Rafael Molina-Rodriguez (Rafael Molina-Rodriguez) on wed 26 nov 97
Clayarters :
There was a recent post by Eydie DeVincenzi that mentioned nerikoma
(sic). There is some excellent information in Sanders' book "The World of
Japanese Ceramics" ISBN 0-87011-557-X about neriage or clay mosaic.
I have extensive experience with colored clays. I worked with this
process in the late eighties in graduate school and in the early nineties.
I've included it as a class project over the last couple of years.
Marbelizing colored clays is my preferred method of working with
colored clays. I don't have the patience to employ the true neriage or
nerikome technique.
Initially, I was inspired to use colored clays by a collage artist in Dallas
Debra Papathanasiou who used marbleized papers in her compositions.
Additional research led me to artists working with colored clays such as
Jane Peiser, Virginia Cartwright, and my favorites Seigle/Haley of
Buzzard Mountain Pottery in Arkansas who incidentally have work in the
White House collection.
All of the clays I've used have been commercially prepared. I started out
with a porcelainous stoneware from Trinity Ceramics went to a grolleg
porcelain from Standard Ceramics then a white stoneware from
Armadillo Clay and finally a white earthenware from Armadillo Clay.
I've fired colored clays in many different atmospheres and temperatures.
The porcelainous stoneware I fired in reduction to ^ 10; the grolleg in
oxidation to ^ 7; the Dillo white in reduction to ^ 10, in soda to ^ 10 and in
oxidation to ^ 7; and the white earthenware in reduction to ^ 2.
I've explored different ways of finishing the surface of colored clays.
I've tried no glaze with just the raw clay surface, but I didn't care for the
texture or the durability of the surface. I finally arrived a clear glaze for
what I consider a more refined texture, more intense colors, and a
durable surface. The thickness of the transparent glaze can be varied
from a light mist to a thick coat.
The preparation of the colored clays has evolved from the laborious
wedging of the pigment into moist clay to a more efficient and less labor
intensive method. I take a 25 pound bag of moist clay (Longhorn White
from Armadillo Clay in Austin) slice it into thin pieces. I let the pieces dry
to bone dry. I then break the pieces up into relatively small chunks. I
weigh out 3000 g of dry material and add percentages of colorants. I
use Trinity's Stain Sampler which are Pemco stains. The percentages
vary from 10 % to 25 % depending on the intensity of the color I want. I
put the dry clay and colorants in an open mouth plastic oyster bucket
(one gallon size). I fill with water and let slake over night. I take my
Milwaukee drill with a paint mixing bit and blend the slaked clay. The clay
is taken out and put on a plaster bat to stiffen up. After the wet colored
clay stiffens up, I wedge up and mix the clay, sometimes two colors,
with the same white earthenware clay sans colorant and wedge to
create a marbleized pattern (Be careful not to wedge to much or all the
colors will blend together). The wedged ball of clay is cut in half to
reveal the pattern. If I like the pattern I run through the slab roller and
drape over plaster or wood molds (you can also assemble slabs, throw
or extrude with colored clay). While the clay is draped over the mold I
smooth with damp leather chamois. I take off of mold when piece is
leather hard. When the clay is bone dry I sand lightly with a # 000 steel
wool to reveal pattern. The clay is bisque fired to ^ 05. After bisque, I
coat with thin mist or thick coat of Satellite Diamond Clear Gloss Glaze,
depending on the texture I want, and fire to ^ 2 in an electric kiln.
I know it doesn't sound easy but it's not that labor intensive if you spread
the process out over a couple of days. Also, I know it sounds strange to
fire an earthenware body and a commercial clear glaze to ^ 2 but the is
the temperature I found where the clay body and surface were the most
durable. This is a timely subject as I just finished blend colored clays
with my drill and put them on the plaster bats to stiffen. Tomorrow my
class is going to do their final project with it.
Rafael
"There are two ways of spreading light : To be the candle or the mirror
that reflects it." Edith Newbold Jones Wharton
Robert Santerre on thu 27 nov 97
Hi Rafael,
Thanks for the nice description of you marbling process. I've done the hand
wedging to add a colorant stain so I have a first hand appreciation of the value
process. As a neophyte to "marbling" techniques I wonder if you could elabora
a little. You mentioned that your technique is different from the "true" neriag
nerikome technique. Could you describe that technique briefly and give us an ide
about the major differences between your process and "true" neriage/nerikome.
Thanks, Bob
rfsanterre@iquest.net
////////////////////////////////////////////////////////////////////////////////
----------
From: Rafael Molina-Rodriguez (Rafael Molina-Rodriguez)[SMTP:RMR3431@dcccd.edu]
Sent: Wednesday, November 26, 1997 8:01 AM
To: Multiple recipients of list CLAYART
Subject: Neriage/Nerikome and my experience with colored clays
----------------------------Original message----------------------------
Clayarters :
There was a recent post by Eydie DeVincenzi that mentioned nerikoma
(sic). There is some excellent information in Sanders' book "The World of
Japanese Ceramics" ISBN 0-87011-557-X about neriage or clay mosaic.
I have extensive experience with colored clays. I worked with this
process in the late eighties in graduate school and in the early nineties.
I've included it as a class project over the last couple of years.
Marbelizing colored clays is my preferred method of working with
colored clays. I don't have the patience to employ the true neriage or
nerikome technique.
Initially, I was inspired to use colored clays by a collage artist in Dallas
Debra Papathanasiou who used marbleized papers in her compositions.
Additional research led me to artists working with colored clays such as
Jane Peiser, Virginia Cartwright, and my favorites Seigle/Haley of
Buzzard Mountain Pottery in Arkansas who incidentally have work in the
White House collection.
All of the clays I've used have been commercially prepared. I started out
with a porcelainous stoneware from Trinity Ceramics went to a grolleg
porcelain from Standard Ceramics then a white stoneware from
Armadillo Clay and finally a white earthenware from Armadillo Clay.
I've fired colored clays in many different atmospheres and temperatures.
The porcelainous stoneware I fired in reduction to ^ 10; the grolleg in
oxidation to ^ 7; the Dillo white in reduction to ^ 10, in soda to ^ 10 and in
oxidation to ^ 7; and the white earthenware in reduction to ^ 2.
I've explored different ways of finishing the surface of colored clays.
I've tried no glaze with just the raw clay surface, but I didn't care for the
texture or the durability of the surface. I finally arrived a clear glaze for
what I consider a more refined texture, more intense colors, and a
durable surface. The thickness of the transparent glaze can be varied
from a light mist to a thick coat.
The preparation of the colored clays has evolved from the laborious
wedging of the pigment into moist clay to a more efficient and less labor
intensive method. I take a 25 pound bag of moist clay (Longhorn White
from Armadillo Clay in Austin) slice it into thin pieces. I let the pieces dry
to bone dry. I then break the pieces up into relatively small chunks. I
weigh out 3000 g of dry material and add percentages of colorants. I
use Trinity's Stain Sampler which are Pemco stains. The percentages
vary from 10 % to 25 % depending on the intensity of the color I want. I
put the dry clay and colorants in an open mouth plastic oyster bucket
(one gallon size). I fill with water and let slake over night. I take my
Milwaukee drill with a paint mixing bit and blend the slaked clay. The clay
is taken out and put on a plaster bat to stiffen up. After the wet colored
clay stiffens up, I wedge up and mix the clay, sometimes two colors,
with the same white earthenware clay sans colorant and wedge to
create a marbleized pattern (Be careful not to wedge to much or all the
colors will blend together). The wedged ball of clay is cut in half to
reveal the pattern. If I like the pattern I run through the slab roller and
drape over plaster or wood molds (you can also assemble slabs, throw
or extrude with colored clay). While the clay is draped over the mold I
smooth with damp leather chamois. I take off of mold when piece is
leather hard. When the clay is bone dry I sand lightly with a # 000 steel
wool to reveal pattern. The clay is bisque fired to ^ 05. After bisque, I
coat with thin mist or thick coat of Satellite Diamond Clear Gloss Glaze,
depending on the texture I want, and fire to ^ 2 in an electric kiln.
I know it doesn't sound easy but it's not that labor intensive if you spread
the process out over a couple of days. Also, I know it sounds strange to
fire an earthenware body and a commercial clear glaze to ^ 2 but the is
the temperature I found where the clay body and surface were the most
durable. This is a timely subject as I just finished blend colored clays
with my drill and put them on the plaster bats to stiffen. Tomorrow my
class is going to do their final project with it.
Rafael
"There are two ways of spreading light : To be the candle or the mirror
that reflects it." Edith Newbold Jones Wharton
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