia from another thread) with both glaze and slip is white, then wax, scratch through the wax and fill in with the blue.
  17. just something else to consider http://www.plumtreepottery.com/articles/DownTheSC.pdf https://kiefferceramics.com/2008/03/11/throwing-standing/ i have tried both. standing at a friend's wheel and sitting in school where i do most of my throwing. really standing with a mirror is what really helps out my upper shoulders esp. i now sleep on the floor on carpet with no mattress to help my back. however i am the kind of person who prefers standing up. i stand to cut vegetables, i stand to paint and draw.
  18. is this conversation happening in the ceramic industry? from an environmental point of view. how big is the pottery community to have a significant impact? what about artistic expression? what if you prefer the looks of ^10 or wood fire or pit fire for that matter?
  19. aaah Mark. thanks for the lengthy explanation. it all makes sense now. i have been allowed to help load the kiln. and before i put the posts in i have to size them and make sure they are the right height. i wondered why they shouldnt be. but the lab tech was focused on organizing loading the kiln so i didnt want to break her concentration. triangle is space consideration. wow. woudlnt even have thought of that. our school has all kinds too but mostly triangular ones.
  20. oh wow. i did not know you did glaze on greenware. so the bowl hanging upside down is greenware! wow. i do remember your thread from last fall when you were collecting leaves for impressions in your square forms. i do look at the galleries from time to time but dont post there. i must say thank you so much for the comments and explanations you write about your pieces. it is tremendously helpful for my learning. i feel v. self conscious about my student work and that's why i havent posted anything yet. i've just started to like my work.
  21. Congrats and good luck. happy travels. i must say i really like your set up. very ingenius and so practical. do you spray all your glazes. i would now have to look at your pieces with new eyes. off to check.
  22. Mark why do you prefer triangular posts to square posts?
  23. thank you both for your prompt answer. i was thinking if one can use a cast iron pan to cook in why cant i use at least RIO on glazes. can i tell by eye if something is underfired? or will the heat tell me. the satin white behaved differently in reduction when the temperature goes to ^6 or ^6 1/2 as opposed to oxidation. i will do the lemon and vinegar test.
  24. If i use oxides on top of a food safe glaze would the end result still be food safe? in our school studio, when you use RIO, rutile, cupper or manganese under clear or any translucent glaze they mostly disappear. that is why i am thinking of oxides on top of a satin white glaze.
  25. Nerd the two professional potters i know (one of whom uses commercial glazes) both pay a large chump of change to have their special formulated clay shipped from alfred. yes ^2- 3 is the temp of the future. here they are testing ^2- 3 for dinnerware for restaurant quality use. as to making clay bodies - it is a far cry in my universe. i wouldnt even know where to begin. that does not play a part at all anywhere. i have thought about clay composition, but with my circumstances i think its not attainable during this life time. if anything changes i'd jump at it. all my knowledge comes
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