mel jacobson on thu 26 jul 07
here are a couple of tips that have helped many
of my students over the years.
pick out two or three glazes you like, no more.
i would even suggest....just two.
make some tall tube shapes, like nice vases and
do the three or four dip method.
hold the pot by the bottom, slide the pot in about a third
of the way into the glaze, take it out, slide it back in, half way,
then three fourths, then all the way in. count your seconds.
record the timing in a note book.
when that pot is fired you will have at least five layers...each
layer will be different.
and, you can see the effect of `how thick`.
now do the same thing, only alternate the two or three
glazes. over and under.
man, will you learn a great deal about layers and thickness.
when you have a grip of those two concepts and start to
understand how those three glazes work.....then add the
fourth glaze.
for so many that have `glaze anxiety`, if often has a great
deal to do with far too many ideas flying around.
then of course you decide you want your glazes to look just
like tony's or mine....sorry...it won't happen until you come on
over and fire with me. be excited about what you can do, with
your kiln, your simple glaze ideas...make it your own.
then folks will say....`gay, how did you get your kiln to make
that lovely white and teal color?`
hmmmm, smiles all around.
mel
paying your own dues, with your own research, to make your
own `look` takes years.
and, you don't do that with test tiles..you do it with real pots.
make some elegant, simple tube forms...and folks will buy your
test pots as fast as you open the kiln.
they don't know they are tests.
and i have a rule...if your kiln does not give you
the look you want...go one cone higher. take the chance.
then cool twice as long.
from: mel/minnetonka.mn.usa
website: http://www.visi.com/~melpots/
Clayart page link: http://www.visi.com/~melpots/clayart.html
Gay Judson on thu 26 jul 07
Mel, Thank you for your suggestions--your help. I will do just as you
say. I consider it a high compliment to have you and the others on the list
take the time to respond to my query. It elevates my discouragement to a
serious consideration--I appreciate that a lot.
I have had so many really good, well thought out suggestions to help me
overcome this block. Isn't it wonderful how generous people are in
offering help to the needy! Lili even MADE some little 'dippers' for
me to work with and mailed them to me! Incredible. She said the
Chinese used such long ago. I found them really great for plates--I
got great smooth coverage with them. She made them from coat hangers.
I need to practice with them a little more to be able to use them
successfully on deep bowls, too. I wonder why they are not available
on the market. Be great if we had a way to show them and how to make
them to other 'Clararters'.
Thank you for the help and thank you for Clayart!
Gay
Tom at Hutchtel.net on thu 26 jul 07
Hi Gay,
> I need to practice with them a little more to be able to use them
> successfully on deep bowls, too.
I think this brings to mind the reminder that, just as in throwing,
handbuilding, whatever, there is a requirement to practice. Practice until
the skills become unconscious. Then the creativity can begin. One potter
Donna Wold, who helped Betsy in glazing early on, showed her to add accents
with squirt bottles, practicing on newsprint until the movements became
automatic.
Don't know if others mentioned it on this thread, Betsy also lines the pots
up according to glaze and position in the kiln. That way she's glazing all
the temmoku pots at the same time. When they're done, they go on the ware
cart and she knows that this group of pots all goes in one area of the kiln.
Makes glazing and loading much saner.
Tom Wirt
Kathy Stecker on fri 27 jul 07
Mel said:
"make some tall tube shapes, like nice vases and
do the three or four dip method.
hold the pot by the bottom, slide the pot in about a third
of the way into the glaze, take it out, slide it back in, half way,
then three fourths, then all the way in. count your seconds.
record the timing in a note book.
when that pot is fired you will have at least five layers...each
layer will be different.
and, you can see the effect of `how thick`."
Cool idea, I'm thinking your students pieces were fired in bowls or you'd
have been replacing shelves every week- I know that would be the case around
here-I also know this would be a good learning experience for me
Kathy Stecker
Winter Springs, FL
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Tom at Hutchtel.net on fri 27 jul 07
It has been stated before, but bears repeating,, if you are using the
'seconds' dipping method, it is critical that you have some practice of
ensuring that the density/specific gravity (I forget which we're supposed to
be using) is the same every glaze session. Note I say every session, not
every batch. If you're going to be consistent, that layer thickness must be
consistent, which depends on time, density and wetness of the bisque.
Doesn't matter which you use, just be consistent.
Tom
From: "Kathy Stecker"
> hold the pot by the bottom, slide the pot in about a third
> of the way into the glaze, take it out, slide it back in, half way,
> then three fourths, then all the way in. count your seconds.
> record the timing in a note book.
>
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