mel jacobson on fri 18 dec 09
paint is cone 098, or 79F. 2 degree difference in baby cones
and giant cones.
it is called `room temperature glaze`.
there is not a problem using it.
it is a decorative element.
oil base, acrylic, water color, colored pencils. ok.
it is used for sculpture all the time.
why not?
the rule book says:
rule number 1.
`use anything you want, whenever you want to use it.`
(just be able to defend it, and don't whine about it or think
you invented it.)
rule book
chapter 1
page 1
from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
new book: http://www.21stcenturykilns.com
ivor & olive lewis on sat 19 dec 09
Whatever happened to the term "Mixed Media".
Regards,
Ivor Lewis,
Redhill,
South Australia
Stephani Stephenson on mon 21 dec 09
I can tell you one situation where 'paint' came in quite handy for me ear=
=3D
ly on in my clay=3D20
years.
out of the chute , i loved making slab sculptural pieces. big ones. some=
=3D
abstract, some=3D20
figurative, some of a definite surrealist bent.=3D20
My work involved compositions and explorations of form, volume, texture. =
=3D
i just loved=3D20
building and my love was working with the clay itself. I built well so ha=
=3D
d good success in=3D20
firing..except i had not developed a sense of color , or more specificall=
=3D
y , using glazes to=3D20
enhance the piece, using glazes to achieve color, using glazes ..period.
New to clay, i was working at cone 10 with the class iron body, which mea=
=3D
nt everything=3D20
was brown, or brown with oxide washes...This satisfied me for awhile. in =
=3D
the meantime, I=3D20
studied the class test tiles with lovely glazes . Albany slip,celadon, b=
=3D
amboo, shaner=3D20
red..all looked so lovely on pots and smaller pieces, and worked well on =
=3D
some of my=3D20
simpler pieces, but could spell disaster on the larger sculptural pieces,=
=3D
because i had not=3D20
yet developed an eye for glaze as an integral part of the piece. The vert=
=3D
ical drop, the=3D20
sheer mass, of course made for very different glaze results.
In fact I had not yet figured out how to envision color in my work , and=
=3D
my experiments=3D20
seemed to range from garish polychrome, to safe and subtle browns, (often=
=3D
augmented=3D20
with leather dyes)
..i was having difficulty finding that happy medium..or even knowing what=
=3D
it was.. During=3D20
one critique , my teacher, who made gorgeous traditional wheel thrown wor=
=3D
k, asked how=3D20
i would feel about simply painting a bisque fired piece. At that time, i=
=3D
n that place, 'cold=3D20
finishes' were not used or considered desirable, even though down the hal=
=3D
l, in the=3D20
sculpture department we used them with abandon in combination with other =
=3D
media.
(the other suggestion is usually to make multiples and try out different =
=3D
glazes on=3D20
multiples, but at that time, the building process and complexity of form=
=3D
was important to=3D20
me and it was important that I learn to complete that work, at that scale=
=3D
)
I tried it, as an exercise in visualization, on my full size biqued work.=
=3D
It was enormously=3D20
helpful as it allowed me to see and experiment with color alone. I can't =
=3D
tell you what a=3D20
guilty pleasure it was when i first went wild with purples and fuschias=
=3D
and deep russets..=3D20
and then watercolor techniques...then back again ..what freedom! I could =
=3D
then stand back=3D20
and really eyeball the effect of color on the work. and back off if I cho=
=3D
se.
With strengthened sense of what I wanted in the finish piece, I could beg=
=3D
in to expand my=3D20
fired palette and glazing .=3D20
Even if you are loyal to fired finishes, paint is an excellent design t=
=3D
ool in the hands of=3D20
the=3D20
ceramic sculptor and builder.
Stephani Stephenson
Snail Scott on mon 21 dec 09
On Dec 21, 2009, at 11:23 AM, Stephani Stephenson wrote:
> I can tell you one situation where 'paint' came in quite handy for me
> early on in my clay
> years...
> I tried it, as an exercise in visualization, on my full size biqued
> work. It was enormously
> helpful as it allowed me to see and experiment with color alone...
An excellent suggestion! It is repeated for good
reason that one ought to test on objects similar
tot he real work to get a valid result. Well, in this
case, it's not testing the flow of a glaze over a
texture, but the effect of color on a composition.
Sketches and even Photoshop will only get you
part-way there when designing large work with
color or even value (light/darks). Paint it; judge
the result for emphasis, color relationships,
effect at a distance, effect of actual on-site
lighting, etc - I can think of a dozen uses for
such a strategy. The paint can be removed by
merely re-firing the bisque before applying
any final fired finishes (if any), firing to maturity,
and then applying post-fired finishes (if any).
A bad use of time for a pot that takes 20 minutes
start to finish, but an invaluable testing process
for a project that takes a month of work!
-Snail
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