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Found 9 results

  1. Dear all, I am fairly new to ceramics and have revived my interest due to forced staying at home here in the Netherlands. It's provided a means for me to stay positive in the midst of such much somberness. I've been working with a deep black firing cone 6 stoneware and want to do some bright and colorful underglaze decorations without a clear cover glaze (as I like the mattness of the unglazed surface). I've noticed how direct application of Amaco velvet underglazes (even 3 thick coats) on this clay results in muted colors as the black clay bleeds through to some extent. I happen to
  2. Misty Gamble: Focus on the Face Misty Gamble will direct this two-day, hands-on ceramic sculpture workshop. Students will learn basic anatomical construction and proportion of the face, including facial features and hair. The participants will create a life size mask that operates as a vehicle for telling a story with a personal meaning. Participants will learn approaches to both academic/idealized and expressive facial construction. The focus of the workshop will not be on anatomical ‘correctness’, but rather on gesture, proportion. Misty will lead discussions on where ideas come from,
  3. I am having a friend save me some guitar strings to experiment with firing a piece that is wrapped with them to see what kind of effect the melting/burning of the strings has on the clay and glaze. I swear I have heard of this being done before, but I am struggling to find anything on it via Google. Has anyone experimented with guitar strings in their firings before? I'm wondering if I'm wasting my time or if it could have some cool results. Thanks in advance!
  4. I'm hoping someone can tell me how this kind of glaze effect is accomplished or if this is glaze , these were advertised as ceramic plugs so i assumed the color on top is glaze and the sides look like bisque, please help, id love to replicate these colors on my pottery, it looks more like glass then glaze. thanks
  5. Deborah Bedwell Workshop Surface Academy: Velvet Underglazes, Classroom Engobes and More! WS04 – Saturday, 10-4pm, May 21, 2016 Fee: $100 member/$115 non-member Scribble, doodle and dot! This 1-day workshop will introduce students to the colorful world of velvet underglazes, engobe slips and more. Participants will explore application techniques underneath glaze and on top of the glaze surface in this class. This class will encourage you to utilize line and color on your ceramic pieces while you learn how to bring a casual, playful, graphic sensibility to pottery making. Participan
  6. Sue Tirrell Workshop: Folkloric Pottery with a Modern Sensibility WS04 – Saturday & Sunday, 10-4pm, November 7 & 8, 2015 Fee: $200 member/$225 non-member In this 2-day hands-on workshop Sue will demonstrate the construction and decoration techniques she employs to create her colorful, animal-centric porcelain pottery. Using both the potter’s wheel and hand-building techniques Sue will demonstrate her unique approach to form and surface, drawing and carving, and the use of color to weave the pottery narrative. Additional discussion topics will cover Idea generation – folkl
  7. Has anyone tried coloring gray stoneware with mason stains? I've used mason stains in cone 10 porcelain and it's been great, but I'm wondering if cone 10 stoneware is colorable too? I can of course test this out, but if someone else has done it that's of course a lot less time consuming! Of course the coloring won't be as bright as porcelain no matter what, but I'm more worried about the shrinkage rate changing possibly if I decided to use a colored stoneware with my regular stoneware.
  8. I have a considerable collection of pure earth, ochre and oxide pigments and oxides which I purchased for my encaustic medium via http://www.earthpigments.com. I would like to better understand how I can use these in the creation of stains and engobes. Do any of you do this? Might you have recipes or general rules of thumb for me? I see a lot online about "ceramic pigments" but I am pretty sure these are formulated, not pure. I'll happily text the options, but would love to hear people's experience first as these pigments are expensive and hard to get from where I now live in central Chil
  9. Wondering if there is a clever way to do gradient slip decoration where one color fades into another. My idea so far has been to water down the slip and get progressively thicker as I want the darker color. But I think that it would end up being a gradation of stripes. I may be able to brush from each application downward into the thinner applications to mask the lines though. Anyone tackle this before?
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