Gene and Dolita Dohrman on tue 17 feb 04
Phil, I have to agree with you there. I love the look of bisqued pots. So
many times I have had a perfectly good pot ruined by the glaze. I spend a
lot of time on my pots mainly (I must confess) because I often take a bad
pot to kinda good when I am trimming. Then I do all the piercing and
carving on it. So by the time it gets to the glazing stage, I am always
very nervous. I just had about 10 pieces come out of the kiln. Confidently
used Randy's Red with a touch of what is called "Scrap Glaze" in the studio
(not my studio) and they came out looking like crap. I think the scrap
glaze fumed and affected the overall color of the pots. Also caused
roughness on the edges.
So, the moral of the story is, there will be no scrap glaze in MY studio!!
I guess nirvana is reached when a good pot comes out of the kiln with a good
glaze. It will happen some day, I just know it...
Dolita
dohrman@insightbb.com
Louisville, KY
----- Original Message -----
From:
To:
Sent: Tuesday, February 17, 2004 3:30 PM
Subject: Re: POTTERY IMAGES, VIEW - forms and glazes and...
> Hi Malcom, all...
>
>
>
> Too, not only does one sometimes see glazes (whether those
> glazes are thought to be good, bad, or indiferent,) as cover
> bad forms, but one sees bad glazes as cover bad forms, which
> at least works out about even so far as irony...and,
> sometimes actually helps matter I suppose...
>
> One also sees bad glazes covering what otherwise were, or
> would have been more noticable as, good forms.
>
>
> One sometimes sees good glazes covering good forms.
>
>
> I have allways admired most readily, those unglazed forms as
> have not been fired at all yet.
>
>
> Even as seeing Building under construction...they almost
> allways look so much more interesting before they are
> sheeted and so on...just the structure sitting there, so
> much more honestly than what is to come...so much more
> innocent...
>
>
> Anyway...
>
>
> Yours,
>
> Phil
> Las Vegas
>
> ----- Original Message -----
> From: "Malcolm Schosha"
>
> > --- In clayart@yahoogroups.com, Lee Love wrote:
> > > Malcolm Schosha wrote:
> > >
> > >
> > > We need to remember where this discussion began.
> You
> > said, to
> > > paraphrase, that glaze was generally used to cover bad
> forms.
> >
> > ..................
> >
> > I don't think I said that, and it is certainly not what I
> think. I
> > may have said that glazes CAN be used in an attempt to
> cover up bad
> > form. No one loves Sung celadons more than me, and the
> forms are
> > great. Either you misunderstood, or I stated my idea
> poorly
> > (something that happens often enough).
> >
> > It is true enough that, these days, many glazes are
> covering bad
> > forms; and that a good glaze can not make up for a bad
> shape. Also, a
> > good shape can (if the potter so choses) stand well
> without a glaze.
> > I never intended to say that good glazes and good shapes
> are mutually
> > exclusive.
> >
> > Malcolm Schosha
> >
> >
> ____________________________________________________________
> __________________
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or change your
> subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be reached
> at melpots@pclink.com.
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
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>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
Lee Love on tue 17 feb 04
--- In clayar pdp1@E... wrote:
> Too, not only does one sometimes see glazes (whether those
> glazes are thought to be good, bad, or indiferent,) as cover
> bad forms, but one sees bad glazes as cover bad forms, which
> at least works out about even so far as irony...and,
> sometimes actually helps matter I suppose...
Haha! The other thing we see occur sometimes, is folks putting
bad forms into a woodkiln hoping some magic will occur. Sometimes
it does and you get an interesting surface on an uninteresting form.
I've always believed that the first judging of a pot can be done
blindfolded. If the pot doesn't pass this test, then no amount of
decoration or glazing is going to change it.
>
> I have allways admired most readily, those unglazed forms as
> have not been fired at all yet.
Leather hard or before is often pretty, but I have always
thought that green is the ugliest. Green is a good place to kill
runts. You can still recycle.
> Even as seeing Building under construction...they almost
> allways look so much more interesting before they are
> sheeted and so on...just the structure sitting there, so
> much more honestly than what is to come...so much more
> innocent...
Right now, there are a lot of teapot parts out in the studio. I
would say, unassembled they are "interesting", but the finished
product will hopefully feel better in the hand.
Lee In Mashiko.
pdp1@EARTHLINK.NET on tue 17 feb 04
Hi Malcom, all...
Too, not only does one sometimes see glazes (whether those
glazes are thought to be good, bad, or indiferent,) as cover
bad forms, but one sees bad glazes as cover bad forms, which
at least works out about even so far as irony...and,
sometimes actually helps matter I suppose...
One also sees bad glazes covering what otherwise were, or
would have been more noticable as, good forms.
One sometimes sees good glazes covering good forms.
I have allways admired most readily, those unglazed forms as
have not been fired at all yet.
Even as seeing Building under construction...they almost
allways look so much more interesting before they are
sheeted and so on...just the structure sitting there, so
much more honestly than what is to come...so much more
innocent...
Anyway...
Yours,
Phil
Las Vegas
----- Original Message -----
From: "Malcolm Schosha"
> --- In clayart@yahoogroups.com, Lee Love wrote:
> > Malcolm Schosha wrote:
> >
> >
> > We need to remember where this discussion began.
You
> said, to
> > paraphrase, that glaze was generally used to cover bad
forms.
>
> ..................
>
> I don't think I said that, and it is certainly not what I
think. I
> may have said that glazes CAN be used in an attempt to
cover up bad
> form. No one loves Sung celadons more than me, and the
forms are
> great. Either you misunderstood, or I stated my idea
poorly
> (something that happens often enough).
>
> It is true enough that, these days, many glazes are
covering bad
> forms; and that a good glaze can not make up for a bad
shape. Also, a
> good shape can (if the potter so choses) stand well
without a glaze.
> I never intended to say that good glazes and good shapes
are mutually
> exclusive.
>
> Malcolm Schosha
>
>
____________________________________________________________
__________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your
subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached
at melpots@pclink.com.
Ivor and Olive Lewis on thu 19 feb 04
I believe Lee raises an important point about Perception and
sensitivity.
<blindfolded. >>
So often, so it would seem, aesthetic judgements are made through
visual sensitivity alone. We avoid using our hands, we may even be
discouraged from using our hands. Yet Touch and Feel give information
beyond the appreciation of geometric form.
Best regards,
Ivor Lewis. Redhill, South Australia
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