Considerations and Logistics: Brush Strokes
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...
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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...
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