Kirsten Drummond-Barrett on fri 30 dec 05
Hi again,
I decided to post my questions separately. We are also working on our
first commission (yay!! :) and the organization wants their "award" to
have text stating what it is for and when, blah blah blah. Except for
either doing a wax resist or placing decals on the bisqued ware and
then glazing and then the decals burning off, leaving (hopefully) text
on the pot, I haven't any other ideas on how to incorporate text onto a
pot.
Oh - and I also thought of putting a copper or gold engraved plate on
the piece/vase. Any suggestions??
Also, I LOVE LOVE LOVE reduction-fired stoneware. Ah, but I am limited
to an electric kiln (it is OUR electric kiln and I finally have a
studio, but nevertheless, I am limited). My partner and I had thought
to do a lot of cone 10 because it seems that you can get more
variations like in reduction by doing cone 10 oxidation, BUT the wise
potters down the road from us said that most potters don't do cone 10
(hence the reason why it was so hard to find a variety of cone 10
commercial glazes) b/c it is expensive. I LIVE for variations and
colorful chaos on my pots, so other than using some of the commercial
glazes such as potter's choice and spectrum high fire, I don't know how
to get the salt effects and variations i want. what is wrong with cone
10? do potters here use cone 10 or if not, why not?
besides buying space in someone's reduction fired kilns, how can i
simulate reduction in an oxidation environment?
thanks for reading,
Kirsten
Kirsten Drummond-Barrett // kcd@barrettconsulting.net
22 Chester Street #2
Lowell, MA 01851
603.303.1192
Evamarie on fri 30 dec 05
Hi Kirsten,
I just finished a class on silkscreening on clay. We first set up our design
or text on the computer, printed it, took that printed page to the xerox
machine and printed it again on clear acetate. We then exposed that image
onto the silkscreen. After cleaning and drying the silkscreen we squeegeed a
thin glaze through it onto a bisqued tile.
You can find more info in the latest issue of Ceramics Technical #21. The
article is called "Family Adventures." The author has an interesting recipe
for her glaze. Haven't tried it. We did have trouble with the glaze clogging
the screen so her recipe might be worth a try... "The ink used is made up of
equal parts of honey, glycerin and black underglaze powder." She also shows
how to transfer the design onto a curved surface. And she even explains how
to expose the image onto the silkscreen using direct sunlight instead of
electric light boxes.
Have fun.
Eva
Nashville, TN
> I decided to post my questions separately. We are also working on our
> first commission (yay!! :) and the organization wants their "award" to
> have text stating what it is for and when, blah blah blah. Except for
> either doing a wax resist or placing decals on the bisqued ware and
> then glazing and then the decals burning off, leaving (hopefully) text
> on the pot, I haven't any other ideas on how to incorporate text onto a
> pot.
Ivor and Olive Lewis on thu 5 jan 06
Dear Kirsten Drummond-Barrett,
A useful place to start your research would be to read Paul Scott, =
"Ceramics and Print" ISBN 0-86417-723-4. A. C. Black or Kangaroo Press.
One good method if you can master it is to use Leather Alphabet Stamps =
and a second it to make up a ceramic stain printing ink and use the =
Rubber Printing Stamps ((Were John Bull Printing Sets when I was a =
child))
Best regards,
Ivor Lewis.
Redhill,
South Australia.
Bonnie Staffel on fri 6 jan 06
I have a set of rubber letter stamps that have a great story behind
them. When I was a youngster, there was a man who pushed a big cart
down the street in our small town with his tools, going to a carpentry
job. His cart was one of those with two big wooden wheels. When we
bought our place in Charlevoix, I thought that cart would be a wonderful
addition to the ambience of our shop. He had long passed away, but I
contacted the family asking if we could purchase the cart. It was so
exciting when they said yes. So we bought it for $10. Along with this
cart was a box of his rubber stamps as on every job, he signed his name
with them. What a gift. So with the memory of this wonderful carpenter
who impressed me as a young person, was now in my mind when I would use
his stamps on my pots.
I bought a blank stamp pad and then mixed iron oxide or another colorant
with oil and spread it on the pad with a spatula, working it into the
sponge. Used it for decorative purposes when I wanted letters on my
pots. Or if I didn't want any color, just texture, then I would put a
little oil on a cloth and touch the stamp to the cloth so that the clay
would not stick when I would apply the letter to the fresh clay. I
probably could have used glycerin for my medium instead of the oil, but
the oil worked fine at the time. Whatever medium you use, it should be
one that will not dry out over time.
In another instance, I carved designs into a block of paraffin. I then
pressed the stamp on to the oiled cloth, and then on the fresh clay.
There was no sticking as the oil made a quick release. If anyone needs
further instruction on carving a design in paraffin, just drop me a
line.
Warm regards,
Bonnie Staffel
http://webpages.charter.net/bstaffel/
DVD Throwing with Coils and Slabs
DVD Beginning Processes
Charter Member Potters Council
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