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Big Electric Cat

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Everything posted by Big Electric Cat

  1. Woo, take a week or so off from the forum, and look what happens! I like Jim as well, sometimes his view is just what is needed to cut through the crap But I think this time he has gone a bit far. This was a pretty good discussion about mills and reclaiming, and now it is a lecture to someone just trying to express an idea. I will at least apologize to Artificial Gravity for the rough treatment, as it appears no other long time veterans will step up. Most people here are very helpful, and maybe if you stick around, you can benefit, and help others as well. It's still too early to tell!
  2. Someone asked me, in a message, how I finally get out to the studio. In the interests of privacy, I won't say who asked me, but I will say that I am not really sure what drives me out there. For me, I guess the motivation has a few parts: 1. Time - I don't know about you, but I'm not getting any younger! I only have so many years to make work left, so I better get goin'! We can all hope to be Ruth Duckworth, who was able to work until about six weeks before she died, but we don't know. So I better just get on with it and seize the day. Don Reitz is still working, but has had to scale back in the past few years due to age issues, no more throwing 50 pounds of clay for him. 2.Failure - I guess the possibility of failure always lurks in the back of my mind; but I address this one rather directly - If I get out there and try to make something, I MIGHT fail, but then I might succeed, and rather well. But one thing is guaranteed - if I don't go out to the studio AT ALL, then I WILL "fail.", and have nothing to show. As Mr. Allen said "eighty percent of success is showing up." 3.Self Assessment - In Art and Fear, the authors make the point that you are not the best judge of your own work. So what I think falls short may be regarded as quite adequate to another. But I won't know unless I get out there and MAKE SOMETHING. There are other points, so I'll add them as I think of them.
  3. Glaze and I don't really get along, so I know less than I probably should about them, but this recipe for a "Glaze" looked suspicious even to me. Because I have been looking at recipes for black slip lately, I thought that this more closely resembled a slip recipe, but that still seems to be a MONSTER amount of Mn for a slip or glaze, alot of them have 4-6% Mn. Then I was wondering where the glass formers were, I thought "there can't be enough in the ball clay, can there?" So I'm glad bciske and John weighed in on this, I at least learned something. Now to get to that pound of MnO2that I have out in the studio...
  4. In the spirit of today's America, you will be hearing from my attorney. Don't worry about it, it happens. I once made a mistake at work that caused the rejection/recall of $150,000 worth of product, and I wasn't fired, so something like this is no big deal! Just get ready, cause I'm gonna win the next "Buckeye Rib Contest!"
  5. Well, I'd like to win some of your nice ribs, but I must admit that this one has me stumped! I'm very good at ferreting out info on this forum, from past posts, but no luck here. There have been 34 posts by Chris since you joined on 06 Oct 2011, and none of them has a book recommendation to you. Or do they???? I'd keep looking, but I have to cut my grass for the last time this year, pick up my cat's medicine, and oh yeah, throw some. Good luck to other seekers!
  6. I forgot about Marvin Blackmore, he has been doing something like what you have in mind : http://www.blackmorepottery.com/ I met him and saw his work at the ACE show a couple of years ago; the photos don't do the work justice - the detail, precision are mind-boggling. This year he is at SOFA Chicago, so I'll stop by and say hi to him, I'm sure he'll remember me.
  7. Posted mine here : http://ceramicartsdaily.org/community/topic/1364-lets-list-our-must-have-pottery-books/
  8. There's a thread about this , which includes Glumpler's recipe from glazesharing blog: http://ceramicartsdaily.org/community/topic/1423-making-kiln-furniture/
  9. Well, I guess that settles that. If only I'd known that it's so simple.
  10. I use a stylised combination of my initials to sign. Sometimes there isn't room enough for any more than that!
  11. Mr. Kovatch obviously feels strongly about the subject, so maybe by the time he reached the end of his letter, perhaps he felt he pressed his point a bit too hard.
  12. Frankly, it's too damn much trouble for me to go out and dig and process my own rock and clay, especially, if, like me, you just want to make things and concentrate on their design and construction. Author Jeff Zamek makes the point that for the average potter, it is easier, and more economically sound, to buy your materials, so that you can concentrate on making. But then, some people are very interested in the very beginnings of a craft, and will cut their own logs for turning, or harvest and dye their own fibers for weaving, etc. At one point, I thought it would be fun to do, so I purchased the book Glazes from Natural Sources (2nd edition) by Brian Sutherland (1929-1988). This book will tell you how to locate glaze materials, and forumulate, test, and best use the glazes. It also shows you how to make some equipment, like a beam scale, ball mill, and other test materials, how to do line and triaxial blend, Seger formulas, etc. This book, along with Harry Davis' The Potter's Alternative, should really get you up and running. http://www.amazon.com/Glazes-Natural-Sources-Brian-Sutherland/dp/0812219457/ref=sr_1_1?s=books&ie=UTF8&qid=1319340255&sr=1-1
  13. Well, it certainly looks sturdily made, and seems like it would be very good for throwing while standing, which might be a plus. Use it in good health, and good luck!
  14. I was pleasantly surprised to notice that John Baymore is the new moderator of this section of the CAD forum. Congratulations to John and CAD.
  15. While not specifically a clay event, I want to make people aware of a craft event, which features ceramicist Cliff Lee : The seventh installment of the PBS series "American Craft " begins tonight (Monday, Oct. 17th) on some PBS stations around the country. Tonights episode is "Family" and explores the role of families in the craft movement. http://www.pbs.org/c...ica/family.html From "Craft in America website " : FAMILY This episode explores the creative environments and personal dynamics of four families of craft artists and looks at the age-old debate of nature versus nurture. Is talent inherited? What is it like to live in a household where objects are made by hand? President Jimmy Carter shares his admiration for Ed Moulthrop, a fellow Georgian who was known as “the father of modern woodturning.†Ed was an architect who found a passion for creating beautiful large-scale turned wood objects. He single handedly raised national awareness of woodturning as an art while inventing tools used by woodcrafters for generations to come. His works can be found in the personal collections of Ted Turner, Jack Nicklaus, Nelson Mandela (a gift from Hillary Clinton), Paul Simon and Steven Spielberg. Philip Moulthrop followed a career path similar to his father’s. After a tour in Vietnam, he trained as a lawyer, but found greater satisfaction in making uniquely patterned wood bowls. Matt Moulthrop apprenticed with his father and grandfather and continues the family tradition, using modern techniques to bring out the innate beauty of the wood, believing that “each tree has a story to tell.†Paul Marioni creates sculptural and kinetic glass forms that explore concepts of human nature and challenge the physical limitations of the medium. Paul was an early member of the Studio Glass Movement in San Francisco, and as a single father, moved to Seattle, center of American glass, where his gifted son, Dante Marioni studied and continues to make internationally recognized work. Dante’s Venetian-inspired style is almost diametrically opposed to his father’s. His sister Marina Marioni is also a craft artist, creating jewelry that often plays with form and meaning, much like her father’s sculptures often play with visual puns. Tradition and invention are the center of the Lee household in rural Pennsylvania, where ceramicist Cliff Lee and metal artist Holly Lee live and work together in their 18th century Dutch farmhouse. Once a successful neurosurgeon, Cliff now creates intricate porcelain vessels, combining traditional Chinese techniques with his own innovative methods. Through scientific research and experimentation, he rediscovered glaze recipes that date back hundreds of years. Holly has an abiding respect for nature, as evidenced in her jewelry. She often drills or pierces the metal to create a sense of light passing through space. The Lees have two sons who grew up playing in their parents’ studios, learning the hard work it takes to succeed as a self-employed artist.
  16. Try this thread : http://ceramicartsdaily.org/community/topic/37-anyone-have-a-really-old-creative-industries-model-mp-wheel/
  17. One reason would prevent me from becoming a full time ceramic artist : Lack of benefits - Affordable health insurance, retirement plan, etc.
  18. Another thing to leave at home: Expectations. You never really know how your work will be received, or how sales will go. If it is your first show, or your first time AT a certain show, it is somewhat easier to not think that things will follow a certain path. Approach each event with beginner's mind.
  19. It's just a white ^6 stoneware. The dark look is from the lighting, and it was still damp when these pics were taken.
  20. Thanks to everybody for your kind words and helpful suggestions! I am late getting back to this thread because we did a so-so show over the weekend, and I was absolutely exhausted, as there were "extenuating circumstances" (one of our cats) to make me tired. Anyway, thanks to your ideas, I was able to get out to the "garagio" and work, and was able to finally obtain a shape that I have been chasing for the past few years. It's close enough anyway, so it's a keeper! The first pic shows the pot after some trimming, and before I cut it off the bat. I threw it upside down, as I do many of my pots these days, as I like to throw unusual, deep feet with funky profiles, and I find that easier than trimming them, especially when they are taller. The second pic shows the pot almost at it's final shape, still needs lotsa work, but it was 1030pm last night when I finished and took these pics. Looking pretty good, so thank you all for your help, gonna make some pots in a different style next, more along the lines of one of my favorite potters, Rob Sieminski.
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