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Found 74 results

  1. Hello ceramic artists, I made a figurative sculpture (21-inch tall, divided into 3 sections that will be glued together after firing) out of paper clay (made of red stoneware that matures at the range of cone 05 to 6). I would like to fire it to cone 5 because the clay turns to an earthly brown tone at the temperature. I am not planning to glaze it. The ceramic studio that I have been using has Skutt Automatic Kilns. My question is: If I single-fire the sculpture to cone 5 at the speed "slow," would I risk it too much? I'm thinking to do a single firing mainly because I want to avoid unnecessary loading and unloading of the sculpture. My potter friends are suggesting other approaches, and I am getting confused. What will be the best approach to minimize the chance of cracking the piece to bring out the earthly clay tone? Thank you in advance for your suggestions.
  2. From the album: sculpture and vessels

    working on a small Bacchus corbel
  3. Hello, I am curious about the incorporation of metals into ceramic sculpture for aesthetic reasons. At my university we use mostly stoneware (although we can make or buy our own clay bodies) and the ^10 is the normal firing temp although we can independently fire at lower cones. To use metals with the sculpture they must obviously be bisque fired together- as they will be apart of the clay (there will be obvious shrinkage but I plan to accommodate that) I guess my question is, if I were to use stoneware (for sculpture) and fire at a lower temp say... Bisque at 06 and fire at ^5 - ^6 up to the melting point of the metal used ... Would it make the sculpture super fragile considering the stoneware wasn't fired to it's fully matured temp... Any suggestions on a hardy low fire (^5 -6) clay body, or what metal should be used... What all metals CAN be used? I am curious about bronze (which would have to be fired at an even lower temp) or maybe just tiny scraps of steel... These metal pieces will be small decorations protruding out from the sculpture- and I'm not even sure if this is possible, I'm somewhat inexperienced, but if anyone has any info I would GREATLY appreciate it! Thank you! -June
  4. From the album: 2014 Featured Artist Pieces

    This embellished angel was made with little loafers cone 6 clay. The designs were rolled into the surface and then glazed. The face was press molded with a minor hand sculpting. The hair was made with a mini extruder. The hair and face is painted with Amaco LUGs and the wings are coyote white and the dress is Coyote Opal. This angel can be used as a stand alone figurine or it can be used as a tree topper. I added holes on either side so that it can be securely anchored to the tree.

    © Terry Buffington

  5. Hi, I'm new here so thought I would say hi. I'm a budding sculptor and currently developing flower people, hand made in porcelain. Currently a hobby but aim to turn my make art into a day job. You can follow my development on all of the social net works under the name of cazamic. www.facebook.com/cazamic www.twitter.com/cazamic Hope you like.
  6. From the album: SCULPTOR

    BISCUIT FIRED, RAW,NO GLAZE,OR ANY PAINT. LIVE MODEL. 15CM.

    © Barake Sculptor

  7. From the album: Fountains

    A water feature with an upper raku vessel, illuminated with multi-glaze, mosaic-style designs depicting a north American River Otter. The lower pedestal is fired at cone-six, and contains the fountain pump.
  8. From the album: SCULPTOR

    BISCUIT FIRED, OIL PAINTED.23CM

    © Barake Sculptor

  9. From the album: SCULPTOR

    HIGH TEMPERATURE FIRED SCULPTURE.UNIQUE PIECE.BEFORE FIRING,I CREATED A MOLD AND CASTED A LIMITED EDITION IN BRONZE.

    © Barake Sculptor

  10. From the album: Dirty Scot Pottery, 2013

    In process. Dragon is about 18" x 24". It has a head now but has not been photographed again yet.
  11. From the album: Dirty Scot Pottery, 2013

    In process. Dragon is about 18" x 24". It has a head now but has not been photographed again yet.
  12. Rakuken

    Pahoehoe

    From the album: Sculpture

    Stretch and rolled with wood dowel inside. Applied ash glaze, fired upside down, cone 10 reduction. 20 inches across at the top. Welded bronze stand.
  13. Ifnotisabelle

    Aliens

    From the album: Past Uni work

    © Isabelle

  14. From the album: SCULPTOR

    HIGH FIRED SCULPTURE.I LOVE ALL THE MAGIC INVOLVED IN THE CIRCUS UNIVERSE. CLOWNS CAN ALWAYS MAKE YOU SMILE!

    © Barake Sculptor

  15. From the album: SCULPTOR

    HIGH GLAZE VASE,NUDE SCULPTURE

    © Barake Sculptor

  16. From the album: SCULPTOR

    HIGH GLAZE BLUE VASE WITH NUDE SCULPTURE,GAS KILN.

    © Barake Sculptor

  17. From the album: SCULPTOR

    HIGH GLAZE GAS KILN VASE WITH TWO NUDE BASS RELIEFS

    © Barake Sculptor

  18. From the album: SCULPTOR

    HIGH GLAZE BLUE, NUDE SCULPTURE

    © Barake Sculptor

  19. BARAKE SCULPTOR

    NUDE

    From the album: SCULPTOR

    High tempeture,gas kiln.

    © Barake Sculptor

  20. Hi everyone! I'm new here, and new to ceramics. I will be hand building miniatures. My main question right now is, how can you tell when the clay pieces are dry? I've searched online, and the only answer I have found is that they are dry when they no longer feel cold when touched against your face/wrist. I have created some pieces to test my clay samples (various types of stoneware and porcelain clay). After 3 weeks, they still feel fairly cold on my face. They are about 1/2" thick, and I realize that drying will take longer with this thickness. But, it seems like they have felt the same (against my face/wrist) for the last 3 days now, and I'm wondering if dry clay still feels slightly cold? Is there another method to check when they are dry enough for the bisque firing? Thanks for any advice! Melissa
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