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About NancyAmores

  • Rank
    mostly beads & tile

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  • Gender
  • Location
    Rhode Island
  • Interests
    Mid-fire electric, stoneware & porcelain, beads, tile, small handbuilding projects
  1. The Price Of Art

    I had very little experience with any type of art until I was in my mid-40s. Having grown up in a house where Picasso was laughed at because 'any 5 year old can paint better', I stayed away from any expression through art because I was taught that it wasn't a valid profession, more of a luxury for the well-off. Being much older now having left those notions behind, I try and stay open about any work I see until I've learned all of the details in its creation or historical context. In the example you provided, Klein invented a resin medium that retained the shimmer of the ultramarine pigment, whereas linseed tended to turn it dull on canvas. Interesting enough in a historical context to entice collectors to invest in the work. At a recent trip to the RISD museum with my husband, he chuckled at a Rothko and it made me sad for him. It almost guts me to see art mocked, any art. Every piece was/is worthwhile to someone, even if it was only for the release of the energy that brought the work forward.
  2. When I used to bisque to 05, the porcelain was too porous, anything I dipped would get saturated and little air blowouts would happen all over the piece. Had to sand them down after glazing/before firing to smooth out the holes. Bisque firing to 04 took care of that, as well as some of the issues I was having with a red clay. Since I'm making mostly jewelry I dip the entire piece at once; there's heavy saturation, 06 sopped up too much glaze which caused the air blowouts.
  3. Are you using Amaco Velvets underglaze with their glazes? I've used both the HF-9 zinc free clear gloss and the HF-12 satin with the Velvets without any running, though the Satin did soften the colors and turned a bit cloudy because I applied too heavily.
  4. Where Are The Good Stamps?!

    I think Chilly is referring to an acrylic block like this one . The letter stamps are made of silicone which sticks to the block. They have several fonts available on that site, 72pt. They can be used over and over again. I'd like to make a set of my own in bisque or metal clay but haven't had the time.
  5. I use a small copper wire to poke out most of the clump of dried glaze, then use a bead reamer like this one to clean out the rest. It only takes a minute or so per bead, shorter than waxing and then having to clean out the waxed hole anyways, the wax usually allows at least a little glaze in the hole, makes a mess of the reamer. A Dremel tool with a diamond tipped reamer works really quick, too. This tool is great for 3mm or slightly larger holes. I wax the really large holes or remove enough glaze with a damp cloth from a small area to allow it to be hung on a bead tree.
  6. Looking To Start Mixing My Own Glazes

    Here's an article from CAD that has recipes that look a lot like the Coyote Shinos, haven't yet tried them but they look nice. Good luck, can't wait to see what glazes you try first!
  7. A Variety Of Ways To Throw Colored Clay

    Looks like I'm going to have to finally break down and get the sub, been meaning to for a while anyways. Your work is amazing Chris, always inspiring.
  8. Looking For A Certain Clay Body...

    Tucker's has a Mid Red that's fairly smooth, Highwater has Earthen Red which is very smooth but is not very plastic, it is a very beautiful deep red color. Sheffield Pottery has 4D3B. There is fine grog in the 4D3B, but it's always felt very smooth to me, however I don't use a wheel. It fires to a reddish brown at 5, a deeper red at 6. Laguna has red stoneware bodies but I haven't been able to try them because they're Western clays, too expensive to ship out here.
  9. Glaze Question From The Beginner

    The third looks like like Potter's Choice by Amaco, likely combos of Indigo Float, Texture Turquoise, Seaweed, and Smokey Merlot. You'll find more info on commercial glazes on Amaco's Facebook page. Not sure about the first two, maybe oxide wash was applied first and a celadon type glaze over it?
  10. My Small Test Kiln Firing To Cone 8

    Liked and Subscribed! Will be following your results as I'm hoping to do something similar in a few years. Thanks for the uploads, they'll be very useful.
  11. How Is This Look Achieved?

    My quick guess: leaf impressed into greenware, light green slip brushed lightly on unmasked areas at leatherhard, brown/red slip on sides and back, remove leaf or fire it in bisque, light copper wash at bisque on leaf/wiped back to only remain in veins, dipped in clear, glaze fired. Edit: looks like a buff clay, such as Standard 225
  12. Monoprinting with plaster

    Monoprints using a technique learned from Andrew Wandless book Image Printing on Clay, and on CAD from Joanne Veevers
  13. Amoco Celadon Glazes

    There's some great info on tints and shades of their series here on their site (scroll down and click pics), you may also want to join the Facebook group for Amaco glazes, lots of people post their work with the glazes and the company's techs answer questions.
  14. Had that happen to a couple of 'celadon' type test tiles yesterday, the glaze seemed pretty fluid but when I dipped for 3 seconds it came out a pudding like consistency and didn't dry after an hour or so. Pitched those in the trash, added some water to the glaze and dipped new tiles, dried much faster but may dilute the color of a bit.
  15. Not really sure what you're trying to do by the description (glaze inlay?), but for fine writing or detail work a syringe with a blunt tip needle works well. Works for slip trailing and cuerda seca fills, too.