tag:blogger.com,1999:blog-86506080548604305922024-02-20T20:00:32.217+00:00Ichigo Ichie - reflective journals of an otaku artist :3Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.comBlogger48125tag:blogger.com,1999:blog-8650608054860430592.post-76731707284782245352013-09-30T04:54:00.001+01:002013-09-30T04:54:36.215+01:00Tea House Complete!Finally it is done! Here are the final photographs before assessment (after assessment it is going to the Public and the outside will be painted grey to match the other tables and plinths).<br />
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In the end, to simulate the traditional Japanese clay/plaster wall finish used on the tea house in the British museum, I ended up using textured masonry paint! Dulux colours were just too bright and colourful, and wallpaper, although it would have looked fantastic, would have been impossible to touch up if it got damaged in transit, and without knowing how good a finish I could achieve having never used it before I decided it wasn't practical. I also considered fabric stretched over the boards and painted, but the cost of the fabric on top of the paint would have been prohibitive (and I couldn't get a Dulux colour I liked as I said). Here it is waiting on the paint to dry.<br />
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So while that was drying, I glued the washi paper onto the frame that would form the "window". As it turns out, I wished later that I'd glued the paper on after gluing on the bamboo frame, because of course where the glue spreads it weakens the paper and leaves marks where it runs, but overall this operation went pretty smoothly, so this is just a note for efficiency next time! The paper was unbelievably see through, and I was glad of the accidental ridge inside the frame where the lighting had to sit, because it prevented tiny pin pricks of light being obvious through it. When I finally got the "window" up and lit up, it looked like there was this halo of light inside! So as for looking like natural daylight, that failed, especially since the cool colour of the light from the LEDs shouted against the warm lights in the installation room and didn't look like sunlight at all! Instead, it looked like this super modern contemporary light fitting, and gave this kind of edgy atmosphere that reminded me of Tokyo, the ultimate blend of history, tradition and the cutting edge, which I really liked. After all, my work is not Japanese, although it is inspired by Japanese ceramics, and it is more fitting that work that is a new interpretation should be shown in a setting which is a new interpretation as well. Unfortunately though, true to the reviews on the website I bought them from, the LED lights aren't the best at staying stuck down, and may need gluing on as well later...</div>
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The finished tea room! I didn't have time to do all of the ties down the bamboo for this shot, but you get the rough idea :)</div>
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It's come out really well so far (especially since I'm using recycled boards). It has the scent of a Japanese room unlike my last attempt in the gallery, thanks to the real tatami mats, and overall it's much more authentic this time! Although it all still feels very clean and new compared to traditional Japan; there's no patina yet. </div>
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It has a great cosy feel to it, my main downside is that for it to look good, I can't display as much inside as I did with the last exhibition. To look Zen, the shelving display needs to have only a few pieces on it so they can really stand out as individuals, and to give the wabi sabi lonely feel. I think in the shot below, I had too much on there. Maybe on the bottom shelf I just want one Naruto bowl, and one on the top shelf, and then a teapot and tea caddy or something on the middle shelf. Strangely, before the bamboo went up, I discovered (to my horror!) that the yellow hue of the paint brought out a yellowy hue in the green glaze of the pieces on the shelf, washed them out and made them look a bit vomited on. Magically, the minute the bamboo was up it looked normal again (the effects colours have on one another are amazing, the reddish hues must have balanced everything out) but next time I will definitely have to be more careful when selecting wall colours!</div>
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Now the display is all packed up and waiting to travel to be set up at the MA show! Since I can't be there to set it up (I'll be in Turkey for a symposium) I'm having slight kittens about whether it will be ok..... fingers crossed my instructions are legible!</div>
<br />Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com1tag:blogger.com,1999:blog-8650608054860430592.post-49696415082782110102013-09-25T06:08:00.002+01:002013-09-25T06:08:19.695+01:00Tea house - so far!<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: start;">It's been a while since I last posted, so I have a lot of updates to add!</span></div>
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<span style="text-align: start;">First off, there was a trip to the Public in West Bromwich to look at the exhibition space we will have. For some years the MA show has always been held here, but Tracey Emin has exhibited here too recently, so the lecturers are abuzz with the extra crowds that will potentially pull into the building while our show is on. However, this is not your traditional art gallery. The Public is really a huge modern multi purpose community building with extensive gallery spaces and interactive exhibits, that specialises in visual media display with loads of flashing lights and projectors and hosts the odd belly dancing class. The architecture is very modern and somewhat whimsical, with a spiralling structure/layout inside, and many of the visitors I have seen have been young families enjoying playing with various cameras and press the button displays. Very clearly this is a place not just for viewing, but joining in, so making my display interactive (through tea drinking) will hopefully appeal to the audience here! </span></div>
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<span style="text-align: start;">We had a good look around to try and find spaces within the building that might suit our work, and to start to work out the practicalities of our display to fit this - or at least, that was the theory! In essence, I had already planned to transplant my own custom made space into the existing space, so all it needed was enough floor and height clearance with a convenient nearby plug socket and good lighting from above. Although in my case, a convenient sink and kitchen area would be preferable!</span></div>
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These are some shots of the gallery space often occupied by fine art students. The spaces had good lighting, alcoves, and were very airy with plenty of open spaces, so they had the potential for neatly fitting my installation in, and the contrast between the stark, airy open spaces and my cosy, rustic tea house would have been really interesting and striking to visitors.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7IgwWRIStovXWjx3QtR07uXwpBNkrHH-KSnaPwKuYRtSdPeD-4A37SPQJiFHuTjQcEVKzH8vFiNWYc5O5HYahuqTkDti7481vujcvyGLUjTO7ojgGOuJduXHnFtXhjcq2bWR4H2PiVATP/s1600/DSC01265.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7IgwWRIStovXWjx3QtR07uXwpBNkrHH-KSnaPwKuYRtSdPeD-4A37SPQJiFHuTjQcEVKzH8vFiNWYc5O5HYahuqTkDti7481vujcvyGLUjTO7ojgGOuJduXHnFtXhjcq2bWR4H2PiVATP/s640/DSC01265.JPG" width="640" /></a></div>
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This spot would have been brilliant, right in the entrance to the upstairs gallery, if it wouldn't have contravened fire exit rules............</div>
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This is another interesting space just to the side of the entrance which had a lot of nice natural wood around which would have complimented my theme, but it wasn't very convenient; you can see it lacks plug sockets and is off to the side of where people would normally walk.</div>
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There was also a similar space on the opposite side of the entrance.</div>
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In the end it was decided the ceramics students would all go in the black room halfway up the spiral, as it has suited previous MA ceramic exhibitions, and we could have a cohesive display in our own space. It turned out that not only I had decided on an installation style display, but at least three other students also wanted to set up installations, and there were others who wanted to use specific displays to help convey the ideas behind their work, so we could all be curated into a kind of tour through different zones and a mini exhibition within an exhibition. It would also mean good plug socket access for me, and access to a kitchen area where I could fill a kettle and boil water. The area also had a dedicated lighting track overhead.</div>
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It was also the space Tracey Emin was in!</div>
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As for the tea house, here you can see my scale model before I added the shelves and bamboo beams. This was used to help explain what I wanted to the woodwork technicians who helped me build the full scale version!</div>
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The design is quite simple, the tea room has a display alcove and a window/ light fitting to help give some atmosphere, and it will allow me to display one set of work in the alcove for viewing while another is out on a tray/low table in the centre being used to serve tea. Luckily, the boards I need to construct the walls were kindly donated/rescued from a trip to the skip, as the university were throwing some out, saving me a cost of £100 for new ones, although they were a bit on the battered side. The bamboo and lighting had also turned up, as well as the washi paper for the window, so I had almost everything I needed. The bamboo looked great, but I had fun fitting it as not a single length was straight! </div>
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I also seemed to have made a miscalculation with the window, as the inner ring did not match up with the outer ones forming a recess where the light would go, but since it fitted the hole made for it, this was not so important. The lighting could be raised up on padding, since the LEDs generate very little heat.</div>
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Stage one: Corner wall pieces screwed together </div>
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The tea house finally under construction in the wood workshop next to the finished scale model.</div>
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After all the boards are joined together (the flat sides with butted edges were done last with metal plates and screws) Bryn cut the hole for the window.</div>
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After that, it was time to make and fit the distinctive Japanese zig zag shelf.</div>
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And then on to drilling the holes for the ties to go through for binding the bamboo beams over the joints they are supposed to conceal. I purchased black linen thread for the purpose for a couple of quid, and it did an admirable job of being both strong enough and vaguely authentic looking. Each tie criss crossed over a joint in the beam to try and imitate Japanese construction techniques. It also helped stop the bamboo moving around, as these are also the fattest parts of the beams. </div>
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At the end of the day I just piled everything into the tea house for storage ready to finish construction and proceed with painting. As soon as the walls were up the space took on a very den like feel, and it was fun to turn it into a base camp while I was working! Already it felt cosy and intimate, and strangely, personal as well.</div>
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After this, the window needed to be painted then glued together, and the wall covering decided on, purchased and applied, which is currently in progress. More about that tomorrow! Night night</div>
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<br />Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-4220493397704010842013-08-25T16:35:00.000+01:002013-08-25T16:35:25.523+01:00Sticky back Christmas lights.... sort ofSo this morning I have ended up looking at potential light sources for my display. I'm starting to get a bit itchy about the deadlines coming up for my MA and everything else I'm supposed to get done before Christmas and moving house, so I want to see if I can get the last few materials I need ordered so I don't have to worry about supply and waiting on delivery at the last minute. I'm hoping to have a blitzkrieg in the studio on my pieces next week as well, as they have been a bit neglected while I was trying to sort house/studio/symposium article/display issues. So, this weekend I'm aiming to get at minimum some kind of framework for the new portfolio going, and order the bits for the circular paper window light.<br />
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And with that, we come back to sticky back Christmas lights... sort of. What these actually are is a nifty little gadget I came across when I was setting up my solo exhibition called LED strip lights or LED tape. Here's what it looks like:<br />
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<a href="http://www.ledhut.co.uk/media/catalog/product/cache/1/image/350x/9df78eab33525d08d6e5fb8d27136e95/s/t/striplight-gel-3528-60led_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.ledhut.co.uk/media/catalog/product/cache/1/image/350x/9df78eab33525d08d6e5fb8d27136e95/s/t/striplight-gel-3528-60led_1.jpg" width="320" /></a></div>
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What it is is lots of LEDS attached to a flat backing with a ready attached double sided adhesive strip that can be cut to any required length (or rather, at any indicated interval between the lights, which seems to vary between being between any two LEDs and between every interval of three LEDs). So it's basically a cut, stick, plug and play kind of deal.<br />
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<a href="http://www.hdtvcar.com/image/b/12/12253-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.hdtvcar.com/image/b/12/12253-4.jpg" width="320" /></a></div>
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The nice thing about these LEDs is that they are aimed at a slightly more high spec market than your bog standard Christmas lights, so they are sold with quite technical specifications, such as the colour rating of the light, the strength of the light and a whole host of other bits of information. This means that I can get a white light that will simulate sunlight (cool white), or look artificial (warm white) and I know how bright it will be. The only, and critical, issue is finding out the beam angle of the light. These LEDs are useless to me if they shoot laser beam like shafts of light straight up and create mini spotlights all over the place, I need a wide, diffused beam to create a general glow (even though there will be paper in front to help diffuse the light, it can't do it entirely on it's own).</div>
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A bit of internet digging later, and here is what I have found out:</div>
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<span style="color: red;"><span style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">The Comparison Between SMD 3528 and SMD 5050 LED Strip Lights</span><a href="http://www.ledlightsworld.com/images/led_strips/NWP-SMD3528-LED-STRIPS_09.jpg" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none;"></a></span></div>
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<span style="color: red;"><img align="baseline" alt="The Comparison Between SMD 3528 and SMD 5050 LED Strip Lights" border="0" hspace="0" src="http://www.ledlightsworld.com/images/led_strips/NWP-SMD3528-LED-STRIPS_09.jpg" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;" /></span></div>
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<span style="color: red;"><b><span lang="EN-US" style="border: 0px; font-family: Arial; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px;">SMD3528 (300 LEDs)</span></b><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;"></span></span></div>
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<span style="color: red;"><b><span lang="EN-US" style="border: 0px; font-family: Arial; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px;">SMD5050 (150 LEDs)</span></b><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;"></span></span></div>
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<b><span lang="EN-US" style="border: 0px; font-family: Arial; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px;"><span style="color: red;">SMD5050 (300 LEDs)</span></span></b></div>
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<span style="color: red;"><b><span lang="EN-US" style="border: 0px; font-family: Arial; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px;">Dimensions</span></b><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;"></span></span></div>
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</td><td style="border-bottom-style: solid; border-bottom-width: 1pt; border-color: rgb(236, 233, 216) windowtext windowtext rgb(236, 233, 216); border-right-style: solid; border-right-width: 1pt; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0cm 5.4pt; width: 126pt;" width="168"><div align="center" class="MsoNormal" style="border: 0px; font-family: inherit; font-style: inherit; line-height: 1.5em; margin: 0cm 0cm 0pt; outline: 0px; padding: 0px; text-align: center;">
<span style="color: red;"><chmetcnv hasspace="False" negative="False" numbertype="1" sourcevalue="5000" tcsc="0" unitname="mm" w:st="on"><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">5000mm</span></chmetcnv><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">*<chmetcnv hasspace="False" negative="False" numbertype="1" sourcevalue="8" tcsc="0" unitname="mm" w:st="on">8mm</chmetcnv>*<chmetcnv hasspace="False" negative="False" numbertype="1" sourcevalue="2.2" tcsc="0" unitname="mm" w:st="on">2.2mm</chmetcnv></span></span></div>
</td><td style="border-bottom-style: solid; border-bottom-width: 1pt; border-color: rgb(236, 233, 216) windowtext windowtext rgb(236, 233, 216); border-right-style: solid; border-right-width: 1pt; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0cm 5.4pt; width: 126pt;" width="168"><div align="center" class="MsoNormal" style="border: 0px; font-family: inherit; font-style: inherit; line-height: 1.5em; margin: 0cm 0cm 0pt; outline: 0px; padding: 0px; text-align: center;">
<span style="color: red;"><chmetcnv hasspace="False" negative="False" numbertype="1" sourcevalue="5000" tcsc="0" unitname="mm" w:st="on"><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">5000mm</span></chmetcnv><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">*<chmetcnv hasspace="False" negative="False" numbertype="1" sourcevalue="10" tcsc="0" unitname="mm" w:st="on">10mm</chmetcnv>*<chmetcnv hasspace="False" negative="False" numbertype="1" sourcevalue="2" tcsc="0" unitname="mm" w:st="on">2.0mm</chmetcnv></span></span></div>
</td><td style="border-bottom-style: solid; border-bottom-width: 1pt; border-color: rgb(236, 233, 216) windowtext windowtext rgb(236, 233, 216); border-right-style: solid; border-right-width: 1pt; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0cm 5.4pt; width: 126pt;" width="168"><div align="center" class="MsoNormal" style="border: 0px; font-family: inherit; font-style: inherit; line-height: 1.5em; margin: 0cm 0cm 0pt; outline: 0px; padding: 0px; text-align: center;">
<span style="color: red;"><chmetcnv hasspace="False" negative="False" numbertype="1" sourcevalue="5000" tcsc="0" unitname="mm" w:st="on"><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">5000mm</span></chmetcnv><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">*<chmetcnv hasspace="False" negative="False" numbertype="1" sourcevalue="12" tcsc="0" unitname="mm" w:st="on">10mm</chmetcnv>*<chmetcnv hasspace="False" negative="False" numbertype="1" sourcevalue="2" tcsc="0" unitname="mm" w:st="on">2.0mm</chmetcnv></span></span></div>
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<span style="color: red;"><b><span lang="EN-US" style="border: 0px; font-family: Arial; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px;">LED Qty</span></b><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;"></span></span></div>
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</div>
</td><td style="border-bottom-style: solid; border-bottom-width: 1pt; border-color: rgb(236, 233, 216) windowtext windowtext rgb(236, 233, 216); border-right-style: solid; border-right-width: 1pt; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0cm 5.4pt; width: 126pt;" width="168"><div align="center" class="MsoNormal" style="border: 0px; font-family: inherit; font-style: inherit; line-height: 1.5em; margin: 0cm 0cm 0pt; outline: 0px; padding: 0px; text-align: center;">
<span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;"><span style="color: red;">300 pcs</span></span></div>
</td><td style="border-bottom-style: solid; border-bottom-width: 1pt; border-color: rgb(236, 233, 216) windowtext windowtext rgb(236, 233, 216); border-right-style: solid; border-right-width: 1pt; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0cm 5.4pt; width: 126pt;" width="168"><div align="center" class="MsoNormal" style="border: 0px; font-family: inherit; font-style: inherit; line-height: 1.5em; margin: 0cm 0cm 0pt; outline: 0px; padding: 0px; text-align: center;">
<span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;"><span style="color: red;">150 pcs</span></span></div>
</td><td style="border-bottom-style: solid; border-bottom-width: 1pt; border-color: rgb(236, 233, 216) windowtext windowtext rgb(236, 233, 216); border-right-style: solid; border-right-width: 1pt; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0cm 5.4pt; width: 126pt;" width="168"><div align="center" class="MsoNormal" style="border: 0px; font-family: inherit; font-style: inherit; line-height: 1.5em; margin: 0cm 0cm 0pt; outline: 0px; padding: 0px; text-align: center;">
<span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;"><span style="color: red;">300 pcs</span></span></div>
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<span style="color: red;"><b><span lang="EN-US" style="border: 0px; font-family: Arial; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px;">Viewing Angle</span></b><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;"></span></span></div>
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</td><td style="border-bottom-style: solid; border-bottom-width: 1pt; border-color: rgb(236, 233, 216) windowtext windowtext rgb(236, 233, 216); border-right-style: solid; border-right-width: 1pt; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0cm 5.4pt; width: 126pt;" width="168"><div align="center" class="MsoNormal" style="border: 0px; font-family: inherit; font-style: inherit; line-height: 1.5em; margin: 0cm 0cm 0pt; outline: 0px; padding: 0px; text-align: center;">
<span style="color: red;"><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">120</span><span style="border: 0px; font-family: 宋体; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">°</span></span></div>
</td><td style="border-bottom-style: solid; border-bottom-width: 1pt; border-color: rgb(236, 233, 216) windowtext windowtext rgb(236, 233, 216); border-right-style: solid; border-right-width: 1pt; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0cm 5.4pt; width: 126pt;" width="168"><div align="center" class="MsoNormal" style="border: 0px; font-family: inherit; font-style: inherit; line-height: 1.5em; margin: 0cm 0cm 0pt; outline: 0px; padding: 0px; text-align: center;">
<span style="color: red;"><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">120</span><span style="border: 0px; font-family: 宋体; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">°</span></span></div>
</td><td style="border-bottom-style: solid; border-bottom-width: 1pt; border-color: rgb(236, 233, 216) windowtext windowtext rgb(236, 233, 216); border-right-style: solid; border-right-width: 1pt; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0cm 5.4pt; width: 126pt;" width="168"><div align="center" class="MsoNormal" style="border: 0px; font-family: inherit; font-style: inherit; line-height: 1.5em; margin: 0cm 0cm 0pt; outline: 0px; padding: 0px; text-align: center;">
<span style="color: red;"><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">120</span><span style="border: 0px; font-family: 宋体; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;">°</span></span></div>
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<span style="color: red;"><b><span lang="EN-US" style="border: 0px; font-family: Arial; font-style: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px;">Voltage</span></b><span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;"></span></span></div>
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</td><td style="border-bottom-style: solid; border-bottom-width: 1pt; border-color: rgb(236, 233, 216) windowtext windowtext rgb(236, 233, 216); border-right-style: solid; border-right-width: 1pt; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0cm 5.4pt; width: 126pt;" width="168"><div align="center" class="MsoNormal" style="border: 0px; font-family: inherit; font-style: inherit; line-height: 1.5em; margin: 0cm 0cm 0pt; outline: 0px; padding: 0px; text-align: center;">
<span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;"><span style="color: red;">DC 12V</span></span></div>
</td><td style="border-bottom-style: solid; border-bottom-width: 1pt; border-color: rgb(236, 233, 216) windowtext windowtext rgb(236, 233, 216); border-right-style: solid; border-right-width: 1pt; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0cm 5.4pt; width: 126pt;" width="168"><div align="center" class="MsoNormal" style="border: 0px; font-family: inherit; font-style: inherit; line-height: 1.5em; margin: 0cm 0cm 0pt; outline: 0px; padding: 0px; text-align: center;">
<span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;"><span style="color: red;">DC 12V</span></span></div>
</td><td style="border-bottom-style: solid; border-bottom-width: 1pt; border-color: rgb(236, 233, 216) windowtext windowtext rgb(236, 233, 216); border-right-style: solid; border-right-width: 1pt; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0cm 5.4pt; width: 126pt;" width="168"><div align="center" class="MsoNormal" style="border: 0px; font-family: inherit; font-style: inherit; line-height: 1.5em; margin: 0cm 0cm 0pt; outline: 0px; padding: 0px; text-align: center;">
<span lang="EN-US" style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px;"><span style="color: red;">DC 12V</span></span></div>
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<br />The LED strip I'm looking at is rated as being 900 lumen for brightness.<div>
(<a href="http://www.ledhut.co.uk/led-strip-lights/5-meter-smd-led-strip-light-60-led-s-per-meter-warm-white-best-price-on-the-internet-472.html">http://www.ledhut.co.uk/led-strip-lights/5-meter-smd-led-strip-light-60-led-s-per-meter-warm-white-best-price-on-the-internet-472.html</a>)<br /><br />It would seem that on average, this kind of tape casts light out over a 120 degree angle on average. This is fantastic as it's quite a wide beam and should therefore be quite diffuse and spread the light over a large area as long as I aim it right. They are also low power so could potentially be run off of a battery pack, and bright.<div>
Just for comparison, I looked up the strength of sunlight in lux/lumens (same unit used to measure the brightness of LEDs, since wattage doesn't quite cut it for them). Here's what wiki reckons:</div>
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<span class="mw-headline" id="Daylight_intensity_in_different_conditions"><span style="color: red;">Daylight intensity in different conditions</span></span></h2>
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<tr><th style="background-color: #f2f2f2; border: 1px solid rgb(170, 170, 170); padding: 0.2em; text-align: center;"><span style="color: red;">Illuminance</span></th><th style="background-color: #f2f2f2; border: 1px solid rgb(170, 170, 170); padding: 0.2em; text-align: center;"><span style="color: red;">Example</span></th></tr>
<tr><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">120,000 lux</span></td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">Brightest sunlight</span></td></tr>
<tr><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">110,000 lux</span></td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">Bright sunlight</span></td></tr>
<tr><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">20,000 lux</span></td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">Shade illuminated by entire clear blue sky, midday</span></td></tr>
<tr><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">10,000 - 25,000 lux</span></td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">Typical overcast day, midday</span></td></tr>
<tr><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;"><200 font="" lux=""></200></span></td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">Extreme of darkest storm clouds, midday</span></td></tr>
<tr><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">400 lux</span></td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;"><a href="http://en.wikipedia.org/wiki/Sunrise" style="background-image: none; text-decoration: none;" title="Sunrise">Sunrise</a> or <a href="http://en.wikipedia.org/wiki/Sunset" style="background-image: none; text-decoration: none;" title="Sunset">sunset</a> on a clear day (ambient illumination).</span></td></tr>
<tr><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">40 lux</span></td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">Fully overcast, sunset/sunrise</span></td></tr>
<tr><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;"><1 font="" lux=""></1></span></td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><span style="color: red;">Extreme of darkest storm clouds, sunset/rise<br /></span></td></tr>
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and then a 100 watt daylight bulb, which stands at 910 lumen.</div>
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So, the LED strip I'm looking at is equivalent to a pretty overcast day and a strong daylight bulb. Since I'm trying to imitate daylight through a paper screen, this is definitely worth a try! The only drawback is I'll have to wire it.</div>
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Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-57005682037154792192013-08-22T00:57:00.000+01:002013-08-22T00:57:28.235+01:00This weeks update :)Just a quick update!<br />
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Was sorting the house out again today and yesterday, hopefully it's mostly done now until it comes to moving in! The electrics in the studio at the bottom of the garden have all been wired in, connected and tested, and a mini panic about whether the kilns would fit has been sorted out and placement disaster averted! All that has to be done is the addition of a vent under the window so that the hot air can be sucked through to keep the kiln outers cool after some advice from an expert (and the supplier of said kilns). I still think it's crazy that the manufacturers want to sit them 90cm apart <i>as well</i> as 30 cm from any walls. The much bigger university kilns are probably nearer 20cm apart from the next kiln. So now everywhere is just waiting on a fresh coat of paint and nice cleanable flooring.<br />
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I've also been working on a mock up of the tea house, got hold of some boards and ordered the tatami mats, so work on building is going to start hopefully this week! I visited the public last week to look around the exhibition space, and it seems that at least three of us ceramics students are going down the installation route as opposed to the usual plinths, so we'll probably be put together in the same gallery, but more on that when I upload the photos.<br />
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Finally, I have applied to exhibit with Allen Richards at a mixed art show in Shrewsbury next year, and sent an enquiry about applying to the potfest shows (apparently there are four of them), AND enquired about a job making replica Roman oil lamps for a museum shop in Wales. I don't know much about Roman pottery, so I look forward to hearing more about that opportunity! The lamps I've found online are gorgeous and I'd love to learn more about them. Also, growing up so close to Bath and the Roman baths and now moving back there, it wouldn't hurt to know a bit more about their history!<br />
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<a href="http://www.hixenbaugh.net/images/gallery/lrg/5356a-l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308" src="http://www.hixenbaugh.net/images/gallery/lrg/5356a-l.jpg" width="320" /></a></div>
<br />Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-15452156108926506192013-08-13T14:32:00.005+01:002013-08-13T14:32:58.129+01:00BamboooooSo I've ordered the boards for my teahouse and found some bamboo for the beams inside! It's all starting to come together there :)<br />
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<a href="http://www.ukbamboo.com/split-bamboo-poles.html">http://www.ukbamboo.com/split-bamboo-poles.html</a><br />
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Now just to choose what kind of bamboo I want? Black, mottled or moso (normal)?<br />
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At the moment, I'm kind of liking the black as it's bit moodier and more of a contrast!</div>
<br />Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-11254240253962799682013-08-08T05:19:00.002+01:002013-08-08T05:21:08.032+01:00Mini tea houses and tatami mats<div>
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I am very excited because I have just discovered where I can get tatami mats in the UK that are affordable!<br />
(<a href="http://www.ninecircles.co.uk/Tatami_Mats_Shoji__Lamps.aspx">http://www.ninecircles.co.uk/Tatami_Mats_Shoji__Lamps.aspx</a>)</div>
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Ok, let me explain.</div>
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First of all, and unrelated to my work, I will be moving house soon and being a daydreamer and totally over excited by the idea of my own place, really wanted to create a Japanese space within my new home. Tatami are the woven igusa grass floor mats that traditionally carpet their floor spaces, and are a particular size and shape (except for special sizes such as half mats or mats designed for a very specific floor use), to the extent that rooms in Japan have traditionally been measured by the number of tatami it takes to cover the floor. They have a rather lovely fresh sweet scent and firm smooth texture, and the room I stayed in while in Tokoname used them.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIUirQr0tzzzZe9xP-nZxJ2WIOpn1QH9q_wgKYL5BMwbIJ5gxXk5vWwLrPXBryFolPEAtXvEiecte3gmIhC4Vdsm21Y_GumHkk70TWqbI8vbj6iu6ED8l4HyIwUhHNkpizFWOyAAPDiVnE/s1600/DSC06045.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIUirQr0tzzzZe9xP-nZxJ2WIOpn1QH9q_wgKYL5BMwbIJ5gxXk5vWwLrPXBryFolPEAtXvEiecte3gmIhC4Vdsm21Y_GumHkk70TWqbI8vbj6iu6ED8l4HyIwUhHNkpizFWOyAAPDiVnE/s640/DSC06045.JPG" width="480" /></a></div>
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Originally I found a company in the UK that would make tatami mats custom for the shape of any English room (<a href="http://www.tatamiuk.co.uk/index.html">http://www.tatamiuk.co.uk/index.html</a>), but was quickly brought down to earth with a bump on the realisation that this was going to be horrendously expensive, and it was unlikely that when selling the house on that anyone else would be impressed. So I settled for trying to find a loop pile carpet that looked woven and dropped the idea.<br />
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Tatami mats ^<br />
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Berber carpet ><br />
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However, and secondly, I am now at the stage of planning my degree show exhibit, so was searching for inexpensive igusa grass floor coverings.<br />
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Previously this year I had my first solo show entitled "Liquid", held at Creative Framing in Chapel Ash, based around the idea of the natural fluid properties of porcelain and tea, and the use of water in the forming of the clay and the use of the objects. It also aimed to reunite art and function, which in this country seem to have been separated into the categories of fine art and craft (check out Joanna Howells article on the topic, it's really interesting: <a href="http://www.joannahowells.co.uk/images/writing/TWWLN%20article%20CR.pdf" target="_blank">http://www.joannahowells.co.uk/images/writing/TWWLN%20article%20CR.pdf</a>), but in Japan are intrinsically fused. This is especially true in the tea ceremony, which my work is based on. In 'Liquid' I tried to recreate the atmosphere of a tea house and tea ceremony by serving tea in a ritualistic way (as close as I could get it to an actual tea ceremony while using an electric kettle and not being qualified!) and setting the gallery up to look and feel as Japanese as possible. I even made a soundtrack of what Japan sounds like (mainly bird calls and sporadic Japanese flute with a shrine gong thrown in for good measure). The different works were set up either to encourage or discourage people to touch them to try and get them to question their preconceptions about how we interact with art.<br />
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The camera didn't like the light in the gallery! Anyway, there were pieces on the wall which looked merely decorative and positioned well back to discourage touching, then pieces on pedestals, as in museums, which generally discourage touch, but then were very accessible and look extremely tactile to encourage touching, and then the pieces in the centre used for serving tea were given to guests to hold and use during their visit.<br />
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Set up for a ceremony with matcha cake and mochi in a bowl for guests.<br />
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Artist/master of ceremonies</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4UypJIaBcTnn8UVR2OE1RhXxrASusAeUnDZLBcIRywYzPpQgaHgaEsCL9X9Nh7iA3untF9XEnfvR35wEq0XdnjnyMj2LfMouVQofpI9eBIhyphenhyphenTvTFCnqsZAmi8_NyHgZwmnamVL4juyGu1/s1600/P1030753.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4UypJIaBcTnn8UVR2OE1RhXxrASusAeUnDZLBcIRywYzPpQgaHgaEsCL9X9Nh7iA3untF9XEnfvR35wEq0XdnjnyMj2LfMouVQofpI9eBIhyphenhyphenTvTFCnqsZAmi8_NyHgZwmnamVL4juyGu1/s640/P1030753.JPG" width="640" /></a></div>
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Complete with authentic electric kettle! However I was very lucky to find a gallery with alcoves, textured walls, woven flooring and wooden rafters in the ceiling to use as my setting.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO-ecu9qEFrQvqKpQezz66IxmgUnI5AUl9o-Ag4RkbwUAD-05CV286PYTXJ3-0sZay9RtAJItQcxE924BMaIC5Q8LUGe0U4p2S4AeV2jkc2GLjuCxHy5N6_V8ndVqll9RVRPBA22higMdD/s1600/P1030817.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO-ecu9qEFrQvqKpQezz66IxmgUnI5AUl9o-Ag4RkbwUAD-05CV286PYTXJ3-0sZay9RtAJItQcxE924BMaIC5Q8LUGe0U4p2S4AeV2jkc2GLjuCxHy5N6_V8ndVqll9RVRPBA22higMdD/s640/P1030817.JPG" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLHv3uSSPAO9gHjDLx-fAdYa6bbNjZP0KZkH8Tdq8tHlJXkwGqabg1gXiLlwHUlSTCuDUnW_UQJ5sLk1S8fPX2io_S_i_c2gj3t8iAyctThPhY8j-QGrDjtvWn5dfzI8nE5_pEZ5cLG7_t/s1600/P1030821.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLHv3uSSPAO9gHjDLx-fAdYa6bbNjZP0KZkH8Tdq8tHlJXkwGqabg1gXiLlwHUlSTCuDUnW_UQJ5sLk1S8fPX2io_S_i_c2gj3t8iAyctThPhY8j-QGrDjtvWn5dfzI8nE5_pEZ5cLG7_t/s640/P1030821.JPG" width="640" /></a></div>
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Overall the exhibition worked very well and I really enjoyed it, so I wanted to base the exhibit at the degree show on this and share it with more people. This time though, I will be going even further and constructing a custom tea house!<br />
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And here we come back to the tatami mats. Generally the smallest tea houses have rooms that are three tatami mats big (a tatami is usually about 180cm by 90cm), such as the one built for the British Museum in their Japan gallery tucked right at the top of the building, but there are also tinier ones at just two tatami mats big, and this is what I'm looking at constructing.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEdBMTy04RBYJ3BroPJWBPfdFKEZ4nAX3hcewZ9vLFGyre3oh6-jZ4I-RcwXuXDCqGZ_7xBOQ-BWfDiYdj5AjDeyMQ7ZTL0cvr6rLIWnhWx9rC23ItGmopRXCxjjEE5Vln8tzc-qCkCKno/s1600/kyoto_teahouse-design_fushin-an.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEdBMTy04RBYJ3BroPJWBPfdFKEZ4nAX3hcewZ9vLFGyre3oh6-jZ4I-RcwXuXDCqGZ_7xBOQ-BWfDiYdj5AjDeyMQ7ZTL0cvr6rLIWnhWx9rC23ItGmopRXCxjjEE5Vln8tzc-qCkCKno/s320/kyoto_teahouse-design_fushin-an.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Tatami mat layouts for tea houses - the pale rectangles/squares represent tatami</td></tr>
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This is because I do not want it to exceed a space larger than 2 metres by 2 metres, as it will be in a group exhibition where other people will need enough room as well. I cannot find the dimensions for it, but I think it would be a similar size to the 'Beetle House' designed by Terunobu Fujimori for <span style="background-color: white; border: 0px; font-family: Arial, sans-serif; line-height: 13px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">1:1 – Architects Build Small Spaces.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1ihrma0Lu28oTeV-leartpYV-ybqotOzXOlOxkM0Q7w5OJ_ocH5-yFxW53xSfi8f_CBCE05E9GzKnHDlvbVJ5SnJ7KDGn8CIe5D48i3oKofpyjSoOmO5n9IK4DUvsosFLpRP7hccTtQec/s1600/tf2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1ihrma0Lu28oTeV-leartpYV-ybqotOzXOlOxkM0Q7w5OJ_ocH5-yFxW53xSfi8f_CBCE05E9GzKnHDlvbVJ5SnJ7KDGn8CIe5D48i3oKofpyjSoOmO5n9IK4DUvsosFLpRP7hccTtQec/s640/tf2.jpg" width="422" /></a></div>
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I was lucky enough to be able to visit this tea house while it was in situ at the V and A Museum in London. It was a very spartan space, but lovely to sit in as it is so intimate, and being separated from its surroundings on all sides by air, felt a bit like its own universe and a wonderful hideaway. The childlike side of me was celebrating its den like qualities - the simplicity of the interior also helped here, as it makes it a blank canvas for the mind to make it whatever it wants. I want my own tea house to have an element of intimacy and escapism like this, where my guests' imagination can take over their reality for a bit.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_6qF7epMUcbrL1Nf3oTL7z-9sucnYZFR_OA4BXokV20viikU38K5uiAuzc8uZaq8J-s77wPTH0B-RPTL3BYbLadYN7wwLUmVCVcpTfZX5XxMLu5qtl6odeXK7P7vxeElUqUGwTfKEc-kM/s1600/tf5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="428" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_6qF7epMUcbrL1Nf3oTL7z-9sucnYZFR_OA4BXokV20viikU38K5uiAuzc8uZaq8J-s77wPTH0B-RPTL3BYbLadYN7wwLUmVCVcpTfZX5XxMLu5qtl6odeXK7P7vxeElUqUGwTfKEc-kM/s640/tf5.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNbR1il8jGW2RbARRMdDnl1hqGPsgJg4PMJ2SFRZ5hV09_RZ2GbL7_JOFBW9AdYCfGrrJLjA7xu7kPVJyxg96vrffeW6j1G_ZoLvx51U09ZRNEsY4XViMJo_zIuBn1QHiGJ3815O7PXXXM/s1600/tf7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="388" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNbR1il8jGW2RbARRMdDnl1hqGPsgJg4PMJ2SFRZ5hV09_RZ2GbL7_JOFBW9AdYCfGrrJLjA7xu7kPVJyxg96vrffeW6j1G_ZoLvx51U09ZRNEsY4XViMJo_zIuBn1QHiGJ3815O7PXXXM/s640/tf7.jpg" width="640" /></a></div>
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Here is the designer talking a little about his creation:<br />
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<a href="http://p5.storage.canalblog.com/53/23/483319/59978968.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="http://player.vimeo.com/video/11625701?title=0&byline=0&portrait=0&color=bbe3fa" webkitallowfullscreen="" width="500"></iframe></a><a href="http://p5.storage.canalblog.com/53/23/483319/59978968.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"> </a><a href="http://vimeo.com/11625701" style="text-align: start;">Beetle’s House - Terunobu Fujimori, Tokyo, Japan</a><span style="text-align: start;"> from </span><a href="http://vimeo.com/vamuseum" style="text-align: start;">Victoria and Albert Museum</a><span style="text-align: start;"> on </span><a href="https://vimeo.com/" style="text-align: start;">Vimeo</a><span style="text-align: start;">.</span></div>
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<span style="text-align: left;">Here are a couple more two tatami tea houses to give an idea of how the space might work</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Bz9RNbGEzfsNormBjUYENCJlxOEXCff6lpV7QMN2Wd_NeNRFPS19BAAajP1nGrL76vtlfuBq6_joy1Lnc5oq_8WMDEcAguQ9eqlTg7L9inDIrI5IzlYDg25FIvPq0AElIXbBV4qNb-Ty/s1600/T095b.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Bz9RNbGEzfsNormBjUYENCJlxOEXCff6lpV7QMN2Wd_NeNRFPS19BAAajP1nGrL76vtlfuBq6_joy1Lnc5oq_8WMDEcAguQ9eqlTg7L9inDIrI5IzlYDg25FIvPq0AElIXbBV4qNb-Ty/s1600/T095b.jpeg" style="cursor: move;" /></a></div>
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This size of space could probably accommodate two guests and a hostess, possibly three at a push. At the original exhibition I never ended up serving more than three at once, so this should be fine and will keep the experience intimate.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1nKKJ0XWFmbdv_6SKvtwMjwpYnZpBKGhf2TVxPkt-1_0MdjM8bbpSJAcPfrCcGzDmkq1xHcolQGFquLafi3b6QugQ46JHZSj31b6MQaF2Cp36FiLo0J-TWlSb-6rw4j_YjuFKDuepkkP/s1600/OSK200711210031.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1nKKJ0XWFmbdv_6SKvtwMjwpYnZpBKGhf2TVxPkt-1_0MdjM8bbpSJAcPfrCcGzDmkq1xHcolQGFquLafi3b6QugQ46JHZSj31b6MQaF2Cp36FiLo0J-TWlSb-6rw4j_YjuFKDuepkkP/s1600/OSK200711210031.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp8Kc_LGMh_BVHF77ndGWBiIjA88-Sv4mscWsIskSrL_CBJZYddW8xiK1JesS-Xm1oGWfYiWpSvxxZGi9FbbutFSjALYh8EtLGACjQdTtjb-6bs1LTJ7WwK-VdWAVXjCe8DOOomlKuukEy/s1600/DSC01263.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp8Kc_LGMh_BVHF77ndGWBiIjA88-Sv4mscWsIskSrL_CBJZYddW8xiK1JesS-Xm1oGWfYiWpSvxxZGi9FbbutFSjALYh8EtLGACjQdTtjb-6bs1LTJ7WwK-VdWAVXjCe8DOOomlKuukEy/s320/DSC01263.JPG" width="240" /></a>The other thing I have been looking for, and the moving house has helped with this, is wall coverings for the tea house. Japanese walls have a very rustic, natural look, and the room I stayed in in Japan was made of a kind of rough chipboard with gold flecks in so that it caught the light. Most traditional Japanese interiors feature dark natural neutrals and natural textures. Most museums displaying Japanese artefacts use linen covered backdrops and plinths to echo this, like this example from the British museum. I visited the tea house in the British Museum yesterday to have a look at the layout and materials used in the construction (so actually it turns out I didn't take any good images of the overall structure - woops).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ3CLUHLnOZlJ5rWH8LMTDnkLl7LBsLud73wT8T6an8wbWb-kEE_QG1HEDNKSLB9WbADjc3H9kR-rDoZnNLMkflK3tSVK4oOd-hLCKqAxZQgC7Y6aJzVaIFGM_t8DI7VAG_JNYBgLpJdQR/s1600/DSC01260.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ3CLUHLnOZlJ5rWH8LMTDnkLl7LBsLud73wT8T6an8wbWb-kEE_QG1HEDNKSLB9WbADjc3H9kR-rDoZnNLMkflK3tSVK4oOd-hLCKqAxZQgC7Y6aJzVaIFGM_t8DI7VAG_JNYBgLpJdQR/s640/DSC01260.JPG" width="640" /></a><br />
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So looking at the overall structure, the roof is made from wood shingle with a mixture of cut wood supports underneath and bamboo rafter and supports, with the odd bark covered branch used as a feature main beam. The variation in simple materials helps to break up the structure and monotony of the roof which looks pretty cool. The wall is a rather weird dark sand colour with a rough sandy texture and the windows are thick shoji paper with wooden and bamboo slats. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuAJnl7XkZI7ruh8a81uoOnPu1v4dxGDfDhWysGkwT6ablKM1ED4WkpIZqdLAcMWfKAANAHbjjn4qGUe_4lF4z_NSpBY_pTnLTGDO7IFmVaiAcLS5mnHXVNJH2GvJ6YOVfp_QSe76VnLy9/s1600/DSC01261.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuAJnl7XkZI7ruh8a81uoOnPu1v4dxGDfDhWysGkwT6ablKM1ED4WkpIZqdLAcMWfKAANAHbjjn4qGUe_4lF4z_NSpBY_pTnLTGDO7IFmVaiAcLS5mnHXVNJH2GvJ6YOVfp_QSe76VnLy9/s640/DSC01261.JPG" width="640" /></a></div>
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You can see the tokonoma here on the far left, the alcove built into the room for displaying artworks, usually a display of ikebana (flower arranging) and a scroll, maybe the odd treasure used in the tea ceremony. The guests would sit next to this. On the right you can see the tea master's entrance, right behind the area laid out for serving the tea. The door should lead to a preparation room out of site of the guests. You can see the three tatami mat layout on the floor, and the interesting mash up of different ceiling structures and wall panels.</div>
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The tokonoma floor is a little bit raised and sectioned off with a narrow log, and gets it's own mini tatami mat floor, although I've seen ones in Japan using polished wood. There's a kind of wood edging or frame all around the edges of the panels.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUaUWeQ4KRi2XOH63tuueUlsLTG-mGb0pJJeXquGFC12KIvl-S30R5JlEYTPMbcQ8kopONGxh2O7iEsVpivfmWHxdIkFE1-GbbYTuWZTuNxD9qADolu_SA8Xm7t6D7iN2HvvzDRSJbu9yw/s1600/DSC01251.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUaUWeQ4KRi2XOH63tuueUlsLTG-mGb0pJJeXquGFC12KIvl-S30R5JlEYTPMbcQ8kopONGxh2O7iEsVpivfmWHxdIkFE1-GbbYTuWZTuNxD9qADolu_SA8Xm7t6D7iN2HvvzDRSJbu9yw/s640/DSC01251.JPG" width="640" /></a></div>
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This mysterious rock is just underneath a small sliding hatch situated low in the wall. </div>
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Layers of criss crossing lattices of different thickness's and wood types. Any nails used are very discreet, binding and slotting is much more prominently used and has become a feature. This is a porch roof over the wall with the hatch in.<br />
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When I got back I found this diagram online, and this helped explain a few things about the tea house I'd just seen. The first of them being that the hatch and the rock are in fact the entrance to the tea house, known as the crawl door, and designed to humble the guests at the tea ceremony. The guests were historically often very important people with lots of power over other people's fates, so tea masters liked to give them a sense of humility. The big opening on the museum tea house is in fact the window to allow the guests to appreciate the garden while they drink.</div>
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I've also managed to find a website selling Japanese wall coverings. It turns out the sandy texture is actually a clay plaster. I think I will just pass and mix clay and sand with paint and use that.</div>
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<a href="http://www.japangarden.co.uk/Buy-Japanese-Wall-Coverings-c-623.html">http://www.japangarden.co.uk/Buy-Japanese-Wall-Coverings-c-623.html</a></div>
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Anyway, I'm now getting on with my wall paper samples and designing the structure for my own mini tea house! Sorry for the long rambling post, but watch this space!</div>
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Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-18392418115260813122013-05-24T01:02:00.000+01:002013-05-24T01:02:10.892+01:00Water from the mind + tea = the way of tea'When tea is made with water drawn from the depths of the mind, whose bottom is beyond measure, we really have what is cha-no-yu' Toyotomi Hideyoshi (Samurai daimyo, 1537-98)Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-76307118572947645052013-05-24T00:58:00.000+01:002013-05-24T00:58:08.620+01:00Wow it's been ages!!!<br />
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Well it's been insanely busy here as I've gotten into my final year of my MA degree. I have more coursework to do than last year, and I'm getting involved with a lot of exhibitions and projects, not to mention getting ready to move house and studio, and I've decided to completely overhaul my website with a redesign of some sort (having abandoned it for so long it's embarrassing)<br />
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So! For now just a quick update on exhibitions and shows this year (dates for your diary):<br />
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<span style="font-family: inherit;">Liquid Exhibition @ Creative Framing in Wolverhampton 16th - 19th April - my first solo show!</span><br />
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<span style="font-family: inherit;">Urban Pony Exhibition which will be touring the West Midlands starting tomorrow! </span><a href="https://www.facebook.com/UrbanPony?fref=ts">https://www.facebook.com/UrbanPony?fref=ts</a> for information. Retro toy art up for grabs!<br />
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<span style="font-family: inherit;">Earth and Fire @ Rufford Abbey Nottinghamshire 21st - 23rd June - Allen Richards and I will be on the University of Wolverhampton stand with work for sale :)</span><br />
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<span style="font-family: inherit;">New Designers @ the Business Design Centre London 26th - 29th June on stand<span style="background-color: white;"> <span style="color: #333333; line-height: 14px;">CAA14 & 14a with the University of Wolverhampton again - Unfortunately I will only be there in person for the private view and premium ticket day because.....</span></span></span><br />
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<span style="background-color: white;"><span style="color: #333333; line-height: 14px;"><span style="font-family: inherit;">International Ceramics Festival @ the University of Aberystwyth Wales 28th - 30th June - I'll be giving a presentation with Allen Richards in the postgraduate symposium and volunteering behind the scenes (so I actually have to be there earlier than the above date)</span></span></span><br />
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<span style="background-color: white;"><span style="color: #333333; line-height: 14px;"><span style="font-family: inherit;">Hatfield Art in Clay @ Hatfield House near London 5th - 7th July - Volunteering again (also sneaking out one night to go see the Japanese girl band Perfume when they play for the first time ever in London! Check them out on youtube)</span></span></span><br />
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Hopefully if I've not collapsed by then I will be showing at the British Ceramics Biennale in Fresh! @ Spode Factory Stoke on Trent, I'll let you know how my application goes ;)<br />
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ISCAEE exhibition @ Antalya Turkey 1st - 10th October - Again Allen and I are also presenting a research paper and a talk like we did in Tokyo 2011<br />
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MA Degree Show @ the Public West Bromwich October (I'll put the specific dates up when I have them to hand)<br />
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Farnham Art in Clay @ the Maltings Farnham 16th - 17th November - Newcomers stand with work for sale<br />
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A so far unnamed unofficial MA degree show @ Brick Lane Gallery London the week of 19th November to be confirmed soon!<br />
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Hopefully see you there!!!! My work will be available for sale at most shows where I am exhibiting or you can commission me if you see anything you like (online or at a show)<br />
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I'll keep you all posted as things progress further<br />
<br />Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-55555472333002001562012-11-10T02:27:00.002+00:002012-11-10T02:27:56.546+00:00The Start of a New Job!!!!!! :)I started a new job today! I'm working as a potter's assistant near Bristol train station in the run up to Christmas, helping finish work and run a stall at the Bath Christmas market. And it's paid!!!!! However, the best bit is that this stretch is actually mainly a trial run to see if the potter might want to hire me in the future, when I graduate, for a longer period/s. There is also the possibility of a pay rise. This is fantastic for me, as I'd been planning on getting a part time job to supply a steady income, while I try and make a career for myself in ceramics/art and it uses my expertise :)<br /><br />
The potter who has hired me is really nice and friendly, but seems quite quiet, and mainly had me making tree decorations using slabs of clay and cookie cutters, and also glazing "here's several I made earliers" for the kiln. I think he was still trying to get the measure of me after having met me when I visited the studio to see what he wanted/whether I was suitable, so it was simple stuff. He thinks of himself very much as a studio potter making functional ware that the public are demanding, and it reminds me of Emma Bridgewater's stuff, except in terracotta. He makes teapots, bowls, mugs and other kitchen ware in a very simple English style decorated with coloured slips and polka dots. He says he prefers the traditional honey glazes and styles, but the public is demanding colour and polka dots! He compares himself to Isaac Button (and really likes his practice), an incredible man who was the last country potter. Before mass production, this country was full of craftsmen like him who produced work from scratch (he dug his own clay from the bottom of his field) to supply people's daily needs. This amazing guy could turn a ton of clay into pots in ONE DAY. I'm extremely jealous!<br />
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Conversely, he also likes Damien Hirst with his half a cow in a tank of preservative and diamond encrusted skull. </div>
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We chatted on and off as we worked throughout the day, about all sorts, everything from art to ceramics specifically, to Obama and the sparrows he feeds outside the studio window. A couple of things he said about business caught my attention. First, gallery commissions are going up and some of the good ones now expect to take 50% with VAT on top, meaning the artist only receives maybe 42% of the sale price! Using galleries is getting expensive, but the potter said he just raised his prices for the galleries so that he still received enough profit. Secondly, that he attends Stroud farmers market every other week, and that this was worth twenty galleries worth of earnings! He said he could achieve a weeks wages in about four hours that the market is on, as handmade products are very popular there, and the clientèle are well off and can pay the prices. Even minor celebrities occasionally go, such as Lily Allen's dad. This is definitely something I'd be interested in getting involved in, especially as it's a regular selling event.</div>
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<a href="http://www.stroud.gov.uk/docs/community/farmers_market.asp">http://www.stroud.gov.uk/docs/community/farmers_market.asp</a><br />
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Also and thirdly, there is a Bristol potter who considers himself a businessman first and a potter second who supplies the National Trust with work to sell in their gift shops and makes part of his success through that. I've seen this work myself, it isn't dissimilar to my potter's work, but the hand thrown terracotta is glazed with (at a guess) alkaline glazes instead, which give a cascade of colour not dissimilar to flambe in appearance, but different hues. It's practical and very pretty - I can see it would have a wide appeal. I find his attitude very interesting as it's unusual for a potter to be more concerned with business than clay, and for a businessman to consider ceramics as a worthwhile business opportunity, but it's good to know such opportunities might exist.<br />
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I worked from 10am until 7pm, then headed home by train. When I got back, my Dad gave me an article to read on a ceramicists co operative gallery in Bristol's Christmas Steps art quarter called "Potters". It's not for profit, and the artists all have to pledge to work in the gallery for eight days a year to keep costs down. It's been running for 17 years and has a regular customer base. This is also something I'm very interested in becoming involved with! It sounds like a fantastic idea.<br />
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<a href="http://www.pottersbristol.com/">http://www.pottersbristol.com/</a>Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-67728918834853915042012-11-07T03:14:00.002+00:002012-11-07T03:14:49.351+00:00My Little Pony Exhibition!<div class="separator" style="clear: both; text-align: center;">
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So, I don't think I mentioned I'm going to take part in an exhibition on my little pony? It sounded like too much fun to pass up! A group of us are receiving an old style my little pony, and after that what we do with them is up to us! Except my friend is banned from burning one and exhibiting the melted gooey remains. There are lots of ponies online which have been customized; as my little pony is such a nostalgic icon of childhood, people have taken them and started using them as a medium for exploring characters and expressing themselves. There are some uncanny characturisations of everyone from Alien to Gandalf to Oriental princesses: here's some of my favourites</div>
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Aragorn pony</div>
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Alien pony</div>
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Tony Stark pony</div>
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Storm trooper pony</div>
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(<a href="http://www.buzzfeed.com/rebeccae/my-little-pony-for-geeks">http://www.buzzfeed.com/rebeccae/my-little-pony-for-geeks</a>)</div>
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<a href="http://fc03.deviantart.net/fs71/i/2012/204/0/6/my_little_pony_chinese_yang_mi_by_ambarjulieta-d58b6re.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="http://fc03.deviantart.net/fs71/i/2012/204/0/6/my_little_pony_chinese_yang_mi_by_ambarjulieta-d58b6re.jpg" width="640" /></a></div>
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Chinese princess Yang Mi</div>
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<a href="http://fc03.deviantart.net/fs71/i/2012/166/9/f/my_little_pony_custom_tian_li_chinese_by_ambarjulieta-d53kl5b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="http://fc03.deviantart.net/fs71/i/2012/166/9/f/my_little_pony_custom_tian_li_chinese_by_ambarjulieta-d53kl5b.jpg" width="640" /></a></div>
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and Tian Li</div>
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She's just rather cool</div>
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(<a href="http://ambarjulieta.deviantart.com/">http://ambarjulieta.deviantart.com</a>)</div>
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I also saw a really cool one that had been fitted out as a lanpshade.</div>
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Anyway...</div>
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My friend Kayleigh Young is organising the exhibition (<a href="http://www.facebook.com/groups/391004160967017/?fref=ts">http://www.facebook.com/groups/391004160967017/?fref=ts</a>), and gave me my pony today!</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5UhWhar0S3BHZl1uZWxTJsXH5gOwv03m0vzfYutNnBIzGikMRkcKLF5vPhdhH5N0aksfa9m26ryQZXJAsZEjI_o-nxQslmDIfwPZ3WfyfuJk5G6p80UiSDYLx_KDdQfdKOn2xi63cVjCp/s1600/7+Nov+2012+01:52:36.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5UhWhar0S3BHZl1uZWxTJsXH5gOwv03m0vzfYutNnBIzGikMRkcKLF5vPhdhH5N0aksfa9m26ryQZXJAsZEjI_o-nxQslmDIfwPZ3WfyfuJk5G6p80UiSDYLx_KDdQfdKOn2xi63cVjCp/s400/7+Nov+2012+01:52:36.jpg" width="400" /></a></div>
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She needs a bit of a clean up, and I want to straighten the hair so it's nice and sleek again (thinking an iron on the lowest setting might do it if I'm careful). The hair probably also needs to go black.<br />
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I have a few ideas on what to do with her. Despite the daunting precedent set by the above artists, I might try and do my pony up as a shrine maiden, geisha or samurai! From what I can make out, the additions are usually done with a kind of plasticky modelling paste, so I might try milliput, but I also want to try sculpting a purely porcelain pony sculpture in full geisha regalia, and a teapot with oriental ponies on the side having a tea ceremony. However, first I need to draw and brainstorm. We shall see where this goes!Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-50483627987269190162012-11-07T01:49:00.000+00:002012-11-07T01:49:48.781+00:00Something amazingI just wanted to share this - I thought it was amazing and surreal, something far beyond my own experiences so far so I felt like I could slip into a fantasy world for a while :)<br />
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Although, of course, this is real.</div>
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Image posted on facebook by Hannah Mermaid, check her out! She's an incredible ocean activist and professional mermaid/model.</div>
<br />Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-67292188507491988542012-11-06T02:25:00.000+00:002012-11-06T02:25:03.043+00:00Water and wisteriaSince discovering hanakotoba (Japanese language of flowers), I've been curious about what the significance of wisteria is in Japan. It was in bloom growing wild in the mountains when I visited Nara and Kyoto, and was the token flower of a shinto shrine I visited. I'd never seen it growing wild before, and it took my breath away! Every now and then you'd see a tree draped in purple among all the green in the steep sided forests where the vine had climbed through all the branches. Unfortunately we drove past all this too quickly for me to manage to get a decent photo, but here are some shots I got from the shrine!.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtwCVrPbePlMA54Kx3EJWryyU7K41Lm_hO75O1Bt_zNokQr45eMjtdy_JlQNLYr8sxjOMtPcTICjZf11qFEPbvnPw1X9h3U1qc_6aHvoJRTc45BIYw1oaDUEYqm9WJoaA1h-XmLD_l1PNB/s1600/DSC07437.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtwCVrPbePlMA54Kx3EJWryyU7K41Lm_hO75O1Bt_zNokQr45eMjtdy_JlQNLYr8sxjOMtPcTICjZf11qFEPbvnPw1X9h3U1qc_6aHvoJRTc45BIYw1oaDUEYqm9WJoaA1h-XmLD_l1PNB/s400/DSC07437.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A shrine maiden with wisteria hair ornament. The hexagonal box says omikuji, which is a kind of Japanese fortune telling</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicHycAdvOCZMXILJE3U1ptfQh_KQ9TY8eCNBlfUh_6o34DP6S4lr16dHH2SG3SbV3VEQ7lflhCYQfnHRN6tr_2kd2aBfwHh3r-1YQGlXiv-PHA-LfAVKcZlK5QDlzAQWqgHd1FYc5jaAQk/s1600/DSC07439.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicHycAdvOCZMXILJE3U1ptfQh_KQ9TY8eCNBlfUh_6o34DP6S4lr16dHH2SG3SbV3VEQ7lflhCYQfnHRN6tr_2kd2aBfwHh3r-1YQGlXiv-PHA-LfAVKcZlK5QDlzAQWqgHd1FYc5jaAQk/s640/DSC07439.JPG" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wisteria and brass (I think?) lanterns hung on the shrine building. The lanterns were everywhere, as if the shrine was a glorified Christmas tree, and they were all different, some broken and tarnished, others bright gold and brand new. It must look incredible when they are all lit.</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivTeQ_Wf0bCkZG8Uy4DXU_7ZcTj_Osbtc_xAsv2v61rLpv5pU0gG_3bi-WPOnH4_RC7oMhAHNP_wkiuzVzEizMTGf7_vvM2tbDsTOlyIG5NnsEVBttvneyiSD63p9o4-ciBMY5NUWl0Q2E/s1600/DSC07440.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="139" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivTeQ_Wf0bCkZG8Uy4DXU_7ZcTj_Osbtc_xAsv2v61rLpv5pU0gG_3bi-WPOnH4_RC7oMhAHNP_wkiuzVzEizMTGf7_vvM2tbDsTOlyIG5NnsEVBttvneyiSD63p9o4-ciBMY5NUWl0Q2E/s640/DSC07440.JPG" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQXYVNnWxggHV1P35o0NKdkgOaRQcDEYfpLAt6DcZwhyphenhypheneC3i-9-pGaLhl8fE4ocwChha0twGfRUcCP-REG4Sx4pVVEouZlg8LYcQ8om67ItPgkcG03dyisiMNAHm68YvNG5Q_D0dQ6vHLX/s1600/DSC07442.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQXYVNnWxggHV1P35o0NKdkgOaRQcDEYfpLAt6DcZwhyphenhypheneC3i-9-pGaLhl8fE4ocwChha0twGfRUcCP-REG4Sx4pVVEouZlg8LYcQ8om67ItPgkcG03dyisiMNAHm68YvNG5Q_D0dQ6vHLX/s400/DSC07442.JPG" width="300" /></a></div>
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Anyway, I just found this website talking about the symbolism of wisteria:<br />
<a href="http://www.whats-your-sign.com/wisteria-meaning.html">http://www.whats-your-sign.com/wisteria-meaning.html</a><br />
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It's really interesting. The site talks about the Japanese story of a wisteria maiden, a lady holding a branch of wisteria in a painting who falls in love with a man. She becomes so besotted that she steps out of the painting to capture his heart, but her attempts are futile and her love remains unrequited. Rejected, she steps back into the lonely world of the painting with her wisteria. The symbolism here not only talks about lost love, but the endurance of the heart in the face of rejection as well, as the weeping blossoms bloom from an incredibly durable vine. It strikes a chord with me, as I strongly believe that no matter how impossible or hard things are, there is always hope while you believe in it. This is true of art, tradition and culture too. However irrelevant or lost they may seem to have become, if one person finds something meaningful in them, then they will endure. This can clearly be seen in the case of Egyptian hieroglyphs, a written language lost and indecipherable until the finding of the Rosetta stone thousands of years later.<br />
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There are other meanings to wisteria too:<br />
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<ul style="font-family: Arial, Verdana, sans-serif; font-size: 14px; list-style-type: none; margin-left: 10px; padding-left: 0px;">
<li>"Honor</li>
<li>Memory</li>
<li>Patience</li>
<li>Endurance</li>
<li>Longevity</li>
<li>Exploration</li>
<li>Creative expansion</li>
<li>Releasing burdens</li>
<li>The duality of love</li>
<li>Victory over hardship"</li>
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<span style="background-color: white; font-family: Arial, Verdana, sans-serif; font-size: 14px;">"Shin Buddhism also views the wisteria meaning is as a symbol of prayer, or thoughtful reverence for the same reason. The branches and blossoms seem to lower their head in </span><strong style="background-color: white; font-family: Arial, Verdana, sans-serif; font-size: 14px;">gentle supplication</strong><span style="background-color: white; font-family: Arial, Verdana, sans-serif; font-size: 14px;">. These vine gestures naturally bring to mind our need for peace, quiet, and time to honor the divine essence (of our own understanding)."</span></div>
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<span style="font-family: inherit;"><span style="font-size: 14px;">This fits in with the meditative qualities of tea drinking and the tea ceremony - exactly the ideas I want to convey with my pieces.</span></span></div>
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"Flora records indicate wisteria has been known to live up to 100 years or more, and so here it picks up its <a href="http://www.whats-your-sign.com/chinese-symbol-for-longevity.html" style="color: #000099;">symbolism of longevity </a>and immortality. European families <strong>mark the ages</strong> of generations passing with the growth of this vine, and so it makes sense the vine embodies an essence of immortality (as fathers and grandfathers tell their sons of stolen kisses beneath the same wisteria that grew during the day of their great grandfathers)."</div>
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<span style="font-family: inherit;">This suits the idea of tradition, a thing that endures and stays the same through the ages. I also like things that speak of the past yet continue to maintain a thing of the present. That is the wonderful thing about Japan, the modern and the ancient exist and carry on side by side, alive and full of vitality. Most old things in England are in decline, being replaced or have become museums.</span></div>
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"Most interestingly, is the wisteria pattern of growth. Like most <a href="http://www.whats-your-sign.com/celtic-meaning-vine.html" style="color: #000099;">vines</a> (and <a href="http://www.whats-your-sign.com/celtic-meaning-ivy.html" style="color: #000099;">ivys</a>), wisteria expansive tendrils grow out in a spiraling motion. The <a href="http://www.whats-your-sign.com/spiral-meaning.html" style="color: #000099;">meaning of spirals </a>deal with expansion of consciousness. Spirals also point to our awareness as the inner-most center. This awareness spans outward in a spiraling motion to indicate our influence on the outside world. In this manner, <a href="http://www.whats-your-sign.com/celtic-meaning-vine.html" style="color: #000099;">vines</a> and<a href="http://www.whats-your-sign.com/celtic-meaning-ivy.html" style="color: #000099;"> ivys </a>also remind us of our interconnectedness with everything on every level."</div>
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<span style="font-family: inherit;">Meditation and reflection. Also, spirals represent creative energy, and tend to creep into my work when left to myself, so I think they are a reflection of me and my thought processes on quite a deep level. I like the flow and movement of them, and the energy that suggests.</span></div>
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<span style="font-family: inherit;">Which leads me on to: water and flow.</span></div>
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<tr><td style="text-align: center;"><a href="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.barewalls.com/i/c/545685_Whirlpool-and-Waves-at-Naruto-Awa-Province.jpg&sa=X&ei=fWqYUM-JJKbF0QWhqIHADQ&ved=0CAkQ8wc&usg=AFQjCNHIdT0PA9yyi0dAxXs-6k6GE-q-Ag" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.barewalls.com/i/c/545685_Whirlpool-and-Waves-at-Naruto-Awa-Province.jpg&sa=X&ei=fWqYUM-JJKbF0QWhqIHADQ&ved=0CAkQ8wc&usg=AFQjCNHIdT0PA9yyi0dAxXs-6k6GE-q-Ag" width="417" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A woodblock print of the whirlpool at Naruto in Japan - I have a copy of this pinned to my kitchen door in the form of a calendar page! The energy and lines are really expressive.</td></tr>
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<tr><td style="text-align: center;"><a href="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.earth-issues.com/wp-content/uploads/2011/04/173863-e13027308774572.jpg&sa=X&ei=x2uYUMqfI4Xb0QWgpYCwDg&ved=0CAoQ8wc&usg=AFQjCNGjKjpos-09vnHYYIsUkvdf7r88Fw" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="243" src="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.earth-issues.com/wp-content/uploads/2011/04/173863-e13027308774572.jpg&sa=X&ei=x2uYUMqfI4Xb0QWgpYCwDg&ved=0CAoQ8wc&usg=AFQjCNGjKjpos-09vnHYYIsUkvdf7r88Fw" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The same whirlpool today!</td></tr>
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<tr><td style="text-align: center;"><a href="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.tourismshikoku.org/files/cache/598f88ff5991d2654858bc8b593c67a7.jpg&sa=X&ei=pGyYUPeSHIHU0QWQ3ICgCA&ved=0CAoQ8wc&usg=AFQjCNFFq5NoRByHEy7v0xyL-oaQgG7sgg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.tourismshikoku.org/files/cache/598f88ff5991d2654858bc8b593c67a7.jpg&sa=X&ei=pGyYUPeSHIHU0QWQ3ICgCA&ved=0CAoQ8wc&usg=AFQjCNFFq5NoRByHEy7v0xyL-oaQgG7sgg" width="628" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Naruto against it's modern backdrop. The power and movement the deep texture of the water suggests is captivating. I'd love to see this one day, it's such an incredible and mysterious force of nature, and it doesn't seem to eat tourist boats alive contrary to stereotypes :)<br /><br /></td></tr>
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<span style="font-family: inherit;"></span>Water and flowing movement are a huge part of working with clay, yet I have barely scratched the surface when exploring them. They are also a major part of the general backdrop of Japan - Japan is a collection of islands that relies on the sea after all. The general feeling I got from Japanese ceramics was that it always worked with the flow and nature of clay to achieve it's shape and beauty. It never fought it in an obsessive fight for perfection and a ridiculous level of extravagance, desperate to push the "boundaries" like so much Western ceramics seems to, and like I felt I do looking at all that amazing work. I felt stupid and pretentious.<span style="font-family: inherit;"></span></div>
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SO</div>
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Continuing what I started in Japan, I am now starting to experiment much more with really thick liquid clay, finger marks and textures, inspired by the movement of water, wind, and clay on the wheel. I'm creating bowls in moulds by gunking the slip in, spreading it around, dragging my fingers through, and pulling up spikes or throwing droplets into the surface. I'm also throwing bowls, teapots and flasks and allowing the motion of the wheel to pull thick slip off my fingers onto the surface of the clay in spirals and amazing textures. It's actually amazingly releasing and relaxing working in this way, the act of making feels more meditative and I feel more creative. It has a similar feel to hakeme, except that uses a rice straw brush instead, but the contemplation, and then the simple sweeping strokes are just the same. I love the effects - they are much bolder and clearer than my previous techniques achieved. Photos soon!</div>
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Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-50038264073195921322012-10-22T11:17:00.005+01:002012-10-22T11:19:36.569+01:00HanakotobaJust discovered this while looking for imagery to work from today - the Japanese language of flowers! I've long known about the old Victorian tradition of sending messages encoded in the choice and arrangement of flowers in bouquets, and had heard of a similar Japanese tradition, but never come across a list of meanings before:<br />
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<a href="http://en.wikipedia.org/wiki/Hanakotoba">http://en.wikipedia.org/wiki/Hanakotoba</a><br />
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<tr><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;">彼岸花 /<br />
曼珠沙華</td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;">Higanbana /<br />
Manjushage</td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><a href="http://en.wikipedia.org/wiki/Lycoris_(plant)" style="background-image: none; color: #0b0080; text-decoration: none;" title="Lycoris (plant)">Red Spider Lily</a></td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;">Never to meet again/Lost memory/Abandonment</td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><div class="thumb tright" style="background-color: transparent; clear: right; float: right; margin: 0.5em 0px 1.3em 1.4em; width: auto;">
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<a class="image" href="http://en.wikipedia.org/wiki/File:Red_spider_lily_October_2007_Osaka_Japan.jpg" style="background-image: none; color: #0b0080; text-decoration: none;"><img alt="" class="thumbimage" height="147" src="http://upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Red_spider_lily_October_2007_Osaka_Japan.jpg/220px-Red_spider_lily_October_2007_Osaka_Japan.jpg" style="background-color: white; border: 1px solid rgb(204, 204, 204); vertical-align: middle;" width="220" /></a></div>
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The idea of never again and lost memories intrigues me as a way of expressing the losing of cultural identity, as a result of technological and societal "progress", but also that feeling of something missing that comes from individual isolation, due to modern expectations and lifestyle meaning people do not spend so much time together or at all. This is in direct contrast to the idea of a tea ceremony, where people gather together specifically to enjoy sharing each others company and tea together.<br />
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<tr><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;">蓮華</td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;">Renge</td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><a href="http://en.wikipedia.org/wiki/Nelumbo_nucifera" style="background-image: none; color: #0b0080; text-decoration: none;" title="Nelumbo nucifera">Lotus</a></td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;">Far from the one he loves/Purity/Chastity</td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><div class="thumb tright" style="background-color: transparent; clear: right; float: right; margin: 0.5em 0px 1.3em 1.4em; width: auto;">
<div class="thumbinner" style="border: 1px solid rgb(204, 204, 204); font-size: 12px; min-width: 100px; overflow: hidden; padding: 3px !important; text-align: center; width: 222px;">
<a class="image" href="http://en.wikipedia.org/wiki/File:Nelumbo_nucifera1.jpg" style="background-image: none; color: #0b0080;"><img alt="" class="thumbimage" height="165" src="http://upload.wikimedia.org/wikipedia/commons/thumb/3/31/Nelumbo_nucifera1.jpg/220px-Nelumbo_nucifera1.jpg" style="background-color: white; border: 1px solid rgb(204, 204, 204); vertical-align: middle;" width="220" /></a></div>
</div>
</td></tr>
</tbody></table>
<br />
<table class="wikitable" style="background-color: #f9f9f9; border-collapse: collapse; border: 1px solid rgb(170, 170, 170); color: black; font-family: sans-serif; font-size: 13px; line-height: 19.200000762939453px; margin: 1em 0px; text-align: start;"><tbody>
<tr><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;">鷺草</td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;">Sagiso</td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><a href="http://en.wikipedia.org/wiki/Habenaria_radiata" style="background-image: none; color: #0b0080; text-decoration: none;" title="Habenaria radiata">Habenaria radiata</a></td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;">My thoughts will follow you into your dreams</td><td style="border: 1px solid rgb(170, 170, 170); padding: 0.2em;"><div class="thumb tright" style="background-color: transparent; clear: right; float: right; margin: 0.5em 0px 1.3em 1.4em; width: auto;">
<div class="thumbinner" style="border: 1px solid rgb(204, 204, 204); font-size: 12px; min-width: 100px; overflow: hidden; padding: 3px !important; text-align: center; width: 222px;">
<a class="image" href="http://en.wikipedia.org/wiki/File:Habenaria_radiata.jpg" style="background-image: none; color: #0b0080;"><img alt="" class="thumbimage" height="220" src="http://upload.wikimedia.org/wikipedia/commons/thumb/d/d8/Habenaria_radiata.jpg/220px-Habenaria_radiata.jpg" style="background-color: white; border: 1px solid rgb(204, 204, 204); vertical-align: middle;" width="220" /></a></div>
<div>
<br /></div>
</div>
</td></tr>
</tbody></table>
Nice image of the conscious going towards the unconscious - of waking ideas and things invading dreams, stable, sure things becoming evanescent and haunting, from established objects to transient shadows that cannot really be grasped, but stay with you. It strikes a chord with me somehow, but one I try not to think about because it makes me sad.<br />
<br />
<br />
Anyway, much of the language has similarities to the English actually, and I wonder how many of the flowers listed here have been "borrowed" from floriography (Victorian flower language), as with other Japanese words like "Ti shaatsu" (T shirt). Red, white and yellow roses are the same in both languages, but the poppies are different however. I shall investigate further!<br />
<br />
P.S. - I don't think much of their illustrative photographs. Violets are not purple pansies! :S<br />
<br />
.<br />
.<br />
.<br />
.<br />
<br />
Just looked on one of the reference pages on wiki:<br />
<br />
<a href="http://www.hana300.com/aakotoba.html">http://www.hana300.com/aakotoba.html</a><br />
<br />
This seems much more authentic! It seems some flower meanings date back to Roman and Greek mythology, hence similar meanings in different cultures today. However, I like the spin that has been put on the meaning of a rose in Japan:<br />
<br />
<span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;"><span class="">I "language of flowers is suitable for you, </span></span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;"></span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;"><span class="">
Embarrassment, brilliant, shy charm, </span></span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;"></span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;">
Fresh, innovative, love you, and I, </span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;"></span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;">
All your cute, love, </span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;"></span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;">
Beauty, innocence, refreshing whimsical " </span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;"></span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;">
(Rose) </span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;"></span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;">
"Innocent, refreshing" (rose vine) </span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;"></span><span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;"><span class="">
"Special achievement" (Rose Mini) </span></span><br />
<span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;"><span class=""><br /></span></span>
<span style="background-color: white; line-height: 18px; white-space: pre;"><span class="" style="font-family: Arial, Helvetica, sans-serif;">This, roughly translated from google translate (haha), means that roses symbolise </span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; white-space: pre;"><span class="">- S</span></span><span style="background-color: white; line-height: 18px; white-space: pre;">hy embarrassment</span></span><br />
<span style="background-color: white; line-height: 18px; white-space: pre;"><span style="font-family: Arial, Helvetica, sans-serif;">- All of you is cute/charming</span></span><br />
<span style="background-color: white; line-height: 18px; white-space: pre;"><span style="font-family: Arial, Helvetica, sans-serif;">- Charm</span></span><br />
<span style="background-color: white; line-height: 18px; white-space: pre;"><span style="font-family: Arial, Helvetica, sans-serif;">- Affection/love</span></span><br />
<span style="background-color: white; line-height: 18px; white-space: pre;"><span style="font-family: Arial, Helvetica, sans-serif;">- Whimsical beauty</span></span><br />
<span style="background-color: white; line-height: 18px; white-space: pre;"><span style="font-family: Arial, Helvetica, sans-serif;">- Innocence</span></span><br />
<span style="background-color: white; line-height: 18px; white-space: pre;"><span style="font-family: Arial, Helvetica, sans-serif;">- Brilliant</span></span><br />
<span style="background-color: white; line-height: 18px; white-space: pre;"><span style="font-family: Arial, Helvetica, sans-serif;">- etc</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; white-space: pre;"><br /></span>
<span style="line-height: 18px; white-space: pre;">Shy embarrassment is typical of the Japanese romance I have seen portrayed, and gives an oriental twist </span><span style="line-height: 18px; white-space: pre;">to the plain English I love you, but I especially like the whimsical beauty idea - a beauty that does not do what you expect, or follow any of the usual rules. A unique, bohemian beauty :)</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; white-space: pre;"><br /></span>
<span style="background-color: white; line-height: 18px; white-space: pre;">I also like the meaning of plum - "It is a tough beauty" - I like the idea of a beauty that can endure and shine in a harsh place where other beauty does not survive.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; line-height: 18px; white-space: pre;"><br /></span>
<span style="background-color: white; line-height: 18px; white-space: pre;">This site should also be useful for grouping together flowers in bloom at a similar time to give a more natural feel to imagery I use, as it gives flowering periods.</span></span><br />
<span style="background-color: white; font-family: 'MS ゴシック', 平成角ゴシック, Osaka-等幅, Osaka-Mono, monospace; font-size: 16px; line-height: 18px; white-space: pre;"><br /></span>Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-64603325578851479512012-10-19T01:32:00.001+01:002012-10-19T01:32:18.140+01:00End of summer, a new semester :)Hello!<br />
<br />
It's been such a long time since I posted on here, I desperately need to finish uploading everything about Japan!<br />
<br />
I'm starting to be able to look beyond my life at uni now. I feel I can see first steps to take beyond graduation for the first time, and am signing up for some shows and looking at getting a studio and part time job in ceramics! The final year of my MA starts on Monday.<br />
<br />
Things I'm applying for:<br />
<br />
Campus stand at Rufford Earth and Fire 21st - 23rd June<br />
Helper at Aberystwyth International Ceramic Festival 24th June - 1st July<br />
Helper at Hatfield Art in Clay 5th - 7th July<br />
Newcomer's stand at Farnham Art in Clay 16th - 17th November<br />
<br />
and a couple of ceramic places for part time jobs - one in a supply shop, the other as a potter's assistant.<br />
<br />
Anyway, watch this space! I'll keep you posted.<br />
<br />
Also, found this on facebook today - I shall have to include it in my investigations of Japanese glazes. Different country, different glaze ingredients! Makes international glaze recipe sharing that bit more interesting...<br />
<br />
<br />
<br />
<h5 class="uiStreamMessage uiStreamHeadline" data-ft="{"tn":":"}" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; font-weight: normal; line-height: 1.38; margin: 0px; outline: none; padding: 0px; word-break: break-word; word-wrap: break-word;">
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<span class="messageBody" data-ft="{"type":3}" style="color: #333333; font-size: 13px; line-height: 1.38;">Tough question here: Does anyone have a typical analysis chemical breakdown for Ashinuma Ishi (also known as Aka-ko)? [This is the original stone that forms the basis for the Mashiko Kaki (persimon) glaze.] I have a good "look alike" using US materials but want to see the original chemistry, if I can. I don't want to go to the expense of having some of the already ground rock that I have on-hand analyzed at a lab (if I can help it). Thanks in advance for any help.</span></h5>
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<a class="UFICommentActorName" data-ft="{"tn":";"}" data-hovercard="/ajax/hovercard/hovercard.php?id=549635686" href="http://www.facebook.com/neely.john" id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][0]" saprocessedanchor="true" style="color: #3b5998; cursor: pointer; font-weight: bold; text-decoration: none;">John Neely</a><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][1]"> </span><span data-ft="{"tn":"K"}" id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]"><span class="UFICommentBody" id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]."><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[0]"><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[0].[0]">Akako aka Mashiko Stone</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[0].[1]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[0].[2]">Silica/Alumina ratio: 8.1:1</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[0].[3]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[0].[4]">Equivalent Molecular Weight: 617.150</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[0].[5]" /><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[0].[6]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[0].[7]">Molecular Formula of Akako aka Mashiko Stone:</span></span><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]"><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]."><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[0]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[1]">K20 0.110 Al2O3 0.815 SiO2 6.567</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[2]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[3]">Na2O 0.230 Fe2O3 0.238 TiO2 0.052</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[4]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[5]">CaO 0.383 P2O5 0.010 MnO2 0.014</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[6]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[7]">MgO 0.277 LOI 2.091</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[8]" /><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[9]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[10]">Percentage Analysis</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[11]" /><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[12]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[13]">63.91 % SiO2 </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[14]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[15]">13.46 % Al2O3</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[16]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[17]">1.68 % K2O </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[18]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[19]">2.31 % Na2O </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[20]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[21]">1.81 % MgO </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[22]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[23]">3.48 % CaO </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[24]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[25]">0.23 % P2O5 </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[26]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[27]">6.16 % Fe2O3</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[28]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[29]">0.19 % MnO </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[30]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[31]">0.67 % TiO2 </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[32]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[33]">6.10 % L.O.I.</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[34]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[35]">______________</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[36]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[37]">100.00 % TOTAL</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[38]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[39]">Comments:</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[40]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[41]">from Katou Etsuzo page141, Yuuchougo no Kihon</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[42]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372948162777739}..[1]..[1]..[0].[0][2]..[3]..[43]">from building stone called Ashinumaishi or Outani-ishi</span></span></span></span></span></div>
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<a class="UFICommentActorName" data-ft="{"tn":";"}" data-hovercard="/ajax/hovercard/hovercard.php?id=1813411552" href="http://www.facebook.com/john.baymore" id=".reactRoot[79].[1][2][1]{comment372934432779112_372949289444293}..[1]..[1]..[0].[0][0]" saprocessedanchor="true" style="color: #3b5998; cursor: pointer; font-weight: bold; text-decoration: none;">John Baymore</a><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372949289444293}..[1]..[1]..[0].[0][1]"> </span><span data-ft="{"tn":"K"}" id=".reactRoot[79].[1][2][1]{comment372934432779112_372949289444293}..[1]..[1]..[0].[0][2]">John....... THANK YOU!!!!! Exactly what I was looking for. And amazingly fast also. You da' man!</span></div>
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<a class="UFICommentActorName" data-ft="{"tn":";"}" data-hovercard="/ajax/hovercard/hovercard.php?id=549635686" href="http://www.facebook.com/neely.john" id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][0]" saprocessedanchor="true" style="color: #3b5998; cursor: pointer; font-weight: bold; text-decoration: none;">John Neely</a><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][1]"> </span><span data-ft="{"tn":"K"}" id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]"><span class="UFICommentBody" id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]."><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[0]"><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[0].[0]">You might find this substitute using US materials useful, too.</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[0].[1]" /><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[0].[2]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[0].[3]">Mashiko stone substitute</span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[0].[4]" /><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[0].[5]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[0].[6]">KONA F-4 FELDSPAR 34.7 </span></span><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]"><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]."><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[0]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[1]">FLINT 27.1 </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[2]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[3]">EPK KAOLIN 18.6 </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[4]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[5]">IRON OXIDE RED 6.2 </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[6]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[7]">WOLLASTONITE 5.6 </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[8]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[9]">TALC 5.7 </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[10]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[11]">TITANIUM DIOXIDE .9 </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[12]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[13]">BONE ASH .4 </span><br id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[14]" /><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[0].[0][2]..[3]..[15]">MANGANESE DIOXIDE .2</span></span></span></span></span></div>
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<span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[1].[0]"><a class="uiLinkSubtle" data-ft="{"tn":"N"}" href="http://www.facebook.com/groups/iscaee2011japan/permalink/372934432779112/?comment_id=372950162777539&offset=0&total_comments=4" id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[1].[0].[0]" style="color: grey; cursor: pointer; text-decoration: none;">1 September at 17:22</a></span><span id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[1].[1][0]"> · </span><a data-ft="{"tn":">"}" href="http://www.facebook.com/groups/iscaee2011japan/390170491055506/?notif_t=group_activity#" id=".reactRoot[79].[1][2][1]{comment372934432779112_372950162777539}..[1]..[1]..[1].[1][1]" style="color: #3b5998; cursor: pointer; text-decoration: none;" title="Like this comment">Like</a></div>
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Perhaps this will help Allen and I develop our copper reds further still. It's interesting to cursorily note the differences and similarities here between our glaze recipes and the American substitute. Plenty of feldspar and flint like ours, and bone ash and titanium like in our purple glaze, but the iron and manganese is very different. Of course, this isn't for a copper red, but both glazes aim at reddish hues. Time to play with oxides methinks :)<br />
<br />Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-33723340374991470852012-04-26T09:47:00.001+01:002012-04-26T09:47:05.043+01:00Diary 12/04/12<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzVOLxmCoM6oladCcHlnPne0OpMRbT6tcDjhBhcQeI5ttXZPwS3nLQyfI6a6I5LaWdD3ptX8HAfM8xtD3H75rfVLuaLW_6mmI7js1q6PEc9oLJQbslTvrSXmEnm5SdqM51YAaHXElBjadJ/s1600/DSC06005.JPG" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="640px" oda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzVOLxmCoM6oladCcHlnPne0OpMRbT6tcDjhBhcQeI5ttXZPwS3nLQyfI6a6I5LaWdD3ptX8HAfM8xtD3H75rfVLuaLW_6mmI7js1q6PEc9oLJQbslTvrSXmEnm5SdqM51YAaHXElBjadJ/s640/DSC06005.JPG" width="480px" /></a>(early)</div>
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I woke up just before 6 A.M. today with the light seeping through my curtains. I went into the courtyard and the morning light was so beautiful, I went and got my camera and took some pictures. There’s a sakura tree just outside Tomoko’s studio, and the light was filtering through all the petals. <br />
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After that, I went and waited for Tomoko sat by the kotatsu with my crochet. After a while I heard her alarm go off, and then a bit later she came down. She told me that she’d called me yesterday at 7 P.M. but I was too fast asleep! We had breakfast (baguette and banana for me, baguette and yoghurt for Tomoko) and we chatted again, half in English half in Japanese. It turns out Tomoko loves Disney, and has a few Disney themed bits and bobs around her living room. She’s been to Disneyland in Tokyo and Orlando too, and asked if the European one was popular in Europe too. She also asked if I like Studio Ghibli, the Japanese animation house similar to Disney. <br />
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Then we got talking about Japanese tea, after I put the water into the teapot too hot (oops). Tokoname is famous for it’s teapots as the clay here is very good for brewing tea in, so there is a lot of expertise here. Tomoko showed me two of her little teapots, called kyushu. Her favourite one is very tiny and incredibly thin, and she picked it up and sat it on the end of its handle to show me the balance. It looked exactly like something Allen would do with his ceramics, find some precarious and delicate way of standing a piece just because he could! Both teapots had been thrown in quite a dark clay, and the bigger one had a kind of impressed pattern which looked like it was made with a saw blade halfway up the side, and a metal mesh for a sieve instead of pierced clay. The lid rested on an inner gallery, and had no tab to hold it in, the Japanese place a hand over the lid when they pour. They also use side handles. Tomoko said she’d try and arrange for the artist of her favourite teapot to show me how he makes his teapots. I can’t wait! As she called him, he truly is a master to make such delicate and well balanced pots. <br />
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She’d given me a wheel thrown porcelain cup to drink out of, and I noticed it was very translucent, so I told her it was much better than English porcelain, which surprised her a lot. Apparently there are a lot of porcelain recipes here, some specifically for translucency, and many artists make lights with it. These artists are famous for being scrupulously clean to prevent iron contamination! Tomoko said she was too messy to work with it and never uses it, and I told her I work with red clay and porcelain. She then taught me that I was saying it wrong – terracotta is aka tsuchi, not aka do. The kanji for earth has more than one pronunciation, and I’d got the wrong one! She showed me the writing and a couple more words in Japanese. Apparently a clay mixer (I think ball mill) is do ren ki – dorenki. I told her I wanted to compile a glossary of ceramic words, so I could maybe make some kind of Japanese to English ceramic dictionary, and she showed me a book by Penny Simpson, Lucy Kitto and Kanji Sodeoka called “The Japanese Pottery handbook”. It’s amazing, it has everything in there, information and translation, even for all the chemical names. She has leant it to me, so I can study up! However, suddenly my idea seems a bit beside the point, Penny has done something similar already, but more comprehensive. I’ll probably still do it though, as Penny’s book is a text book, and the words are not in alphabetical order, so it will be useful to have a reference where it is easy to look words up. <br />
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After that, she told me next weekend will be a Spring festival in Tokoname, with traditional artforms on display she is going to take me too. There will also be one just for crafts later in April, so we will yoyo between her gallery and the rest of the festival. Today, after she has done her laundry and everything, she’s going to take me on a tour of Tokoname. I can’t wait!</div>
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Tomoko’s gallery, studio and home from the footpath</div>
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<br />Brain overload! Tokoname has a lot of galleries, and a ceramic mall, and we went around a lot. I saw a lot of very beautiful nerikomi, an interesting mix of marbled clay and a technique similar to Sasha Wardell’s. I really want to find out the name of the artist making those pieces. Tomoko told me that a layer of iron was painted over the marbled clay and then scooped away to reveal ovals of veined colour. There were a few artists I thought I recognised, and a lot I didn’t. One chawan had an amazing lustre glaze on similar to Miyazaki Miyamura, but I’m pretty sure Tomoko said the artist was called Murasaki. She didn’t recognise Miyamura’s name. The glaze was very crystalline , but the crystals were crowded and not obvious from a distance. It didn’t seem to be high fired either, but the clay body was white. I also saw the National Treasure, Yamada, everywhere in special display cabinets with photos of the artist. There were some amazing glazes too, many with jun effects, and even a couple of pale pink ones. Of course, there was a lot of oribe! There was also plenty of white engobes, one artist using sgraffito in it, which I really liked. Her plates and bowls were very simple white with a dun clay underneath, and flowers or vegetables drawn in. Another favourite was an artist who appeared to be using porcelain, or a very pure white clay, and left rough torn edges all over the surface so metal oxides could be rubbed in. The pieces I saw used copper, but some used silver which tarnished to multicoloured hues over six years. What really struck me was how skilled the Japanese are at using composition, form, line and texture simply to produce the best effect, and how much they used the qualities of the clay to create beautiful pieces. It made English ceramics look very contrived. A lot of the pieces had no glaze at all, and were just the fired clay surface, or the glaze was poured or splashed over sections, or created by ash in the firing. It made me seriously question my practice to date. I spend too much of my time fighting my medium. Most of the galleries didn’t allow photographs (but you can pick the ceramics up and handle them). So, I plan to go back later with more time and a sketchbook!<br />
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After the galleries, we got lunch (udon noodles – I didn’t mange to politely slurp mine, as they were busy burning my lips) and later a café for tea. I had a matcha set (sweet first, then matcha and a small cup of sencha to finish), and it was far more bitter than I remembered. Apparently this café is well populated by local potters, so Tomoko said I should hang out there and try to get to know them. If I talk to them about ceramics, they might show me their work shop, or tell me their techniques. She’s friends with the owner (and has her on order for four thousand guinomi – unbelievable. Who needs that many sake cups?!) who does pottery for a hobby. The sweet (made from rice and shaped like a – maybe a sakura or camellia) was served on a stand made by her. It was utterly beautiful with the sweet on. It looked just like a slab of flat rock, except it had feet and marks from the wadding it stood on in the anagama. The rock effect was caused by the rough edge. She ripped the clay when it was leather hard. Everyone was very friendly, and Tomoko got me to introduce myself to them in Japanese. They seemed to enjoy my clumsy attempts, and one lady was fascinated by my hands – first she noticed they were soft for a potter (it was a very sunny day and the heat does that to them), then that they were big compared to hers. English women are big compared to Japanese ladies, who are for the most part pretty tiny! Apart from the ceramics, Tomoko showed me where the supermarket and train station is, as well as tell me other basics. We also saw a glass workshop (again, using the glasses natural characteristics to create the pieces – they were very fluid looking, some with bubbles in, some thick, many not perfectly round). <br />
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This evening she laid out the ground rules about work, my curfew, and how to behave. She’s teaching me Japanese manners and how to eat like the Japanese. I must respect my elders and let them go first (including being served in a café and taking a bath), I mustn’t say “Mmmm” because it sounds like “Unnnnn” which means no in Japan, and when eating from a big plate, put a hand under the food like an “osara” (plate) when transferring it to your mouth. As for work, I get two days off per week, and time to make my own work, which I can sell in her gallery for 50% commission, because she’s paying for the clay! Soon it will be Golden Week in Japan, so there will be many visitors and we need affordable work to sell to them. I’m looking forward to getting back to making! She’ll show me how to use her workshop tomorrow. She gets up at about 7:30 A.M.<br />
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P.S.<br />
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Internet is semi there, I can use Tomoko’s pc, but the keyboard is difficult (it keeps switching to hiragana script) and the browsers don’t trust any of the websites I need to use. Google chrome lets me on facebook under protest, and internet explorer lets me on blogger and gmail under protest. Ironic! Neither will let me on hotmail.<br />
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This is an old soda kiln that was used to fire pipes. It’s huge! The wooden tub is the mould used for the pipes. All the walls were running with glaze and ravaged by the heat.<br />
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Brick sculpture/wall in a shopping centre. Areas of it are ash glazed. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghWY3WrFVa4WhxlxRmL46MJVGC9wP6FiNbeo5f4cATgINrcwxH3SSxvoH8_YDLALYXYbEHKGqp6GI_CaGI5aT4vlnGbssGLxg4gua6gnUo5nRPp19CRhgywrSqoklWQed14X9Z2j7Yjwwt/s1600/DSC06041.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300px" oda="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghWY3WrFVa4WhxlxRmL46MJVGC9wP6FiNbeo5f4cATgINrcwxH3SSxvoH8_YDLALYXYbEHKGqp6GI_CaGI5aT4vlnGbssGLxg4gua6gnUo5nRPp19CRhgywrSqoklWQed14X9Z2j7Yjwwt/s400/DSC06041.JPG" width="400px" /></a></div>Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-8700948731937609762012-04-26T09:21:00.003+01:002012-04-26T09:21:49.952+01:00Diary entry 11/04/12 - Arrival11/04/12 <br />
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I woke up at about 10 P.M. and found no sign of Tomoko. I think she must have already gone to bed. It’s been a strange day, but not a bad one. The last few days have been pretty hectic really. <br />
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I was still busy at uni on the 30th of March with the last of my Japanese exams (the written one) and by that time I was pretty tired. This left me just over a week to sort out my flat, sleep off my deadlines, pack and get ready to go to Japan for two months. My to do list was pretty extensive. I’d already redirected the post and got a working holiday visa (I had to visit the Japanese embassy with an application and various documents, and they then took my passport off to add the visa), undertaken a course in Japanese language, looked at phone rentals, researched the best flight options (Tokyo Narita airport taxes are insanely expensive, so I flew via Frankfurt), and a number of other things. Now I had to clean and tidy and shut up the flat, do the garden, pack, check all my electronics and digital storage, check I’d got everything I needed or go and buy it (my canvas shoes were pretty well worn out and had to be replaced), sort out lines of communication I could use, including for data transfer, and check what medication was allowed (I have hayfever, and some over the counter English medicines are illegal In Japan, with nasty consequences) etc, etc. It’s all kind of blurred in my head now. <br />
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I was nervous coming to an almost complete strangers house in a country where I’m only just learning the language, but I thought I’d be more so. Monday night my parents took me to the airport hotel in Birmingham, and I spent a lot of time after they’d gone to bed doing a last minute copy of a large amount of my Japanese notes with my camera. We got up at 6 A.M., had breakfast and then headed over to the terminal so I could check in. I’d cut my baggage down pretty ruthlessly so I’d be within the weight limits, and I wasn’t carrying any books that weren’t Japanese phrasebooks or sketchbooks, only roughly enough clothes to last a week, a few pairs of shoes and my laptop. Not to mention various toiletries, as last time I came to Japan, one of the people I was with accidentally bought floor wipes thinking they were face wipes. Not a mistake I want to make! Check in went fine, and soon I was at the security gate saying goodbye. The flight to Frankfurt was short and I slept for most of it. There was a small amount of turbulence at the end, and then the plane taxi-ing to the terminal felt longer than the flight. Once off that plane, I had to catch the next flight to Nagoya after some lunch. To my surprise, the airhostesses spoke English, so it was a pretty easy flight, but next to impossible to sleep. The flight path took us north and through Russian airspace, over part of Siberia and over North Mongolia, China, then Korea. </div>
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I’d done this last time I flew to Japan so was expecting it, but I did wonder what category the hayfever tablets fell into all the same. In the end I left that section blank.</div>
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Eventually we came in to land, and for a minute I thought we would land in the water. All I could see was ocean underneath us until right at the last minute. Then we were down, and I saw a sign saying “CHUBU CENTRAIR” and then one saying “STOP” painted on the ground. So much for the language barrier, I swear everywhere speaks more English than their mother tongue….<br />
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Going through customs went ok in the end. Once I found the right counter, they decided piriton would be permissible, and I managed to hold a conversation with the customs people in Japanese. Getting out the other side, I rearranged my luggage and put the passport away while keeping an eye out for Tomoko. I couldn’t properly remember what she looked like having met her only once, I had an impression in my head of a small older lady who wore glasses. The lady who caught my eye was not wearing glasses, and looked taller and younger than I remembered. <br />
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She came over and then we went out to her car, which was bigger and less boxy than most Japanese cars, and she drove me a short distance back to her house in Tokoname. The area we drove through reminded me very much of the back streets in Tokyo, but with fewer buildings. There was the odd concrete block, and then streets of tiny dark wooden houses with bamboo screens over the windows and greenery by the door. Tomoko asked how long I’d been learning Japanese and told me it had been really sunny the day before despite today’s rain, and that because of a long cold winter, the sakura had only just come out so I’d truly be able to see the Japanese spring.</div>
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Then we got to her house. Tokoname has a pottery path, a kind of trail for visitors to take with a lot of galleries and sights to do with the ceramics industry on it, lined with old houses and walls made of old pots, and she lives next to it. It’s old, and looked very small and cute. She told me it’s rented, and there are two parts or wings to it. The toilet is separate again, in a small bit by itself, and had a western style seat over a hole in the floor – no flush. The room she has given me to use is traditional Japanese in the opposite wing to where she sleeps, and seems to be used for guests and storage (bags of different clay are stacked by the front door), with a separate front door. The walls are made of some kind of chipboard with gold sparkly flecks in it that catch the light, it is eight tatami mats big and has a futon, low chest of drawers and dressing table in it, plus a floor cushion and a couple of her sculptures. Simple but quite cosy. Her studio is semi outdoors, it’s kind of a semi courtyard and is a covered area between the toilet, two front doors and her garden. There were shelves of half made pots, her kiln and other kit. Her Mum and herself live in the other wing, where the living area, shop, kitchen and bathroom are. The bathroom is tiny and is the usual showerhead and stool next to the deep bath, with a separate basin area through a curtain off the kitchen. The lounge has a kotatsu in. I’d never seen one before! They are low tables with thick blankets under the table top hanging down to the floor, and they have a heater underneath for keeping your legs warm. </div>
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Tomoko introduced me to her Mum and we chatted for a bit (she asked where I lived, and told me that English potters Penny Simpson and her friend Ruth had been visiting the previous week as well), before Tomoko said she had to take her Mum to the hospital for an appointment, but would be back at about 2 P.M. and we’d have lunch. Since then I unpacked my bag, had a shower and slept until now. We’ll see what happens tomorrow. Tomoko won’t be working, but I’m going to try and get up at 8 A.M. as I don’t know what her usual routine is. </div>
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P.S. Thankfully, I have discovered that my phone really can call and receive in Japan. No internet yet though.</div>
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<br />Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-69840878580635091942012-04-26T09:01:00.001+01:002012-04-26T09:01:59.774+01:00UpdatesSo, I`m going to attempt to upload my diary entries to blogger to keep you all up to date with what I`ve been doing. So busy!!! Wish me luck :)Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-28712474882573387042012-04-12T11:38:00.002+01:002012-04-20T14:34:03.965+01:00Arrival in Tokoname!Wow, this is really something! The entire page is written in Japanese, and my kanji just isn`t that good! I`ve finally made it to Japan and am borrowing Tomoko san`s pc. I arrived yesterday and slept pretty well all day, but today Tomoko san showed me around Tokoname, the famous pottery town where she lives. I`ve decided I could spend my entire life collecting Japanese ceramics! It`s all very beautiful and very in tune with the material. She told me this place has the best clay for making tea in, so there is a lot of expertise here in making teapots and brewing tea. She showed me her favourite kyushu (small teapot) which is absolutely miniscule and very very thin. It has a side handle, and she sat the teapot on the end of it to prove what good balance it had. It gave me kittens thinking it would fall! She said she wanted to take me to meet the maker so he could show me how he works. Very excited! I have no idea how anyone could throw something so delicate and thin. There are also two festivals she wants to take me to, one this weekend to celebrate spring, and one a bit later dedicated to craft, so we`ll have to yoyo between the festival and Tomoko`s gallery so her work can take part. Oh yes, and I just saw the most ginormous soda kiln ever!!! It was used when Tokoname made a lot of clay pipes, and the walls were running with glaze and half disintegrated from all the firings. There was a mould in there that used to be used for the pipes, and it looked just like a Japanese bath. A person could very easily have crouched through the pipe it would have made. Hopefully will post pictures later :)Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-67910974584933799002012-03-29T03:31:00.000+01:002012-03-29T03:31:09.202+01:00More teapots, and matching cups :)<div class="separator" style="clear: both; text-align: center;">
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This is the final terracotta teapot of the four I made, just going into the kiln for bisque! This is the biggest of the four, and I had problems with this one due to the length of time I tried to keep it damp so I could work on it. It was harder to impress the circuit board pattern in this one (leather hard is really not ideal) and as a result of all the pressure it was put under and the amount it got sprayed, two of the feet got compression fractures and started to slump. I've tried to fix this by squeezing the clay wall back into shape and smoothing over the cracks, but I won't know if this has worked until it is fired. If it was porcelain it would certainly warp. I really hope this one survives though. The knob on the lid is a new design, it is a shallow dish/bowl form with the idea that it will work like the glaze test bowls and really show off the beautiful effects of the glaze, but again it is also inspired by Japanese roofing with the flared edge, gabling and round ended roof tiles of the pagodas. It might also double as a handy built in tea bag rest!</div>
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I've been wanting to do this for a while now. I was originally always more inspired to paint people more than anything else, as you can paint not just the form and play of light, but more than that the essence of who that person is. This person is a modern Japanese girl. Apparently electric guitars are very popular among high school girls in Japan, and this girl had posted a video of herself on youtube playing an electric guitar while wearing a contemporary styled short kimono and face mask. Many Japanese wear the face mask to protect themselves from pollution, from catching other people's bugs or passing on a cold of their own, to try and help with hayfever, or to make a style statement. "Yankees" (bad, tough, rebellious girls and gangmembers) often wear them to look hard. A lot of Japanese girls who post videos online often cover their faces to hide their identity too. So, it kind of goes with her kimono, which usually I would suggest is wa loli style due to it's short length, but this is not cute, fluffy and girly enough for that, it's far more punky in style. This is how Japanese traditions and cultures are evolving, the geisha who once wore beautiful kimono and played shamisen to entertain at parties are now street wise school girls in customized kimono with electric guitars. The whole thing has taken on a more vibey, urban and electronic feel. I've painted her in porcelain slip using the traditional Japanese style, again with the modern screen print to give that the contemporary twist the subject herself portrays, and put the computer circuitry behind her to emphasise the cyber/electronic influence. The Japanese character to her right is "ki", meaning energy, which I think is what time might really be; the continuous flow and exchange of energy through everything, even ideas.</div>
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When I first painted her, she was a little hard to make out, so the outline needed to be emphasized. I didn't want to use slip trailing as I had on the others, as her edges were formed by inward curves, unlike on petals where they were often high points, so I scratched some detail back in through the brush strokes to add some detail without losing the feel of the brush or her form. I found that in the end the red screen print was really what brought her to life by picking out the guitar. The rest of her suddenly became much clearer at that point. The only issue left was that I got her head slightly too big, but that's the risk you take with such immediate techniques where you can't rub things out!</div>
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Close up of the circuit board.</div>
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You can see the Japanese calligraphy a little clearer here, just right of her knee. I'm really happy with this one, so I can't wait to see what it will come out like when it's fired.</div>
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Here's the third of the terracotta teapots, and the only one that I planned out ahead of making (mostly). It is much taller and more slender in shape than the others, giving it a more elegant feel, and has a smaller rounder handle to compliment this. I left the teapot spout join unsmoothed, as I was trying to achieve a torn paper edge effect, and I had been using small bits of clay to help reinforce the cross hatching and slip and fill in any gaps, which were scraped across with a rubber tipped modelling tool and ended up looking rather torn and papery as a result. Basically, just what I was after. After discovering how to get this effect that I'd been searching for, I added it around the feet as well to match the spout. Originally, I tried to give this teapot very wide feet with only a thin shaped slit to echo the shape of the knob on the teapot, but I could not get them all even or looking any way that I was happy with, so they became like the others with tear drop shaped cut outs to refine the appearance a bit. I think that the thin slit was probably just a bad design idea. The teapots also look quite nice before the feet are cut, and are ok with a simple cut out design, but the shape I had chosen to use to make the slit just didn't look good when I tried it. At some point I'm going to make one where I leave the foot ring in tact though..</div>
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This was a continuation of the cross hatched surface idea. The first terracotta teapot had the surface slashed after I decided I liked the rough texture I made when joining pieces, so I had contrasting surfaces and a "worn" area on the pot. This time the area is defined into the shape the Japanese use to represent water in the landscape. The design on the top is peonies at various stages of blooming (buds through to wilting). The cross hatching and the peonies are what was planned on paper so that they interacted well compositionally (also, I couldn't decide what would look best anyway!). The shape of the peonies are particularly suited to being portrayed in brush strokes, so it's come out really well, but needed defining with the slip trailing just to define the form clearly. This has given it a really good delicate feel, and the slip trailing has managed to stay put on the terracotta too. I tried to make this design wrap around more of the surface of the pot after people commented about the teapots being very one sided and not considering the other surfaces, to see how the effect changed. I like the design overlapping the lid, and I think it is an improvement that the design wraps around more, as it is now interacting more with the form. The curving composition of the flowers really suits the form.</div>
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However, I decided it still needed another flower on the back just to complete the design and not leave huge empty spaces. I added the character "ai", meaning love, as in manga I often see floating peonies used symbolically in romantic scenes where we would use floating roses.</div>
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There was a slight issue with this pot unfortunately. I still can't remove the lid as the fit is so tight. Another time I will know better and sand the hole before I fire it and it jams. So far, I have tried swivelling the lid in an effort to wear the hole down, had sand poured in the gap in order to sand it down more (unfortunately this just jammed it further) and tapped the lid with some wood to try and loosen it. I'll keep trying anyway.</div>
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I added only sparse splashes of glaze to this one so they were just accessorising the design and not interacting with it too much. The glaze creates fantastic lines across the surface where it runs, and also really improves the feel of the handle where I covered the grip. In this case, less is definitely more. </div>
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Glaze and print on the handle.</div>
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Close up showing the translucent brush marks and slip trailing detail.</div>
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Going back to the Wedgwood Museum teapot I made previously, I made two matching cups. At first I couldn't decide whether to leave them plain to allow the teapot imagery to stand out, or whether to create matching surfaces. In the end I went for the matching surfaces to emphasize the main piece. I decided not to add the huge footrings on these that I use for my porcelain cups, as they were not needed to counteract a runny glaze, and I took the opportunity to try the different shape. I also decided against feet as the height would have looked wrong on such a tiny vessel compared to the teapot.</div>
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The new ocean deep glaze layered over the new dark gold coloured glaze (still needs a name - any suggestions?), the same as with the bowl I did previously, but this time on one of my teapots. I didn't get the glazes on as thickly as I would have liked, so there is a really thin patch at the back and less gold shimmer than I would have liked. The teal is also much paler. However, the combination of glazes works really well together, and the dark gold prevents the runny flambe from running off the pot. This solves the problem of the shape at the bottom of the pot being obscured or ruined :) Next step - try with the other flambes and develop more colours from the same base glaze.</div>
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The handle has warped much less on this teapot (it has only bowed further, which I anticipated) but this is a rarity. I need to learn to control the warping or change the handle design, because I cannot continue to only produce what can be only considered "seconds". There are a few options I can try: I can add molochite to the porcelain body that I use for pulling handles to act as a fine grog to create a kind of infrastructure, or I could create terracotta teapots and coat them in a thin layer of porcelain slip. I already dry the porcelain handles to just beyond leather hard in the handle shape before joining, moving them as little as possible after pulling, and then ensure that they go on perfectly upright so that there are no slight bends that can develop further, and that the centre of gravity in each handle is directly over the join. However, with the reliability of the terracotta, I can now start to investigate more complex handle shapes as I don't have to compensate for warping or a degree of failures in the kiln. Handles that failed before may now work.</div>
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The original plan with this teapot was to create a cover to compliment the glazes. It doesn't currently have one, but I do intend to investigate more covered pots. After the previous one, I still want to try crochet flowers on a plain fabric ground to allow the flowers to stand out.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5DqJptjA5t37rtKiAObXbK9Ap0UUkh_NtHBT5a4RfAVrETvU3lTPRClWNotju2UwcXsb5njKgQwhePv0cGBH9ypath6sND3qqXkRH6BymIMKrD_jH82LCqrmwg8McASbIxmTHa6sORhtG/s1600/DSC05517.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5DqJptjA5t37rtKiAObXbK9Ap0UUkh_NtHBT5a4RfAVrETvU3lTPRClWNotju2UwcXsb5njKgQwhePv0cGBH9ypath6sND3qqXkRH6BymIMKrD_jH82LCqrmwg8McASbIxmTHa6sORhtG/s640/DSC05517.JPG" width="480" /></a></div>
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This teapot has been glazed with ocean deep again, but this time the firing did not include a cooling ramp, so the bubbles have not been allowed to escape and the surface has a foamed up texture.</div>
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The handle has warped more than I anticipated and gained almost two corners. I'm not too keen on it now, but it will probably grow on me with time as the others that have warped have. What I really can't accept is how the glaze has run over the base and obscured the cut outs and detailing there, but this would be better if the glaze had been soaked longer and not foamed. Firing it again now would just make the running worse however. This kind of base doesn't work well with my flambé glazes at any rate, but I could use a technique similar to the one above to fix this.</div>
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The group of terracotta teapots. I love grouping them together, as variety is the spice of life, and they set each other off through the slight variations in form.Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-28516853139214362072012-03-26T02:20:00.001+01:002012-03-26T02:20:16.577+01:00Finished teapots<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp9YQzkRBIFJUBamaPetjFHbx_RBx-PAl4IwfxHIHyrb1Y3OlHNbsv2OWrrzIhINtxLpzg5F8E5sa3SaFRpl12N9jnT2NdtS4hB-_XChRaVO7CbMk0RNsBwboA8zd65vFFuEFbx_2NWBBE/s1600/DSC05397+crop.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp9YQzkRBIFJUBamaPetjFHbx_RBx-PAl4IwfxHIHyrb1Y3OlHNbsv2OWrrzIhINtxLpzg5F8E5sa3SaFRpl12N9jnT2NdtS4hB-_XChRaVO7CbMk0RNsBwboA8zd65vFFuEFbx_2NWBBE/s640/DSC05397+crop.jpg" width="378" /></a></div>
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This is the first of my new terracotta range, with cross hatched areas to create rough textured areas, brush painted chrystanthemums and screen print in oxides and underglaze turquoise with glaze splashed over the top. I'm really happy with these, as finally I have teapots that aren't always warping in the kiln! I also really love the dramatic dark colour. I had thought that maybe the porcelain would crack or flake in places due to the different shrinkage rates, creating an interesting weathered effect, but it hasn't at all. Instead it has adhered admirably to the terracotta and taken on the characteristic translucency of porcelain, giving the brush painting even more depth and a slightly ethereal almost not there appearance. So, even though it didn't do what I thought, it still gained an aged appearance like I wanted! This also opens the door to the possibility of putting other imagery underneath the slip painting for extra imagery layering. I also really love the interaction of the glaze as well, adding extra texture and a more ergonomic grip to the handle, as well as a splash of colour. I think I prefer glazing this way, I can be more creative with it and not worry about masses of molten glaze running off the pot and potentially ruining the base. As for the feet, of the two teapots I've got out of the kiln, the feet look best with one at the side, not two as the shape flows better, but also with the cut outs as this makes them look less heavy. I have been trying to give the teapots a light and "lifted" appearance (or rather I have been avoiding slouching and bad posture?) so that people will want to lift them and use them as they look like they are reaching for the air already. It just feels right somehow.</div>
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Here is the teapot for the Wedgwood Museum. The slip trailing has also managed to glue itself to the terracotta really well, and makes a lovely contrast with the opaque dark clay. The translucency really lends itself to the wings, and I love the circuit board pattern underneath. I'm trying to express the journey tea has taken from ancient China and Japan to the modern day in England, often sat in a mug in front of the computer screen. So, we have a Japanese inspired brush painting of a Japanese butterfly (kuro ageha for anyone interested) contrasted with the circuitry and modern print of today's Western world. I hope whoever buys this will treasure it.</div>
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<br />Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-3659794509476598202012-03-25T06:14:00.002+01:002012-03-25T06:14:39.069+01:00Midnight Ocean Bowl<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3aus08GJ1llh5BnFVmh2QlBioBcHHULvrqY5gDFauhyjZQe4Hjx9isZtTeWnIj4DB3zLpF08OtAlcUjOJ3gkA3xiv384TMtyiUT2ldtFQyMau-PGrft_LEIUTPk3Mnxy17nvWhCkt3QSd/s1600/DSC05371.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3aus08GJ1llh5BnFVmh2QlBioBcHHULvrqY5gDFauhyjZQe4Hjx9isZtTeWnIj4DB3zLpF08OtAlcUjOJ3gkA3xiv384TMtyiUT2ldtFQyMau-PGrft_LEIUTPk3Mnxy17nvWhCkt3QSd/s640/DSC05371.JPG" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOzVOYBmwTRzgmTZIMvnEq11mGy2xHbO7fWgdLbYU2KijBhFmZ69CkQLnCbLfYv95ERu-1o6VeefoN-S43CS5au2sldc8jvFVqLSP6qcYhwr2jZNWSKiLldk6j2J85gsQzAzAfbeCm6XQ8/s1600/P9300488.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOzVOYBmwTRzgmTZIMvnEq11mGy2xHbO7fWgdLbYU2KijBhFmZ69CkQLnCbLfYv95ERu-1o6VeefoN-S43CS5au2sldc8jvFVqLSP6qcYhwr2jZNWSKiLldk6j2J85gsQzAzAfbeCm6XQ8/s320/P9300488.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Japanese tea bowl that we were served green tea <br />
in at a little Japanese restaurant. I just about<br />
managed to tell the guy serving that Allen<br />
really liked his collection of ceramics :)</td></tr>
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This was really just a very nice test piece to start off with, because I wanted to see the interaction between the new Ocean Deep and dark gold semi crystalline glazes, thinking they'd look good together if they were chemically compatible, but I love the result and this bowl has been shown interest already. It has gained me another commission only hours after leaving the kiln. I'm starting to think that my work is going to be split in two, work to show off my glazes, and work to show off print and surface decoration. The idea for overlapping glazes is taken from Japanese tea ware and also various potters who exhibit at Hatfield art in clay, such as Wendy Lawrence, and the results are usually stunning due to the complex interplay of chemicals, creating unique effects and creating fantastic variations of colour, texture and pattern. The appearance is also usually more organic and natural looking, so the work gives off a very free and relaxed vibe. The only issue with this bowl is I'm utterly unconvinced about its functionality. Allen Richards (my research partner) tells me the dark gold glaze is food safe, but I'm not convinced, as it's almost in oxide overload (the finish is metallic after all, and metals can leach out into food if there isn't enough silica to pin them down), contains copper (which makes leaching even worse) and manganese (which is a bit poisonous to be honest). Allen reckons manganese is only dangerous in oxide form though (he may be right there but I'd have no idea), that the glaze won't leach as the oxides haven't completely overloaded yet, and finally, that my concerns about the fact that the surface of the glaze is easily scratched, and so is not very hard wearing and won't stand up to acid in food are unfounded. Either way, I think I won't be happy until the dark gold glaze has been acid tested for food safety.<br />
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<br />Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-11257947227710057902012-03-25T06:14:00.001+01:002012-03-25T21:13:43.747+01:00Clay and Glaze Testing!<div class="separator" style="clear: both; text-align: center;">
Finally got some new glaze tests out of the kiln the other day!!! Allen Richards has mainly been concentrating on lustre glazes, while I have been more preoccupied still with flambé, but also matt and other mottled glazes. I can't blame Allen though, to be honest, as he's finally got the technique to work, and lustres are enough to bring out the magpie in anyone!</div>
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First off are a set experimenting with the addition of cobalt carbonate in a few of my favourite glazes to see how I could get some bluer variants, as I don't have a deep blue at the moment:</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEldT1k2DL8CBt92mzLRigd8iMvSWObK2E6UL3WrM1wr4_g6e7XMvcV7XPNSCG9zPcD5Nqifk_worvQzf7TwldKC5gK1Ogi2Wyeh1grHi2VLZ7RAu-eyg8SC9_dBYBRHRbWAdkW7tBehly/s1600/DSC01797.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEldT1k2DL8CBt92mzLRigd8iMvSWObK2E6UL3WrM1wr4_g6e7XMvcV7XPNSCG9zPcD5Nqifk_worvQzf7TwldKC5gK1Ogi2Wyeh1grHi2VLZ7RAu-eyg8SC9_dBYBRHRbWAdkW7tBehly/s320/DSC01797.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Emanual Cooper's original glaze</td></tr>
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This is one of Emanuel Cooper's glazes with added cobalt. I really didn't expect this result, as this is originally a mottled matt brown glaze and I thought I might get a blue tinge or something! Instead the glaze has become shiny, almost gold tinged where it pools, khaki green with mini crystals (magnesium in one of the ingredients has done that) and teal where thin. After this I found out that the way this glaze went matt was due to a high number of fluxes in the glaze causing it to over flux (weird how chemicals that encourage the glaze to melt in the kiln can actually mess up the way the chemicals melt and react altogether). However, adding extra flux on top of that (cobalt is pretty fluxy) really sends the glaze into overdrive and it will become very shiny. I might try reducing the copper in the next sample to reduce the green element and hopefully bring the matt surface back. Also the dolomite.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzrFQPZgBwe5E4uO32O9vuoeGSCWsxS4h5O2R9W9erR6GBnmVdXExUBS7GOpeWxae2tfRlOt8Je4bYvK1g3vG8sYc7wkBbLUTZBG2jGtBSiLcca7cD6DFbvbgd4-jnm1sMSAR6kCIc4FhG/s1600/DSC05310.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzrFQPZgBwe5E4uO32O9vuoeGSCWsxS4h5O2R9W9erR6GBnmVdXExUBS7GOpeWxae2tfRlOt8Je4bYvK1g3vG8sYc7wkBbLUTZBG2jGtBSiLcca7cD6DFbvbgd4-jnm1sMSAR6kCIc4FhG/s640/DSC05310.JPG" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgybBnpSqm3pcdX79e7JQy8enYLAEM5uz4mLR8GQHEsi327dP2mai89AnLwsrP0w9yi0g6-PVz43Lp_aqkL-HQAogzA4W1tPIg7x9roMW6x_2uyqGunVG3rIcNqgeVPTsSg24oqnejNk9t9/s1600/DSC_4630.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgybBnpSqm3pcdX79e7JQy8enYLAEM5uz4mLR8GQHEsi327dP2mai89AnLwsrP0w9yi0g6-PVz43Lp_aqkL-HQAogzA4W1tPIg7x9roMW6x_2uyqGunVG3rIcNqgeVPTsSg24oqnejNk9t9/s320/DSC_4630.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Original Aurora Borealis glaze</td></tr>
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This glaze is Aurora Borealis with added cobalt (Aurora is one of mine and Allen's favourite flambe experiments, although it is a little difficult to control). I absolutely love this result. The original was a lime green ground with royal blue where it pooled and turquoise jun effect over the top of that. This is basically the same but much more mellow with less saturated colours, over all darker and more of the subtle iridescence. We've named this new glaze ocean deep. I can't wait to try it out on something larger than the test tile! This is now getting very close to being an oribe, a traditional green Japanese copper glaze I'm very interested in learning about, except that this glaze is blue.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj93o2NuFfCiLectkwu_QdodcXDHBDToXmqZY83s_GcdEpAs0pAHjO0LIUKWCIjRlEDKyxfDmjV4qZv28W6vHfxHlYonGXBr8zUEF2lbYnuN7XBAs0UHu4oY6YYu3ttK4dnHLgld28EfO1e/s1600/DSC05355.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj93o2NuFfCiLectkwu_QdodcXDHBDToXmqZY83s_GcdEpAs0pAHjO0LIUKWCIjRlEDKyxfDmjV4qZv28W6vHfxHlYonGXBr8zUEF2lbYnuN7XBAs0UHu4oY6YYu3ttK4dnHLgld28EfO1e/s640/DSC05355.JPG" width="640" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWWdsE-nfBjLqhYbEtmsnv_TCccMeiIloLgC1s-dkOvo-0KCS8EtRaUpmKLEJvESvdb16aSuoGtYJd6dm-9JFS4mIcKsmoqb-NYhh7-9JsN0j7k5CS7MCDtuxVgXgsR2NfvbBJmoel6QVH/s1600/DSC05357.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWWdsE-nfBjLqhYbEtmsnv_TCccMeiIloLgC1s-dkOvo-0KCS8EtRaUpmKLEJvESvdb16aSuoGtYJd6dm-9JFS4mIcKsmoqb-NYhh7-9JsN0j7k5CS7MCDtuxVgXgsR2NfvbBJmoel6QVH/s640/DSC05357.JPG" width="480" /></a> Weirdly though, it's almost like a tenmoku if you use it on terracotta! The iron in the clay body majorly interferes in the reaction of this glaze. It pretty much pulls a full on invasion really. It's amazing for bringing out the marks left from the throwing though, it's incredibly striking. This is much darker than anything I've looked at using before though. Where it pools it's pretty much black, with rust reds, oranges, yellow and even green where it's thinner.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeWUIp49NeYtFguFoV2r0lCqzoNOuSl0QJ55ZHC6iIZfZ8Nh3oj2nK-XJ2S9RG7VBMpUsA683qpimgcHQ9j81mlQ7sloOrUgRoCdCO22bbqsvtKBejZHMrPnxqMxYFwjPUjNrcuRipDN-z/s1600/DSC05314.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeWUIp49NeYtFguFoV2r0lCqzoNOuSl0QJ55ZHC6iIZfZ8Nh3oj2nK-XJ2S9RG7VBMpUsA683qpimgcHQ9j81mlQ7sloOrUgRoCdCO22bbqsvtKBejZHMrPnxqMxYFwjPUjNrcuRipDN-z/s640/DSC05314.JPG" width="640" /></a></div>
The original glaze for this test before the cobalt is Solar Eclipse, mostly abandoned since it was superseded by glazes with more jun effect and more colour overall (also less pinholing - our glazes like to bubble). However, it was really interesting as although the background came out mostly white, the pooled areas had a kind of purplish navy streaking and jun effect. Our main problem with it was the lack of colour, and we soon developed a bright purple with a new base glaze and the same oxides. However, if the background could be coloured, this Solar Eclipse would take on a whole new lease of life, and cobalt, from my observations with previous experiments in these base glazes, always principally colours the background. As you can see, that is pretty much what has happened, although I had hoped there would be a greater amount of streaking and variation in hue. It has also pinholed badly. This probably still needs some work to achieve it's full potential.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzrHoGLvbpDAiiNJJ8dvk26jwb0R-36r-ZovkftXZBmFcxN-moBcEsOG3aQdL19TbzwfrEWUi9CKmcyNw-sU2tHSZivyRYoyGh6E2r6O8oyRjUENE8x6r5ajP-GOYgKWfAstFwkafpbrjb/s1600/DSC05316.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzrHoGLvbpDAiiNJJ8dvk26jwb0R-36r-ZovkftXZBmFcxN-moBcEsOG3aQdL19TbzwfrEWUi9CKmcyNw-sU2tHSZivyRYoyGh6E2r6O8oyRjUENE8x6r5ajP-GOYgKWfAstFwkafpbrjb/s640/DSC05316.JPG" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0surOVVgywDulL-JFSQV6edc1jOOXLnGsUEne7DKFONHi6Qq2HVkYZv_JwhmUyh_0BA5N9LBVecXqAP2tg9KH-sta2GgURVDX8n9MT_ZESWmMK68pd6cZuPz9MT1r8SFjgrhEyMX7VCIN/s1600/DSC05317.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0surOVVgywDulL-JFSQV6edc1jOOXLnGsUEne7DKFONHi6Qq2HVkYZv_JwhmUyh_0BA5N9LBVecXqAP2tg9KH-sta2GgURVDX8n9MT_ZESWmMK68pd6cZuPz9MT1r8SFjgrhEyMX7VCIN/s640/DSC05317.JPG" width="480" /></a></div>
This is another test with the Emanuel Cooper glaze, but this time with iron oxide. I'm not really sure what I expected this to do! I think possibly a different shade of brown. Still, the iron has mainly over ridden the original properties of the glaze and created a surface that looks very much like rusty metal. I love the tactile quality of it, it's such a contrast from the usually glassy results, and has an authenticity due to its sympathy to the actual clay's texture. It feels so natural in the hands. I have noticed over the period of my studies that much ceramics uses very shiny glaze, and that people actually really prefer matt or rock like surfaces on their ceramics. If they want shiny, glass is much better at it. They want material that comes from the earth to look like it. Wabi strikes again! I think I might try reducing the iron a bit though to allow some of the original glaze properties to come back.<br />
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Next is my other favourite result besides Ocean Deep:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYtu7FQBN_nxGJvMy2xN7NZXAn1RvpLe2-WA6NajKCYE2qskbr_EPSrTq6yMa6cL65chWydfFPnZpP9irqN9-XnxgUnTtjo0IeXm-7DD7kASFdHKTNwNnJl0BUp2Mo1OvZ-bDhZM6wBCpo/s1600/DSC05318.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYtu7FQBN_nxGJvMy2xN7NZXAn1RvpLe2-WA6NajKCYE2qskbr_EPSrTq6yMa6cL65chWydfFPnZpP9irqN9-XnxgUnTtjo0IeXm-7DD7kASFdHKTNwNnJl0BUp2Mo1OvZ-bDhZM6wBCpo/s640/DSC05318.JPG" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMGGASa825Yp7CaBko_pIukJjXyCvm-bxLOKJ_7GJhiiAeniXxPF-y48vlThc3aq4CeZag9e4FrCFptuDTvcPErZmS1PHy83S7K3vEADeR9A_Sh6_KuQ-jvt6Ek3dLk8wJ4FcHSueDdLmG/s1600/DSC05320.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMGGASa825Yp7CaBko_pIukJjXyCvm-bxLOKJ_7GJhiiAeniXxPF-y48vlThc3aq4CeZag9e4FrCFptuDTvcPErZmS1PHy83S7K3vEADeR9A_Sh6_KuQ-jvt6Ek3dLk8wJ4FcHSueDdLmG/s640/DSC05320.JPG" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLWgUzZKPFlh8il36fcuAbLqpH7BDjLWolOJl-8Zs6GE585YSxmIEYGOZUSQl37bxiz9qZlvAIkIDzpmMCuMwiQ1usfotD26Pa3rlldofYx-lh25RHjRAP52Hy9FJ_3dmmEeX7rABWfAW8/s1600/DSC05321.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLWgUzZKPFlh8il36fcuAbLqpH7BDjLWolOJl-8Zs6GE585YSxmIEYGOZUSQl37bxiz9qZlvAIkIDzpmMCuMwiQ1usfotD26Pa3rlldofYx-lh25RHjRAP52Hy9FJ_3dmmEeX7rABWfAW8/s640/DSC05321.JPG" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNcQmWYWh9D_WStyYxXSuMOu5SQCSNhApusWNnXw4xWap08Pqki4QTWHxdWAICTpO8V0nyP-EJ2KgBtpplRleVRdHvfgRKe7NXZ_Ueprc68UB1qQH5ud6XnKdimflf06tlj4zGvrBPmVle/s1600/DSC05323.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNcQmWYWh9D_WStyYxXSuMOu5SQCSNhApusWNnXw4xWap08Pqki4QTWHxdWAICTpO8V0nyP-EJ2KgBtpplRleVRdHvfgRKe7NXZ_Ueprc68UB1qQH5ud6XnKdimflf06tlj4zGvrBPmVle/s640/DSC05323.JPG" width="640" /></a></div>
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This is the Emanuel Cooper with manganese and reduced copper. From research Allen undertook I thought I might get something approaching a matt mottled gold, but I got this instead. I think it's stunning. Unfortunately the surface scratches easily, but it is silky smooth to the touch, and a very dark gold in colour. The surface is scattered with tiny gold crystals (magnesium again) and there is subtle iridescence on this glaze too. I'm not actually a fan of large expanses of bright gold, for a start, I much prefer silver, and secondly I tend to find it a bit tacky because overuse makes it look fake. It's just never been my style, although Allen works with it very well. However, this glaze is so subtle, and has so many qualities that aren't obvious from a single glance, that I find it quite alluring and interesting to look at because it can be explored. I also think it looks very natural and is a beautifully striking contrast to the other brightly coloured glazes I use.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgihRnHHQlxW7f3E_xTCsPRQZHsg5WphHKLbX_EDue0rDHA__XCExlVrNd06yRdrJvvaZWdv9m7l9eS1YIzeAcXI6Z4ATSkN3a2HQUpsuRFZjeWp3PVHZ6HZAMLc5SlH4aoO3dIJtYHLi9d/s1600/DSC05332.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgihRnHHQlxW7f3E_xTCsPRQZHsg5WphHKLbX_EDue0rDHA__XCExlVrNd06yRdrJvvaZWdv9m7l9eS1YIzeAcXI6Z4ATSkN3a2HQUpsuRFZjeWp3PVHZ6HZAMLc5SlH4aoO3dIJtYHLi9d/s640/DSC05332.JPG" width="640" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmd-qvx0sAsmvfQMK0hb79nMbe0SR-GPvN7EHnGqueEqyLqGT3CSScfSlXwU9P2BBQXsne7bYrvWDfRAznpcrXEmPqKhIaGkJCHWpuH9b9jbvqw-XKW2KD-W0qmT6stCMjpJF4PP3NKvJG/s1600/DSC05335.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmd-qvx0sAsmvfQMK0hb79nMbe0SR-GPvN7EHnGqueEqyLqGT3CSScfSlXwU9P2BBQXsne7bYrvWDfRAznpcrXEmPqKhIaGkJCHWpuH9b9jbvqw-XKW2KD-W0qmT6stCMjpJF4PP3NKvJG/s640/DSC05335.JPG" width="640" /></a></div>
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After the success of the first one, Allen quickly mixed up a new test with more of the oxides from his original gold glaze in the hopes of developing the gold properties in this new glaze. However, all it did was turn the glaze matt, increase the crystals and reduce the iridescence. The photos won't pick it up, but there's also a hint of mauve in there as well. It's an interesting result, and more what I originally aimed for, but I prefer the first test as it has more interesting properties and a better colour.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6KIQdtEEoXfZIlCLi6pylHeHyDKYlHp6jM3vsbU5pbu5v44zBZP_RchP4oGV-BpSrawajoPhpm5jBdZ5EtWhuud5EyKE6hi6i2TQyzKxDDCX5cFWtaWYpwvF-K5v9tFm-E5JyuANuXpti/s1600/DSC05327.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6KIQdtEEoXfZIlCLi6pylHeHyDKYlHp6jM3vsbU5pbu5v44zBZP_RchP4oGV-BpSrawajoPhpm5jBdZ5EtWhuud5EyKE6hi6i2TQyzKxDDCX5cFWtaWYpwvF-K5v9tFm-E5JyuANuXpti/s640/DSC05327.JPG" width="640" /></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfrTbiY8qlh0n8HfKT81ZQhgp9l_LMtOmvTwgZMcfDTjvj61z2UJYKzAs8yZxqQI-GraxKcVXt1ZDTY8NpknU1oOC-OGGFQC7lG6grMg51QrYvcUyA40PnZX2v-r_IWpX-vto5pnQIWuwd/s1600/DSC05330.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfrTbiY8qlh0n8HfKT81ZQhgp9l_LMtOmvTwgZMcfDTjvj61z2UJYKzAs8yZxqQI-GraxKcVXt1ZDTY8NpknU1oOC-OGGFQC7lG6grMg51QrYvcUyA40PnZX2v-r_IWpX-vto5pnQIWuwd/s640/DSC05330.JPG" width="480" /></a></div>
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Of all the glazes tested, this is the only one I really consider a failure. This was based on Sun Flare, a honey and lilac coloured glaze with jun effect over the lilac where it pools, and I added iron oxide in the hopes of developing the honey colour and possibly getting tenmoku effects (I have done screen print tests with the same oxide underneath Sun Flare, with spectacular results - I will post about that soon). However, I persuaded Allen to put in far too much iron against his better judgement, and the oxide has overloaded, caused bubbles and left a gunmetal finish on the bottom. This will be tested again with much less iron. Probably about half as much. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0amOfn90Gbczz5Fnjw18CUIml5gRkTQOuNrMdyNsUKcOmHsT9PoX8cSrD8NvyB3M1aGlSuE4zAC0CBI1YQBj_qmJZpEVcW3nK909WGM5hQMKkSyPCDOvSQotc9f6qjJG1MhHH2oIuYtyW/s1600/DSC05343.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0amOfn90Gbczz5Fnjw18CUIml5gRkTQOuNrMdyNsUKcOmHsT9PoX8cSrD8NvyB3M1aGlSuE4zAC0CBI1YQBj_qmJZpEVcW3nK909WGM5hQMKkSyPCDOvSQotc9f6qjJG1MhHH2oIuYtyW/s640/DSC05343.JPG" width="640" /></a></div>
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This is a different Emanual Cooper glaze (originally a matt white with interesting variations in hue and crystalline tendencies in reduction). I'd hoped for a turquoise or green matt with the variation in hue, but again, it was matt due to over fluxing from zinc, and the addition of more fluxy oxides has turned it shiny and allowed the zinc silicate crystals to take over. A lovely result, but not what I'm looking for on my current work, and the crystals have overcrowded themselves as well. I think I'll try reducing the zinc a bit and see if that will bring back the matt surface.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo18mDNR0vYKmKeTgRu72PTBWSwkIoXeqMDyUtFfdN2jHnzD9SAm-zXFFnc08YKT71ckCvfdLuEuE_-gvyMIDqp_Pa0P19tB3cuQmIyBpyKY6_yyfm58r24s86pIG5fS3WA9J5rOufMhhF/s1600/DSC05344.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo18mDNR0vYKmKeTgRu72PTBWSwkIoXeqMDyUtFfdN2jHnzD9SAm-zXFFnc08YKT71ckCvfdLuEuE_-gvyMIDqp_Pa0P19tB3cuQmIyBpyKY6_yyfm58r24s86pIG5fS3WA9J5rOufMhhF/s640/DSC05344.JPG" width="480" /></a></div>
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There seems to be a weird gold shimmer across this part of the sample.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuJrCxNrvbPgp-3B4QsndLkOnGNfQ44h-oF4v5GKPa87DZLrxSECbG12fYetMH0A0zaP3bxZ9dn726R1WuSF0mxiIKin9D1OkmQUpdf8kIE2cA06oBkzVbSDxWfCdhW8exxbxUQfmCfDc6/s1600/DSC05347.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuJrCxNrvbPgp-3B4QsndLkOnGNfQ44h-oF4v5GKPa87DZLrxSECbG12fYetMH0A0zaP3bxZ9dn726R1WuSF0mxiIKin9D1OkmQUpdf8kIE2cA06oBkzVbSDxWfCdhW8exxbxUQfmCfDc6/s640/DSC05347.JPG" width="480" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMVc2l-y_oof1VnWjj7MPtIMilBWWxVZrUR66R3NsNaLl9atm_3FzIj6V8wkt5uXkz34pjp0iqHCbaXbtjtwQ7OsUliDe7F6L7mi1t3fUT6yBKNwmSPUkV4WJjpa_kMYYZKJKu7eCrTIDQ/s1600/DSC05349.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMVc2l-y_oof1VnWjj7MPtIMilBWWxVZrUR66R3NsNaLl9atm_3FzIj6V8wkt5uXkz34pjp0iqHCbaXbtjtwQ7OsUliDe7F6L7mi1t3fUT6yBKNwmSPUkV4WJjpa_kMYYZKJKu7eCrTIDQ/s640/DSC05349.JPG" width="640" /></a></div>
Finally, we tested our Royal Purple (a bright purple glaze with jun effect) with cobalt to expand the colour possibilities, and it is now much bluer, more like the traditional indigo dye often used in Japan. Next task will be to make Royal Purple more pink so that we truly can achieve any colour of flambé. I originally started researching these glazes in an effort to reproduce the colours of modern Japanese media with a natural and traditional type of mottled glaze, and expanding the colour palette is a part of that. It's also just peaked my curiosity. Expanding the range of colours will help to widen the appeal to the general market as well, as everyone has a different colour preferences, the colours set each other off when shown together, and people also love to mix and match within a set or style.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHTmSPLIBCowgsiFEvfgaYYCQThgha3eoSsPLgT2z2VK2v-EsSJrFHB9GJ2KIY1xp4upo8mFlx1WvP2rIo4Ub5XWPPidSJbBxDmolSZgvE7pLxkaSbiMfsFEiS3HeOSA8XcDECOHx0CNq9/s1600/DSC05353.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHTmSPLIBCowgsiFEvfgaYYCQThgha3eoSsPLgT2z2VK2v-EsSJrFHB9GJ2KIY1xp4upo8mFlx1WvP2rIo4Ub5XWPPidSJbBxDmolSZgvE7pLxkaSbiMfsFEiS3HeOSA8XcDECOHx0CNq9/s640/DSC05353.JPG" width="480" /></a></div>
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For these tests we have developed a new test tile, which for the first time is truly both of our work. Allen had been trying to create a thick walled shallow dish with a tiny delicate foot ring, but could not get a satisfactory result from the jigger jolly for which he had made moulds. I had yet to develop a test tile that I truly liked and could make in bulk. So, I decided to throw shallow dishes for Allen and put my signature spiral in the base, and then he turned the foot ring, which is his speciality. This is much more economic for both of us, and the results are beautiful too :)<br />
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We hope to be able to market these with the glazes on in the future as snack bowls, tea bag holders, or just pretty objects in their own right. The speed we can make them at means we can batch produce them for shows, and they can form a very affordable range for people who want to buy a little something.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ifCPHRM7KfrOvrHUQf50yp7VrxQaG-U0EiR1lS4hcLEimoJ1UZfUa6jrHShgFBS3mI9NgWetNGKk61izw-pK3_cieke0qf2EOm8HxbvTYG6PGxGu0g_36XRf2sFwoJu1x6SURlCXSF12/s1600/DSC05361.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ifCPHRM7KfrOvrHUQf50yp7VrxQaG-U0EiR1lS4hcLEimoJ1UZfUa6jrHShgFBS3mI9NgWetNGKk61izw-pK3_cieke0qf2EOm8HxbvTYG6PGxGu0g_36XRf2sFwoJu1x6SURlCXSF12/s640/DSC05361.JPG" width="640" /></a></div>
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The last thing I did was test terracotta's ability to stand up to porcelain temperatures in the kiln - 1260 degrees C.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDIEtNXb0UUrRY3MqXfUGcmQckmHN-2JY6JEfU1fTaNNoPtmVyCkJlelhgCo6bZ65ZNq5cf39k2elvvAL16pE5YLI9iQRmHzwpIBOjb0wWW2KgaC5TYZBCJkREvoZE_LuYiZmVbgmMh5zK/s1600/DSC05364.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDIEtNXb0UUrRY3MqXfUGcmQckmHN-2JY6JEfU1fTaNNoPtmVyCkJlelhgCo6bZ65ZNq5cf39k2elvvAL16pE5YLI9iQRmHzwpIBOjb0wWW2KgaC5TYZBCJkREvoZE_LuYiZmVbgmMh5zK/s640/DSC05364.JPG" width="480" /></a></div>
It stands up to it better than porcelain does in the end, although is much more prone to thermal shock in the cooling, so I must be careful not to open the kiln until it is fully cooled. The handle has not warped at all, which is a breath of fresh air after so many faults in my porcelain tea pots. It is also a really nice deep russet brown with a few iron speckles, similar to Japanese tea ware I'm inspired by. Now I'm ready for the actual teapots to fire.Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-12366039143485236802012-03-24T20:28:00.002+00:002012-03-24T20:28:21.645+00:00Notes to selfSubmit photographs of my teapots for the 500 Teapots book: <a href="http://www.larkcrafts.com/wp-content/uploads/2010/05/500-Teapots-call-for-entries1.pdf">http://www.larkcrafts.com/wp-content/uploads/2010/05/500-Teapots-call-for-entries1.pdf</a><br />
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Submit proposal to Junction Chapel Ash urban arts festival: <a href="http://junctionwolverhampton.files.wordpress.com/2011/07/junction-artist-brief-final-110312.pdf">http://junctionwolverhampton.files.wordpress.com/2011/07/junction-artist-brief-final-110312.pdf</a><br />
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Download solidworks software via Wolf to develop virtual teapots: <a href="http://www.solidworks.com/sw/education/SDL_welcome.html">http://www.solidworks.com/sw/education/SDL_welcome.html</a>Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-81962369191734248602012-03-19T01:18:00.002+00:002012-03-19T01:18:33.245+00:00Maybe Rituals are Necessary Social Glue<div class="separator" style="clear: both; text-align: center;">
<a href="http://imgs.xkcd.com/comics/valentine_dilemma.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://imgs.xkcd.com/comics/valentine_dilemma.png" width="600" /></a></div>
<br />Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0tag:blogger.com,1999:blog-8650608054860430592.post-56531734201629131462012-03-18T22:13:00.003+00:002012-03-18T22:13:50.969+00:00Blackwork Embroidery<div class="separator" style="clear: both; text-align: center;">
So, I decided to go and browse blackwork for inspiration :)</div>
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Here is how shading is achieved using one particular pattern. Blackwork uses an even thread count, and stitches go between the threads, so you're basically working on a grid, and using any variants of grid based patterns.</div>
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<a href="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.theunbrokenthread.com/blog/wp-content/uploads/2010/11/IMG_5242-500x333.jpg&sa=X&ei=PVRmT6TOHtDf8QPatbGMCA&ved=0CAoQ8wc4WQ&usg=AFQjCNEisVU76eR-MKB581tDPoYlU0F3xQ" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="425" src="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.theunbrokenthread.com/blog/wp-content/uploads/2010/11/IMG_5242-500x333.jpg&sa=X&ei=PVRmT6TOHtDf8QPatbGMCA&ved=0CAoQ8wc4WQ&usg=AFQjCNEisVU76eR-MKB581tDPoYlU0F3xQ" width="640" /></a></div>
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In this case the thickness of the thread has also been varied to create bolder outlines and a greater variation of shading. Patterns are used to define areas and create textures, as well as look decorative of course! </div>
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<a href="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://fc00.deviantart.net/fs70/i/2010/236/0/3/Blackwork_Tudor_Rose_by_gatchacaz.jpg&sa=X&ei=UFNmT6O8Aovw8QOltZSEBA&ved=0CAoQ8wc4OQ&usg=AFQjCNFBdaq0JY9cnRda7dseO3pr_pzZJA" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://fc00.deviantart.net/fs70/i/2010/236/0/3/Blackwork_Tudor_Rose_by_gatchacaz.jpg&sa=X&ei=UFNmT6O8Aovw8QOltZSEBA&ved=0CAoQ8wc4OQ&usg=AFQjCNFBdaq0JY9cnRda7dseO3pr_pzZJA" width="596" /></a></div>
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I really like this fish design as it has a much more free-form feel to it, despite the precise technique. In fact, it is only partially blackwork, as you can see samples of other kinds of freehand stitch in there as well, such as feather stitch and chain stitch. I love the random patchwork effect of patterns, as it can be viewed as a big picture, or you can take your time to explore individual details. Time is like this too. The rich tapestry of life! Everything layers up to create a whole, giving it a depth no element has on it's own. The church I belong to reckons that heaven is always changing and evolving so the angels don't get bored, because if it was possible to be bored, it would no longer be heaven and "perfect". It would also mean they would be unable to move forward in anyway, because everything would be on repeat, so it'd be as good as being trapped. I don't explain it well, but I can fully subscribe to that. Variety is the spice of life, and it is an accumulative thing. It builds up. If it didn't, and everything hit us at once, we'd be overwhelmed and unable to appreciate any of it. We need to be guided through it, but without perhaps we aren't truly free.<br />
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<a href="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.needlenthread.com/wp-content/uploads/2010/08/Blackwork_Fish_55.jpg&sa=X&ei=llNmT7a1N8Xa8QO6wqGPCA&ved=0CAkQ8wc4GQ&usg=AFQjCNFLCXmxqI9ooWs0reKcjlSR_lyq1w" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275" src="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.needlenthread.com/wp-content/uploads/2010/08/Blackwork_Fish_55.jpg&sa=X&ei=llNmT7a1N8Xa8QO6wqGPCA&ved=0CAkQ8wc4GQ&usg=AFQjCNFLCXmxqI9ooWs0reKcjlSR_lyq1w" width="400" /></a></div>
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<a href="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.needlenthread.com/Images/Projects/Blackwork_Fish/Blackwork_Fish_28.jpg&sa=X&ei=DVRmT8uFOcW38gOfn5GbCA&ved=0CAkQ8wc4OQ&usg=AFQjCNFEUr_tSzYvi-56TVqvgXW0XhfXYA" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="335" src="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.needlenthread.com/Images/Projects/Blackwork_Fish/Blackwork_Fish_28.jpg&sa=X&ei=DVRmT8uFOcW38gOfn5GbCA&ved=0CAkQ8wc4OQ&usg=AFQjCNFEUr_tSzYvi-56TVqvgXW0XhfXYA" width="400" /></a></div>
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I think this peacock is great with the subtle additions of colour. Blackwork is sometimes exceuted in other dark colours as well as black, and the green and gold really set the black off here. It's interesting how much this design looks like it's been pixelated on a computer because of the scale, for me the image is torn between being terribly traditional and yet really modern somehow.</div>
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<a href="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.berlinembroidery.com/images/tlpeacock.jpg&sa=X&ei=2VNmT9anDojV8QOC45CUCA&ved=0CAkQ8wc&usg=AFQjCNHfbsFS__Ca04zyZh9iAT5Lr0vD3w" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.berlinembroidery.com/images/tlpeacock.jpg&sa=X&ei=2VNmT9anDojV8QOC45CUCA&ved=0CAkQ8wc&usg=AFQjCNHfbsFS__Ca04zyZh9iAT5Lr0vD3w" width="297" /></a></div>
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This one achieves curves and flowing lines despite being made up of geometrical patterns and straight lines. It also has a vaguely Japanese feel due to the circular flowing abstract design.</div>
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<a href="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.wiehenburg.de/resources/Blackwork-Flower.jpg&sa=X&ei=TlVmT-q5G8r_8QOtwOimCA&ved=0CAkQ8wc&usg=AFQjCNHAz5b38paCWbJlAR77tyYnw39Fhg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.wiehenburg.de/resources/Blackwork-Flower.jpg&sa=X&ei=TlVmT-q5G8r_8QOtwOimCA&ved=0CAkQ8wc&usg=AFQjCNHAz5b38paCWbJlAR77tyYnw39Fhg" width="320" /></a></div>
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The range of effects achieved here are amazing. The artist has somehow created soft and hard outlines (some of the image has a stitched outline, some relies on the end of the patterned area to create an outline), blending, and a really distinct form to create a perfect renaissance effect. This way you could create any kind of image purely out of pattern, similarly to how pixels do.</div>
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<a href="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.chiquitabosque.com/cherub%20BLACK%20WORK_1.jpg&sa=X&ei=oVVmT8zVFcmf8gP70Z3vBw&ved=0CAoQ8wc48wE&usg=AFQjCNF7qmoKayyur_j-WXy84k2g4KB5aQ" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="http://www.google.co.uk/url?source=imglanding&ct=img&q=http://www.chiquitabosque.com/cherub%20BLACK%20WORK_1.jpg&sa=X&ei=oVVmT8zVFcmf8gP70Z3vBw&ved=0CAoQ8wc48wE&usg=AFQjCNF7qmoKayyur_j-WXy84k2g4KB5aQ" width="462" /></a></div>
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<br />Emily Rosehttp://www.blogger.com/profile/02262524193865746007noreply@blogger.com0