| Deviant Login | Shop | Join deviantART for FREE  |
Take the Tour  |
#MLPFriendshipIsMagic
#Bronies
#Swedish-Bronies
#EPIC-PONIES-FiM
#MLP-FIM-PONIES
#My-Little-Bronies
#ThePonyArtCrusaders
#TwilightSparkleChile
| Artisan Crafts / Ceramics, Pottery & Clay / Ornaments & Objects | ©2012-2013 ~MadameLeFl0ur |
The Journal Portal
Browse Journals |
Polls |
deviantART [dee·vee·un'nt·ART]
Keep in Touch!
|
Deviousness `anmari has been spreading her infectious positivity throughout our community for over 6 years. Throughout this time Ana has been at the core of all things devious, passionately developing an eclectic gallery, helping organise devmeets, participating in chat events and also recently completed dedicating her time as a Community Volunteer. We are absolutely delighted to bestow the Deviousness Award for May 2013 to `anmari, congratulations! Read More
|
Sta.sh
But thank you for the shown interest, insulting or not.
Glazes on the other hand. I often avoid glazes when I work with ceramics, for many reasons other than that I just love raw surfaces:
Glazes often tend to fill up carvings etc and takes away much details.
It takes lot of trial and error to get the glaze be as you want it.
Different glazes may change eachothers characteristics if they are next to eachother.
It's hard to imagine how the end result will look like and slightest temperature difference in the kiln may change it.
I wish that I had patience to experiment more with them but I guess that's not my cup of chocolate.
Problem was, I didn't really do enough test tiles, and I had to spray on the glaze, meaning it got too thick on some parts and the celadon tended to cloud and get tiny bubbles in the thicker recesses. also, I was expecting the iron oxide to break through the celadon and create more visible rust spots (like it did on an earlier piece of mine) but I suppose with the thicker glaze it just didn't stand a chance. I should have just done a patina or something like that.
Do you work at a studio or out of your home? If it's a studio just watch other people's glaze combos, ask what they did, and emulate. also, designing pieces with particular glaze combos in mind (incorporating it into the very form and construction) really helps, but is a pretty advanced way to go about it.
...Hooray for successful glazing! [link]
I often tend to work at home but all the kilns and glaze ingridients are at the school. The chemistry and math behind the whole process is a real pain for my dyscalculia :S . I also don't want to get to used to glazes because I will not have the ability to work with them anymore in the future. Right now I'm a sucker for paperclay, love that stuff and how it can be used on the surface even though it belch out smoke during firing.
Next pony piece coming up here will be glazed though. But with a reliable well tested white-ish glaze I mixed up a bucket of a while ago. Safe cards ^^
And I love that "ugly vase" in the beginning of the gallery btw. My non-pony stuff is in the same universe.
If I can throw in my own suggestion, try doing a primitive firing on one of your pieces. Slap a good coat of terra sigillata on the outside, burnish the hell out of it, and then burn it with a bunch of interesting stuff. I'd be SUPER stoked to see the outcome, and it's another finishing technique that doesn't require glaze, though having a simple/smooth surface makes it way easier to burnish. I'd be super stoked to see that.