Tuesday, September 27, 2011
Whale!
A new drawing that's still a work in progress. Specifically, I wanted to try out this oatmeal paper for sketches. Next step will be to see how coloured pencils (pencil crayons).
Wednesday, September 7, 2011
Clay Forays
Every year and a half or so I get a bug to do some traditional clay work to learn more about a different side of sculpture or handwork. The area that I live in is rich with potters, so there is much to learn and experience. It certainly helps that I have a good friend that is a fantastic ceramic sculptor and it's important to me to spend some time supporting her by taking her classes. Though, in the end, I usually decide that I prefer to work with a less messy and less mold (as in spores) producing form of clay like plasticine. Nevermind the fact that polymer clays like sculpey don't get hard as quickly.
However, I have to admit that there isn't a parallel to the texture of fired clay work, especially groggy clays like soldate 60. It produces a look and feel that plasticine could never reproduce. So, I think that's why I always end up coming back. They're just in two different classes.
So far, I've taken wheel throwing classes, sculpture and handbuilding with a focus on armatures. Wheel throwing with glazes is likely my least favourite because I feel like I have the least amount of control and it requires a great deal different sort of patience than I use for details. Though, the additive and subtractive sculpure methods aren't very different; they just produce more dust and there's more upkeep in the long run.
Here are two pieces I've produced:
The following is a raku fired piece that was an experiment but I'm still pretty pleased with the outcome. It's hard not to be enticed by the firey process and the luster that's produced by the glazes.
If you're unfamiliar with how it's done, I'll give you a quick explanation from a mere novice. Once you've bisque fired and painted on your desired glazes (usually this is a "Eh, let's see what this glaze does" kind of process), you basically fire your pieces to 1500 degrees in kiln that opens like a clam shell. When the pieces are glowing hot, you grab them with tongs and gently (but quickly!) place them into a small trash can filled with strips of newspaper. The newspaper bursts into flames almost immediately, so you have to have someone ready with the trash can lid to smoother the flames. Once all the pieces are in trash cans (usually there's three), you keep the lids on and let them smolder for about an hour. When they're done, any area that wasn't glazes will be black. The rest will be crackled or have a beautiful shine. An exciting process, to say the least.
Bisqued:
Glazed:
Completed:
Lastly, here's a work that I have in progress:
However, I have to admit that there isn't a parallel to the texture of fired clay work, especially groggy clays like soldate 60. It produces a look and feel that plasticine could never reproduce. So, I think that's why I always end up coming back. They're just in two different classes.
So far, I've taken wheel throwing classes, sculpture and handbuilding with a focus on armatures. Wheel throwing with glazes is likely my least favourite because I feel like I have the least amount of control and it requires a great deal different sort of patience than I use for details. Though, the additive and subtractive sculpure methods aren't very different; they just produce more dust and there's more upkeep in the long run.
Here are two pieces I've produced:
The following is a raku fired piece that was an experiment but I'm still pretty pleased with the outcome. It's hard not to be enticed by the firey process and the luster that's produced by the glazes.
If you're unfamiliar with how it's done, I'll give you a quick explanation from a mere novice. Once you've bisque fired and painted on your desired glazes (usually this is a "Eh, let's see what this glaze does" kind of process), you basically fire your pieces to 1500 degrees in kiln that opens like a clam shell. When the pieces are glowing hot, you grab them with tongs and gently (but quickly!) place them into a small trash can filled with strips of newspaper. The newspaper bursts into flames almost immediately, so you have to have someone ready with the trash can lid to smoother the flames. Once all the pieces are in trash cans (usually there's three), you keep the lids on and let them smolder for about an hour. When they're done, any area that wasn't glazes will be black. The rest will be crackled or have a beautiful shine. An exciting process, to say the least.
Lastly, here's a work that I have in progress:
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