MAGGAGGY@aol.com on mon 23 sep 96
i live in the seattle area. my bussiness has gotten to a point where molds
might be the way to go. if anyone in this area know of someone thats
good,please let me know. thanx!
DEBORAH K FERREE on sun 31 may 98
Marie Elaine,
There are many ways to make a mold depending on the work you are doing.
Many books on the subject also but wanted to pass on a great informative web
site I found.
http://www.cementex.com/prepmold.html
Deborah
Bolivar, Ohio
The mosquitoes are plentiful and a threat of a thunderstorm today
Emily & Kurt Kiewel on tue 12 oct 99
Hi. Got a call from a student at A&M University today. She is looking for
someone to make a mold of a liver for her. She had a local artist make one
from plaster but it was too thin and broke the first time it was used.
I don't really know if plaster is viable for her project because she will
be using some sort of plastic. If anybody has info for her please contact
me and I will forward your email to her.
She is very interested in learning how to make the molds herself so if
there is someone in Austin or Houston who is interested in this project,
please contact me.
Many thanks-Emily in Texas.
John Rodgers on wed 13 oct 99
Emily, I'm a mold-maker by profession. This project sounds intriguing. Can you
tell me more?
John Rodgers
Espanola, NM
505-747-2787
Emily & Kurt Kiewel wrote:
> ----------------------------Original message----------------------------
> Hi. Got a call from a student at A&M University today. She is looking for
> someone to make a mold of a liver for her. She had a local artist make one
> from plaster but it was too thin and broke the first time it was used.
>
> I don't really know if plaster is viable for her project because she will
> be using some sort of plastic. If anybody has info for her please contact
> me and I will forward your email to her.
>
> She is very interested in learning how to make the molds herself so if
> there is someone in Austin or Houston who is interested in this project,
> please contact me.
>
> Many thanks-Emily in Texas.
Ashley Hasselman on wed 13 oct 99
Emily,
I met this guy one time (his name escapes me) who did these very delicate
sculptures of horses out of that fiberglass mixture you buy at automotive
supply stores for making body repairs to fiberglass car components. He used wax
to create the original and made a mold by brushing on the silicon caulking that
you use to caulk your windows or bathtub. When dry, he cut the mold open to
remove the original. The mold was pinned back together along the seam of the
cut with straight pins and the fiberglass was poured into the mold. When dry,
the sculptures did have a seam line where the mold was cut but this was easily
sanded down. The details on these little sculptures was amazing!
Ashley
Emily & Kurt Kiewel wrote:
> ----------------------------Original message----------------------------
> Hi. Got a call from a student at A&M University today. She is looking for
> someone to make a mold of a liver for her. She had a local artist make one
> from plaster but it was too thin and broke the first time it was used.
>
> I don't really know if plaster is viable for her project because she will
> be using some sort of plastic. If anybody has info for her please contact
> me and I will forward your email to her.
>
> She is very interested in learning how to make the molds herself so if
> there is someone in Austin or Houston who is interested in this project,
> please contact me.
>
> Many thanks-Emily in Texas.
the Gallaghers on wed 13 oct 99
There is a very good mold making book by Thurston James that gives good
information about casting just about anything. "The Prop Builders Guide to
Casting and Mold Making" is found in the theatrical section of the book
store.
Michelle
In Oregon
-----Original Message-----
From: Emily & Kurt Kiewel
To: CLAYART@LSV.UKY.EDU
Date: Tuesday, October 12, 1999 9:07 AM
Subject: mold making
----------------------------Original message----------------------------
Hi. Got a call from a student at A&M University today. She is looking for
someone to make a mold of a liver for her. She had a local artist make one
from plaster but it was too thin and broke the first time it was used.
I don't really know if plaster is viable for her project because she will
be using some sort of plastic. If anybody has info for her please contact
me and I will forward your email to her.
She is very interested in learning how to make the molds herself so if
there is someone in Austin or Houston who is interested in this project,
please contact me.
Many thanks-Emily in Texas.
CNW on thu 27 jul 00
All this talk of plaster and mask making (out of the question for a =
claustrophobic though) has gotten me excited.=20
So I signed up for Tom Spleth's workshop on Mold Making at Odyssey in =
Asheville. I've never taken a workshop from him before.=20
I have met him however and seen his work, super nice on both counts.=20
Celia in NC
cwike@conninc.com
John Rodgers on mon 1 mar 04
Marie, my question is....are these hands to be clay, or are they to be
of some sort of compound that sets up hard?
If clay, you will need to make plaster molds. If some other setting-type
compound. Latex rubber, or silicon or polyurethane will work.
Take a look at soem of the wax products that are available through AMACO
(Armerican Art Clay Co.) They have some waxes that whn melted you can
dip your hands into without burning, then when cool you can carefully
cut these wax "gloves" away, reassemble, and make a plaster cast. This
way is quick, lest costly thant the rubber compounds, and can give you
some plaster hands in short order that will have the more natural look
of the curled hand. Something that is hard to do otherwise.
As for rubber, Polytek is a good all around source, But AMACO has the wax.
Regards,
John Rodgers
Chelsea, AL
Marie Gibbons wrote:
>I am wondering if anyone has experience with latex molds, and what you all
>may have used.
>I am about to start an installation piece in which i need to make about 5o or
>mor pairs of hands.
>thinking of using algenate, but wondering what else is out there that has
>been used and had sucess.
>i need to be able to pull the mold off the work, that is why i am thinking
>algenate, no problems with undercuts
>any ideas?
>
>marie gibbons
>www.mariegibbons.com
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
>
>
>
Marie Gibbons on mon 1 mar 04
I am wondering if anyone has experience with latex molds, and what you all
may have used.
I am about to start an installation piece in which i need to make about 5o or
mor pairs of hands.
thinking of using algenate, but wondering what else is out there that has
been used and had sucess.
i need to be able to pull the mold off the work, that is why i am thinking
algenate, no problems with undercuts
any ideas?
marie gibbons
www.mariegibbons.com
John Jensen on mon 1 mar 04
I've done a fair amount of work with polyeurethane molds. Go to
http://www.polytek.com/ for a good source of moldmaking material.
There are some pitfalls; but polytek has a good support system,
including a catalogue with a lot of good instructions. Whatever you
need, they will likely have.
John Jensen, Mudbug Pottery
mudbug@toadhouse.com , http://www.toadhouse.com
Snail Scott on mon 1 mar 04
At 08:26 AM 3/1/04 EST, Marie wrote:
>I am wondering if anyone has experience with latex molds, and what you all
>may have used.
>I am about to start an installation piece in which i need to make about 5o or
>mor pairs of hands.
>thinking of using algenate, but wondering what else is out there that has
>been used and had sucess.
>i need to be able to pull the mold off the work, that is why i am thinking
>algenate, no problems with undercuts
>any ideas?
Alginate is great for making life-castings of hands, but
unless you are careful, alginate has a very short lifespan.
If there are undercuts, the mold will probably destroy
itself in removing the casting, requiring a new mold for each.
This will get expensive very quickly. If the castings do
not have undercuts, the alginate could be cut into a two-part
mold and removed to use again, but alginate is hard to keep
for more than a day or two. It's mostly water, and distorts
when it starts to dry.
By the way, are these hands going to be clay? The moisture
in the alginate would make it impossible to get slip to
set up and I suspect it would make even regular clay wetter,
not stiffer. Alginate is wonderful for plaster, but not
suitable for slip-casting. Also, alginate is too soft to
work well as a press mold. It will work, somewhat, but
the distortion of press-molding into such a soft material
negates the precise detail which is a major appeal of
alginate molds. Alginate also rather fragile and prone to
tearing, and it will probably cost hundreds of dollars for
enough alginate to do this many hands unless you can re-use
each mold a number of times. Great care would be needed.
Latex and other rubber-type mold materials are reusable,
but would need to be made as a two-part mold. They're also
not nice on the skin. (There are 'rubber' compounds made
for life-mold purposes, which would be more appropriate.)
They will all share the imperviousness to moisture of the
other 'rubber' mold materials, however, though unlike the
alginate, they at least won't be adding _more_ water to the
system! It's not terribly easy to use such molds for clay,
though. They aren't absorbent, so slip-casting won't work.
Press-molding into each half of a mold can work, but with
hands, the fingers are so small that doing each half and
joining them is almost as much work as sculpting from
scratch. (Nan Smith is well-known for her use of rubber
molds for press-molding, but her forms are large.)
I would use plaster molds. It takes a patient model, but if
your plaster sets resonably quickly, it's not too bad. The
fast way is to use a plastic-lined shoebox with a hole for
the wrist cut in one end. Insert hand, tape around hole,
pour in plaster to the midpoint. The model should be holding
their hand fairly flat, so that the parting line will be the
natural horizontal of the plaster surface. (The hand needs to
be palm-up, or else you tend to get bubbles under the palm.)
After this layer sets, scrape away any plaster that got
splashed on the hand, wipe with vaseline or soap, and pour
a new batch of plaster on top. This way is pretty easy, but
you end up with a rather stiff-looking flat hand.
Another way which gives more natural hand poses is to fill the
bottom of the box with soft clay. Carve an approximate hollow
for the hand. Lay the model's hand into the clay. Don't press
the hand hard into the clay to make the hollow - it tends to
cause distortion of the flesh. Instead, just build clay up as
needed around the hand to reach a good parting line. Then pour
the plaster. After it has set, remove the whole assembly from
the box and flip it over into the box again, plaster side
down. Remove the clay, apply the parting agent, and pour the
other half of the plaster. This method is more time-consuming,
but gives more options for natural positioning of the hand.
Basically, there are many more options for life-casting if a
material other than clay is used. With clay, although press-
molding will work with a number of mold materials, the mold
needs to be not very squishy in order to avoid distortion, and
it works best with larger forms where re-assembly has less
impact on the total piece. (This isn't necessarily a major
problem, just more work.) Slip-casting can work well, with a
minimum of clean-up needed on the casting, but requires an
absorbent mold medium like plaster.
A friend of mine in college did a wonderful installation piece
featuring about 200 hands. She made a big mound of scrap clay
in the studio, and invited all sorts of people to just push
their hands deep into the clay. Then she poured plaster into the
holes, and did the mounting arrangement (I forget exactly what)
while the plaster was still wet. Then she dug out the cast
hands, which were slightly distorted from the 'model's' act
of pulling their hands out of the clay, and stained to varying
degrees by the brownish clay. She could do dozens a day by
this method, and rather than detracting from the liveliness
of the finished piece, the smears and distortions gave an
interesting range of alterations to what could otherwise have
been 'just plain hands'. The hands were mounted sticking out
of a wall in a gallery in a grid arrangement, occupying an area
about 7 feet high and maybe 20 feet long, with a hand about
every foot or so, and about 10% of the hands were holding
candles, which burned down and dripped wax on the hands and
floor, and were periodically replaced by the artist with fresh
candles as needed. Part of the strength of that piece was not
the accuracy of the hands, but the roughness of their execution,
which ironically gave (I think) a greater sense of the living
models that had made them.
Another 'quickie' plaster hand method is one I suggested to
a student last week: Take a lump of clay on a small board and
shape it around the bottom half (palm side) of your hand, making
a decent parting line, and leaving about 2" of clay around it.
Apply vaseline to the clay, and then squish more soft clay oon
top of your hand and smush another small board on top. Pull off
the top board and clay, extract the hand, and pour plaster into
the wrist hole. (The boards are to help prevent distortion as
you handle the soft clay.) When the plaster has set, pull
the two clayhalves apart and extract the plaster. With care,
the clay mold can be used several times. The accuracy isn't high,
but it's a very fast method. (This student planned to cover the
hands with latex gloves for his project, so the level of detail
was perfect for him.) Small undercuts will cause the clay to
rip out slightly when removing the hand or when removing the
plaster casting, and there will be a fair amount of flashing
at the parting line, but these can be cleaned up readily with a
knife.
-Snail
Dawn Christensen on mon 1 mar 04
HI
I have used the alginate with a plaster mother mold surrounding it for
strength and gotten about 5 castings without the mold deteriorating. I probably
would have been able to do more but that was the limit I had set for myself.
We cast chocolate, wax, ice, latex, jello, (I did lint), clay; basically
anything we could think of. The detail was amazing. (vaseline of course)
I had a friend at the time that had lost a son to cancer a year before
and we cast her hands holding knitting needles, then cast her torso. The
finished piece was in clay and she was knitting up the hole in her heart. It was a
very moving piece, lit from the inside.
You can cast the surrounding mold and insure separation from the alginate
by using false teeth adhesive. 200 hands is a lot. Maybe some of this info
will help.
My husband just got a catalog for a Dow corning moldmaking material. He
is a plastic mold making technician. The pictures show them casting clay,
wood, plaster. It is from Ellsworth Adhesives 1-800-888-0698. I have no idea of
the cost. Maybe someone there could tell you more. Dawn
vintagerose73@yahoo.com on tue 6 apr 04
Hi, Ive been trying to find out information regarding making your own
ceramic molds..ive found some stuff that tells you what you need to
make
a 3d mold, but what I want to make are open pour molds..i like to use
my
pieces in my mosaic projects and I need them to be 1-5 inches...they
can
be flat and plain on the bottom or underside, but I would like the
front
or top of it to have a lot of detail...I really dont know where to
start..would plaster of paris work w/ ceramic slip?? Right now I have
been pressing my wet clay into candy molds..but this is very time
consuming as the clay will crack as it dries and is sometimes no good
as
it has cracked up so much...could someone lead me in the right
direction
on how to get started? I am relativly new to ceramics and I still have
A
LOT to learn..thank you in advance for any help
Cherie
Anne Webb on wed 7 apr 04
hey cherie...
i dont do any molds for pouring, but we do pressmolded tiles anywhere from
2.5"x2.5" to 7"x16".
We use Hydrocal vs potter's plaster simply because the mold lasts much
longer and retain the relief design longer before we need to recast it. we
have a few potters plaster molds but the dont seem to stand up to the rigors
of daily production.
I hate picking little chunks of plaster out of clay.
Both Hydrocal and Potters Plaster can be found at just about any pottery
supply place.
I wouldnt recommend using plaster of paris with clay at all.
Hope you get it all worked out. take care..
anne
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Bob Masta on wed 7 apr 04
Cherie:
Plaster is the preferred mold-making material.
Plaster of Paris will probably work OK, but you
may want to look into #1 Pottery Plaster or
#1 Moulding Plaster from your ceramics supplier.
It's not only better for the job, but probably way
cheaper than plaster of Paris bought from a hardware
store or the like. About $0.50 / lb in 50 lb bags,
assuming your supplier is local so you don't need
to pay shipping.
I don't know what your candy molds are made from,
but the advantage of plaster is that it pulls moisture
out of the clay, which causes it to shrink enough to
release from the mold. If your candy molds are non-porous,
the cracking may be due to uneven drying.
You mention "open pour" molds, but I think you may be
better off pressing wet clay into plaster molds. That
way you end up with a solid piece with a flat back,
which you can easily level while in the mold, or add
texture for grip, etc. Poured "slip cast" pieces are
hollow: You pour casting slip into the mold, let the
mold absorb water and thus firm-up the clay where
it touches the mold, then pour out the rest of the slip
to get a hollow piece. I don't know if you would be
able to keep adding slip to keep it level, but it seems
like it would be a lot of trouble even if it worked. Plus,
you will need to leave your pieces in the molds for
a long time, whereas press-molded pieces can often
be released almost immediately. (Sometimes dusting
the mold with talc beforehand helps this.)
When you say you need the pieces to be 1-5 inches,
I assume (since you are using them for mosaics) that
you are talking about width, not thickness. Pieces
an inch or more in thickness are tricky; if that's
what you really want, I'd still use the press-mold but
maybe curl a lip into the edges of the backside, then
level the whole works. The lip will give the setting
compound something to grip when you install it.
Hope this helps!
Bob Masta
potsATdaqartaDOTcom
--------- ORIGINAL MESSAGE ----------------------
Date: Tue, 6 Apr 2004 17:28:21 -0400
From: "vintagerose73@yahoo.com"
Subject: mold making
Hi, Ive been trying to find out information regarding making
your own ceramic molds..ive found some stuff that tells you
what you need to make a 3d mold, but what I want to make
are open pour molds..i like to use my pieces in my mosaic
projects and I need them to be 1-5 inches...they can be flat
and plain on the bottom or underside, but I would like the
front or top of it to have a lot of detail...I really dont
know where to start..would plaster of paris work w/ ceramic
slip?? Right now I have been pressing my wet clay into
candy molds..but this is very time consuming as the clay
will crack as it dries and is sometimes no good as it has
cracked up so much...could someone lead me in the right
direction on how to get started? I am relativly new to
ceramics and I still have A LOT to learn..thank you in
advance for any help Cherie
Saic1984@AOL.COM on sat 10 apr 04
You need to be careful about using anything but Potter's plaster # 1. As
plaster dries, it generates a small amount of heat.....I have heard horror
stories about inexperienced people using hydrocal or other cement-like plasters
(trip to the E.R., etc.).
As for the "original", I take it you are using plastic candy molds......if
that is the case, you need to cast a plaster "original" form, this will release
quickly when dry and let it dry for about a day or two. Then you will want to
create a wall around it with either wet clay, cardboard or wood, up to 1 -
1.5 inches higher than the "original". Use green soap or diluted dish soap as a
"release" and then pour plaster into the "box" with the plaster "original".
It may help to have carved a grip (two or more finger holds) in the back of
the original, that way you will have something to hold on to when you pull it
out of the "mold" part.
Any other questions, feel free to e-mail me.
Andre
Dan Solliday on tue 30 nov 04
I'm designing a line of dinnerware and am looking for someone in the San
Francisco Bay area who can make molds from original drawings.
Jacqueline Miller on thu 26 jan 06
I am a beginner but I have done this. It does not have to be 2 piece. You
just pour the casting slip into the mold and let it sit. Your will begin to
see the edges firm up. I blow lightly at the edge of the surface of the sli=
p
to see how thick it is getting. When the wall is the thickness you want,
just pour out the liquid slip. In a few hours or over night, you will see
the walls of your bowl come away from the plaster and the bottom should not
have a shine. Invert the mold on a board or bat, lift off the mold and your
"instant bowl" should come out.
On 1/25/06, mudqeen wrote:
>
> I want to make a plaster one piece mold for a bowl form sort of like a
> slump mold but i want to use casting slip in it. Is this possible or
> does it have to be a two piece mold for casting slip?
>
>
> _________________________________________________________________________=
_____
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
mudqeen on thu 26 jan 06
I want to make a plaster one piece mold for a bowl form sort of like a
slump mold but i want to use casting slip in it. Is this possible or
does it have to be a two piece mold for casting slip?
Linda Mccaleb on wed 9 dec 09
=3DA0 You have discussed the jigger, I make things, and my husband makes mo=
ld=3D
s of some of them. I sell them and some hand made objects at the farmer's m=
=3D
arket when the weather is better, and tell the patrons that some are casted=
=3D
. They seem to like it, especially for bowls, I can sell them cheaper, beca=
=3D
use they are made cheaper,and they like the way they stack. I guess this is=
=3D
a Wal Mart world!=3DA0 I still sell my hand made items though, there are s=
om=3D
e who appreciate art. =3D0A=3DA0 I want to stress the point that I tell the=
pot=3D
ential buyer, that the original was hand made, but this is a duplicate of i=
=3D
t, made from a mold. They still like it. I guess they think they are gettin=
=3D
g cheap art, since the original was hand made.=3D0A=3DA0=3DA0Linda=3D0A=3D0=
A=3D0A
Randall Moody on thu 10 dec 09
Thank you for being honest with your work and to your customers. I do =3D
not
have a prejudice against cast work but I do realize that cast work is =3D
not
handmade by definition nor are the castings original works unless the =3D
bits
are used in something such as an assemblage.=3D20
--Randall in Atlanta--
-----Original Message-----
From: Clayart [mailto:Clayart@LSV.CERAMICS.ORG] On Behalf Of Linda =3D
Mccaleb
Sent: Wednesday, December 09, 2009 4:48 PM
To: Clayart@LSV.CERAMICS.ORG
Subject: mold making
=3DA0 You have discussed the jigger, I make things, and my husband makes =
=3D
molds
of some of them. I sell them and some hand made objects at the farmer's
market when the weather is better, and tell the patrons that some are
casted. They seem to like it, especially for bowls, I can sell them =3D
cheaper,
because they are made cheaper,and they like the way they stack. I guess =3D
this
is a Wal Mart world!=3DA0 I still sell my hand made items though, there =3D
are some
who appreciate art.=3D20
=3DA0 I want to stress the point that I tell the potential buyer, that the
original was hand made, but this is a duplicate of it, made from a mold.
They still like it. I guess they think they are getting cheap art, since =
=3D
the
original was hand made.
=3DA0=3DA0Linda
Lee Love on thu 10 dec 09
On Wed, Dec 9, 2009 at 3:48 PM, Linda Mccaleb wro=
=3D
te:
> =3DA0 I want to stress the point that I tell the potential buyer, that th=
e =3D
original was hand
>made, but this is a duplicate of it, made from a mold. They still like it.=
=3D
I guess they
>think they are getting cheap art, since the original was hand made.
As I mentioned previously, I agree with you, it is important to
acknowledge the process used to make our objects.
The main problem with molded things, is when they are passed
off as being thrown. It is a simple matter of truth in advertising.
It is ideal to use the best tool for the job.
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97tha=
t is, "T=3D
he
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
Clyde Tullis on fri 11 dec 09
I don't have my Hamada book here. (Susan Peterson). But, didn't he make t=
=3D
he
body of his square bottles from a press mold. And of course his square
platters were too. Anything goes as long as it's not misrepresented.
Lee Love on fri 11 dec 09
On Fri, Dec 11, 2009 at 9:20 AM, Clyde Tullis wrote:
> I don't have my Hamada book here. (Susan Peterson). But, didn't he make t=
=3D
he
> body of his square bottles from a press mold. And of course his square
> platters were too. Anything goes as long as it's not misrepresented.
Both Hamada and Shimaoka did. I put up a press mold bottle, a
Hamada paddled bottle and my thrown and squared bottle here:
http://networkedblogs.com/p20701049
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97tha=
t is, "T=3D
he
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
ivor & olive lewis on sat 12 dec 09
Dear Clyde Tullis, and others who may be interested in this process.
There are illustrated instructions for making and using moulds for Press
Moulded Bottles in ....
"Handmade Potter's Tools" by Gordon Wong and Philip Whitford. ISBN
0-9733565-0-2
Best regards,
Ivor Lewis,
Redhill,
South Australia
paul gerhold on sat 12 dec 09
I think if you didn't attach famous names to the bottles shown most of us
would rate them as competent beginner work.
Paul
On Fri, Dec 11, 2009 at 2:51 PM, Lee Love wrote:
> On Fri, Dec 11, 2009 at 9:20 AM, Clyde Tullis wrote=
=3D
:
> > I don't have my Hamada book here. (Susan Peterson). But, didn't he make
> the
> > body of his square bottles from a press mold. And of course his square
> > platters were too. Anything goes as long as it's not misrepresented.
>
>
> Both Hamada and Shimaoka did. I put up a press mold bottle, a
> Hamada paddled bottle and my thrown and squared bottle here:
>
> http://networkedblogs.com/p20701049
>
> --
> Lee, a Mashiko potter in Minneapolis
> http://mashikopots.blogspot.com/
>
> "Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97t=
hat is, =3D
"The
> land of eternal youth is behind the house, a beautiful land fluent
> within itself." -- John O'Donohue
>
Lee Love on sat 12 dec 09
On Sat, Dec 12, 2009 at 10:56 AM, paul gerhold w=
=3D
rote:
> I think if you didn't attach famous names to the bottles shown most of us
> would rate them as competent beginner work.
Paul, If most of us did, I think it would be because of
the narrowness of our clay knowledge.
The best way to be enlightened, is to try make the same
thing ourselves. The neriage is especially difficult, as is altering
and the underglaze brush work.
And as I explained, the last one was done by me, a
relatively "unknown" potter.
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97tha=
t is, "T=3D
he
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
Lee Love on sat 12 dec 09
http://networkedblogs.com/p20701049
Something I wanted to point out about the Shimaoka neriage kokubin
pictured in the photo. These bottles usually have a thrown circular
neck instead of this mold made one. The neriage bottles have the
molded neck to preserve the checkerboard neriage pattern. In this
case, the Master Potter uses the mold as a tool, because it is best
for the effect he desires.
--
Lee, a Mashiko potter in Minneapolis
http://mashikopots.blogspot.com/
"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97tha=
t is, "T=3D
he
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
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