Wes Rolley on tue 1 feb 05
Mike Martino wrote:
One more thing that occured to me but that I can't test: for
> people who once fire their stuff, isn't grasping a raw footring for glazing
> going to cause the footring to break?
That depends: how thin is the foot ring, how hard do you squeeze, how
long do you dip. However, I like the looks of the bare foot ring and
generally (not always) do not glaze it.
Craig Clark on tue 1 feb 05
I'm in complete agreement with David on this one. From my aeshthetic
viewpoint most pieces are improved if they have a foot ring. It is a
matter of visual weight. The foot serves as a pedistal on which the
piece rests. Rather than the form being grounded, and thus visually
"heavy" as the eye travels into whatever surface a footless piece is
resting on, there is a sense of levitation. Even with the heaviest of
forms. The eye will follow the curve of the piece until it is underneath
the form and then follow the line back out again. As an experiment take
serveral pots, some with and some without footrings. Place them next to
each other and see what the eye does.
A foot ring also provides a handy-dandy grip point for glazing the
pots. (I know that many folks use tongs. I'm refering to the ole "dip
and pour" technique.)
Hope this helps
Craig Dunn Clark
619 East 11 1/2 st
Houston, Texas 77008
(713)861-2083
mudman@hal-pc.org
Gary Navarre on wed 2 feb 05
On Wed, 2 Feb 2005 09:01:45 +0900, Mike Martino
wrote:
One more thing that occured to me but that I can't test: for
>people who once fire their stuff, isn't grasping a raw footring for glazing
>going to cause the footring to break?
No, Mike! I learned to trim a footring long ago and glaze bone dry. Dip,
pour, mostly brush. A well made ring and gentle touch is all it takes.
>
>Mike
>
>^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>mike martino
>in taku, japan
>
>muchimi@potteryofjapan.com
>www.potteryofjapan.com
G in da U.P.
Navarre Pottery
Lee Love on thu 3 feb 05
Mike Martino wrote:
>at that point in time. The general consensus was thumb on bottom of
>fooring, finger on rim, dip. Can't really verify since there were very few
>intact rims.
>
>
Mike, It is how I learned to glaze at my teacher's workshop, but
usually, your thumb is on the rim and your middle finger on the foot
ring. That way, when you turn the bowl over to get excess glaze out of
the inside, you can see inside to see how it is doing. Big stuff,
dominant/strong hand on the footring, other hand on the rim. You dab
the rim with glaze where your finger was, to cover that spot.
> One more thing that occured to me but that I can't test: for
>people who once fire their stuff, isn't grasping a raw footring for glazing
>going to cause the footring to break?
>
For the a lot of the nami clay work at my teacher's workshop,
we dipped leatherhard in ocher slip. For yunomi, the inside was
slipped first and then the outside. (This was great for learning how
thin to trim the yunomi. If you trimmed too thin, the ocher would
collapse the yunomi while it was drying. That would always crack the
shokunin up.
What Hamada did in Okinawa, is slip the work leather hard,
and then glazed leather hard over the slip. His Okinawa work was
single fired, shipped to Mashiko and then enamel fired. I am going to
put up a large format magazine on Ebay with some nice photos of this
work (make some money to buy that hammer mill!)
Leather hard or green, the food ring should be strong enough.
Leather is stronger, though. You need a tighter body to green glaze.
Mashiko Nami isn't good for green glazing. Porcelain is better.
--
in Mashiko, Japan http://mashiko.org
http://www.livejournal.com/users/togeika/ WEB LOG
http://public.fotki.com/togeika/ Photos!
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