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Showing results for tags 'sculpture'.
Found 79 results
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From the album: SCULPTOR
DURING THIS LOCKDOWN QUARENTINE, USING MATERIALS I HAVE AROUND TO WORK WITH, KEEPING UP THE GOOD SPIRITS AND POSITIVE THINKING. I KNOW WHEN MON PETIT CHAT WAKES UP,ALL THIS BAD DREAM WILL BE PAST GONE. H 5cm x L 11cm x W 10cm© BARAKE SCULPTOR
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From the album: SCULPTOR
I SCULPTED THIS STUDY LAST NIGHT,IT TOOK AROUND AN HOUR. BRAZIL HAS THE BIGGEST JAPANESE COLONY.THIS MORNING MY SPOUSE DID THE FLOWERS IN THE KIMONO! EVERYONE SAFE INDOORS. H 33CM x L 23cm.© Barake Sculptor
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From the album: SCULPTOR
THIS SOLID CLAY STUDY FOR A BRONZE CAST. THIS GORILA ,IN A THOUGHTFULL STANCE,ASKING HIMSELF: '' HOW COULD HUMANS EVER THINK TO BE RELATED TO US? WE DON´T ENSLAVE OUR NEIGHBORS,WE DON´T PEE IN RIVERS WHERE WE DRINK,I DON´T KILL FOR SPORT,I HAVE NO INTENTIONS OF GOING TO MARS. NO, WE JUST CAN´T BE RELATED !!© BarakeSculptor
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From the album: SCULPTOR
A busy mom trying to please them all !! -
Hello everyone, I am completely new in this field, my work so far has focused on plaster modeling. But soon I would like to start a new project, which requires a lot of knowledge in clay processing. I would like to make two fireplace surrounds (designed in the style of the attached plan), one for a decorative fireplace and one for a real fireplace which already has a cast iron insert whit a brick mantle. I would like to know for the first one, for the decorative one, I need to burn the tiles or not. It's about some large parts, for example 2 corbels 80x20 cm. Also I would like to know if such large parts should have any reinforcement system for example made of wire or iron. The material, the clay is good as I find it in commerce as it is or will need to be added some additives to avoid the appearance of fissures without burning. For the symmetry of the parts, I thought it would be good to carve one part and the other to copy it with a plaster coating. I look forward to any suggestions. Thank you all
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From the album: SCULPTOR
THIS CLAY STILL HAS TO BE BISCUIT FIRED,BUT I INTEND TO MAKE A MOULD AND IN A NEAR FUTURE CAST A BRONZE VERSION. I LOVE JAPANESE MONKEYS,HOW THEY ADDAPT TO A HARSH WINTER,SPENDING HOURS IN NATURAL HOT WATER POOLS! IT MEASURES: L 28CM x H 16CM x W 13CM© barakesculptor
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Hello everyone I created recently this almost 2 meters large ceramic sculpture. Since the form consists from many smaller pieces I was able to create this large size format but I would like to keep working on big size figures and I don't want every one of them to be chopped. If possible I would like to avoid making molds, simply sculpt and put it directly to kiln. So I was wandering if you can give me some advises on what type of armature I can use that can go into kiln and how to create this armature in order to follow shrinking while drying or baking? Thank you so much in advance
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I have a fully fired sculpture of a body. I need to attach the upper torso to the lower body. Each piece is about 2.5 feet high. The pieces fit together well and with balance. Thought I could use cement and clay but was told that it would not really work. Then there is extra strength epoxy. Any knowledge of suggestions would be appreciated.
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HNY everyone, I have a lovely low matt glaze, but I want to thicken it. So it gloops and drips, perhaps even foam. I've been looking everywhere for a glaze like this. I am a sculptor and I really love this Matt Wedel glaze. Any tips or recipes? Could there be an additive I can use to crystallise my glaze?
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Is it necessary to fire to sculpture to vitrification? If firing to cone4, will the sculpture be too fragile? I don't always glaze my items and detail with acrylic paints and don't want to take short cuts in firing to save money, if the pieces should be vitrified.
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Hi all, New here as a ceramic arts daily member, but i have been browsing this forum for great info for years! I am currently trying to make an outdoor sculpture for a project I am working on in architecture school. I am thinking about using Hydrocal® White Gypsum Cement to create my sculpture because of its durable qualities and hopefully easy to finish nature (please feel free to advise me if I am right or wrong on these, I am new to working with the material). The question I have involves casting the Hydrocal to create the sculpture. I am thinking about creating a hollow clay coil mold for my sculpture, into which i would pour the hydrocal mix to allow for it to conform to the coil mold's interior shape and form. I would pour-cast this sculpture as the clay mold (laguna bmix) would be in the leather-hard shape. To limit the weight of the final sculpture, I would want to let the outer portion set up and be able to pour a significant amount out, so the final hydrocal sculpture itself is hollow too. Does this sound like it would work? I am worried that the hydrocal would stick to the clay mold, or that it would be too thick a consistency to pour out to make it hollow. I hope that this makes sense to you all. Please respond with whatever feedback you think that i need, with whatever information you could offer me. I appreciate all the help! -Daniel -
If you can't fire piece, can you leave it dry and then paint it. I bought a sculpture made in the 1960s. The piece was not packed correctly and the base and about 1/8th of the statue broke off. Tried everything to fix it including drilling hole and putting metal rod in, glue, etc. Nothing worked, I had a 10 lb piece of clay around. I decided to ram the statue into the piece of clay, making a base . I incorporated the broken legs of the statue so that they "sunk" in. I carved out a 2 tier base and am letting it dry completely. The sculpture is heavy and about 27" tall. I tried to leave enough solid clay to hold it up. I did not hollow out the base because it wouldn't be heavy enough to hold the sculpture . Once it is thoroughly dry, I intend to paint it. Will it hold up?? Also what kind of paint? Acrylic or oil?? Help!! Thanks in advance for your help.
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Hello! I have been having trouble tracking down a suitable clay body for my kurinuki pieces. I had issues with 'S' cracks using the stoneware provided by the ceramic department, and I switched to HELIOS porcelain for a brief stint, but the lack of grog didn't appeal to me (I'm obsessed with texture). I mostly wish to do atmospheric firings, although I'm stuck with electric for the near future until I can track down a wood kiln near Austin. My main question is, would a sculpture clay body be suitable for carving to make my chawans, yunomis, etc? I'm thinking that with the higher grolleg content, I'll have less cracking issues, as well as added texture to the surfaces. I don't know of anyone that uses sculpture clay for tableware, though. I tried Standard 710 w/grog, hoping that the added grog would rough up the surface, but it was negligible. I do heavy carving on my kurinuki pieces, and I really want that rough texture showing through the final piece. Here are examples of my texture I'm chasing.
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Hi, I'm designing a number of sculptural vases and firing them using 05 and 06 glazes. The interiors are like the exteriors: sharp bends, undercuts, open spaces. I'm having a heck of a time trying to glaze the interior. Can you suggest any possible methods? They're too heavy to dip and have too many holes and gaps to glaze and swirl without creating a large mess. Perhaps I don't need to glaze the interior? Will it be waterproof if the outside is glazed? Thanks. Greg
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I am new to clay, both hand-building and throwing, and have been making images on pots in two ways- by painting in underglaze and by using commercially available texture mats and roller stamps. I would like to learn to carve into the clay myself. Can anyone recommend some good resource or resources to help me learn to do this? I would be particularly happy for book recommendations.
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From the album: Curves and Crisp Edges
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Being new to ceramics (first time I touched clay was this past January), I want opinions. I sculpt very large sculptures and attach them to vessels. I recently had a very experienced ceramicist tell me that I am "wrong" for coining my work as a mug. Link to photo of one https://www.instagram.com/p/BWBiI6oD9kQ/ I feel that people can see what it is and can make their own assumptions and how they plan to use it. Am I wrong for projecting it as a mug? I need input from the community. -
From the album: Curves and Crisp Edges
This one has become affectionately known as the Avocado.© Linda Lees
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Just made a sculpture using coils. It is 17 inches high and 12+ inches wide. It is drying under a drying box made of cardboard covered with plastic. How long should it be left before it is completely dry? One old book suggested putting a dry sculpture in the kiln and heating at 100 degrees F. for 19 hours. Is that a good idea? How fast a rate should the sculpture be fired to maturity? It is a cone 6 sculpture clay with a good amount of grout.
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From the album: Curves and Crisp Edges
Slab built using Feeney's Red Raku clay and glazed with Mayco Elements Burnished Steel© Linda Lees
