Eric Bates on wed 20 aug 97
________________________________________________________
I've been trying to find out about a technique used by Picasso, when he
spent that famous period in Vellurus(miss spelt) in the south of
France.
I'm sure it is a comon technique, but being still new to ceramics I'm
afraid I'm a little ignorent.
I looked in my local library to no avail.
I'm trying to replicate using some sort of black pigment as a resist
for glazes, giving a matt black drawn effect against the shine of the
repelled gloss glaze.
I don't know weather a black pigment was mixed with a resist wich then
burnt off leaving just the pigment, or if a black ground was applied
with an opaque glaze then applied.
I'm not even sure which kind of pigment, stain or oxide was used.
Can anybody help ?
Eric
douglas gray on thu 21 aug 97
Eric,
You might try to make your own glaze crayon. I don't know what temp. you are
firing to, but take a black glaze that works well at that temp., mix it up dry
(if your using a commercial glaze let some dry out and then crush into a
powder), sieve it, roll paper tubes to the size that you desire, melt down your
candle wax, mix the dry glaze into it thoroughly, pour into the tube and allow
to set.
Using these crayons will 1) apply your black glaze/pigment in a drawing like
fashion and 2) resist the application of other glazes so that the black drawing
will show through unobstructed.
Ian Buyers suggests a 50/50 mix in his book "The complete Potter: Raku"
Might be worth a try.
Douglas E. Gray
Assistant Professor of Art, Ceramics
Francis Marion Univeristy
Florence, South Carolina
dgray@fmarion.edu
Jon Pettyjohn on fri 22 aug 97
Hi Eric,
the dark colored resist you describe sounds like a Spanish technique
called "cuerda seca" or dry cord.
A little red iron oxide is mixed with burnt umber oil paint from
a tube and thinned with a little turpentine. This mixture is then
used to paint lines on bisque that will fire to a dark brown or black
color. I guess the oil content gives it a resist quality but the
glazes, usually of the low fired Mayolica type are painted carefully
into delineated areas giving an effect that looks a little like
stained glass windows.
It might be necessary to add a little flux to the mixture to help it
stick, we used to use red lead oxide but any low fire flux will do.
Not necessary to do any measuring or weighing, just get a dab
of paint and add a little oxide and flux.
I think this technique is common around the Mediterranean but some
years ago I saw some pots made in Vietnam using this technique.
Probably brought there by the French.
Jon Pettyjohn Manila jon@mozcom.com
----------------- -----------Original message----------------------------
> ________________________________________________________
> I've been trying to find out about a technique used by Picasso, when he
> spent that famous period in Vellurus(miss spelt) in the south of
> France.
>
> I'm sure it is a comon technique, but being still new to ceramics I'm
> afraid I'm a little ignorent.
>
> I looked in my local library to no avail.
>
> I'm trying to replicate using some sort of black pigment as a resist
> for glazes, giving a matt black drawn effect against the shine of the
> repelled gloss glaze.
>
> I don't know weather a black pigment was mixed with a resist wich then
> burnt off leaving just the pigment, or if a black ground was applied
> with an opaque glaze then applied.
>
> I'm not even sure which kind of pigment, stain or oxide was used.
>
> Can anybody help ?
>
> Eric
>
Pam Myam on sat 23 aug 97
Eric,
How about "painting" the greenware with black slip.
You could apply the black slip all over the pot or just in certain areas.
Bisque fire, then "draw" with a brush and wax-resist, glaze selectively
by dipping, brushing or pouring your glossy glazes, and then glaze fire.
will edwards on sat 16 sep 00
Dear Clayarters,
Lets consider that in Picasso's day he was just a plain simple man with
nothing better to do than to paint. If any of you know the famed folk art=
ist
named Howard Finster you would understand better what I am about to say!
Howard is a man that came from meager beginnings and wore old clothes and=
fixed lawn mowers and bicycles for a living and preached on Sundays. I wa=
s a
young 14 y.o. kid that wanted a bike and I went to work for him part time=
=2E
Howard was always painting the strangest paintings on anything and everyt=
hing
to include plastic milk jugs, old mirrors and any other item he could fin=
d. He
would peruse the dumpsters of body shops and pick out old left over car p=
aints
and use them to create his work. =
Today his work is the most sought after work in America and many other
countries. I can't speak from experience as to what Picasso's people thou=
ght
of him but I can say I learned that surely one man's junk is certainly an=
other
one's treasures.
What do I see in Howards work now? I see his age catching up to him but h=
is
vivid imagination is still in tact. I see also a very beautiful home with=
a
nice pool and a security camera at his gate with all the makings of a sta=
r's
home.
This is an old guy who has done very much the same as Piccaso in many way=
s. He
has given the people exactly what they expected. They (Us) look for captu=
ring
simplicity in form that is complicated enough to cause one to think. It r=
ings
the bells of imagination and stirs emotions from within.
Each of you are Piccaso's in many ways but they will be few to attain the=
stature of fame unless you let down the shroud of protection and allow pe=
ople
to feel your emotions. Seeking a valid name is not what the artist is doi=
ng in
the beginning. But once your ability has been recognized do you remain th=
e old
man in the worn out clothes or adjust to the formal setting and announce =
with
art talk your new vantage point.
Simplicity and knowing your art is the real art. Once you master the abil=
ity
to just create from raw energy and emotion then you should be considered =
a
master in your own rights contrary to anothers approval. You may not be
Piccaso or Howard Finster but you have rode the same bus as those people =
have
while traveling the world of adventure.
Piccaso's world was a canvas. It didn't matter what the canvas was as muc=
h as
the form it gave to the color of his imagination. I would be suspect to
believe he would have painted on anything that caught his attention! Why
pottery? The time period and usefullness of the materials could be used b=
y him
to stir the thoughts of those who have handled many pots and utilitarian
objects out of shear need. This provided him a way to make certain that n=
ot
only did his work get seen but was almost surely a form that would be
recognized throughout the area and capture those provoking feelings one c=
ould
expect when used in conjunction with routine objects of the time. Suddenl=
y a
pot has a new life and was much more than just a form. As a canvas, only =
a
painter can dictate the prospective end to other-wise a blank space.
William Edwards
____________________________________________________________________
Get free email and a permanent address at http://www.netaddress.com/?N=3D=
1
Anthony Allison on sat 16 sep 00
It never fails to amaze me how little understanding there seems to be =
concerning what art is about. While the idioms can be widely different =
for each individual artist and the interest they persue,the common =
thread for every real artist is that art is about CREATIVITY. Hopefully =
as an artist you should be able to recognize and appreciate this quality =
in any real artists work no matter what the style or direction.=20
Picasso took a bicycle seat and handlebars to create a bull. He didnt =
make the seat or the handlebars, but it is definitely art.=20
To say that Picasso's work sucks is to condemn the very nature of what =
art is about. I have heard the same comment about other artists for =
example Peter Voulkos. The very mention of his name in some circles is =
like pulling the mask off the old lone ranger or spitting into the wind. =
I wont conjecture a reason for this violent reaction, but it just =
illustrates to me that creativity is not a cherished attribute today.=20
If you claim to be an artist and put down creativity, you might as well =
have gone to toaster repair school. If your an artist and want to make a =
difference in this world make something creative- the world needs its =
spinach.
Tony
The Bedfords on sat 16 sep 00
I was in Tacoma when part of Picasso's ceramic works were shown there. =
I was lucky enough to find time to take it in, my first impression was =
mixed. Much of the work was another media for his painting. This I =
enjoyed but I was left wondering why, this is to say, what attracted =
him? The pigments are limited, the forms were regular, etc. Then I saw =
the sculpture and it cleared my thinking. I don't presume to understand =
Picasso's intent or know his reasoning, but I feel something in his =
work. What I feel is the sensation of facing brilliance.=20
If you have ever been involved in instructing children to handbuild clay =
you may understand what I mean. There is usually a student who takes =
the proposed project and creates with such unabashed freedom, not =
listening to the 'right way', seeing the destination not the path. =
Often these pieces aren't strong but they are interesting.=20
Hoping for an Indian Summer in Golden BC
Duncan =20
artimater on sat 23 nov 02
Hey ya'll,
Picasso's last words were "Drink to me".......Here's to you Pablo, =
good buddy.......A friend of mine I've known for 15 years asked me to do =
him an urn....said his family would like it....I don't think he wants me =
to carve the crap out of itHEHEHE......He spent 2 days floating in the =
South Pacific after the Japanese shot down his B-17.....My father spent =
35 years in the Air Force.....There's a commision I can handle.....No =
charge
PAX,
Rush
"I only indulge when I've seen a snake, so I keep a supply of =
indulgences and snakes handy"
http://artimator.com
rush@artimator.com
http://groups.yahoo.com/group/texasceramics/
Artimator Galleries
2420 Briarwood Ln.
Carrollton, TX 75006
972-841-1857
marta matray on sun 4 mar 07
i loved the links helen sent us yesterday
on picasso.
here is another one, scroll down, its long
with plenty of pictures and info:
http://a-r-t.com/picasso/#instp
cheers, marta
---------------------------------
Cheap Talk? Check out Yahoo! Messenger's low PC-to-Phone call rates.
Bill Merrill on tue 9 sep 08
Everyone wants to understand art. Why not try to understand the songs
of a bird?
Why does one love the night, flowers, everything around one, without
trying to understand them? =20
But in the case of a painting people have to understand. If only they
would realize above all that=20
an artist works of necessity, that he himself is only a trifling bit of
the world, and that no more
importance should be attached to him than to plenty of other things
which please us in the world,=20
though we can't explain them. Picasso
=20
Ken Ferguson said "If you don't like Mozart, don't listen to him" I
guess you could say that most people=20
don't understand Picasso. Picasso never said what his paintings meant.
He said that his painting was
completed when someone looked at his work.
=20
The pots that Picasso painted were made for him to decorate. Does that
mean you have to stretch every canvas you paint on? Picasso worked in
clay, he just didn't do the kind of pottery many of us make. Does it
mean that your pots aren't valid because you purchased your clay
pre-made and don't have a clue what makes the clay body work or you only
use glazes other potters have formulated?
=20
I think that there is a lot of pretension going on here.
Doric T. Jemison-Ball ll on tue 9 sep 08
I'm not sure whether or not Mel has closed off this discussion topic, but
I'm going to try to get in a comment anyway:
The earlier commentators do not seem to have a lot of familiarity with
Picasso's ceramic work. I own a book that includes the majority of Picasso's
ceramics. A signifcant percentage of it is sculpture and other three
dimensional objects. I particularly like the OWLS. I doubt seriously if
anyone believes he didn't make them.
As to the plates, etc-the painterly stuff. There is a long section of the
series of plates he painted. You can follow them chronologically. What
you'll find is that he eventually had no time or patience to fool around
with the clay. What interested him was the painting on the plate form. There
are pages and pages of paintings he did on PAPER PLATES.
Doric T. Jemison-Ball ll
BBS-LA
P.O. Box 1647
Gualala, CA 95445
707-884-5067 Voice
707-884-4449 FAX
818-606-6678 CELL
buffalo@bbs-la.com
Self-discipline is not adequate to protect capitalism from its own excesses.
| |
|
