ya know, somehow it never occurred to me you'd have to get up and move the camera for each angle chage! i just assumed you had many cameras and now i feel silly. i appreciate the artistry put into your videos even more now. i'll definitely be counting the number of cuts next time i watch
They way they sliced and stacked up for the mixing, it makes it look like forbidden lunch meat. Or maybe I am just hungry. 😅 Either way, thank you for the continued videos. It is so fun to watch you experiments!
As always, such impressive work. Beautiful results, but there are also so many details that show just what kind of mastery you have of your craft, from the speed and precision with which you centre and open up your clay, to how you're able to construct these complex forms in a material that is so incredibly flexible and fragile when wet. Already looking forward to the next video!
Can’t wait to see these finished Florian! Although I find myself loving the look of freshly trimmed pieces almost just as much! Also thank you for the tip about fixing the bottom of the pots, definitely tucking that one away. 😊
Thanks for the video, and fantastic work as always! Have you ever considered making a set of 3 pots, where each successive pot is larger and the outermost angle between the bottom and middle slanted sections lines up (vertically from the table's surface) to the innermost 'collared in' section of it's neighbor? Words are difficult and I don't have the vocabulary to express this concept easily. Please allow me to attempt an explanation. Let's say pot #1 has sections A, B, and C. A is the section at the bottom, while C is at the top. A slants outward, B slants inward, and C goes outward again. (This is your style and it's incredible, which is why I would never even attempt such a thing and why I'd rather suggest you try it). So, Pot #1 will be the smallest, with Pot #2 being larger than #1 but smaller than the final pot, which is #3. Pot #1's section C's top edge (AKA the height of Pot #1) is at the same height from the table as where Pot #2's Section B and C join. Then, Pot #2's height is what sets the same joint height for pot #3. This is a convoluted way to explain the concept, but I do hope you understand. I think they'd look really pleasing to the eye being lined up on a shelf this way, as your eye would naturally flow from one pot to the other as the straight lines would make almost a 'lightning bolt' pattern in the 'negative space' between the pots.
With these scraps I'll place them into my normal reclaim. The bits of iron will get dispersed into a much larger batch of stoneware and my work might appear more speckled for a while. But with the bronze and pure oxide from the steel you may have seen in my Instagram, I'm keeping those separate as I've heard bronze can melt through pots and clay, so I need to be more careful with that.
I really love this video. Can this technique be use in electrical firing. I can see it looking real in gas or wood. Also wanted to know if there is one major tip you could tell us when using flame to set a piece.
I love your tip on how fix a hole in the bottom of your piece. Love the shapes! Will you add the leftover clay into your regular bucket of reclaimed clay?
Have you thought about a videography/photography student to change your camera(s) around on filming days? And I agree with previous comments. I really appreciate the details of these videos even more!
I had a idea wile watching this video, Have you ever thought about creating a set of ribs you use only on specific fourms you throw in repetition like bowls or one type of medium pot?
That works when you essentially throw it to the proper shape, and simply refine and double check it with the custom ribs. When a rib is perpendicular to the surface, it tends to scrape the clay away rather than stretch it to shape. So it’s more practical to either make the curves fit when they’re tilted from the surface, OR intentionally scrape the clay when it’s firm enough for trimming. Industrial pottery uses custom ribs and forms, under leverage or hydraulic pressure, to “throw” pots identically. But it’s a different dynamic than handmade work.
@@charlieevergreen3514 I know you couldn't use just the rib for all of it but it would save a good 15 seconds in the later refining and compressing and over 100 blows it just seems like a good investment.
Nice trick/tip to fix pierced bottoms. I'll keep it somewhere in my head for if the right moment comes. Eager to see how these experiments adding things and mixing clays come out of the kiln
I am sure people constantly ask this......but what is your usual clay.....it's such a lovely colour. Caught the last day of the exhibit at YSP today, which was great and took the opportunity of buying your book, so looking forward to delving into that. Generally many thanks for all of your fantastic videos, they've been such a pleasure for me and my wife to watch.
ya know, somehow it never occurred to me you'd have to get up and move the camera for each angle chage! i just assumed you had many cameras and now i feel silly. i appreciate the artistry put into your videos even more now. i'll definitely be counting the number of cuts next time i watch
They way they sliced and stacked up for the mixing, it makes it look like forbidden lunch meat. Or maybe I am just hungry. 😅
Either way, thank you for the continued videos. It is so fun to watch you experiments!
Looking forward to seeing them fired!
As always, such impressive work. Beautiful results, but there are also so many details that show just what kind of mastery you have of your craft, from the speed and precision with which you centre and open up your clay, to how you're able to construct these complex forms in a material that is so incredibly flexible and fragile when wet. Already looking forward to the next video!
Can’t wait to see these finished Florian! Although I find myself loving the look of freshly trimmed pieces almost just as much! Also thank you for the tip about fixing the bottom of the pots, definitely tucking that one away. 😊
Florian! I just started your book, it is cozy and the phots are beautiful!
I've never crossed paths with your fisld , but the color grading and your film making skills makes me watch your videos
Beautiful work
Thanks for the video, and fantastic work as always!
Have you ever considered making a set of 3 pots, where each successive pot is larger and the outermost angle between the bottom and middle slanted sections lines up (vertically from the table's surface) to the innermost 'collared in' section of it's neighbor?
Words are difficult and I don't have the vocabulary to express this concept easily. Please allow me to attempt an explanation.
Let's say pot #1 has sections A, B, and C. A is the section at the bottom, while C is at the top. A slants outward, B slants inward, and C goes outward again. (This is your style and it's incredible, which is why I would never even attempt such a thing and why I'd rather suggest you try it).
So, Pot #1 will be the smallest, with Pot #2 being larger than #1 but smaller than the final pot, which is #3.
Pot #1's section C's top edge (AKA the height of Pot #1) is at the same height from the table as where Pot #2's Section B and C join. Then, Pot #2's height is what sets the same joint height for pot #3.
This is a convoluted way to explain the concept, but I do hope you understand. I think they'd look really pleasing to the eye being lined up on a shelf this way, as your eye would naturally flow from one pot to the other as the straight lines would make almost a 'lightning bolt' pattern in the 'negative space' between the pots.
Thanks!
Thank you so much Sophia! That's very very kind of you.
Hello Florian
When you are doing experimental blends do you segregate your scaps or do you put everything in your reclaimed material?
With these scraps I'll place them into my normal reclaim. The bits of iron will get dispersed into a much larger batch of stoneware and my work might appear more speckled for a while. But with the bronze and pure oxide from the steel you may have seen in my Instagram, I'm keeping those separate as I've heard bronze can melt through pots and clay, so I need to be more careful with that.
You must have the smoothest skin ever on your hands
I really love this video. Can this technique be use in electrical firing. I can see it looking real in gas or wood. Also wanted to know if there is one major tip you could tell us when using flame to set a piece.
The clay kind of looks like forbidden ham, when you was slicing and layering them during the mixing stage.
I love your tip on how fix a hole in the bottom of your piece. Love the shapes! Will you add the leftover clay into your regular bucket of reclaimed clay?
動画ありがとうございました。
For some reason, when the clay slices were stacked on top of each other my brain went “no that’s not clay, that’s bad sandwich meat”
Have you thought about a videography/photography student to change your camera(s) around on filming days? And I agree with previous comments. I really appreciate the details of these videos even more!
these should look nice when glazed and fired.
How do you avoid contaminating in your slip bucket and trimmings with the iron fillings?
Hi Florian,
I love your work,
Who trained you? I see in your vids many elements of the "Leach tradition" techniques...😊
I had a idea wile watching this video, Have you ever thought about creating a set of ribs you use only on specific fourms you throw in repetition like bowls or one type of medium pot?
That works when you essentially throw it to the proper shape, and simply refine and double check it with the custom ribs. When a rib is perpendicular to the surface, it tends to scrape the clay away rather than stretch it to shape. So it’s more practical to either make the curves fit when they’re tilted from the surface, OR intentionally scrape the clay when it’s firm enough for trimming.
Industrial pottery uses custom ribs and forms, under leverage or hydraulic pressure, to “throw” pots identically. But it’s a different dynamic than handmade work.
@@charlieevergreen3514 I know you couldn't use just the rib for all of it but it would save a good 15 seconds in the later refining and compressing and over 100 blows it just seems like a good investment.
@@NathanielR-d1f Yeah, I was meaning to agree with you, and chat about the dynamics of it. No worries. It’s a valid idea, and worth exploring.
6mm Trespa bats?
Here on RUclips is it also useful to like and share the video? I want to help more people watch these incredibly relaxing videos but I don't know how.
It is indeed! 🖤
Nice trick/tip to fix pierced bottoms. I'll keep it somewhere in my head for if the right moment comes. Eager to see how these experiments adding things and mixing clays come out of the kiln
I am sure people constantly ask this......but what is your usual clay.....it's such a lovely colour. Caught the last day of the exhibit at YSP today, which was great and took the opportunity of buying your book, so looking forward to delving into that. Generally many thanks for all of your fantastic videos, they've been such a pleasure for me and my wife to watch.
I like this
Would love to see these after being fired