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Chilly

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  2. making casts from fondant molds using pottery clay

    in Mold Making and Slip Casting

    Posted

    You will probably need a "release agent."  For plastic press moulds I use either talcum powder or WD40.  Both will prevent the clay from sticking to the mould.  You might need to remove the clay before it's leather hard, as by then it will start to shrink and can get caught.

    I made a whole batch in one two hour class, dusting mould with talc, pressing the clay in, dropping it out, dusting mould with talc................. repeat

  6. QotW: What is your preferred method of storing work in progress?

    in Int'l Ceramic Artists Network (ICAN) Operations and Benefits

    Posted

    The answer is "it depends".  On what you might ask?  The weather. 

    This time of year, things dry slowly - often too slowly, so they get covered with dry cloth to help absorb some moisture.  When it's hot or even just sunny, the greenhouse can warm up quickly, even in winter.  Either way, they come indoors and sit on a shelf over the bath - bathroom is not used and is north-facing.

    It's a balancing/juggling act.  Don't let things dry too quickly, or so slowly I can't refine them, and miss the next kiln firing at the community centre.

  8. QOTW  What other creative things are you involved with?

    in Int'l Ceramic Artists Network (ICAN) Operations and Benefits

    Posted

    Creative activities?  Oh, there's a list.

    Gardening is my outdoor creation, placing leaves and colours together to combine and contrast.  The challenge of getting seeds to germinate, cuttings to strike, flowers to flower, veg to eat.

    Sewing, mainly household stuff like curtains, but lots of dressmaking too.

    Fibre stuff - spinning, dyeing, weaving, knitting and crochet, mainly with sheep wool, but also silk, flax and alpaca. 

    Glass - fusing and copper foiling and leading.

  9. Great Pottery Throwdown - British

    in Educational Approaches and Resources

    Posted

    Not sure if the rest of the world can see this, but now it's not on the BBC, maybe you can.

    https://www.channel4.com/programmes/the-great-pottery-throw-down/on-demand/74088-001

    First of the series was on a week ago, haven't watched yesterday's programme yet - so no spoilers please - but they were one of the best groups of potters so far - and this is series 7.  They could at least, all throw reasonably well.

  12. Need advice

    in Studio Operations and Making Work

    Posted

    Hi @IvanLane

    Can't help much with your question, except to ask more questions, but you might get more responses if you re-word the title.

    As for hollow, probably yes.  What diameter are you thinking?  I'm imagining something like a kiln post or smaller.  Clay shouldn't really be much thicker than your thumb.  And , I believe, tubes are stronger than rods of the same diameter.

  15. Underglaze

    in Clay and Glaze Chemistry

    Posted

    Further to the technical explanation in the link, I put it like this to my group.

    Underglazes (usually) don't move or mix during firing.  They sit/stand still.  When clear overglaze is applied to fired underglaze it (usually) doesn't cause the underglazes to move or mix.  And (usually) the colour is WYSIWYG.   So, underglazes are good for painterly pictures, drawing, writing.

    Glazes can/will move or mix during firing, particularly on vertical surfaces. And (usually) they are not WYSIWYG.

    So, if you want defined colour areas, use underglaze, if you don't mind if they mingle use glazes.  Apart from all the other options, like matt, textured, crystals.........

  16. Genium

    in Mold Making and Slip Casting

    Posted

    I use this 

    image.png.8d31965c5b40cdf023f08a0d24f50200.png

    As for mould release agent.....  Nothing required for slip casting.  Nothing should be required for press moulding, but talc can be used in porous, non-plaster moulds, or WD40 in non-porous non-plaster moulds.

    The only other time you would need to use mould release is when creating the mould.  Different master materials require different mould release (and some need none), and you need a soapy release between different sections of plaster, so they don't stick together.

    Try your local library or the online auction site for a copy of the Clay Lovers Guide to Making Molds.  It has a list of release agents for diffferent materials.

     

  20. top load vs front loading kiln

    in Equipment Use and Repair

    Posted

    I fire a top-loader at home and a front-loader at the community centre.  Taking any other factors our of the conversation, for me there are positives and negatives for each.  And all are to do with the shelves.

    The top-loader means lowering each shelf down with not much finger space, good posture is needed, straight spread out legs, back bent at the hips.  And it's harder to see that the shelf posts are tall enough.  With the front-loader you have to hold your arms out in front of you with the weight of the shelf trying to do what gravity intends, and you feel like the whole weight is on your fingertips.  Particularly tricky with a full shelf below when you'r trying to maximise the load, and everything is the same height.

    I like that with the front-loader I can see into each shelf - even if can't see all the way to the back, so it's easier to move something to gain a little space on a lower shelf at the last minute,  You cannot do that with a top-loader.  I feel the round shelves are more stable on three posts, than the rectangular shelves.  Having one post at the front makes me feel it is less stable. (I don't think it is, it just plays with my head.)

    In summary, for me, when loading lots of pots the same height, the front-loader is harder to place the shelf.  If you have a weak back the top-loader is harder.

    If you asked me, while loading shelves,  which do I prefer - I'd probably say the other one!

     

  24. QotW: Sit or Stand, and on what type of Surface/Furniture?

    in Int'l Ceramic Artists Network (ICAN) Operations and Benefits

    Posted

    I don't throw, but stand when hand-building.  I use the highest table at the community centre, and often work on top of boxes to raise my work, and my benches in my greenhouse (studio) are high too.

    I fidget, and am short in the body, and find sitting for most tasks is not comfortable.  I did evening classes working with glass - fusing, copper foiling, leading and was the only one in the class who stood for 3-4 hours.  

    The only stuff I do sitting is textile based - spinning, sewing, knitting, although for spindle spinning it's easier to stand, same for weaving.

    I think it's important to be at the right height, and comfortablewhatever you're doing.,

  25. Do you practise pottery at home? Please help my research

    in Educational Approaches and Resources

    Posted

    On 10/6/2023 at 3:05 PM, Jodie Parry said:

    - how did you start? [e.g did you take a class, see it online etc]
    - what are you using [e.g store bought materials, pottery kits]
    - what are the challenges you face doing pottery at home?
    - do you think integrating a digital element, such as an app, with your practise could improve the pottery experience? how do you see a digital element aiding you while you practise pottery at home?

    Went to evening classes

    Store bought

    Working in a greenhouse - dust and cleanup, winter cold and damp , summer heat and dazzling light 

    Can't imagine what an app could possible do for me

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