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Found 9 results

  1. Would someone care to explain why slip recipes always say to begin with bone dry clay? Is that somehow better (or the end result different) than using wet clay. Its as if the instructions for boiling water said "First take some ice cubes ....."
  2. Oh well, once again, we seem to be lacking suggestions for the QotW. I will humbly submit another of my own, with the catchy tongue in cheek phrase. . . Does size matter? Now that we have your attention, I will clarify. Recently I saw one of the most derided (by potters) movie representations . . . from Ghost , In the scene Demi Moore is throwing a large vase. . . sensuously. Whoa, but wait. . . is that piece being thrown off the hump? Why would they do that? Size! So that got me to thinking, about my own use of the hump, and throwing and how I use throwing off the hump. Most times I would never throw a vase of size off the hump unless there were something special about the trimming, or the some other structural thing involving the form. Most of my throwing off the hump would be smaller items like cups, mugs, chalice stems, lids, and other things that I can reasonably repeat the shape and size by using my hands and relative ball sizes to repeat the same form over an over. That got me to thinking about size in slabs also. . . especially when using a slab roller. I usually would roll out the largest slab I could, and cut pieces from that slab to build with. Often using a template, but many times using multiple smaller pieces to assemble without a template, only a sketch or mental idea of what I wanted to do, like a castle on a rugged mountaintop all out of slabs. The size of the slab did matter, as I often used edges, and other areas when needed, then used large pieces for base and interior supports. So in you work, Does size matter? Why, How, When! best, Pres
  3. The Question of the week this week comes from RonSa. I chose this particular question for its humorous title lightening things up a bit. So RonSa asks: Do you like Innies or Outies? Do you prefer a lid that fits in the galley or expand over the galley? I find that I make the lid to fit the function of the form. When throwing a casserole, I like the lid to fit over the top rim of the base with a flange on the lid that fits inside of the rim. Teapots in much the same way, but I have done several where a shelf inset into the rim of the pot would allow the lid to set down into pot hiding the join, and completing the form. Often this is not needed, but some really rounded forms, this allows the illusion of completely round. My problem with most shelf type opening is the extra cleaning that it takes to clean the area of something like baked on macaroni and cheese, or the amount of space the shelf take out of the opening, as in a teapot opening where the shelf may limit the cleaning area to reach the inside of the pot without a bottle brush. I have found that of late I am using a flared rim on bowls to allow easy handling. My wife has been using these for baking macaroni and cheese and other things in the oven, and finds the flared rims make it easy to lift the bowl out of the oven when using mitts. I have been considering casseroles that use the flared rim instead of handles, and how I would make a lid for on such an item. Any idea yet to be harvested. So answer the question, and have a little chuckle as you consider the implications of Innies and Outies. best, Pres
  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 Sprigging A sense of and a feeling for _________________________is an essential hallmark of all good pottery. Light and shadow color and value shape and form mass and weight This weeks questions come from text in The Potters Manual, Kenneth Clark, c. 1983, Chartwell Books Inc. Note from Pres: Another highly recommended textbook that is especially astute in areas of weaving clay, decorating clay and throwing a wide variety of forms. Answers: 2. Slowly. . . .First center the day and insert a thumb inside the shape to determine the inside curve of the bowl. The thumb and fingers areused to squeeze the clay firmly into the required basic form of the bowl. Wide open bowls should be thrown slowly in order to control the movement of the clay. 4. machine production or reproduction by mold making techniques.. . . Pottery making falls into three categories: hand-making techniques, wheel techniques (a combination of the hand and machine methods), and machine production or reproduction by mold-making techniques. 4. Sprigging. . . This technique has been used in one form or another throughout the history of ceramics - the most famous example being blue and white English Wedgwood. It is the applying of relief-molded, decorative forms onto a clay object, using slip as an adhesive. The method consists of carving the design into a hard or soft material and taking a clay impression, from which the relief image is produced. This is then applied to the surface of the leather-hard ceramic article with a thin adhesion of slip (if too much is used the sprig will lift off). 3. shape and form. . . A sense of and feeling for shape and form is an essential hallmark of all good pottery.
  5. I have been thinking about making my own kiln stilts on a large scale for low fired ware. Roselli uses molds and slip casts their stilts, I am fairly sure. Is there a benefit to this method? I was thinking about extruding mine and cutting them down to size. I cant see a downside; faster turnaround time, less initial time spent in preparation, no need to keep large quantities of slip or molds laying around, etc.. Am I missing something though? I've never made my own stilts or even used them, though I understand the premise. Any insight is much appreciated.
  6. I set up a Poll, hopefully it works... Ahh...the polling software has changed since I was away. After reviewing the options, it is easy to pick a lot of options. Try to only pick your "go to" pot, your absolute favorite(s) to make.
  7. 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
  8. I was in the studio all day Sunday. I am having to fill a kiln with my firing partner so that I can get an order of 60 mugs out for February 5. It was a long day. I had made 12 5lb colanders. I put side handles on them. I trimmed the dozen plates that go under the colanders. I trimmed 34 mugs. My son came in at 4:00 p.m. to work on a clay slingshot that he is making. At about 5:00, I was getting tired. Still had about 20 mugs to put handles on. I said to my son;"You know, I never get tired of doing this." He said;"But Dad, that's because they are all different. everyone is a problem to solve." I looked at him and blinked, then smiled. Of course they are all different. Some are big or small, moist or dry, some handles work, others don't.I guess that's why I am still in the game. Have you heard a wise comment about your making recently? TJR. I forgot to say that my son is 16 [edit[.
  9. Hi all Just read this little article and it made me stop and think of my task management as a sole trader potter...... not good! Happy to spend hours in the studio...or... get lost in the business side hardly making a thing for days.....either way the procrastination can set in. How do you keep your focus clear when you are 'making' or 'managing'? Be good to know. http://www.flyingsolo.com.au/working-smarter/productivity/are-you-a-maker-or-a-manager Irene
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