I’m making a custom clay body for my upcoming workshop using #WildClay I collected just south of where I live, and combining it with a midrange commercial clay to give it the durability it lacks on its own.
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I’m making a custom clay body for my upcoming workshop using #WildClay I collected just south of where I live, and combining it with a midrange commercial clay to give it the durability it lacks on its own. The sample on the right was fired to over 2100°F, just under its melting point, and is still fragile and easily broken. The color transformation is lovely, though. I’m excited to give workshop participants a unique opportunity to work with local clay.
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I’m making a custom clay body for my upcoming workshop using #WildClay I collected just south of where I live, and combining it with a midrange commercial clay to give it the durability it lacks on its own. The sample on the right was fired to over 2100°F, just under its melting point, and is still fragile and easily broken. The color transformation is lovely, though. I’m excited to give workshop participants a unique opportunity to work with local clay.
@potterybyosa I still smile every time I see #WildClay now. You have no idea how healing that convo was for me. 🥰
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@potterybyosa I still smile every time I see #WildClay now. You have no idea how healing that convo was for me. 🥰
@FinalGirl Did you ever receive the rocket kiln diagrams and firing schedules I sent you? I never did get a response but the email didn’t bounce.
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@FinalGirl Did you ever receive the rocket kiln diagrams and firing schedules I sent you? I never did get a response but the email didn’t bounce.
@potterybyosa I thought I responded to that!! I’m so sorry, I did get them. I thought we talked about it. Apologies.
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This is so amazing! I loved the video workshop of yours that I attended last year, and am very interested in wild clay. I love your work so much!
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I’m making a custom clay body for my upcoming workshop using #WildClay I collected just south of where I live, and combining it with a midrange commercial clay to give it the durability it lacks on its own. The sample on the right was fired to over 2100°F, just under its melting point, and is still fragile and easily broken. The color transformation is lovely, though. I’m excited to give workshop participants a unique opportunity to work with local clay.
I test fired a small pot made with the wild/commercial clay combo I’m using for my workshop this weekend. I think it’s beautiful. It will give participants the tactile experience of working with our sandy native clays but the resulting piece will live up to our modern expectations of ceramic durability. Also, the fired color is influenced by the nice burgundy hue of wild clay. I fired to cone 3 (2126°F)
and it seems vitreous at that temperature.
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This is so amazing! I loved the video workshop of yours that I attended last year, and am very interested in wild clay. I love your work so much!
@Weird_Willow thank you!
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I test fired a small pot made with the wild/commercial clay combo I’m using for my workshop this weekend. I think it’s beautiful. It will give participants the tactile experience of working with our sandy native clays but the resulting piece will live up to our modern expectations of ceramic durability. Also, the fired color is influenced by the nice burgundy hue of wild clay. I fired to cone 3 (2126°F)
and it seems vitreous at that temperature.It looks delicious. I want to eat it.
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It looks delicious. I want to eat it.
@tomjennings it’s giving cake batter. With sand.
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I test fired a small pot made with the wild/commercial clay combo I’m using for my workshop this weekend. I think it’s beautiful. It will give participants the tactile experience of working with our sandy native clays but the resulting piece will live up to our modern expectations of ceramic durability. Also, the fired color is influenced by the nice burgundy hue of wild clay. I fired to cone 3 (2126°F)
and it seems vitreous at that temperature.@potterybyosa So, quick question for you:
Have you collected/used clay from the FL Panhandle? I understand that the Suwanee banks have a nice clay. I'm near the Chipola River.
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I test fired a small pot made with the wild/commercial clay combo I’m using for my workshop this weekend. I think it’s beautiful. It will give participants the tactile experience of working with our sandy native clays but the resulting piece will live up to our modern expectations of ceramic durability. Also, the fired color is influenced by the nice burgundy hue of wild clay. I fired to cone 3 (2126°F)
and it seems vitreous at that temperature.From today’s clay workshop at Reflections of Manatee house museum in Bradenton. I really love doing these community coil building sessions, especially outdoors. I hope participants left with a deeper sense of connection to this strange, gritty subtropical peninsula of limestone, sand, fossil and shell. #pottery #clay #ceramics
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@potterybyosa So, quick question for you:
Have you collected/used clay from the FL Panhandle? I understand that the Suwanee banks have a nice clay. I'm near the Chipola River.
@lisamakesstuff hmmm… I don’t believe so. Most of the FL clay I have is from central and South FL. The closest to the panhandle I have is from Mobile, AL. There is definitely more and better quality clay up there. Pensacola had a brick factory for a while.
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From today’s clay workshop at Reflections of Manatee house museum in Bradenton. I really love doing these community coil building sessions, especially outdoors. I hope participants left with a deeper sense of connection to this strange, gritty subtropical peninsula of limestone, sand, fossil and shell. #pottery #clay #ceramics
I’m ending the week by using the leftover wild/commercial terracotta mix from last weekend’s workshop to coil build a Nigerian round-bottom pot. I’m going to stop here and let it dry for a bit and then wrap it up in plastic. On Monday, I’ll add the neck. The point is to let the bottom dry enough to be able to support the weight of the neck, but the clay still needs to be damp enough that fresh clay can attach to it without cracking. Timing is everything when working with #clay.
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R relay@relay.infosec.exchange shared this topic
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I’m ending the week by using the leftover wild/commercial terracotta mix from last weekend’s workshop to coil build a Nigerian round-bottom pot. I’m going to stop here and let it dry for a bit and then wrap it up in plastic. On Monday, I’ll add the neck. The point is to let the bottom dry enough to be able to support the weight of the neck, but the clay still needs to be damp enough that fresh clay can attach to it without cracking. Timing is everything when working with #clay.
@potterybyosa you just explained something I always struggeled with, when I tried to make little vessels.
Good to know.
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@potterybyosa you just explained something I always struggeled with, when I tried to make little vessels.
Good to know.
@sibylle A lot of ppl who learn in the two-hour weekly class timeframe at most community studios struggle with this kind of thing bc it’s hard to control moisture and catch your pot at the exact right moment if you’re only there once a week. Idk if that’s your situation.
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R relay@relay.mycrowd.ca shared this topic
