Sunday, 29 October 2017

Pots - series 11

A couple of small pots
(Shiny white x1 followed by a brush of shiny black)

I like the soft curves of this one
(2x Tenmoku, heavy trail of Owen blue)

And its pendant, with a straighter shape
(2x Tenmoku and a neater trail of Owen blue)

Saturday, 28 October 2017

Pots - series 10 - big plates

This month I also did wide plates. It was difficult to glaze them, because they did not the buckets of glaze... I used two of them with one of my new favorite (because safely predictable) combination of grey and spotted green glazes. I experimented with four (and lost one in the process) by creating a marbling effect with black and white slip (liquid clay), and green and black slip. Interesting effect, but too much out of control for my taste! Lastly, I used two for spirals of Owen blue.

My plates, freshly thrown, and with different curves.

After glazing.

(2 x grey transparent, 2 x spotted green)

(black + white slip, 2x transparent inside, 2x shiny black outside - that is actually green)

(black + white slip, 2x transparent inside, 2x shiny black outside, iron oxide on the rim)

(black + green slip, 2x transparent inside, 2x shiny black outside)

(2x Tenmoku, trail of Owen blue)

(1x Tenmoku, splashes of Owen blue)

Thursday, 26 October 2017

Pots - series 9 - Teapot!

This month Freya challenged me with a teapot! The four parts (main body,  spout, handle and lid) were stitched together at the leather hard stage. It is pouring like a bubbly unpredictable fountain (by which I mean it's not a great pour). I glazed it in transparent, applying splashes of manganese with a toothbrush.

Freshly stitched together,
spare handles in the back.

A generous spout

I pierced a hole for the spout in the main body
with some sort of apple corer

This first teapot is for my mum!

The lid is fired in place on the main body so that they expand
or contract together; I had to hit them with a big stone
to separate them after the kiln firing.

The matching mug (2x transparent glaze)

Sunday, 10 September 2017

Pots - series 8

I've got really exciting pots this weekend: my tallest ever (still below 20cm high), and finally getting the hang on the Owen blue glaze !

Glossy grey x2, misty green x2, at an angle

A drizzle of Owen blue on top of 2x Tenmoku
I love the details of the Owen blue glaze dripping,
and reacting with the Tenmoku underneath

Sunday, 6 August 2017

Pots - series 7

For my seventh series, my three pots have a combination of pink and green/blue. It also features my first 'closed' vase (it has a tiny hole at the bottom so that it doesn't explode in the kiln). I love their soft curves !

Pink x 2
Sea mist x 1
Sea mist x 2

Pots - series 6

For my sixth series, I inlayed black slip clay at the turning stage. Carving, then filing the holes with black slip and finally scraping most of the excess. I love the angles of the top one.

Orange x 2
Transparent x 1

Sunday, 2 July 2017

Pots - series 5

For my fifth series of pots, I tried out a new shape: the jewellery box. Mine have the size of an egg, so maybe more of a ring box. It was very time-consuming to throw and I'm not keen on doing those again! We started with a cylinder, then closed it up to make like an egg, empty inside. At the leather-hard stage, we sliced it open and painstakingly try to make a lip for the lid to fit perfectly onto the base. Then glazing and firing as one unit so that they evolve the same way to maximise the fit. They came out of the kiln stuck, and gentle banging with a stone on the sides (protected by a fabric) easily separated them again.
Two egg boxes (two more to follow)
in: 3 x Late Owen blue
out: 3 x Misty blue

My usual "series of three"
3x glossy white
3-4x Late Owen blue

lid & inside: 3x Late Owen blue
outside: 2-3 new blue-black, then transparent

Sunday, 25 June 2017

Taste of watercolour

During our stay in Venice, we took a watercolour painting class! It was really interesting; very different from the acrylics I am using! 

We start by making a pencil drawing of the composition. We also add values (shading) that will be converted in colours.
The main difference for me was that the work with colours is in transparency. We do not 'block' the paper with the pigments, but rather do different layers of transparent colours. It's more like combining filters and light than opaque colours on a support (the light being the white of the paper). 
There is no black; the shading 'grey' is made by mixing the colour with its opposite colour in the colour wheel (for example shady red is red+green, making a brown-ish tainted with the original red colour).

The key things I learned were: 
1/ You need to use lots of water
2/ To make interesting marks or stains, you need to use lots of water
3/ Need erasing? No problem, just rub with water
4/ In doubt, put more water
5/ Water is the key

In action!

With Sébastien our teacher

Our view

First step - pencil drawing

With water, and colours

With more details

Red, Green, Venice

A selection of pictures we took in Venice. I loved the red & green colours!