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.
Chart: Health & Safety in the Arts: Ceramics 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).
Eye Protection Studio Safety Eye Protection in the Pottery Studio by Jeff Zamek When working in the ceramics studio, there are situations where eye protection is needed. While working with ceramic materials is not an inherently dangerous endeavor, using the proper safety equipment can help the potter easily avoid a few potentially hazardous situations. Fortunately, eye protection developed for use in several major manufacturing areas such as foundries, steel mills, glass production, metal fabrication and casting industries, is readily available to the studio potter. Infrared/Ultraviolet Hazards In the past, glassblowers were subjected to infrared and ultraviolet light when looking into high-temperature molten glass tanks. Infrared and ultraviolet radiation are part of the electromagnetic spectrum with visible light being just one segment of the entire range. The cobalt-blue #5 lens is rated on a different scale and does not correspond to the green-shaded welding glasses #5. Resources
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.
Silicosis - Potter's Rot Silicosis (particularly the acute form) is characterized by shortness of breath, cough, fever, and cyanosis (bluish skin). It may often be misdiagnosed as pulmonary edema (fluid in the lungs), pneumonia, or tuberculosis. The name silicosis (from the Latin silex, or flint) was originally used in 1870 by Achille Visconti (1836-1911), prosector in the Ospedale Maggiore of Milan. The recognition of respiratory problems from breathing in dust dates to ancient Greeks and Romans. Agricola, in the mid-16th century, wrote about lung problems from dust inhalation in miners. Classification Classification of silicosis is made according to the disease's severity (including radiographic pattern), onset, and rapidity of progression. These include: Chronic simple silicosis Usually resulting from long-term exposure (10 years or more) to relatively low concentrations of silica dust and usually appearing 10–30 years after first exposure. This is the most common type of silicosis.
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
Respirators for Potters Ceramic Studio Safety Respirators for Potters by Jeff Zamek When sweeping the studio, every potter at some point wonders, “What should I do to protect myself from the clay dust?” Imagine what’s floating around in your studio when walking or sweeping up at the end of the day. On days when direct sunlight enters the studio, it’s possible to see raw materials and clay dust in the air; but it’s the stuff you can’t see that’s the problem. Clay is a very small hexagonal-plate-shaped particle material and can range from 100 microns (µ) to 0.1µ in size depending on the specific type of clay. A safe and conservative approach goes a long way in protecting yourself from airborne particles-both visible and invisible. Respirator Filters Every respirator has some type of filter to trap particles. For many years, HEPA filters have been the standard for the industry. If It Fits ... When purchasing any respirator, look for the new NIOSH codes. Click here to leave a comment
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。 » How to Carve Low-Relief Surface Designs into Wet Clay Carving Tools Pottery supply stores sell many types of carving tools you can use to achieve the results you want. The needle tool is very handy for cutting into tight corners. A variety of different sized loop tools can be used for extracting negative space areas. Beveled edges are easy to carve with the right size ribbon tool. Plan Ahead Success depends on the careful planning of your object, a systematic method of extracting the clay, and a slow drying time. Carving Techniques To achieve the look of low relief, draw an outline onto the clay surface. Undercutting techniques create pieces with even higher relief areas. Timing and Drying Timing is crucial with this process. To learn more about Ann Ruel or see images of her finished work, please visit
SALE Yunomi Celadon Tea Bowl259 imperfect/2nd by wagnerpottery Green Celadon Cone 10 Ceramic Glaze Green Celadon is a High-Fire Ceramic Glaze Recipe. What is a High-Fire Glaze? High-fire ceramic glaze recipes are typically fired in the range of Cone 8 to Cone 11 (2280 degrees Fahrenheit to 2361 degrees Fahrenheit). High-fire glaze recipes are sometimes referred to as Cone 10 glaze recipes or feldspatic glaze recipes. For the most part, high-fire ceramic glaze recipes are created to be used in a pottery studio setting.
Cone 6 glaze recipes | Great mid range pottery glazes | Oxidation The benefits of firing underglazed pottery (mainly children's work) is that the end result is much more durable than low fired projects. We really wanted the projects to last for generations remembering how our parents and grandparents cherished our school ceramic work. We therefore, fire all of our work and our students work to cone 6 including underglazes. We learned that the majority of underglazes do not yield good and expected results and not all clear glazes interact favorably with underglazes. See children's underglazed cone 6 projects.