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Tyler G

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Posts posted by Tyler G


  1. I have a student making a fountain in the style of what you might see in a  town park but miniature: Fountain style

    I am looking for a way to hide the cord and we have a few Ideas involving silicone sealant and a hole into the foot, with the cord exiting a small notch in the foot then going to the wall. I said I would ask if any of you had any tricks that might work for a design that hides the cord without the silicone sealant.

     

    Thanks!


    Tyler


  2. You're right Babs, it was always the plan to test without kids first.

     

    Firing one went very well. Thanks for all your support.

     

    Neil - In reading your last post you talk about the person pulling pots being really suited up. To me it seems more dangerous to be the person opening and closing the can, therefore I would want them at least as bundled. In discussing possible future firings with kids involved the can lid is actually the spot I would be most nervous about a student operating. Thoughts on that anyone?


  3. Thanks again for all the great info, what a valuable resource you all are. John I still want to come by NHIA at some point and meet you and see the studio.

    Question: If I'm using Laguna Raku clay, could I fire a particular piece to cone 5/6 with regular cone 5/6 glazes instead of Raku firing it?

    Also, what temp do you guys bisque to for Raku?


  4. 8 hours ago, neilestrick said:

    If you put down a bed of sand, and put the can down over it, the sand will seal the edge and limit the amount of smoke that comes out.

    Can you help me understand this a bit better.  Are you saying that instead of using a lid on a trashcan your flipping the can upside down onto a bed of sand? How do you get the combustables in?

     

    I'm also very interested in the relatively smokeless way. Are there any good resources or videos you guys would recommend for raku practices? I have done it many times but never in a way that sounds quite like either you or John are talking. Steven's Branfman's work is beautiful, btw.


  5. 20 hours ago, Min said:

    Yup on the mask (respirator). Years ago when I did raku I would feel ill from the fumes/smoke when I didn't wear one. Good idea to protect your lungs also.

    What kind of respirator? A two cambered mask? Could you post a picture or link to the type you mean?

     

    Thanks to John, Tyler and Neil as well, I will stock up on safety stuff. 

    Can you give info on where to purchase some of this protective gear? Also John, what do you typically do for the head coverings?

     


  6. Got the Ward Burner.

    Got the kiln ready to go.

    Location in middle of quad, with hose and extinguisher on hand.

    Stakes and ribbon to mark the boundary.

     

    Questions:

    I fired with a group once and the nervous/safe/smart people wore this fancy silver jacket thing. Is that something I should get?

    I fired with some college students recently and honestly I trust my advanced ceramics class students more than I would some of those college folks and I am considering letting students pull pots if given the right protection.  It's a private school and it's the week after parents weekend so I can talk to the parents, many of whom I know. I do have art dept colleagues who can help pull pots and whatnot but it seems to me that the job of being in charge of the trash can is just as dangerous if not more dangerous.

    Do you guys where any type of glasses and mask?

    Im looking to buy the last safety equipment stuff ASAP and fire in 2 weeks.


  7. I have an old electric kiln, standard classroom size (8-10 cubit feet?), that I am planning to convert to a raku kiln.

     

    I have a spot behind a large brick wall next to the building and the maintenance dept approved the spot and said they have pavers they can put down beneath the kiln. 

     

    I am looking for advice on the best place to find plans for building the kiln. In the past I used a very simple kiln with a hole cut out and a burner placed next to it that was attached to a gas grill style propane tank. I was planning to do something similar but I am open to options.

     

    I am not sure what type of burner is best or where to purchase, and have heard of some using a weed burner. Any advice or resources would be appreciated as I am to compile a detailed list of what I need to buy for the project.

     

     


  8. No, I'm at PSU since I have my undergrad there it makes the MAT a 5th year option (albeit a few years after my BFA) 

    I met Chris once, and I have been to the NHIA once. I would be intersted in learning more about the low res program there and will look into it again (I briefly looked at that section of the site just now). Certainly something to consider. 

     

    Can you tell me about the kilns at NHIA?


  9. I found a post from a few years ago about this, but, I am wondering if people would be willing to share their thoughts on a low residency ceramics program that might work for me. I teach full time at a boarding school in New Hampshire. I have a BFA in ceramics. I am currently working on an MAT in art ed. I would be considering pursuing the MFA in two years after completion of the MAT. Rather than pose a specific question I am open to discussion or advice, specific recommendations are fine as well. Thanks!

     

     


  10. I should have mentioned previously that the submission guidelines specifically state that they cannot respond to email or phone inquiries regarding the position or application. I thought that seemed strange as similar opportunities have specifically listed a contact email for other questions. I'm hesitant to send an email with twenty attachments but given the circumstances it may be my best option.


  11. What format or platform should be used for submitting a digital portfolio of twenty images when no format or platform is specified?  The submission is for a secondary school position.

     

    "Interested candidates are asked to send a cover letter, resume, and digital portfolio of twenty images to:  JohnDoe@Boardingschool.com"

     

    I am debating using a web service such as squarespace or Crevado, or creating a powerpoint to save as a PDF file.  Any advice or other suggestions are appreciated.


  12. I recently received an e-mail from a friend I made at a dinner party regarding ceramic cats. I am hoping someone here may be able to offer insight as to the origin of these cats, who made them and from what materials etc. Additionally if there were a way she could find them for sale. An excerpt of the email follows, she and I would be grateful if anyone can shed some light on the subject.

     

    My sister and I independently (meaning we were not aware that we were both looking, until recently) have been searching for an exterior house decoration that we recall from our childhood. We would like to buy some cat (ceramics?) that people used to adorn their house with in the 1960's. They are quite kitschy on par with gnomes and pink flamingos. But, as child I just loved seeing those corny cat figures stuck on the sides of houses! Ask your folks if they remember them. I live in a 1950's ranch so they would look right at home.

    We have looked on ebay, I looked at ceramic greenware and on internet in general & have come up with nothing. The closest thing I have found is this: from the UK. http://catsinyork.com/cat-directory/

     

    The ones that are "climbing" are similar to what we are looking for. Have you seen any like it? Can you imagine how they could be made to be sturdy enough to stay outdoors in the elements (except maybe in winter?)


  13. Here are a couple more thoughts to add to this thread. First, glazing started thousands of years ago with the (possibly accidental) glazing of stones. This was in Egypt and elsewhere in the ancient world, and the stone was steatite, a form of soapstone. Alkaline glaze adhered to the steatite when it was fired. Steatite is soft, and they carved the stones to make beads, amulets, statues, and other items before firing them with the glaze. Firing the steatite made it harder and stronger, and sometimes the steatite was fired without glaze. The firing temperature was under a 1000 degrees Celsius, so it doesn't address your cone 6 concerns. If you do a google image search, you can see lots of examples.

     

    On a completely different note, there is a lot of information about using gemstones with PMC (precious metal clay). The stones are fired with the PMC either in a kiln or with a torch. Again the temperatures are nowhere near cone 6, but I've seen several charts with information about how different gemstones fare with being heated. Here's one published by Rio Grande:

     

    http://www.yourriogr...20gemstones.pdf

     

    Good luck and let us know how it goes!

     

     

     

    cool history on steatite, im gonna that out more

     

     

    I could fire lower then cone 6, but not higher I just would think testing stuff at a temperature that I wont be firing other work to would be inefficient so cone 6 would be ideal

     

     

     

    thanks for the link, synthetic gems could be pretty cool to experiment with but arent probably my style

     

     

     

     

     

     

     


  14. look into getting some mason stains to color the slip, you can also use colorants like red iron oxide, cobalt, etc. instead, but generally 5-10% mason stain added to the white slip gives pretty reliable color and there are tons of colors to choose from. Then clear glaze if u want gloss finish


  15. thank you all, i am excited to try it this summer, didnt wanna damage my mothers kiln tho blink.gif

     

     

    any advice pertaining to cone 6 would probably be most useful right now since i wont likely be firing to cone 10 for a few months or more

     

     

    i truly appreciate the advice and think this forum will be a valuable resource for me, i will be sure to post results when i get around to trying some stuff but plz continue with any input, thanks

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