Jo Gilder on tue 3 feb 98
Hi Everyone,
I am currently enrolled in a class on clay sculpture. I've done a
little fooling around in this area prior and already have a few nice
pieces. In class, the teacher is introducing a patina to finish the
pieces made out of acrylic paint, trewax and pigment. I'm curious as to
what other ways there are to finish a piece. (I'm a terrible painter and
glazing just doesn't work for some pieces.) Also the teacher mentioned
something about painting the piece with skim milk to seal it. Anyone
else ever hear of this?
Jo Gilder
Panama City, FL
magilder@worldnet.att.net
Jane Trytko on wed 4 feb 98
Hi there,
I also teach sculpture and have done some busts that after firing, used shoe
polish of different colors. I really liked the look and didn't have to worry
about a second firing.
This worked
for me,
Jane Trytko
The Wildfire
Art Studio
Wildfireart2@a
ol.com
Carrie Shields on wed 4 feb 98
I use a variety of finishes on my ceramic sculptures...crater glaze, crawl
glaze, lusters, very, very thin washes of acrylic paint, melted beeswax which
is then reheated with a propane torch, torched crayon wax (this is fun-
scribble all over your piece with the crayon, then make it flow with the
torch), oxides, functional glazes, crushed glass which melts in the firing,
washes of coffee or tea...the possibilities are endless! Be creative and have
fun!:)
the Gallagher's on wed 4 feb 98
I took a week-long workshop where we had the opportunity for just one firing.
Pieces were bisqued only. We did what was called "faux raku". Using assorted
colors of floral spray paints, we sprayed our pieces in layers of color. The
result was a multi-colored matt surface, similar to some raku glazes.
----------
From: Ceramic Arts Discussion List on behalf of Jo Gilder
Sent: Tuesday, February 03, 1998 10:35 AM
To: Multiple recipients of list CLAYART
Subject: sculpture
----------------------------Original message----------------------------
Hi Everyone,
I am currently enrolled in a class on clay sculpture. I've done a
little fooling around in this area prior and already have a few nice
pieces. In class, the teacher is introducing a patina to finish the
pieces made out of acrylic paint, trewax and pigment. I'm curious as to
what other ways there are to finish a piece. (I'm a terrible painter and
glazing just doesn't work for some pieces.) Also the teacher mentioned
something about painting the piece with skim milk to seal it. Anyone
else ever hear of this?
Jo Gilder
Panama City, FL
magilder@worldnet.att.net
Beth Yeatman Spindler on thu 5 feb 98
Torched crayon wax....my kids would love that!! But....and I may appear
stupid,,but then you fire these pieces??? or are they ready as is???
Thanks....
Learning in progress...
Beth in rainy, windy Cvlle Virginia..................but sunshine in my heart
:))
ken tighe on thu 5 feb 98
A teacher of mine would take wax crayola crayons, hold them one at a time
against the sculpture and, with a propane flame, melt the colored wax onto
the piece... a little orange here, a little green there etc. Easier said
than done, a very painterly process-- but the results were impressive--Ken
John Rodgers on thu 5 feb 98
Jane Trytko wrote:
>
> ----------------------------Original message----------------------------
> Hi there,
> I also teach sculpture and have done some busts that after firing, used shoe
> polish of different colors. I really liked the look and didn't have to worry
> about a second firing.
>
> This worked
> for me,
> Jane Trytko
> The Wildfire
> Art Studio
> Wildfireart2@a
> ol.com
Shoepolish works good for me! I also use it to return the black patina
to sterling silver when sulfur pickling is not available. Black shoe
polish applies easy, and stays pretty well.
John Rodgers in Ala.
ken tighe on fri 6 feb 98
>'No Beth, don't re-fire them. Apply the crayon wax and you're done.
>
>----------------------------Original message----------------------------
>Torched crayon wax....my kids would love that!! But....and I may appear
>stupid,,but then you fire these pieces??? or are they ready as is???
>Thanks....
>Learning in progress...
>Beth in rainy, windy Cvlle Virginia..................but sunshine in my heart
>:))
Paul Monaghan on sun 8 feb 98
Jo,
Here's a patina I have used on bisqued sculpture pieces. First I used a
diluted water based walnut stain and slopped it on with a small acid
brush. I do mean slop since you DON'T want it to look painted. I than
gave a VERY, VERY SPARSE spray of gold paint. The undercoating of stain
really brought out the gold. I than mixed up yellow, blue and green
tempra paints with carnuba (car) wax and a little solvent such as
terpensol. Again brushed the slurry on the pieces with an acid brush
and let it dry for a few minutes. I than buffed it off with rags and a
tooth brush.
The result was a piece that looked as though it was a 1000 year old
bronze with a greenish patina. The key is to just go ahead and try it.
Some friends have used all different kinds of car paint and acrylics
with good results. It really depends on what you're trying to achieve.
Good Luck,
Paul :-)>
Jo Gilder wrote:
> ----------------------------Original
> message----------------------------
> Hi Everyone,
>
> I am currently enrolled in a class on clay sculpture. I've done a
> little fooling around in this area prior and already have a few nice
> pieces. In class, the teacher is introducing a patina to finish the
> pieces made out of acrylic paint, trewax and pigment. I'm curious as
> to
> what other ways there are to finish a piece. (I'm a terrible painter
> and
> glazing just doesn't work for some pieces.) Also the teacher
> mentioned
> something about painting the piece with skim milk to seal it. Anyone
> else ever hear of this?
>
> Jo Gilder
> Panama City, FL
> magilder@worldnet.att.net
DIANA PANCIOLI, ASSOC. PROF. on tue 10 feb 98
I am writing a proposal for an NCECA panel for 1999 dealing with "cold
finishes" on clay. If you use cold finishes and are interested in being a
panel member, please contact me.
Barbara Miner
E.M.U.
Susan Goldstein on wed 11 feb 98
Barbara, Please define "cold finishes".
Thank you.
DIANA PANCIOLI, ASSOC. PROF. on thu 12 feb 98
Not glaze. Paint, wax, spices, ...
On Wed, 11 Feb 1998, Susan Goldstein wrote:
> ----------------------------Original message----------------------------
> Barbara, Please define "cold finishes".
>
> Thank you.
>
J. Smith on mon 28 sep 98
Hi!
I am a lurker, but I need to ask you guys a question...
My MIL passed away and my dh & I were given a sculpture that she evidentally
had purchased several years ago.
It is of a young lady sitting on a bench, it's all beige except her long
skirt is painted pale pink at the bottom & her bonnet is trimmed with pale
pink flowers & pale blue around & there are pale pink flowers on her dress.
The card attached underneath says:
Austin
Sculpture
inside the card it tells: it is a three dimensional work of art that is the
unique expression of an individual or culture.
Created from the earth's most enduring materials (stone, bronze, wood, metal
or terracotta), sculpture at once expresses an idea or feeling, beautifies,
inspires, ornaments, and enhances our environment.
For over thirty years, Austin has been creating the sculptural treasures
that enrich the world around us -
from the primitive forms of Africa, through the ornamental and contemplative
Oriental sculpture, to the contemporary works of the present. There are over
five hundred distinctive pieces in the Austin Sculpture Collection, each
with a history as unique as the sculpture itself.
The sculpture is from "The Victorian Collection" the Artist is: Alice Heath
and the sculpture is "Emily"
It has Alice Heath's name in it & also Austin Proding with the date 1988
copyright
If anyone on this list could give me any info on what the value is of this
sculpture and any other info on it, it would be nice to know.
Thank you for your time
Janet in WA state
sbcom1@gte.net
Wes Rolley on wed 30 jan 02
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At 07:27 PM 2/1/02 -0700, you wrote:
Valice,
I understand this program except for Segment #4, quoted below. What is the
rationale for the long hold in this segment and why at that particular
temperature?
Wes
>Segment #4:
> Rate of temp: "212f" per hour
> Press "Enter"
> Hold temp: "1292f"
> Press "Enter"
> Hold time: "3.00" (three hours)
> Press "Enter"
Wesley C. Rolley
17211 Quail Court
Morgan Hill, CA 95037
wesley@rolley.com
(408)778-3024
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Bruce Smith on fri 1 feb 02
Greetings
I have a sculpture that I will be firing to ^04 bisque [no glaze]
It might have some thick areas about 1". It's a commercial brown clay with
grog and a wide firing range.
Can anyone out there in clayland suggest a good controller program??
Thank you
Bruce Smith
_________________________________________________________________
Chat with friends online, try MSN Messenger: http://messenger.msn.com
Craig Clark on fri 1 feb 02
Bruce, while I can't suggest a good controller program I can suggest
that you just take your time with the bisque. I routinely fired clay busts
from the fugure modeling classes while I was in school and didn't blow up a
one of them. Many of them had walls that were a good inch thick. I fired
several at a time in a twenty five year old sixty cubic foot updraft alpine.
The "secret" to success is sloooooooooooowwwwwwww to start. Go through
water burning like you have all the time in the world. Take a full twenty
four hours on the lowest possible burner (candle them on pilots) or element
(only one on low with the lid cracked and ports open) until you're sure the
piece is completely dry and has quite steaming.
Then gradually, did I mention slooooooowwwwwly, raise the temp, take the
next twelve hours or more to get to red heat.
Once you're past red heat you safely made it through quartz inversion and
can pretty much ramp it on up as long as your able to raise the teperature
in the kiln evenly, especially if it's a tall piece.
To begin with the firing may take two or three days. This may seem
excessive, and I'm sure some folks will say that it is, but you can speed
the process after you get the hang of it and determine just how fast you are
able to fire the type of sculpture that you make.
In the mean time, just do what Don Reitz said when asked at a workshop
about the cost of long firing cycles. He said, ".....if your worried about
the cost just put in a nice pot with the sculpture and sell the pot. That
will more than pay for the cost of the firing and you don't risk losing the
piece." I agree completely. Hope this helps.
Craig Dunn Clark
619 East 11 1/2 st
Houston, Texas 77008
(713)861-2083
mudman@hal-pc.org
----- Original Message -----
From: "Bruce Smith"
To:
Sent: Friday, February 01, 2002 3:36 PM
Subject: sculpture
> Greetings
> I have a sculpture that I will be firing to ^04 bisque [no glaze]
> It might have some thick areas about 1". It's a commercial brown clay with
> grog and a wide firing range.
> Can anyone out there in clayland suggest a good controller program??
> Thank you
> Bruce Smith
>
> _________________________________________________________________
> Chat with friends online, try MSN Messenger: http://messenger.msn.com
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
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> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
Valice Raffi on fri 1 feb 02
Bruce,
here is a ramp/hold program that I've used a lot for firing thick sculptures.
Valice
in Sacramento
Custom Firing Schedule Ramp/Hold
Very slow cone 06 (for handbuilt)
Press key "Ramp/Hold View"
Select "#1" (for program #1)
Press "Enter"
Select "User ID Number"
Select "6" (the number of segments for this firing)
Segment #1:
Rate of temp: "104f" per hour
Press "Enter"
Hold temp: "248f"
Press "Enter"
Hold time: "3.00"(three hours)
Press "Enter"
Segment #2:
Rate of temp: "212f" per hour
Press "Enter"
Hold temp: "932f"
Press "Enter"
Hold time: ".00" (no hold)
Press "Enter"
Segment #3:
Rate of temp: "122f" per hour
Press "Enter"
Hold temp: "1112f"
Press "Enter"
Hold time: ".00" (no hold)
Press "Enter"
Segment #4:
Rate of temp: "212f" per hour
Press "Enter"
Hold temp: "1292f"
Press "Enter"
Hold time: "3.00" (three hours)
Press "Enter"
Segment #5:
Rate of temp: "122f" per hour
Press "Enter"
Hold temp: "1652f"
Press "Enter"
Hold time: ".30" (thirty minutes)
Press "Enter"
Segment #6:
Rate of temp: "212f" per hour
Press "Enter"
Hold temp: "1940f"
Press "Enter"
Hold time: ".30 " (thirty minutes)
Press "Enter"
Pat/Kent on fri 1 feb 02
Hi Bruce
When I am fireing sculpture, I soak on the lowest temp that I can. (Partly
because I don't have a brain on the dragon) over night. Then I ramp it
about 9 am the next day, just raising it slowly about 1 switch an hour and a
half. How you assign a program to this, I don't know, but the important
thing is to soak it a very long time according to the thickest part of the
piece. Also before fireing, dry that thing to death. I have a friend that
even puts her stuff in the oven at about 250 f over night, then transfers it
to the kiln.
Hope this helps a little.
Pat Porter
Windy Pines Ceramics
pporter@4dv.net
Aurora CO USA
Cindy Strnad on sat 2 feb 02
Dear Bruce.
When I fire a large pot, I often have areas (rim,
foot, etc.) which may be an inch thick or more. To
avoid water explosions, I hold my kiln at 180=BA F
for as long as 8 hours. I chose 8 hours because it
sounds like a long time. Very scientific. I chose
180=BA because I live at around a mile high
altitude, pyrometers are not perfectly accurate,
and the temperature of the kiln can fluctuate by
as many as 5 or 6 degrees during a hold. This way,
there's no way the water will reach boiling point.
I do not want to let that water reach steam stage.
There *will* be water, btw, no matter if you have
dried the sculpture for a year in the desert. Once
you have held your kiln at slightly below boiling
for 8 hours, I'm pretty sure there will be no
(un-bound) water in a piece of the thickness you
describe. If you want to check, hold a mirror
(room temperature for your kiln room) over the
peep hole and see if very much steam condenses on
it.
Now, there is a certain amount of chemically bound
water, and this, too, will produce a little steam.
You can't get rid of this water at 180=BA F. So fire
up slow until there is no steam at all. Actually,
with a piece of this size, involving this much
work, I would just go ahead and fire slow. If it
takes you 12 hours plus the hold, so what? If you
go at 150=BA/hr or 200=BA/hr, that should be okay.
Firing slow won't hurt your piece. But if you want
the firing to end at a specific cone, do place the
cone on a shelf--don't depend on the pyrometer. As
you probably know, the pyrometer measures heat,
not heat work, and it's the heat work that
matters. When the cone drops, turn the kiln off
even if you haven't reached the target
temperature. If you like, give it a soak (you will
have to re-program the kiln to do this, if it
hasn't yet reached the target temperature you set
for it). This may help burn out any remaining
organics (unlikely to be anything there to burn
out, with such a slow firing), but it isn't
necessary unless you're going to glaze fire your
piece, and it isn't necessary if the glaze firing
will be at a lower temperature than the bisque
firing.
Best wishes, and best of luck
Cindy Strnad
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
USA
cindy@earthen-vessels-pottery.com
http://www.earthen-vessels-pottery.com
Randall . on wed 16 feb 05
I recently purchased an antique plaster lamb from a church salvage
concern. It is thought to date to around 1925, it arrived in perfect
condition and I carefully examined it and found no maker, marks or
any identification on it. It is 19" tall, it's hollow and the legs
are very narrow and would have to have some kind of wire armature,
one ear has a small chip revealing a wire rod.
Odd thing is, it doesn't offer a clue as to how it was made.
(Photo)
http://www.lostnewyorkcity.com/sculpturephotos/Plate-156-s.html
If I was making this, it would be inverted, poured from the open base
through the legs which would have shims of course between them to
remove the rubber mold. The thing is, I would be working trapped air
bubbles out of the body etc by hand but couldn't because the legs
would be too narrow to do that. making it hollow, adding the
horsehair reinforcement and the wire while fighting the setting would
seem to be a major chore!
I've poured wax into plaster piece molds I've made so as to wind up
with bronzes, the models were standing dogs similar to this lamb but
only 8" tall, but that was nothing compared to this lamb sculpture
for size and bulk.
I'm almost wondering if the mold of this had an opening on the top of
the lamb's spine large enough to get a hand inside, poured standing
on it's feet and then a separate piece cast on another mold for that
patch, and then it was attached with plaster to the body, sanded etc.
I thought of rotational casting but that doesn't seem likely for
this. Of course another possibility is it was cast in sections but
it's been painted so it's not possible to tell.
However it was done, I find virtually no seam or shim lines anywhere,
so if there were any they were carefully and meticulously removed
before painting.
I also bought an angel that might have come from the same set, full
bodied plaster, with wings and about 25" tall, maybe when it comes it
will offer a clue.
I guess one remote possibility, one I doubt but would explain all...
is that it was hand sculpted over an armature, but I seriously doubt
it due to the labor involved, but then with a old time expert plaster
sculptor who works fast who knows...
It's a mystery, maybe some might have some ideas or clues as to how
it might have been made.
Randall
Mike Gordon on sat 3 oct 09
This ceramic sculptor does his bisque at C/6 for strength but goes low
fire the rest of the way. Truly very fine work, Mike Gordon
http://www.garymolitor.com/
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