How to do the Impulse Pattern using slip.

really quick video on how to do the impulse pattern um the impulse pattern is done using slip dots and then the glaze flows around the slip so to do my dots i use azim slip trailer one of the bottles with adjustable nozzles so you can control how much comes out with the nozzles and i'm using the fat one which i think is a millimeter in a bit and the real trick to this is getting the slip consistency right and what you're looking for is so that you get this bead uh it's not formed any sharp peaks so if you did a dot and pulled up it rounds itself off that's what you're looking for if it goes to sharp peaks it will dry with sharp peaks and when they're fired they'll poke through and it'll be uncomfortable to hold and ceramics can go to a point that's sharp enough to cut you so it's not ideal um you don't want it too runny because the water content will mean that it shrinks so you want a middle ground like that where it beads up as it shrinks it'll maybe go down by a third but it doesn't form sharp peaks and it doesn't disappear completely so that's what you're aiming for okay so here's the piece um this is basically bone dry now you can do it to blend dry you can do it to leather hard i wouldn't advise trying to do it before just because you want the clay to absorb the slip at least a little bit as you're putting it on so you can turn the piece if the slip stayed runny uh as you turned it round the dots would want to keep running this way by the time they get vertical they've already set enough that they're not going to move so relatively dry piece uh dots and then that line is drawn on in sharpie um it will burn off in the bisque firing you see me do it quite a lot most of the patterns have a sharpie on it in some form or another and it doesn't affect the the final piece so make sure you've got plenty of slip and no air at the bottom and then you want to kind of do it without pausing too much because every time you release the pressure on the bottle air will go back in and the worst thing is to have to when you get an explosion quite i wish i had picked a better point to record from i can't really you want to uh rest your arms on things as much as possible so i'm using the table edge you don't want to just hold it floating in air because you want to be more precise than that so like throwing the more you can work with your two hands together the better so i do dot every centimeter or so and there's not too much you can do wrong with the dots you can make them uh have a wider base by pushing down to the piece before squeezing and you can make them have a narrower base by just touching the surface if that makes sense i'll show you not on the piece in a second get a scrap bit of clay actually you can see what i mean about those dots if they were runny um you'd have issues when you got them to vertical and with mugs they'd be on the outside so there's always the risk that you'll knock them as you're as you get around to the far side you're not the ones you started with so having them dry relatively quickly is good and there shouldn't be enough of a a difference between the shrinkage of the two because the dots are so small and they should stay put you can't do it for bisque though because they will as they shrink enough off right so this is the other crucial bit as you come around to the end the easiest way to get everything balanced is to stop that's three dots worth out and rather than trying to do three dots and get them spaced right you can absorb a little bit of movement in either direction if this was slightly further out or slightly further in by halving it and then halving it again so go halfway and then half and half and that means that even though the gaps aren't perfectly identical because it's divided over three you don't actually well it's actually four gaps but um you don't see the difference it's not one that's wrong it's three that are slightly wrong so it's more forgiving that way and then you repeat the whole thing this is for the way that i ended up doing the impulse which is two lines staggered but obviously if you're doing a different pattern you just do whatever you're doing i wouldn't normally there's difficulty with recording as well this is not the most comfortable position to do the dots in but i'm trying to keep it so the camera can see it so find a more comfortable position where you can brace against things and the positioning becomes easier and then the whole point of these is that they'll give the glaze something to flow around which will break up the movement in places that aren't particularly affected by the slip but this is using my black slip which is colored with iron chrome cobalt and manganese and some glazes will pick up colors from that so i'll post a few fired examples of pieces after this including some that pick up the colorants because they're the they're the more interesting ones in a lot of ways and then obviously you can adjust what color you use you could do this with white slip and then it'll just uh obviously you see the the color of the slip break through but then you won't get the color effect you'll just get the pattern or you can do it with just cobalt and it'll pick up just the blue generally low silica and aluminus are kind of semi-crystalline all very runny glazes will pick up the color more and move with it but um yeah depends on the glaze and here is a demonstration what i mean by dots so find where focus is so you either if you are exaggerated you can either squidge right to the bottom and then flatten it down and you'll end up with a wide base or you can go the opposite way and try and get the smallest point of contact you see a similar amount of slip but a very different profile um which one you do is entirely up to you i generally go for the wider base version of it um because i feel the the flatter roundness is more comfortable you don't want it sticking out of the glaze too much but that will break up the glaze more dramatically because it's taller and well in some respects it will obviously that one forces the glaze out wider that one the glaze can't flow over the top and so it will break through more and just depends what you want really um but just to something to be aware of when you're applying it that it's not just how much you put on it's how you put it on that has an effect here's a demonstration again squidge around the bottom or don't and you get different dots and then you can see how it rounds even if i pull it to a peak it rounds down and that's what you're looking for in the slip a thicker slip would stay at a peak and the peak would stay there when you fired it and so that's it that's um basically the entire all the things that i think you've got to consider when doing that and then it's just a case of finding which style works for you and then what glazes you want to put over the top of it you

Channel: Old Forge Creations

Views: 47,129

Keywords: pottery, clay, potterylove, potterylife, kilnfolk, ceramic, ceramics, contemporaryceramics, handmade, handmadepottery, createmakeshare, glaze, cone6, wheelthrown, wheelthrowing, potteryvideo, satisfyingvideo, oddlysatisfying, satisfying, oldforgecreations

Id: Q76SPn4jlso

Length: 10min 40sec (640 seconds)

Published: Wed Sep 16 2020