Tuesday, 20 March 2018

My wall project

One of my projects during my time off was to put some wood panelling on our entrance wall. My parents came to put it up and sort out all the technicalities we encountered in the process! We are very happy with the finished result and with the whole experience. A big thanks to them!
My colour palette was made of: 
- leftover of matt emulsion peacock blue paint (Dulux Diamond Blue #1), 
- leftover of black chalkboard paint (Rust-Oleum), 
tester pot of grey/blue matt emulsion paint (Farrow & Ball Stiffkey Blue #281)
- pot of Dulux mid-sheen brilliant white satinwood (the only one that was actually recommended for wood).

The wood was 8mm redwood. 

I used several colours on each plank, blending them, sometimes layering to make a 'distressed' look. Some would say we could do it haphazardly, but let's be honest, I wasn't. I tried to keep the colour balance I had in mind for the final project.

Next step was to sand off two thirds of the planks. After working on the first plank with sandpaper and elbow grease, we bought an electric sander for this!

We applied wood dye on some of them (mainly Liberon water-based Teak and Antique Pine).

In the mean time, my parents prepared the wall with regularly spaced battens.

We got ourselves a mitre saw to cut the wood planks. It helped us obtain a neat finish, and saved us lots of time!

We were lucky the walls and ceiling were rather straight. We started from the top so that the cut on the last plank (which needs to at an angle to follow the slope of our floor/ceiling) would be hidden by a skirting board.

We chose each plank to put on so that they were homogeneously arrayed. This was my task, and it took more time that my dad had anticipated.

Almost done!
Details of the extended door frame:

Saturday, 24 February 2018

A few days in Salzburg, Austria

We spent a few days with Lesly & Kurt in the medieval and baroque city of Salzburg. The old town, listed as a UNESCO site, has its late Renaissance buildings painted in an assortment of pastels. It's the birthplace of Mozart and many places are exploiting this. 

We also had a glimpse of the countryside around Salzburg, including the  Untersberg (the local mountain overlooking Salzburg, shared between Austria and Germany and peaking at 1973m) and the enchanting Bluntautal valley. A really lovely place!

Monday, 19 February 2018

Pots series 16 - Stitching and Slipping

I've reached new heights (29cm!) by stitching two cylinders on top of each other. We can still notice the junction as it's a bit narrower there. I've also enjoyed spending time applying and decorating with slip. Patterns are inspired from Carolyn Genders' work. Like glazes, slips contain oxides and they drastically change colour when firing so we need to use imagination at this stage! The four slips (two coats each) I used were: 
- black (brown in the picture), 
- galaxy blue (white in the picture), 
- grey (light blue in the picture) 
- bright green (light grey in the picture).

After I applied the slip, I used a wooden carving tool to scratch the surface so that the white clay (dark grey in the picture) is revealed (sgraffito).

You can see below the pictures before (on the left) and after firing (on the right).

Sunday, 18 February 2018

Pots series 15 - Double Blob (hourglass)

I've been trying out a new shape: the double blob. I've made the constriction in the middle before pushing out the round parts. I also experimented a bit with the glazing: rainbow for a set and reactive black and white for another.

Before firing: underglazes applied with a brush,
overlapping at the intersections to make a gradient of colours,
then a coat of transparent

After firing, the colours are even sharper

Inside: 1x shiny white, then 1x matt black
Outside: 1x Lucie Rie white, then 1x matt black

I love how the glazes reacted together,
it's quite soft and unpredictable

Wednesday, 24 January 2018

Pots series 14 - Let's get crackling !

This week I've tried to use the crackle glaze. I initially got disappointed with the result as the crackling is not visible (it does not have any contrast) coming out of the kiln... That's because the cracks need to be subsequently filled with black ink, revealing all those fine crack lines! I love it, and I look forward to trying it again! 

2 x crackle glaze, thick band of black iron on the rim

I also did another trio of brushed oxide.

1x shiny white, wide brush of spotted green, thin brush of cobalt