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Galileo Fingers posted:
What are the dimensions of that? It looks pretty small and I'm always really, really impressed with people that can paint tiny.
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Jul 7, 2013 12:08
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Yeah that is small. Fantastic work, in any event. How do you go about painting things that small?
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Jul 8, 2013 07:21
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artsy fartsy posted:Last year I got into ceramics! Heh...I like it and that's actually some fine coil work. Coiling can be a pain. What kind of clay is that and what glaze is it, if you don't mind me asking? Is it commercial stuff?
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May 18, 2014 04:43
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poopcup posted:Recent works unloaded from a cone 10 reduction firing. Nicely made. If I wasn't so drat broke I'd offer to buy a mug. Are those celadons?
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Nov 7, 2015 07:22
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poopcup posted:Thanks! The liner glaze is a base glaze and the blue/green surfaces are the same base with oxide additions, 3% iron for the celadon green and .2%cobalt + .2%chrome for the blue, I wouldn't really call the blue a celadon because it's not iron based. I believe the places where the blue starts to blush up into a pinkish color is caused by chrome concentrations reacting with the tin in the base I think it's more the tin by itself, really. I have a copper/tin colored glaze that gets pinkish chunks in it whenever I fire it in particular ways. I haven't figured out exactly what causes it but I mostly fire to a bit under 9 with very heavy reduction. If I fire it a bit high or it's closer to the fire it can get pink in it sometimes. The same glaze without the tin has never, ever done that. Getting a touch of pink from the tin like that would make sense. How much tin is in the base glaze?
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Nov 15, 2015 22:30
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poopcup posted:There's 5% tin in the base, not quite enough to opacify it but in soda it'll flux to a nice white, tin looks much better than zircopax in my opinion but the cost difference is hard to justify. It's all fired to cone 10 in moderate reduction and soaked for 30 min in an Olsen 16cf. What feldspar are you using? Calcium and potassium are the things that tend to expand the most. You might want to look for a different flux. You might also want to look into a different liner glaze entirely if you want the inside to be smooth. Certain materials have a ton of potassium (oddly enough I deliberately use a particular feldspar for just that reason but right now am forgetting which is which off the top of my head) and can affect that too. What you want to do is look for the formulas that tell you its expansion coefficient. In any event crazing means your glaze is expanding too much and needs to expand even less. Maybe look at a different flux? The ratio of alumina to silica might also need to be fiddled with. My memory is a bit fuzzy as the last time I did any glaze calc was months ago. Even so reducing the potassium and calcium should give you less expansion. Switching the source but keeping the calcium constant isn't going to accomplish a ton. But yeah glaze formulation is cool as hell and are part of why it's easy to fall in love with ceramics.
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Nov 16, 2015 04:12
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poopcup posted:The base in the pictures is: What you'll want to to if it's expanding too much is reduce the calcium and magnesium and replace it with other RO stuff. That can be Na2O, ZnO, MgO, BaO, SrO, or Li2O, most of which are nontoxic. Technically you could also swap in lead but that just evaporates at that temperature and is, you know, lead. If you're using minspar that's the same as NC-4 feldspar which does have significant amounts of potassium in it as well as some calcium. You could try switching some of the feldspar out for either clay or just raw alumina/silica if you keep the ratio the same. If your glaze is trending mat you might also be raising the firing point by changing the recipe. You want to have an appropriate alumina:silica ratio for where you're firing to. It looks like you increased the amount of silica and alumina in that glaze which can both cause it to go more mat. Too much silica causes it to devitrify while too much alumina increases the firing temp. Calculate the molecular weights. At that temp you don't want alumina over about .5 and don't want silica over about 4.5 or so. Don't sweat it too much. It takes a lot of tinkering and testing to get glazes right but once you do it's like striking gold or climbing a mountain. Trust me, it will be worth it once you get the recipe just right. Have you read Daniel Rhodes' book? If you haven't go snag a copy of Clay and Glazes for the Potter off of Amazon. You can find older copies of it dirt rear end cheap and it has a completely ludicrous amount of information.
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Nov 17, 2015 02:27
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Since I just wrapped up my college education I figure it's time to get around to posting some stuff I learned along the way. I snagged a BFA that primarily focused on ceramics. I tended to make a lot of more structural work and stuff inspired by ruins. The show I put together as a captstone ended up being largely about ruins. I made an absolute poo poo load of them and did the show based on what is really just one piece. Well sort of; all of the individual chunks were arranged in the final result. The hours were absurd but it was definitely cool to do. Some of the pieces already found homes. I had sold a half dozen of them before it was even over. Others became gifts.     This is actually pretty big. It's like 12'x17'x8' or so.
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Jan 18, 2016 18:14
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Glukeose posted:This looks like a kickass dungeon for a game of D&D. Did you set out with a particular vision in mind or was all that put together somewhat ad-hoc? I had a basic idea in mind but mostly it was just moving all the pieces into the gallery, setting the pedestals up, and then arranging stuff. Things got moved as ideas came and went or turned out to not be good. Since cities grow organically I didn't have one set, specific plan and didn't sketch anything before setting it up. A few of the pieces I decided early on to just put in that spot and leave it there; the big, brown obelisk is one of them. I figured it was important and one point but nobody cared much about it but didn't want to put forth the effort to move it. The only "vision" I had in mind was thinking about how cities change over time and how people would respond to that sort of space. That and what would be left over when stuff started to crumble. You know, stuff like who would build what where and why, where a temple might go, what different people of different eras might consider the most important, that sort of thing. Actually multiple people said it'd make good gaming terrain so I'm really tempted to make more of it and sell it as that. I got that or aquarium pieces. Now I have many boxes of it cluttering up my apartment as I figure out what to do with it.  If it was up for more than a week and I had time to author an adventure I'd probably have run a campaign in it. That wasn't an option, sadly. Now I miss playing D&D. I did like to DM.Kind of the plan is to exhibit the stuff in other places as time goes by and set it up differently every time, sell some chunks of it, make more to replace them, and just, you know, have it evolve. Time is definitely a component of the idea as is change.
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Feb 3, 2016 03:49
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That's good, cartoony stuff. Have you thought about a comic or taking up animation or something? I could see that style lending itself well to that sort of thing.
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Feb 10, 2016 08:22
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I wouldn't add anything to it. It's fine the way it is. Text would probably take away from it, honestly.
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Feb 15, 2016 02:58
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dog nougat posted:Finished my butterfly pig. All the paintings for my show on Friday are complete. That's ridiculous and crazy in all the right ways.
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Feb 25, 2016 22:06
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