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Diana Ferreira

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  1. Like
    Diana Ferreira got a reaction from eoteceramics in Drying Plaster Molds   
    I work with molds. I got some molds (had no time to cast my own, as I had to deliver 150 bowls 5 days later, and was about 60 short). Long story short, I got my molds (still wet) last Saturday from the moldmaker. I put them in my 'wind channel', which is a serious laughable thing. Just some wooden planks on the sides and top. On the floor I added some kiln furniture to lift the molds off the ground, and put my little fan heater on. I was at work the next day at about 7 am. My brand new molds were so dry, I had to spray them with a bit of water before I casted the first lot. And I casted each mold 6 times that day. I made my 60 target and some extra.
     
    I will try my best to remember to take some pics. I know I have promised this previously too :-(
  2. Like
    Diana Ferreira got a reaction from laurieE in Attaching bisque to bisque   
    When you dry and fire a piece with feet, it is always advisable to keep it on a slab of similar clay. As the slab shrinks during drying or firing, your little feet will stay in place, while moving with the slab. This way, the little feet will not stuck on a kiln shelve. My shrinkage is 17 - 18%. and most during the glaze firing. Since I have used this technique, I have never had feet fell off.
  3. Like
    Diana Ferreira reacted to oldlady in Fake Horsehair Raku   
    this may sound stupid but there is a potter, mckenzie smith, in florida who covers an area of a raw pot with wax, draws through the wax into the clay and fills the tiny, thin line with black glaze.  these lines are hair thin. firing once to remove the wax leaves the pot clean to accept the clear glaze.   
     
    could this work for you?  wiggly lines could look like horsehair.
  4. Like
    Diana Ferreira reacted to oldlady in Adding Mason Stains To My 100G Clear Cone 6 Glaze For Test Tiles   
    it is too hot to go outside so i am still here putting in my 34 cents worth.
     
    JOY POTS, using a computer would be great if i had that skill.  maybe you new folks should try that.  technology moves us forward.
     
    labeling your glazes is the important thing, no matter how you keep track of them.  once you have made up your tests and buckets of glaze you will need to label both the bucket and its lid.  use a marker on the whitest side of the bucket and lid.  if the lid is colored, put a strip of grey duct tape on it and write the name and the date you made it. when you reuse a bucket to change a color, just spray the marks with a can of hair spray and wipe off the color with a cotton ball.  that way you can keep the buckets and containers correct.  some people put the entire recipe on the bucket.
     
    don't keep small amounts of glaze in used cottage cheese or whatever used densely  printed containers.  they will always be visually irritating. there is enough visual confusion in the average studio to give a stranger a headache just looking around.  get a pack of good plastic pint and quart containers with lids from a restaurant supply house.  they come about 50 for $5.  sometimes chinese restaurants have them available at a price per container but they will cost more that way.  deli sections in supermarkets are using very thin ones these days, they are too weak if they are transparent.  you are looking for the stronger ones that are translucent.  thicker is better and tight fitting lids are essential.   you don't want to shake something and have the lid fly off.  OK  i'm done for now.
  5. Like
    Diana Ferreira reacted to oldlady in Adding Mason Stains To My 100G Clear Cone 6 Glaze For Test Tiles   
    i have to turn off the tv set.  can't think anymore with that in the background.  
     
    marge, start off right.  get a nice 3 ring binder with plastic sleeves to hold the single sheet of paper with your glaze recipe on it in the top corner. write in ink, you will be reading it for years.  assign a letter  to that recipe, if you are starting with mikes clear use A.  step two, make sure you number your test tiles somehow, whether with oxide wash or underglaze or carved into the tile.  mark the first test tile A 1. that test should be plain mikes clear with no added color.
     
    the next test will still be mikes clear so start with A and assign 2 to it.  keep a record of what colorants in what percentage you use on each test.  i keep mine in a separate notebook that reads something like this.    A2  2% cobalt carbonate.    A3 3% cobalt carbonate  A4 3% red iron oxide  A4 5% red iron oxide.  i leave two lines blank for possible notes.  some read  AWFUL  do not try pink stain!  or some such.
     
    the reason for the two books is this.  the big binder includes room for you to note when you mixed the recipe and the quantity you made up.  it also gives you room to put notes like this   Great clear glaze, easy to mix covers colors well needs to be thinner next time (or something like this)  seems silly when you only have one recipe but after a few years and many more glazes you will appreciate the notes more.  think long term.  twenty six letters lets you test a lot of glazes before you have to start again.   numbers 2 through whatever allows you to try many colors in the same base glaze. keep your tests of each glaze on individual shoestrings or something else so you can check how the colors compare to other base glazes.  i can see you next year deciding whether to use the yellow made from mikes clear or the yellow made from the rutile recipe.  two strings, two tests. why shoestrings?  they are strong, they thread through the holes you made in your test tiles and you can hang them on a nail on the wall out of the way.
     
    these suggestions are the result of my experience of not doing everything right the first time.  happy testing!!
  6. Like
    Diana Ferreira reacted to oldlady in Adding Mason Stains To My 100G Clear Cone 6 Glaze For Test Tiles   
    think about it.  minerals are just wet and combined once you mix your test.  what will change after sitting there overnight?  if the test is mixed with too much water, you will get evaporation.  i can't think of any other change resulting from delay.    so, do not add too much water at the beginning.
       
    (we could ask each molecule of mineral whether it is now more comfortable with its neighbors but that seems unrealistic.)
  7. Like
    Diana Ferreira reacted to Min in Prevent Unglazed Wares From Sticking To Each Other   
    If porcelain pots are sticking to shelves or in lid galleries the usual solution is to add alumina hydrate to wax resist. I'm not quite sure I followed what you are trying to do, firing unglazed pots touching together? If you really want to do this then brush the alumina/resist mix between pots at contact points. Approx 2 or 3 tsp per cup of wax resist. 
     
    It's a good idea to fire on a kiln shelf not directly on the kiln floor. A lot cheaper to replace a shelf than a kiln floor, plus the floor is usually a bit cool so raising it up 1/2" or so is a good idea. You can use a thin layer of alumina hydrate on your kiln shelf to prevent the the pots plucking, or use wax resist on the bottoms of the pots and put a shallow layer of alumina hydrate onto a flat surface and press the bottom of the pot into it before the resist has fully dried. The alumina will stick to the resist.
     
    Min
  8. Like
    Diana Ferreira reacted to Jess in How envy killed the crafts   
    "
    Ahhhh... this is exactly what I am dealing with. I am currently writing my MFA thesis which deals with many of the issues raised in Garth Clark's article and mentioned here on this forum. In a "A Theory of Craft" Howard Risatti discusses the issue of craft vs art, I highly suggest anyone working in a craft based medium read this book for a greater understanding of contemporary craft/art. There are so many factors that go into determining craft/art; the makers intent, the function of the piece, the social content/message in the work just to name a few.
    It comes down to what your work is about and where you situate yourself in the contemporary discourse. Artists working in ceramics or another medium must be able to back up their work with theory and content, this is a key difference between craft and art. Also those working in a craft-based medium need the technical skills and knowledge necessary for good craftsmanship even if they go by the title "artist".
    When I am asked what I do I say I am a ceramic artist, some of my work is functional some is not and I do not mind if someone refers to me as potter, titles after all are subjective.
  9. Like
    Diana Ferreira reacted to Amy Waller in How envy killed the crafts   
    Interesting discussion, especially about professional labels. I hate the word crafter and am still surprised that Clark - or anyone - likes it.
     
    Matt Jones responded at length to Garth Clark in a series of blog posts, starting with this one: Critique of a Critic: Rising to Garth Clark's Bait. (There's an overview in a later post: Wrestling with Garth, Post #1: Introduction and Clark's response (Garth Clark Responds) is included, too.) Highly recommended reading. This blog dialogue resulted in Clark coming to North Carolina last October. He visited a number of potteries and participated in events in Charlotte, Raleigh and Asheville. Here's a Charlotte Observer article about the symposium at the Mint Museum.
     
    Lots to think about from many points of view.
  10. Like
    Diana Ferreira reacted to neilestrick in How envy killed the crafts   
    I'm kind of opinionated about this, so I apologize in advance if I offend anyone:
    I do not like the term 'artist' on its own. It's much too broad. In my experience, when I meet someone who describes himself/herself as an artist, it usually turns out that they make lots of different things in lots of different media, and are generally a poor craftsperson in all of them. They are what I call 'creative people', who focus more on being creative and less on trying to perfect any skills. These people frustrate me.
     
    However, in my experience, when I meet people who define the type of art they make, such as 'graphic artist' or 'industrial designer' or 'painter' or 'fiber artist' or whatever, I generally find that they have really dedicated themselves to their craft, and it shows in the higher quality of their work.
     
    I also do not like it when potters use the term 'ceramic artist'. To me it sounds pretentious, and feels like they are uncomfortable or embarrassed by the term 'potter'. Of course, if you work in clay but don't make pots, then I have no problem with it. But if you've dedicated your life to making pots, then own it!
     
     
     
  11. Like
    Diana Ferreira reacted to Frederik-W in How envy killed the crafts   
    What an absolute brilliant opinion piece by Garth Clark!
     
    The distinction between between art and craft is a very real and useful concept!
    Sometimes the distinction is vague but that does not mean there is no difference.
    The problem if i uderstand him correctly, is not that craft has no value, it is that craft tried to be something which it is not, i.e. art.
     
    Some quotes from Garth's article:
    "..craft did die from the toxicity of art envy.."
     
    "Resistance to this notion [that craft was really art] was blamed on fine art's elitism but rarely
    did one hear the argument and simple truth that it was so because craft was finally, and beneficially, different".
    "Craft has been overdosing on nostalgia ..". Some degree of this "ye olde craftsman" romance is unavoidable in craft. Used with restraint it can add charm and a rich connection to the past. But when it is overdone it turns into syrupy restoration village sentimentality".
     
    "Compared to art and design, craft is so marginalized that it is practically irrelevant".
     
    "Design is undermining the craft market at every level. It can deliver handsome ceramics, fabric and jewelry at low cost. It can produce work that to the average eye seems to be handcrafted and can program machines to produce objects that are to some extent, unique".
  12. Like
    Diana Ferreira reacted to Chris Campbell in How envy killed the crafts   
    Being a craftsperson used to be an accomplishment ... BUT ... that was in the days of 'Guilds' where you actually had to attain a peer reviewed level of competence before you could claim the title. Now, people get extremely angry when anyone suggests they should submit to anyone else's view of their work and no one who values their sanity wants to serve on a panel that would review the work. Times have changed so its no wonder the value of the word has changed as well.
    I wouldn't mind being called a potter if people didn't immediately ask about a set of dishes. Ceramics doesn't work because then it's all about the "painting on stuff you put in the oven", right? I find the least confusion when I say I am an artist who works with colored porcelain. They still have no idea what that is but it seems easier to move on in the conversation.
    I do wish there was meaning to the word craftsperson ... the value of spending years learning to do one thing extremely well should be celebrated.
  13. Like
    Diana Ferreira reacted to OffCenter in Technology comes to face jugs   
    It doesn't matter how you get there. It's the piece that matters. I couldn't care less if some folk potter dug the clay, ground the glazes from local rocks and woodfired the mug in his groundhog kiln or if the mug came from a Chinese CAM machine to a shelf at Target. The only thing that matters is the mug. As crappy as they are, some $2.99 mugs at a chain store look better than some of the handmade mugs at street sales.
     
    Jim
  14. Downvote
    Diana Ferreira reacted to Lucille Oka in pre dry   
    Rebby, as a rule most potter's know that firing leather hard clay has potential disaster written all over it. But then some 'smarty pants' will come along try it and nothing adverse happens. It ruins what we know and believe to be a mistake. Once an instructor went so far as to put a freshly thrown vessel in the kiln to prove the point that ware must be bone dry before being placed in the kiln. As the class stood around waiting to see the disaster the kiln was opened and there was nothing wrong.
    Now fate is fickle this we know, but what do you tell folks after that.
    We know that as a rule firing damp ware isn't the best idea and when someone asks about it we will most likely say 'don't do it'. But if you want to try and be a 'smarty pants'......

  15. Like
    Diana Ferreira reacted to justanassembler in Christmas Ornament Mold Sources   
    try this
     

  16. Like
    Diana Ferreira reacted to Frederik-W in The Useful Critique   
    I question the dichotomy between a "useful", "good" or "meaningful" critique and the implied other types of meaningless critique (whatever that may be).
     
    I also question the assumption that a critique demands time and effort.
     
    A simple to-the-point comment or honest opinion can be profoundly significant and can be enough to give an artist the direction he/she needs.
     
    Imagine a potter who struggle for years to find out why her pottery is not valued, and people are loath to comment (like so many of you), or people beat around the bush. One day someone who sees her work on her profile gallery makes the comment: "You are very creative with your form, but your glaze turns your work into kitch". One accurate, honest comment, albeit a bit brutal. That might be exactly what she wants to hear, it might be enough for her to start focussing on her glaze. It might give her the direction she needs, changing her life as an artist. Life is full of stories of people who suddenly saw the light in their careers, love-life etc after one simple but accurate comment, often by a stranger.
     
    I also reject the assumption that all "meaningful" critiques need some kind of ongoing relationship/involvement/time or are of the mentor/student type. That is the way you usually learn a craft, but in terms of aesthetics we can give someone very good feedback without such involvement. E.g. When you exhibit your work it will be judged immediately and harshly, by all kinds of people and as an artist you need to appreciate all such opinions.
  17. Like
    Diana Ferreira reacted to Frederik-W in The Useful Critique   
    To Wahine/Chantay:
     
    I sympathise with you if you received "dribble" instead of critique.
     
    However I disagree with you if you think that "talented and highly educated persons" are more entitled to provide critique, and are above "dribble".
    It smacks of snobbery.
    I have read plenty of art reviews where higly educated "critics" provide nothing more than dribble, only difference is that they dress it up in academic pretense.
    The fact that someone produces beautiful pieces of art, does not necessarily make him an art critic.
    The fact that someone with experience and technique can give you good practical advice does not make him any better in terms of providing an opinion on aesthetics. You can make a very good pot and it might have little aesthetic appeal.
     
    Art history is full of examples of talented artists who were not appreciated at the time by the critics and the people who were supposed to know.
  18. Like
    Diana Ferreira reacted to Chris Campbell in I make that same product and your product needs to be......   
    I also have to add that in my experience potters are the most sharing people I know. We share constantly with no expected return. You need to attend at least one NCECA or one Potters Council Conference to see for yourself that much of the down time is spent comparing notes and openly sharing.Many posters on this forum share their knowledge on a daily basis so how do they fit into your 'don't help the competition' scenario?
     
    I have never heard a potter say they wished someone else would fail ... Never been at a pottery show where one potter would put down another's work to their customers.
     
    Are there egos? Heck yes. But are we all to be judged by the lowest common denominator?
     
    Frankly, we are not vying for the same pottery dollar ... That is one of the most prevalent misconceptions about pottery sales. Not only is there a huge variety of methods, glazes, forms, functions ... There is also a wide range of prices and a wide range of buyers with an even wider range of tastes. Let alone the fact that there are more potential buyers than any of us could supply if we worked at full tilt.
     
    Not to accept a critique because you consider all other potters to be competitors seems a bit drastic. I choose whom I ask for critiques. If I want feedback on execution, I ask someone much better than me who has a good eye. If I want feedback on marketability, I ask a couple gallery owners I know who shoot from the hip and no, they don't carry my work because it would not sell in their shops. If I want general feedback I ask blunt people who say what they mean. I don't want nice words ... I want good feedback that I can build on.
  19. Like
    Diana Ferreira reacted to OffCenter in I make that same product and your product needs to be......   
    Pardon my bluntness but what a bunch of nonsense! It's not only nonsense, it's insulting. I'd wager that Tarantino is more interested in Milchan's critique of Pulp Fiction than he is of Roger Ebert's review even though Ebert's review has more effect on his bottom line. That's all writers groups do is sit around criticizing each others work in great detail. They are doing that to possibly learn something about their own work from people they respect and to help other writers. They have nothing in common with the relationship between Pepsi and Coke. WHEN ONE OF THEM HAS A PUBLISHING SUCCESS THEY THROW A PARTY, NOT A TANTRUM. Potters are the same way. When we fire the only anagama in middle Georgia a dozen or so potters come together to fire it and I don't think a single one of us is hoping our "competition's" pots come out looking bad. Last Spring for the biggest (or maybe second biggest) show in Georgia, one of my "competitor's" kiln broke down. I busted my ass to get her pots fired in my kilns in time for the show, even to the point of leaving a few of my pots out of the show. Recently, I have what may be a big break for me in that a collector who donated an incredibly beautiful collection of 807 pots to the Crocker Museum started a new collection by buying all of my anagama bottles. The first thing I did was introduce him to one of my "competitors" who makes better anagama pots than I do. I'm not bragging about being a nice guy; it's just that those are the examples that spring to mind and I don't know a single potter (except maybe you and, fortunately, I don't really know you) who wouldn't do the same thing for his/her "competition".
     
    Jim
  20. Like
    Diana Ferreira reacted to Frederik-W in Baby It's Cold Outside!   
    Very interesting.
    So they put hot coals inside to keep your hands warm.
    Fortunately I am a gentleman - I just put my hands in my pockets to get warm.
  21. Like
    Diana Ferreira reacted to scoobydoozie in Masking tape   
    I always keep rainbow tape on hand. Its a multipack in multiple widths. For curved lines, I use 3M's Artist Tape for Curves. I've never had a problem with residue from any masking tape, because low fired bisque always seems to have a dusty quality, even after sponging clean. I've also used both of these on top of unfired glaze when layering glazes or majolica. I recommend removing the tape within a week of application, just to be sure.
     
    Here's a link for the Rainbow Tape:
     
    http://www.amazon.co...ds=rainbow+tape
     
    And Here's a link for the 3M's Artist Tape for Curves:
     
    http://www.amazon.co...rds=artist+tape
     
     
    PS - I've also used children's star stickers for masking and even hole reinforcments with no problems!
  22. Like
    Diana Ferreira reacted to bciskepottery in Masking tape   
    Automobile detailing tape comes in various widths. If using masking tape, use the painters type -- blue colored -- not regular. Regular masking tape can leave sticky residues behind; the blue painter's tape does not.
  23. Downvote
    Diana Ferreira reacted to Lucille Oka in stepped inside of a bowl   
    If you are new to this work, and I suspect you are. I recommend you get a book on making plaster molds as Chris has suggested. You will be able to familiarize yourself with the different types of molds, plasters, and material usage. You can also find moldmaking books at your library or on Amazon.com
     
    By the way, it isn't necessary to have an accumulation of clay on the bottom for the final 'step'. The walls and steps can be even through out.
     
     
  24. Like
    Diana Ferreira reacted to DAY in Candling and Cracking Early   
    Some 'Newbies' may not know the trick of holding a mirror above the top peephole. If it fogs, there is still moisture coming out!
    As to "rules" of when to open, etc, there are too many clay/glaze variables for a one size fits all answer. Better to be so busy with other tasks that you forget to open the kiln until tomorrow! Note: this is NOT a rule- with a show to pack for you can usually open the kiln, unload with oven mitts and pack for the show as soon as the ware doesn't melt the bubble wrap.
  25. Like
    Diana Ferreira reacted to TJR in Tapping pots on center on the wheel   
    Mark;
    I did not learn this technique in art school. I learned it at a production pottery in Scotland. When you are faced with a sea of pots to trim-like 30 bowls, you will learn the technique. Now you have opened the can of worms about apprenticeship vs. art school. I'll leave it in your capable hands. I don't own a Griffin Grip, although I have tried one. I guess I don't need one.
    Regards,TJR.
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