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Colby Charpentier

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Everything posted by Colby Charpentier

  1. Making the work of others is a great way to learn. You don't want that stuff getting out of the studio, though. Think of it as an exercise. Have you spent time with Don's work? His stuff has a great sense of volume, weight, and energy in the walls. You have similar moves visually, but it's not "there." That might improve over the series. Focus on why the skirt is there, and get the volumes and the base sorted out. Really do something to the clay. Maybe drawing and working on even smaller models is a good way to work at that too. If you can spend time with the work, even better! (Seeing
  2. https://cfileonline.org/crystal-tile-london-contemporary-ceramic-art/
  3. Plaster and bisque molds are great for slab work. Even dry clay works great for temporary forms. For bisque molds, work solid and hollow out the form. A bit of extra thickness in the mold form allows for better release. You could also build forms from other materials like wood, plastic, anything, and cast in plaster. For a hammock type shape, I would throw a form on the wheel and slice it in half to start..
  4. Also, for reference, a 50% increase in graduate students majoring in Ceramics is an increase of about 2 students for RISD. This had better be an unintended error.
  5. Yes. He is arguing that the NY Times as an entity, wholly ignores American studio ceramics. When McKeough locks onto these "romantic" tales of the white collar businessman finding ceramics, it sells the story, not necessarily good work. In the Fashion and Style section, one can see Clark has an expectation of critical design writing, not inspirational story-telling. His anger is well-placed in this sense. What I do find objectionable is the exclusionary attitude of American studio ceramics. You can read this into Clark's writing, but this attitude underpins most avenues of dissemination fo
  6. The Soldner Mixer is great for mixing clay, not so much for crushing fired clay. Jaw or plate mills are used to crush the aggregate prior to mixing.
  7. Large scale ceramic sculptures can be fired in place, usually with wood or gas. Steel and fiberfrax structures are built around the work. http://www.ninahole.com/ Some educational and private facilities have much larger kilns custom built for their larger work. Modular and sectional building methods are possible, but not always ideal for the work. The temporary frax kilns are by far the most cost effective short term solution, assuming you've exhausted local university and artist resources.
  8. 2-3 coats of shellac and a light application of universal mold release should serve you well. Remember to brush the UMR into the detail after spraying for proper application.
  9. UV glue needs clear glass to permit light transmition for the curing process. It also tends to require polished surfaces to create a strong bond. If you can take care of those obstacles, UV is workable. Most epoxies aren't great for the long term, but will hold up so long as they're not in direct sunlight. Opaque expoxies tend to fare better in sunlight.
  10. The official vods won't play for a non-UK ip address (including vpns). Any work around or different source?
  11. To add to Diesel's explanation, the quality of gloss vs matte in a glaze is a NOT a matter of melt in properly formulated glazes. It is a matter of glass vs crystal molecular structure. That being said, if you added enough kaolin, the glaze would devitrify, and the trend would support your hypothesis of adding refractory material causing a glaze to lose its gloss.
  12. For goblets, use diamond hand pads, or a dremel for the big defects. Everybody seems to have different ideas about what a ceramic goblet is, but for anything on an interior surface, dremel/hand pads.
  13. Try looking for it under the name Floating Blue. There are other members, more familiar with commercial glazes that may be able to better direct you...
  14. Generally homemade climbing holds are made from cast resin with sand aggregate. If you do them in clay, the best way to ensure a proper hole is to drill post fire using diamond core bits as mentioned above, this requires a lot of patience, time, water, and expense for the bits and water hose attachments for the press, and drainage basin set up. if you're comfortable making molds of any type, cast resin is a really nice option, with not much fear of chipping or breakage. With resin, you can use cheap acrylic paint as a colorant, and end up with some really nice holds. There's a lot of DIY guide
  15. The moisture in the first layer of glaze/slip and the body is key here. You either apply the next coat while the under layers have enough moisture that the two dry together, or you wait for the first to dry, so the rehydration of the under layers doesn't push it off of the body (notice how clay rehydrates well when wet or dry, but is resistant to moisture in the leather hard stages, similar interaction). The biggest adjustment to make with these crawl glazes is the amount of mag carb. That's the material with the super high CoE doing all the crawling work. Changing the amount can change th
  16. It's also worth mentioning the thixotropy of clay, especially with high kaolin contents. Get the clay moving prior to putting it on the wheel, or cone it a couple of times before pulling. It makes a huge difference. Also, you don't need a body that stretches well for that you're making, especially with how much you're trimming. But, if you do start needing a stretching body, I've found great success with white stonewares (porcelain with ballclay:P) in terms of stretching on the wheel. For handbuilding, a plastic stoneware like soldate 60 is tops (for stretching).
  17. The cone system is based on a ratio of Silica and Alumina to Fluxes. Cone 1 is 1 mole Silica (0.1 moles Alumina) to 1 mole of fluxes (the Alumina rises proportionally to the Silica). Cone 2 is 2 moles Silica (0.2 moles Alumina) to 1 mole of fluxes. Cone 3, 3 moles Silica (0.3 moles Alumina) to 1 mole of fluxes. The reason Cone 0 does not exist is because Cone 01 represents the transition from whole number proportions of Silica to fractions less than 1. When the system approaches zero, that's actually a situation where the corresponding cone is all fluxes, no silica/alumina.
  18. I've never understood describing cone behavior with clock or angle references. The cones tend to curl or bend in ways that there could be many interpretations of these terms... In the larger community firings, we draw the cones every check, and use a finger to signal behavior. There are terms such as stiff, soft, bent, touching, and flat that are rather helpful. What does 45 degrees or 1 or 2 o'clock mean? Are you guys imagining vectors between the base and the tip of the cone? And why?
  19. This. Tape casting is a solution, the only downside is burnoff in the bisque.
  20. If you have the option, don't hit the studio until you figure out what you need to make. Time away from making is healthy. If you feel pressured to get back into the studio, choose a form to make enough times that it becomes reflexive. I do lidded jars when I lack direction. It gives me plenty of time to figure out the next run.
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