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Fredrin

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About Fredrin

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  • Birthday 05/11/1983

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  1. It was quite elaborate to be honest. For the inside, I taped up all the cut-out holes except one, poured in some glaze and gave the whole thing a rotation to try and ensure an even coating. After removing the tape and sponging off the glaze on the exterior, I then stuffed tissue roll inside the piece and sprayed it - the idea being to prevent any glaze from getting inside. For the black and white one, I just banded on black slip to both inner walls before closing the form.
  2. Yes, I really like those cloud designs. And like you say, there is freedom (from gravity!) in have the inner wall for support. When it came to the bevelling, were you just using a fettling knife at a 45 degree angle to the cut to take the corners off? I think I can imagine doing that on the outside, but the inside would be pretty fiddly.
  3. Thanks @Rae Reich - I will try and hunt down that slim knife you mentioned as it does sound much better at negotiating curves than what I use at present. I found this one on the Aardvark site; is it the same? Good to know that thinner blades in general will work better for the curves. I appreciate now that carving is quite a delicate operation, which shouldn't come as a surprise I suppose, but even cut-outs of quite large blocks seem to present quite a few challenges. Thanks for the tips
  4. @yappystudent - Great idea re the projector. I think I knew about this ages ago but completely forgot, but that will save a lot of time fiddling around with mapping designs out on software to print them off later. I will make sure to avoid cheapo ones! @oldlady - Thanks for the tips. Yes, I made life difficult for myself this time by having such thick walls. Part of the construction required lowering the outer wall section over the inner "column" as my throwing skills aren't good enough to get a hollow form that tall yet. I since had a thought that I could have trimmed this down a fair bit after joining the sections, by sitting it back on the wheel and taking a loop tool to the sides. Yes, Dremel drills and their various attachments are a thing over here in the UK. Another good idea - this forum is full of them! Would you suggest grinding through the clay when it's bone dry/leather hard? What kind of tool end would you suggest for this? That sounds like it would leave a much better finish than my current approach, which as you guessed requires a lot of time-consuming softening with a damp sponge! I would like to make double-walled forms with cut-outs a central theme of my sculptural work, so this is very helpful info. Here are a few others I made recently:
  5. Thanks! And yes, I'm already getting a few problems with this in the drying. I've sandwiched a bit of tissue paper between the offending upright piece and the inner wall to stop it from warping inwards, but I guess there's not much I can do while it's firing. Is this just something I have to live with if I have large unsupported sections of the design or are there ways around it? I guess the thickness of the walls isn't helping much.
  6. Exactly. I threw the central column as a kind of straight sided vases with a 1cm ridge of clay at the bottom so I could sit the outer wall on it. They were both just leather hard when I combined them and it was pretty nerve-wracking!
  7. Wow, thanks everyone for the excellent tips! @Benzine, that's a good way of looking at; in terms of a map covering a globe. I may try in future to do something in Adobe Illustrator which can then be printed off in that format. @Min - those number 11 blades look perfect. And only 5 quid here in the UK, so got some on their way @Pres - thank you, yes! It dawned on my as I began to take knife to clay the problems with this design, short of certain bits of clay levitating magically in position without support! My solution was to downscale it sufficiently and improvise a bit to avoid large voids. @Ron Sa - You must have transmitted this telepathically somehow as this is what I ended up doing in the end, basically (as Pres pointed out), the two ends of the design wouldn't match up and there were too many unsupported areas. I sketched the pattern freehand as a single line and then carved with an X-acto knife on either side to get the cut-outs. Still got a few jaggy curves where the knife can't turn easily in the clay, but pretty happy with the result overall. The design is called a "Turing Pattern" from a visionary paper Alan Turing wrote on mathematical biology back in 1952... but I think I'll stick with "Amoebas Gone Wild" in the future Here are some pics:
  8. Hello all, I recently made a double-walled form which I would like to carve a design into. This is a new technique for me so I was wondering if any pros here could offer some advice. My first question is how to map this design effectively onto a curved surface? I have thought to use tracing paper, but I'm guessing it will fold in places so areas of the pattern will be lost. Any hints on how to overcome this? I'm also wondering what is the best tool to actually carve out the design with once it is outlined on the surface of the piece. I have attempted an X-acto knife in the past but found it wasn't very good at maneuvering curves, left quite a few jagged tool marks and the blade was not quite long enough. Would a loop tool of some sort be better? I'm aiming for lines as crisp as possible. I'm sure the answer is quite straight forward but it has me stumped!
  9. Us To Uk Frit Substitution Chart?

    Thanks again, Joe. Looks like you got pretty close with 3124 and 3195 there. Will give those a try.
  10. Us To Uk Frit Substitution Chart?

    Thanks Joel. Yes, I see that most of these recipes use Frit 3110, 3124, 3134 and 3195, so good to know that these are easily replaceable.
  11. Apologies if this topic has been raised many times before. Just wondering if there is such a thing out there as a substitution chart for UK/European potters who encounter American brands of frit. I have found this one at ceramics today, which is helpful for Silica/Alumina Ratio, Molecular Formula and Percentage Analysis, but it would be ideal if there was one that specified particular UK brands such as Potclays, Potterycrafts etc as an alternative to the Ferro frits. Can anyone lend any advice on this? I am excitedly reading through John Britt's Mid-Range Glazes book but a little dismayed that almost all the recipes contain US frits!
  12. Thanks Marcia - I will try this too.
  13. Thanks all for the great advice. I'm making a range of sizes so, from the sound of it, slump molds are the way forward for the smaller ones. I'm reasonably capable on the wheel so will throw two hemispherical bowls to be conjoined for the larger ones. And if all goes really well @MatthewV, I'll hire an army of enclosed form makers If anyone can recommend a good thread/tutorial for making slump molds, that would be much appreciated too
  14. Hi, I'm making a series of vessels that start out as roughly spherical enclosed forms. As the plan is to make quite a few, I'm wondering what's the most time efficient way of making them in volume. I'm currently making two pinch pots with the same diameter rim and conjoining them but this is proving quite time-consuming. Any suggestions for a good technique to produce them en masse?
  15. Thanks to all for the great advice. I've had a word with the supplier and as High Bridge Potter suggests above, I will go to a higher temp (cone 8) and give it a 30 minute soak. Under-firing seems to be the main problem. I'll try out some of the recipes above but as a shortcut until I've got one fully tweaked, I've bought some Amaco clear celadon
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