It's Still Vacation at Brickhouse

I've been going in a little less frequently lately because Brickhouse is still on break, and I have to pay $5 every time I go. I know that's not much, but I'm also trying to look for a job, so I'm slightly busier. (I have to say that rewriting your resume for each job is necessary and annoying).

So, I went in yesterday to fix the twisty vase's bottom where I could see I'd created a hole. I think it's good now, thanks to advice from my teacher and a little care on my part. I patched it up by scraping away some of the already drying clay so that the shavings went into the hole and completing that with a tiny coil and some slip. I decided to even out all the edges that way so that only the center has the twisty pattern and it has a decent foot upon which to sit. It's wrapped in plastic again for slow drying. I may have to do more smoothing, since it may end up with plastic wrinkles. I'm hopeful this time, since the seam held fine. My teacher would like to see the whole thing a little smoother, also.

I glazed these two little plates to go under my planter pots a while ago, but they still haven't come out of the kiln.



The brownish-looking glaze will be a rich brown, called New Tyler Amber, and the splashes are a faux celadon glaze that, when placed over the New Tyler Amber, make a cool speckled effect of green with brown speckles. They match the pots, currently sitting on plates that don't match (the one in the front is sitting on a plain yellow plate and the one in the back is sitting on a white plate with black painted swirls). Also, the current plates are full-size dinner plates, while the pots have diameters of probably less than six inches. The bottom of the pots is the New Tyler Amber and the top is the faux celadon over New Tyler Amber.



I attempted to ensure that the bottom view of the side of the pot still has the dark New Tyler Amber showing, but that the splashes of faux celadon make clear that these plates are specific to these pots. They are also proportionately sized.

If anyone needs planters like this, let me know. These are fairly easy. I can make different colors, of course.

Flower Plates

I decided to attempt to make hand-built plates using a mold. I can throw plates, and I'll try to take pictures and post the two that I've thrown so far too, but they are a little heavy and I'm not quite happy with that for everyday use. So, I took the first mold at Brickhouse where we had eight of the same plate. The studio manager, who is an amazing handbuilder and brilliant at glazes, had said I could use his molds while he was on vacation, but I felt guilty borrowing those for my first attempt at plates. Of course, he actually came in while I was making these and told me again that I should use his molds (and, specifically, that these will likely warp in the kiln). So, my next set will certainly be with his molds. I just wish he were here to help me as I stumble ahead.

So, I set up my molds, made a lot of slabs and sprinkled corn starch over everything so they wouldn't stick. I then trimmed to the edge of the plates and kind of "banged" the plate on the table to get it to sink into the mold properly. I then cleaned up the edges to round them and added a hand-coiled foot on each. (I somehow forgot to take any photos of the bottom of the plate). I sprayed white slip on them so that the colors of the underglazes will turn out very bright after glazing. After they had all dried enough to carve, I carved this hand-drawn daisy-like flower into each one.

I took these photos after the plates had been "bisqued" as I was about to glaze them with clear glaze using the spray booth.









I thought anyone who actually reads this blog might like to see a little of the process, so the following are three photos of the spraying process for glazing.


One plate set on a kind of bat that has ball bearings that allow the two pieces to spin smoothly, creating a kind of hand-wheel. This makes it easier to apply glaze evenly in the round, though I found it wasn't all that helpful in applying glaze to plates, since they are so flat. The shelf is in the middle of the spray booth, suspended by molded ledges in the plastic hood.



This first photo shows the plate with glaze sprayed on it. You'll immediately note that clear glaze is not clear before firing, but rather thickly white.



The second photo shows the spray booth from slightly further away so that you can see the spray "gun" and the set up a little better. It's a little bit like an airbrush, but with glaze filled in the container. The idea of the booth, as my Office of Research Safety friends would tell you is that a large fan pulls air away from you through a filter to try to prevent you breathing the glaze. I also wear a proper face mask. The glazes are safe to eat on after firing, especially because the shiny part of the glaze encases anything you shouldn't eat, but the particulates would not necessarily be healthy to breath (e.g., copper, cobalt).