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Member Since 08 Feb 2012
Offline Last Active Aug 19 2014 03:01 PM

Posts I've Made

In Topic: Good Recipe For Red Oxide Stain?

16 July 2014 - 05:31 PM

like others have said already, commercial underglazes/glazes are pretty stable at ^6 even though most of them are low-fire.  I like using the underglazes because you should be getting more pigment for your money and they seem to work well mixed into or layered with homemade glaze bases - "really red" duncan is a reliable one for example.  not all of them work, but most do.


a tip i learned a long time ago from another sculptor - fingernail polish works wonders for the times that you only need a tiny detail of color on a sculpture (example was irises of eyes or drip of blood, etc) instead of buying stains or UG.  it's cheap, looks like glaze unless you're super close, and comes in pretty much every color.

In Topic: Building a tandoor - what type of clay to use and...

02 July 2014 - 06:11 PM

Or perhaps they don't fire it after all, like with cob ovens.


I'm pretty sure they don't traditionally  "fire" them like ceramics.  They just get dried out really well and then "cured" and slowly heated from within the first few times.  Many different ways to cure a tandoor, but it's similar process to seasoning a cast iron skillet.  I believe the go-to is molasses to cure the interior.


if you wanted to fire one, you could always build it to just fit inside your kiln like this guy:


In Topic: How To Strengthen Delicate Ceramic Parts After Firing

20 June 2014 - 01:17 PM

I'd also say make 2-3 of the item when possible, or if you know it's a problematic area. things that protrude from sculptures always want to break when you look at them wrong. I recommend that whenever you can, build something that comes apart/sectioned/modular so you can lift/transport it (large sculptures) or replace easily broken parts that protrude (ex: hands/fingers, horns, tails, leafs, rabbit ears, etc). How the piece comes apart/assembles is sometimes better than the actual object :)

Don't have a whole lot on strong runny epoxies. Maybe try PC Clear (I think that's what it is called). Made by the company that makes the awesome PC-7 and PC-11 epoxies (IMO the best consumer grade epoxy), but it's a clear that comes in syringe tube. I've never tried it myself so I can't comment on viscosity, but specs sheet shows it's way stronger than your average clear syringe epoxy.

There is also some liquid products for the hobby crowd (like plastic models/trains/rc) that a lot of people use to make clear windows/lenses. I believe it's fairly runny and makes a decently strong crystal clear product when cured. With a porous clay body, it might wick up into the clay.

In Topic: Glazing Raw Ware

22 May 2014 - 08:40 PM

as long as you are aware of what you're doing and take the necessary steps to keep the work safe, there is no problem.  not everything will be successful, certain glazes or glaze/clay combo's will not work this way.  this is how we do 90% of the work that gets fired in our sculpture studio, otherwise we'd never get anything accomplished in a 10wk quarter system.  you think some indigenous tribe is would have traditionally fired their ceramics twice, when finding enough fuel to fire once is hard enough to spare?

In Topic: Large Sculpture

22 May 2014 - 08:35 PM

are you talking about horizontal cracking lines in the piece - like separation between added coils?  I don't see any of that in these pieces.  if that's the case, you need to slip, score, and add better compression between your "building blocks".


if you're talking about the horizontal "ripples" in the sculptures, then this is more likely due to uneven compression between the layers of your coils/building blocks.  in our studio we build large scale, people tend to build with "ribbons" of clay instead of "coils" because it saves major time on a 6ft sculpture - when they build like this, they sometimes get uneven compression on the "field" sections of the ribbons vs the edges that are being further compressed/manipulated via slipping/scoring/attaching.  when the piece dries out, the more compacted sections where they were joined tend to protrude slightly on what was an even surface, and the less compressed clay tends to shrink back slightly - resulting in ripples.  the only way i know how to eliminate this rippling is to fully manhandle and compress all of your clay evenly as possible so it all dries and shrinks the same.  clay memory is an amazing feature of the medium.


if you're grinding/sanding down your bone dry or even fired work, just please make sure you wear some PPE and keep your lungs happy  :D



side note:  i know that Akio Takamori uses a large slab building block to form his large pieces and usually makes his studio assistants grind down all these ripples on these large sculptures after they are bisqued....sounds like a fun job.... :lol: