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macdoodle

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Everything posted by macdoodle

  1. Balloons As Sphere Molds

    This was done upside down on a party store small punching bag balanced on -a glass? (i think it was) . the trick for me was to support the item and watch all as it dries to the point i could turn it over. The balloon loses air and changes the balancing act as it is drying. A higher quality ballon or punching bag may hold the air better. but the clay is shrinking on it so exterting some force on the air nside the balloon. Hope this gives you ideas.
  2. Shinsha Glaze

    to confuse you some more- read this . http://digitalfire.com/4sight/education/copper_red_glazes_115.html
  3. What Makes A Good Mizusashi Good?

    havent been on forum for awhile - saw these beautiful shapes had to look into it. I would NOT use the traditional urushi as even dry, it could cause an allergic reaction. http://en.wikipedia.org/wiki/Toxicodendron_vernicifluum
  4. What Is The Best Way To Use Oxides?

    this is a fast shot of a tester i used various oxides mixed with water brushed on - then green celdon over all - to cone10.
  5. August 9, 2013, 1:20 pm 58 Comments What Inspired You to Work in the Visual Arts? By THE NEW YORK TIMES This summer, The New York Times is publishing essays by its critics about the moments or works that prompted them to write about the arts, along with stories from readers about their own epiphanies. Previously we heard from readers who work in television, classical music, dance, pop music and video games. Next week, Holland Cotter will write about what set him on the path toward becoming an art critic for The Times. We want to hear from visual arts professionals about what inspired their careers. Whether you’re a painter, a sculptor, a gallery owner, a curator, an art teacher, an administrator for an arts organization, a museum security guard or any other professional in the visual arts, we want to hear about the works of art or related experiences that led you to dedicate yourself to the field. Please submit a comment below describing what you do and how an experience in the arts led you to your career. Keep submissions under 250 words. We will present some of your stories alongside Mr. Cotter’s essay. We look forward to reading about your artistic inspirations. http://artsbeat.blogs.nytimes.com/2013/08/09/what-inspired-you-to-work-in-the-visual-arts/?smid=tw-nytimes
  6. Glazing over clear?

    yes,but ..... i had to do it to figure out when it was and was not worth the effort. I have this piece that was ugly now after a lot of effort - it is super ugly! :Psrc="http://ceramicartsdaily.org/community/public/style_emoticons/default/tongue.gif"> - I keep it to remind me.
  7. Glazing over clear?

    "p.s. as regards to the Randy Au reference ... there is a HUGE difference between multiple glazing and firings that are done on purpose and those that are done to try to fix or hide stuff. " Chris, VERY TRUE: but , if anyone does, he knows what can be done and not .... and about all the temperatures .
  8. Glazing over clear?

    Ask Randy Au , he does beautiful multi fired works - http://flyingcupclay.blogspot.com/
  9. VERY Smart to plan ahead !! Plan for the worst then hope for the best. If i lived in tornado or hurricane country - I'd have big heavy bins of some sort or surround the chemicals with cheap cement blocks -on the bottom floor, in an outside shed (maybe dig the ground a bit lower inside the shed ) or use a basement if there is one- take the chemicals out only when in use or store small amounts for one or 2 uses out of the bins. also consider the possibility of flooding with storms. Earthquake strapping, meuseum putty and cabinet locks are a good first step. We "only" worry about earthquakes out here. Sturdy plastic containers do the trick in cabinets shelves that are made earthquake proof . Then it's the finished works that are of the most concern.. Earthquake proofing might actually benefit you too. google "earthquake preparedness" http://lafd.org/eqbook.pdf http://www.earthquak.../bookcases.html http://www.safe-t-pr...s-shelf-barrier Happy Reading!
  10. Firing a Piece too large for an kiln

    Sounds like a good reason to have a bonfire with friends . http://groups.csail.mit.edu/mac/users/adams/Pottery/pit.html
  11. Convince me...

    Got a local school or community center even a day care center you can donate the recyclable clay to? Maybe head over there once in a while and help kids learn about making things with clay?
  12. will this be a good start? http://www.kentpotters.co.uk/glaze_db/glaze_db.html for temps its easy to convert - here is one site- http://www.albireo.ch/temperatureconverter/
  13. Happy reading -and working it out! If you use Firefox - https://support.mozilla.org/en-US/kb/adobe-flash-plugin-has-crashed or use http://mzl.la/LIoF7y Next to the picture and word Firefox adjust for your operating system if needed.
  14. besides watching the free excerpts shown below the for purchase CDs and books Support your local library. They have tons of info they bought so you can access it for free. I have very limited income, so I like to take books out and see if they are something I'd want to refer back to before I buy them.
  15. from a back issue - http://ceramicartsdaily.org/bookstore/what-if-explorations-with-texture-and-soft-slabs/
  16. Wind n Wing Make sure to show us what you make!
  17. Newbie Looking for advice...

    " ok- so I just got off the phone with my pottery teacher at the museum. He said it sounds like the sculpting clay is stoneware and I thought it was earthenware the whole time. Obviously It is still over fired, so I am going to see if the glaze sticks to it before i attempt to fire it. Luckily for me, the museum is going to cancel art classes and might be willing to sell me some proper clay! That would be a major break! At least i made a good mistake, if it had been earthenware my kiln would likely be a huge mess. " If the glaze won't stick via dipping - try heating each piece on a hot plate and then painting the glazes on with a brush. Also Beware of clay that says cone 5-10 that is too wide a range to be accurate. See if you can call and find out where it really vitrifies if you intend to use it for functional pieces. This chart may help get you more familiar with firing ranges- [PDF] Firing Temperatures - Bellevue College bellevuecollege.edu/artshum/materials/art/.../FiringTemperatures.pdfFile Format: PDF/Adobe Acrobat - Quick View
  18. photgraphing pottery

    http://jeradhillphoto.com/diy-lightbox-for-product-photography - if you want that look
  19. Ishihaze glaze recipe

    looks like it's in part - in the clay. Ishihaze. A "stone explosion." Before firing, many of the impurities of the clay are removed. But some potters like rougher clay, and leave in small stones that sometimes burst out on the surface during firing - called ishihaze. Often found on Bizen and other yakishime (high-fired unglazed stonewares). http://www.e-yakimono.net/guide/html/techniques.html
  20. here are 2 potential contacts- http://www.crestedbuttepottery.com/mica-clay-vessels.html http://pasquals.com/The_Gallery/Mica_Clay_Cookware/index.html
  21. flasks.JPG

    Nice!
  22. Deepwater Rescue

    Beautiful!
  23. Are you using your wood carving tools in clay? PS: despite what it says, I'm just beginner who asks far too many questions and does almost everything in violation of all the rules , just to see what will happen -and if you really can't. :)

  24. Oh,the rules, the rules... The classroom rules are often said as the only way when what is meant is this is the way its done to accommodate lots of students and to get all work done together at a firing schedule and method the instructor has chosen for safest for the kilns and most consistent +/or fastest results. Classroom firing schedules are often higher at bisque to create sturdier pieces and often faster to cone 10 but it seems the faster firing schedule creates more slump, limiting form. (Is this true?). On a low/mid fire clay too- I'd look for one that is more porous at the final cone temp if I wanted to bisque higher and fire down. (Makes sense to me anyway, can any one confirm or debate that ?) Seems it's important also to note that every clay is different. It seems to me that, in general, clays that are still porous after the recommended final glaze firing temp can be bisqued higher and still accept color readily. Bisque lower it's more fragile, but more porous. Bisque higher if you need it to be more sturdy. Bisque all the same if you want to minimize glaze issues and prefer more standard, consistent results for functional pieces. Since some people fire many times to get specail effects and good separation of details or color, or to use various chemicals, and many glazes can work over a range of cones, the school rules we all learn to bisque to this temp, glaze and fire to this temp, are not really written in stone. I have seen some beautiful work (Andy Au, retired from Cal State Fullerton, is one who does this. See minute 807 to start- pieces are far more detailed in person- ) where multiple firings are used to add more types of glaze/color. Gold, mother of pearl and other special finishes are added after one or many low, mid or high firings, and done at approx cone 020-018. The choice of clays, the choice of glazes or other chemicals , and time and temps and type of firings all combine for success or failure of a piece. That's a lot of variables- so it's easier to begin with more simple classroom rules that remove several of them, but it would be nice to learn from the beginning that they are "classroom rules", not hard and fast rules. Who said this? The only stupid question is the one left unasked.
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