s6x Posted January 24 Report Share Posted January 24 I know there are glazes that will crackle, but I would like to have some serious, deep crackling, like in this piece, which I assume was achieved by adding slip at some point... but how do you do this in a manner that will make the slip seriously crack, but not fall off? I like how the surface of the piece in the photo is red on the bottom, but the top crackling layer is white. Was this effect achieved by manually painting the cracks? or is it possible to apply a red glaze first, before a white slip is applied on top? Quote Link to comment Share on other sites More sharing options...
Callie Beller Diesel Posted January 24 Report Share Posted January 24 It’s probably a combination of slips/engobes/crawl glazes. It looks like there’s a lot of layers of different things, and without knowing who the artist is or anything about the process, that’s as much as I can guess. s6x, Rae Reich and Hulk 3 Quote Link to comment Share on other sites More sharing options...
Kelly in AK Posted January 24 Report Share Posted January 24 Something like this reminds me a bit of Robert Sperry, along with some really gnarly shinos in historical Japanese pottery. Granted, they’re two different things. I was told many years ago Sperry used slip on top of glaze for his dramatic effects, I can only imagine it was the product of serious experimentation. I’m afraid that’s all I can offer. https://www.bellevuearts.org/exhibitions/past/robert-sperry Rae Reich, s6x and Hulk 3 Quote Link to comment Share on other sites More sharing options...
s6x Posted January 24 Author Report Share Posted January 24 54 minutes ago, Callie Beller Diesel said: It’s probably a combination of slips/engobes/crawl glazes. It looks like there’s a lot of layers of different things, and without knowing who the artist is or anything about the process, that’s as much as I can guess. Aneta Regel is the artist. I found a video and she talks about firing multiple times and adding natural rocks and slips. So I guess what I'm trying to understand still is how do you successfully add slip to an already fired and glazed piece without the slip simply falling off? I tried once adding slip to a bone dry piece and as soon as it dried it fell off. it didn't remain on the piece. Maybe the key is to fire it while the slip is still wet? Quote Link to comment Share on other sites More sharing options...
Kelly in AK Posted January 24 Report Share Posted January 24 It’s just conjecture on my part, maybe someone will chime in with other ideas or experience, but my mind goes to more calcined clay in the slip for less shrinkage wet to dry, and perhaps cmc gum to make it harder it once it’s dried. Rhodes crackle slip (various versions on Glazy) doesn’t produce the extreme texture you’re looking for, but it’s a step in that direction. Applied to bisque ware. Callie Beller Diesel 1 Quote Link to comment Share on other sites More sharing options...
PeterH Posted January 24 Report Share Posted January 24 (edited) Is the video you mention the Ceramic Review ""masterclass"? The accompanying article is at https://www.ceramicreview.com/articles/material-beauty-2/ PS A couple of quotes I found interesting. https://tlmagazine.com/nomad-vibrant-colours-and-playfulness/ Stone (both presented and represented in her work) makes an important contribution to the materiality of Regel’s artistic practice. Her technique of mixing porcelain with gravel, placing stones into the clay, and subsequently allowing the clay to shrink and crack around the rock inside the kiln makes for a sensational sort of indeterminacy as the artwork rises to the challenge of forming and reforming itself. https://artsandculture.google.com/asset/raining-stones-aneta-regel/xAGlSpRuwPcv-g Edited January 24 by PeterH Hulk, Min and Rae Reich 3 Quote Link to comment Share on other sites More sharing options...
akilpots Posted January 24 Report Share Posted January 24 definitely multiple slips, glazes, and firings....and a lot of testing. reminds me of tony marsh's crucible works. and some of jim malone's textured works. there's a good goldmark gallery video on jim malone where you can see him making some of these textured pots. he's applying dry clay to the surface of a pot while it's still wet on the wheel. https://www.artsy.net/artist/tony-marsh?page=2 https://www.goldmarkart.com/collections/mike-dodd/products/mike-dodd-medium-textured-vase-cer-md-4154-s Rae Reich 1 Quote Link to comment Share on other sites More sharing options...
Callie Beller Diesel Posted January 24 Report Share Posted January 24 19 hours ago, s6x said: I tried once adding slip to a bone dry piece and as soon as it dried it fell off Trying it once isn’t definitive. Don’t give up quite yet. Firing it while still wet won’t get rid of the shrinkage, it’ll just all happen when it’s on the kiln shelf if you do that. If shrinking from wet to dry is caused by water evaporating, you have to find a way for there to be as little water as possible. So mix the slip as thick as you can and use darvan to create flow if needed, use calcined clay materials in your ingredients, and you may even have to go as far as adding some gum or other binder to the mix. It’s going to take a lot of experimentation and playing with materials to figure some things out in this area. Rae Reich 1 Quote Link to comment Share on other sites More sharing options...
PeterH Posted January 24 Report Share Posted January 24 (edited) On 1/24/2024 at 12:10 AM, s6x said: I know there are glazes that will crackle, but I would like to have some serious, deep crackling, like in this piece, which I assume was achieved by adding slip at some point... but how do you do this in a manner that will make the slip seriously crack, but not fall off? I like how the surface of the piece in the photo is red on the bottom, but the top crackling layer is white. Was this effect achieved by manually painting the cracks? or is it possible to apply a red glaze first, before a white slip is applied on top? My first impression that it's not a normal crack pattern, which are often well described by Hierarchical crack pattern as formed by successive domain divisions Pt 1 https://www.researchgate.net/publication/235540544_Hierarchical_crack_pattern_as_formed_by_successive_domain_divisions_I_Temporal_and_geometrical_hierarchy Which seem to have a family resemblance to many crackle glazes, and this crackle slip https://glazy.org/recipes/56903 ... which isn't looking too like Aneta Regel's work to me. Perhaps this is because there are "large" grains inside the shrinking "slip", causing both local "hot-spots" in the tension and impeding the free propogation of the crack within the mixture. Edited January 25 by PeterH Rae Reich 1 Quote Link to comment Share on other sites More sharing options...
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