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Found 178 results

  1. Mysteria

    Bowl - Celedon + Flambe glaze

    From the album: RV gallery

    Used Iron oxide to highlight stamped letters and wax resist to create design on the inside of the bowl
  2. rayaldridge

    Large Blackberry Blossom Bowl with Fluting

    From the album: narrative work

    Large mixing bowl with resisted slip and fluting
  3. rayaldridge

    Cats Drinking Porcelain

    From the album: narrative work

    I'm not really a cat person, but I chose to work with the basic shape because cats are far less variable in form than dogs and are thus more universally recognized, if that makes any sense. These images are developed using cut-out resists, colored slips, and sgraffito on porcelain.
  4. rayaldridge

    alien happy faces

    From the album: narrative work

    I went through a phase where I used the idea of tentacled happy faces in a lot of surface decoration. I'm an old science fiction writer, and I've always liked to inject some fabulisms into my work.
  5. rayaldridge

    Wood Nymph

    From the album: narrative work

  6. rayaldridge

    Cat in Orchard

    From the album: narrative work

  7. Hi guys, I am looking to make a multiple piece mould (imagine I'm casting coke can's and want to make a mould that casts 6 of those coke cans at once). It would be a one piece mold, as in one piece of plaster like a brick with 6 holes in it and a 'plate' piece underneath it. Would this cause an issue to cast 6 masters assembled like a grid, in terms of how the water absorbs into the plaster? ie. With two placed next to each other, would the water absorb through and clash with the water being absorbed from its neighbour? Any help would be great! Cheers.
  8. LeeU

    Pendant

    From the album: LeeU 12-15 Cut and Ripped Slab Pieces

    Embellished with bead and micro-dust glitter.
  9. LeeU

    Escape

    From the album: LeeU 12-15 Cut and Ripped Slab Pieces

    L is outside of box base; R is the inside of the lid embellished with bead.
  10. LeeU

    Escape

    From the album: LeeU 12-15 Cut and Ripped Slab Pieces

    Embellished with jewelry findings.
  11. LeeU

    River (underside)

    From the album: LeeU 12-15 Cut and Ripped Slab Pieces

    Embellished with bead.
  12. Hey guys, I have a custom order starting where the client would like 25 units of an existing vessel I have (cup sized pourer), and 25 of a smaller cup to be designed. Both are very minimal, flat slipcast colours, clear glaze. My question is- my existing vessel is $25 each ordinarily and I foresee the cup would be 16-18$ each ordinarily- would normal etiquette be to decrease this price for this larger order and if so by how much? Very newbie question I'm sorry but I'm a little in the dark. Any help would be great. Thanks, J
  13. I've been admiring the fantastic porcelain hummingbird sculptures by Edward Marshall Boehm. The birds appear to fly, suspended by their beaks from the stamens of the flowers from which they drink. I'm assuming this accomplished by the use of some metal armature and that the sculpture is assembled after firing, but wondered if anyone here has any direct knowledge. Images of these can be found by googling "Boehm Hummingbird". Thanks, Ron
  14. Hi, I have a couple of questions if someone would be so kind. I've recently purchased a Paragon Caldera XL Kiln and I have a porcelain sculpture - tall, standing figure - that I'd like to fire. I used a wood kabob stick to keep the sculpt sanding when I made it and it is not coming out without a lot of work. I remember reading that some things can burn off in a kiln, will this? Will that cause any damage to the kiln or sculpture? And what, if any, material can I use that will burn off safely in a kiln?. I have also seen some posts about slumping and the need to support porcelain when firing - do I need to be concerned about that? The people I purchased the kiln from recommended I do a pre-heat and then fire to cone 6. I am not glazing, just firing. Thanks
  15. I am in search of a translucent clay body. It is my understanding that porcelain is the best (only) clay to achieve this. I am making luminaries with hard slabs. I was considering using Grolleg Kaolin and am researching Frost as an alternative. My main concern is a clay that lends itself to hard slab techniques. I'm also interested in firing at cone 10 or lower, preferably cone 6. Would firing a high fire porcelain at cone 6 affect the translucency, make it less translucent if fired lower than cone 10?
  16. Yoshi Fujii Seductive Elegance – Carving on Clay SF04 –Sunday, 10-4pm, July 20, 2014 Fee: $60 member/$85 non-member This 1-day workshop will introduce students to surface embellishment through carving the leather-hard surface. Yoshi will demonstrate using the potter’s wheel to create functional objects (simple cup & bowl forms) to serve as a collection point for visual inspiration. Students will explore the elegant quality of porcelain and seductive beauty possible through hand-carved pattern. Previous clay experience is required, open to hand-builders or potters. Students may choose to bring leather-hard pots or tiles with them, grog-free clay recommended. Course fee includes bisque firing. Yoshi Fujii is currently a resident artist and was the recipient of the 2008–09 Lormina Salter Fellowship and the newest addition to the Clayworks as well as the city of Baltimore. Yoshi received his B.F.A from University of Southern Mississippi in 2002 and his M.F.A. from Southern Illinois University Carbondale in 2008. His interest is in wheel-thrown porcelain utilitarian and sculptural work. His current work and additional information are available at: www.yoshifujii.com SF04 –Sunday, 10-4pm, July 20, 2014 Fee: $60 member/$85 non-member Contact Matthew Hyleck at matt.hyleck@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
  17. I use Southern Ice porcelain, bisque fired then sanded then fired to cone 9 and sanded again, I don't use glazes. I have started making complex neriage coloured work, using the same clay body. I sometimes develop fine cracks that can successfully be patched and refired to cone 9 but the result is an all over tiny bloating of the surface. I have read a lot about bloating and the possibility it is due to over firing but don't really know what that means. I have twice fired thinner, slip cast work (from the same clay) without developing this problem. Could it mean I need to slow down the firing at one or more stages?
  18. CarlCravens

    Why Porcelain?

    It's a simple question from a relatively inexperienced potter who has only thrown stoneware and earthenware... don't want to stir up a "which is better" debate or anything like that. Why porcelain? In general, and then specifically, why do some functional potters who cover all but the foot in semi-opaque glaze choose porcelain, considering that it's expensive and finicky (from all I hear). When I go to art fairs, none of the functional potters work in porcelain (I ask about clay and glazes, of course). But online and in the magazines, I see functional potters who work primarily in porcelain, when they could work in a white stoneware and only other potters or "serious" customers would notice (because of how they finish their pieces). I don't understand this choice. (Maybe because I've never tried working with porcelain.)
  19. June 14&15, Silvermine Arts Center, New Canaan, CT. http://silvermineart.org/education/courses.php?id=7468 Join us for big pottery fun! Soft altering of surface and form with freshly thrown clay on the pottery wheel makes pots look fresh and alive…sassy! Great Fathers Day gift!
  20. The 2014 FRANZ AWARD, the biggest porcelain design award in the world, will send the winner to: Maison & Objet (M&O) show @Paris with more than US$16,000 Submit deadline : July 16th, 2014 Come show your inspiration of "Eternity." No hidden fees and will sponsor the making fee for the finals. Official Campaign Video: http://goo.gl/1ISM34 Discover more : http://www.franzaward.com/en_2014/news_info.php?sn=992#.U3GQOIGSydI and Submit here : http://www.franzaward.com/en_2014/
  21. Hi guys, Quick questions about porcelain- I'm making some small vessels from slip cast porcelain, and really loving the soft matte look they get after being fired to bisque (1000celsius). Unfortunately when I fire to 1200celsius to finish them they get a rough sandy feel to them (feels like nails on a chalkboard) and lose the subtlely of colors/shrink etc. My main issue is the sandy surface and I'm wondering if there are any issues with selling little planters as bisque? Is this generally frowned upon? The bisque doesnt leak water as such but it kind of bleeds through a little in spots but i could make it thicker. OR- would it be better using another sort of clay that doesnt warp/shrink/and doesnt have that same rough texture? If so can someone recommend any? Plain earthenware? I would ideally like to make foodsafe versions eventually too which requires glaze obviously. Any help would be greatly appreciated, Jack
  22. Hi all Have just flipped through the last 20 forum pages (eyes hurt!) looking for a PDF paper some very clever soul once posted last year on making your own ceramic tape sheets of porcelain, a 'homemade' version of Keraflex sheets......of course cannot find it! Have used the Search option with several combinations of words but still no luck! The primary binder was PVA glue that gave the thin translucent porcelain its plastic flexibility but with a bit of water would soften the glue base allowing complex shapes to be formed from the sheets. Much, much cheaper than buying Keraflex no matter how wonderful it is. There was a very specific way of making the slip formula and handling the sheets in drying so am looking for that PDF.....does anyone remember the post?....have the PDF on file?...have another recipie I could use? Help ........! Irene
  23. Bryan Hopkins: Porcelain Vessels from Function to Dysfunction WS03 – Saturday & Sunday, 10-4pm, August 16 & 17, 2014 Fee: $200 member/$225 non-member In this hands-on workshop participants will push their creative limits, as well as the physical limits of porcelain. Porcelain will be used and exploited for its unique and amazing plastic and fired qualities. Bryan will demonstrate his methods for combining wheel-thrown elements to create unique utilitarian forms and vessels. Participants will investigate a range of surface textures and construction methods through the use of bisque molds, x-Acto knives, wood carving tools and water etching. These surface enhancements will be employed to create new dimensions on the forms while emphasizing the translucent beauty of porcelain. The workshop will offer a balance of instructor demonstration, image presentation, one-on-one attention and student work time to explore avenues. This course is open to both wheel-workers and hand-builders and requires a basic working knowledge of clay coupled with a willingness to explore new ideas before enrolling. Bryan Hopkins was born in Philadelphia, PA. He was a mathematics major at West Chester University when he took his first ceramics class. Bryan went on to earn an MFA in Ceramics from the State University of New York at New Paltz. Bryan has been a studio potter working in porcelain since 1990, and has lived in Buffalo, NY, since 1995. Bryan works as Adjunct Professor of Ceramics and 3-D Design for Niagara County Community College, and has also taught at Medaille College, SUNY at New Paltz, and SUNY at Fredonia. Bryan’s work has been exhibited in group and solo shows nationally, including the NCECA Clay National Biennial (2005 & 2009), the Craft Guild of Dallas, TX, MudFire Clayworks in Decatur, GA and SOFA Chicago and his work has been published in Ceramics Monthly, Ceramics: Art and Perception, Studio Potter, 500 Vases, and Best of 500 Ceramics. Bryan is a founding participant in Objective Clay, a diverse on-line craft forum sharing ideas and new work from 14 utilitarian ceramic artists. Learn more about Bryan’s work and process at www.hopkinspottery.com WS03 – Saturday & Sunday, 10-4pm, August 16 & 17, 2014 Fee: $200 members; $225 non-members Contact Matthew Hyleck at matt.hyleck@baltimoreclayworks.org for more information. Baltimore Clayworks 5707 Smith Avenue Baltimore, MD 21209 www.baltimoreclayworks.org
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