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About anthonyfoo

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  1. Hi Nelly I am in the same situation. I wash all my clay stuff in 5 gal buckets. When it rains here in So. Calif. I collect the rain water in these buckets to use. I let the clay settle in these buckets, pour off the somewhat "clear" water in my grass. The left over sediment in the bottom of the bucket, I let it dry out in the sun. Once it's dried, it pops off the bottom and I can throw it in the trash. The only drawback about this is that you may need many buckets and it will take a while for the sun to dry out the sediment. Clay should never be disposed of in the toilet or sink. It will clog the pipes! Hope this helps.
  2. Hello Sun, Putting your kiln in the garage sounds like the logical thing to do if you don't need the space for your car. You may need permits, etc so check with the city. I know of several people who have done that. However, please be sure you get a qualified electrician to do the connections. My friend bought a kiln from a local ceramic store here and was recommended an electrician who came and installed the kiln in her garage. The kiln caught fire (luckily she was at home) and did extensive damage to the garage and house. A good thing her insurance covered the $200K of damages. Moral of the story is that make sure you have a qualified electrician who knows what he's doing. Get references. You can't be too careful when it comes to these high temp. you'll be dealing with. Hope this helps.
  3. HI acg, You can do a one fire with paper clay. I've taken my Aardvark Papel Cone 5 porcelain to a cone 5 fire without going thru bisque. There is no issue with a one fire. I tend to work without glazes so I did not use any with that test. All the literature on paper clay (my primary info is from Graham Hay and Rosette Gault) indicates that you can glaze a raw paper clay piece. You paper clay piece should be bone dry and as such it will absorb the glaze very quickly. Just be sure not to over glaze it in one sitting. If you need to apply another coat of glaze, let the first layer dry completely. Thin bone dry paperclay will absorb water very quickly and become leather hard again, so several thin coats of glaze is better than one thick application. Hope this helps, Anthony
  4. Hi lsculpt, Your tried-and-true method of making paper clay from scratch is pretty much the standard "recipe." I have not used fresh clay from the bag to make my clay slip as it is very difficult and time consuming to get a nice, creamy consistency that way. The clay being completely saturated with water is very resistant to taking on more water so it remains in lumps. I guess with a high powered mixer one can force the wet clay into a slurry. The dry clay method I use ensures an even mixing with the paper pulp. Whatever paper is used must be broken down completely into a pulp so wedging toilet paper into fresh clay DOES NOT work. Here's the link to my blog when I was making Black Mountain paper clay for my own use. Hope this helps Anthony
  5. HI Palandri, It's great you had the opportunity to study with Graham Hay. I had been working in paper clay since 2004 and had the chance to take his 2-day workshop in Santa Clara back in 2006. I know both Graham and Rosette personally and they have different teaching styles which makes for an interesting workshop. As for the books, I find they are good reference material. However, the best thing to do is to continue on working in paper clay which you find fulfilling. The best learning and discovery comes when we experiment and try out new things. Sometimes we discover new things; often times things don't work out and we learn from it. Hope this helps. Anthony
  6. Hello Chris, i've made my own Black Mountain paper clay. Here's the link to my blog on this "fun" process. For my sculpture work, I use the Gault 10 paper clay from Aardvark. I've also used Aardvark's Papel Cone 5 Porcelain in a one-fire test. I like the Southern Ice porcelain paper clay very much for its whiteness. I'm not sure if Laguna Clay is still carrying it. I use this Southern Ice porcelain paper clay quite a bit in my work. Happy New Year 2011!
  7. What a pleasure to see your extensive collection of sculptures. On your sculpture, Terra Nova 2009, I really admire the black crackling on the outer shell. Can you share how that is accomplished? I'm a novice paperclay sculptor doing figurative work, but I'm leaning toward looser forms as I become more comfortable with the mediums of clay and paperclay. Wishing you an exciting year in clay.....Jayne Hello Jayne, Sorry for the late reply. Am glad you are enjoying my work in paper clay. As for your question on the hull, the texture is created by using the Van Gilden flashing slip on my green piece. It is brushed onto the green ware and then it goes thru the bisque fire. I use a combination of red iron oxide and manganese dioxide to "color" the hull. The excess oxide/stain is wiped off leaving the oxides in the crevices. The piece is then fired to Cone 10. The crackles you see is a result of the high fire. I did not use any glaze. Hope this helps. If you have more questions, please feel free to contact me. Regards Anthony
  8. Hello Idaho potter, The pagoda design on the take out boxes were hand-drawn with paper clay slip over the bisqued pieces. It's one of the fantastic properties of paper clay that allows fresh slip to stick onto already bisque-ware. The depth of the design was build up with successive layers of slip. The work was then re-bisqued to "fuse" the design onto the sides of the boxes. Glad you are enjoying the images. Best regards
  9. Hi all paper clay enthusiasts, Wishing all a very happy and safe holiday season. Looking forward to another new year of paper clay. I've been doing much research this year with paper clay and managed to get some new projects completed. For my latest works, please visit my Flickr site. Best regards.
  10. Hello Naomi, I understand your concerns. What cone are you planning to fire your piece to? For the work that I do (almost all sculptural), cone 5 works nicely. My taller pieces shrink more at Cone 10 and are subjected to more unnecessary stress in the firing. So if you can do Cone 5 or even lower, that's one option to get less slumping. I assume you are using a traditional clay body. Your 1/2 " slabs are pretty substantial. I don't know if additional internal supports will help since this will increase the weight even more. However, if you are planning to incorporate internal struts, I would recommend a hollow tube form. Think of it as a hollow pipe and using this as an internal armature. Have you thought of using paper clay for your tall pieces? Hope this helps Anthony
  11. Hello Geetha, Nice curvy forms! Have you thought of firing the pieces individually and then assemble them (ie glue them with epoxy)? Were you thinking of firing it as one piece? vertically or flat? It would seem like your piece is more suited to being fired as a horizontal piece. Hope this helps Anthony
  12. Hi Carol, The stems are obviously the most fragile part of your piece. Even if successfully low-fired, that area will still be a weak point. Another alternative is to leave the stem out during the firing and then "recreate" them. One sculptor I know who makes life sized crows, leave the legs out during the firing (to Cone 5) and then make the legs out of steel wire and covered with polymer clay. The legs are then attached to the crow's body with epoxy and the entire piece painted black. If you are not opposed to this approach, that might present a viable option to creating a "super" strong stem. Hope this helps Anthony
  13. Hello ACG, I've fired my paper clay coated hardware cloth and chicken wire mesh to bisque temperature (cone 06). At this temperature, the metal still holds its shape. Depending on how thickly you coat your metal mesh, there may be some twisting/moving of the structure due to the paper clay shrinking. I usually coat my mesh quite thick with my paper clay slip so I'm experiencing more movement from the bisque fire. I've also tried firing at a higher temp. (Cone 5). At this temp. the metal melts completely and it will find ways to get out so it's not a good idea to go this high. The melted metal goo, which is black and foamy, will stick to anything it touches. If you stick to the lower temps. it will be fine. For example, you can use low fire glazes on your bisque piece and fire to cone 06 in an electric kiln. I've tried raku but the extreme change in the temperature (in the post fire reduction) causes pieces to flake off. Hope this helps. Anthony
  14. Hi all, I started this post for paper clay enthusiasts. Hopefully, you'll find the topics, questions, suggestions here useful and helpful in your ceramic creations. Anthony Foo
  15. Thanks, Chris. I visited your site. Your murrinis patterns are so sharp and your colors sing. Really beautiful. I read your paper clay section while there. Despite reading Rosette Gault's book and your own very helpful presentation, I still don't understand an extremely basic P'clay concept: That is, can I mix my celluose fiber with typical damp/plastic stoneware clay, or must I mix cellulose fibers with dry clay body (powder)? I read the whole book and still don't get it (duh). I intend to try Minnesota Clay MB STONEWARE at first...unless you or anyone else warns against it. Thanks Hi TBm, In making your own paperclay, here's a link to my blog where I made my own Black Mountain paper clay. It is a lot of work, but kind of fun to do. My local retailer here is Aardvark Clay Co. in Santa Ana, California and they carry 5 different types of paper clay from a low fire cone 06 all the way to porcelain cone 10 paper clay. Hope this helps. Feel free to contact me if you have questions. Anthony
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