tony clennell on fri 30 dec 11
I have used slips all my life. I have combed them, used paper resist,
layered them and always thought why do I use them? They are messy and
unless timing is right you can wreck a lot of pots. Rims of bowls too dry
and slip added and ya get rim cracks. Put the slip on when the piece is too
soft and you find your beautiful round teapot slumped in a puddle on the
table. As many of you know I am in the process of reinventing myself as a
04 e-ware potter. My first step is to develop the slip. Everything comes
after that. My plan is to dip and pour a slip on the e-ware. I'm after a
soft yellow colour not a clinical white. Once I get the slip right I think
the rest will follow. I'm thinking I will need a garbage can of the slip,
garbage can of terra sig and a garbage can of a good clear. The other
colours will be in ice cream buckets. Going to try to keep it simple.
Sancai- 3 colours. I want to show that beautiful colour of the red clay as
much as possible. I do like the colour of low fire red much more than the
grey of high fire stoneware.
We have a retrospective at the Burlington Arts Center in May. I don't have
a single pot made yet!!!! Once it is all in my head the pots will
flow.Right now it is back to the studio to insulate. Lots of grunt work
before I get to make. I'm getting edgy.
Ciao,
Tony
Lee on fri 30 dec 11
Tony,
For some time, I have used a white cone 6-9 stoneware called
Superwhite for my inlay and hakeme on iron stoneware. I buy it dry
and just add water as I need it. It is also a good woodfire and soda
flashing slip.
I have also used Continental Clay's white earthenware I buy dry
on their terracotta body as a slip. You might give that a try.
You can easily change the color by adding a small amount of Redart.
I also use Redart Terra Sig on the terracotta for my pie
plates. It is the original Teflon! To jazz them up a bit, I fire
them on shells to cone 1. You actually get localized flashing!
I am working on celtic earthenware that is more genuine than
the souvenir stuff you usually see. Looking at bronze age stuff is a
real inspiration. These should fire up nicely in my TorchBearer.
Will also experiment with them in lowfire soda (it is one of the
reasons I fire to cone 1, along with the fact that it make the work
more functional.)
--
=3DA0Lee Love in Minneapolis
http://mingeisota.blogspot.com/
=3DA0"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D9=
7that is, =3D
"The
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
tony clennell on fri 30 dec 11
Further to why slips. I find they offer a depth of surface that allows the
use of one glaze. I also am better off when the decoration has been decided
when I make the work. There is nothing worse than me standing there with a
bare bisque pot and a variety of glazes and a paint brush. That spells butt
ugly.
Tc
On Fri, Dec 30, 2011 at 9:19 AM, tony clennell wro=
te:
> I have used slips all my life. I have combed them, used paper resist,
> layered them and always thought why do I use them? They are messy and
> unless timing is right you can wreck a lot of pots. Rims of bowls too dry
> and slip added and ya get rim cracks. Put the slip on when the piece is t=
oo
> soft and you find your beautiful round teapot slumped in a puddle on the
> table. As many of you know I am in the process of reinventing myself as a
> 04 e-ware potter. My first step is to develop the slip. Everything comes
> after that. My plan is to dip and pour a slip on the e-ware. I'm after a
> soft yellow colour not a clinical white. Once I get the slip right I thin=
k
> the rest will follow. I'm thinking I will need a garbage can of the slip,
> garbage can of terra sig and a garbage can of a good clear. The other
> colours will be in ice cream buckets. Going to try to keep it simple.
> Sancai- 3 colours. I want to show that beautiful colour of the red clay a=
s
> much as possible. I do like the colour of low fire red much more than the
> grey of high fire stoneware.
> We have a retrospective at the Burlington Arts Center in May. I don't hav=
e
> a single pot made yet!!!! Once it is all in my head the pots will
> flow.Right now it is back to the studio to insulate. Lots of grunt work
> before I get to make. I'm getting edgy.
> Ciao,
> Tony
>
>
tony clennell on fri 30 dec 11
Lee and Bob: Thanks for the info. I had a student last year use this slip
and it was very lovely for her work- a bright white and she did line
drawings of flowers and birds thru it. It was very white and shiny.
Halifax White Slip
30 Ball Clay
10 EPK
30 Talc
10 Neph Syn
13 Silica
02 Zircopax
05 Frit 3124
I have taken out the Zircopax and used 32% of the high iron AT Ball clay
from England. (I have 2 bags I've saved for over 20 years. Just trying to
keep the formula at 100. I will add some rutile and either a dash of
Redart or some local clay called Queenston shale which is everywhere. I may
use that as my sig. I liked Lee's comment that sig was the original teflon.
There was a Medieval lead glazed piggy bank with chickens on it at The
Royal Ontario Museum that stopped my heart. If I could come close to that
piece I'd be a happy camper.
thanx everyone. Hey, I always share so what's mine is yours. That is why it
is always nice to add a local material so that even if you share the person
can make it theirs.
Ciao,
Tony
On Fri, Dec 30, 2011 at 10:51 AM, Lee wrote:
> Tony,
>
> For some time, I have used a white cone 6-9 stoneware called
> Superwhite for my inlay and hakeme on iron stoneware. I buy it dry
> and just add water as I need it. It is also a good woodfire and soda
> flashing slip.
>
> I have also used Continental Clay's white earthenware I buy dry
> on their terracotta body as a slip. You might give that a try.
> You can easily change the color by adding a small amount of Redart.
>
> I also use Redart Terra Sig on the terracotta for my pie
> plates. It is the original Teflon! To jazz them up a bit, I fire
> them on shells to cone 1. You actually get localized flashing!
>
> I am working on celtic earthenware that is more genuine than
> the souvenir stuff you usually see. Looking at bronze age stuff is a
> real inspiration. These should fire up nicely in my TorchBearer.
> Will also experiment with them in lowfire soda (it is one of the
> reasons I fire to cone 1, along with the fact that it make the work
> more functional.)
> --
> Lee Love in Minneapolis
> http://mingeisota.blogspot.com/
>
> "Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97t=
hat is, =3D
"The
> land of eternal youth is behind the house, a beautiful land fluent
> within itself." -- John O'Donohue
>
Jackie.Miller.Clay on fri 30 dec 11
Tony,
Is this one for leather to greenwarish stage?
Jackie
On Dec 30, 2011, at 12:08 PM, tony clennell wrote=
:=3D
> Lee and Bob: Thanks for the info. I had a student last year use this slip
> and it was very lovely for her work- a bright white and she did line
> drawings of flowers and birds thru it. It was very white and shiny.
>=3D20
> Halifax White Slip
>=3D20
>=3D20
>=3D20
> 30 Ball Clay
>=3D20
> 10 EPK
>=3D20
> 30 Talc
>=3D20
> 10 Neph Syn
>=3D20
> 13 Silica
>=3D20
> 02 Zircopax
>=3D20
> 05 Frit 3124
>=3D20
> I have taken out the Zircopax and used 32% of the high iron AT Ball clay
> from England. (I have 2 bags I've saved for over 20 years. Just trying to
> keep the formula at 100. I will add some rutile and either a dash of
> Redart or some local clay called Queenston shale which is everywhere. I m=
a=3D
y
> use that as my sig. I liked Lee's comment that sig was the original teflo=
n=3D
.
> There was a Medieval lead glazed piggy bank with chickens on it at The
> Royal Ontario Museum that stopped my heart. If I could come close to that
> piece I'd be a happy camper.
> thanx everyone. Hey, I always share so what's mine is yours. That is why =
i=3D
t
> is always nice to add a local material so that even if you share the pers=
o=3D
n
> can make it theirs.
> Ciao,
> Tony
>=3D20
>=3D20
>=3D20
>=3D20
> On Fri, Dec 30, 2011 at 10:51 AM, Lee wrote:
>=3D20
>> Tony,
>>=3D20
>> For some time, I have used a white cone 6-9 stoneware called
>> Superwhite for my inlay and hakeme on iron stoneware. I buy it dry
>> and just add water as I need it. It is also a good woodfire and soda
>> flashing slip.
>>=3D20
>> I have also used Continental Clay's white earthenware I buy dry
>> on their terracotta body as a slip. You might give that a try.
>> You can easily change the color by adding a small amount of Redart.
>>=3D20
>> I also use Redart Terra Sig on the terracotta for my pie
>> plates. It is the original Teflon! To jazz them up a bit, I fire
>> them on shells to cone 1. You actually get localized flashing!
>>=3D20
>> I am working on celtic earthenware that is more genuine than
>> the souvenir stuff you usually see. Looking at bronze age stuff is a
>> real inspiration. These should fire up nicely in my TorchBearer.
>> Will also experiment with them in lowfire soda (it is one of the
>> reasons I fire to cone 1, along with the fact that it make the work
>> more functional.)
>> --
>> Lee Love in Minneapolis
>> http://mingeisota.blogspot.com/
>>=3D20
>> "Ta tIr na n-=3DC3=3DB3g ar chul an tI=3DE2=3D80=3D94tIr dlainn trina ch=
=3DC3=3DA9ile"=3DE2=3D
=3D80=3D94that is, "The
>> land of eternal youth is behind the house, a beautiful land fluent
>> within itself." -- John O'Donohue
>>=3D20
Suzanne Storer on fri 30 dec 11
I sometimes use terra sigs on bisc, even sometimes buff them up to a =3D
nice shine with my sham-wow. For instance I thin my red sig to watery, =3D
apply it to 05 bisc and then fire to 5. It doesn't flake off unless it's =
=3D
too thick.
Suzanne in Utah=3D20=3D
Soj on fri 30 dec 11
Amen, brother. Testify!
I don't know if its an issue of patience (as in lack thereof) or the fact=
=3D
that when you are applying it, glaze doesn't even remotely resemble it's =
=3D
end
state (colorwise), thereby making it difficult-to-impossible for me to
adequately visualize the end result.
On Fri, 30 Dec 2011 13:41:21 -0500, tony clennell =3D
M>
wrote:
>Further to why slips. I find they offer a depth of surface that allows t=
=3D
he
>use of one glaze. I also am better off when the decoration has been deci=
=3D
ded
>when I make the work. There is nothing worse than me standing there with=
=3D
a
>bare bisque pot and a variety of glazes and a paint brush. That spells b=
=3D
utt
>ugly.
>Tc
>
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