Custer Feldspar 62
Whiting 14
Zinc ox 6
Talc 8
EPK 10
Zircopax 8
Add 8% Masonite 6021 for red
Add 1% Colbalt oxide for Blueberry
Add 1% Copper oxide for light green/blue
Add 1% Chrome Carb for light green
Add 2% Chrome Carb for dark Green
Sunday, August 8, 2010
Slip recipe
DM ^6 Casting Slip
Grolleg 13.5 lbs
Silica 5.0 lbs
Neph Sy 3.12lbs
Kona F4 3.12lbs
H20 10.5lbs (this is approximate)
Darvan 7 17ml
or
Darvan 118 11g
Grolleg 13.5 lbs
Silica 5.0 lbs
Neph Sy 3.12lbs
Kona F4 3.12lbs
H20 10.5lbs (this is approximate)
Darvan 7 17ml
or
Darvan 118 11g
Tile Project
Here is a great project. Obviously the concept of the project can be used in different ways and can be rethought to meet the needs and abilities of various ages. This version was used in a beggining level ceramics class and in a foundations class. Hope this is useful to you. I included two images of students from my ceramics class that did a version of this project.
History Evolves!
Planning the project:
Research and select 2 reliefs, one from Greek or Roman times, and one from either the middle ages in Europe, or a non-Western Culture. Draw each of these in your journal. Post both the original image and the drawings to the blog (cell phone images are fine). Include the date, place, artist (if known) and a few lines to inform us about the piece. What was the content of the relief? What was it's context?
Now, thinking about how relief was used in your research, draw a 3x3 drawing in your journal of a contemporary image that you will turn into a relief. If we are using relief in the same way as those in your research used it, what would it look like today? Post your image to the class blog with a few sentences addressing these questions. Make a photo copy of the image to use in class.
Part 1: Drawing in Relief: a classical technique becomes contemporary!
Create a 3x3 tile out of plaster using a wooden frame. Take your photocopy or gel ink outline of your drawing that relates contemporary culture to the historical idea of relief. Using a simple ink transfer process with rubbing alcohol, place this image on the tile. Carve image into the plaster, considering depth and width of line. Test the result with a small piece of clay if needed.
Make slabs out of terra-cotta. Create a tile by pressing the plaster tile into the clay and cutting around it. Make 4 of these. Carve into the plaster tile again creating more detail and press clay into the plaster again creating tiles. Continue this process of creating 4 series of tiles that show an evolution or progression in design and concept. Remember, you can not back up once you have began the second tile. Take time and make sure you are happy with each step before moving on.
Part II: All is not equal!
Using clear glaze and white engobe/slip determine areas consider and define your surface for your series. How would the white slip against the terracotta change the tile? How would defining matte and clear surface support the image? (test this on your extra tiles before committing to this). Consider how this process reinforces the evolution of your tiles.
Part III: Context is everything!
Utilizing found objects or material install your tiles incorporating this additional material. (For example, you might create a relationship between the tiles and an old found door. Or, the tiles might remain loose but become included in an environment that you find or create.) How is the concept changed or supported?
Note: Consider how reliefs have been used historically; how does your content reflect contemporary concerns? Write a few lines about this on our blog.
Post photos of your tiles only, as well as in the context of your installation on the class blog.
History Evolves!
Planning the project:
Research and select 2 reliefs, one from Greek or Roman times, and one from either the middle ages in Europe, or a non-Western Culture. Draw each of these in your journal. Post both the original image and the drawings to the blog (cell phone images are fine). Include the date, place, artist (if known) and a few lines to inform us about the piece. What was the content of the relief? What was it's context?
Now, thinking about how relief was used in your research, draw a 3x3 drawing in your journal of a contemporary image that you will turn into a relief. If we are using relief in the same way as those in your research used it, what would it look like today? Post your image to the class blog with a few sentences addressing these questions. Make a photo copy of the image to use in class.
Part 1: Drawing in Relief: a classical technique becomes contemporary!
Create a 3x3 tile out of plaster using a wooden frame. Take your photocopy or gel ink outline of your drawing that relates contemporary culture to the historical idea of relief. Using a simple ink transfer process with rubbing alcohol, place this image on the tile. Carve image into the plaster, considering depth and width of line. Test the result with a small piece of clay if needed.
Make slabs out of terra-cotta. Create a tile by pressing the plaster tile into the clay and cutting around it. Make 4 of these. Carve into the plaster tile again creating more detail and press clay into the plaster again creating tiles. Continue this process of creating 4 series of tiles that show an evolution or progression in design and concept. Remember, you can not back up once you have began the second tile. Take time and make sure you are happy with each step before moving on.
Part II: All is not equal!
Using clear glaze and white engobe/slip determine areas consider and define your surface for your series. How would the white slip against the terracotta change the tile? How would defining matte and clear surface support the image? (test this on your extra tiles before committing to this). Consider how this process reinforces the evolution of your tiles.
Part III: Context is everything!
Utilizing found objects or material install your tiles incorporating this additional material. (For example, you might create a relationship between the tiles and an old found door. Or, the tiles might remain loose but become included in an environment that you find or create.) How is the concept changed or supported?
Note: Consider how reliefs have been used historically; how does your content reflect contemporary concerns? Write a few lines about this on our blog.
Post photos of your tiles only, as well as in the context of your installation on the class blog.
| NelsonStudent7.jpg |
| NelsonStudent6.jpg |
Monday, July 26, 2010
Summery of course readings:
Articles
Glen Adamson: Craft Horizons
Miwon Kwon: Once Place After Another (Introduction)
Nicholas Bourriaud: Altermodernism (Introduction Essay)
Selected essays from The Margins catalog
Nicholas Bourriaud: Radicant (Introduction)
Glen Adamson: Craft Horizons
Miwon Kwon: Once Place After Another (Introduction)
Nicholas Bourriaud: Altermodernism (Introduction Essay)
Selected essays from The Margins catalog
Nicholas Bourriaud: Radicant (Introduction)
Updated Schedule for this week:
Tuesday we should have all of our glazes fired and we will choose glazes and mix them. I will do a brief trimming demo for the wheel. We will focus on studio work.
Wednesday we will focus on the studio.
Thursday we will discuss Radicant and tie together our ideas from this class as this is our last article we will read as a class. We will have a short wet crit. I will have a brief presentation for you and then we will focus on the studio.
Outside tutorials:
Monday 8-9pm
Tue or Wed (TBA) 8-9pm
Friday 8-9am (to be confirmed)
Sunday TBA
Wednesday we will focus on the studio.
Thursday we will discuss Radicant and tie together our ideas from this class as this is our last article we will read as a class. We will have a short wet crit. I will have a brief presentation for you and then we will focus on the studio.
Outside tutorials:
Monday 8-9pm
Tue or Wed (TBA) 8-9pm
Friday 8-9am (to be confirmed)
Sunday TBA
Thursday, July 22, 2010
Wheel
Lecture/Demos/Practice: Wheel-Get Your Practice On!
Wheel
Clean Hands
No Jewelry on hands or wrists, and remove necklaces
No watch
Pull hair back
Wear your apron and have a towel
Tools
Your bucket full of clean water
A clean sponge
Your loop tool
your wooden "knife"
Your wire tool
Your ribs
Your needle tool
Set up
The wheel should be clean and dry
Your tools should be set out in front of you in an easy to reach way, this will differ based on if you are left or right handed and your reach.
Some wheels are able to change direction and some left handed people prefer to change the direction. If you do so, please change it back when you are finished.
Wedging
Wedge your clay into a spiral. This allows the particles to line up in the direction of the wheel's movement. Make sure that air bubbles are compressed and that no foreign material is in the clay.
Centering
1. Use a little water to "tack" the clay to the wheel.
2. "Seal" the clay to the wheel.
3. Using "equal and opposite pressure"--not force--center the clay. It is centered when it stops wobbling, this is about the way it feels verses the way it looks.
4. Don't pull it to the side or push it.
5. Centering is your highest speed
Tips
◦ Your hands should always be in contact with each other.
◦ Your arms should never roam free, but rather, they should be braced in your legs, each other, or the guard.
◦ Water is used as lubrication, but too much will saturate the clay and make it slump.
◦ The only thing holding the clay to the wheel is the suction of the wet clay
Slow your wheel!
Open
Brace your hands and using your two fingers push in. Use your needle tool to check your floor depth (1/2 inch is good). Using your two hands together, pull back slowly and steady.
Note:
If you are centered you shouldn't wobble.
Pulling up
Using both hands together, braced, begin to pull up. Pull from the bottom up, not from the top. Be careful not to pinch the lip, you need this to stay the same thickness from bottom to top.
Note:
Your top should stay even or smaller then the bottom, if it bowls out there is a problem.
If your throwing lines are uneven, there is a problem.
Check that the width at the bottom and top are the same-no kiln bombs!
Removing clay from wheel
Using your knife, work with your wheel to trim away the extra clay, then smooth out the bottom.
Use a slight bit of water. Put your wheel on very slowly. Using your wire tool, hold it tightly and pull toward yourself.
Use clean, wet pot lifters (or fingers) to remove from wheel and place on your board. Keep covered well.
Clean up
The wheel should be clean and dry, including the guards. You must use a guard when throwing. You are responsible for cleaning the wheel, the table near the wheel, the wedging table, and the floor around the wheel before you leave. Leave it as you want to find it, not as it was left when you found it.
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