why cant it simultaneously be an act of vandalism, and art? Art doesn't have an intrinsic moral value, negative or positive...
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Posted by justanassembler on 09 November 2013 - 03:32 AM
That Potter's Choice shino is not a true shino. It's similar to a shino in that it's kinda orange, but beyond that it's not really even close to the real deal. That's not to say it's not a nice looking glaze, I just wish they wouldn't call it a shino.
Cones have become much more expensive since digital kilns came into fashion. But you won't need to use them forever. Once you've used them to confirmed the soak time needed to get to cone six, you can stop using them. Keep them around in case you run into issues in the future and need to re-confirm.
to be honest, anything in american ceramics called a "shino" lacks the geologic pedigree to be called a shino--but semantics.
Posted by justanassembler on 26 September 2013 - 10:45 PM
Don't use underglazes on the Majolica base. Underglazes do not melt like a glaze, and will remain dry and rough.
Actually, per Linda Arbuckle (and some confirmed in my own testing...)
"Some AMACO Velvet underglazes work for decorating on top of majolica base glaze: Mist Grey, Jet Black, Rose, Maroon,
Posted by justanassembler on 08 September 2013 - 12:54 PM
Several years ago I heard that was being done at Bowling Green State University in Ohio. I am sure you could find more info online.
John Balistreri was doing the printing @ BGSU with the help of a then grad student--I was there while this was in its infancy... That has now morphed into a small research organization that I believe John runs, and is administered primarily by one of John's former students, Greg Pugh. The oranization's website is here: http://www.ceramic3d...e/Homepage.html
They are not the only folks doing actual 3d printing (an additive process, rather than milling from a CAD file, which is subtractive.), nor are they the first--do some googling and you'll encounter plenty of results.
Posted by justanassembler on 01 September 2013 - 01:22 PM
especially @ cone six
Mastering Cone Six Glazes. It is out of print in the dead trees edition, but you can still find copies if you look--its available as an ebook for your idevice.
The Cushing Handbook-a great reference to have on hand.
John Britt's stuff--any of it--its all pretty good.
Pfff, I just looked on Amazon. One of the older copies are going for well over $100.
See above--apparently its back in print--also if you call around to pottery suppliers many still have the old edition in stock for the regular retail price...
Posted by justanassembler on 02 August 2013 - 09:09 AM
I've got to put in a good word for Brent. My 7 year-old EX is a good wheel. A few weeks ago the controller started malfunctioning. I took it apart to make sure it wasn't something I could fix then called Brent. Bob Randof said "I'll send you a new controller." While kicking myself, I said, "It's not under warranty anymore." He said, "I know. That's our best wheel and nothing on it should go out in 7 years." I was obviously impressed but I was even more impressed when I looked it up and found out that a new controller like the one he was sending me for free cost $425.
was that wheel controller one of the "digital" controllers they made around 2005-2006 where it had a "soft" push button for on/off and wheel head direction? If so, I think that Bob has been doing his damndest to get as many of those back to brent and out of the public's hands as he can--I had this experience with him twice and he was nothing short of amazing in terms of his speed and knowledge. I think the fact that he was willing to acknowledge (and make right!) a mistake in design really sold me on brent as a brand, as far as wheels go.
Posted by justanassembler on 20 June 2013 - 08:39 AM
In the end, it is a huge time and money sink--the question you have to ask is the one you are driving at with your ancillary questions--is it worth it to YOU, and does it help you achieve what you want to achieve?
Given that my methods (surface carving, multiple glaze application) are pretty time intensive, I'd like to be able to market my work in some higher end venues. Where- exactly- to do this (and whether my work has evolved enough) are separate questions.
I have been noticing, however, that some of the online galleries (such as the artful home, or the Schaller Gallery) ask for a CV from their applicants. While I'm sure the quality of the work is important (and the images, as you mention)... I'd also guess that a CV that's front loaded with more biology than art would be a red flag. I'm guessing that representation in some juried shows could help. This- therefore- is one reason that I think it might be worth it to me.
In a broader sense, I'd like to promote myself better. I don't have a robust sense as to the 'impact' of online vs. physical show venues... or ways to discriminate quality in different shows. Chris gives some good suggestions above... but I'd be interested in other people's ideas.
Posted by justanassembler on 19 June 2013 - 10:35 PM
Stock disclaimer: I did a search to see if this topic had been addressed directly- apologies if I missed something.
So- I'm wading through the many juried art show opportunities online. I'm trying to decide on some criteria for allocating my money and energies when considering applying to these. (Note- by 'show', I'm referring to juried opportunities to display work online or in a gallery setting, as opposed to craft or art fairs where you have a booth).
My goal is basically to enhance my exposure as a ceramic artist, and also to diversify CV that is heavy on wildlife biology and less heavy on formal accomplishments in ceramics. It seems pretty clear, however, that at least some of the 'contests' advertised online border on scams, while others may be extreme long shots for people working in wheel-based ceramics. Between the $35 fees (at minimum) and the energy invested, I could see this being a huge time and money sink.
First- I'm curious as to how many working potters put significant time/energy into applying to any shows or contests. Have any of you decided that this simply isn't a good investment of time or money?
So- I'm curious as to what people use as criteria in deciding what to apply to. For example (just a few off the top of my head)...
I may post a few examples of shows I'm considering applying to... but I'll start here for now...
- Only applying to shows that have a ceramics theme?
- Only applying to shows that seem directly focused on some dimension of your personal style?
- Only applying to shows that have a physical gallery presence (or the converse)?
- Only applying to regional shows?
- Only applying to shows that encompass work you've already made (vs. targeting work to specific shows)?
Posted by justanassembler on 13 June 2013 - 08:33 AM
Don't you hate it when somebody starts a thread and then never even comes back to appreciate all the posts and advices.
Just because she does not reply, does not mean she didn't read the posts. It is a little irritating not to see a reply post, but then it happens.
Posted by justanassembler on 10 June 2013 - 02:55 AM
Crazy? Fun? Tools? ... Hmm... I wear gloves while throwing.
Thin medical gloves. I thought since I can palpate stage I prostate cancer wearing them, why not to try it for throwing the clay.
Can feel all those air bubbles well.
Jim, watch that bear! Do not spill it on your keyboard!
Posted by justanassembler on 09 June 2013 - 09:42 AM
Wedge it!. The clay in the bag needs to be wedged. The cut and slap is better at getting air out but spiral shell wedging works the clay nicely, lines up particles, and lets the clay introduce itself to you, so do a little of both.
Thank you very much! Will do.
Yet, 1) Why are we still talking about getting the air out, since it is not a big deal?
2) Why are we chatting (in other threads) about buying a pug mill, if we still need to wedge?
JUST CURIOUS Claypple.
1) It is a big deal. Air pockets, depending on size, interfere with throwing and show up as a lump in the wall of a fired pot. I make a big deal out air pockets not causing pots to explode because that myth is still so prevalent. No, they don't make pots explode but you do not want them in the clay you are throwing (unless you do want them there for an aesthetic reason).
2) My pugmill (Peter Pugger) ruins clay, but I'm the exception. For most people pugmills are these wonderful machines that take most of the work out of reclaiming clay and produces clay that needs almost no wedging.
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