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.
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).
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.
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
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.
Longquan celadon
Truncated with mountings Longquan Celadon in the Topkapı Palace, Istanbul, Turkey. Longquan celadon (龍泉青磁) refers to Chinese celadon produced in Longquan (龍泉) kilns which were largely located in Lishui prefecture in southwestern Zhejiang Province. With those in other prefectures the total of discovered kiln sites is over two hundred, making the Longquan celadon production area one of the largest historical ceramic centers in all of China. Overview[edit] A Longquan Ware Celadon Vase, Song Dynasty, 13th Century, from the Nantoyōsō Collection, Japan Celadon production had a long history at Longquan and related sites, but it was not until the Five Dynasties (五代 907–960) and Northern Song (北宋 960–1127) period that production of scale truly began. Longquan celadons thus were an important part of China's export economy for over five-hundred years. Southern Song celadons display the greatest variety of shape and glaze color. See also[edit] Bibliography[edit] References[edit] External links[edit]
