All artists are confronted one or other time with shipping of their work. Often they end up disappointed and discouraged. The success of any shipping of artwork, start with the artist self. Too often they will spend expensive materials and dedicated time to the art process, but ship the work off to its destination as an afterthought. Artists tend to work to the very last minute before the work must be shipped. Trying to save money and time to ship the work as well as last minute neglect is just what is needed to waste weeks and months of hard work. To pack and ship safely and at the best possible pricing is just as much an art as it is to do the work itself. The only difference is that art comes from the heart and mind, whereas savvy packing and shipping comes from knowledge. The right packing materials for shipping artworkPacking materials are expensive and when I started to collect my old packing materials, Koos was not too happy with me. After all it takes up storing space, but the first time that I sent him to the store to buy a container with Styrofoam peanuts, his complaints stopped. Does that mean that one must keep old packing materials unconditionally? The answer is no. Packing materials wear out. After a few uses, bubble wrap will not be bubbles anymore and will become useless, especially when you are shipping heavier work, or work that have spouts and handles. Good sturdy packing materials is a must, otherwise you stand a chance to get your work broken. The human factor must always be kept in mind. There are people that may handle packages that does not understand the contents thereof. Accidents and possibilities that package will be dropped, thrown, hit or otherwise mishandled by any shipper must be expected. Use the right box |
Firing higher than 1285 C (2345 F), requires stable fluxes to work in relation to the refractory silica and kaolin and catalyze it to melt the clay to glass, but to still allow it to retain the form. To my knowledge there are no support for electric pottery kilns that goes that higher than ^ 12- 14 (if you know of any manufacturer that create ^14 and above electric kilns, please share the information with me) |
Going below 1220 C (2228 F), can be fired in any pottery kiln, but at this stage the fluxes must also be able to melt at that lower temperature. That is very possible, especially with frits, a factory produced flux that is expensive, but readily available. The problem is that silica and kaolin are both highly refractory, unwilling to melt at such a low temperature. Therefor the heating process must be even, allowing for an even spread of heat and even conversion of silica throughout the mass. Neglecting this process will lead to a surplus of free quartz that will weaken the final ceramics, in this case porcelain. A balance between time and heat, which is possible to manage in a longer cycle of a high firing process, will be more challenging in low firing, which is normally shorter. Therefor an atmosphere of a slow enough firing cycle is needed to allow for and even mingling and integration of silica and alumina with the fluxes at a lower temperature.

The best comparison to the process, is a cake, baked golden brown on the surface but with an unbaked interior.
A fine balance of raw materials is needed, complicating the recipe and the chances that one of these materials, may become unreliable when changes in the mining process takes place.
To obtain translucency at such a low temperature requires more glass-maker and just a small amount of clay, which forces the clay into a less pliable state. Bentones (macaloid, bentonite vee gum T), may be the only solution to improve workability, but these plasticizers bring its own set of possible problems, a topic that falls out of the scope of this post, but that may be discussed in future.
It may be a good time to refer back to soft paste porcelain Chicago images, which is traditionally not as strong as hard paste porcelain.
Anyone interested in working with clay should choose the medium and firing requirements first and then decide on which kiln to buy. Porcelain, in general do have its own requirements for firing, whether it is a high firing or low firing porcelain. I describe some of these requirements in the blogpost "Slow firing of porcelain in a pottery kiln".
It often requires down-firing. Frank and Janet Hamer described it in “The Potter’s Dictionary of Materials and Techniques” as “a thick body-glaze layer”. Due to its glaze-like nature, described in by as “a thick body-glaze layer”. Due to the fact that the clay and glaze matures at the same time, it builds a very strong bond by the clay body compressing the glaze. A simple explanation is that the clay prevents the glaze from stretching too much, prevent it to craze, thus the stronger bond. Too much compression will cause shivering.
Dunting is the process in which the cool-down process is happening too fast, causing stress in any dense pottery. The upper part of the pot may start to cool faster in the kiln atmosphere than the base that touches the shelf below, which is cooling much slower because it retains heat longer. Uneven contraction resu |
Porcelain is considered a dense ceramic material, as it contains 10% +cristobalite from silica present in the clay. Body and glaze contract together during the cooling, compressing it into a strong bond. If the critical cooling periods around 573 C (1063 F) and again around 226 C (439 F) when free quartz and cristobalite needs to contract in concert with each other at the same slow rate, is not slow enough, the tension build up will weaken and break the body in two, many times long, sometimes even weeks after the work is cooled.
In the USA and in many other countries that I visited before, are many manufacturers, making high quality electric pottery kilns. Unless poorly designed, any of those should be suitable to fire porcelain. Higher firing, refractory materials for kiln bricks and kiln furniture may be used for cone 10 kilns, maybe allowing to last a little longer when it is used at lower temperatures than the temperature it is intended for. Due to the need to control the cooling of porcelain, it may be wise to buy a kiln that has the facility to control the firing down process. Electronic controllers are very handy, but a potter can also make sure that all vents are properly shut closed after the initial cooling in the kiln started to happen. The kiln will reach a temperature around 1000 C (1822) when the kiln turns to a yellow orange color, which is a good time to close all possible vents, prevent drafts and instant cooling in the kiln. Resist the urge to open the kiln when the heat is above 200 C (392 F) and even then, prevent sudden airflow into the kiln. It is not worth all the trouble and long hours, just to see how a fine piece of porcelain fall apart on the kiln shelf, or worse, weeks after you sold it to a valued customer. |
I am sure you will know what I mean when I say that decisions can sometimes cause big storms in one’s life. Koos and I put our house in Illinois on the market in late August and had it sold 2 weeks later. In these economic times that is almost unheard of, so when it happened, the storm was on and it came like a tsunami down on us. We had to move out of the house in less than 2 weeks, because the initial closing date actually happened on time and was not delayed like it so often times happen.
Three truckloads further and Koos and I find ourselves back in the first house we bought in Saltillo Mississippi and that was rented out while we were in Illinois. Now we have to make it home again and my studio needs a serious revamp after termites got hold of it.
Three truckloads further and Koos and I find ourselves back in the first house we bought in Saltillo Mississippi and that was rented out while we were in Illinois. Now we have to make it home again and my studio needs a serious revamp after termites got hold of it.
Example of pottery from my factory.
In 1987 we made a similar move, except that our children were small and I was just past the beginners’ phase of my pottery career.
The University of Pretoria recruited Koos to work for them. We were sad to leave beautiful Malelane behind, but we realized that there were several advantages in moving to Pretoria. We were young and today we know the grass always seems to be greener on the other side.
I started teaching pottery classes again, but also took the opportunity to attend pottery workshops. It was great to enroll in a pottery class as a student and learn from masters in the field.
Every artist dreams of the day that he or she will make it big, so I was happy that I could sell more pottery. At this stage I did not consider myself as an artist. I was good at teaching and I was good at making pottery. I even got to the point where I started to understand the chemistry of ceramics and could make my first glazes.
One of the things that is often overlooked by artists and which should be addressed more often in college courses, is the art of business and how to work yourself gradually to a place where you can earn an income without allowing that the business to consume your whole life . I was completely ignorant in that field and the perfect candidate to fall into a trap.
The University of Pretoria recruited Koos to work for them. We were sad to leave beautiful Malelane behind, but we realized that there were several advantages in moving to Pretoria. We were young and today we know the grass always seems to be greener on the other side.
I started teaching pottery classes again, but also took the opportunity to attend pottery workshops. It was great to enroll in a pottery class as a student and learn from masters in the field.
Every artist dreams of the day that he or she will make it big, so I was happy that I could sell more pottery. At this stage I did not consider myself as an artist. I was good at teaching and I was good at making pottery. I even got to the point where I started to understand the chemistry of ceramics and could make my first glazes.
One of the things that is often overlooked by artists and which should be addressed more often in college courses, is the art of business and how to work yourself gradually to a place where you can earn an income without allowing that the business to consume your whole life . I was completely ignorant in that field and the perfect candidate to fall into a trap.
My first series of pots were unloaded from my kiln one day and I was very excited about it. When I had an opportunity to show my work at a big show, I got an order within 3 days that was bigger than I could handle. I was totally freaked out, but instead of working my way through the situation, I turned my attention to buy a factory. All signs indicated that I should not buy the factory, but at the time I was too close to the problem to think clearly and after one year, a crooked partner and lots of heartache I was back home with just my one wheel and small kiln.
In looking back at the situation, I learned a lot; not only about business, but also about managing the 20 people I had working for me at the time. I learned how to plan and schedule the production of hundreds of pots per day, sometimes jumping in and working side by side with my employees. The hardest, but maybe the best lesson that I learned was that I loved pottery and not wanted to be a manager of potters.
The aftermath of the factory was difficult. I had a lot of self-doubt. My children, still very young at the time suffered with me and my husband were stressed out to his core. He co-signed for the factory and lost everything because of my crooked partner. With a very demanding job, it was not good for him to worry about me and the children.
As with all things, life went on and soon we were back on our feet. I restarted my teaching studio and our lifes resumed as if nothing happened. I became a very successful teacher and not only did I write my first articles for a newspaper, but soon thereafter I won my first pottery award. As a family we were content and happy.
At the time the winds of change were already blowing viciously over our beloved South Africa. Nelson Mandela was the new president and although everything seemed to be peaceful, thousands of professional people started to leave the country; either because they lost their jobs or because of fear that they will lose their job. Little did we know at the time, that we would soon follow in many other's footsteps. We just had to make a little detour through Namaqualand and Cape Town, before we would, in 1999 also find our way to the United States.
In looking back at the situation, I learned a lot; not only about business, but also about managing the 20 people I had working for me at the time. I learned how to plan and schedule the production of hundreds of pots per day, sometimes jumping in and working side by side with my employees. The hardest, but maybe the best lesson that I learned was that I loved pottery and not wanted to be a manager of potters.
The aftermath of the factory was difficult. I had a lot of self-doubt. My children, still very young at the time suffered with me and my husband were stressed out to his core. He co-signed for the factory and lost everything because of my crooked partner. With a very demanding job, it was not good for him to worry about me and the children.
As with all things, life went on and soon we were back on our feet. I restarted my teaching studio and our lifes resumed as if nothing happened. I became a very successful teacher and not only did I write my first articles for a newspaper, but soon thereafter I won my first pottery award. As a family we were content and happy.
At the time the winds of change were already blowing viciously over our beloved South Africa. Nelson Mandela was the new president and although everything seemed to be peaceful, thousands of professional people started to leave the country; either because they lost their jobs or because of fear that they will lose their job. Little did we know at the time, that we would soon follow in many other's footsteps. We just had to make a little detour through Namaqualand and Cape Town, before we would, in 1999 also find our way to the United States.
Business tips for pottery
- It is very important to know what you want to be. Do not be a potter or artist because you think it is a moneymaker. It is not. It is extremely hard work and if someone tells you that the life of an artist is an easy one because they can get up and play their life away, do not believe that. You have to be extremely disciplined to be your own boss and the hardest thing to do is to find inspiration when you are tired and the money coffer stays empty.
- Find your voice and your own niche. It is difficult to do while you are still a beginner and after all how will you learn if you do not copy others. You have to separate learning to do art work from doing business in art.
- The easiest way to stay on that track is to be honest with yourself. Sit down with pen and paper and write down subjects that interest you. Tear pages from magazines of things that catch your eye and find the common elements that you like in those pages. Incorporate those ideas into a workbook. Keep notes and transfer ideas to your artwork.
- Have the discipline to work regular hours, eat and exercise enough and to maintain a good lifestyle.
- Once you have a style and maybe a series of work, you have to learn how to market it. Bruce Baker offers a series of CDs in which he discusses important rules for the creation of images of your work and things you should know to set yourself up for success at different shows. He also teaches some selling techniques. It is of no use if you make beautiful work and you cannot get rid of it.
- Know and understand your market and do not fall around from one style to the other.
- Make sure that you have a well worked out proposal with business cards, images, an artist statement, resume and biography. It is important that you know why you are doing what you do and make sure that others can learn that by looking at your proposal.
- It is difficult to make money if you do not have money to start with. I want to encourage you to read my blog “The beginning of my pottery career” One of the nice things about artists is that they are problem solvers. I heard a story about a guy that was working off the side of the road………ahmm………. but wait I am jumping the gun here; that story is part of an interview that I had with a fellow potter. I will post that shortly, so check back if you’re interested to hear it…….
- An artist without at least some basic computer skills will survive with difficulty in today’s world, since social networks have mostly taken over as the advertising tool. It is a fast and effective tool to use. Use it sparingly, but wisely.
- I’d love to hear your personal stories of survival and if you have any business tips to share, I’d absolutely welcome that. Thank you for reading and sharing my blog.
The online workshop "AMAL": All artists makes a living by Curtis Benzle is available on TeachinArt
Comments from my former website
Elizabeth Hoffmann
1/21/2014 12:16:36 am
Great inspiration
Reply
Antoinette
1/22/2014 11:53:28 am
Thank you Elizabeth. What do you do?
Reply
Using Ceramicslink
3/18/2014 12:24:31 am
Great post! Been reading a lot about this kind of work recently. Thanks for the info!
1/21/2014 12:16:36 am
Great inspiration
Reply
Antoinette
1/22/2014 11:53:28 am
Thank you Elizabeth. What do you do?
Reply
Using Ceramicslink
3/18/2014 12:24:31 am
Great post! Been reading a lot about this kind of work recently. Thanks for the info!
There’s a container with salt sitting next to my stove top. The last time that Linkie, my celebrity chef daughter visited me, she bought me some large chunks of colored rock salt in a gourmet olive tap.
The little grater that was included in the packet made me try to shave the salt once, but then I decided it is enough that it look pretty on the kitchen counter, partially covered with kosher salt, which I like to cook with. Now I enjoy looking at my “rocks surrounded by white sand” and imagine a perfect life.
The little grater that was included in the packet made me try to shave the salt once, but then I decided it is enough that it look pretty on the kitchen counter, partially covered with kosher salt, which I like to cook with. Now I enjoy looking at my “rocks surrounded by white sand” and imagine a perfect life.
Pit fired porcelain pinched bowls by Antoinette made in early 2000's
I don’t know about you, but I use kosher salt all the time, for no other reason than that I like the taste. It is a little harder to put too much salt in one’s food. I add salt in anything; even when I make something sweet, I have to add at least a pinch of salt. I cannot imagine a salt-less life.
As I am standing there, stirring the pot on the stove top, my thoughts trail off. I’m thinking about what Scripture says about salt. Even if you are not a Christian, you have to admit there is beautiful poetry in the Bible.
“For everyone will be salted with fire.”
“Let your speech always be gracious, seasoned with salt, so that you may know how you ought to answer each person.”
Then there are all the different uses of salt that is totally unrelated to food. There are so many medicinal uses for salt….remember how fast a wound heal when vacationing at the sea….
One of my favorite uses is for cleaning red wine and also for fresh blood stains. Pour a heap of dry salt on a red wine spill on a carpet or couch and to let it sit till the next morning. Vacuum the wine saturated salt away and the spot is gone. When blood gets on clothes, let it sit for a while in cold salt water, before rubbing the stain out.
As I am standing there, stirring the pot on the stove top, my thoughts trail off. I’m thinking about what Scripture says about salt. Even if you are not a Christian, you have to admit there is beautiful poetry in the Bible.
“For everyone will be salted with fire.”
“Let your speech always be gracious, seasoned with salt, so that you may know how you ought to answer each person.”
Then there are all the different uses of salt that is totally unrelated to food. There are so many medicinal uses for salt….remember how fast a wound heal when vacationing at the sea….
One of my favorite uses is for cleaning red wine and also for fresh blood stains. Pour a heap of dry salt on a red wine spill on a carpet or couch and to let it sit till the next morning. Vacuum the wine saturated salt away and the spot is gone. When blood gets on clothes, let it sit for a while in cold salt water, before rubbing the stain out.
My musing on salt will be totally incomplete if I do not trail my thoughts through my studio and the uses of salt there. As a young potter I could not believe my eyes that common table salt is useful in pottery and I remember the day that I dropped a pinch of salt in a bowl to see what would happen in the kiln fire. I thought I totally misunderstood my pottery books and had to see for myself and there, as sure as the sky is blue, the pot came from the fire with a darker, shinier interior.
That was the day that I realized that clay has many more domestic components to it than I originally thought. I also realized that salt is a very basic, but very diverse material.
As the years went by, I used salt in my pit fire. I arranged the salt and copper around the pots that were nested in sawdust and I put on fire. Once it burned down, the fumes created beautiful reds and oranges on my pots.
That was the day that I realized that clay has many more domestic components to it than I originally thought. I also realized that salt is a very basic, but very diverse material.
As the years went by, I used salt in my pit fire. I arranged the salt and copper around the pots that were nested in sawdust and I put on fire. Once it burned down, the fumes created beautiful reds and oranges on my pots.
What is salt or soda firing? How do these firings differ from each other?
Salt (sodium chloride) vapors is formed when salt is introduced into kiln firebox at high temperature and so the sodium combines with silica in clay surface to form a hard sodium-silicate glaze. Salt vapors are toxic when inhaled. Soda (sodium carbonate, or soda ash) firing is similar, but safer than salt firing. In an atmospheric firing (reduction) sodium bi-carbonate, also known as baking soda (the most regularly used in households is Arm and Hammer) is introduced into the kiln firebox when the temperature almost reach ^ 10 temperatures (1280 C 2350 F). Nan Rothwell |
The Agateware technique in pottery is popular among potters. The process appears to be simple: mix two different clay colors together and you have a marbled effect that mimic the agate stone. In the earlier days it was mostly light and dark natural clays that was mixed up, but many potters mix oxides or stains into their clay bodies these days. For anyone that like patterning in clay, the possibilities are endless. |
This technique is often done in hand building since it is a little harder to prevent overworking and too much blending of the colors on the pottery wheel.
The overall concept of coloring clay is a developed in different parts of the world. Playing with different colored patterns had its origin in glass. In Rome it was a practice in glass blowing, called murrini. In Japan clay which were mixed into color patterns was referred to as nerikomi. These two forms of color patterning was a little more precise than the technique that is claimed to have its origin in England. Although it was actually recorded as a technique as far back as the Tang Dynasty in China, it was Wedgewood that brought it back to life in the 18th century. | Other names that this technique goes by with slight differences in the techniques of patterning is nerikomi, neriage and mishima. |
I discovered colored clay in the early 1990s. After the reprint of The Potters Manual by Kenneth Clark. The original book was printed in 1983. At the time Dorothy Feibleman was probably still a rising ceramic star. I was in awe with a laminated pot she created from patterns laid into a black slab of clay. She pressed the original bowl into a mold and then laminated detail on the exterior. I tried it at that stage, not really understanding what happens when 2, or more kinds of clay are mixed or laminated together and I recall the clay cracking loose from color to color. | I was so focused on this specific pot that I did not pay attention to the many other artists that was highlighted in the book, coloring or combining different colors of clay. Ann Harris was featured with a coil pot in color variations and burnished. Dick Studley was featured with a bowl made from Egyptian paste, a low firing clay body, with a low water tolerance. Even Lucy Rie was featured with marbled pots in her very distinctive forms. Now that I am looking at the book again, it is interesting to see how Marion Gaunce from the UK shows step by step how she created a little more formal patterned bowl. Apparently all different colored clay patterning was popular during those years. Idonia Van der Bilj was a UK potter that rolled motives into slabs of clay and then built various objects. Weather all these techniques can be classified as agateware is debatable, especially when colored slips are marbled into agateware patterns in plates, but then also used in a more formal way to create patterns. |
When I wrote the notes in the book that I compiled with articles from Ceramics Monthly, a few artists that was included in the book was Naomi Lindenfeld, Cory Brown (who laminated porcelain on stoneware clay) and Chris Campbell, who is mostly a hand builder and instructor in colored clay. My notes was loosely based on my general knowledge of clay compatibility.
Little did I know that it will circle around in my study field a year later.
Little did I know that it will circle around in my study field a year later.
How I used the awarded fellowship.
I was awarded with a fellowship in 2020 from the Mississippi Arts Commission in cooperation with the Endowment of the Arts. The original plan was to attend The International Academy of Ceramics Conference in Finland. I became a member of AIC- IAC in 2019. When it was canceled because of COVID, the opportunity opened to use the money for self-education/enrichment. I undertook a lengthy educational trip to museums, galleries, botanical gardens, and other theme related places where I could observe, document, learn and absorb information that may take me to the next phase in my creative career. The result was that I decided to investigate colored clay.
As I said earlier, I worked with colored porcelain years ago and I am not sure if it is a direction that I really want to pursue at this stage. There are big shoes to fill, but all paths led to colored clay. Color popped out everywhere as I was making observations of nature in parks, despite the fact that it was already deep in the winter season. Interestingly enough the Northern parts of Florida, although it shows distinct signs of winter rest, still has its splashes of color, especially in leaves, butterflies, and birds. In the museums that I visited, color popped out everywhere. I assume that it has to do with my personal emotional status. If you ever studied color, you will know it is a very powerful indication of emotional status.
I also observed some underwater life, however, not enough to really add it to my list of my current observations. My plan is to still visit the new aquarium on the coast of Mississippi as well as the Rocket Space Center in Huntsville Alabama. By then it will be full springtime in Mississippi, so flowers will begin to emerge everywhere.
I also observed some underwater life, however, not enough to really add it to my list of my current observations. My plan is to still visit the new aquarium on the coast of Mississippi as well as the Rocket Space Center in Huntsville Alabama. By then it will be full springtime in Mississippi, so flowers will begin to emerge everywhere.
The images below was selected randomly from over a 1000 images and video clips that I collected on my trip.
In my current work, color is always important. After all, I come from a country, South Africa, where color is around one year long. I described that part of my heritage often before. It is woven into my fiber and will always be part of it. However, the question stands: how do I add these new observations to the repertoire?
Testing colored clay
I mentioned that if I want to pursue colored porcelain, I will have to fill big shoes, or have to find a new place in the sun. At the moment I see the colored clay projects strictly as tests which I am using to expand my personal education and to report about it to fellow potters.
These videos show some of the tests that I have made. Also the images below are showing how I tested color manipulation
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My observations this far is interesting:
- When light and dark clays are mixed, it is very easy for the dark to overpower the lighter color.
- Drying stages will reveal color better than when the clay is still wet.
- It is possible to manipulate pinch pots into twin pots when the original clay ball is divided in 2 exact equal parts.
- It is very easy to overwork the clay and eliminate the color contrasts.
- The deeper scraping, the more color reveal..... or eliminate.
Questions on my mind:
- How can I incorporate color clay into my own work style, without getting to far of from my style.
- How can I keep the message simple, but intricate at the same time.
- How will I develop a distinct color pattern without stepping into the field of potters like Curtis Benzle, Judith de Vries and Maria ten Kortenaar.
TeachinArt Online classes
Antoinette Badenhorst teaches porcelain classes as well as other pottery classes online with TeachinArt She has 40 years of experience is teaching and mentoring potters of all ages. Antoinette has been an online instructor since 2014 with students in 41 countries. She also teaches hands- on workshops in countries across the globe. Below are a few images from her workshops online or otherwise.
Curtis Benzle has two classes with TeachinArt:
Colored Clay is his charter class.
All Artists making a living (AAMAL) is a comprehensive study in which Curt goes through the nitty gritty trouble and solutions that artists run into every day. He provides detailed information about art and the law and how to make the law work for you instead of the lawmaker. He address marketing and sales issues in art and how to make it work, even when you are shy to sell your own work or services. Curt goes to the core of what make artists fail or become a success story. Whether you are the most talented or a mediocre artist, without identifying all the ways to "climb the ladder", success will always be one heartbeat away, unless you work to get it.
With his 50 + years of experience in clay and art in general, many many students learned from him.
Colored Clay is his charter class.
All Artists making a living (AAMAL) is a comprehensive study in which Curt goes through the nitty gritty trouble and solutions that artists run into every day. He provides detailed information about art and the law and how to make the law work for you instead of the lawmaker. He address marketing and sales issues in art and how to make it work, even when you are shy to sell your own work or services. Curt goes to the core of what make artists fail or become a success story. Whether you are the most talented or a mediocre artist, without identifying all the ways to "climb the ladder", success will always be one heartbeat away, unless you work to get it.
With his 50 + years of experience in clay and art in general, many many students learned from him.
The images below shows some of the art pieces that Curtis did in a production business.
One of the signature pieces by Curtis Benzle. The image landed on the cover of Ceramics Art and Perception as part of the article "Porcelain a diverse medium for Modern Times" by Antoinette Badenhorst.
This jug is built from a slab. Learn how to do that in the virtual Hand building Porcelain Dinnerware class. If you do not work with porcelain clay, any smooth clay body, for instance B- mix from Laguna clay Company will be suitable. How does it work? Koos and Antoinette video taped the classes and you get 10 weeks of viewing time. You receive reviews, have direct access to Antoinette and to other student questions. |
NOW SEE WHAT ALL YOU CAN LEARN AND DO IN THE HAND BUILDING DINNERWARE CLASS
Lift the slab up and bring it down on the table surface so that the middle of the slab touches the surface first. Imagine this is a tablecloth that you want to drape over a table. If the edges touches first, you have to pick it up and drape again. This is not a forceful action. If the clay is soft enough and pliable, it will stretch with a light touch. |
When the clay edge touches first, you thin the edge and not the whole slab. Do not use force. Move your body like swinging a golf club when you throw the slab. In doing so, turn somewhat sideways and let your body swing along. If you slam it down too hard, the clay will stick to the table. Every time you pick the clay up, do it from a different place. You want the clay particles to spray evenly in all directions. Remember to re compact the clay before you start cutting or forming the slab. If needed reinforce with a roller. |
It is possible to make many different objects from slabs. The balloon bowls are made from slabs. Many handmade dinnerware pieces starts out from slabs. See the content list from the Hand building dinnerware class. |
The dinnerware pieces blow were made from slabs
Growing up in Southern Africa, blankets wrapped around people was a natural sight. Some tribes had blankets with specific designs printed and they walked with those blankets wrapped around them all year long; sometimes around the waste, sometimes around their shoulders. The traditional Zulu dress involves wild animal skin wrapped around their wastes. Often one would see them with a rolled up blanket balanced on their heads.
Thinking about blankets and how it is used throughout the ages, I realized and remembered the importance of blankets. My mind mulled over the term blanket and how it is used. A blanket covers the ground.....a mantle, coat, veil, drape, afghan, kaross......many times we 'blanket" one another in an embrace..... Blankets means covering, protection, comfort, warmth, care, love, embrace and anything that has to do with the kindness in this world.......
Any time someone is traumatized, we may even use our bodies to cover and protect.
Thinking about blankets and how it is used throughout the ages, I realized and remembered the importance of blankets. My mind mulled over the term blanket and how it is used. A blanket covers the ground.....a mantle, coat, veil, drape, afghan, kaross......many times we 'blanket" one another in an embrace..... Blankets means covering, protection, comfort, warmth, care, love, embrace and anything that has to do with the kindness in this world.......
Any time someone is traumatized, we may even use our bodies to cover and protect.
I made the first ones of these figurines with blankets wrapped around them when Tinyke, my youngest daughter was about 3 years old. At the time it was simply an image that found its way into my sub-conscience and found its way into my clay work. Lizzie, the black lady who helped me in the house, was also like a second mom to Izalda, Linkie and Tinyke. She was often disciplinary factor, mentor and teacher. Lizzie was also the one that taught my children Christian songs in her language and some other elements from her culture, like how to carry their dolls on their backs held tight by a blanket.See the black woman in South Africa never suffered with colic babies. They carried them on their backs, working their days out, while the soothing rhythmic movement of the mother’s body and the warmth of the blanket worked any uneasiness away. My children was always playing in and around my studio and I often watched them carrying those dolls on their backs, with headscarves around their heads, just like so many of the woman still wear to this day.
When I first made "Remembrance" a doll wrapped in a blanket, my Christmas ornament, I was touched by the disasters of 2017; Harvey in Texas and bush fires in California was just some of the natural disasters that went on that year and in my own community I have friends that suffered from cancer, that lost loved ones, ended up in accidents and lost personal possessions due to tornadoes. The response came naturally. I felt the need to soothe and comfort where I could.
Just like the Ndebele always wore blankets around their shoulders while the Basotho blankets became a fashion statement, I felt to make a statement in this world where so many needed comfort.
Just like the Ndebele always wore blankets around their shoulders while the Basotho blankets became a fashion statement, I felt to make a statement in this world where so many needed comfort.
During those days early days in 1987 when I started making the blankets, or coats around these figurines, it was a reference to comfort. As a reminder of my heritage, I kept making these figurines occasionally throughout the years.
In 1999 when we immigrated to the United States and experienced the deep, deep sadness over the loss of country and people, I communicated it through my work: An elephant walking from a broken vessel, a bottle with bars in front of it. The black smoke of darkness that found its way onto some of my art works. The outstanding element of my pit fired porcelain those days however, were figures raising from the wheel thrown vessels. Often woman and often with the richness of necklaces: The trademark of the Ndebele woman.
In 1999 when we immigrated to the United States and experienced the deep, deep sadness over the loss of country and people, I communicated it through my work: An elephant walking from a broken vessel, a bottle with bars in front of it. The black smoke of darkness that found its way onto some of my art works. The outstanding element of my pit fired porcelain those days however, were figures raising from the wheel thrown vessels. Often woman and often with the richness of necklaces: The trademark of the Ndebele woman.
Some of you may know that one of my very favorite artists of all times is Henry Moore, the sculptor. I only knew his work from images, but his work inspired me since I was a young potter. I never knew why, except that I was always drawn to abstract art, maybe because my message is just the outline to the message that everyone must make out for themselves. |
2020 is a year of devastation. While hurricanes and total catastrophic situations like wild fires, and earthquakes rattled the world, barbaric actions were brought under our attention almost on a daily basis. While all of that were going on, many of us lost family and friends, got word of a devastating illness or struggled in silence with personal situations.
We faced fear, anger and frustration as people lost their income. We got word of the elderly suffering in isolation and we had to observe how even children became isolated behind masks. Insecurity found its way even among those that thought they were secure.
We faced fear, anger and frustration as people lost their income. We got word of the elderly suffering in isolation and we had to observe how even children became isolated behind masks. Insecurity found its way even among those that thought they were secure.
Amidst all of this years difficulties, people were still trying to comfort each other. During times when it looked like everything is falling apart, life still went on and the inherent goodness of people prevails.
In 2017 my Christmas ornament of this year was my beloved little figurine and while it never had a name, I decided this little doll always represented comfort, love, embrace and anything that has to do with the kindness in this world. I remembered those who were suffering and my family and I are keeping them in our prayers on a daily basis. “Remembrance” became a symbol of comfort and joy to people across America.
I found that people walked in throughout the year, ordering these figurines for families to show their continuing love, comfort and support. Therefor what started as a Christmas ornament, is now available yearout in my studio showroom and available to be shipped anywhere in the USA.
I found that people walked in throughout the year, ordering these figurines for families to show their continuing love, comfort and support. Therefor what started as a Christmas ornament, is now available yearout in my studio showroom and available to be shipped anywhere in the USA.
IMAGES FROM MY OCEAN SERIES
For hope
For love
For courage
we Blanket one another
For love
For courage
we Blanket one another
I was busy sorting through mugs; moving some from my showroom to my kitchen cabinets and some from my kitchen cabinets to the trash pile. If you are as sentimental as I am, any rejects first makes a round through your own kitchen and then you would look for more reasons not to dump it. Sometimes a mug will just beg you to trash it! This one time it became a pottery lesson that everyone should be aware of. I noticed these lines in the image below in one of my porcelain coffee mugs. I knew it was the liner glaze on the inside that was cracking. (Technical term for potters is dunting. ) |
When glaze is applied too thick on the interior of a mug, it may show clear cracking lines, where coffee in this case, seeped into and stained the crack. The dunt were probably in the clay too, but my bear eye could not see it yet. I would have known over time. Chances were that hot water would have revealed that, either with an explosion of the mug (if I am really unlucky!) or with liquid just seeping out onto the table or in my lap. |
It was very visible in the light colored porcelain mug. (Image above) Many mugs will not show this kind of defect and as you all know, it is the perfect place for dirt and bacteria to gather. Any well vitrified clay object can be subject to too thick layers of glaze and it can be disastrous in any clay body if the problem is not addressed.
I took the mug outside and knocked it on the cement to break it.( Yes I protected my eyes with safety glasses) and I have to tell you, it took me about 5 really hard knocks, before it broke. Did I mention that porcelain is a really strong ceramic medium?
Anyway, the way it broke shows clearly a too thick layer of liner glaze inside the mug (see image below).
I took the mug outside and knocked it on the cement to break it.( Yes I protected my eyes with safety glasses) and I have to tell you, it took me about 5 really hard knocks, before it broke. Did I mention that porcelain is a really strong ceramic medium?
Anyway, the way it broke shows clearly a too thick layer of liner glaze inside the mug (see image below).
How to prevent dunting in pottery.
Even walls and an even application of glaze on any functional clay object is crucial. In this case the glaze layer was too strong for the clay body. Since it is a clear glaze, it is possible that I double glazed it without realizing the mistake.
Prevent thermal shocking during the firing process. A kiln that is fired too fast or that fires unevenly may cause trouble, not only with dunting, but possibly with warping too.
Obtain knowledge of silica and its behavior in pottery clay and glazes and especially how it will behave during firing of a pottery kiln. ( Silica, often a culprit in the studio, is an interesting topic for potters to review.) See: Kilns suitable for porcelain in the near future.
Potters must make sure their glaze and clay body is a good fit for each other. There are glazes that are simply too strong for the clay body in use and instead of just shivering, it may tear and crumble a pot up into pieces.
Glazing on just one side of a piece, may cause dunting, when the stress of expansion and shrinkage on one side is stronger than the other side.
Large plates, platters and trays often tends to dunt when it is not properly set up in the kiln Learn how to fire plates.
Prevent thermal shocking during the firing process. A kiln that is fired too fast or that fires unevenly may cause trouble, not only with dunting, but possibly with warping too.
Obtain knowledge of silica and its behavior in pottery clay and glazes and especially how it will behave during firing of a pottery kiln. ( Silica, often a culprit in the studio, is an interesting topic for potters to review.) See: Kilns suitable for porcelain in the near future.
Potters must make sure their glaze and clay body is a good fit for each other. There are glazes that are simply too strong for the clay body in use and instead of just shivering, it may tear and crumble a pot up into pieces.
Glazing on just one side of a piece, may cause dunting, when the stress of expansion and shrinkage on one side is stronger than the other side.
Large plates, platters and trays often tends to dunt when it is not properly set up in the kiln Learn how to fire plates.
Identify dunting in a clay object
When a crack is long and ongoing with a sharp edge, it is most certainly a dunt. This type of cracking can appear in the clay or the glaze or in both. They may appear vertical, horizontal, spiral or with a ragged edge all over the object.
If the crack is soft and rounded, it means that glaze moved and melted into the crack. The obvious observation is that the crack was there before the glaze melted. This type of crack is unrelated to dunting.
If the crack is soft and rounded, it means that glaze moved and melted into the crack. The obvious observation is that the crack was there before the glaze melted. This type of crack is unrelated to dunting.
How to use pottery in the kitchen
It is important that pottery users realize that they are working with a glass-like product that can break and chip if it is abused in the kitchen.
Here are a few tips to be aware of when you buy pottery.
Always inspect your pottery directly after you received it from any ceramic artist; especially when it is shipped to you.
Make sure it does not have hidden cracks, by tapping with a wooden spoon on the rim. A cracked piece will have a dull sound.
If you are about to subject your pottery to heat or cold, ALWAYS avoid sudden temperature changes. NEVER take a bowl or casserole dish straight from the refrigerator to the oven or vise versa. Not only is it a dangerous practice in which you can get hurt, but you will most certainly loose your precious bowl.
If you observe a crack, understand when it is a dunt and when it is a flaw in the making process. A crack that was formed in the making will have rounded corners, whereas a dunt is sharp.
Be aware that there is such a thing as delayed dunting. By discussing it with the potter, you may help him/her to solve a issue that they may be unaware of.
Here are a few tips to be aware of when you buy pottery.
Always inspect your pottery directly after you received it from any ceramic artist; especially when it is shipped to you.
Make sure it does not have hidden cracks, by tapping with a wooden spoon on the rim. A cracked piece will have a dull sound.
If you are about to subject your pottery to heat or cold, ALWAYS avoid sudden temperature changes. NEVER take a bowl or casserole dish straight from the refrigerator to the oven or vise versa. Not only is it a dangerous practice in which you can get hurt, but you will most certainly loose your precious bowl.
If you observe a crack, understand when it is a dunt and when it is a flaw in the making process. A crack that was formed in the making will have rounded corners, whereas a dunt is sharp.
Be aware that there is such a thing as delayed dunting. By discussing it with the potter, you may help him/her to solve a issue that they may be unaware of.
Links
TeachinArt - Online School of Art
Wheel thrown porcelain dinnerware
Handbuilding porcelain dinnerware
AIC_IAC - International Ceramics Academy of Ceramics
MAC - Mississippi Arts Commission
TeachinArt - Online School of Art
Wheel thrown porcelain dinnerware
Handbuilding porcelain dinnerware
AIC_IAC - International Ceramics Academy of Ceramics
MAC - Mississippi Arts Commission
Antoinette appreciate any comments. Also visit her Porcelain shopping gallery if you are interested in collecting one or more of her ceramic art pieces.
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