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Hazards in Ceramic

Hazards in Ceramic
Lead poisoning from pottery glaze and paint NO form of lead or arsenic may be used in our materials without specific clearance and training from the instructor. Lead is hazardous to breathe, to ingest (eat), and can be released from firing into the air. Finally, any container glazed with these materials may be toxic to eat or drink from because lead can leach into food or drink stored in the vessel. While new pottery sold today in the United States is generally assumed to be safe from lead, occasionally one still reads about cases of pottery that is accidentally sold with dangerous amounts of lead in the glaze. In paint, lead carbonate was formerly used for white. The following hazardous materials may be used with care and precautions. Antimony oxide, barium of any form, beryllium, borax, cadmium, selenium, cobalt, colemanite (or gerstley borate), copper, chromium (chrome), lustre preparations, manganese, nickel, potassium dichromate, vanadium, and zinc. See:Alfred Franzblau, et.al. Related:  Pottery dreamsCéramique Poterie

4 Crazy Kings: How To Make a Quick Clay Owl 10 Wow, what a week this has been. It is not that anything different happened this week it is just that I didn't have the energy and felt completely scattered all week. This ever happen to you? For example, I packed the prize boxes, of course forgetting to put in a nice note to all the winners, then I couldn't mentally gear myself up for: juggling two kids, 5 boxes, rain, and most likely a line at the Post Office. So the boxes drove around with me all week. I also wanted to acknowledge all of the people who entered my first giveaway! Here is a quick how to I came up with while Lu was making beads. Start with a ball (we used Model Magic Smoosh to make circle Use marker cap to make UUUUUU's on belly Fold sides in Fold top down - pinch ears a bit Use marker cap to make eyes Use butter knife or similar to make beak - Finally you can play with a bit by smooshing sides a bit to make owl more round. Let dry and paint. Click here for a variation.

Les cuissons pour la Faïence - Le blog de L'atelier Terre et Céramique CERAMIQUE adj. et n. f. est un emprunt tardif (1806) au grec keramikos "d'argile", de keramos "terre à potier" qui désigne divers objets en terre (jarre, tuile, toit) ; keramos est un terme technique sans étymologie établie. On peut également faire le rapprochement avec le latin cremare "brûler" (cramer, crémation). On a également évoqué le lituanien karstas "brûlant", le gotique hauri "charbon", l'ancien haut allemand herd "foyer"... Céramique a pour premier sens "art de façonner et de cuire l'argile" et se rapporte à la fois à l'art du tuilier et au métier d'art : le mot désigne autant la matière obtenue après cuisson que les objets de cette matière. Par une heureuse coïncidence, l'argile, qui est si plastique et si facilement transformable lorsqu'elle est crue, devient une fois cuite, une substance définitivement dure. Bizarre. Compte tenu de notre matériel et de nos pratiques nous allons essentiellement nous intéresser à la cuisson des pièces de faïence, en four électrique. inShare

Ceramics@Goshen | What do we learn in this class? | Course Requirements? | Learning Tasks? || Grades? First Assignment on the Wheel | Second Assignment - Vertical Throwing What do we learn in this class? skills You will learn minimum skills using the potter's wheel, slab building, coil building, glaze application, and firing. knowledge of art We will work at some basic questions about art. knowledge of ceramics We will cover the special qualities of the materials and processes used in ceramics. learning in art - how it happens We take class time to discuss student work in progress. Ask for instructor counsel. Since unfired clay can be reprocessed, you decide what to fire. Course Requirements? time on task Regular attendance at 2 sessions per week is expected. attendance Each class session is planned to provide new information and inspiration. production requirements text Hands in Clay, by Charlotte F. materials Grades? grading art work You bring in all your completed work at the end of the term. tests and grading

Throw, Cut, and Paste: Combining Wheel Throwing, Handbuilding and Multi-Step Glazing to Create Distinctive Vibrant Forms : Ceramic Arts Daily The Pedestal Gravity is one of the challenges faced when it comes to thrown forms. A thrown and altered shape may have a dynamic profile from the waist up while the foot often remains static and gravity bound. fig. 1 (click to enlarge) Starting a piece by throwing it up-side down allows alteration to the foot and the opportunity to create a dynamic negative shape under the base. fig. 2 To begin the pedestal, throw a tapered cylinder with a ¼-inch thick floor. fig. 3 After this rim has dried slightly but is still soft and pliable, you’re ready to alter the shape. fig. 4 Cut into the rim on either side of your mark using an X-Acto knife, making an arced, V shape. fig. 5 Following your design ideas and sketches for the finished piece, complete any slip-based surface decoration. The Vase fig. 6 The vase is thrown in two parts. fig. 7 After the parts have set up slightly, yet are still pliable, shape the shoulder of the vase into four lobes by stretching out the wall using a damp sponge (figure 6).

Ateliers Bibenbou, poterie artisanale, cours et stages de poterie à Jauche en Belgique Présentation Atelier Bibenbou Artisan potier Stages et cours de poterie Jauche, Belgique "L’atelier « Bibenbou » est un endroit de travail de la terre et du feu. Nous travaillons essentiellement avec le tour du potier, mais d'autres techniques peuvent être abordées à tout moment ! Comme rouler des boudins, qui est la technique des colombins ; travailler avec des plaques aplaties, avec un rouleau à tarte…ou le modelage. C’est aussi un espace privilégié ! Une pause dans le quotidien, qui nous ramène à la terre. Le tour du potier nous centre sur l’essentiel. à nous de l’expérimenter dans l’exercice qu’est le tournage d’un pot". Autre réalisation : ici Contact Atelier Bibenbou 13, rue de la Cure 1350 Jauche Belgique Tel : 019/ 63 72 96 www.bibenbou.be ben@bibenbou.be Nous pouvons vous accueillir pour le travail au tour, mais aussi pour le modelage et les autres techniques autour de la terre ! L’atelier possède 8 tours et un four électriques. Pour tous renseignements : 019/637296 ben@bibenbou.be

1curric Flat to Functional: Handbuilding & Slip Decorating : Ceramic Arts Daily In this installment of the Ceramic Arts Daily Presents Video Series, potter Lisa Naples shares her love of handbuilding with earthenware. Determined to change the myth that earthenware is punky and weak, Lisa explains how this beautiful forgiving clay body is every bit as strong as its higher-fired counterparts when it’s fired beyond the traditional Cone 04. In addition to covering the mechanics of good slab rolling, Lisa guides you through her straightforward soft-slab building techniques. She demonstrates how to add interest to handbuilt forms by adding texture and cutting darts to create custom shapes. In the decorating portion of the video, Lisa gives a thorough explanation of her “dry” and “wet” slip brushing techniques, explaining how they can add both beautiful texture and color.

La recherche de forme et d'émail, le choix de la porcelaine Cours d'application d'émail (week-end n°1) - Ce cours consiste en l'apprentissage des techniques d'application de l’émail : - Apprendre à fabriquer un bain d'émail à partir d'une recette ou d'un émail du commerce. - Savoir régler la densité des bains d’émaux, agir sur le temps de "ré essuyage" pour avoir une bonne pause, régler la thixotropie, l’encollage, utiliser des défloculants pour les émaux épais. - Pratiquer les techniques du trempage, du versement, de la pulvérisation, savoir faire des bicolores, apprendre à choisir la meilleure technique en fonction du style d'émaillage voulu. - Ce cours est idéal pour les personnes qui débutent dans l'émaillage ou les personnes qui veulent se perfectionner. Méthode de recherche et calcul de la composition de l'émail (week-end n°2) - Ce cours s'adresse aux personnes désirant créer leurs propres émaux, couleurs et effets de matière. Ce cours s'adresse aussi bien au professionnel qu'à l'amateur averti. Recherche d'émail N°1 (week-end n°3)

Building A Hollow Bust Rolled slabs insure an even thickness throughout the piece, except, of course when additions are made. It depends on the size of the piece. A life size bust may have added hollow forms (could be the nose) like a massive amount of hair. There is less chance of air bubbles as when you are working with just wads of clay. Equus Machina by George Palovich Tang Dynasty Horse Geo Workshop Handbook: Clay Projects and Studio Resources Welcome to your workshop! Whether you enjoy throwing, handbuilding, glaze testing or all of the above, we’ve pulled together several things for you to try out once you get back to your studio. If you’re familiar with Pottery Making Illustrated and Ceramics Monthly, then you already know they’re packed full of practical information, projects, and techniques you can use. The articles in this 2014 Clay Workshop Handbook provide a sampling of some of the great content you’ll discover in each issue. Here’s an excerpt from one of the mini pottery workshops you’ll find in the 2014 Workshop Handbook: Clay Projects and Studio Resources: Surface Decoration by Doug Peltzman My decorating technique requires incised lines inlaid with a black slip. Note: The added moisture from the wax can soften the piece, so be careful when handling. Now that the piece has been broken up into sections, I start by filling in every other square with a pattern. download freebie Leave A Response

ARS CRETARIAE ARCHEOCERAMIQUE Dukno Yoon / MetalWorks Movement and interactive relationship with the body has been the most important element throughout my body of work. However through these works, I also started to explore the mechanical structure as a form. Mechanical structure becomes the most enjoyable form to me as it becomes complex yet remains simple and coherent. The contrast between metal structural form and natural feather, together with the repetitive and whimsical movements of fragile wings, provokes the imagination and evolves the intimate relationship between work and viewer/wearer. Although the recent series, segmented wings have been focused on the formal challenge to engineer an intricate movement that simulates bird wings, these works are intended to be a series of poems in which I develope my own formal language, interpret the nature of wings, create various structural forms with movements, and share the metaphor, imagination, humor, with viewer/wearer. A Passage Introduction for Exhibition catalogue written by Susan Ewing

mayumi yamashita 'make me me': learning by making how it's made... how it affects whole design... why is it necessary? なぜそれが必要なのか? When you know why and how you would realise how deep 'making' could be. どうやって作るのか? 同時に、「作ること」の奥深さを知ることになりますね。

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