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Everything posted by lynny

  1. You can get bag balm from any vet clinics in Australia, but an aspiring business has clicked this is a popular product and now produce a fantastic range of products marketed as 'MooGoo' here. everything from bath milk, excema cream, body milk, hand cream etc etc available at most chemists- great stuff!
  2. Hi Isculpt I'm a daily reader here and havnt commented in a post for 6 mths. This story stirs me to write- 6 yrs ago I survived a spinal injury that the specialists say I now should be wheelchair bound from- long story, so I wont detail- with my PT and all other specialists I too became a perfect student! I wanted my life back- after being an art teacher for 22 years I had to retire because of the injury and sadly quickly sunk into depression. My counsellor suggested I create a hobby I could manage in my limits to keep my brain busy and active and to use as a meditative pain relief..some one showed me clay I quickly became addicted, purchased lots of cheap 2nd hand gear and started to play. An hour a day was my limit in the mud, but reading books, watching youtube clips, joining here etc all filled my day with interesting and challenging thoughts that kept my mind off pain (to a point) and gave me something to be passionate about. Over 4 yrs I studied slowly part time and graduated last year with BVA (major ceramics). Its very easy to focus on what we have lost! Work hard at the physical therapies but work harder on a positive attitude and the knowledge that life will go on, it will just be different. The idea for a sketchbook is a valuable one- you will approach your practise differently and learn new skills that will be valuable. We are moving house in 8 days all because of my injury ( a down size to manage better on one wage) and I am watching my studio being packed up, knowing the new home doesnt have one. I too will need to be patient, to wait until a space is made for me- so back to books and movies about clay for me for a while too. Trust, have faith, be grateful, be positive and only think of healing now. I wish you the very best in your healing.
  3. Hi Fuad, I thought I had responded to your sanding comments- maybe with this being reposted its been deleted. Wet sanding should not create any dust at all. I use automotive suppliers wet sand paper as it gives the smoothest finish. Half fill a bucket with water and I put all the jewellery needing sanding in there. Work on one at a time underwater = no dust! Its a very fast process so doesnt add much to the making process, they end up smooth as glass. I find over time they can become marked when worn often, but I just wash mine in soapy water with a soft brush and also advise buyers the same. hope this helps Lyn
  4. this has been an informative thread - thank you
  5. Hi I too have a painting background and had that desire to paint the clay surface. My steps are - first make form and fire to maturity (ie to suit clay chosen) then gesso the surface with 2 coats and paint away with usual techniques. Personally, I have used JoSonja gauche for 25 years (originally created for the folk art hobby market). It has a system of many mediums, designed to be used with the product, and like any brand chosen I would recommend using a complete 'one brand system'. So with JS I use 'glaze medium' when I need a transparent wash and 'flow medium' to make the gauche spreadable and 'retarder' for more open time. All acrylics have a medium system to use with their pigments- I would never mix brands. After layering the paints, and the painting is complete always seal! With JS I use 'sealer; for a tough gloss finish- some of my pieces have been outside over 20 years with no problems. For interior use the satin varnish is used. If you have a 'system' already in your studio just use that with the same mediums you would use for painting + a final sealer. This could be oils or acrylics. Saying all of that, try all your painting techniques using underglazes, matt-satin-gloss clear glazes and overglazes and fire the work. A very permanant outcome where you can explore your usual painting techniques and get fantastic outcomes. cheers Lyn
  6. Hi Fued I should of mentioned the texture stamped ones that I fire on prongs are earthenware- oops But the porcelain, that I wet sand have never had complaints re staining etc you mentioned. The clay is vitrified and easily washed in soapy water if needed. I put finished bracelets and rings in a bucket of water and use fine grade wet/dry sand paper that is used in the auto motive industry. Then actually sand them under water- this guarantees no scratches and there is no dust at all. It is time consuming if there are a lot to do. But if I was to cost out what it takes to do each one its minimal and wouldnt affect sell price that much. Its sort of a brainless job that can be done in front of the tv. good luck, they are very popular at the moment. Lyn
  7. Hi all, I havnt posted here since last year, but am still an avid reader of this great forum. I make a range of jewellery and had to do lots of testing to get results that I'm happy with. The coloured texture stamps bracelets are glazed all over and final fired on 3 pronged sitters. The coloured porcelain is very much trickier. If I glazed all over and hung from a wire support, they stretched out of round. So I now wet polish the interior, so they feel great against the skin- some I also polish the outside and leave unglazed. But others I clear glaze on the exterior and fire them laying on the rim with some calcined alumina on the shelf. The rings took me a long time to get a solution. The ones in this image are glazed all over and are sitting in little clay mounts I made for them and re-use. You can see I use calcined alumina here to, and because its such a small surface a light wet polish after firing smooths this surface well. Hope the images help
  8. lynny

    Plus minus ratings system

    Hi all, I'm not sure why this thread started......... but because of it discovered I am -2 ?!?! If I have said anything to offend pls accept my apologies, no intention there. This forum has proved to me to be the most sharing and wise discussion group I've come across. An incredible resource for learning from. I read all discussions regularly and have learnt so much from here- thank you for the variety of topic and the breadth of response, knowledge and experience shared Having never noticed my negative rating before I'm choosing to ignore it and if anyone has a beef with me I hope they contact me to discuss cheers Lyn
  9. Congrats Buckeye on having your work 'out there' in a shop. It's an exciting feeling but at the same a little intimidating to expose yourself publicly lol -for me anyway, slight lack of confidence here I agree so much on the way a shop displays your work. Just before Christmas a local tea emporium put out 3 of my tea sets, and displayed them in a stunning way. I havnt had any sales but really appreciate the trouble they went to in setting my pieces up.
  10. lynny

    Drying clay

    drying times do vary so much with every day, type of clay, style of form etc and a watchful eye is the best answer I love using the 'shower caps' you get in motels, always bring them home for the studio. The elastic fits around small forms and creates a mini 'tent'.
  11. love the jug design Teardrop! very cool
  12. lynny

    Looking for specific tools

    Hi was it Bill Van Gilder?? try looking here http://www.vangilderpottery.com/vgp_store.html cheers, Lyn
  13. lynny

    Wiggle wire

    Hi last year I was addicted to 'wiggle wire' and the mass of patterns I could create. Now they can be bought at ceramic supply stores, but its fun to collect springs of all sizes (tiny ones from pens, up to 1/2" diam from hardware) and stretch them out yourself. The cheese slicers are available from all good kitchen shops but are very expensive ($20-50) Australian. And it seems crazy to 'wreck' an object you've paid that much for. I've collected 10-12 from what we call 'opportunity shops' second hand charity shops. I've paid under a dollar for each one. they are easy to insert a new 'wiggle wire' into, just undo 2 screws. Have fun. thought I'd upload some of my tea sets I made based on wiggle wire surfaces cheers, Lyn
  14. Hi Buckeye wow, your work looks great, good to see your kiln is up and running cheers Lyn
  15. Hi all last year I did some experiments with granular illmenite. This image is a simple mix of 1 x teaspoon illmenite into 1 x cup commercial Cesco brush on clear gloss glaze, fired to 1260c in oxidation. Some stunning steel blue speckles with a full range of brown tones. I didnt play with slips but hope to now. The photo prob doesnt do it full justice cheers Lyn
  16. Hi all I did some experiments with granular illmenite last year and thought you may want to see an image. This was a very simple addition of 1 teaspoon of illmenite in 1 cup of Cesco brush on clear gloss glaze (fired to 1260c) in oxidation. Some stunning steely blues and a range of brown tones have emerged- the photo prob doesnt do it justice. I didn't ever do any inclusions into slips but think I will now. cheers Lyn
  17. lynny

    Best birthday ever!

    Hi Buckeye!! so great to hear you are back up and running Best wishes for your birthday, hope its a great day What a fab couple of friends to help you do all that work- gotta love your mates! Your work is looking awesome- love the tiki mugs- especially the glaze pool showing up the detail. Knowing you, the nest few weeks you will be pumping stuff out like a factory lol My brain is just starting to wake up to clay after a very lazy month. I had lots of fun just reading about clay and cruising blogs etc of other ceramicists and have some ideas brewing all the best Lyn
  18. Hi all, Usually my biggest problem in the studio is having my hands on too many projects at once and then juggling drying times etc. Over the Christmas break I normally dont go into the studio for 2 weeks while the busy season is around. But this year I'm stuck. Stuck in 'unmotivated' mode and I cant seem to shift it. In the mix my health wasn't great, so maybe thats slowed me down. When I'm in my usual routine......it goes like this enjoy morning coffee while reading my own notes from yesterday thorough clean up of space with quiet music then a few hours of productive creativity Since the break it all stops at step 1 !? But i'm curious........ what do others do to get the creative juices flowing? I'm interested in hearing your comments cheers, Lyn
  19. Thanks all for some wonderful tips!! Chris is right, inspiration has an ebb and flow, and if its not there you cant force it. I cant blame the cold here, we are in the midst of beautiful sunshine and warm temps. For those others feeling the same way, lets walk away for a while, do some other stuff thats good for the soul and allow that little 'kernel' of an idea Pres mentioned to sprout. see you again when I'm fired up (pun intended) cheers, Lyn
  20. What a great clip Paula! They even end up with a little 'drip tray' for runny glazes. I've been making flat clay loops/circles and storing them on a metal ring, sort of like a big bunch of keys, but think I'll shift to this thrown method cheers Lyn
  21. Trina! This mural is fab- a HUGE task with such a great result congrats Lyn
  22. Hi Trina by a photo box, do you mean a set up area to take good photos of your work? That would be a great asset in a studio in my opinion Last year I did a one day workshop on 'photographing ceramics well' & it was WAY over my head. Geared towards people who had a stack of expensive photography equipment. I was hoping to learn how to set up a basic 'booth' for my studio cheers, Lyn
  23. = a space that everyone respects , especially work stations that are shared, nothing worse than going to the plaster room and you have to spend 40 minutes cleaning up the last persons stuff before you can use anything! = a quiet appreciation that peoples time in their is precious. It's a juggle in anyones life to allocate an hour or two of studio time. Please dont sit in my space and talk for ages about your sick dog, your crappy spouse etc etc (I'm a very social person really, just hate my studio time being wasted) = access to a good visual and technical resource library = an opportunity for people to show and tell about their work, to hear what inspired them = a no music rule- everyone has different tastes, use ear phones for your favourite tunes = a mentor that hovers, within reach for advice, and when convo's could interest others pulls the group together = lots of light! = a selection of pots/items that can be held and explored with the senses, not in a glass cupboard
  24. lynny

    Position At The Wheel

    Hi all this is a topic close to my heart. I already had a very serious back injury when I started throwing and knew my time at the wheel would be limited at each session. I certainly didnt want to further injure myself so took regular breaks - threw no longer than 15-20 minute sessions at a time- which is difficult because as we all know you get in the groove and dont want to stop The brick under your foot, that Marcia suggested, is great because it helps aline your upper leg- your knee should never sit any higher than your hip if you are seated. The lower your knee is from your hip the better, even to the point of still being seated but nearly standing -hope that makes sense I also asked my physio for some tips and he came to my studio and showed me some great pre throwing exercises, the correct way to sit with your ab and core muscles contracted for support and some stretches to do in the mini breaks between throwing sessions. Initially it was a lot for my brain to take in, because I was already thinking about hands and centreing and wall pulls etc etc so add thinking about posture it was a challenge. but just like learning to throw, it becomes second nature- so too sitting correctly became second nature. I had a massive amount of throwing to do last year with it being my major study subject and I came through unscathed. Look after your back!!!
  25. This has been an interesting thread and is linked to another about studio expectations. Lori's rule number 3 is always a huge challenge and so difficult for people to 'get'. Where in 'do not touch others work' is there any difficulty to understand?? I've seen so many items damaged because of others, moving, peeking etc Gep's comments that the studio teacher should teach by example is spot on. When students see the mentor doing the right thing in all aspects of studio etiquette it rubs off on students. In the other post I commented about my home based studio, but reading this thread made me think about uni. We are in a shared studio space with 8 students per 3 rooms- all aged from early 20's to late 60's - and part of our marks are about how we work as a team eg kiln sharing, help others load and unload, seniors advising juniors, seniors reminding juniors of glaze room rules with gloves and respirators etc. But out of all the places I have worked this is the place where there are so many heated discussions about 'who should have done something' and 'it wasnt me' etc. It has amazed me the disrespect for equipment and resources that a group of adults have displayed. So much talking, signs and reminders and still there are issues. Last year a group of students took their frustrations to a department head and a couple of students were 'suspended' from using certain areas. People can be a strange bunch a great thread with some strong ideas cheers Lyn

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