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Everything posted by rakukuku

  1. our technicians use a hair dryer to blow flames away from the peep hole to see the cones.
  2. Our studio and galleries are constantly hit up for donations. The requestors don't seem to realize we are on a consignment basis and the decision is up to each artist and not the organization. Also, they often come in and want to walk out with a piece - allowing no lead time. We have finally decided to donate gift certificates from the gallery of a certain amount each month, selecting the high exposure events. With a gift certificate, people have to come in and see the gallery to use it and they often end up purchasing more than the certificate value. That said, sometimes some cute girl scouts come in and I just give them something of mine. Gift certificates might be hard for a person who does not have a retail outlet though it could be spent at the craft fairs. I have often wanted to write a letter to the editor about hitting up artists for charities so much as we are some of the poorer people around. Why not have wealthier people purchase a piece and donate it? I know lots of other business get hit up for gift certificates and products around here too so its not just artists.
  3. Probably the carving step of my hand building. My little figures are hand formed as pretty much pinch pots, then carved and refined after they set up a little. Really like the carving part.
  4. rakukuku

    JBaymore BottleForm

    Wonderful form. Hope you post a pic when it is finished.
  5. Some people have thick coarse hair which can be used like horse hair. I have used my own a few times and it just leaves a finer line. I wonder what would happen if you collected sweepings from the beauty salon and tossed wads of that stuff on your pot?
  6. Sad to see anything art related closing in Mendocino. Its such a great little art mecca. Love the center for the arts there and have attended workshops. well worth it. Rakuku
  7. Love seeing the work of new graduates. Lets see more of this.

    1. glazenerd


      Agreed- love to see new generations getting involved.

  8. Mostly I listen to what is going on in the main studio - all sorts of fun conversations or instructions going on. If not that, then progressive talk radio though its all about the same topic these days.
  9. Well I studied art and ceramics in college and knew I always wanted it as part of my life. But felt the need to get a decent paying job in the business world and got an advanced degree. Interestingly, the creativity of my art background was very helpful in the business world. I was a creative problem solver. Having retired from business I jumped back into ceramics asap. I really don't know what I would do all day without it. I am a sculptor and hand builder and don't do the wheel any more though I used to. Used to raku a lot but now am doing more high fire as I get more comfortable with the glazes. I am always looking for some new technique to try - Obvara being one of them that was fun.
  10. Well you just have to dry it until it is dry. No time known. But you are right to slow dry it covered. I do a lot of sculptures and while it is humid here, my studio often gets a lot of sun. I keep things covered lightly with plastic and away from the window. Gradually cover them less. Eventually I move them to shelves in front of the window. Little stuff goes there directly. Also I am really slow with he porcelain as it tends to crack more. Gl. You will know when its dry.
  11. I've only done this a time or two but bisque the waste slab right along with the piece in the same position as it will be in the glaze kiln. thats was I was advised and it worked. Same clay same shrinkage.
  12. love this stuff. Do I see redwoods? Would you share the moss pebble glaze recipe? love that look.
  13. I belong to such a studio and it works well. WE have monthly membership of $115 per month for access with four cubic feet per month of firing, glazes mixed and provided and several part time techs to mix glazes and fire the kilns. Most people are not professional potters but some, like me, hang out there a few hours most days. We also offer classes for kids and adults. I think $190 for 10 weeks. We offer recycled clay but there is a nearby ceramics supply store where most people get their clay. Only cone 10 clay allowed. If people want underglazes or other stuff, they buy their own. Most have their own tools. We have a paid director who sets up classes, does finances and generally keep the place running. We built our own high fire gas kilns. After 15 years the place is quite popular and being too crowded is sometimes a problem. The organization is set up as a private business but we operate like a non profit in that the owners take no money out and put it all back into equipment and such. You can look at our web site fireartscenter.com i think. GL rakuku
  14. Ok here is a question. Do you work in other forms of art like painting, drawing or whatever? How much cross over is there to your ceramic work?
  15. Since my work is non functional sculpture I guess the main thing is form. That and communicating some sort of message - usually silly. I just made a gaudy rooster wearing a necktie entitled "Donald Trump Laid an Egg". It has orange hair and an orange egg. I have great admiration for beautiful functional work and buy it from my friends, but just can't seem to do it myself. So I do what I am able to.
  16. Well I love the kimonos and had the idea of why not make more ordinary clothing of current vintage. The pajamas and nightgown pieces were for a friend who had since died. Don't think I have pictures of them. Will have to make more. I pinch my animals out of one piece because it seems like the parts I add always want to crack off no matter how well I score and slip. So they are all sort of fat and blobby. Recently learned that waxing over the joints helps prevent that. Can't wait to see the completed captain. Rakuku
  17. Well the short answer is "until its done". Raku is not so much about time as it is getting to the right temperature. Many raku glazes are formulated to fire to cone 06. One can peek in the kiln vent hole and see that the surfaces are all glossy and beyond the bubble stage. We have taken to using a little self standing cone 06 to get consistent results and I don't like peeking into the hot kiln any more than necessary. Our raku kiln is pretty good sized to it can take as long as two hours to get to temperature. we run it fairly slowly until its past quartz inversion and then I was taught that you can blast it up. We have industrial natural gas so we never need to fully open the gas valve or it shoots flames out the top. We also raku kids stuff so take it slowly at first because some are sort of thick. I have seen schedules that suggest temperature increases of 3 degrees per minute or something like that but I don't do that. Does your red bronze have a suggested firing temperature? We have one that goes to 06. Different kilns fire faster or slower than others. GL
  18. Well Captain Cavy is certainly cool and I think the coat looks good. Looking forward to the finished look. I make a lot of animals that are essentially all pinched forms out of one piece of clay. Most don't have clothing but I have made some vases that were a pair of pajamas standing up. I just sort of pinched the folds with the outer edge of my thumb. Gave texture by pressing a bit of lace into the collar and cuffs. I go back and carve the folds a little too. The pajama vase was a gift for someone and I keep thinking of doing a series of clothing vases. One of these days. Keep up the hand building. Its fun. Rakuku
  19. Maybe illumite? We have one speckled green glaze that uses it. Speckles are black.
  20. I've been using JB Weld 2 part epoxy to glue ceramic creatures to metal wine bottle stoppers. So far so good. I have also used PC 11. Both work well but the JB weld is softer and easier to mix and comes in tubes instead of jars like PC 11. Easier to squeeze out the tubes rather than dig it out of jars with popcicle sticks. I have also used gorilla glue epoxy for magnets. works pretty well too.
  21. I do a fair amount of applying glaze with a brush and have mixed results. Like you, its because of detail that I can't spray or dip. Though I do use underglazes often and dip in clear. I think my poor results are due to not having enough glaze. Have to apply more than one and going in a different direction helps. There are tile makers at our studio that get exquisite results and they use tube liners. They have sets of them with about 20 different glazes. Always having to clean out the tips after each use. They also have much steadier hands than me. As a student I was taught to dampen the pot slightly before glazing. But here in the damp northwest few do that. Also, to avoid shelf accidents, I brush things heavier on the upper parts of the piece because I am looking for the blended painterly look but not on the shelves. Make sure you have a good variety of brushes. GL.
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