Brackers Good Earth Clays

Veronica Watkins – May Featured Artist

claygirl — Thu, 02 May 2013 18:16:22 +0000

On her Second Saturday, Veronica will be demonstrating thrown and altered pieces.

Veronica’s Artist Statement:

My work reflects a fascination with utilitarian objects. The wonder of pottery is that it has the potential to become the user’s companion each day. It is taken into the home, and into the hand of the user—a very personal space. It is considered many times, and on many levels, both consciously and subconsciously.My formal concerns incorporate the use of both organic curves and geometric shapes. One of Bernard Leach’s laws of pottery form is “Curves for beauty; angles for strength” (A Potter’s Book pg. 24). I strive for a marriage of these two. I want the eye to move around the forms, which is done through the arrangement of planes and edges. I pursue strong forms that utilize abstract universal symbolism, having plural meanings that relate to landscape and architecture. My goal has been to create forms that invite appreciation of spaces, both inside and outside.
I have discovered that there are physical processes, which make me feel personally connected to my work and also challenge my skills as a craftsperson. I find that my work and ideas are often led by the process in which I am working. Recently these processes have been mainly throwing on the wheel and then altering the forms with the addition of some hand building. My approach to surface and color are painterly and explore the power of juxtaposition of color and texture. Experimentation and improvisation continue to be important to me as I am repeatedly asking “What if?” as I work through each form. I sense a balance between the rational and spontaneous during the making process. My challenge is to consider the history of pottery and try to add something personal to it through my work.

I currently reside in Maryville Missouri where I teach at NWMSU as an adjunct instructor. I hold a BFA in Ceramics from Northwest Missouri State University and an MFA in Ceramics from Southern Illinois University at Carbondale. Along with teaching, I’ve been raising a family and making artwork.

AMACO HF-22 Texture Blue – May Mid-Fire glaze of the Month

claygirl — Wed, 01 May 2013 16:43:05 +0000

AMACO’s HF22 Texture Blue is a lovely pastel Blue-Grey with green undertones which provide visual texture. On smooth surfaces, the glaze appears to be fully opaque, however, over a colored clay body or over areas with texture, the glaze will break and show some translucency, making it very versatile. It is also lovely when layered with other glazes, especially stronger ones, as it will subtly tint and slightly mute the partner glaze, much like a soft focus lens in a photograph.

Retail price of AMACO Texture Blue $11.40

Special Glaze of the Month price $9.00

CLICK HERE TO BUY THIS GLAZE ON SHOP.BRACKERS.COM

Spectrum 935 Purple Haze – May Low-Fire Glaze of the Month

claygirl — Wed, 01 May 2013 15:44:44 +0000

Purple haze all in my brain
Lately things just don’t seem the same
Actin’ funny, but I don’t know why
‘Scuse me while I kiss the sky…

Yeah, everyone was already thinking it…and maybe even humming it (and yes, please note that it IS “while i kiss the sky”, NOT “while I kiss this guy”). I know that every time I start to unscrew the cap, I hear those first guitar strains in my mind. In fact, it may only be due to my love of Jimi Hendrix that I finally succumbed and selected a purple glaze to feature at all. Being a die-hard KU fan, I tend to prefer the Crimson and Blue of my alma mater to the purple of the school just down the road. Spectrum’s Purple Haze is really more of a lovely shade of lavender with bold black smudges and a few tiny royal purple speckles throughout. On vertical surfaces, the smudges elongate to form these shooting star-esque trails, and if you look closely, you’ll notice a hint of green in the trails within the black, increasing the visual depth of the glaze. On flat surfaces, the green appears like a halo around the black smudges. Pick up a pint today! Special price, all through May…

Retail Price $18.00/Pint

Glaze of the Month price $14.00/Pint

CLICK HERE TO BUY THIS GLAZE ON SHOP.BRACKERS.COM

Copper – May Raku Glaze of the Month

claygirl — Wed, 01 May 2013 14:49:28 +0000

I have to admit, when I chose Laguna’s R13 Copper for May’s Raku glaze of the month, I really wasn’t looking forward to it….a whole pile of copper penny pots…exciting. It’s not that I have anything against a good copper penny. It’s really nice. I particularly like to use a good flashing glaze as an accent on a piece. But when I do my glaze of the month tests, I try to show the featured glaze as the main focus of each piece, and as I mentioned, that makes for a lot of shiny metal surfaces. So I can’t tell you how pleasantly surprised I was by the results. I was blown away by the deep blue-greens blending into yellows, and subtle golden metallics that edge toward magenta & purple when reduced in Excelsior. With leaves as the reduction material, dark greens edging toward silvery-metallic was predominant, while the sawdust provided more of the results I expected – flashy copper metallic with the deep purple and blue iridescent tones. Laguna’s R-13 Copper has earned itself a spot in my regular repertoire of Raku glazes, and it can be part of yours as well, with our special glaze of the month price.

Laguna R-13 Copper 5# bag Regular Price: $12.50

Bracker’s Glaze of the Month Price: $11.00

Kilns 202

claygirl — Sat, 27 Apr 2013 16:14:02 +0000

How do kilns work, and why do you care? In this 3 hour in-service, Bracker’s will answer those questions and give teachers a complete overview of what happens during a firing. Additionally, we provide in-depth information on the safe and proper operation of ceramic kilns, local code requirements, routine maintenance, and troubleshooting.

The cost of this inservice is $175 for locations within 50 miles of Bracker’s Good Earth Clays

Check your exact distance here For locations beyond 50 miles, we will add drive time of $15/hour and mileage of 55¢/mile beyond the 50 mile mark.

Ceramics 101

claygirl — Thu, 25 Apr 2013 20:04:13 +0000

In this 90 minute session, teachers will be given a complete overview of ceramics with attention to firing ranges, clay bodies, kiln loading and firing, glazes, glazing techniques, glaze defects & adjustments, and a bit of glaze chemistry, with opportunities for questions throughout.

View our 2 minute video below for a few examples from the full presentation:

The cost of this inservice is $100 for locations within 50 miles of Bracker’s Good Earth Clays

Check your exact distance here For locations beyond 50 miles, we will add drive time of $15/hour and mileage of 55¢/mile beyond the 50 mile mark.

Earth Moves: Shifts in Ceramic Art and Design

claygirl — Tue, 23 Apr 2013 15:22:51 +0000

Call for submissions now open! Entry fee for NCECA members only $20 (Non members $35 or BECOME A MEMBER)

NCECA and the Arvada Center are organizing a blended invitational and competitive ceramic exhibition for artists from the United States. This format brings established reputations and emerging talent to bear on the selected theme and adds vitality and fresh perspectives to an ongoing dialogue.
The exhibition is curated and organized by NCECA Exhibitions Director, Linda Ganstrom; the Arvada Center’s Ceramics Program Coordinator, Bebe Alexander; and the Arvada Center’s Exhibition Manager and Curator, Collin Parson.

Concept
Our world is in flux, constantly moving and changing faster than ever. “Earth Moves: Shifts in Ceramic Art and Design” seeks dynamic, contemporary ceramic works addressing creative responses to current shifts in the artist’s world and work. Ceramic artists are faced with new challenges and opportunities as technology affects their materials, equipment, studio practices and market. From commercial clay bodies and glazes to industrially designed decals and inclusion stains to computer interfaces with kilns; industry is impacting the studio potter in both subtle and dramatic ways. Some new technologies, such as rapid prototyping machines, CNC routers and 3D copiers are shifting the design and production of ceramic work into unfamiliar realms. Oxygen probes and computer controlled kilns affect glaze color through more scientifically oriented firings. Commercially designed stains and glazes reflect the latest trends in color and pattern sensibility. Less obvious, yet equally significant shifts occur as artists use the internet and social media in innovative ways to teach, market and connect with different audiences, as the information age affects both how and why an artist makes and shares their work. From trends influencing the domestic scene in the modern home to societal changes influencing the role of ceramics; the worlds of craft, fine arts, industry, design and education are intersecting with the world of ceramics. “Earth Moves: Shifts in Ceramic Art and Design” challenges artists to consider how they are adjusting their studio practice and products to reflect their changing world and submit work that reveals their “Earth Moves.”

Apply Now

Media and Limitations
All works must be primarily ceramic. Mixed media works will be accepted only if ceramic materials are the primary media, although video documentation of projects involving ceramics will be considered. The curators will make final determinations. Work must fit through a standard door. Floor and pedestal works must be firmly stable. Wall-mounted pieces are limited to 20 lbs per section. Works may only be hung from the ceiling if determined acceptable by facility staff. Work must have been produced within the last five years and not have been shown in previous NCECA exhibitions.

Entry Guidelines
All entries must be submitted electronically through Juried Art Services.

The initial curatorial phase will be accomplished through review and selection of images of works submitted and available for the exhibition. Artists may submit up to five pieces with two images of each work, not to exceed 10 images.

Members fee is $20
Non-Members fee is $35

NCECA membership runs 12 months from the date of joining or renewal. NCECA Membership fees are not included in any event registration. Membership is a stand-alone annual fee. To renew or become an NCECA Member go to: http://www.nceca.net/static/membership_home.php . If you are unsure of your Membership status, please contact kate@nceca.net

Before beginning submission, applicants must be prepared to provide the following:

Biographical statement, up to 100 words

Each work submitted must include the following image details:

Title
Catalogue Statement – up to 200 words addressing the theme of “Earth Moves” as it relates to this piece.
Description – Year Completed, Clay body, materials, decorating and firing methods
Photo Credit (if artist, type in ARTIST)
Sale Status – For Sale or Not For sale
Image #s – Image 1, Image 1 detail = piece 1 w/detail
Image 2, Image 2 detail = piece 2 w detail
Etc. for each subsequent piece up to five pieces
Dimensions (inches) H x W x D
Weight (lbs.)
Retail Price
Insurance Value: 50% of Retail Price

No changes will be allowed once an entry is accepted into the database. Once data is entered in the system, it cannot be altered. Proofread your data carefully as this information will be used to generate the catalogue, insurance and publicity information. Your submission is considered a formal agreement that the work is available for exhibition, accurately described and priced.

Apply Now

Calendar
Detailed information and Online Submittal form: Available February 28, 2013
Online Submittal deadline: May 28, 2013 (midnight PDT)
Acceptance notification: After July 12, 2013
Contracts due: August 5, 2013
Delivery of accepted work: August 26 – August 28, 2013
Exhibition dates: September 12 – November 10, 2011
Return of work: After November 15, 2013

Shipping
Artists are responsible for shipping their work to and from the Arvada Center and insuring it while in transit. Works may be shipped or hand delivered to the Center. Works should be shipped in reusable containers with photographic documentation for re-packing. NCECA will reimburse up to $75 per artist for RETURN shipping; original return shipping receipt and NCECA Reimbursement form required.

Accepted work will be shipped to:
Attention: ”Galleries”
Arvada Center for the Arts and Humanities
6901 Wadsworth Blvd.
Arvada, CO 80003

Insurance and Sales
The Arvada Center will insure all work upon its arrival and until departure under its fine arts policy for the amounts specified by the insurance value listed on the checklist and up to the limits of the Arvada Center’s current insurance policy.

Work may be for sale. The Arvada Center will conduct all sales through their sales gallery. A 50% commission on sales will be split between NCECA and the Arvada Center.

Photography and Permissions
Images of entries may be retained for the NCECA archives. Images of works included in the exhibition may be reproduced in print materials and posted on NCECA’s website, blog and social media. NCECA also reserves the right to use images, biographical materials and artist statements in reports and share them with the media. Images of works in the exhibition may also be shared by NCECA within an image library as part of accessCeramics.org

Various other educational and promotional materials may be created by the NCECA or the Arvada Center. It is understood that works in the exhibition may be photographed, telecast, and reproduced for press and publicity purposes including but not limited to reproduction in newspapers, periodicals, magazines, in television programs and on the internet in connection with the exhibition, NCECA and the Arvada Center.

Participating artists must agree to allow NCECA and gallery visitors to photograph work while on display for educational and publicity purposes.

Catalogue
NCECA and the Arvada Center will produce a color catalogue documenting the exhibition experience through artists’ bios and statements; color images of artwork, and pertinent essays. One catalogue will be sent to each accepted artist after the exhibition ends. Additional catalogues will be available to the artists for printing cost. Images submitted will be used in the actual print catalogue.

Reception
A reception is planned to celebrate the exhibition on September 12, 2013 at 6:00 p.m. to 9:00 p.m. at the Arvada Center. Opening Receptions are always free and open to the public at the Arvada Center.

NCECA
www.nceca.net
866-266-2322 (NCECA Office)
785-628-4273 – Linda Ganstrom

Arvada Center for the Arts and Humanities
www.arvadacenter.org

720-898-7239 – Bebe Alexander
720-898-7252 – Collin Parson

Apply Now

Bracker’s Raku Workshops

claygirl — Tue, 23 Apr 2013 01:43:29 +0000

The Raku Process is a great experience that will quickly ignite an interest in ceramics for nearly anyone.

Learn More about Raku

Raku began approximately 400 years ago in Japan as a result of high demand for roof tile following natural disaster. Tiles were removed from kiln with tongs while still hot and did not break. The name was acquired from a pleasure pallace in Kyoto name Ju-raku-tei, for which Japanese potter Chojiro and his workshop had made roof tiles. Raku translated freely means ‘enjoyment, contentment, pleasure and happiness’. Modern Raku was brought to the United States by potters such as Paul Soldner. Many firing forms based on the original principles behind traditional Raku have evolved, but generally speaking, all involved a fast heating of a bisque-fired pot, a post firing reduction (usually in trash cans filled with combustable material), and then a quick cooling by quenching the still hot pot in water, thus sealing in the effects of the reduction. Results from Raku are usually flashy and colorful. Raku ware is decorative only.

Because of the interactive process and instant gratification, workshop attendees will delight in learning about clay, glazes, design principles, chemistry,physics, history, geography & teamwork in a fun and social environment. The added pyrotechnics provided by our firemasters increase the excitement of the event.

Our Raku workshops can be customized to a wide variety of audiences. Use the tabs below to view more details based on audience. Have a group that doesn’t fit any of these descriptions? contact us with your needs. Chances are, we can create a great experience to achieve your goals.

It often surprises people when we talk about firing Raku kilns with children younger than high school age. We have actually had children as young as 6 years old use tongs to pull pots and place them in the reduction chambers. (OK, granted, it was the child of two of the firemasters) We have done several firings with groups of 4H and Girl Scout troops as young as 4th grade. For this age level, we focus primarily on basic glazing skills, design elements, firing safety, and an understanding of what happens to the pot and the glaze during the firing.

With High School Students, we teach the compete Raku process, including glazing techniques and design philosophy, as well as an explanation of what happens in the kiln. Understanding the Raku firing and post-firing reduction also includes aspects of chemistry and physics. Additionally, we teach the history of Raku, and the evolution of modern Raku in the United States, including important names and style periods, including examples of work.

At the collegiate level, our Raku workshop will cover the basics of setting up a Raku Kiln, including discussion of propane versus natural gas as well as some discussion of building your own kiln or scrounging and converting an old electric kiln. A brief overview of glaze chemistry and formulation will be given as it pertains to Raku glazes, then, an in-depth discussion of what happens during the firing, and instruction on how to read the kiln using color, sound of the burner, and visual cues from the glazes. During the post-firing reduction, we will experiment with a variety of combustable materials and discuss the chemistry behind the oxidation/reduction environments and the changes that are happening to the materials.

with a group of teachers, we will cover setting up the Bracker Raku kiln, including key benefits and common errors in positioning the base and kiln, important information about safety, & proper connection to the propane tank. Introduction to glaze chemistry and information about mixing one’s own raku glazes will be given, and can be expanded at the request of the teachers present. (Many good commercial raku glazes are also available) We will then ignite the kiln, and throughout the firing, we will provide an in-depth discussion of what happens during the firing, and instruction on how to read the kiln using color, sound of the burner, and visual cues from the glazes. We also go over how to use Raku as a teaching tool with students and how to use a community Raku Firing as a program fundraiser.

Have you been to one of our second saturday Raku sessions and had such a great time, you wanted to bring your co-workers or employees to share the experience? If so, then our Raku firing geared toward non-ceramicists will be up your alley. In this version of our Raku workshop, we focus on participant enjoyment. We typically will provide a bit more handholding to ensure that the final product is something that each participant will cherish. We do involve the participants in the firing process, inviting everyone to pull pots from the kiln or run a reduction chamber, which makes for a great team-building exercise as folks work together in the proper firing and reducing of each others’ pots. It seems that someone’s interest is always sparked, and they want to know more. In this case, we are always prepared to offer advanced information in a one-on-one or small group setting.

Pricing in the document below represents workshops hosted at Bracker’s Good Earth Clays. As the document mentions, we can also provide our workshop at your location. Drive time at $15/hour and mileage at 50¢/mile from Bracker’s will be added to the cost of the workshop. The easiest way to find this is to go to google maps and type in the address of your location, then just do the math.

Raku Workshop Pricing (pdf – opens in a separate window)

Glaze Technology Workshop with Ron Roy

claygirl — Mon, 22 Apr 2013 15:43:14 +0000

Join us on June 1-2, 2013 for an informative workshop with Ron Roy. In this workshop, participants will learn why the single oxide approach is so useful working with clays and glazes. A variety of problems will be solved using Ron Roy’s Coursebook (provided in electronic format to all participants), as well as computer software such as Glazemaster and Insight. More complex examples will be solved to further illustrate glaze chemistry. Participants are encouraged to bring recipes and fired examples of glazes for Ron to evaluate during the workshop.

The workshop will run 10am to 5pm both days, and Ron has indicated that he is willing to stay for an hour after each day to answer any individual questions that participants might have.

This workshop is already filling up. Do not delay, sign up today. You can now register on our e-commerce site, shop.brackers.com Click HERE to go directly to the workshop registration page

After finishing his formal Education in ceramics at the Ontario College of Art in 1963 Ron established his studio in Scarborough. From this time until 1971 he was a studio potter and part time educator in ceramics. During this period he participated in many shows, won numerous awards, executed several architectural commissions, laid the foundation for Rodaco Clay, and served as a volunteer in two major craft organizations. He set up the studio, developed the curriculum and taught at Centennial College continuing education department from 1967 to 1985.

1971 marked the incorporation of Rodaco Clay in response to the community’s need for well designed and quality processed clay. In June 1981 Rodaco was taken over by his partner and Ron returned to the creative life of a studio potter and the task of re-establishing himself in the more demanding discipline of porcelain. After a few group shows he entered the “Perfect Setting” dinnerware show which opened at Government House in Ottawa and won the special Award for Contemporary Design.

Ron is co-author of “Mastering Cone 6 Glazes” a “best seller” book on glaze stability.

Ron is currently concentrating on technical writing and consulting to studio potters. He is a consultant to Tuckers Pottery Supplies formulating clay and maintaining quality control as well as assisting customers with glaze problems. He is also an active member and contributor to ClayArt – an internet group of potters.

Total Cost for this two-day workshop is $250.

$25.00 non-refundable deposit due at sign up
$100 payment due February 1st
Balance due April 1st

Click here to download the 2013 glaze course book

Enrollment is limited!

AMACO Texture lesson plan in-service

claygirl — Fri, 19 Apr 2013 01:12:17 +0000

One in-service, three new lesson plans! In this three hour in-service, Bracker’s staff will instruct teachers in three texture-related lesson plans utilizing AMACO texture molds, clay and standard studio tools.

Throughout history, artists from around the world have created symbols and images that reflect their culture. Many of their ideas were inspired by their environment and beliefs. Their artwork is a visual record of their time and culture. Because of this record we have a better understanding of how they lived. We know that the Koi fish is often represented in the artwork from Asia. Aboriginal artists painted simple shapes and dots on their work as well as aquatic and human forms. Islamic artists created very ornate patterns that were inspired by nature.Those patterns can still be seen today in the buildings that have survived time. Pre-Columbian artists incorporated ornate geometric patterns in their work. They also carved ferocious animals and mythological creatures onto the walls of stone temples.

The AMACO® multicultural textures can be used to reinforce your classrooms study of cultures from around the world.

Lesson Goals and Objectives:

1. Students will create a clay vessel using textured slabs with patterns from a variety of cultures.
2. Students will learn proper slab-building techniques to create the vessels.
3. Students will use paint to finish and personalize their work.
4. The lesson incorporates art history, aesthetics, and criticism with a hands-on activity.
5. Students will be able to identify patterns and visual styles from different cultures.

National Visual Arts Standards Addressed:

1. Understanding the visual arts in relation to history and culture.
2. Understanding and applying media, techniques, and processes.
3. Using knowledge of structures and functions.
4. Choosing a range of subject matter, symbols, and ideas.
5. Reflecting upon and assessing the characteristics of artwork.
6. Making connections between visual arts and other disciplines.

AMACO provides all supplies for this in-service, which enables Bracker’s to provide this opportunity for professional development for only a reimbursement fee of $15/hour (including drive time) and 55¢/mile

Find your distance here.

*this information is copyright AMACO… Bracker’s has republished it here from AMACO’s website with permission.