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Found 194 results

  1. Unique pieces for the unique individuals. Enjoy a piece of art in your everyday life, something you can touch and use, that expresses yourself. That is not mass manufactured, provides ergonomic hold with different texture, satisfy your sensation in visual, touch and taste. Enhance the experience of drinking tea, like the Japanese tea ceremony. The purpose of my collections are to bring joy to people through the appreciation of the beauty in ceramic, and carry the passion from one to another in our daily life. The stamp you see on the pieces is the last word of my Mandarin name, pronounced “showâ€, meaning Jade like stone. I stamp this on my pieces in hope that it will be as what the word represents. Please come and have a look during Oct. If you would like to have a chat, I will be there on the 5th of Oct fro 1-3pm. If you would like to see more, please visit http://imisabellawang.blogspot.com.au/ I am also on intragram - username: imisabellawang Have a look, let me know what you think.
  2. Hi all, I have been throwing with Babu porcelain, glazing with Reeve's Clear glaze. I fire to cone 10, in a light reduction, gas kiln. I notice that the Reeve's clear seems to craze more than I want in a food vessel, even when thinly applied. It seems to fit stoneware better than porcelain, with much less crazing. I know Babu shrinks more than stoneware, so it's clearly a glaze fit issue. Has anyone found a better clear glaze that doesn't craze, for use on cone 10 porcelain? Do you have any suggestions as to how I might get a better glaze fit on Babu? I use Babu because of its clear, white color. I'm willing to use a different porcelain if I can get better results and keep the white color. Any ideas? It's very frustrating. I want to use this clear base and add colorants, such as Mason stains to get translucent, "celadon-like" colors. Thanks for any help.
  3. From the album: Gas kiln 2013.09.05

    gas kiln, reduction , cone 10
  4. From the album: Gas kiln 2013.09.05

    gas kiln, reduction , cone 10
  5. From the album: Gas kiln 2013.09.05

    gas kiln, reduction , cone 10
  6. From the album: Gas kiln 2013.09.05

    gas kiln, reduction , cone 10
  7. I'm back after I long hiatus! Pottery, I've missed you so. After careful consideration of my physical abilities I chosen slip casting molds as a start. I have made molds in the past and am now brushing up on the steps. I want to start with porcelain slip casting; however, I cannot seem to put my fingers on a supply of porcelain slip here in Palm Springs California. I looked at one recipe online to make porcelain slip myself and would like guidance on a good recipe for porcelain slip. Is it hard to make? If so, maybe someone could point me in a direction to buy porcelain slip here in the Palm Springs area. I am setting up the studio now and I look forward to getting started. Thanks in advance.
  8. From the album: Return of the Duck - Return of the Duck in Orange Sauce

    ^06 glazes over previously fired ^6 glazes, with melted glass sauce

    © Norm Stuart

  9. Jack Troy – Pottery Forms: Intention and Happenstance WS05 – Saturday & Sunday, 10-4pm, November 9 & 10 Fee: $200 member/$225 non-member This 2-day demonstration/discussion workshop includes presentations on Japanese teabowls as well as both contemporary and historic pots to help enlarge our approach to our persoanl work and emphasize the evolution of personal forms — pots with a unique identity. Using the cup as a take-off point, Jack will demonstrate how the cup reflects a concern for functional and aesthetic values, including surface decoration, tactile qualities, inside-outside considerations, spontaneity and control, as well as focusing attention on the cup as a whole: weight, lip, foot, body, handle. Thrown cups will be altered by faceting, carving, paddling, stamping and heavy slip application. His most recent, tactile, sculptural teabowls are altered significantly from thrown components. Jack will demonstrate extending the scale of work, and will apply a variety of altering techniques to thrown forms while addressing how and why some pieces are made specifically to be fired with wood. Pitchers, jars, and bowls of various scales with be thrown and altered, befriending asymmetry. Jack Troy's anecdotal style of information-sharing covers a wide range of topics, including technical and aesthetic issues in ceramics, personal goals, and the dilemma of being a literate potter while knowing that most of the world's best pots were made by people who couldn't read, write, or do glaze calculation. The aim of the workshop will be to meet each other and exchange ideas that help extend our personal knowledge of forming and firing so the choices we make about our work might enliven the clay we use. Participants are asked to bring with them 2 pots “lived with over time†– one made by the individual and one by someone else – to illustrate two types of “meaning†with regard to how a piece convey’s significance to us. 2013 is Jack Troy’s 51tst year of making pots. During the past year he fired 11 different kilns, including the anagama at Golden Bridge Pottery, in Pondicherry, India, in February 2013, where he taught his 230th workshop. Other events include workshops in Washington State, at Fern Hill Pottery, Brush Prairie; and Shoreline Community College, Seattle. In Maine, he held a Residency at Watershed Center for the Ceramic Arts, judged the 2012 Strictly Functional Pottery National exhibition, and received the 2012 Excellence in Teaching Award from the National Council for Education in the Ceramic Arts (NCECA). His education in ceramics has included trips to 26 countries. Having published over 80 articles in ceramics publications, he also wrote Salt Glazed Ceramics, Woodfired Stoneware and Porcelain, and Calling the Planet Home, [poems]. His work has been exhibited widely, and is in numerous collections, public and private. He has said, “I made my first pot - a wretched little bowl with a pitted glaze - in November, 1962. This simple act changed my life, leading me to believe, 51 years later, that potters may change the world for the better, one handful at a time. “We potters finish our work, but only others can complete it, through use. Pottery, then, is only finished once, but can be completed endlessly, by a succession of users, keeping it active in a variety of settings.†WS05 - Saturday & Sunday, 10-4pm, November 9 & 10 Fee: $200 members; $225 non-members Register on-line or contact Matthew Hyleck at matt.hyleck@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
  10. Hi everyone! I'm new here, and new to ceramics. I will be hand building miniatures. My main question right now is, how can you tell when the clay pieces are dry? I've searched online, and the only answer I have found is that they are dry when they no longer feel cold when touched against your face/wrist. I have created some pieces to test my clay samples (various types of stoneware and porcelain clay). After 3 weeks, they still feel fairly cold on my face. They are about 1/2" thick, and I realize that drying will take longer with this thickness. But, it seems like they have felt the same (against my face/wrist) for the last 3 days now, and I'm wondering if dry clay still feels slightly cold? Is there another method to check when they are dry enough for the bisque firing? Thanks for any advice! Melissa
  11. From the album: FdA CCP Final Exhibition

    Gwynn Tir (White Land) is a critical view of social, political and cultural issues arising from the destruction of the Cornish farming and mining communities. I have been exploring the fragile existence of the landscape and these fading industries; the thrown cylinder becomes metaphor for the abundant chimneys that remind us of a past unique to Cornwall. The china clay industry and the geology of the Cornish landscape is the backdrop for this investigation of tension between function and fragility. Whilst each pot is given its own detail and character, grouped together, their individuality becomes essentially apparent. The use of Porcelain in contrast with smooth black stoneware and oxides symbolize the veins and strata of the granite outcrops.
  12. Hi guys, I'm making some porcelain eggs slip cast, I usually do bisque firing ^04 and then clear glaze firing ^06. I need to finish some by next week and I don't have enough ware to do 2 low fire firings, so, I'm thinking to do single firing, I'm using ^6 laguna porcelain slip and the clear is ^06 commercial glaze. Any thoughts on this matter, do you think it would be ok? Pom.
  13. Hello there, Im not a ceramicist (Im learning little bits here, doing workshops there...), Im an illustrative designer, but I would like to create decals of my designs and put them onto dinnerware. I was hoping someone out there could give me a bit of information....I have a few questions. First: I would like my designs to be transfered onto stoneware or porcelain. As far as I can tell there is no issue with that? My designs have very fine line detail, so I feel that an onglaze digital decal (as opposed to a tissue transfer, or screenprint) would probably ensure a sharp image. However, these decals can often look raised or "stuck on"...Im trying to avoid that. I have seen coloured digital decals that dont have that raised effect...so how is that achieved? Do they apply the digital decal on bisque....then fire, then clear glaze, then fire again? Or can you apply the decal, just wait for it to dry then glaze and fire? would that affect the vibrancy of the colours printed, as I understand with digital systems you can have the whole cmyk gamut? I understand there is an entire science behind the make up of clay, glazes and firing. If I wanted to apply a digital decal to bisqued stoneware for example, would it have to be a decal especially for stoneware? Additionally, I was interested to know how difficult/easy it may be applying a seamless design to the inside of a bowl or curved surface? I imagine that you would have to follow maybe a cone shaped template, so it can be applied? Second: Being dinnerware, I would like the decals to be food safe. Even if the decal manufacturer claims it is food safe, are there other factors that could cause problems? for example the type of kiln you use, or other things that may be in the kiln while your firing? Is it expensive to test? Lastly, and thank you so much for you time, As far as producing my dinnerware, I have found plenty of businesses that will custom make digital decals. but Im finding it difficult to find any that will make AND apply the decal to your piece...even though I know they are out there. Iam in Australia, which doesnt host such industry, but if anyone has any leads on any smaller run manufacturers or business (closer to me the better, naturally) That would be appreciated... maybe also because Im new at this, Im not quite sure how to search for this type of business, so any resources or "buzz words" that might help me would be great. Any info at all would be appreciated and helpful. Thanks a lot. J.
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