Jump to content

Benzine

Members
  • Content Count

    3,185
  • Joined

  • Last visited

1 Follower

About Benzine

  • Rank
    Socratic Potter

Profile Information

  • Location
    Iowa
  • Interests
    The Arts (Drawing, Painting, Ceramics, Graphic Design), Running, Music (Mostly Rock), Movies, Technology

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I guess I don't know what you mean, when you say it is getting "dusty" inside. Is it getting dusty from the clay work? In any case, work dries very well outside, especially with a light breeze and direct sunlight. 10 degrees is still on the "cool" side, but anything above freezing would be OK, it will just take longer. You could also try drying them outside of the cabinet, to allow for air circulation all around. The cabinet is limiting that.
  2. That looks like a terrific space. Congratulations!
  3. Well, I try. I tell them we will be using *Underglazes* and explain what they are and how to be used. Then I tell them about *Glazes* and what they are and how they are to be used. Then at some point someone says "Overglaze" and I explain how those are very much a thing, but we don't use them. I then spend the remainder of the course correcting students, who call glazes, overglazes. I totally get why BUT still... I tell them nothing close to an inch or thicker. I don't require the bottoms to be waxed either. We do low fire, and most "stay put". They are not allowed to glaz
  4. Personally I would qualify a painted ceramic, as a ceramic sculpture, just obviously not utilitarian. With that said, I personally finish all my work with a glaze, underglaze or oxide stain, and require my students to do the same. I have occasionally kicked around the idea of allowing students to opt for acrylics to paint their more sculptural work, especially those, who I suspect will trash their project as soon as I hand it back (paints are cheaper than glazes/ underglazes), but I've never allowed it other than this past year with some of my students working remotely from home.
  5. That's good, because in a high school, I don't think I want an answer to the question "Does anyone have some tobacco they can spit onto this pot?" I have purchased a glaze in the past, that was called "Tobacco Brown". I told the students it looked more like "Tobacco Spit Brown", because it was mainly an off white to cream base with little specks of brown in it.
  6. So I tried some of the wood ash on some bowls. I did a couple with just the wood ash paste/ slurry, and some mixed with a glaze. Both had interesting results, and were indeed noticeable. Some left a bit of bubbling, but nothing too bad. Might have to do a bit more experimenting...
  7. Not industrial, but the table saw I have at home, is probably from the '40s or '50s. It is just a table/ bench unit, that someone attached to a pedestal (Former dinning table center post/ support) on casters. That thing has zero safety features at all. I think during the time period that was made, had anyone hurt themselves on it, the doctors would have just prescribed cigarettes... I haven't had many issues (Other than a bit of kickback that gave me a bruise) because I am super careful with. I have thought about installing a kill switch at the waist level that I could bump with my th
  8. I worked in a grocery store, and we had a cardboard box baler. I know nowadays, anyone under 18 can't even put boxes in them, let alone run them. But back when I worked, we were allowed to. That thing had so many safety features, that I have no idea how a person could harm themselves, without bypassing all said features. If the gate wasn't down all the way, it wouldn't run. The grating was pretty tiny so even fingers couldn't get through, so on and so forth. That said, I did nearly break my arm, when trying to unload the bale. The mechanism that kicked the bale out, didn't do so ful
  9. That's honestly a bit surprising with all the safety features everything is required to have.
  10. I second the sand recommendation. I would also suggest putting the sand in a thick plastic bag, then the cloth. I could see fine sand particles working their way through the cloth and onto the clay over time. Also, depending on how big the mold is, and how fine the details are, I've seen artists just drop the slab onto a mold and the weight of the clay presses it into the mold quite well. You could also simply use a dampened sponge and/or a rubber rib to apply pressure as well.
  11. Yes Sir, I've learned to treat wood ash carefully from these forums... And by watching "Fight Club"...
  12. There's likely no need to do that. It's probably nothing with the specific clay time in itself, just its moisture content when you go to use. But Liam mentioned that some clay is just "short", and naturally not have much plasticity/ flexibility. Most, if not all suppliers will list recommended applications in the clay description i.e. "Good for Hand Building, Good for Wheel Throwing, Great for reducing facial puffiness and detoxifying the pores"... Well, maybe not that last one...
  13. Like @liambesaw said, the wedging may be the culprit. I find that most the time, the clay out of the bag from the company is about where you want it (If not slightly too dry). So while wedging is generally good practice, it may be counter productive in this case. If you are wedging on a porous surface, especially plaster or cement, that's really going to pull moisture out. Wood will do so, but far less. A couple options on top of what Liam suggested: 1. When wedging, spray down the work surface with a bit of water, throughout the process, that way you are getting the cl
  14. Good Evening All, I know the topic of wood ash has been discussed, but I couldn't find exactly what I was looking for in previous topics. I want to try brushing on a simple solution of just wood ash mixed with water on top of some glazes, and wondered what ratio between the ash and water I should use? The ash is unwashed, which I'm aware makes it almost guaranteed to run. I will just be applying it to the inside, so I'm not worried about drips. The glaze are just commercially bought, and they are low fire (05), so they generally stay put anyway. I thought about apply
  15. Say, you seem to know your stuff. Have you worked on kilns a time or two before...Hehe. Should the element and feeder wire be touching, not touching, overlapping? Also, they have a small connector and a large connector. Which would you suggest?
×
×
  • Create New...

Important Information

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