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making slump molds from plastic forms.

updated sat 16 feb 08

 

Ellen Currans on tue 12 feb 08


I was going to bite my tongue and stay out of this discussion, but several r=
ecent posts from Larry Kruzan and Judy Wilson have pulled me into it. =C2=
=A0 I agree with Larry, and Thank you, Judy, for the kind words, deserved or=
not. =C2=A0Believe me, I don't think of myself as the "queen of making mold=
s with clay".



First of all, I don't think it is "how" something is made or fired that dete=
rmines its value. =C2=A0 Thrown on a korean kick wheel isn't inherently bett=
er than made with slabs on a recycled plastic form. =C2=A0 Fired in an anaga=
ma for 5 days by a team of grumpy, smoked out buddies could be a lot of fun=20=
but the pots aren't necessarily of more value than Lucy Rie's delicate elect=
ric fired pieces. =C2=A0 It is the intention and the end result of the potte=
r's vision and skill that determines the lasting value of the piece.




Obviously, we all have different reasons for making pots or ceramic art, and=
those reasons determine the directions we take. =C2=A0I fell in love initia=
lly with the wheel and wheel thrown pots. =C2=A0I loved the quickness of it,=
and the tiny movements that changed a lump into a lovely form.

For the first thirty years of my clay life I had little patience for hand bu=
ilding or slab work. =C2=A0I have been making our living (my =C2=A0husband d=
oes not pot but makes clay, mixes glazes, unloads the kiln, and helps with a=
ll the hard, necessary work of the pottery) since l974. =C2=A0 Making your l=
iving from pottery demands certain realistic decisions about what to make an=
d how to make it. =C2=A0 Fortunately, I love useful pots connected with dini=
ng, cooking, =C2=A0and arranging flowers. It is my experience that there is=20=
a large market for them, =C2=A0and that is what I make. =C2=A0 I learned ear=
ly on that I needed to have a variety of forms, sizes, and glazes to keep my=
customers coming back for more. =C2=A0Some years ago I began to play around=
with square and rectangular forms to add variety to the making and more cho=
ices for my customers, =C2=A0and using found plastic, glass, wood, metal for=
ms is how I do it.




Judy said that I made molds with clay. =C2=A0Actually, what I do is use the=20=
forms themselves for the molds. =C2=A0I have only once or twice actually mad=
e a clay bisque mold and used it instead. =C2=A0I do have one large plaster=20=
mold in my studio which I use, but it is so heavy with the plaster, clay, an=
d turning boards that I can't turn it over anymore by myself. =C2=A0(Arthrit=
is in my hands and back.) =C2=A0I can't imagine working with a whole slew of=
heavy plaster molds at my age, or even beginning to figure out how to store=
them. =C2=A0I go to Goodwill every week when I shop for groceries. =C2=A0It=
is my morning away from the studio, and I have collected a large number of=20=
forms, multiples of the ones I use the most. Garage sales are good too.




Most of my forms are very simple. =C2=A0Glass squares, metal trays, oval pla=
tters, etc. =C2=A0How much better can you make a l2 inch square plate by mak=
ing your own mold. =C2=A0If you find a form with just the right amount of ri=
m or rise that you want in your pot, why should you go to all the trouble of=
making your own with clay and plaster, or foam board or wood? =C2=A0 When I=
throw on the wheel I consider the thrown form the essential part of the pot=
. =C2=A0When I make slab ware on found forms, it is the textured decoration=20=
and the glazing that is most important. =C2=A0The found form is just the bac=
kground. =C2=A0It can't be ugly or trite and still be pleasing, but I have f=
ound a multitude of beautifully shaped old trays and plates and bowls to use=
for my backgrounds.





I use WD-40. =C2=A0Don't use it if you have health concerns, but you really=20=
should google WD-40 and read more about it before writing it off completely.=
=C2=A0Pam builds up a sticky residue whereas WD-40 cleans the object each t=
ime it is used. =C2=A0It does not affect the clay in any way. =C2=A0I use ve=
ry little. =C2=A0I do not use the spray bottle because that does spread it t=
hrough the air and I don't want to breathe anything unnecessarily. =C2=A0I b=
uy it by the gallon from a farm implement or auto store, keep what I am usin=
g in a small squeeze bottle (like the hair coloring squeeze bottles used for=
slip trailing) and spread a very small amount around on the form with a foa=
m brush. =C2=A0




Using WD-40 and the found forms is essential for me to get the textured deco=
rative effect I want. =C2=A0I could not do my work in plaster molds.

I apply textures and designs =C2=A0to slabs and then cut the margins to exac=
t widths. =C2=A0When I put the slab into the form I need to be able to move=20=
it around in the form. =C2=A0You can't do that with plaster or bisque =C2=
=A0(it just sticks and sits there). =C2=A0I trim the edges and rims with a c=
heese cutter and you can't do that if you have lined your form with plastic=20=
or cheese cloth.




I don't think even in my best years I could throw 10 twelve inch bowls in on=
e hour. =C2=A0And it would have taken me twice as long to trim them as to th=
row them. =C2=A0And then, how to glaze or decorate - more time. =C2=A0 I can=
make 10 fourteen inch platters on metal forms with slabs in one hour. =C2=
=A0They will have 10 different textured patterns and a rim thrown on the whe=
el. =C2=A0Over the years I =C2=A0have accumulated enough textures (wallpaper=
, handmade embossed papers, place mats, etc.) to have about 45 precut differ=
ent textures for these platters. The next day when I turn them out of the fo=
rm it only takes a minute or so to soften the bottom edge, put my name on=20=
=C2=A0it, and then another five minutes to put on two extruded handles =C2=
=A0rolled with matching textures. =C2=A0 Because of the textures the glazing=
is straightforward. =C2=A0Just a double dip in a big bucket. =C2=A0I have n=
ot yet figured out how to get the same very precise texture on thrown pieces=
.




Using found forms for slab work is a good way for children, beginners and th=
e less skilled (and the feeble old) to make successful pieces.

I thought the small bowls Kelly's class made were delightful, and they were=20=
much better made on the plastic forms than just turning the class loose with=
coiling or pinching. =C2=A0It is a useful means of production when well org=
anized. =C2=A0It takes creative thought to figure out which pieces will work=
or not, and how to use them. =C2=A0Once worked out, a careful, trained help=
er could do a lot of the work leaving the potter free to make more one of a=20=
kind pieces. =C2=A0 I still throw about 1/3 of my work and love the juxtapos=
ition of thrown and slab work in a display.




Ellen Currans

Dundee, Oregon.




PS. =C2=A0I vote with Bill Merrill to"Just Stop It"=C2=A0

Bill, are you the Bill my friend Wally Schwab mentions fondly now and then?


I've tried to encourage him to do Clayart, but I think the computer gets the=
best of him. =C2=A0He is having a good time with two very serious apprentic=
es working in =C2=A0his studio. =C2=A0




=C2=A0




=C2=A0




























=C2=A0










________________________________________________________________________
More new features than ever. Check out the new AOL Mail ! - http://webmail.=
aol.com

Judy Wilson on fri 15 feb 08


Ellen,

I'm glad you were "pulled" into this discussion, and thanks for explaing your technique further for us. Sorry I didn't get it right on my post. I am really drawn to your work and find it quite beautiful. We recently held an Empty Bowls fundraiser at the community college where I work and I used the article about your work to show other college employees and students making bowls by hand how beautiful handmade functional ware could be. Thanks for the inspiration.

I have learned so much from everyone on this list. Thanks,

Judy

Ellen Currans wrote:
I was going to bite my tongue and stay out of this discussion, but several recent posts from Larry Kruzan and Judy Wilson have pulled me into it. I agree with Larry, and Thank you, Judy, for the kind words, deserved or not. Believe me, I don't think of myself as the "queen of making molds with clay".



First of all, I don't think it is "how" something is made or fired that determines its value. Thrown on a korean kick wheel isn't inherently better than made with slabs on a recycled plastic form. Fired in an anagama for 5 days by a team of grumpy, smoked out buddies could be a lot of fun but the pots aren't necessarily of more value than Lucy Rie's delicate electric fired pieces. It is the intention and the end result of the potter's vision and skill that determines the lasting value of the piece.




Obviously, we all have different reasons for making pots or ceramic art, and those reasons determine the directions we take. I fell in love initially with the wheel and wheel thrown pots. I loved the quickness of it, and the tiny movements that changed a lump into a lovely form.

For the first thirty years of my clay life I had little patience for hand building or slab work. I have been making our living (my husband does not pot but makes clay, mixes glazes, unloads the kiln, and helps with all the hard, necessary work of the pottery) since l974. Making your living from pottery demands certain realistic decisions about what to make and how to make it. Fortunately, I love useful pots connected with dining, cooking, and arranging flowers. It is my experience that there is a large market for them, and that is what I make. I learned early on that I needed to have a variety of forms, sizes, and glazes to keep my customers coming back for more. Some years ago I began to play around with square and rectangular forms to add variety to the making and more choices for my customers, and using found plastic, glass, wood, metal forms is how I do it.




Judy said that I made molds with clay. Actually, what I do is use the forms themselves for the molds. I have only once or twice actually made a clay bisque mold and used it instead. I do have one large plaster mold in my studio which I use, but it is so heavy with the plaster, clay, and turning boards that I can't turn it over anymore by myself. (Arthritis in my hands and back.) I can't imagine working with a whole slew of heavy plaster molds at my age, or even beginning to figure out how to store them. I go to Goodwill every week when I shop for groceries. It is my morning away from the studio, and I have collected a large number of forms, multiples of the ones I use the most. Garage sales are good too.




Most of my forms are very simple. Glass squares, metal trays, oval platters, etc. How much better can you make a l2 inch square plate by making your own mold. If you find a form with just the right amount of rim or rise that you want in your pot, why should you go to all the trouble of making your own with clay and plaster, or foam board or wood? When I throw on the wheel I consider the thrown form the essential part of the pot. When I make slab ware on found forms, it is the textured decoration and the glazing that is most important. The found form is just the background. It can't be ugly or trite and still be pleasing, but I have found a multitude of beautifully shaped old trays and plates and bowls to use for my backgrounds.





I use WD-40. Don't use it if you have health concerns, but you really should google WD-40 and read more about it before writing it off completely. Pam builds up a sticky residue whereas WD-40 cleans the object each time it is used. It does not affect the clay in any way. I use very little. I do not use the spray bottle because that does spread it through the air and I don't want to breathe anything unnecessarily. I buy it by the gallon from a farm implement or auto store, keep what I am using in a small squeeze bottle (like the hair coloring squeeze bottles used for slip trailing) and spread a very small amount around on the form with a foam brush.




Using WD-40 and the found forms is essential for me to get the textured decorative effect I want. I could not do my work in plaster molds.

I apply textures and designs to slabs and then cut the margins to exact widths. When I put the slab into the form I need to be able to move it around in the form. You can't do that with plaster or bisque (it just sticks and sits there). I trim the edges and rims with a cheese cutter and you can't do that if you have lined your form with plastic or cheese cloth.




I don't think even in my best years I could throw 10 twelve inch bowls in one hour. And it would have taken me twice as long to trim them as to throw them. And then, how to glaze or decorate - more time. I can make 10 fourteen inch platters on metal forms with slabs in one hour. They will have 10 different textured patterns and a rim thrown on the wheel. Over the years I have accumulated enough textures (wallpaper, handmade embossed papers, place mats, etc.) to have about 45 precut different textures for these platters. The next day when I turn them out of the form it only takes a minute or so to soften the bottom edge, put my name on it, and then another five minutes to put on two extruded handles rolled with matching textures. Because of the textures the glazing is straightforward. Just a double dip in a big bucket. I have not yet figured out how to get the same very precise texture on thrown pieces.




Using found forms for slab work is a good way for children, beginners and the less skilled (and the feeble old) to make successful pieces.

I thought the small bowls Kelly's class made were delightful, and they were much better made on the plastic forms than just turning the class loose with coiling or pinching. It is a useful means of production when well organized. It takes creative thought to figure out which pieces will work or not, and how to use them. Once worked out, a careful, trained helper could do a lot of the work leaving the potter free to make more one of a kind pieces. I still throw about 1/3 of my work and love the juxtaposition of thrown and slab work in a display.




Ellen Currans

Dundee, Oregon.




PS. I vote with Bill Merrill to"Just Stop It"

Bill, are you the Bill my friend Wally Schwab mentions fondly now and then?


I've tried to encourage him to do Clayart, but I think the computer gets the best of him. He is having a good time with two very serious apprentices working in his studio.

















































________________________________________________________________________
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