Fun with Texture

Why use rubber?

I found a printer who (like nearly all printers) had given up using letterpress and had changed to litho. He had trays (cases) of metal type, from which he was (somewhat reluctantly) prepared to let me have the 36 point characters I needed to make a "Jake" stamp for my pots. So I suggest you look for small print houses in your area, and chat up the proprietors.

I have also tried the cheap plastic letters which are used by cake decorators: sprinkle with flint, press out the letters you want from a thin slab, and use as sprigs.

But I shall look for a UK source of alphabet soup!

Jake Loddington POULTON-LE-FYLDE, Lancs. UK

Monika: Steve's idea was great! You can even leave the letters in to burn out. Let me check sources later today, when the power comes back on (GRRR! Thank the gods for laptops!) and I'll get back to you on the rubber letters. 1cm is roughly 3/8", so I should be able to find some. If you are interested, I just ordered a set of steel stamps (3/8" high) used for stamping letters and numbers into mild metals. Cost was about $12.00 US. Very reasonable, and will last forever. I can post a picture if you like. the 1/16, 1/8, and 1/4 inch varieties were even less expensive, and all carried a lifetime warranty.

Regarding Bob's post: Saggar firing is a great idea. I've always been too lazy (I'll admit it) to throw a saggar, and usually combust fire the piece by itself. I suppose I should do, though, as it will allow me a bunch of different tests all at once. Thanks for the kick in the butt :>)

Also, regarding the comment: "If the reduction atmosphere persisted up into the glaze-melt range, I imagine there would be some neat effects from embedding the combustibles in the glaze layer. Anyone every heard of this? "

Yes, it's being done all over the country now. It's called "carbon trapping" and is done with "shino" glazes (usually in wood or gas firing situations) Seems to be the "thing" this year. Problem with carbon trapping is that it can lead to pinholing and crazing in the glazes. Mostly meant for decorative pieces, or the outside of functionals, like cups, where one does not have to worry about leaching, food safety etc. Some very interesting "meaty" textures coming out of shinos. Very "fat" glaze surfaces from what i see (fat as in thick, like congealed gravy)

Best to all, Wayne Seidl

There is a huge scrapbook-stamping craze going on here. One possible source is STAMPINGTON. SOMERSET STUDIO may be a possible. You should be able to type "rubber stamps" + "art" into google and get enormous numbers of sites. Some of those are bound to have what you need.

RE: burning things in the kiln: I don't just pack it with stuff, but I've have no trouble from hamster litter. I frequently leave paper towel wads inside closed forms when I've used them for reinforcement. I have also transferred fragile items into the kiln on a bed of five or six yellow pages with no bad results. I wouldn't advise going wild, but what use is art if you can't do what you like? I feel the same about my 2-D collages. If paper towels give the right texture, or newspaper, or whatever, go ahead!

Linda D in TX

My wife and I have different styles for texturizing pieces. She likes an additive/imprint/filigree style (heavy altering as well), while I prefer applying texture on the wheel. She has used lace (cotton) and other materials like fish net and leaves to imprint, cuts holes for depth and adds slip for highlights. I like to use ribs and turning tools to suit my current style (which constantly changes). I would like to thank Steve Graber for the photos of his texture tools. I've started manufacturing some from a paint roller handle and scrap wood.

Have you tried using textured vinyl wallpaper? Just a light coating of Pam or WD40 (don't like the smell) keeps the paper from sticking. Very simple and always successful.

Betsy

i threw a simple vase and "textured" a maze on the outside surface. "start" is over here, with "end" over there. there are at least 3 ways thru the maze.

i call it my "amazing vase".

i also made an "amazing dinosaur" the same way.... fun weekend projects.

steve

steve graber

i saw a sculpture workshop where the lady used saw dust mixed with porcelain. she didn't use glaze, and only single fired pieces.

the saw dust was to make the finished piece lighter.

she got slight green "celadon" from the fired pieces - cone 10/11.

steve

steve graber

i used those larger plastic buckets as a form for sagars. i pressed clay into them on the side walls and floor. it's a simple way to get a large sagar form without throwing that large. the dry clay separates from the plastic walls naturally.

steve

""Regarding Bob's post: Saggar firing is a great idea. I've always been too lazy (I'll admit it) to throw a saggar, and usually combust fire the piece by itself. I suppose I should do, though, as it will allow me"" steve graber

Texture, texture, texture! I love using different textures! I attended a workshop many years ago given by a young woman who did huge wall murals in clay. She keeps slabs of clay (moist and on boards to keep flat) in the trunk of her car. When she sees a texture she likes, she jumps out of her car, slaps a slab on the spot, and takes a new texture tool home to be bisqued. I wish I could remember her name. I was most impressed by her work and her methods.

I haven't had guts enough to completely follow here example yet, but I do pick up anything I think will produce interesting texture. My texture tool box now holds pieces of driftwood, what's left of an ancient rosemary bush my dogs ate (wonderfully gnarled), palm fronds from my neighbors tree (one almost got me in the head on a windy day), interestingly woven wire and rope to roll across the surface, and slabs that I have taken from my yard (large rocks, gravel, huge tree roots, etc). There's no end to the possibilities. Just keep your eyes open and dream.

Jan C.

In one of my more frustrated moods one evening, I started whacking a slab with a piece of Christmas tree branch (short needle pine). Turned out to be one of my nicest pieces yet. Everyone wants me to duplicate it, and of course I can't. How do you duplicate random slaps with a branch??!!

Another of my nicer textural pieces involved my throwing a tall skinny cylinder (think 18" candleholder). Couldn't for the life of me come up with an idea on what to do next, so as it rotated slowly on the wheel, I sat with a chopstick in my hand, unknowingly tapping on it with the sharpened "handle" end (corner of the edge) while daydreaming...er, looking for an idea . It turned into something looking like an elephant's trunk!

Texture will amaze you, even when you aren't trying :>) And believe me, you can use ANYTHING, from a handful of ball bearings or marbles to elastic bands fired one at a time (at a picture of your boss you've carved into a slab...but we won't go there :>)

The important thing is to have fun with it, and not be afraid to try something "unconventional".

Best, Wayne Seidl

Jan---I forget, do you live in Calif. in the Bay Area? If so, could the person giving the class be Elaine Pinkernel? I took a workshop with her, and she does like lots of texture.

The Big Ceramic Store is having a sale on their books, among other things. You may want to check it out and see if they have anything that sounds like it could help.

Yes, I am in CA - but have moved from Bay Area.

I honestly don't remember her name. The woman I am referring to has pieces hung in lobbys of some large buildings in the area. If I remember correctly her husband is an architect.

I do have her name in my notes somewhere, but, I am still moving. I have been renting temporarily and recently bought a place. It is being refurbished. I have asthma so won't move in until the dusty work is done. The notes are all packed away. However, the studio will be the first thing unpacked - hopefully in a week or two.

Incidentally, I wonder if anyone out there has a suggestion on homeowners insurance. The place I bought is a trailer on a permanent foundation on a city lot (50' x 100') with a wonderful workroom attached. This is standard construction for this area (Lake County, California). It is in an unincorporated area. The community is so small, they don't even have home mail delivery. You have to rent a PO box. I am unable to find anyone who will insure it. One company said they would, but not with a kiln on the premises. That's just not an option.

Jan C.

Hello Jan:

Have you tried a company called Foremost? I'm pretty sure they operate in California. Their number is

1-800-527-3905. They operate mostly through agents, so you would have to call that number and ask for an agent closest to you. They are the largest insurer of manufactured homes in the nation and probably the most flexible.

Now, I'd be careful how you approach this issue of kilns and pottery on your premises. If you truely are a production potter and have employees and customers coming on premises then you need to reveal that information to the agent and perhaps have him or her add the business interests endorsement to your policy. If you are like me, a hobby potter, and sell or give your product to others off premises, then you need not even mention the activity.

Some underwriters of insurance companies get all freaked out about a kiln. If properly installed, it is no more dangerous than your toaster or oven in your kitchen. Some wood stoves are allowed to get hotter than most electric kilns. Most underwriters just don't have any experience with kilns and pottery studios, so, that which is unfamiliar or has no statistical base, they avoid.

Good luck.

Diego

We got some special ins for the uninsurable for our buildings( delapidated 200 year old house and barn studio). When my husband comes home from doing music therapy with women prisoners (all victems of DV) I'll ask him the name of the company NJ

v

Good suggestion about not mentioning the "hobby"pottery.

Texture, a many millennium old attraction for people experimenting with clay. And wonderfully this posting could go on that long, everyone has such great ideas!!

I use textures in the pit fired pieces I do and they run the gamut from grabbing a pretty leaf to impressing tools I've made for the purpose. But I wanted to mention the practice of someone who uses liquid rubber to coat textures that she finds interesting and then uses the dried flexible mold she gets from this process to impress a huge variety of textures,especially from nature ( such as large collection of tree barks) on her pots.

I've always been tickled when I go into a museum and see on an ancient pot, lets say from Egypt, with the texture of the potters fingerprints on it. I always leave a personal texture like this on my pots whether the painted floral scraffito pieces or the pit fired ones. I'll either leave it directly in the clay or in the slip or glaze or painting process. The idea of some future existence of a sort of record of my life here on earth tickles me too. Nancy Jane

v

try looking on the Oriental Tading Co site they have thousands of things maybe they'll have rubber stamps. I've seen them around once in a while at younger friends homes. If I see some I'll let you know and maybe can mail them Nancy Jane

v

Thank you, Diego. I will call them today.

Pottery is now a hobby for me, however, I did help set up and run a pottery that was open to the public for a few years. The reason I have been declaring the kiln is that there have been several reports of claims being denied because there was a kiln on the premises. I have no way of confirming these stories, but I thought it prudent to declare the kiln. Don't want to have a fire and find out my insurance is invalid. However, I am rethinking this position.

I do have a second option to put the kiln in a shed on the lot next door, which I also own. However, there is no power to that lot and the shed requires a lot of work. This would require a little more money than I had intended to spend at this time.

I'll give Foremost a try, and If that bombs, on to the shed!

Thanks again,

Jan C.