Jump to content


  • Content Count

  • Joined

  • Last visited

Everything posted by preeta

  1. oh gosh Gabby there is really nothing to carving in clay. you have to try it yourself to see which kind you like. just make little tiles and experiment. try different things from your kitchen drawer. there are so many layers to be discovered. try carving in clay with various level of dryness and see which ones you prefer. i am going to try using clingwrap on wet clay so i dont have to deal with burs (or i hope i dont have to deal with them). i'll use a dull point to draw on the clay. i'd read as many books as you can lay your hands on. flip through them no matter how old becaus
  2. Thank you all for the heads up about resizing pictures. i'll know the next time if i was successful. Wow Joseph you tried a lot in your clay. Am curious to know what were you hoping to achieve all the sands and grog? was it fine grog ? Please update after your glaze firing too. i'd like to see if there was pitting. One of our 4 year college students said he stopped using chicken grit because he felt the ingredients list was not honest and he had too many cracking and glaze issues. Thought you might enjoy this article. https://ceramicartsnetwork.org/pottery-making-illustrated/a
  3. look for the chicken grit that specifically says granite. i've used it and it just stands out up on the walls. you cant really see it in bisqueware, but it shows thru after glaze firing. i've done ^6 and ^7 glaze firing and ^10 soda fire (but i think it didnt go past ^8) Rimas VisGirda has a very good article about additions called Let it Bleed. he though talks about feldspar. the free article does not have pictures. the pictures are very helpful to understand. <duh the article min posted> i think the granite chicken girt has feldspar. though you can also buy custer feldsp
  4. David the birth of my daughter taught me not to take those comments to heart. I did not really appreciate my mom till i became a mother myself. i did of course appreciate her but not to the level i do now. which i feel sad about. the context does matter a lot. i grew up in india where i accept the compliment with a smile because talent usually means - you put in all the hard work and look how nice it looks. whereas i put in all that work and mine comes out looking like nothing. these are people who have done art and know what it means to persevere. here i just feel sad. becau
  5. Really. You won’t drive 95 miles - a day trip to get maybe half a year if not a years supply, but you’ll spend so much more time in mixing claybodies. My circle is full of hobbyists and we do at least that much driving to get cheaper clay. The ones I know would much rather play with firing and glaze making I guess because they have found a claybody that works for them. I guess it’s more exciting playing with 10gas. Now if you are passionate and intrigued by the constituents of a claybody then it’s a whole different ballgame. I am lucky because where I live within a 100
  6. what i find really inspiring is that the ceramics programs in Korea is growing. it was good to hear rather than keep hearing from this side of the pond of all the places that are closing. i'm always curious what the norm is out there and what is making their ceramics program grow. i don't know how the universities in japan and china are doing with regards to clay and pottery.
  7. honestly so not worth the effort (unless lots of carving on the cup). she can easily pull off another cup and handle in the time she will use to fix everything. and this will be a second time around. just tell her to make another one. the second one always comes out better. more practice. this is a death defying activity. handle on the cup going against gravity. unless she props the handle against the cup. she already learnt a huge lesson about drying from this cup anyways.
  8. the article was interesting for sure. gave a lot of food for thought. as well as the discussion that follows. it validated what a lot of my profs at the community college have said. the artists who are able to live by their art are the ones who persisted. including the kid who is paying for medical school by painting portraits that sell. it doesn't mean those who made it made the best art. in a sense though can we really even speak about 'art' and 'creativity' here. as a student who eventually wants to become a professional ceramicist there is that whole place of what i want to make
  9. 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.
  10. 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
  11. 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.
  12. 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.
  13. Joseph I dont remember what cone you fire at? ^6? and what clay are you using?
  14. 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.
  15. the only glaze i have brushed on is Stroke and Coat and it seems to be very forgiving as long as i didnt dilute it too much. when you brush on is there still a difference between transparent and opaque (which seems to be more forgiving)? esp. when using glazes meant for pouring. i am assuming the 'thickness' SG is different from pouring and brushing on glazes as i find most bottled glazes are so much thicker than the pouring glazes our school makes. if i remember right darvan attaches itself to clay particles. therefore i would assume it would work better on glazes with more clay.
  16. 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
  17. 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
  18. Matthew thank you for answering the question i was going to ask. i know celadon traditionally. Even though Chinese in origin the word is French i believe. And i also came across many shades of faux ^6 celadons from Amaco i believe? Sheryl what cone do you fire to? gas? electric? reduction? do you mix your own glazes? or get dried glaze mixture? or straight from the bottle? do you dip or brush on? and now more questions: is there a colour difference between ^6 and ^10 or more? (i have read the article on RIO colours on CAD - how the % and temp. matter, my point with this question is
  19. aaah. yes. thanks for pointing out the kiln size. there are two sizes which i shall duly note and ask more questions.
  20. finally i took some time to look at our firing schedule in school. would the same schedule apply if you fire to 2200 instead of 2230F?
  21. 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.
  22. Mark why do you prefer the slab roller? even thickness? time saving? having used a slab roller (thick canvas and then a thin canvas on the bottom and same on top) i will say given a choice i prefer using a rolling pin or punching with a fist. i find machine slabs dry out too much. i usually work with soft slab and not really almost leather hard slabs. if i was making a set of 4 bowls by the time i finished no. 3 the 4th was too hard to manipulate. i guess i could keep the slab moist. that is rolling slabs out for 4 bowls at the same time.
  23. yup to kev. that's what my friend does. my friend uses the left over to mix in with recycled clay and makes bonsai and cactus planters out of them.
  24. actually i just use a wooden dowel. not even a rolling pin. i like the freedom of size it gives me.
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.