yappystudent
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Posts posted by yappystudent
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Organize schmorganize....
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Trouble is, all the ceramics I do are toys: for me, as is my kiln, supplies, etc. I guess my smoking wares skirt the border of toys for adults.
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I'd really like to see more images in this thread...don't get lazy on me.
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Show of hands? -Photos of the potter's hands.
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Do you collect pottery and ceramics?
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At this point the few handles I've made have been back-filled because I don't know how not to. I'm afraid they'll break off otherwise and feel it necessary to reinforce where attached.
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I take a day off. Sometimes three. Stare at netflix without enthusiasm. Take naps. Drive to the store and waste money on things I don't really need (nutella). Visit my favorite haunts. Honestly my ideas never stop flowing, but my desire to do anything but sketch them out frequently dries up and I can't get anything started. Going through that right now, although I made a new form last night and it really seemed to break the ice. Went from feeling depressed to relieved, so strange...
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On 5/28/2018 at 8:43 PM, oldlady said:
thank you , yappy, for the aquarium silicone suggestion! i need to glue my shoes together again and there is just no good way to do it. yes, i will glue some sponge to dowels for claywork but i really need to fix about 6 pair of shoes. bad foot means only one kind fits but they fall apart after a week or so.
Birkenstocks, just sayin': My last pair of leather Arizona's lasted 7 yrs and I wore them (nearly) every day including at work, in the rain, etc. Yes, I wear socks with sandals. They will cost you but it's cheaper than replacing shoes every year. They form to your feet. I wear the classic kind with no heel strap but they make lots that do have them now. Once you start wearing them they are addictive and your feet won't want to go back.
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6 hours ago, dhPotter said:
So you cut the, I'll call it a" scorpion" , out of the vinyl flooring then you glued it to another piece of vinyl flooring?
Yes that's exactly. originally I wanted the brine shrimp not be attached to anything, but it was too fiddly and one of it's ribs got cut off, so basically I made a rubber stamp out of it to glue the rib in place. It should have nice sharp edges for a long time. I used aquarium silicone to attach it to the backing; more vinyl; which worked great, then glued the whole thing to a small flooring tile because I didn't have a piece of wood the right size. Voila, prototype. I smeared craft paint on a plastic plate, twirled the stamp around in it and stamped it onto to a damp piece of fabric. Worked not so well on dry fabric. Anyway, I'll be using this idea again but without the backing attached it should work better in future for clay. The sheet vinyl -not the hard 'tile' type flooring- cut super easy. I went into a flooring store I get my flooring tile remnants from and they were happy to give me a scrap.
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I recently discovered that (Sheet) vinyl flooring makes great easy to cut stamps for making impressions, not so much for picking up color, but I'll be putting color into them and wiping back like Pres mentioned in the topic. With scissors I was able to cut out this in about 20 min with only one boo-boo I had to fix. So far it's working great for stamping clay, and reasonably well for cloth using craft paint.
Use thin plastic wrap, better yet those clear plastic produce bags from the grocery store over the clay or the vinyl tends to stick toit.
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What is the community challenge and when does it happen? I can find this thread OK but the basic info still eludes me.
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Q: Where does one draw the line between deciding what is a second and what is OK to represent your name? For that matter, what is a second -perhaps worthy of selling out the back room so to speak albeit with your logo stamped into it forever, and what is junk waiting for the hammer or negative examples shelf? Exemplary work probably speaks for itself, but what about the gray areas below that? A set of rules for these decisions would be helpful.
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TY for posting my question and I've never seen decorated kiln plugs, neat idea
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Thought of this while trying to decide what I'd like to make the kiln goddess for my -still nameless- new kiln. Lots of bits and bobs around I could use but nothing seems to fit until I come up with a name first. I'll probably make a little figure of some sort that won't take up much shelf room. Back in the day my boss used his kiln god until it was burnt and unrecognizable, although it was pretty funky in the first place, then would replace it with a new one when it started falling apart. They always went inside the kiln and he was very particular about it.
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Trying to get my next ^5-6 glaze load together. My work is mostly tiny and I've got about a shelf and a half so far. At some point I'll just fire it up full or not, I want to give my neighbor his mug, he looks a little bummed out and could probably use it.
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Apologies if this has been suggested before but I'm curious if anyone else uses "Kiln Gods" or Gremlins when firing their kiln.
My first experience with clay was as a laborer trimming cups in a small production factory. (back in the early 80's, called Shapiro's Ceramic and Design, they took over from the slightly more well-known Overland Stoneware) They had two car kilns there and the owner who did the firing had a couple hideous little figures that looked kind of like what you see stuck on face jugs. According to him these were his "kiln gods" who watched over the firing process, and we weren't allowed to place them.
My father was a Mason and a master welder for the air force. My mother told me that whenever they were having problems with a plane repeatedly, during the fix they made a gremlin out of scrap metal and welded it somewhere inside the body of the aircraft where it wouldn't be seen.
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Because drawing and painting are not tactile enough, and I need the tactile payoff for some reason. I can draw and paint really well, I have good ideas for creating images, but find the process a means to an end. With clay the process is part of what I enjoy about creating sculpture. Also I've just always wanted to do sculpture but couldn't find a satisfactory medium until I tried ceramics.
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Spiky fish. Vessels with wavy rims. Anthropomorphic creatures. Ammonites. Anomalocarus. Rafflesia. Alien flora.
I've always been interested in the idea of "weird" lifeforms: from likely-future bio-engineering, earth's deep time past, or just speculation. I've yet to work out exactly what I want to use, the message it would express, and how to carry off successful pieces. Figures of some kind as well as wall art of some kind definitely likely.
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Sorry I can't convince you, clearly we are not of the same tribe.
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I think there are lots of clues that play on our brains in this regard. Our species is designed to pick up on cues that help us to conform to a social norm, it's been proven it's a major part of our survival technique. Figuring out what group we fit into and which we don't were and sometimes still are life and death decisions. I think you have to get pretty far into minimalism to stop giving cues and enter the area of "gender neutral" in regards to creating something.
I definitely intentionally do work that I define as either female, male, or neutral. E.g: I'm working on some vivid glaze techniques for some of my 'ware' type work. I don't expect men to be buying the pastels and hot pinks, so I'm also making black, blue, red.
A little story: I went into a semi-local gallery and stumbled upon knee-hi sculptures in driftwood with rough ceramic faces, shockingly close to an idea I thought I'd come up with myself. So much for that notion, but despite the heavy materials and primitive chunky claywork it seemed obvious it was done by a female artist. Despite their being displayed as sculpture there was an unapologetic vulnerability to the work that I have never seen in a man's work.
Aside from the obvious, I'd say female artists -in general- have more tendency towards pure expression and creativity coming from their own selves. When men -and this is a generalization of course- get creative they seem to do it within a subconscious awareness of it being judged by other men, and want to succeed or surpass an existing accepted set of norms. Whether it will sell a lot of copies, honor an ancient tradition started by (male) potters, make them famous, or win shows isn't always foremost in the mind of a female artist, self expression or simple enjoyment of the artistic process is.
Also, men seem to have a lot more interest with working with machinery, while women are more interested in hand building. This may have something to do with social-economic issues as well as inner desires (women artists can't afford as much fancy equipment), but at least in my case I've never given a fiddle dee dee about wheel work, I feel like I'm robbing my hands and head of what they really want to do.
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The recent greenware.
- Yasmin, Min, BARAKE SCULPTOR and 2 others
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I have a medium size collection of new age music that I'll usually play as background to get going, then I'll sometimes stream OPB.org until I can't stand the news anymore. After that it's reruns on my monthly Netflix. Since I hand build in my kitchen I can see the computer screen. Sci-fi when they have something new, endless star trek when they don't. Also lots and lots of British crime dramas, I like the scenery.
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1. The forums here. For example I don't think I could survive the kiln buying and installing, let alone learning curve for using it, if I didn't have a resource like this.
2. Youtube: I really do find that a (moving) picture is worth a thousand words and stimulates my interest and creative flow. I especially enjoy pottery making current and past in other cultures. Mid century Fat Lava to pit fired South African, makes me feel like I'm part of something important and close to the Earth.
4. Etsy: partly because I would like to open and manage my own shop there, but cruising all the items and makers stimulates ideas of the "I could do that" type.
5. Georgie's catalog and other ceramic supply houses' websites: For example I like surfing through the glaze section wondering what I could do with this or that glaze, how it's used, can I use it? what is it made from, etc.
6. Two college classes: Because negative examples can also be useful if you recognize them as such.
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Q's:
Is it Craft or is it Art?
You and I may have one idea about a piece of ceramic, while trust me, the oil painters in the gallery/art school/art faire may have another. (Personally, if it's non-utilitarian IMO it's art. But some utilitarian work is so artistic it crosses the line into Art as well. Also, it's a bit like defining God, I feel a bit full of myself just trying. Your opinion may differ.)
Is there a genre of ceramics that you hate?
Hopefully no one will get offended. You'll notice I didn't give an opinion.
Do you tend to end up using the same general color schemes in your glaze work intentionally or unintentionally? (I do. It's various whites over dark clays, usually with the speckles coming through.)
(I'm sure I can come up with a few more questions of the noobish sort, just can't think of them right now.)
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QotW: What do your hands look like?
in Int'l Ceramic Artists Network (ICAN) Operations and Benefits
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Great hands there Pres. I have to trim my nails shorter than that or they mark up the clay.