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Found 15 results

  1. Hello! I wasn't particularly sure which forum I should post this request, but I was wondering if anyone was able to help me out. I recently broke a decoration owned by my mother, one that she very much liked, and I was hoping someone would be able to help me identify it in order for me to buy another. She is not sure where she got it, but we are based in the UK. But we have a feeling it may be Scandinavian. I have searched around the web, and have failed in finding it available to buy. It may be only available in a store somewhere. Here is a link to a photo of it - https://d
  2. Rereading a bit of Greg Daly's Glazes and Glazing, he mentions using soluble forms of metals when dwcorating. He does this to get a ubiformitl i.e. no speckles and spormts. Does anyone do this and with what results? He does warn with thin walked pots to decoration may travel to other side of wall
  3. I just love Ruan Hoffmans work, and I would love to know how to get this nice sharp blue line. Is it just a simple clear glaze with on glaze? Or a white slip with blue underglaze? High or low? Any thoughts, gratefully accepted. G
  4. Week 10 Wide open bowls should be thrown _______________ in order to control the movement of the clay. quickly slowly thinly wetly Pottery making falls into three categories: hand-making techniques, wheel techniques, and _____________________________________. 3-D printing techniques Swaging techniques Jiggering techniques machine poduction or reproduction by mold making techniques. English Wedgewood is a famous example of _________________ used to decorate clay using slip as an adhesive. Mishima Inlay Sgraffito Spriggin
  5. Week 9 In the opening paragraph of Chapter 1, Robin states: Some subjects learned in formal or foundational art training are invaluable to a lifetime of personal artistic growth, regardless of the medium in which we later work. One of the subjects he names is Drawing, the other is _____________________ Sculpture Mixed Media Color Theory Chemistry For convenience in calculation, materials are put into three columns with the Base (flux, also known as RO or R2O, sometimes referred to as the ____________ of the glaze) on the left, Amphoteric (usually clay,
  6. Come join us for an intimate (limited to 20 participants) weekend workshop with Tim See: potter, teacher, Periscoper, and the acclaimed moderator of Facebook's Clay Buddies. His two days of workshops here in San Antonio promise to be both informative and entertaining. REGISTRATION: https://www.eventbrite.com/e/a-weekend-of-workshops-with-tim-see-tickets-24749727100 Saturday, October 15, 2016, 9 a.m. - 5 p.m.: Throwing and Assembling Industrial Forms (Demos) - Tim will demonstrate his techniques for throwing and assembling his famous forms. The techniques presented will be invaluab
  7. Hi all, Intermediate level-I'm trying to make some slip transfers with slips/underglazes with some of my drawings on leather hard pieces. I tend to use stoneware and/or terra cotta clays and bisque to cone 06. I tried rice paper, but it's too fibrous, it seeps into the work and the decoration loses clarity (see rice paper transfer photo examples). I recently bought transfer paper to try, it's a bit dry (I tried to use underglaze on this) and not all of the decoration transfers across to the piece. I used two coats of underglaze on the last try with transfer paper. I'm hand painting the
  8. Lately I've been trying to do some new stuff with slips. I make my slips by using my porcelain trimmings, mixed with stains and/or oxides. I've experimented a bit with adding titania to some slips, which gives a different surface to some glazes applied over the slip-- glazes that are on the edge of developing matte surfaces will go matte reliably over the slips. But I'm wondering if I could make slips more reactive or to put it another way, more interactive with both body and glaze by adding small amounts of flux to them... say 5 % of gerstley borax. This might not be a good idea whe
  9. Okay, I have a decision to make. I've always felt that bowls for actual use are often best at displaying food if the interior of the bowl is white. On the other hand, decorating the exterior of a shallow soup bowl means that no one will see the decoration without taking the time to pick up the piece. So I've almost always decided in favor of decorated interiors. I still feel that the interiors of large shallow bowls make the best canvas for decorative surface treatments, but now I'm trying to decide if I should change my ways and make my smaller bowls with white interiors and decora
  10. 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
  11. I'm beginning a new collaborative project with an Illustrator and to be able to capture the detail of her drawing's I want to use transfers within the work but I'm really struggling to find somewhere that can produce Gold transfers for a good price and without a large minimum order, can anyone help? Thank you
  12. Joe Campbell – The Potter’s Brush Workshop WS02 – Saturday & Sunday, 10-4pm, April 25 & 26, 2015 Fee: $200 member/$225 non-member The tools we use in our studio can and should be an integral part of what we say with our work, and their voice should be heard. Good brushes, chosen for their particular ability, and used with skill, are critical to the success of our pieces. In this 2-day, hands on workshop, we will visit the history of the potter’s brush, explore techniques for the application of ceramic materials, and learn to build good ceramic brushes. Slides, videos
  13. 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?
  14. I was in the studio yesterday unpacking the last of my pots. Day after Christmas. My son looked at a plate and said;"Dad, you really "effed it up on this brushwork!" It was a bird on a dinner plate. The brush had skipped along the bottom line. My other son called me aside and said in a low, conspiratorial voice; "Dad, I want you to REALLY try your best on this next batch of work." I said I would try. I thought I was trying my best. They are both teenagers. They mean well and are genuinely thinking that they are helping me.Maybe I need to try harder and do better work in 2014. TJR
  15. 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. Ho
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