mel jacobson on tue 28 aug 12
i know i see pots fully glazed as i throw them.
but, that can be bad, as too much is anticipated.
mel
http://www.visi.com/~melpots/
clayart page below:
http://www.visi.com/~melpots/clayart.html
http://www.21stcenturykilns.com/
tony clennell on tue 28 aug 12
Mel: I tell my second year throwing class they should know what glaze
they are going to use before they make the pot. Surface treatment of
the clay is different for ash glaze, temoku, breaking and pooling
glazes than for someone like Hopper who is a brush stroke man. Of
course, they don't listen and after 5 weeks of throwing we find
ourselves in the glaze room with hundreds of pots, 25 or more glazes
and a mess. I call those first six weeks -practice. They get it when
their pot with slops, splashes and pours comes out looking like a
dog's breakfast.
This e-ware with all the great colours has given me that exact
problem. I can't see the pot and so I'm frustrated. Longing for my
wood kiln. Back to school next week to teach an Atmospheric course
that includes wood, salt and soda. I will sleep better then.
t
On Tue, Aug 28, 2012 at 11:23 AM, mel jacobson wrote:
> i know i see pots fully glazed as i throw them.
> but, that can be bad, as too much is anticipated.
> mel
> http://www.visi.com/~melpots/
> clayart page below:
> http://www.visi.com/~melpots/clayart.html
> http://www.21stcenturykilns.com/
--
http://smokieclennell.blogspot.com
Lee on tue 28 aug 12
On Tue, Aug 28, 2012 at 2:12 PM, tony clennell wr=
=3D
ote:
> Mel: I tell my second year throwing class they should know what glaze
> they are going to use before they make the pot.
That's one of the most important lessons I learned during my
apprenticeship. Because my teacher's work had most of its
decoration done at leather hard stage, in the form of inlay, and the
kind of clay you through only went with certain glazes (Ko-Shigaraki,
Mashiko Nami or Mashiko with Iron), you had to visualize the end
product before you started making it.
It has helped me not only make more successful pots, but
also saves time when you are really to get the glazes out.
In the beginning, your skill is not good enough to make the
clay do what you want to do, so you often end up making something you
did not originally intend (a vase become a bowl, etc.) Making
multiples from a sample or model helps develop skill.
--
Lee Love in Minneapolis
http://mingeisota.blogspot.com/
"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97tha=
t is, "T=3D
he
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
Taylor Hendrix on tue 28 aug 12
For some of us, six weeks isn't nearly enough time. Just saying.
Down with glazes!
Taylor, in Rockport TX
wirerabbit1 on Skype (-0600 UTC)
http://wirerabbit.blogspot.com
http://wirerabbitpots.blogspot.com
http://www.flickr.com/photos/wirerabbit/
https://youtube.com/thewirerabbit
On Tue, Aug 28, 2012 at 2:12 PM, tony clennell wro=
te:
> Mel: I tell my second year throwing class they should know what glaze
> they are going to use before they make the pot. Surface treatment of
> the clay is different for ash glaze, temoku, breaking and pooling
> glazes than for someone like Hopper who is a brush stroke man. Of
> course, they don't listen and after 5 weeks of throwing we find
> ourselves in the glaze room with hundreds of pots, 25 or more glazes
> and a mess. I call those first six weeks -practice.
> ...
William & Susan Schran User on tue 28 aug 12
I NEVER see my pots glazed.
I see them wet, then leatherhard.
That is at their best.
I am concerned first about form.
The surface will be resolved after I look at them in their cold bisqued
state.
Bill
--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com
On 8/28/12 11:23 AM, "mel jacobson" wrote:
>i know i see pots fully glazed as i throw them.
>but, that can be bad, as too much is anticipated.
Lee on wed 29 aug 12
On Tue, Aug 28, 2012 at 3:36 PM, William & Susan Schran User
wrote:
> I NEVER see my pots glazed.
> I see them wet, then leatherhard.
> That is at their best.
> I am concerned first about form.
> The surface will be resolved after I look at them in their cold bisqued
> state.
If you work with methods that don't need forethought, it
doesn't matter or if everything is gonna be done the same way.
Some folks like many working with crystaline glazes, just wee
the pot as a canvas for the glazes.
--
Lee Love in Minneapolis
http://mingeisota.blogspot.com/
"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97tha=
t is, "T=3D
he
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue
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