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Found 10 results

  1. Hi, I have problems trying to find the answers to this question. I want the "paint" I use to be something like China ink, but that it doesn't run and that fires well to cone 10 without loosing color. Thank you for your help!
  2. I'm working on a trompe l'oeil porcelain wedding cake. The clay is Laguna cone 10 and has their added plasticizer. Porcelain doesn't behave like sugar and shortening, of course, and sometimes crumbles when I try to extrude elements. Can I add some sugar based material like corn syrup or regular sugar or maybe something like gelatin or agar agar to make the clay stick together better? The additive or any mold that grows on it will burn out, but could it cause problems with drying or pitted surfaces? I don't plan to reclaim any scraps. Cynthia
  3. Nancy Gardner - HANDBUILDING AND SURFACE DECORATION - August 9-13, 2019 - $566.00 $566.00 Workshop Description: This workshop will cover all handbuilding techniques, including pinch, coil and slab. Students will work intuitively with the clay to express their own ideas and identity. Many surface decoration techniques will be shown in order to develop each students individual vision. ALL LEVELS Session runs August 9 - 13, 2019 9:00 a.m. - 5:00 p.m. daily, open studio hours on select days. Fee includes tuition + materials fee + studio fee. Students may be asked to bring some additional items. Materials include 2 firings, 25 lbs of clay and necessary undgerglazes. Additional clay will be available for purchase. REGISTER HERE Artist Bio: Nancy Gardner has been an artist and educator for over 40 years. She holds a BFA and an MFA in Ceramics. She and her husband Burt Isenstein have been operating Nancy Gardner Ceramics since 1989, showing in art fairs and galleries. nancygardnerceramics.com
  4. Eleanor Anderson - July 26-30, 2019 - SKETCHING YOUR WAY INTO CLAY - $614.00 $614.00 Workshop Description: In this workshop, you will learn how to take pottery to the next level by focusing on surface design. We will learn how to carve, etch and stencil patterns, images and textures onto your pottery. Participants will learn Sgraffito, Mishima (Japanese Underglaze/ Slip Inlay) Stamping, monoprinting as well as water etching. We will do daily drawing exercises to come up with solutions for original and personal surfaces. This workshop is designed for students who have some experience with clay. Students are encouraged to prioritize process and risk taking, and will take home bisque wear designed to be fired at cone 6 oxidation. REGISTER HERE ALL LEVELS some clay experience handy Session runs January 26 - 30, 2019 9:00 a.m. - 5:00 p.m. daily, open studio hours on select days. Fee includes tuition + materials fee + studio fee. Students may be asked to bring some additional items. Materials include 25 lbs. of clay and 2 firings. Additional clay will be available for purchase. Artist Bio: Eleanor Anderson graduated from Colorado College, where she studied printmaking and fibers. She works across a broad range of media including ceramics, textiles, prints and collage. She has been a resident at the Textile Arts Center is Brooklyn, NY and the 9th Semester Fellow in Design at Colorado College. Most recently she finished a two year Core Fellowship at Penland School of Crafts in Penland, North Carolina. She sends work into the world with the optimistic intentions of enlivening and enriching objects and spaces for the user or the viewer. www.eleanoranderson.com www.eleanoranderson.com
  5. I imagine we've all had that moment. At some point we look at our work and see, sometimes rather suddenly, that we have decided to go in a direction very different from the one we've been pursuing. The moment came for me a few firings back, when I unloaded the kiln and realized I liked a lot of the pots better than I liked the stuff I had been doing before. And then, I had to think about why I liked them better. Those new pots existed, in all honesty, because I had an order for a bunch of bowls and I had to get them out quickly. I decided to use some surface techniques that I had been experimenting with to some extent. These techniques involved the use of sprayed slips and incising through layers, and then using a simple but active glaze that reacted strongly with the slips to create somewhat random surface effects. This was a decidedly unfussy approach, and I have often become mired in fussiness in my work. Except for the first few years of my career, when I was intentionally imitating the great Asian pottery traditions, I have relied heavily upon my ability to draw. I was a painter before I was a potter. I saw that potters who could draw were a minority, so I tried to exploit that skill, in a lot of different ways. If you check my gallery of older work, the emphasis is pretty obvious. But at the same time, my favorite contemporary potters are not people who can draw, or at least that skill is not something that they make heavy use of in their work. These perceptions were strengthened a couple weeks back when I went to a Tom and Elaine Coleman workshop. Tom is not a draftsman. He was also a painter before he was a potter, but it seems obvious to me that he was likely an abstract expressionist, because his wonderful pots are decorated in an abstract and spontaneous manner, with marks made in a very free and unstudied manner. Elaine's work is very different. Not only does she draw extremely well, but she is also a brilliant pattern maker. At any rate, I realized that I was not as interested in the drawing as I was in the pattern making, and this further impelled me along my new path. So, what large changes in direction have you had, and what occasioned them?
  6. Hello, and apologies for such a basic question. I'm just starting out and trying some handbuilding at home before my next lesson next week. I painted a piece with black slip, a commercial slip straight from the pot (from potclays) last week, and it was very thick to brush with. I am wondering if I can dilute it or will tht cause problems with it 'fitting' the clay body? thanks, Linda (Also I have saved my profile pic to correct size but site still doesn't upload it?)
  7. So... I am a FREAKING AWFUL pariah towards myself. Seriously. I constantly criticize my own work and compare it to the works of others. I'm really insecure. The wheel and I were NOT FRIENDS in the beginning. If words could kill, the wheels at Spokane Falls Community College would look like they were thrown in a car crusher from the evil that spouted from my dirty rodent mouth. I.e., lots of this: $@#&*^#@*)/!!!!!! After about five years, I can finally pull things off the wheel. They aren't necessarily FABULOUS things, but... they are functional. I was also thankfully blessed with another ability that not a lot of potters have... I can draw. And, I can draw WELL. I sadly live in an area where ALL ARTISTS ARE STARVING. I make barely enough money to scrape by, but I just cannot work a traditional job because of my spinal injury. Clay is physically taxing, but... well? So is life. I deserve to make a living wage, even if my production pottery isn't perfect. My forms are simple, because I want the main focus to be the illustration. For me, clay is just another canvas. I gotta just keep telling myself that my work isn't crap because of whatever reason... This is a piece of greenware I finished underglazing last night. I have to say that I love it... those grayish muted outlines will be glorious, inky black when fired. It's micaceous redart with white slip I'm gonna fire to ^03. I also included one of my graphite drawings, just for fun. :3 So, yeah... Anyone else have my problem? The self-criticism and insecurity part... >.<'
  8. Okay. I have seen some dee-lish-us and positively drool-worthy stoneware and porcelain work on this forum, but I'm kinda wondering something... Where are all my terracotta-luvvin' buddies at?! I feel kinda by my lonesome here! Give a shout and post some pics of your iron red glory! Here's a mug I did with white slip and underglaze. Fired to sitter ^03 to make it a wee more vitreous. ♥ What's your favorite thing to make with terracotta?
  9. Dear All, The Art Students League of Denver will be hosting a slide lecture and two day demonstration/hands-on workshop with Julia Galloway (www.juliagalloway.com) on developing forms, surfaces and ideas for pottery on February 7th-9th, 2014. Julia is a potter who creates utilitarian work, and is a professor and Director of the School of Art at the University of Montana-Missoula. Please join us! For more info see the attached flyer. To register online go to: www.asld.org or call 303-778-6990. Spaces for the hands-on portion of the workshop are limited so please plan to register early. Thank you! Shelley Schreiber Ceramics Studio Manager -------------------------------------------------------------------- Art Students League of Denver 200 Grant Street | Denver, CO 80203 303-778-6990 X1106 | www.ASLD.org Direct: 720-638-7325 Master_Class_Julia_Galloway_02_2014.pdf
  10. Hello all I'm after some advice: I'm slipcasting some porcelain baubles and want to stamp coloured names on the front of them (a bit like the words on these). So I bought some rubber letter stamps and some stain and borax frit, thinking I could mix stain with frit and a drop of water and use it like ink on the soft cheese stage greenware. What I ended up with was a smeary blotch on my bauble, which was also dented out of shape by the pressure when I applied the stamp. Does anyone have any tips or advice on how I can achieve crisp, clean, coloured lettering? Many thanks in advance! Kate
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