Jeanie Silver on tue 19 jan 10
Don't accept what someone says as protest against 'the gospel'... as the'
gospel'. It all depends...most particularly on the clay body,,,on moisture
content...on ambient moisture...drying method...style of
attachment...threshold area of mass to be connected...etc.etc. Clay, like
art, is very specific...
Jeanie in Pa.
Elizabeth Priddy on tue 19 jan 10
If you are using soft construction techniques, you needn't score or slip.
It only seems to be needed if you are joining part of different levels of d=
ryness.
And if you use magic water or paper clay, even then it isn't needed. It al=
so depends on the clay. I have heard the argument that scoring actually in=
troduces tiny air pockets that make handle pop off!
I trust my own experience, which is that I never score or slip and my parts=
stay in place.
It is one of MANY things that people pass on as gospel because somebody tol=
d them it was how to do it and they never had the presence of mind or intel=
lectual curiosity to adventurousness of spirit to try one differently and s=
ee.
Didn't you know that you can't get reds in oxidation? Anyone else doing an=
ything in your studio that "can't be done"?
- ePriddy
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
Larry Kruzan on tue 19 jan 10
Same here, I break ALL the rules. When the mug reaches leather hard, I
attach a wet, soft tongue of clay and pull the handle. A few thousand
handles and none fell off without help .
One exception is when I have a request for an extruded mug I made a series
of a few years back. I had two leak (out of 300) when the bottom was
attached without scoreing and sliping the joints. I hate these things but I
have a few who like them so they are produced on order only.
When I teach a handbuilding class I always teach them the Right way.....But
we know better....Don't we?
Larry Kruzan
Lost Creek Pottery
www.lostcreekpottery.com
It is one of MANY things that people pass on as gospel because somebody tol=
d
them it was how to do it and they never had the presence of mind or
intellectual curiosity to adventurousness of spirit to try one differently
and see.
Didn't you know that you can't get reds in oxidation? Anyone else doing
anything in your studio that "can't be done"?
- ePriddy
Elizabeth Priddy
Beaufort, NC - USA
http://www.elizabethpriddy.com
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DJ Brewer on wed 20 jan 10
Wow. And two and a half years into claywork, I'm still faithfully
scoring and slipping, but my slip is slipping since sometimes I have not
slip so I just moosh some clay in a tiny cup I have hanging around for
just such purposes, and add water to it and squoosh it until it seems
slippy enough. I am basically a rule breaker, except when it comes to
the laws of physics -- which in my mind, equates to most things
regarding clay. So, I'm taking the rule bending route a bit more
cautiously, since I don't want a piece to fall apart, and since things
like gas firings can have dire consequences if certain rules are ignored.
On my first face jug -- which was WAAAAAAAAAAAAAAY too thick and was
cracking all to hell, I ignored the "don't get it wet again -- it will
just crack worse" rule, and I refilled the greenware jug with water,
inside and/or out -- as often as I felt it needed it. It stopped
cracking, and survived the bisquing and firing. True, it leaks from the
bottom a tiny bit through a gap, but I'm going to put some glaze or slip
inside it and lowfire it again, and then use it as a soap dispenser.
DJ the non-rule breaker when it comes to clay
Jeanie Silver wrote:
> Don't accept what someone says as protest against 'the gospel'... as the'
> gospel'. It all depends...most particularly on the clay body,,,on
> moisture
> content...on ambient moisture...drying method...style of
> attachment...threshold area of mass to be connected...etc.etc. Clay,
> like
> art, is very specific...
> Jeanie in Pa.
>
Randall Moody on wed 20 jan 10
I don't use a serrated rib or the like to score. I use a stiff bristled
brush or old toothbrush. The wire brushes are too aggressive for me and the
serrated ribs can set up little rows of air pockets. I scrub the join with
the wet brush which makes a slip then attach the pieces with steady pressur=
e
and a wiggle. ... the handle is wiggled not me.
But I agree that whatever works for you works. My philosophy is that there
is no "right way" or "wrong way" in art. There are "better ways" and "worse
ways".
--
Randall in Atlanta
Vince Pitelka on wed 20 jan 10
Randall Moody wrote:
I don't use a serrated rib or the like to score. I use a stiff bristled
brush or old toothbrush. The wire brushes are too aggressive for me and the
serrated ribs can set up little rows of air pockets. I scrub the join with
the wet brush which makes a slip then attach the pieces with steady pressur=
e
and a wiggle. ... the handle is wiggled not me."
Randall -
I think it's more fun for everyone if the person applies the handle wiggles
too.
You are right that whatever works is the appropriate method. I have always
scored and applied slurry, but know many potters who apply wet clay to wet
clay and wiggle it to get the platelets to intermesh. That's the key - to
get the platelets to intermesh, locking the two surfaces together.
From my own personal experience, I have seen lots of problems with
sharp-pointed scoring tools like wire brushes, needle tools, and those tool=
s
with a row of parallel needle points. Unless unusual care is taken, those
tools cut too deeply. When slurry is applied, it only penetrates the upper
surface of the grooves, and air pockets are trapped along the joint. In
contrast, a serrated rib makes shallow, wider grooves, and if fairly fluid
slurry is applied, and the joint is pressed together in a manner that expel=
s
all of the excess slurry, no air is trapped in the joint at all. I simply
never, ever have those joints come apart when they are done carefully. On
the occasions that my students have one fail, examination of the failed
joint reveals inadequate scoring, inadequate slurry, or inadequate pressure
in joining.
I am not saying that this is by any means the only good method, but rather
that it has always worked for me.
- Vince
Vince Pitelka
Appalachian Center for Craft
Tennessee Tech University
vpitelka@dtccom.net; wpitelka@tntech.edu
http://iweb.tntech.edu/wpitelka
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