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yappystudent

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Posts posted by yappystudent


  1. Speaking of Amaco Velvets, I noticed their "Bright Red" was literally the brightest most reliably intense medium red I've managed to find. I used up my small jar, and was going to replace it, but it was $15 or more than the same size Duncans (still pretty good, not the same though) and passed them up at my local store with some disappointment. Also they only had it in pints of course, whereas everything else was available in small sizes. I resent being gouged which also figured into my choices. I'd still like to use it for tiny dots and such, but forget anything else. 


  2. There are some excellent BBC series on Youtube -free to watch- that include, here and there, some interesting recreations of old English and a little French in the Castle series, pottery. Unfortunately the pottery is mainly sitting around but I believe it's pretty authentic, plus there is a segment on actual throwing in the castle series somewhere, it was pretty short. Lots of other interesting old crafts covered in a fun way, from  taming moor ponies to weaving wool, I'm currently making my first wattle thanks to the Tudor series. Some of the episodes are not great video quality, most are excellent.

    I've included links to the first episodes of each of the series I know about and more seem to be included as time goes by: 

    Tudor Monastery Farm series, ep 1: https://www.youtube.com/watch?v=t1ERDYjsHBg 

    Victorian Farm Series, ep 1: https://www.youtube.com/watch?v=4apIM4l0laY

    Ewardian Farm Episode, ep 1 https://www.youtube.com/watch?v=UcBl4_2FJX4

    Wartime Farm Episode, ep 1 https://www.youtube.com/watch?v=CUsU5s0ofYo

    Secrets of the Castle, ep 1 https://www.youtube.com/results?search_query=secrets+of+the+castle+episode+1

     

     


  3. I expect photoshop lets you do this also, but Gimp is free to download and although it can be complicated I've used it for years thanks to it's incredibly helpful online community. Basically it's a very complete, did I mention free, photo editing software.

     I was looking for a way to convert images of my own and off the web into simple coloring book type line images, which is easier to manipulate for a zillion artistic uses. There are various ways to do this in Gimp but this one is a lot simpler than the rest.

    The 'extras' included were notes I made so that, once converted to an outline image, I can go back and restore some of the lost image as gimp sometimes gets overzealous during the process, and the second  is to re-draw in any missing lines with a 'pencil' using my mouse. It lets you adjust the size of the pencil mark, which the gimp default usually makes too thick. Can you tell I love Gimp?  The image below doesn't involve any restoring or pencil line re-drawing so you can see what gimp will do without it. 

    How to Convert Photo to Line Art_Drawing in Gimp

    File>Open>select image file from list that opens(Obviously you'll need to put some pictures in here if you just downloaded Gimp)>Color>Desaturate>Filters>Edge-detect>Edge>OK>Color>Invert.
     
    Extras:
    -Dodge/Burn Tool>Burn/Shadows>Left click over the image which will restore some of the lost image.
    -Windows>Dockable dialogs>Tool Options>this will open a the tool options dialog box settings>Set pencil to 10.00 or play around with it until it's the width you need. 

    Mermaid1.jpg

    Mermaid2 Gimp line conversion.jpg


  4. 4 minutes ago, ont434 said:

    a more granular texture, rather than completely smooth

    What you probably want is grog, which is purchased from clay suppliers, it is smashed up fired clay so you're on the right track. I have had nice results using sand also. The speckles are probably from iron but they might be other things too, iron will achieve the look and it's cheap. Lots of commercial glazes are around right now that are varying degrees of white with speckles. I like "Walnut Spice" (think it's Laguna but I've lost the tag) but literally every glaze maker makes one like it. It's a bit whiter than the one in the image with larger specks. I'll bet you can make your own pretty simply too. 

     

    8 minutes ago, ont434 said:

    If I wanted a dark body with light speckles, my thought was to smash light colours thin bisque fired clay pieces into small pieces, putting it through a sieve, then wedging with darker clay. Is this silly? Any advice?

    That sounds like a good idea, but if you want to just buy it then there is a black clay called Cassius with small white specks, probably less than you want but you can always add more. It fires brown at cone o4, then turns black at ^6. 


  5. On 8/14/2018 at 1:44 PM, SunsetBay said:

    How do you do all that experimenting WITHOUT risking too many "real" pieces?

    Piles of pinch pots.

    Yes, so many choices, so little time. Since I'm still a relative newb to clay, I end up with a lot of unused bisque. If you're experimenting you might end up with odds and ends sitting around too. That said odds and ends on random clays don't often have the same results as glaze does on a pot, which they're designed for. I was about to throw out a certain store bought glaze because it just never did anything on a flat test tile. I decided to glaze a simple slab vase with it instead because wth I wanted a rustic look anyway, and suddenly it's the most beautiful glaze I've tried and I'm trying to learn to mix it myself. So when I really want to test something now I've learned to use little pinched bowls, with holes punched near the rims so they can be optionally hung; always at a premium for space in my studio. 


  6. On 8/12/2018 at 12:55 PM, Rae Reich said:

     

     

    16 hours ago, Rae Reich said:

    Hmmmmm

    well, just to finish up this diversion

    Yes Gauguin is a bit of a conundrum when viewed with any sense of morality. Being both a visually pleasing artist and a . One of my favorite paintings of his is "La Belle Dame Sans Merci" -at least he had something going on in his head and was intelligent enough to work with Van gogh until the incident.  For the record I enjoy Odilon Redon's paintings. The last time I took a good stab at my oils I was trying to emulate both Van gogh and Redon, it was very satisfying. 


  7. 1 hour ago, Rae Reich said:

    Are you referring to his personal life or his work? 

    I'm not sure if you meant me or LeeU but though it may be hard to believe it's his work I think bothers me most. I find his work to be childish scribbles. I suspect Picasso's goal was to merely find a gimmick, I've seen his early work and it was adequate in a traditional artistic sense but nothing to crow about, which he probably guessed. His work will always remind me of a certain college drawing class, in which I was forced to nod sagely at images of his paintings while my equally obnoxious art teacher sang the praises of and drummed home how a person has to be a real ######## to be a real artist. Probably because she was a real ######## too. I think a difficult life and being unusual, an outsider, and too intelligent to fit comfortably into the industrial machinery of human society often go hand in hand with artistic talent. Van gogh, imo probably the best painter who ever lived was not a ########. Picasso intentionally played up his reputation of being a ######## with women for profit and because he didn't have the skill to do it with his art alone. 


  8. I keep a kitchen towel clipped to a hook on the front of my work bench for wiping my hands on, but the sponge thing is a good idea. Also I have a box of rags made of cut up men's shirts (thrift store here has a universal $2 on clothing, awesome deal) I'll wash or toss depending on how gross they get. Buckets of about a gallon in the sink, the water gets poured out the next day, the sludge either goes into another bucket or if still cloudy into one of about five clear plastic jugs formerly containing drinking water and allowed to settle further, same with glaze, mixes of clay and glaze. Generally I use a ton of weeny tools while I'm working and out of frustration I tend to just put them into open jars with clay still on them, and clean up before I change clay colors. Yes, bad studio maintenance and I really need to reduce the clay colors I work with, inching closer to that. 


  9. 2 hours ago, Araceli said:

    And last: for the mosaic, I don't want it to be heavy, so I was thinking of using styrofoam ( I know, not environmentally friendly :( ) and then apply grout to that to use it as a foundation. Any ideas on wether or not this technique is ok, any concerns/other options? The mosaic will not be  not be hung outside.

    I think it depends on how big and thick you're making the mosaic. Plywood is frequently used by mosaic artists with mosaics used strictly indoors. A product called Wedi board (about $30 for a 2'*4' sheet, it's pricey) is lightweight and designed for custom tile backings in showers and such. Some artists just use tile mesh, if you can find it, you don't even strictly need a rigid backing as the grout forms a single rigid form in most cases. I think the weight of the mosaic is going to rip the styrofoam, and I suspect there may be other issues like how to attach the mosaic to it, and how in turn to attach the styrofoam to the wall or w/e you're going to place it on.


  10. stuff in progress or about to be. Trying to finish up the smaller bits, still have a lot. Vase needs glaze, as yet no clue what it wants. the thing stuffed w/ paper towels is my first attempt at a drawer sachet for personal use, but I'd like to make an optionally hanging version to sell and I'm planting some lavender, old roses and scented geraniums partly for this purpose. the rest are mainly impression makers. Note the one with cassius slip over it, stroke of inspiration, now I can see what my rollers are without picking them up and examining them. I'd like to sell some of those also as I enjoy the carving and inventing designs. 

    The results of the mermaid plate. She looks like she forgot to wear her waterproof mascara...also the rock was supposed to be mossy layers of green, turned to mud instead. Her tail came out beautifully, my drawing is quite nice if I do say so, and I love my idea of using king kelp as a border even though the underglaze colors didn't quite work. "...by sea-girls wreathed in seaweed red and brown..." -I like enough about this I might try it again using the same drawing. Low fire white clay w/ sifted unwashed sand from the dunes nearby. seemed to work well except for an unfortunate iron spot too close to her face, anywhere else it would have been fine. Half of this idea was to come up with some cooking safe serving ware, so I thought I'd photo it before I did a bake test. 

    On the worktable Aug 7, 2018.jpg

    Mermaid finished image.jpg


  11. 8 hours ago, Nataniajoy24 said:

    pyrometric cone/bar things to turn off the kiln when it reached the right temp (clearly I'm a newbie). In the manual I have for my kiln, it says I need 'ASD' cones.

    basically what you do is buy cones for different temps you might be firing to, and see which ones are melting while looking through the vent holes of your kiln. You'll need something to look through like welding glass or special glasses or you'll burn your retinas. If your kiln says cone 8 (mine does) it probably means it will technically fire around cone 8 but you'll get a lot more life out of the elements if you keep it around cone 6. Mine says cone 8-10 but since there are a ton of beautiful glazes and clays for 5-6 that's what I'm going with, and I'll save some money in the long run. Don't prop your kiln open just leave a kiln plug out through the whole firing like Neil said. 

    8 hours ago, Nataniajoy24 said:

    Where do I place these ^ cones when I have them? Is there a hole in the bars that slides onto the knob on the inside of the kiln wall?

    just to be clear the cone does not shut off the mechanism, you'll just be checking it through a kiln plug hole and when the one that's the temp you want has melted, then the kiln has reached the temp you want it to get to. Place the cones where they can be seen thusly. To be honest I'm new to kilns and I don't know what your kiln means by "Automatic" since it looks like a manual kiln from the images. This means you have to watch the temperature and turn it off yourself. There is a thing called a "setter" involved in the process but someone else will have to pick up the thread because I don't know from manual kilns. I wouldn't fire it until you figure out how to shut it off. 


  12. This reminds me of the time years and years ago my mother gave me an expensive coffee table book on picasso because as she put it "your paintings are just like his". -I ******* hate picasso and everything he stands for, and ironically she probably overheard me say something to that fact and the name "picasso" just stuck in her head and someone offered her a deal on the art book, forget the details or facts. And another thing, anyone who's seen my paintings wouldn't equate them w/ that hack's work. (there is some of my early 2D art in my gallery area if anyone's interested, judge for yourself) come to think of it, she probably did it just to annoy me: spent a large amount of cash I could have actually used to like, eat or pay a bill or something, on something I detested, and so she could chuckle and tell me once again how "fanciful" my work is and how it reminds her of the scribblings of the sociopathic.

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