firedup on mon 19 dec 05
thanks for the feedback, i hope there will be more discussion on the =
subject.=20
Marianne, I would be glad to keep you posted on any learning =
opportunities i can find.
To all you teachers out there. Please be sure to spend enough time with =
your students on glaze application. I took classes in an art centre for =
about 5 years. Glazing never got too much attention and I gravitated to =
smoke and raku because of happy accidents, the giving up of control and =
of course, less frustration. Now I work in my own studio and for the =
life of me, i cant seem to get my surface finishing techniques close to =
the quality of my clay work. Sometimes I Iook at photos of other =
peoples work and consider the complexity of their surfaces and wonder =
how did they manage to pull it off?
Lisa, thanks for your input. Last year i bought 2 amazing huge plastic =
bowls from a restaurant supply house for glazing... one is 20 in. in =
diameter the other is 28 and they are fabulous but...often i end up =
with splashes on the inside or a pouring accumulation at the lip line =
and of course I want the perfect lip so instead of leaving it alone, =
cause one does not want a lumpy lip, i fuss with it and very often not =
successfully. I wonder could it be that i get this sort of ridging =
because the glaze is too thick.? How do I know when the glaze is right? =
I usually glaze the inside of bowls and tall vessels first and deal with =
the outside last. Is it possble that in the case of bowls, i should =
reverse this order?
I have also tried holding the bowls with one hand at a bit of an angle =
and pouring over so that the run off heads to one place but these bowls =
which can be 16 + in. in diameter can get pretty heavy. Maybe i should =
try using dowels of 2 different diameters to give the bowl a bit of =
tilt.
Thanks all for your input.=20
and now... back to the studio to see what yesterdays kiln load did.
bev
marianne kuiper milks on mon 19 dec 05
Hi Bev,
Thanks - I will look for something on glazing coming up!
It's so interesting to me how easy it is for people to forget how complcated new steps can be for a beginner. They become such simple motions that the teaching brushes over it. Yes almost everyone I have spoken to admits that this is one of the most frustrating aspects of getting your clay off the ground. You get stuck, so to speak...
I admit that most of my yucky stuff comes from trying to fix something. But then...I clearly wanted to fix a problem in the first place.
Back to the beginning. playing with clay or Barbies- that was the question.
Marianne
firedup wrote: thanks for the feedback, i hope there will be more discussion on the subject.
Marianne, I would be glad to keep you posted on any learning opportunities i can find.
To all you teachers out there. Please be sure to spend enough time with your students on glaze application. I took classes in an art centre for about 5 years. Glazing never got too much attention and I gravitated to smoke and raku because of happy accidents, the giving up of control and of course, less frustration. Now I work in my own studio and for the life of me, i cant seem to get my surface finishing techniques close to the quality of my clay work. Sometimes I Iook at photos of other peoples work and consider the complexity of their surfaces and wonder how did they manage to pull it off?
Lisa, thanks for your input. Last year i bought 2 amazing huge plastic bowls from a restaurant supply house for glazing... one is 20 in. in diameter the other is 28 and they are fabulous but...often i end up with splashes on the inside or a pouring accumulation at the lip line and of course I want the perfect lip so instead of leaving it alone, cause one does not want a lumpy lip, i fuss with it and very often not successfully. I wonder could it be that i get this sort of ridging because the glaze is too thick.? How do I know when the glaze is right? I usually glaze the inside of bowls and tall vessels first and deal with the outside last. Is it possble that in the case of bowls, i should reverse this order?
I have also tried holding the bowls with one hand at a bit of an angle and pouring over so that the run off heads to one place but these bowls which can be 16 + in. in diameter can get pretty heavy. Maybe i should try using dowels of 2 different diameters to give the bowl a bit of tilt.
Thanks all for your input.
and now... back to the studio to see what yesterdays kiln load did.
bev
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Ruth Ballou on mon 19 dec 05
One method that I haven't seen mentioned on the list in while is
using an ear syringe and brush to apply glaze in a controlled fashion
to larger pieces, especially bowls and plates. Brushing glazes
without an additive usually doesn't work very well because the bisque
grabs the brush. The ear syringe is used to continually supply the
brush with glaze. Center the pot on the wheel. It's not necessary to
attach it. The outside is done first so that the glazed rim does not
get disturbed. Load the brush with some glaze. Starting at the foot,
with the wheel moving moderately slowly, touch the brush to the pot
with the ear syringe just under and behind the brush. Gently squeeze
the ear syringe to supply the brush with glaze as the brush slowly
moves down the profile of the pot. Refill syringe as necessary.
About 3 coats is sufficient. Then turn the pot over and repeat for
the inside, starting at the rim. This makes it possible to glaze
large pieces with small amounts of glaze. It's pretty easy to get the
hang of this. Add the use of wax resist or latex and it should be
possible to get a very clean line between inside and outside, if
desired.
Fluidity of movement is important in glazing as in throwing or
handbuilding. Try practicing those movements in isolation, in the
air, or with water and a pot, instead of glaze. And, as it's been
said many, many times before, work with one or two glazes for a while
and get to know them. It's amazing how many different ways just two
glazes can be applied.
Ruth Ballou
Maryland, for now
On Dec 19, 2005, at 12:57 PM, marianne kuiper milks wrote:
> Hi Bev,
>
> Thanks - I will look for something on glazing coming up!
> It's so interesting to me how easy it is for people to forget how
> complcated new steps can be for a beginner. They become such simple
> motions that the teaching brushes over it. Yes almost everyone I
> have spoken to admits that this is one of the most frustrating
> aspects of getting your clay off the ground. You get stuck, so to
> speak...
> I admit that most of my yucky stuff comes from trying to fix
> something. But then...I clearly wanted to fix a problem in the
> first place.
> Back to the beginning. playing with clay or Barbies- that was the
> question.
>
> Marianne
>
> firedup wrote: thanks for the feedback, i hope
> there will be more discussion on the subject.
>
> Marianne, I would be glad to keep you posted on any learning
> opportunities i can find.
> To all you teachers out there. Please be sure to spend enough time
> with your students on glaze application. I took classes in an art
> centre for about 5 years. Glazing never got too much attention and
> I gravitated to smoke and raku because of happy accidents, the
> giving up of control and of course, less frustration. Now I work in
> my own studio and for the life of me, i cant seem to get my surface
> finishing techniques close to the quality of my clay work.
> Sometimes I Iook at photos of other peoples work and consider the
> complexity of their surfaces and wonder how did they manage to pull
> it off?
>
> Lisa, thanks for your input. Last year i bought 2 amazing huge
> plastic bowls from a restaurant supply house for glazing... one is
> 20 in. in diameter the other is 28 and they are fabulous
> but...often i end up with splashes on the inside or a pouring
> accumulation at the lip line and of course I want the perfect lip
> so instead of leaving it alone, cause one does not want a lumpy
> lip, i fuss with it and very often not successfully. I wonder could
> it be that i get this sort of ridging because the glaze is too
> thick.? How do I know when the glaze is right? I usually glaze the
> inside of bowls and tall vessels first and deal with the outside
> last. Is it possble that in the case of bowls, i should reverse
> this order?
>
> I have also tried holding the bowls with one hand at a bit of an
> angle and pouring over so that the run off heads to one place but
> these bowls which can be 16 + in. in diameter can get pretty heavy.
> Maybe i should try using dowels of 2 different diameters to give
> the bowl a bit of tilt.
>
> Thanks all for your input.
> and now... back to the studio to see what yesterdays kiln load did.
>
> bev
>
> ______________________________________________________________________
> ________
> 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.
>
>
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ______________________________________________________________________
> ________
> 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.
Ellen Currans on mon 19 dec 05
Dear Bev,
This may not help your particular glazing needs (temp, clay, form, etc. all
contribute to the various solutions) but here is how I glaze bowls up to 13
inches. (Cone 10, reduction)
I glaze the outside first because I want the best coat of glaze on the
outside. Sometimes when you do the inside and too quickly do the outside you don't
get a very nice coat, especially where you have trimmed the pot. The clay can
only absorb so much water. I wax the foot and holding the bowl on the inside
near the top with my hands pressed out, push it into the glaze bucket carefully
so that it is covered as close to the rim as possible. Remove slowly so the
glaze cascades off evenly without drips. Your glaze has to be the right
consistency, and thinner is better than thick, so you may want to experiment with
the viscosity of your glazes. Dip twice if you need to. Twice in thin glaze
will fill in little texture details better than once in thick, and the run off
won't be in big thick drips.
When this outside coat is dry, brush wax resist all over the upper 1/3 of the
glazed surface or as far down as need be to protect bulges, etc. When this
is dry, clean off all glaze on the rim not covered with wax. Dry some more.
You can see that you need to plan glazing bowls throughout your glazing
session so that there is time between each stage. I use hot wax on feet because
the glaze is resisted better,
and wax resist from Trinity Ceramics, diluted about 1/4, for overglaze waxing.
If you are glazing the inside with the same glaze, the next step is to
balance the bowl on the rim of the glaze bucket, pour in glaze up to within an inch
or so, swirl around and carefully pour out so that nothing splashes back up.
The bowl will then be upside down and you can dip just the rim in to be sure
you have a complete coat on the rim. Do this before the inside dries. You
will seldom have anything to clean up on either the outside or the inside,
except perhaps a few bits on the foot rim.
It is necessary to have a foot rim you can grasp or a bowl shape that you can
hold onto upside down. For larger, flatter bowls I use a small twisted wire
that fits over the rim into which my thumb fits and the rest of my fingers
grip the foot rim. Dip in sideways into a large deep bucket. Clean up the small
area where the wires contact the rim and your thumb sometimes does, the foot,
and you are done.
If you are doing some kind of glaze overlap on the top portion, of course
you have to do this before you wax. If you are using a different liner glaze,
you have to dip just the rim again after waxing, rewax just the rim, and clean
it up to the point where you want the liner to start. Some glazes will react
very cleanly and some will flow together. You have to figure out what you
want.
This won't work for every pot, every glaze, every temp. etc. etc. etc. It
is just what I have come up with so glazing defects don't distract from the
look I want.
Yours,
Ellen Currans
Dundee, Oregon
ian on mon 19 dec 05
I support the plea for a course on the technique of application of glaze.
Which glazes should go on thick? Which thin? How to avoid drips and overlap
lines? Measuring specific gravity? Additives for flow? Sponging. Brushing.
Dipping. Spraying. Masking. Using resists. On and on. I know what I want,
but there is an awful gap between conception and execution. I will travel
anywhere in North America for such a course.
Ian
John Britt on mon 19 dec 05
Ian,
I have done such a course but the only ones I have scheduled are on Raw
Materials and Glaze Chemistry. Both are in the summer, one is at Odyssey
in Asheville and the other is at Sierra Nevada College in Tahoe.
Hope you find what you are looking for,
John Britt
www.johnbrittpottery.com
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