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About Fredrin

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  • Birthday 05/11/1983

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    Walthamstow, London

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  1. I absolutely love his work and am frequently asked by students how he does.... but the answer always eludes me! https://www.yellowtrace.com.au/takuro-kuwata-radical-pottery/ From what I gather, he uses very thick - probably feldspathic - glazes, which he arrests the descent of down his pots by inserting nails that form an anchor. That at least explains the highly controlled crawling/beading of his glazes but I can't understand how he achieves that amazing metal lustre in his glazes? I find it hard to believe it is hand-applied lustre but looks more like something in the recipe of the glaze itself. Is anyone able to shed any light on this? He recently posted this (file attached) - I have no idea what the yellow tape is and function it serves.
  2. @Rae Reich Yes, we'll be operating a "weigh & pay" scheme for students, so allowing storage for a few different varieties in that room in the top right of the plan. But as Pres points out, it will mostly be for big bins of raw materials and other glaze ingredients. It's nicely enclosed so I can kick up plenty of powder so long as it's just me in there (with a mask on).
  3. Thanks @Pres - loads of good info in that thread. And yes, the lack of storage was my main concern. After a bit of wrangling with the site planner, I've managed to push the lower wall South a couple of metres, so will use that space for damp cabinets and drying greenware (shelving next to kilns is for bisque and glazeware). I've never had the luxury of a dedicated drying room before, but I'm guessing the main features of that space are no draughts, stable temperature and a ton of shelving?
  4. @Mark C. Totally agree. Thankfully it looks like a space outside for a raku kiln has been approved. The gas kiln will have to wait until an extension is built, as from what I gather, they need a fair bit of space and supervision during firing. I would be interested to hear what people think about running two large kilns next to each other - one electric and one gas? @Chilly I haven't been there yet, but I've heard very good things about their E10 location. I should head to one of their member exhibitions as it's right on my doorstep.
  5. @oldlady - Thanks for the cautionary tale. I think you're right in terms of basing the plan off studios which you know work well. In the back of my mind is a slightly larger studio where I recently studied. It was well thought out and dealt with the "traffic" issue pretty well. @Rae Reich - My thoughts exactly - given what Neil said above about gas kilns needing quite a bit more supervision and space (which is of a premium in this instance) I think I'll have to put that in the "future projects" category and hope to build one outside near the raku at some point. @Mark C. - Gas is pretty pricey over here since the North Sea reserves dried up! I've opted for two large Rohde electric kilns (1 and 2 in the diagram attached) - internal dimensions 91x100x115cm and 71x101x103cm. If there's space a third smaller kiln would be good for lustre and crystalline firings. The other items in the plan below are: 3. Pugmill 4. 2 x wheels 5. Spray Booth 6. Slab roller I'm trying to fight for a bit more space for drying and storing work as this is always in high demand!
  6. Thanks for taking the time to reply Neil, this was exactly the kind of feedback I was looking for. In answer to your first question, excuse the typo - one of these, essentially: https://www.potclays.co.uk/studio/products/10221/gold-kiln-gk250-truck-loading-kiln I should have perhaps mentioned in the OP that this will be a ceramics workshop for use by fine art students, rather than those on a dedicated ceramics course. As such, their ideas are quite conceptual and their needs are often to produce large scale work using hand-building techniques. This explains the oversize kiln and lack of wheels. The wheels are more there for students who have some knowledge of how to use them as otherwise I will spend all my time teaching people to throw (which as a thrower myself, I'm not against the idea of, but hey!). Thank you for your thoughts about the gas kiln, which I already had in the "maybe" column. I have never fired one before and from what you say, it sounds like I won't have the space or the time, as it's just myself managing this space. I was prepared for the gas kiln to be a bit of extra work, but was OK with that as I would love to give students the option of reduction firing (beside really wanting to try it myself). Sounds like I may need to reconsider.... My dilemma here is that this may be my one shot to get a gas kiln in as they are currently planning the extraction for the whole building and if I don't make the kind of provision for venting a gas kiln now, I may not get another chance! Mercifully, the air compressor is going to be housed outside of the workshop and piped in as I'm familiar with the racket one of those makes in a studio. And yes, the eternal competition for shelf space!
  7. Hi all, I'm new to the role of ceramics area manager at a fine arts Uni here in London and they have a plan to reinstate a section of what were once some excellent clay facilities. We're in the early planning phase and this is not something I've had to do before, so I was wondering if any of you had any wisdom to share before I make a mistake that I'll end up regretting for years to come! The space is approx 12m x 7.5m, looking to allow roughly 5-7 students working in there at a time and needs to be kitted out with all the essentials. Can anyone recommend any good resources where I could read up about how to establish a good workflow in a studio of this size? Any info would be much appreciated. Here is a wishlist of what equipment I'm requesting: - De-Airing Pugmill - Medium sized electric kiln - Large electric tray kiln with auto-loader - Medium size Gas Kiln - Raku kiln (external) - Outside space for pit firings and alternative kilns - Wedging surface with storage for clay and boards underneath - Hand-building work surface - Several shelving stacks for storage and drying of work - Glazing station for missing and applying glaze - Storage for clay, raw materials and glaze ingredients - Spray booth with compressor and ventilation - 2 x Wheels - Slab-roller - 2 x basins with space either side for drying tools - Sedimentation basin for waste water - Surface for plaster bats for drying/reclaiming clay - Wall-mounted extruder
  8. It was quite elaborate to be honest. For the inside, I taped up all the cut-out holes except one, poured in some glaze and gave the whole thing a rotation to try and ensure an even coating. After removing the tape and sponging off the glaze on the exterior, I then stuffed tissue roll inside the piece and sprayed it - the idea being to prevent any glaze from getting inside. For the black and white one, I just banded on black slip to both inner walls before closing the form.
  9. Yes, I really like those cloud designs. And like you say, there is freedom (from gravity!) in have the inner wall for support. When it came to the bevelling, were you just using a fettling knife at a 45 degree angle to the cut to take the corners off? I think I can imagine doing that on the outside, but the inside would be pretty fiddly.
  10. Thanks @Rae Reich - I will try and hunt down that slim knife you mentioned as it does sound much better at negotiating curves than what I use at present. I found this one on the Aardvark site; is it the same? Good to know that thinner blades in general will work better for the curves. I appreciate now that carving is quite a delicate operation, which shouldn't come as a surprise I suppose, but even cut-outs of quite large blocks seem to present quite a few challenges. Thanks for the tips
  11. @yappystudent - Great idea re the projector. I think I knew about this ages ago but completely forgot, but that will save a lot of time fiddling around with mapping designs out on software to print them off later. I will make sure to avoid cheapo ones! @oldlady - Thanks for the tips. Yes, I made life difficult for myself this time by having such thick walls. Part of the construction required lowering the outer wall section over the inner "column" as my throwing skills aren't good enough to get a hollow form that tall yet. I since had a thought that I could have trimmed this down a fair bit after joining the sections, by sitting it back on the wheel and taking a loop tool to the sides. Yes, Dremel drills and their various attachments are a thing over here in the UK. Another good idea - this forum is full of them! Would you suggest grinding through the clay when it's bone dry/leather hard? What kind of tool end would you suggest for this? That sounds like it would leave a much better finish than my current approach, which as you guessed requires a lot of time-consuming softening with a damp sponge! I would like to make double-walled forms with cut-outs a central theme of my sculptural work, so this is very helpful info. Here are a few others I made recently:
  12. Thanks! And yes, I'm already getting a few problems with this in the drying. I've sandwiched a bit of tissue paper between the offending upright piece and the inner wall to stop it from warping inwards, but I guess there's not much I can do while it's firing. Is this just something I have to live with if I have large unsupported sections of the design or are there ways around it? I guess the thickness of the walls isn't helping much.
  13. Exactly. I threw the central column as a kind of straight sided vases with a 1cm ridge of clay at the bottom so I could sit the outer wall on it. They were both just leather hard when I combined them and it was pretty nerve-wracking!
  14. Wow, thanks everyone for the excellent tips! @Benzine, that's a good way of looking at; in terms of a map covering a globe. I may try in future to do something in Adobe Illustrator which can then be printed off in that format. @Min - those number 11 blades look perfect. And only 5 quid here in the UK, so got some on their way @Pres - thank you, yes! It dawned on my as I began to take knife to clay the problems with this design, short of certain bits of clay levitating magically in position without support! My solution was to downscale it sufficiently and improvise a bit to avoid large voids. @Ron Sa - You must have transmitted this telepathically somehow as this is what I ended up doing in the end, basically (as Pres pointed out), the two ends of the design wouldn't match up and there were too many unsupported areas. I sketched the pattern freehand as a single line and then carved with an X-acto knife on either side to get the cut-outs. Still got a few jaggy curves where the knife can't turn easily in the clay, but pretty happy with the result overall. The design is called a "Turing Pattern" from a visionary paper Alan Turing wrote on mathematical biology back in 1952... but I think I'll stick with "Amoebas Gone Wild" in the future Here are some pics:
  15. Hello all, I recently made a double-walled form which I would like to carve a design into. This is a new technique for me so I was wondering if any pros here could offer some advice. My first question is how to map this design effectively onto a curved surface? I have thought to use tracing paper, but I'm guessing it will fold in places so areas of the pattern will be lost. Any hints on how to overcome this? I'm also wondering what is the best tool to actually carve out the design with once it is outlined on the surface of the piece. I have attempted an X-acto knife in the past but found it wasn't very good at maneuvering curves, left quite a few jagged tool marks and the blade was not quite long enough. Would a loop tool of some sort be better? I'm aiming for lines as crisp as possible. I'm sure the answer is quite straight forward but it has me stumped!
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