Red and White

Considerations and Logistics: Brush Strokes

Posted by on Apr 19, 2011 in Bowls, Brush Strokes, How-to, Mugs, Plates, Red and White, Resist, Spring Snow, Tools | 0 comments

In this series of entries, I am sharing some of the discoveries I am making as I try to add texture and interest to my pots. Some techniques I have been experimenting with are: Slip trailing Carving Brush strokes Tape and wax resist Technical – Technical logistics include types of glazes and brushes.  Although this has been the easiest of the logistics to resolve, it eluded us for a while.  We kept trying to paint fine lines with thick brushes – that doesn’t work.  Fine lines require very fine brushes. Method – The preferred method is to paint underglaze on greenware  because it can be wiped it off if I make a mistake.  After the bisque-fire, it won’t smudge when I dip the pot in another glaze.   I have also used underglaze on top of glaze which is good for lines but not as good for designs. Glaze response – Understanding the properties each glaze exhibits has been key (this is a prevalent truth).  Translucent and clear glazes allow the underglaze to show.  In order to use opaque glazes, brush strokes need to be applied on top of the opaques. Design – All that the factors I identified with slip, carving, and resist are true with brush strokes – what patterns, how do the patterns relate to the rest of the pot, how to designate a space on the pot.  However, this application demands a bit more representative drawing...

Read More

Business Lessons

Posted by on Mar 8, 2011 in How-to, Red and White, Teabowl, Teapot, Uncategorized | 0 comments

I don’t have an art degree.  And, although I don’t have a business degree, when I got my ‘real world’ job, I had to learn business.  So I read – a lot. I am surprised that so many of the things I read in business literature can apply to art (specifically my pottery quest). In business, when starting a project, you consider as many ideas as possible.  Then you must focus and make choices in order to finish the project.  But most people aren’t open enough in the beginning; and, then they stay open too long, hold on to too many options, and never get a cohesive idea (Seth Godin). This seems to apply to clay.  When first learning pottery, I tried several techniques/glazes/clays/etc.   But in order to develop a personal aesthetic, I need to identify where I am most passionate and become indifferent to everything else in order to develop that. “Indifference is as important as passion.” (Bob...

Read More