ronnie beezer on tue 25 mar 03
Hello everyone:
I just purchased a few bottles of different colored slip and I would like to start using them but I need some help on how to. We are not encouraged to use them at the studio so I'm really on my own at home. I would really appreciate any help and suggestions anyone has.
Thanks,
Ronnie
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ccpottery@BELLSOUTH.NET on wed 26 mar 03
Ronnie -
Colored slips are a lot of fun. You can use them in slip trailing bottles to decorate
greenware. You can paint them on with a brush... or even spatter them on. Paint some
onto a textured fabric and then press the fabric onto the leather hard piece. Put the fabric
on the work and then paint over it.
Cover the work with slip and carve through it. You can cover the piece with one color,
let it dry ... then another color ... let it dry .... and another color and let it dry ...then carve
through the whole thing to different depths to reveal different layers of color.
You can paint a slip pattern onto fabric, let it dry and press it onto a leather hard
piece.This works wonderfully if you want to copy the exact pattern that is on the fabric.
You can carve your work and then fill the lines with slip. When it is dry, just sand the
area and the slip will be there in nice sharp lines.
Just try everything and find out what happens!
Chris Campbell - in North Carolina - can you tell I love playing with slips???
Martin Howard on wed 26 mar 03
I use coloured slip all the time. Then cover with a clear glaze.
That way I should be free of any leaching in the final pot.
It is usually applied at leather hard, BUT I find that with handled ware
that does not work for me, because the handle plus slip pulls the handle and
part of the side of the pot away. So for handled ware I slip after first
firing and then
cover that with a clear or slightly coloured glaze. Just be careful to let
the slip dry
(it takes quite a time) before applying the glaze. My firings, first and
second, are all at 1100 degrees.
By using bottles of it, I assume you do not have enough to dip your pots in
it. Mine is in large buckets. The base for the slip is just the white
version of my standard red
clay, which happens to be the perfect slip for that basic clay.
Then I add the percentage of stain or oxide or oxide mix.
So, dipping is the best way of getting slip onto the pot, but you can pour
it over or spray if you wish.
Another method is using slip trailers. I make mine from discarded bottles of
hair colourant! My wife's not mine! Then poke a fine plastic tube up them to
give me control
with slip trailing. The tubes come from covers of electric cables; different
colours
to indicate what slip colour is in which bottle.
You can also use mocha technique with slip;
movement of two adjacent slips on the wheel;
if your wheel moves both ways, try both ways in quick succession for
interesting patterns.
Lips and rims of pots can be slipped by dipping, but use a tube connecting
the inside and outside air to be sure of having no suction glob of slip on
the inside.
A valve can give you further control over dipping so that you control just
where the separation points between one slip and another occur inside and
outside.
Or use a brush on a wheel, or a small roller pad.
There are so many methods of using this very basic raw material.
Martin Howard
Webbs Cottage Pottery
Woolpits Road, Great Saling
BRAINTREE, Essex CM7 5DZ
01371 850 423
martin@webbscottage.co.uk
http://www.webbscottage.co.uk
Updated 11th February 2003
Dean Walker on wed 26 mar 03
Thanks Chris for the colored slip info. I printed it out for future
reference. Up to this point I haven't used any colored slips but you made it
sound like too much fun !!
Dean
Catherine White on wed 26 mar 03
Thanks to Chris, Martin, Jeremy, Snail, Lily, and others who gave info about
slip. I made up three batches so far today. I've used washes but am never
quite satisfied with the results. Tomorrow I want to make a large
rectangularish platter/dish/sculpture that's ragged, rugged, artistic,
slip-decorated. I want to do something unplanned and uninhibited. I've
planned my impulsivity very carefully. :-)
Catherine in Yuma, AZ
Sign outside a church:
"About that Love Thy Neighbor thing.....
I meant it."
Signed: God
Lily Krakowski on thu 27 mar 03
Catherine:
I've hesitated because I dislike "advertisements for myself" but if you look
at the Winter 1998 Pottery Making Illustrated, Vol 1 #1, you will find a
long piece on slips. And I do not send this off list because slip is SO
great, and others may be interested. ALSO PMI has had several articles on
slip recently---
Catherine White writes:
> Thanks to Chris, Martin, Jeremy, Snail, Lily, and others who gave info about
> slip. I made up three batches so far today. I've used washes but am never
> quite satisfied with the results. Tomorrow I want to make a large
> rectangularish platter/dish/sculpture that's ragged, rugged, artistic,
> slip-decorated. I want to do something unplanned and uninhibited. I've
> planned my impulsivity very carefully. :-)
>
> Catherine in Yuma, AZ
> Sign outside a church:
> "About that Love Thy Neighbor thing.....
> I meant it."
> Signed: God
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
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>
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Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389
Be of good courage....
Ron Roy on mon 31 mar 03
I have mentioned this before - when using slips between body and glaze you
need to assure yourselves that the clay, glaze and slip are compatible fit
wise.
One way of doing this is by testing the slip by itself with glazes to see
if there are inconsistancies - using a set of glaze that show differences
of expansion/contraction - like the set in our book - can save a lot of
grief in the long run.
RR
Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513
Angie Palin on wed 29 mar 06
I saw a recent demo in my college ceramics class. The man used inclusion
powders. I purchased those, but there were only yellow, true red, pinkish
red, and orange. He had mentioned using cobalt for blue...does anyone use
this technique? I would love to be able to communicate with someone who
has some knowledge of this style of decoration.
Thanks so much!
Angie *AKA* Smurfett8
Texas
Jeanie Silver on thu 30 mar 06
Hi Angie
I have been using slips in every which way for many years-be happy to help
you explore them. First thing is-what temp. and firing methodology are you
using? What's your goal- mark making, image making, color field background
for glazes, etc. etc.? Are you stirred up by a body of work like English
slipware or Japanese mishima or pre-columbian or Native American? Endless
colors are possible-but not with every temp. or kiln.
Jeanie in Pa.
Angie Palin on thu 30 mar 06
I like the colors and the application process. I have only been throwing
for 3 months, so I am mainly still making cereal sized bowls and mugs. So
far I have only applied colored slip to 2 things, haven't fired them yet.
I just bought a paragon TnF 1613, will fire to cone10 (which is what I
have been throwing) I am using armadillo while (dillo white) for use in
the colored slip...since it fired totally white.
Thanks for the help everyone, I really appreciate it. I love this new
hobby, but there is just so much information to learn and so many
variables.
Jim Kasper on thu 30 mar 06
Hi Angie,
I use a fair amount of colored slips. I use the same
clay base I work with for my slip, which is a ^6 "procelain".
I use ~ one teaspoon of colbalt oxide in a pint of slip
for a dark blue. As I do more i have gotten more exact for a lot of my colors. I think I will eventually switch to
cobalt carb for slip as it is a bit finer.
A more exact example would be 600 grams dry clay,
400 grams water, and 10 grams chrome for a light green
at bisque, dark green at cone6.
For most of my other colors I use Mason stains.
VInce Pitelka worked with colored clay while getting hi MFA. , and his book covers colored clays pretty well:
Clay: A Studio Handbook, American Ceramic Society, 2001
Regards,
Jim
>
> From: Angie Palin
> Date: 2006/03/29 Wed PM 11:38:16 EST
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Colored Slip
>
>
Zafka Studios
Jensen Beach, FL.
http://zafka.com
judy smith on mon 25 aug 08
What percentage of mason stain did you use with your white base slip?=0ATha=
nks,=0AJudy Smith=0ANashville, TN=0A---------------------------------------=
-------------------------------=0A=0ADate:=A0 =A0 Sun, 17 Aug 2008 09:52:18=
EDT=0AFrom:=A0 =A0 Pamela Annarilli =0ASubject: Colored S=
lip Results at Cone 10=0A=0AI used a slip recipe at Penn State University t=
hat held colors even in cone=0A10 reduction.=A0 ...I also used mason stains=
mixed in with the white base slip and it held up=0Agreat in cone 10 reduct=
ion.
Lili Krakowski on tue 7 dec 10
Linda:=3D20
First give your husband a hug from me. If you knew the war stories of =3D
people whose clay efforts were/have been undercut, sabotaged, etc by =3D
snarky spouses you would appreciate that you husband is being a help.
You write:=3D20
" [Husband] put 10%=3D20
by weight of an oxide and he put it into a half gallon of slip (wet!). =3D
The only=3D20
trouble is that he didn't weigh the dry slip first. He added 10% to a =3D
half gallon weight of slip. He wasted my oxide! Can someone help us =3D
out of this mess?"
If one adds 10% of X to Y then one knows what the amount of=3D20
Y is...or how could one know what 10% of that is.
So I would guess that he knew the weight of the wet slip and added 10% =3D
of that,,,And guessing again,, that the water in the slip is about 1/2 =3D
of the weight of the wet slip.
But before driving myself crazy I would dry the slip and weigh it. It =3D
weighs, let us say 1200 grams. So if you know what that 10% was by =3D
weight, you know you have AA amount of slip minus BB amount of oxide. =3D
Then add either more dry slip, or more colorant...
Simpler yet. Dry the colored slip. Weigh out new plain slip. Do =3D
straight line blend of the two till you find the right color.
=3D20
Lili Krakowski
Be of good courage
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