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preeta

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  1. Like
    preeta got a reaction from Min in Moon Jars - What Are The Rules To The Form?   
    joseph its one of my favourite form too.
     
    from my limited research i always saw that traditionally it has been two pieces.
     
    do you want to know what a moon jar is today or what they traditionally were. because i think these days if you call it a moon jar then it is a moon jar.  i think Hsncheun Lin made a sodium silicate moon jar.  ive seen them made with stoneware and coloured glazes too. 
     
    i've only been able to successfully make them in one piece with a heat gun.
     
    however the ones i really like are the ones made in two sections. there is so much character to the form in trying to join them. they look like a woman's belly after giving birth. the wabi sabi offness in the middle. 
     
    in other words i dont really know what a moon jar is. the only commonality with traditional and break the moonjar norms are the foot and neck ratios and a rounded belly. 
     
    but come to think of it, i have never seen a moon jar covered in crystalline glaze.
  2. Like
    preeta got a reaction from Joseph Fireborn in Moon Jars - What Are The Rules To The Form?   
    joseph its one of my favourite form too.
     
    from my limited research i always saw that traditionally it has been two pieces.
     
    do you want to know what a moon jar is today or what they traditionally were. because i think these days if you call it a moon jar then it is a moon jar.  i think Hsncheun Lin made a sodium silicate moon jar.  ive seen them made with stoneware and coloured glazes too. 
     
    i've only been able to successfully make them in one piece with a heat gun.
     
    however the ones i really like are the ones made in two sections. there is so much character to the form in trying to join them. they look like a woman's belly after giving birth. the wabi sabi offness in the middle. 
     
    in other words i dont really know what a moon jar is. the only commonality with traditional and break the moonjar norms are the foot and neck ratios and a rounded belly. 
     
    but come to think of it, i have never seen a moon jar covered in crystalline glaze.
  3. Like
    preeta reacted to Tyler Miller in Has Anyone Tried To Glaze Pieces Of Coral?   
    Hard coral is calcium carbonate. Firing it alone will make lime, which is caustic. Firing it glazed will likely make a mess.
     
    You could maybe use it like shells in firings. But there are likely better uses for something so valuable.
  4. Like
    preeta got a reaction from Shelly M in Will Ilmenite Work At Cone 6?   
    what kind of ^10? Gas? Or electric
     
    I've only used ilmenite in my claybody.
     
    And discovered it is beautiful in oxidation but not in reduction. The colors of the glazes disappear in reduction.
     
    I've chatted with a very knowledgeable staff at our local supplier who carrys different mesh sizes. He told me it does go up to ^10 but does not do well in reduction. The specks get larger at 10 than ^6 if you were using the same size ilmenite in the claybody. However we talked about claybody not glaze.
  5. Like
    preeta reacted to Joseph Fireborn in Attaching Dry Pieces To Each Other   
    Also. After you attach the handle with the spooze solution, put it in plastic and give it a week to dry slowly. The moisture needs to absorb slowly into both sides the handle and the cup to avoid the cracks. It still might crack or fall off during the firing though! Good luck!
  6. Like
    preeta reacted to bciskepottery in 100 Sake Cups   
    Can we assume you will test each cup to make sure they work properly?
  7. Like
    preeta got a reaction from Judith B in Contemporary Ceramics   
    Judith I am just the opposite of you. I feel the magazines give me lots of contemporary potters to look at - names and works. they are in present conversations and places like pinterest, podcasts and blogs.
     
    i always miss those that have gone and don't get talked in media so much. i like off beat potters more - not so much just about their pottery but their life. For instance the New Zealand Potter Barry Brickell. https://www.nzonscreen.com/title/barry-brickell-potter-1970/overview
     
    i really like potters who are involved in social justice issues. plus just their attitude towards pottery - like ayumi horie.
     
    i like to keep my eyes open and look for more international potters. i love quite a few danish potters. vietnamese. africa. 
     
    two of my very favorite potters are those who really challenged form and found different ways to express. they are giants in their fields. Hans Coper and Magdalene Odundo (who now does more glass than clay)
     
    if i had to choose and say who my favorite contemporary potters are - they are Shigemasa Higashida, Sung Jae Choi, Lee Kang Hyo, Phil Rogers, Lisa Hammond, Jean Nicolas Gerard, Anne Mette (actually all the Goldmark potters), Akira Satake, Sunshine Cobb, Tom and Maggie Jaszczak.... and many whose works i can identify but can't remember their names. there is a potter in britain who died relatively young. she (i think) used different temperature clays fired in her electric kiln to create a surface i found fascinating. alas i don't remember her name. 
     
    and of course some who are members here 
  8. Like
    preeta got a reaction from LeeU in The Price Of Art   
    If I remember right there is a whole philosophy of monochrome that Klein believed in.
     
    i also think this isnt 'just about blue' but a specific blue that Klein searched for which he called the colour of pure space and more. its a kind of ultramarine that he patented. he spent quite a few years experimenting and trying to find the right colour he wanted. So in that one painting we see years of work and a whole bunch of paintings - maybe 200 of that.
     
    to me the price is the recognition of that journey that was deemed precious enough by those who bought it.
     
    having worked in advertising for 10 years till i got sick of it - it was always so hard to see the best work canned and rejected.  and awful asinine ones win and go to to become big campaigns. if the intent was to use asinine to reach the masses because they knew it would win then that was a success in my books. but most of the time people were struggling to figure out what would work.
     
    i always hear paper does not bring in much money as it does not survive. i'd like to take those people to our museum and show them their paper collection from the 1400s. 
  9. Like
    preeta reacted to CarlCravens in Quality Teaching Videos (Youtube, Paid Courses, Etc)   
    One thing to remember...  I think few instructors with any kind of reputation are demonstrating "wrong" techniques.   If something works, it works (barring hidden flaws), and someone who has run a successfully pottery business for years probably isn't doing anything wrong.  The thing about pottery is finding what works well for you.  I center using the common technique taught by Robin Hopper, but that technique is easier for a big guy than for some.  I open bowls with a modified technique based on Brad Sondhal's, and had an instructor tell me it was "wrong".  But it works, so it's hard to argue with.
     
    Simon Leach has some useful material, but he rambles and repeats themes... you can dig some useful info out, but it takes time and patience.  I used to find him very entertaining, back before he moved to the States... something seemed to change in that time and I found I didn't like watching him anymore.
     
    Hsinchuen Lin's youtube (https://www.youtube.com/user/hsinchuen) isn't exactly instructional (some of it explicitly is), but he demonstrates throwing his forms, decorating, etc in exacting detail... doesn't skip anything, works carefully and methodically (he makes functional ware, but doesn't work at "production speeds").  He can be very educational to watch, though sometimes his skill is intimidating.  He posts new videos very regularly and is up to #286.
     
    I find Bill van Gilder (https://www.youtube.com/user/vangilderpottery) a great instructor (he has produced professional training DVDs and does workshops), and he has a lot of free videos on his channel, though he hasn't done much in the last few years and just recently started posting videos again.
     
    Nobody's going to tell you John Britt (https://www.youtube.com/user/johnbrittpottery) is doing it wrong.   He's got a fair amount of instructional material on YouTube, and his for-sale instructional material on glazes is great if you get into working with mixing your own.
     
    Ingleton Pottery (https://www.youtube.com/user/youdanxxx) is another production potter that does demonstrations.  He doesn't really teach much, but watching him throw is educational.
     
    If you can afford them, I think Robin Hopper's videos are still a great resource... they're dated (originally VHS), but throwing hasn't changed.  The same can be said of Stephen Jepson, though his presentation style can be a little off-putting sometimes ("people").  (Hopper's book, Functional Pottery, is core to my philosophy of functional ware.)  I've watched all the videos produced by these two guys multiple times.
  10. Like
    preeta reacted to Denice in What Can I Do Here?   
    I would make it look even older using a lime or white wash on it and you could put just a hint of color on the vines and flowers.  Denice
  11. Like
    preeta reacted to Mark (Marko) Madrazo in What Can I Do Here?   
    That's a beauty. I would keep it as is. If you have a potter nearby with a big enough kiln, ask how much to fire. If no potter, talk with the art department of a local College or University.
  12. Like
    preeta reacted to Min in Motor Oil Or Kerosene In Clay Body?   
    No clue if this might be a possible direction of thought? (the coal bit or post #6) 
  13. Like
    preeta reacted to Pres in Would You Sell Pottery That Has A Tiny Crack In The Glaze In A Few Places?   
    If the pot with the impurity is to be sold, I would consider grinding and refiring.
     
    I believe that there comes a time in life when a pot sold with a crack, or imperfection comes back to haunt you some way or another. Is it just me, no, I don't think so, I have talked to lots of potters that believe the same. Have I been haunted, yes. I observe over the years that the growth of a crafter can not move forward unless at some point they make the conscious, or unconscious decision to be selective and honest with themselves about their work. Some end up giving up because that honesty is difficult or because they are not willing to put in the time to move forward. Others continue to make, but only for themselves and family/friends, and yet become much more than they ever were when they were trying to sell. These folks, if they decided to go back into the market at a later stage in their life would find the process enlightening.
     
     
    best,
    Pres
  14. Like
    preeta reacted to Joseph Fireborn in Would You Sell Pottery That Has A Tiny Crack In The Glaze In A Few Places?   
    If it isn't something that you expected to happen, then do you know what will happen further when the pot leaves your hands? Are you ok with that randomness happening in your work with your name on it, sold to your paying customers? Will they be happy with the durability? Can you promise this is a good product at this time? Would you want to buy something that the maker was unsure of what was happening?
     
    Those are questions you should answer about yourself and your work.
     
    Personally I won't sell anything that I am not confident in. 
  15. Like
    preeta got a reaction from Marcia Selsor in How Does One Go About Getting This Kind Of Watercolory Stain Look?   
    OP i hear your frustration.
     
    i am so glad i can take classes at a community college. i have so many people to ask questions - the teacher, the lab tech, the TA and other advanced students. the material is all there - so i get to experiment.
     
    i know testing is a pain but i have discovered they are worth it. i was using my forms as test tiles and they'd come out so awful that i'd have to go back and test.
     
    i really wish you could find a school or studio to take lessons in. it saves so much time to learn the basics.  we have advanced students who have wheels at home but they still come to school to use the studio because they still learn new techniques and can talk about their problems to others.  i also learn from fellow students who try different things. 
     
    so i really, really hope life allows you to find a place to learn the basics. so much of pottery is also touchy feely that looking and hearing is not enough. what look me 6 months to figure out on my own once i started school i learnt in a week.
  16. Like
    preeta reacted to Marcia Selsor in Almost   
    8mm is thick When trimming, stick a flathead thumbtack inside the bottom and trim til you hit the point. Snip the stick to the dimension you'd like, say 1/8" or about 3mm before you begin. 
    8 mm is hefty and with water could sprain a wrist. 
    Meanwhile time has nothing to do with drying. When I worked in a basement studio in Illinois, it took about 4 days til I could trim mugs and apply handles. In Montana I can trim mugs about an hour after throwing them. 
    Soft leather hard is a better description. 
     
    Chris is right about the spout. Just make sure the spout is above the galley for the lid. attach the spout to the upper half of the pot.
    http://community.ceramicartsdaily.org/gallery/image/5369-selsorteapottophandle-copy/
    Don't be discouraged! read this
    http://community.ceramicartsdaily.org/gallery/image/5368-post-1954-0-50404300-1395634929/
     
     
    Marcia
  17. Like
    preeta got a reaction from GiselleNo5 in Pots in Movies   
    i watch the news all the time and my fingers itch to send a cup. except i am not good enough yet. but when i can throw well enough i might just do that. 
  18. Like
    preeta got a reaction from nancylee in I Need To Clarify Cones To Fire At For Brightest Colors   
    the color of the clay body should not really matter in an indirect way. if you have colored clay then you should use more layers of UG. i have seen brilliant colors like that on black clay body too. i've used slip on red clay body and noticed i had to use more layers of  slip. 
     
    wonder if michael kifer spray's his UG on
  19. Like
    preeta got a reaction from Sallyd in Underglazes And Such   
    masco's stroke and coat - aren't they a glaze?  a glaze that holds its color good if you fire at the right temperature. i remember reading they can be used on greenware (weren't allowed to do that in our class) but they weren't allowed to be stacked like slip coated greenware can be to be fired. 
     
    i think they recommend firing temperature to ^05. their bottles gives specific instructions for higher firing and the resultant color. I've tried taking some of their colors to ^5 and they turned another color. i specifically remember the one named wine to go. it turned a very light lavender on me. yet hot tamale keeps its color in ^5.
     
    old lady that makes sense that kim would dry out the stroke and coat. that makes complete logical sense to me. because you can't really draw with stroke and coat the same way you would with an underglaze or slip (using a brush). i've had to brush on many layers to get a deep color. even though they recommend 2 or 3 coats, the colors do much better with many more coats on. i recall other students using 8 to 10 layers to truly get a vivid even color. 
     
    ronsa - this is one of my favorite decorating video. having been a printmaker first i really enjoy the reductive technique. there is another video i can't find of a potter transferring different layers of slip and powder he used on newspaper and transferred to a slab. i prefer to do abstract so i purposely don't peel off the paper well.
     

  20. Like
    preeta reacted to Joseph Fireborn in Looking To Start Mixing My Own Glazes   
    So I might be a bit different here. But when testing someone else's recipe: I start with half the water compared to the recipe. So say a 200g batch would start with 100ml of water. I also don't measure SG until I have used the glaze a lot and I know the consistency I want to use it at. I find it's a waste of time to measure it before you know how you want it and if your even going to use it in the future. A lot of test come out awful.
     
    After I have mixed up the glaze batch into 100ml of water, I slowly add more small amounts of water to the mix until I feel it is a really thick but mixed consistency. I stick my finger in the test batch to see if it is nice and blended. If it isn't I continue mixing until it is. Usually I run my stick blender for a good minute in a 200g batch, sometimes more.
     
    Once the glaze is mixed up to a smooth thick consistency I put the lid on and let the the glaze sit over night, I find that the glaze will thicken over night as the clay absorbs the water. It is too thick to use at this point. The next day I get some water and the stick blender and I start adding water and blending it as I add the water slowly. Eventually I will get the glaze to the consistency I think is right for the test dip. I usually still leave it slightly thicker. A lot of the times I will test multiple thicknesses with a single dip on multiple tiles, because that is usually how you dip pieces. So I will dip the tile in a pretty thick glaze mix for 3 seconds. Then I will thin the glaze slightly more with a little more water, and dip a different tile. Continue until the glaze is what most would consider a normal dipping consistency, I go with what Neil says, a chocolate milk consistency. So sometimes I will have 2-4 tiles of the same glaze all dipped for 3 seconds with different thicknesses. You could measure the SG's of each consistency at this step, but if you hate the glaze you just spent a lot of time measuring SG's that you might not even use. 
     
    I then fire those tiles. If I like the results of one of the tiles enough I will glaze the inside and outside of a small cup that fits in the 200g batch container. Depending on which application you liked the most, thickest or thinnest you can hold the piece in longer to sort of get the same results. Fire this 2nd piece. 
     
    If you like the results of the 2nd piece then make a batch large enough to dip a full mug or small bottle. Somewhere around 1500g depending on the glaze, let sit overnight and add water next day.
     
    Mix to the consistency that you liked, but leave it on the slightly thicker side. Measure SG. Glaze and fire a pot. After this you can compare this result to the tiles and 1st cup you fired, thin to the consistency you think you need. Measure SG, glaze pot, fire pot. If happy, note SG on the bucket and your good to go for the rest of your life with this glaze. You know the SG it should be for a production batch and you can manipulate it in the bucket to get the SG you need if the glaze changes over time in the bucket. 
     
    I don't do any of this anymore since I spray all my glazes now, but this is how I used to do it. I found just adding water until it a set SG was hit caused a lot of problems for me. Also SG varies immensely for each glaze depending on the clay in the recipe. So just picking some random SG to shoot for didn't really work well for me. That is why fired so many test before I started measuring SG. Because I didn't want to just think the SG was right the first time, and mix a large batch and it be too watery or something. 
     
    I don't know if this is a complicated way to do things or not, but when you just mix a glaze to an ideal consistency the first time you could be missing a lot of great information about a thick application of that glaze on a tile. Maybe it has bubbles suspended in the glaze that you might want on a piece. Maybe in a thick application it forms spots or drips in a really pretty manner. Maybe it becomes glossier. Maybe it becomes opaque. Who knows!, but it is interesting to see the differences when making a new glaze of all the different thicknesses. If your already going through the trouble to test a glaze, at least test it in as many ways as you can quickly test.
     
    Some people might say to just dip the thin glaze multiple times, but I find that sometimes that can be different than a big juicy dip for 3 seconds. 
     
    Anyways. Just my two cents. The reading of this method is probably longer than the actual method itself. 
     
    Also, if you have different firing profiles. It is worth glazing double the set of tiles and then firing the second in your slow cooling profile later, glazes can be drastically different between slow cool and fast cool.
  21. Like
    preeta reacted to Joseph Fireborn in Looking To Start Mixing My Own Glazes   
    I have never used floating blue before, but it looks like it needs a thicker coat. The nutmeg glaze came out pretty decent comparison to that commercial glaze. The whites and stuff look as per usual. 
     
    Remember to test them again on a larger pot. I am making little .5# bud vases to test my glazes. They are about 2-3 inches tall and have a lot of different surfaces. 
     
    I attached an example. Basically its just a throw away pot but creating them is fun, and they have a lot of surface variety going on to see all the changes of a glaze or two layered together. The rough base catches(hopefully) any runs. 
     
    Keep up the good work, welcome to the rabbit hole. Hopefully you don't go to far down. 

  22. Like
    preeta reacted to Rakuken in Hakeme Slip Recipe   
    My Hakeme brush and results. Brush is made with jute twine. I hot glued a few strands to get the scratching effect.
    Aloha, Ken



  23. Like
    preeta reacted to curt in Hakeme Slip Recipe   
    While I am no hakame guru, my limited experience tells me the key as John said is in the clay body. The gnarlier the better, with plenty of iron and junk to spot up the covering slip. The vase below used a fairly tame brush which didn't leave much if any gouging in the clay body. I think the heavy iron content in the clay added some fluxing power which helped the slip stick on. The liberal use of ash glazes on much (but not all) of the pot may also have assisted.  
     
  24. Like
    preeta reacted to neilestrick in In Search Of Kiln Space   
    Cone 6 porcelain is equally as functional and durable as cone 10. Bisque to 04, glaze to 6. If your studio already does cone 6 glaze firings, ask if they can get you some porcelain so you can fire it there. If not, ask if they can approve one you can buy on your own and pay a firing fee. It will be difficult to find another studio to fire your work for you. Most places only want to fire work for their own students, and for good reason. There's too much liability with people bringing outside clay and glazes.
  25. Like
    preeta reacted to neilestrick in Glazes Coming Out To Dark (Look Burnt)   
    First, put some cones in the kiln. You'll never get decent results without knowing how hot it's getting, and could end up doing a lot of damage to your kiln shelves or ruining your work. The thermocouple should only be used as a guide to measure rate of climb. Cones are the only thing that will be accurate in a gas kiln.
     
    Any high iron clay will get darker the hotter it gets, and if you had a reducing atmosphere in the kiln then it will go really dark. Most brown/red clay bodies rated for cone 6/8 or lower are not intended for reduction. Their iron content is too high for that. Oxidation requires more iron to go dark, so in reduction it's too much iron.
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