transfers

glazes

glazed vase

this is my glassed pot, i used a solid white glaze to give my vase a white appearance before i paint on the design with on glaze pigments. 

this is my vase after the glaze was fired and 1200 degrees.

tiles

these are my completed tiles:

• the tile on the bottom right was created using a stamp, a stamp leaves an impression in the clay, this type of marking if very useful if you have a flat surface but it would be harder to do on a rounded vase.
• the tile on the top right was made using Sgraffito this involves putting a slip on the tile and then scratching through the slip to draw out a image. this is easier to do than paining the design on however you have to make sure the slip is dry. 
• the tile on the bottom left was made using stensiles, this involves putting layers of wet news paper that have been cut into a design on-top of your tile and then adding slip over the top, when the slip dries you remove the news paper revealing the design. 
• the top right tile was made by scratching out the design first and then filling the indent with slip, you then scrap off the excess slip, this one broke. 

this is my small glazed pot and stamp 

making of the vase using coiling

this is how fare I've gotten with my form as you can see i have gone very wide and the clay is very thick all the way through the form, next lesson i plan to make the form more narrow by decreasing the diameter of the next few layers of coils.
by the end of next lesson i plan to have the form fully complete and ready to be shaped and lightened during my day off, the reason that i am trying to finish the form so quickly is the firing is on Monday and i want to do on glaze and there for need more time than the people that are just using slips.

i will neaten the form up with a range of tools including a small raiser blade and a kidney shaped scraper.

on glaze painting

for my final practical lesson i used on glaze pigments to paint on my design, my design is utopia and dystopia and my design reflects this by having happy images on one side and sad images on the other.

one problem i had with this was the roundness of the vase distorted the straight lines, the way i got around this was to put the vase on a spinning wheel so i could rotate the vase freely with out having to stop and risk smudging the design.

i used two types of brushes on my vase, the first was a thick brush which i used to mark out the basic shapes and the second was a very fine brush that i used to paint in the detail.

to remove mistakes i used a small damp sponge with a pointed tip. 

lesson 3

in lesson three we learned about coiling:

first you have to flatten out the clay until its half an inch thick, we then took a scalpel and rotating clay wheel and cut the rolled out clay into a circle, we did this by holding the scalpel very still and at a stable pressure while rotating the wheel slowly, this cut threw the clay into a almost perfect circle.
after we had the flat circle we rolled balls of clay into sausage shapes before placing then in a ring shape around the edge of the flat circle, we repeated this process to build the form (going wider or thinner when required)

to join two coils that are at different consistencies (plastic and leather hard) you first have to etch markings along both and then uses a wetter form of clay to bind them together.