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Found 11 results

  1. Week 29 As a safety measure, Ben Carter recommends using plastic gloves when throwing _______________. Porcelain tall pots Earthenware Black clays As a core component of both clay bodies and glaze, ______________ is present in all stages of the ceramic process. While harmless to the touch, it can be progressively harmful once it enters your lungs. Alumina Water Silica Oxides The size of a teapot is should be directly related to the ______________________. method of brewing clay body being used type of tea being brewed style of teabag being used Getting started with throwing large requires setting yourself up for success. That's right, the first hurdle to making large work is ________________ larger amounts of clay. Lifting throwing wedging using This weeks questions come from Mastering the Potter's Wheel, Techniques, Tips and Tricks For Potters, by Ben Carter, c.2016, Quarto Publishing Group Note from Pres: This is a new book in my library. I usually do not purchase wheel throwing books anymore, but as I was lately at B&N, and found it there, surprised, I purchased it. It is quite well done, has lots of illustrations, has some good ideas illustrated better than I have seen in other books, and skips into philosophy of making quite a bit, and I enjoy that. The sections on teapot making and design are very well done. Answers: 4. black clays -Materials in this category include chrome, manganese, copper, vanadium, and other soluble heavy-metal colorants. These materials should be kept in a hard plastic container to reduce spillage and unwanted contamination. The only material in this category that you are likely to come into contact with on the wheel is manganese. Many black clays have a percentage of manganese to help them achieve their rich colors. If you choose to use these clays, I recommend wearing plastic gloves when you are forming the clay. I also recommend you take special care when firing to insure no fumes from the kiln enter your studio air supply. A kiln-venting system that exhausts fumes outside your studio is recommended if you plan to use these on a regular basis. 3. Silica-Your first studio safety concern is mitigating silica dust and other lung irritants. As a core component of both clay bodies and glaze, silica is present in all stages of the ceramic process. While it is harmless to the touch, it can be progressively harmful once it enters your lungs. Prolonged exposure to silica dust is linked to an emphysema-like condition known as silicosis. 3. type of tea being brewed-From a functional standpoint, the body of a teapot acts as a reservoir in which the tea will be brewed. The scale is dictated by the speed at which the tea you are brewing steeps. Green teas are best steeped for a short amount of time ( 1 to 2 minutes) and are usually served in small teapots with 8- to 16-ounce capacity. Black teas can be steeped for a longer amount of time (3 to 5 min- utes) and are served in larger forms that hold 16 to 32 ounces. I won’t go into sizes for all tea types, but I do want to reiterate that as the maker, you should match the teapot to the specific type and brewing style of the tea you wish to serve. 3. wedging-Note that before you begin this chapter you should set yourself up for success. That’s right, the first hurdle to making large work is wedging larger amounts of clay. To accomplish this, I recommend using the conical method, which allows you to wedge larger amounts with ease. Note from Pres: after reading this book twice, I really think that it is a gem for those of you that are just beginning, and those of you that are advancing into more forms.
  2. Week 11 Considering the types of pottery, which category of ware may be used for Microwave, Oven, Stovetop, and in the dishwasher? Stoneware Porcelain Unglazed Earthenware Flameware A primary rule when using Stoneware or Porcelain for baking or roasting is to _____________________________ . fill the pot as much as possible begin with a cool oven never pour cold water into a hot pot to add liquid all of the above Flameware is uncommon as: the clay is difficult to mine few potters have the resources to formulate, fire, and test this kind of ware, so it is understandably expensive. It is not a useful kitchen ware glazes do not adhere to it A popular form of storage jar that does not require a lid and is quite popular with cooks is the pickling crock salt pig french butter crock all of the above This weeks questions come from text in In the Potter's Kitchen, Sumi von Dassow, c. 2014, American Ceramic Society. Note from Pres: For those of you looking for functional pottery ideas, this is a great book with complete pictures to lead you through more difficult forms. On the upside is also the wealth of recipes for those of you that cook, also possible selling points with recipes in you ware at shows. Answers: 4.Flameware - Flameware is a relatively modern product that relies on modern testing technology to ensure that each piece is correctly formulated and ï¬red. It’s made from specially formulated clay that can withstand the thermal shock of heating directly on a stove-top and can also be used in the oven or microwave. Flameware absorbs no water at all. While Flameware is very versatile, potters who work with this kind of clay must be diligent about testing their ware, so it’s not commonly made. Only a few clay manufacturers make “Flameware†clay. For most porters, it must be custom-made, and only a very experienced and committed potter will want to try to make this kind of ware. If you want to make flameware, you’ll have to research clay recipes and materials and contract with your supplier to make it for you. The liability if the clay fails in use is too great, and ceramic materials are too variable for most suppliers to want to take on the risk of making Flameware clay. If you want to work with it, you’ll have to perform careful tests on every batch of clay and every kiln load of pots. 4.all of the above - Caring for Stoneware and Porcelain ' Always place stoneware or porcelain baking dishes in a cold oven instead of pre-heating the oven. Always fill your baking dish - don’t use it to heat. small portions of food. For best results when roasting meat, chicken, or fish, surround the meat with vegetables and liquid to protect the baking dish from uneven heating. Never pour cold liquid into a hot baking dish! This is a good way to crack ceramic or glass bakeware, and it’s not good for cast iron or other metal either. 3. 2. few potters have the resources to fomulate, fire and test this kind of ware, so it is understandably expensive. (see explanation in question 1 of Answers) 4. 2. salt pig - One commonly used kind of storage pot doesn’t require a lid. This is the salt pig, which is very popular among cooks. Stored on the kitchen counter, next to the stove, it allows a busy cooks to spoon salt into recipes with one hand. Though many potters make stoneware salt pigs, traditionally this form is made from earthenware and the interior is left unglazed to allow the porous clay to absorb moisture and keep the salt from clumping. Perhaps this feature is not necessary with regular table salt which contains anti-caking agents, but sea salts often do form clumps in a shaker. There isn’t any one correct form for a salt pig, but the traditional one is shaped like a bent chimney-pipe. Another popular style is shaped like an egg standing on end, with a hole cut in the side. The opening faces forward instead of up, allowing the salt to be spooned out conveniently, and helping to keep dust and cooking debris out of the salt. A salt pig is a very handy pot to have nearby while you are making sauerkraut. Note from Pres-I have begun making some apple bakers as described in the book, and as I do not use added sugars of any type these are nice for when others in the family are eating apple dumplings. My granddaughter is enjoying apples this way also, but she adds sugar.
  3. I'm thinking of switching from the cone 6 porcelain I use, to a lower fire clay for the summer as I'll be working at a satellite studio at my cottage where electricity is extremely expensive. I'm in Toronto - and am thinking of using one of Tuckers more sturdy low fire clays, (a red one) which the notes say is just as functional as stoneware. What are people's thoughts about "functional" low fire clay? I don't have access to as wide a range of clays as many US potters do - but we have a pretty good selection from two different suppliers here. I'd love to know general experience with functional low fire clays, and of course, any advice from someone local to the Toronto area who has used locally available clays, would be appreciated.
  4. Mudmann65


    From the album: Some work

    Slab built teapot with slip, "Otto's black slip". Green ware.
  5. crazypotterlady


    From the album: Displays

    Arrangement of ^6 dark clay functional pottery in an autumn leaf design. Sgraffito through underglazes. Platter, vase, mug, and jar.
  6. crazypotterlady


    From the album: Displays

    Arrangement of ^6 dark and white stoneware functional pottery. Underglazes and sgraffito. Platter, jar, corked bottle and mug.
  7. crazypotterlady


    From the album: Displays

    Arrangement of ^6 functional pottery. Underglazes with black underglaze overall design. Platter, teapot, and mug.
  8. crazypotterlady


    From the album: Displays

    Arrangement of ^6 dark clay, functional pottery. Sgraffito through underglazes. Platter, teapot and bottle.
  9. crazypotterlady


    From the album: Displays

    Arrangement of ^6 dark stoneware functional pottery. Sgraffito through underglazes. Platter and corked bottles.
  10. From the album: Tornado Pot Sketches and Progress Images

    I threw the three parts to this last night and did the trimming and assembly this morning. Adding the stem and tilting the container slightly off-axis reinforces the tornado theme. And based upon suggestion from CAC forum friends, I added small hand-built house parts to the side of the funnel shape. 'Still some work to do and some decisions to make about slips and underglaze, but I'm liking the direction this is headed. This will take some off-and-on work to get it ready for bisque firing...and with the assembly and the added house parts this one will set on the slow-dry shelf for a week before I'm brave enough to put it in the kiln. Description: 18" tall stoneware Wheel-thrown bowl, stem, and vessel...assembled while quite damp/pliable Handbuit house forms, sliced on the oblique and attached using traditional score/slip joining technique Some additional accent detail and texture added after basic assembly was complete.

    © Copyright 2015, Paul M. Chenoweth, Nashville, TN USA. All rights reserved.

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