Jump to content

Search the Community

Showing results for tags 'sculpture'.



More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Ceramic Arts Daily Forums
    • Forum FAQ & Terms of Use
    • Studio Operations and Making Work
    • Clay and Glaze Chemistry
    • Equipment Use and Repair
    • Business, Marketing, and Accounting
    • Educational Approaches and Resources
    • Aesthetic Approaches and Philosophy
    • Int'l Ceramic Artists Network (ICAN) Operations and Benefits
    • Ceramic Events of Interest

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


AIM


MSN


Website URL


ICQ


Yahoo


Jabber


Skype


Location


Interests

Found 74 results

  1. Hi all, New here as a ceramic arts daily member, but i have been browsing this forum for great info for years! I am currently trying to make an outdoor sculpture for a project I am working on in architecture school. I am thinking about using Hydrocal® White Gypsum Cement to create my sculpture because of its durable qualities and hopefully easy to finish nature (please feel free to advise me if I am right or wrong on these, I am new to working with the material). The question I have involves casting the Hydrocal to create the sculpture. I am thinking about creating a hollow clay coil mold for my sculpture, into which i would pour the hydrocal mix to allow for it to conform to the coil mold's interior shape and form. I would pour-cast this sculpture as the clay mold (laguna bmix) would be in the leather-hard shape. To limit the weight of the final sculpture, I would want to let the outer portion set up and be able to pour a significant amount out, so the final hydrocal sculpture itself is hollow too. Does this sound like it would work? I am worried that the hydrocal would stick to the clay mold, or that it would be too thick a consistency to pour out to make it hollow. I hope that this makes sense to you all. Please respond with whatever feedback you think that i need, with whatever information you could offer me. I appreciate all the help! -Daniel
  2. If you can't fire piece, can you leave it dry and then paint it. I bought a sculpture made in the 1960s. The piece was not packed correctly and the base and about 1/8th of the statue broke off. Tried everything to fix it including drilling hole and putting metal rod in, glue, etc. Nothing worked, I had a 10 lb piece of clay around. I decided to ram the statue into the piece of clay, making a base . I incorporated the broken legs of the statue so that they "sunk" in. I carved out a 2 tier base and am letting it dry completely. The sculpture is heavy and about 27" tall. I tried to leave enough solid clay to hold it up. I did not hollow out the base because it wouldn't be heavy enough to hold the sculpture . Once it is thoroughly dry, I intend to paint it. Will it hold up?? Also what kind of paint? Acrylic or oil?? Help!! Thanks in advance for your help.
  3. JoshEdgarStudios

    Sculpture clay for kurinuki?

    Hello! I have been having trouble tracking down a suitable clay body for my kurinuki pieces. I had issues with 'S' cracks using the stoneware provided by the ceramic department, and I switched to HELIOS porcelain for a brief stint, but the lack of grog didn't appeal to me (I'm obsessed with texture). I mostly wish to do atmospheric firings, although I'm stuck with electric for the near future until I can track down a wood kiln near Austin. My main question is, would a sculpture clay body be suitable for carving to make my chawans, yunomis, etc? I'm thinking that with the higher grolleg content, I'll have less cracking issues, as well as added texture to the surfaces. I don't know of anyone that uses sculpture clay for tableware, though. I tried Standard 710 w/grog, hoping that the added grog would rough up the surface, but it was negligible. I do heavy carving on my kurinuki pieces, and I really want that rough texture showing through the final piece. Here are examples of my texture I'm chasing.
  4. Gregory Hendren

    Sculptural Vases

    Hi, I'm designing a number of sculptural vases and firing them using 05 and 06 glazes. The interiors are like the exteriors: sharp bends, undercuts, open spaces. I'm having a heck of a time trying to glaze the interior. Can you suggest any possible methods? They're too heavy to dip and have too many holes and gaps to glaze and swirl without creating a large mess. Perhaps I don't need to glaze the interior? Will it be waterproof if the outside is glazed? Thanks. Greg
  5. I am new to clay, both hand-building and throwing, and have been making images on pots in two ways- by painting in underglaze and by using commercially available texture mats and roller stamps. I would like to learn to carve into the clay myself. Can anyone recommend some good resource or resources to help me learn to do this? I would be particularly happy for book recommendations.
  6. BARAKE SCULPTOR

    OLD MAN

    From the album: SCULPTOR

    HIGH TEMP.FIRED SCULPTURE.UNIQUE PIECE

    © Barake Sculptor

  7. Being new to ceramics (first time I touched clay was this past January), I want opinions. I sculpt very large sculptures and attach them to vessels. I recently had a very experienced ceramicist tell me that I am "wrong" for coining my work as a mug. Link to photo of one https://www.instagram.com/p/BWBiI6oD9kQ/ I feel that people can see what it is and can make their own assumptions and how they plan to use it. Am I wrong for projecting it as a mug? I need input from the community.
  8. Linda Lees

    IMG 7194

    From the album: Curves and Crisp Edges

    This one has become affectionately known as the Avocado.

    © Linda Lees

  9. Just made a sculpture using coils. It is 17 inches high and 12+ inches wide. It is drying under a drying box made of cardboard covered with plastic. How long should it be left before it is completely dry? One old book suggested putting a dry sculpture in the kiln and heating at 100 degrees F. for 19 hours. Is that a good idea? How fast a rate should the sculpture be fired to maturity? It is a cone 6 sculpture clay with a good amount of grout.
  10. Linda Lees

    IMG 6865

    From the album: Curves and Crisp Edges

    Slab built using Feeney's Red Raku clay and glazed with Mayco Elements Burnished Steel

    © Linda Lees

  11. Linda Lees

    IMG 6849

    From the album: Curves and Crisp Edges

    Hand built using Clayworks LGH Stoneware clay. Terra Sigillata finish

    © Linda Lees

  12. Linda Lees

    IMG 6827

    From the album: Curves and Crisp Edges

    Hand built using Clayworks LGH Stoneware clay. Terra Sigillata finish

    © Linda Lees

  13. Linda Lees

    IMG 6818

    From the album: Curves and Crisp Edges

    Slab built from Feeney's Red Raku clay. Glazed with Mayco Copper Adventurine

    © Linda Lees

  14. yappystudent

    Ceramic In progress works 008

    From the album: WIPs

    Doll parts. Off-white clay with a yellow ochre pottery glaze. I was thinking about joining these to a driftwood and wire body for an uber primitive bit of mixed media figure sculpture.

    © Ann Nielsen

  15. yappystudent

    Old Star Trek

    From the album: Ceramics In TV and Movies

    Could this be a Lisa Larson figure? The original Star Trek series was filmed when her work was popular. Sorry for the lousy image.

    © Paramount Pictures

  16. yappystudent

    Ceramic In progress works 004 (2)

    From the album: WIPs

    Bit off more than I could chew, one fin popped off after another. Went for a swim in the scrap bucket. Will try again someday soon.

    © Ann Nielsen

  17. yappystudent

    Ceramic In progress works 014

    From the album: WIPs

    First attempt at a free-standing sculpture. Cracks formed in firing. Didn't get body wall even thickness.

    © Ann Nielsen

  18. Lucy POTTERY

    Guardian of oak forest

    From the album: My work - Lucy POTTERY

    Ceramic art plastic of Guardian of OAK forest. For more visite me on my YT channel: https://www.youtube.com/channel/UCqGNbVXdITzcuqsUJaaP-mw

    © Lucy POTTERY

  19. Lucy POTTERY

    Forest Guardian

    From the album: My work - Lucy POTTERY

    Guardian of forest. For more visite me: https://www.youtube.com/channel/UCqGNbVXdITzcuqsUJaaP-mw

    © Lucy POTTERY

  20. Raven's Nest gallery is hosting a one day exhibit of Sculpture and Tile by Stephani Stephenson. this event takes place on July 26, 2016, during the week of the Silver city Clay Festival. The gallery will be open regular business hours and hold an Artist's reception that evening, during Festival Gallery night. . This is the Raven's Nest's last hurrah in Silver City Stephenson will be bringing new sculpture and a 'trunk show' assortment of tile. See you there! Raven's Nest, 201 North Bullard Street, Silver City, New Mexico intersection of Bullard and Broadway, in downtown Silver City Ground floor of the Palace Hotel building.
  21. BARAKE SCULPTOR

    Resting Puppy

    From the album: SCULPTOR

    High temperature fired clay,light rose glaze.Dog taking a nap!

    © Barake Sculptor

  22. BARAKE SCULPTOR

    GOLDFISH

    From the album: SCULPTOR

    A bass Relief Sculpture Clay Plaque. I sculpted these delicate goldfish,took a mold,made a wax copy and casted in Stainless steel. I still have the original clay!

    © Barake Sculptor

  23. OK ... So I decide to start a yard sculpture ... the thing gets bigger and bigger ... taller and wider ... On the second floor of my house with no idea how to get it downstairs into the garage where the kilns are. On the plus side it will fit in the kiln as I keep those dimensions front and center in my studio. On the negative side, this thing weighs a lot. In hindsight it would have been a lot smarter to take an hour to add paper pulp to the clay. In hindsight I guess I should have made it in two parts. So Plan A is to put it on a piece of canvas and get help wrangling it downstairs. Plan B is to whack it, convert the clay to paper clay and start over. Plan C ....... Well, now I know why I don't make large things.
  24. Hi! First of all, I am very very new to ceramics. Nearly not startet (only made a wall piece for myself), but I have plans to learn and make it my profession. I do know quite a lot of theory by now since I have been crawling Youtube almost non-stop lately. I want to try to make sculptures. So the question is: Is it possible to use wood instead of metal as a frame/skeleton for a ceramic sculpture? I ask because I do not know and can not find out what will happen to wood during firing. Will it expand and crack the piece? That is what I am worried about, you see. If it expands, is it something I can do with the wood to prevent that? I do not have a kiln, so I will fire using alternative methods like pit-fire or saggar or barrel firing, or everything at once. I may use saggars in a pit fire in a barrel, and use charcoal to get the temperature going. I guess that will be how I will fire the pieces. I am totally in love with the surface decoration that is possible to achieve with saggar or pit-fire. I use homemade paperclay. I live in rural Norway (Scandinavia), and here it is impossible to get a variety of clays. Well, it is possible, but the freight cost will be so high, so I really have only two options: Red clay or blue clay. I know it is not called blue clay in the US, but I don't know what you call it. It is blueish grey and fires to a pale yellow. It is a low-fire marine clay, and it is said to be very good for throwing (because it is so plastic). That clay will crack easily, so I hope I can prevent cracking in a non-controllable firing like pit-fire, by use large amounts of paper pulp in the clay. I have not fired a single piece yet, so I really don't know if that is the case. It will be too expensive to buy a raku clay from Oslo and get it shipped up north to the arctics where I live. I tried to process local clay. It does look quite easy on Youtube, but our local clay is not like the "youtube clay". We have this blue clay, and it will not dissolve in water. Some will, and it floates. I does not sink, whatsoever. I managed to process some, and then a bunch of sheeps came and ate my clay, and stepped on it, making a total mess. That was the point i gave up and promised myself that I will never use local clay again. It is a shame, we have lots of it all over the place. Actually it is 25 meters of clay under the ground here. A construction company found that out when they drilled for a foundation for a building block. They did it a few days ago. I might get the clay from the drilling hole. Maybe it is so pure it can be used straight without processing. Hmm, will give that I try. Well, I write a lot of here about nothing. But the original question was about wood as a frame for a sculpture. Is that a good idea or not? I have some artistic plans, you see, that involves wood as a skeleton. So metal is not an option by now. For other type of sculptures I can use metal, but not for this particular kind. I hope you experts can help me with this Kind regards Rune Thomassen
×

Important Information

By using this site, you agree to our Terms of Use.