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Found 3 results

  1. I have a deep and enduring fascination (infatuation?) with Japanese ceramic surfaces, but modern matte ones get me weak in the knees. I have been crushing all over Hashimoto´s black crackle slip/engobe, metallic cracks, and overall textured slip surfaces (check out those interiors) for about a year. Hive mind, how does he do it? Composition ideas? Kohiki "light" with manganese? Double firing? I´d love to experiment with similar textures... but don´t find much info out there on formulating this texture. Cheers and love from Chile! xo - Heather
  2. Hi folks, time for another topic, and don't forget you may post new ideas for QotW in the pool here: Of late I have considered some changes in the decorative process, I have often been interested in surface decoration and texture. I have probably done the gambit of Impressing, incising, piercing, added on clay or sprigging. In my earlier years I did mostly glaze dipping over bare surfaces, then spraying glazes through lace, and silk flower/leaves, along with calligraphic brushwork to bring out or add details. The last 20 years have been more about texture in the piece; first was faceting, then incising the unshaped cylinder. Then I started stamping, and forcing more into the clay to the point I often had to repair the piece when leather hard. Glazing was completed by spraying from different angles to highlight the surfaces. Lately I have considered returning to the smooth surfaces for large areas, with other areas of texture applied before the shaping. I would then decorate the smooth areas as mentioned before with stencils and inglaze work. QotW: What is your predominant method of decorating the greenware, and how do you deal with this decoration in your glazing? best, Pres
  3. I think I must have missed the firing temp and sequence of applying a clear glaze over the underglaze in Sean O'Connell's amazing clayflicks member video. Specifically I like how the black velvet underglaze dots turn blue with streaking. What brand/type of clear is used, at what temp, and do you add the clear over underglaze at the bone dry stage or after the piece has been bisque? Thank you! Would love to give this effect a try.
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