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Found 49 results

  1. From the album: The Guinea Potter's Stuff

    This is a whiteware bowl covered in black slip with a white underglaze illustration. Bisqued ^04, fired ^03. I donated it to River's Wish Animal Sanctuary for their Art for the Animals event. :3

    © Sarah Alderete

  2. From the album: The Guinea Potter's Stuff

    Underglazed whiteware bisqued at ^04, fired at ^03.

    © Sarah Alderete

  3. From the album: MOAR STUFFS

    I actually made this a flower pot on purpose, haha...not a trimming accident! I think it's perty...kinda... *hides*

    © Sarah Alderete

  4. From the album: MOAR STUFFS

    This bowl was a process, to say the least. I threw it with whiteware clay, messed with the rim, and covered it completely with black slip. Then, I carved the dragon. I bisqued it, and since carving all those scales took away all of my sanity, I underglazed color onto the bisque, and re-bisqued it. Covered in shiny clear and fired to ^04. Dang thing had little crawl spots, grrr...re-fired to ^03 after adding a bit more glaze to the bald spots. Voíla! Sold it a few years ago for a stupidly low $150... *facepalm* I'dve charged four times that if I was thinking straight. Live and learn!

    © Sarah Alderete

  5. From the album: MOAR STUFFS

    I used my reclaimed terracotta and whiteware mix for this and slopped on white slip for the cute bun.

    © Sarah Alderete

  6. From the album: MOAR STUFFS

    Kupo.

    © Sarah Alderete & Square/Enix

  7. From the album: MOAR STUFFS

    A memorial bowl of a lady's beloved bunny, Cinderella. Fired to ^03.
  8. From the album: MOAR STUFFS

    Urns are always difficult for me. My animals are beloved members of my family, so making urns is really hard for me to do. However, it always really humbles me to know my work can aid someone in their grieving process. Max was the best friend of a boy of three until he was sixteen, so this piece had to be very, very special. Fired to ^03.

    © Sarah Alderete

  9. From the album: MOAR STUFFS

    Meet Max, the polydactyl cat. He has lots of toes and a squishy belly. Fired to ^03.

    © Sarah Alderete

  10. From the album: The Guinea Potter's Stuff

    Pretty walrus with a wee flower barette.

    © Sarah Alderete

  11. Hi there, I'm a figure sculptor working in clay and firing to around cone 06. I'm getting ready to order a new batch of clay and am having some difficulty in understanding the differences between earthenware and stoneware bodies when firing to 06 (such that neither one will be vitrified). I'm interested both in the differences in the raw state (i.e. plasticity, wet-to-dry shrinkage, etc) but also the differences when firing (strength, resistance to thermal shock, ability to tolerate thick sections) -- in all of these I mean the difference independent of any grog/silica-sand added. I'm confused because from my research Earthenware seems to be defined purely by the act of low-firing, for example here's the definition I see often: "Earthenware is the term for pottery that has not been fired to the point of vitrification and is thus porous." Based on this definition an "earthenware" body that is pushed to 02 and vitrified is no longer earthenware and a "stoneware" body which is fired to only 06 and not vitrified would now be called earthenware. Am I the only one that finds this sort of definition, well, sort of useless? What I would like to know is what are the intrinsic differences between these two bodies when BOTH are fired to the same non-vitrified state at the same cone. So, what are the real differences in terms of: 1.) Working properties like plasticity 2.) General rules about shrinkage, strength, thermal shock, etc. 3.) Final strength, texture, etc. (please clarify if you use the word maturity to describe the differences, too, since that seems to be defined in a rather circular way too roughly as "when a clay gains the properties you want it to have")
  12. Okay. I have seen some dee-lish-us and positively drool-worthy stoneware and porcelain work on this forum, but I'm kinda wondering something... Where are all my terracotta-luvvin' buddies at?! I feel kinda by my lonesome here! Give a shout and post some pics of your iron red glory! Here's a mug I did with white slip and underglaze. Fired to sitter ^03 to make it a wee more vitreous. ♥ What's your favorite thing to make with terracotta?
  13. From the album: RV gallery

    Plate - May/June 2014

    © RV Ceramics

  14. From the album: The Guinea Potter's Stuff

    This is my precious girl, Malutka. I was sad to sell this...I love this cutie!

    © Sarah Alderete

  15. Terra sigillata is why I got into ceramics. I'm a fan of classical Greek and Roman art and learning to throw pots "like them" has been a goal of mine ever since I began playing with clay. But I'm bad at the classical style. "Athenian Vase Construction," by Toby Schreiber has been a great help in learning technique. But it's also really hard, especially the gloss. On ancient examples, it's like a glaze, the level of shine is so high. Check out this kylix, it's perfection: http://webapps.fitzmuseum.cam.ac.uk/explorer/index.php?oid=166270 I'd love to know how you guys approach pre-application surface treatment, application of the terra sig., and even firing (max cone range?) to get the glossiest finishes possible. I've got some articles from CAD and elsewhere, but I still can't seem to make it work that well.
  16. Hi out there. does anyone have a good recipe for a clear gloss glaze for white earthenware, firing to a max. of 1100 degrees centigrade. Many thanks for your help.
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