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Everything posted by 1515art

  1. Hard to say exactly how, he probably uses a combination of techniques depending on the piece. If it were me and I was making only one or two carving would work (taking away), if I were making more than a couple, or if they were large l would use clay slabs in a form assembled on/in a form and do alterations. Friend of mine when I was working out of a studio in Berkley, Ca. Was building giant planters for commercial buildings these were angular pieces 3’x4’x3’ he would pull them from the wood supports and beat them with metal chains and other stuff to give them texture. I might also try using a multi part plaster press/cast mold and then hand alterations if I wanted to do large production.
  2. It depends on how much clay I am throwing, I might just use a finger tip if only a small amount of clay is involved and on very large forms I might push down with the palm of my left hand really forcing the clay to open up. I think the one thing that remains constant and is the key point is I always open just slightly off center usually to the right and if I remain steady the hole will open just slightly larger than my finger(s) and I find it easy to stay centered with the pressure of the spinning clay at a steady pace from only one direction. The problem with opening by pushing directly down in the exact center is the spinning clay tends to push your fingers unpredictably and you can get a bit of a wobble as the pressure on your finger changes with the spinning clay. Next I’ll squeeze the clay between the fingers and thumb of my left hand while pushing down on the to of the donut with my fight hand and slowly pull towards me feeling the clay and giving it time to respond. I maintain bottom thickness with my left index finger as I open and stop pulling when I have the desired inside diameter established. Squeezing the clay at the bottom of the donut after opening will help move some of the clay up and help start your first pull.
  3. Times were very different when I was in college back in the 1970’s the whole getting sued thing wasn’t so out of control. I lived very near my local community college and the ceramics professor gave me a key to the studio so I could help fire the kilns, two big old alpines.
  4. Gabby, depends on what I’m making and just how I’m planning on finishing, trimming and those things. For larger pieces when I’m working wet so I can touch, shape and handle without the shape getting damaged I’ll use a heat gun to firm up the clay in critical places and leave things softer at the joints/join areas and where I’m planning other shaping or more throwing, using a soft touch is also important. When working with wetter clay I can work the seam making everything one piece. Same thing throwing a tall cylinder sometimes I do it in two sections throwing the bottom section normally, the top section is the same diameter thrown bottomless. Then just a tiny bit of firming with the heat gun before quickly inverting the second cylinder and securing It onto the top of the first cylinder when the pieces are joined air trapped inside helps support it structurally until the top batt is wired off from what is now the top of the tall cylinder. If the clay is still to wet to support its own weight use the heat gun to firm it up before wiring off the batt. An additional advantage inverting the top section is any clay thickness in what is now the top of the cylinder can be thrown more if everything is still on center. I know one artist that makes very large round forms joining slabs of clay around different size beach balls, deflating the ball and removing it when the clay was firm enough to support its own weight. Sometimes leather hard is best for structural reasons and then greater care is required reinforcing joints, fitting parts and controlling the drying in order to avoid the clay warping and seams opening/cracking and pieces falling off. If pieces do fall off that’s ok too, joining bone dry pieces is often the trick. In China at the factories I’ve watched the make many different forms in large sections and join the sections dry with a clay mortar and trim for final shape after assembly. The challenge working with the clay dry is obviously it needs to be correct size and shape as dry clay bends poorly. The advantage joining pieces when everything is dry are no stresses due to uneven moisture content in the clay, usually I mix up some thick slip from the same clay and a bit of paper fiber in a blender to the consistency I need to glue things together. The dry pieces cement quickly and the thick slip can be sculpted a little to fill gaps and transitions.
  5. Hi Shawnhar, yes one piece. I do the flair collaring the clay with the fingers of my left hand and little finger and thumb from my right hand while using my right index and right middle finger to throw the rim flair all at the same time. It’s a little tricky until you get the feel, but the technique works really well making closed forms.
  6. Have a great show mark sounds like a lot of fun with life long friends and your friend should love the trophy, beautiful glaze. clark
  7. Tom thanks again, but before I get too excited trying to cram my big feet into dorthy's ruby slippers I've got to make sure Toto doesn't crap on the carpet, lol. The fish on the table is 24" tall almost and another 24 at the widest point and as the size increases so do the challenges and dissapointments figuring out the engineering and such and Avoiding undesirable unattractive glaze faults will be the challenge, I'll feel better when all that's worked out. i don't know if you remember the flower oil paintings I posted back a bit, my friend is also buying some extra large paintings of hers. The flower painter also paints ceramics in China, but I don't know much about the studio other than it was provided some how by the governor because he really liked her work, she has been wanting to team up with my ceramics and her ceramic painting so we will do something togeather if and when I can work out the logistics. Guess I'd better clean up the studio, thanks again, Clark
  8. Made my delivery this morning beautiful home up near Villa Montolvo in the Saratoga foothills, home was constructed over a hundred years ago and my client tells me as we tour the home she needs more work pointing to spots in each room where she wants multiple large sculptures. This is going to be a lot of work, starting with a fish sculpture several times larger than the one I just delivered...
  9. Tom, good advise always and yes I’m thankful to have this problem. You are right and I could never sell the little yellow metal chunks I find for two reasons, 1 the emotional attachment and 2 they actually cost me 10 times their real value just to find them,lol.
  10. Yappy, I’m a little late to the party and have only a little information from a conversation with shop owner who carries a large inventory of glass pipes and other paraphernalia in my area. He was interested in having some ceramic related products in his shop, he told me most of the pipe makers are working in glass and one off custom ceramic work was less available. I wasn’t interested at the time and never looked into any of it.
  11. No one is ever financially set, lol, and I’d be more than happy to add some $$$ to my bank account. Truth is I really have avoided selling large pieces and don’t know what to sell them for and some I think I like more than I think they are worth if that makes any sense? Selling some big pieces would be the best thing for me and be a great motivation to get into the studio more, there are a lot of things I want to try but have been unmotivated lately. Good luck to you too, I read your recient post about creating and selling larger work and I think you should do well. Your work has really developed and the combination of clay and glazes you have found is very expressive with your style of work.
  12. Thanks Callie, my boundaries are I like to avoid the whole selling thing all together and fortunately for me my wife could as they say sell ice cubes to Eskimo’s and while she is promoting my work I guess I’m just trying to assure myself that everyone is satisfied in the end, me for the work I don’t really want to part with and my client for things overpriced?
  13. I don’t really know the buyers motivation and I can’t talk directly to them as they only speak Chinese and my Chinese language skills are pretty limited, somehow I don’t think investment is their consideration in purchishing my work I think they are just looking for something different and that’s where I worry taking advantage of the situation. Thanks Joseph yes and yes, sometimes I’m attached... some pieces are large and physically challenging to make and as I get older more difficult to reproduce or don’t have access to the materials anymore, the bad ones go into the garden amongst the trees and vines . Ultimately, yes the artworks should be for sale certainly a motivation to make new pieces! I’ve been retired for the last 15 years, I’m getting old and a little out of touch with the increasing prices on everything, If I sell or not has never been my focus I’ve always felt the value in my work was background decoration in our gallery in support of my wife’s jewelry business. The ceramics and other artwork creating an environment around the things with more intrinsic value. I suppose I should just accept things as they come and not over analyze the situation based on my own insecurity.
  14. What price to let your work go for? Is $2k or even $5k for a large 24-36” vase from an artist with few auction results and nothing to support those numbers too much? I have a new client/friend that just moved in next door to another friend of mine and after seeing my work at my friends came to my studio and asked to buy a dozen of my works for their home ranging from $100 up to $2k each, she also wants some others I don’t really want to sell. I’m delivering the ceramics on Wednesday to her 15 million dollar estate (not their only home) where thousands of dollars for artwork is not a problem, am I over thinking this?
  15. 1515art


    Joseph, very nice, l think you should be pleased and I like it a lot.
  16. 1515art


    Thanks Roberta, credit goes to glazenerds glaze...
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