I will be presenting, ‘Decorating the Glazed Surface’, this coming Friday, 25th March. The workshop covers numerous ways of working on the fired glaze surface including using on-glazes and lustres as well as applying underglazes employing a variety of masking and application methods. Also covered will be the making of decals that can be carried out without any specialised equipment. You can make your own decals at the workshop and if you wish to use a design of your own please mail me before Wednesday evening and I will tell you what you need to send me, alternatively you can use designs that I will have prepared. Please bring a small glaze fired piece or glazed tile if you wish to apply a decal.
‘Paperplaster; the Mould Making revolution’ will be presented on Friday 15th April. The revolutionary paperplaster method has changed my approach to mould making forever. Introduced to me by Australian ceramist Sandra Black as taught by Trudy Golley of Red Deer College, Alberta, Canada, this is an excellent introduction to basic mould making as well as a great new method for those more experienced in this area. This method uses about 75% less plaster than is usually used for mould making. This workshop is strongly recommended for anyone who has been considering exploring the use of moulds and casting in their practice. I will also be demonstrating and demystifying slip casting.
Both workshops will be presented from 9:30 – 12:30 at The Pottery Studio, 24 Old Kilcullen Road, Bryanston and cost R300.00 each. As space is limited, booking is essential. Please contact me stating which workshop you are interested in attending.
Monday, 7 March 2011
I have recently come across something quite extraordinary in my work with soluble salts. This is the absorption of the color into the body which is only revealed when held over a strong light source. The example shown above has a weak solution of Cobalt Chloride painted on then resisted and painted with Potassium Dichromate and has all but disappeared except for a plae green on the surface. When held over a strong light (apologies for the poor image) the piece shows a definate blue trapped beneath the surface, and the resisted area a pale green. What is the cause of this? My theory is that the body was too absorbant after bisque firing. I have found that if the piece is warmed before painting on the salt solutions and fired almost immediately the decorating is completed this problem disappears. Anyone got any other ideas on what could cause this. I would really be interested to hear from you.
|The colors as seen under normal conditions|
|Under strong light dark blue appears from below the surface|