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Text of the page (random words):
e by goldmark gallery of jim malone here is the caption from the video jim malone lives and works in the beautiful and remote cumbrian countryside our film provides a rare insight into the working life of one of britain s most respected potters malone talks about his throwing and glazing techniques as well as the decorating of pots in the traditional korean style hakeme he fires alone over a 24 hour period email this blogthis share to x share to facebook share to pinterest november 30 2018 tile love stoneware tiles stamped and inlaid with porcelain in progress email this blogthis share to x share to facebook share to pinterest can t stop won t stop but i have to view this post on instagram carving and stamping tonight after a few weeks of potting it s time to stop making and fire the kiln but it s at exactly this moment when i wish i could just keep making because the momentum has finally built but paradoxically it s probably precisely because of this deadline that i am engaged in the process ceramics a post shared by michael kline klineola on nov 29 2018 at 8 46pm pst email this blogthis share to x share to facebook share to pinterest november 26 2018 washing mugs on a monday email this blogthis share to x share to facebook share to pinterest november 17 2018 handles by florian gadsby i don t make handles exactly like this but i might try to modify on the next batch of mugs for my holiday sale online 12 10 18 view this post on instagram floriangadsby a post shared by instagram pottery videos pottery_videos on may 9 2018 at 1 17pm pdt email this blogthis share to x share to facebook share to pinterest november 15 2018 plate slide show here s a sampling of my favorite plates from firing no 20 click the arrows to see all of the plates plates are definitely my favorite shapes to make and these were really fun the painting was challenging on some of these new perimeters but exciting to try patterns i m super grateful that they successfully survived some major explosions just a couple of shelves up view this post on instagram a post shared by michael kline klineola on oct 11 2018 at 10 27pm pdt email this blogthis share to x share to facebook share to pinterest buncheon breakdown finally a definitive explanation of the specific techniques under the buncheong umbrella thank you huh sangwook and moon yujin from huh sangwook website what is buncheong buncheong and techniques the word buncheong is short for bunjang hoecheong which is the korean for decorated celadon ko yu seop coined this word to denote the type of korean ceramics that takes on a grayish green color on the body after glazing and firing overlaid with white through the application of white clay slip it is the variations in decoration according to the white slip technique that characterizes the buncheong style as for the clay and the glaze they are basically a continuation of celadon but the clay body for buncheong has a lower iron content than celadon clay making buncheong brighter in colour variations in the making process from region to region and in different periods were also factors in the diversification of buncheong as a style at the end of the fourteenth century the quality of goryeo celadon was decreasing due to its production in large quantities and its commercialization the transition from the goryeo dynasty to the joseon dynasty precipitated some changes in style and new technical trends became apparent in the production of celadon then improved quality in materials aesthetics and decoration techniques brought about a definitive change in goryeo celadon buncheong evolved in this context and that is why all its elements belong to goryeo celadon although buncheong is essentially made with the same clay and glazes and decorated with the same techniques its forms and expressions are still quite distinct from goryeo celadon in particular the method of applying white clay as slip is what separates buncheong into two broad categories more precisely depending on the representation techniques used buncheong can be classified into seven types the first category called sanggam buncheong is made by applying intaglio before the clay dries then inlaying with white clay there are two types in this category one is simply called the sanggam type and the other one is the inhwa type some of the sanggam inlaid type is considered to be in the joseon style and is not clearly distinguishable from later goryeo celadon the sanggam type buncheong from the joseon period on the other hand is inlaid with shapes rather than lines has new motifs as decoration and the inlaid area shows the tendency of becoming larger than on goryeo celadon inhwa stamping in this case the stamping of floral motifs buncheong is different from the sanggam type in the way that its intaglios are carved using a different technique using a stamp to carve motifs required much less effort than the sanggam technique in which every single motif had to be carefully carved one by one inhwa buncheong could be produced in large quantities and therefore it is considered pivotal in the researches on buncheong ware production of that period some inhwa buncheong was produced mainly to supply the royal family or the upper class with its production controlled and supervised directly by a governmental institution and the potter s name added to the vessel consequently the quality and shape of inhwa buncheong was kept uniform throughout the country without having local characteristics in contrast to the other types of buncheong the other category bunjang buncheong creates an expressive effect with decorative motifs through the application of white clay slip on the surface of the body or applying slip to the whole piece a kind of reversed sanggam technique bakji sgraffito is applying white clay slip to the entire surface usually with a brush then scraping out the clay inside of the intended design this delivers a contrast between the clay body and the slipped white clay bakji buncheong can be considered to be related with cizhou ware because of their technical similarity but it would be more logical to understand it as being naturally conceived through the shape sanggam technique johwa incised buncheong is also called sunhwa lined intaglio because its motifs are incised lines it was usually applied with bakji techniques and was popularly produced in jeolla province the southwestern region of the korean peninsula in the late fifteenth century cheolhwa underglaze iron brown buncheong involves brush painted designs with red clay containing iron and is also called gyerongsan buncheong because it was mainly produced around gyerong mountain close to gongju city it was produced from the late fifteenth century to the early sixteenth with the brush painting technique acquired from the blue white porcelain that was being largely produced in the region of gwanju in gyeonggi province but the aesthetics of the painting on cheolhwa is so different from that of the blue white porcelain decorated by professional painters at the royal kiln with an impression closer to modern taste guiyal brushing buncheong is decorated only with white clay slip applied with a guiyal which is a big brush like tool it is the expression of brush texture which characterizes guiyal buncheong dumbeong dipping plop is a korean onomatopoeic word to represent the sound made when something touches a liquid before dropping into it dumbeong buncheong is made with a dipping technique to apply slip to the inside and the outside of the vessel at the same time by holding its bottom and soaking it upside down in the slip so usually the bottom part of many dumbeong buncheong stays uncovered with white in the last phase of the joseon buncheong which had been emulating the white of the joseon white porcelain guiyal and dumbeong buncheong also were produced mostly in jeolla province in the sixteenth century extracts from dialogue becoming buncheong celadon adorned writtenhands 2011 an introductory book to buncheong ceramics by moon yujin huh sangwook painting large handbuilt forms email this blogthis share to x share to facebook share to pinterest november 14 2018 does this bowl hold water i m sharing this essay by bryan hopkins that was shared on facebook by adam field bryan describes the hoops craftspeople jump through when they and their work is on exhibit email this blogthis share to x share to facebook share to pinterest huh sangwook staccato huh sangwook still life 2016 i found the beautiful pottery by huh sangwook today click on the image above to see more email this blogthis share to x share to facebook share to pinterest older posts home subscribe to posts atom pages guest bloggers search this blog the archive 2019 2 april 1 can you handle january 1 2018 133 november 11 october 19 september 19 august 12 july 11 june 28 may 33 2016 1 january 1 2015 37 november 1 september 1 june 3 may 2 april 9 march 15 february 3 january 3 2014 71 december 1 november 2 october 2 september 3 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