elizabeth priddy on thu 9 mar 00
I don't have any glazes that crackle as I no
longer do raku and that type of work, but I
know how to answer this question.
Somebody out there with a consistent crackling
glaze and a wheel that turns both ways...
make two identical pots turned in two
directions, has to be the same person,
the same clay body, drying, glazing, etc.
glaze and fire both and then look at it.
Take pictures and post them.
Having taught left handers and having two
reversible wheels and a kick wheel, I could
throw the pots, but I can't do the firing part.
Somebody out there can...go to it!
Ain't science grand?
Clay: 12,000 yrs and still fresh!
On Wed, 8 Mar 2000 17:47:29 David Hendley wrote:
>Thanks for the responses, David & Pamela.
>Not to be argumentative, and purely speculating, but I
>would venture to say that the variations in the crackle
>patterns that you both describe are due to variations in
>glaze application, especially thickness.
>Where the glaze is thicker, it crazes more, which translates
>into a finer networks of cracks.
>The inside of a tall slender vase gets hotter than the outside,
>which could result in a different crazing pattern.
>I still don't think that the pattern of crazing is influenced
>by the direction the wheel was turning on a thrown piece
>(but would still like to be convinced otherwise).
>----- Original Message -----
>From: Pamala Browne
>Sent: Monday, March 06, 2000 1:19 PM
>Subject: Re: ancient Japanese and Korean ceramics
>| ----------------------------Original message----------------------------
>| David --I have noticed different crackle patterns on white crackle raku
>| that I have handbuilt.I made handbuilt-only pottery for years and I know
>| a fact that I got different crazing patterns at different stress points on
>| the shape of the vessel . Tight , small crackling at sharply angled
>| shoulders -- more vertical crackles on heavily worked lips in contrast to
>| large, wide-spaced crackles on the same piece on the body of the pot.Could
>| this be the same theory? I always assumed it was from the different
>| that the clay went thru at the building stage , (contracting/expanding)
>| times I notice a really tight crackle pattern on the inside ofmy
>| wheel-thrown tall ,slender vases as opposed to wide crackle on the outside
>| again, I assumed it was the compression of the clay. Any other ideas
>| I have been swamped with new job/kids science projects/purchasing
>| wheel so I want to apologize for not answering the kind help you guys gave
>| me on wheel opinions -- it was really appreciated --you guys are great.I
>| plan on replying more personally asap. I got a Pacifica gt400 -- oooooh
>| baby ! pamalab
>In grad school, when I was doing more raku. I was able to develpo a
>crazing pattern that related to the brushstrokes of the clear glaze I used.
>The spiral pattern I could create had no relation to the throwing lines.
>David McBeth, MFA
>Associate Professor of Art
>330 B Gooch Hall
>Department of Art, Dance and Theatre
>University of Tennessee at Martin
>Martin, Tennessee 38238
>| ----- Original Message -----
>| From: David Hendley
>| Sent: Sunday, March 05, 2000 2:33 PM
>| Subject: Re: ancient Japanese and Korean ceramics
>| > ----------------------------Original message----------------------------
>| > I find the inference that crazing patterns are influenced by
>| > the forming method that was used to make the piece very
>| > interesting.
>| > I have never before heard such a thesis, and have never
>| > noticed this trait exhibited on pottery I have studied.
>| > Can anyone offer any substantiation?
>| > --
>| > David Hendley
>| > Maydelle, Texas
>| > email@example.com
>| > http://www.farmpots.com/
>| > ----- Original Message -----
>| > From: J. Bennett
>| > To:
>| > Sent: Friday, March 03, 2000 11:49 AM
>| > Subject: ancient Japanese and Korean ceramics
>| > | ----------------------------Original
>| > | I read the following in an English translation of "Japanese Ceramics"
>| > | Hideo Tagai: "There are crackle patterns in Koryo celadon, at which
>| > crazing
>| > | has formed in the glaze because of the differences in contraction
>| > | the body and the glaze after firing. But these beautiful patterns have
>| > | formed in a clockwise direction due to the Korean potter's wheel being
>| > | kick wheel which was kicked with the right foot, forms being made by
>| > turning
>| > | the wheel anti-clockwise. Since the Japanese potter's wheel is turned
>| > | clockwise by hand there are strains in the clay body due to formation
>| > the
>| > | wheel, so when crazing can appear in the glaze of an article after
>| > complete
>| > | firing it seems to be in opposite directions for Korean and Japanese
>| > wares."
>| > | I am a docent at the Everson Museum in Syracuse, NY, where we have
>| > fine
>| > | examples of both Korean and Japanese ceramics, but confess that I
>| > | confirm this statement by examination of the museum pieces. Would
>| > | care to comment?
>| > |
--== Sent via Deja.com http://www.deja.com/ ==--
Share what you know. Learn what you don't.
Carol Casey on fri 10 mar 00
I've just joined this list and am a very amateur potter, so please excuse me. No
surprise, the level of expertise I've seen already is way beyond mine, so I
don't anticipate being able to contribute much.
I'd like to hear opinions about working as a potter full time and whether or not
that's a cracked fantasy or a realistic alternative.
I know I'd need much more training and am prepared to do that, but I'm also
looking for alternatives there. I've been handbuilding. I've worked with a local
potter and taken a course at a university I worked at. Are schools best? A
master's program? Apprenticeships?