Attempt #3: ready for bisque firing
Tom Coleman porcelain.
Amaco velvet underglaze: black, teal blue, blue green, and white
Tag: pottery
Effort #2 at soft leatherhard stage.
Shallow bowl/tray. Tom Coleman’s porcelain. Amaco’s velvet underglazes.
Ready for bisque firing.
Thomas Coleman’s porcelain and Amaco’s Velvet Underglazes (Jet black, Radiant Red, Flame Orange, Turquoise Blue, and Mint Green). Three coats of the black, brushed on and then burnished. Sgraffito. Dots of color added last – 2 to 3 layers of underglaze.
I also made some test tiles to see how well the color holds up at cones 05, 6, and 9.
Think I want to make a series of these kinds of pots with a bit of a striking “surprise” on the inside, in contrast with a very smooth, flat outside surface.
by insta_pottery http://ift.tt/1ozmNCI
Ohhhhhh! I like that method of mocha diffusion MUCH better. I’ve been seeing lots examples of the technique lately, but usually people hold the pot in place and the resulting diffusion pattern looks very static. That swirl technique gives it a much more dynamic feel. Hmmmmm. Okay. I’m going to have to try that someday.
The clay is Standard 266, a beautiful deep dark chocolate brown after the glaze firing. The glaze is Western Opal Fire Art. Inspiration provided by Didem Mert.
Tangling with a pot from mud to finished product. Now if only I could open it.
Handbuilt lidded box. Low fire white clay. Here it is at the bisque stage. (And a reminder of what it looked like at the leather hard stage.) It fires up to a very nice, bright white.
I’m considering a very light green/celadonish glaze, with clear glaze over splashes of red underglaze at the very tips of the writhy-bits.
I used to do a lot of wheel work, but in the past year hand building has really grown on me. I just recently made a couple playful closed box forms in low fire, white clay. Here there are in the leather hard stage. Basically dried mud. Very Very Very fragile. For the bottom one, if it makes it to the glaze stage, I’m thinking a very light celadon looking greenish blue, fading to clear white near the top of the writhing squiggles, and a smidge of red at their very tips.
I might have a bit of a thing for beauty and the macabre.
Inspired by Liz Zlot Summerfield handbuilt forms.
Finally pulling things out of the kiln that I actually like. Woohoo!
clay body: Tom Coleman porcelain
construction: slab built, impress the clay with the textures first before picking the slab up to make the cone. Check out Sandi Pierantozzi’s free video on slab building of tripod pots for the technique.
glazes: Fire Opal Art (cone 6 glaze) accents over Elaine’s Best celadons
glaze application: Sprayed on. Pretty thin coat. Got a bit of “orange peel” and lack of translucency. The insides are more translucent, so I think they may have been in a “cold” spot in the kiln. Still like ‘em, though. 🙂
glaze firing: cone 9 reduction/gas
Hearseeno 