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Posted 20 May 2013
It does, but I've only used it here around the 'feet' of the mug to give it a smoother surface to sit on a table and a bit of sheen so it's not really sealing the clay against leakage of whatever is in the mug.
Posted 20 May 2013Jim....here is a picture of three of my handbuilt mugs. I have terra sig on the bare clay.
Posted 20 May 2013Dear All,
I have just closed the lid of my kiln to start glaze firing a batch of red ware I have been working on for about 2 months (i.e., on and off). I have glazed it with the Arbuckle Majolica Glaze and commercial colors.
As I closed the lid, I thought to myself, what have I just invested of myself in this load?? Please know this is the first time I have done this glaze technique independently.
1. Reworked some hardened majolica clay to get it ready for throwing.
2. Made the vessels on and off for the last few months (i.e., paying really close attention to drying times for optimum trimming, crack prevention etc.).
3. Purchased and sieved a large batch of glaze.
4. Purchased the commercial colors.
5. Dipped the work to prevent drips and waited overnight for the glaze to dry before painting.
6. Wiped off the bottoms etc., etc., etc.
Every single step takes time and knowledge of how to proceed.
I cannot even begin to calculate the number of hours my body and mind have put into this project. To learn a new technique takes time.
I remember learning to pit fire. This too, took time and great energy to get everything together to attempt this firing safely.
So what am I rambling about???
Maybe it is a delayed post to really say, pottery does take time and it is WORK. While my kiln lid is closed and I could have done everything correct today over the past few months, ultimately the load will be what it is. It is clay. All I can do is wait.
I don't mean to sound whiny but when I closed the lid it just made me think how much time this took to put together...the steps, the learning, the anticipation, the planning etc.
Ironically, despite all the planning, the one area that surprised me was during my process, I never gave much thought to decoration. THIS is what majolica is all about. All I could think about was vivid color. Thus, over the weekend, I struggled to decorate when it should have been a main focus of my planning. Unlike cone 6 where you never know what will happen with the glaze, majolica, I think if done right should be fairly exact.
Anyway, I am rambling.
Have you ever gone through a type of consideration of your effort or investment (in all senses of the word) in learning a new technique??
Hope it comes out great. I love majolica. A big show is coming up and in the gallery part of it you display two of your own pieces plus a pot from your collection. A friend in Colorado does incredible majolica and she is shipping me her most treasured piece so I can use it for the guest piece in the show. I've never done majolica. Finally getting around to my question: Do you make majolica mugs? Is there a problem with leaking--even if it is a very slow leak?
Jim......I have made/used majolica mugs and vases for years and have never had a problem with leakage. Maybe it's the clay I'm using (Highwater's Stans Red ^06-^02) which is what Linda Arbuckle uses. I use Amaco LG-11 as my base glaze.
Posted 20 May 2013The majority of my ceramic pieces are majolica and when I finally close the lid to begin a glaze firing, I often reflect on the number of hours it took to get from a bag of clay to this point. I make pottery for the enjoyment of creating and sell my pieces in a few shows and a gallery. Majolica decorating is very time consuming and I take my time (in other words, I'm slow ). When I'm ready to price my pieces, no way can I go by the time it took to create the piece. I have had students who usually dip their pieces in a glaze and call it done ask to learn the majolica process only to decide that it takes too much time to decorate a piece by this method.
I easily become bored with doing the same thing over and over so not long ago I decided I wanted a faster turnaround and I purchased cone 6 clay, mixed up cone 6 glazes, and began the journey of working in mid-range. Now I can rotate back and forth, whatever mood strikes when I enter my studio.
A few years ago I took a workshop on creating concrete sculptures (the same method used to create rock-scaping in zoo environments) and began to use this method to 'frame' my ceramic tiles. Yet another facet to keep boredom at bay. I needed glass beads for a piece I was creating so I took a class, bought the glass bead making equipment and supplies and can now make my own beads. I need a larger studio! Pottery is an ongoing investment in time and money, but mostly it satisfies my need to create in a variety of ways.
Posted 14 May 2013I remember a workshop I attended where the instructor used a fire clay (AP Green I think) on a piece he was throwing. When he had the piece nearly thrown, he heavily coated the outside of it with the fire clay. Then he finished throwing from the inside only, not touching the outside so as not to disturb the fire clay. The result was a gorgeous 'dry creek bed' sandy effect because as the piece was pushed out from the inside, the fire clay split and cracked in all sorts of interesting ways. It was reduction fired to cone 10.....no glaze on the outside. Very interesting piece.
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