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Surface Technique With Slip


preeta

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i have been trying to figure out how to achieve a 'distress' surface technique in clay on thrown pieces. i have trying to figure out how to get something of this look - the rough surface look too and haven't figured it out. does this involve multiple firings? I've tried dark clay body and brushed, sponged slip on and then tried to take off, wash under tap but haven't got quite that kind of effect. 

 

i want to do this with slip. the book where i saw robin welch's pots said those particular ones were slip and oxidation. 

 

https://s-media-cache-ak0.pinimg.com/736x/0d/c6/86/0dc686caec0f09c1f027f21faa41aa7a.jpg

 

another set of pots without name 

https://a.1stdibscdn.com/archivesE/upload/1121189/f_45238031461067537102/4523803_s.jpg

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If you go to this page and scroll to "A Short Documentary - Norfolk" the narrator speaks of Welch using heavily grogged clay, porcelain slip and underglazes. Looks like one of those things that is easier said than done to look as good as he does it. It's hard to tell with the second picture but it almost looks like mineral salts coming out of the clay doesn't it?

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the narrator speaks of Welch using heavily grogged clay,

Min:

I watched the video; I believe he is using  Morganite T material, or knock off of it. Heavily grogged china clay, molochite, and white burning ball clay. I can see the coarseness of the clay in his trimmings. T- material is used for heavy pieces, sculptures; and used a lot in Raku firings in the UK. I do not deal much with commercial clay bodies on this side of the pond: so I do not know it their is an equal here.

 

Nerd

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thank my lucky stars - i think i found the technique. and i think part of that IS about the clay body. i can't imagine treating any of my clay with that vigor. its at 6:40 that he shows the technique. but its a nice video to watch. and its all handbuilt so i would guess clay body is pretty 'tough' and thick.

 

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You have found "a" technique, not "the" technique. There are many ways to achieve a distressed look -- and you do not necessarily have to take a wire brush to your clay or use some overseas formulated heavy grog clay. Yes, the clay body can help -- but you can also use clay slips (think layers not single applications; think thin slip and thick slip), different types of brushes for application -- stiff bristles vs soft bristles, long vs short nap, dry vs wet; dry-looking glazes, engobes, oxide and mason stain washes, tools (spackling knives and plaster tools for application, cleaning the blade vs leaving some slip on the harden and give an irregular surface for the next application), and multiple firings to achieve the look (although you can do it with single firings, too).

 

It takes practice and repetition to learn to relax while applying the slips, etc. Sometimes you get lucky -- I remember one day my hand cramped while applying slip and the brush dropped on the slab and gave the most unusual pattern. Many of these techniques require patience -- working with the clay is ready to be manipulated -- you can't force the look. Keep practicing and experimenting.

 

A couple to look at . . .

 

Lana Wilson (she is known for more than magic water) http://lwilso2.otherpeoplespixels.com/home.html

 

Jim Robison http://www.boothhousegallery.co.uk/Also, his book with Ian Marsh "Slab Techniques"

 

Eric Serritella http://ericserritella.com/eric/

 

https://youtu.be/ueDTA6dPGA4

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i stand corrected. you are so right. its just one way not the way. oh how i could forget lana wilson. she was one of the first artist i discovered. i love her plop theory. opened doors for me. thanks for the links. off to check out. 

 

i have played with slip in school. i did slip trailing quite a bit but want to try other things. actually i am the only one in the whole clay department who plays with slip in a non specific way. but i came to the end of my experimentation. i need other ways of thinking to delve deeper with slip. so your links will be of great help to opening doors. ty

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