Tag Archives: glaze

The Complete Squid Family

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Rather than the acrylic surface that you saw on the bears, I chose glaze for the squid, both to set them apart from Bob and his world and to give them the look of being wet.  Above are shots of them alone on a clean back ground and below they are in the house with the magic box on.  It gives a much better feel for the quality of light we will be going for in the video.

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Graffiti Pots

One of my favorite aspects of the work of Foxy-Wolff is the way that the large project can contain so many splinters and still remain whole.  The intent, scope and heart of all the projects lead to the interior of the next project and are connected back to projects that are many years past, even before the beginning of our collaboration. The graffiti pots are especially one of these projects.  Gabe and I began working together rather later in our artistic lives.  For myself, I was focused on ceramic entirely.  Especially working as a studio potter and sometime sculptor for almost 20 years prior to Foxy-Wolff.  For Gabe about the same number of years have been given to the study of drawing and painting.  Within those time spans we each developed interests.  For me, the history of human culture through clay sculpture and pottery, for Gabe, Graffiti and street art have been important influences.  For this group of vases we unite those years of experience and differing interests into a unified group of pots that are setting the tone for the work we intend to make for the next year at least.IMG_4614I threw the pots off the hump with the clay that we made this winter.  The influence for the form comes from the arts and crafts movement.  Not that these pots are intended to copy work from the period, but their forms and handle attachments reflect fashionable conventions from the time.   This period has had the strongest influence over my sense of beauty in thrown forms and they are shapes I make often.

once the pots were trimmed, handled and bisqued, they were ready for surface treatment and their first firing.  The first step in this process is to spray paint the surface of the work.  We use a lead free industrial grade aerosol primer for this.

After the paint dries the pots are glazed.  The paint acts as a resist and an uneven glaze surface over the paint is encouraged.IMG_4593

IMG_4592Following the glaze application the pots are ready for firing

While I was focused on design and execution of the pots, Gabe was working on the tags for the decals.  Concerning the work Gabe said “I want the work to look as if it was taken from the unknown origins collection in a Museum and used like a wall is used by a graffiti artist”.    Here is a group of photos that reveal his process in designing1324Once a design is ready on paper it can be moved to the computer for extensive preparation in photoshop for becoming a decal.  These were printed by the sheet and then cut out.  Gabe chose a repeating order for all the pots.  Even though some of the small pieces could only hold 3 of the tags, the order was held throughout the decaling process to prevent overuse of an image56Once the pots were fired, they were ready to receive their decals

IMG_47798Decaled, they were ready for their third firing to set the decals into the glaze.910The completed pots exceeded our expectations and have set the tone for future work.  These are for sale through the studio, reach us through our “About” page.cropped-graffiti-pots1-copy-21.jpg

Bits and Pieces

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Gabe worked on glazing some pendants for firing this week and it seemed like a great invitation to write a bit about them and the process involved.  The pendants are the back bone of the Foxy-Wolff project.  Our intention is to make beautiful, affordable jewelry for every day wear.  The pieces are glazed in a range of colors and decaled with 16 different images.  IMG_4351

This is a display of the pendants at a recent holiday trunk show we did for another businesses open house.  It is a pretty good representation of color range, and many of the images are shown as well.  After two years of research and development, we have the rules and process fairly dialed.

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In the begging of the project we played around quite a bit with clay bodies, glazes and materials for generating images.  We knew we would eventually use decals, but the printer was too expensive and we didn’t want to wait to begin.  Out early best case scenario was black underglaze pencil on Laguna’s Babu porcelain.  While we always intended to fire to cone 6, the cone 10 porcelain gave us the best white.  It was also something that I had a bit of so we could proceed without having to make an order.  Once the image was drawn on the bisque the pieces were glazed with a clear and fired.  39752-0

We were not so systematic about size on the early pieces because the images were generated individually and could suit a range of sizes and weights.  We still have a few of these very early pieces in mix, which is wonderful for showing another technique, though these are a bit more expensive as Gabe put a massive amount of time into each tiny piece.

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In the early days we were very divided in the work we did for the project, I made things and gabe decorated, glazing has always been done together as it is so much work.  In the photos above you can see a couple examples of the bits before their first firing.  Now we are both pretty fully engaged in all aspects of production though Gabe still renders all the drawings. This allows the work to feel cohesive, and provides a sense of identity for the pieces with so many different image choices.  Drawn decal images are not the only choices though, we are still developing stamped images that will better work with glazes that either don’t show the decal or recolor to badly in decal firing.  Above you can see the only finished design, a relief version of the “Hail” image.  Each piece begins with a specific gram weight so that the pre sized decals will work with minimal alteration.

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Following the first bisque firing we glaze the pieces and prep them for the kiln.  These “towers” were designed to allow the fully glazed pieces to hang in firing and maximize kiln space by pushing the pendants into the vertical space. IMG_3182

After firing the pieces receive their decal.  Each one is hand cut and applied to the glaze surface then allowed to dry.  They are then reloaded on the the towers and fired again.IMG_3270 

After the third firing, they are ready to have the hardware applied and be worn.  Here I am wearing two of the “Storm” swirls.  If you are interested in purchasing pendants, please contact us through information provided on the About link.  Each necklace sells for 15.00 dollars plus shipping if necessary.