TypicalGirl

I run a studio equipment buy/sell group on FaceBook. If you PM me or email me I'll give you the info.

Thank you all SO much! Great tips! This will be a teaching class more than simply a demonstration. Hands on. The workshops at this studio work better as a 1-weekend deal because people have to travel to attend. Luckily, the pottery makes a nice paper clay of their own, and that works well for my work. I'm sort of "known" in my circle for single-firing *everything*, and I think that may be part of what participants want to see. If the pieces are small, I think it will be easy to dry them overnight. You all have given me some great ideas...going to "rehearse" and refine a little and then I'm sure I'll be back with more questions ;-) Thanks again!

I'm being encouraged to teach a sculpting workshop. Never done such a thing before. Thinking of teaching a 2-day workshop for up to 10 participants of all sill levels. I split my work between animal "sketches" and larger, zoomorphic pieces. I think the participants are wanting the focus to be on the animals. I have a couple of subjects that could be complete the first day, refined and possibly raku fired the second day, that would demonstrate things like gesture, proportion, spindly/sticky-out parts, texture and glaze/oxide application. I have a local pottery willing to host us for a small percentage and they can also provide clay and kilns. And beyond that, I'm a little lost. Does anyone have any tips or suggestions or wisdom for me? Thanks!

I usually use paper in my sculptures. Occasionally I'll use skewers for sticky-out parts. That *can* crack the clay, but not always, and far less so if you use paper clay. I have a FaceBook album that shows my process if you would like to take a look. Perhaps it will give you some ideas. https://www.facebook.com/media/set/?set=a.10151261350887879.470542.344268547878&type=3

Hey Ginny, I used the term "wads" rather loosely. I really meant that I use pieces of kiln paper under the feet of flat pieces, or sculptures if I'm afraid they might move around. The paper becomes brittle after the first firing, but with care, it can be reused. If you email me your address (through my website), I'll send you a bit to play with. I do sell it in my etsy shop, but I'm happy to send you a piece to see if it will work for you ;-)

I worry about sand/silica getting onto my other pieces, so I use "wads" of kiln shelf paper.

This makes me wonder...does wood-fired raku have a different quality (visually/physically/aesthetically) than "cleaner" fueled raku?

Honestly, I just guess. Porcelain paper clay is the only kind I mix myself, my stoneware is a commercially produced body that contains 10%-20% paper, depending on the body. With the porcelain, I mix a slurry of toilet paper, water and bleach and then add it to the clay (which I've made into a slip). No more than 20% paper, and its strong enough to withstand raku. That seems like a high % of paper. My understanding is a maximum of 25%. Use anywhere from 15-25% Marcia I read in a book on paper clay that if you're wanting to sculpt with porcelain using paper clay then to use ~35% paper, but I'll try out a lesser % thank you

Pugaboo, Can't help much in the wax resist dept as I don't use it, but for the incising you were trying, you might try brushing on shellac instead of wax and then try carving through that.

I typically use 10% - 15% ratio.

Perfect. I've been wanting to make some custom tongs. This helps tons!

Thanks everyone for all your suggestions! I tightened up the all-thread attaching the pedal to the motor, and after looking at the puck, have ordered a new one. Its definitely worn down and kind of chewed up, so hopefully that will help. Going to have my mechanically inclined brother come help me grease up the bearings too. I also appreciate the advice to slow down my centering. It does make for a more thoughtful process!

Here's mine. I do need to put a vent above the flue at some point, but this works for me, and is fire safe for my area. Plus, when i move, it can go with me!

I have an older Laguna motorized kickwheel. I use the motor pretty much just for centering. Lately, it seems I can't get the wheel to go as fast as I like. I kick it up to a good speed and then apply the motor (by means of the foot pedal) and it quickly slows to the speed of the motor. What can I do to get a bit more speed out of it?

I'll just throw my thoughts in for added suggestions ;-) I don't typically hollow my pieces out after I form them (I think Beth Cavner-Stitcher does), though I do make some tentacle thingies that I do. With those, I form them and when they've set up just a bit I slice them length-ways down the center, scoop them out and then add wads of newspaper inside to help them keep their form. I do this before the final finish work, so I can smooth and join seams well. More usually, I start with a pinch pot and fill it with paper as I go, or start with a newspaper "armature" and form the clay around that. Then the paper just burns out. Not sure if that's the most efficient way to go about it, but it does work for me ;-) Cute little guy BTW!