NMPCA Gallimaufry Clay Extruding Workshop

Transcription

1 NMPCA Gallimaufry Clay Extruding Workshop Marc Hudson Ghost Ranch, New Mexico Introduction Brief History and description of the Extruder What we will do today (Work with the dies on hand) What we won't do today (make dies) A little Show and Tell (Altogether Extruded and Extruded Accessories) Extruded only pieces: (boxes, vases, cups, pitchers, Teapots) Extruded accessories: (Vases, Pitchers, Cups, Boxes) Websites: Page 1

2 Aluminum Foil Saggar Handout from Lee Akins, NMPCA Ghost Ranch Gallimaufry 2014 workshop Brush or spray Iron Chloride (available at Radio Shack as PCB Etchant) on bisque. It can be used full strength for deep burgundy colors or diluted 50/50 with water for peaches and oranges. You can spray some areas until wet and sprinkle on salt. Allow to dry and place on a sheet of crinkled heavy duty aluminum foil. Add about 2T salt, 2T of copper sulphate (available at hardware stores as Root Destroyer) and some sawdust. Caution: wear rubber gloves while handling Iron Chloride and Copper Sulphate. Do not allow metal to come in contact with Iron Chloride. Wrap piece loosely in foil then turn upside down and shake. Press foil gently around piece. Tumble stack in gas kiln and fire to 1260 F or until the foil just starts to break down. Other possibilities: Apply terra sigilatta on bone dry piece and bisque at Cone 06. Include horsehair, Choreboy scrubbie, steel wool; or copper wire for dark lines. Soak spanish moss or cheesecloth in 2T copper sulphate with lc of water. Apply potassium dichromate solution for greens and yellows. Mix 2t with l cup of water. Apply cobalt sulphate for blue and grays. Mix 1t with l cup of water. Apply Lilly Miller brand Iron with Zinc & Chelates solution for bronzes. Mix 2t with lc water. Apply Lilly Miller brand Iron with Chelates powder for peaches. Mix 2t with lc water. Include copper carbonate for deep reds and maroons. Brush or spray on Soda Ash wash or salt wash. References: Alternative Kilns & Firing Techniques, James Watkins and Paul Wandless Naked Raku and Related Bare Clay Techniques, Eduardo Lazo Page 2

3 Phil Green, Raku Clocks Sources for clock movements Page 3

4 Photolithography on Clay (From Pistrucci Artworks Blog, Here is a project that I thought might interest you as it intrigued me. I sketched a drawing of my sister for a book cover she loves books and I decided to make her a journal. I have always wanted to put my drawings onto clay and this method allows for an (almost) seamless image. Sketching on clay is difficult but if you sketch onto paper then transfer the image onto clay and kiln fire the piece you have essentially a permanent record of your drawings. Here is the method that I have been experimenting with over the last several weeks: Step One : Make the Ink, photocopy image, Roll out clay slab In a small container add 3 parts linseed oil to 2 parts mason stain stir for about 10-15mins. Let mixture stand overnight for best results The mason stain is toxic so PLEASE wear rubber gloves and a dust mask for SAFETY. Photocopy image on a black and white xerox copier ink jet will not work as it is the toner that is the ingredient that allows the image to transfer. I recommend copying in reverse (negative) so the image will be right side or positive when place down on the clay. Page 4

5 Roll out slab and let sit until leather hard overnight. Take a break and start again in the morning. Step two: list of items required On a table place 2 pieces of glass one for your image and one for the ink 2 sponges In 2 bowls fill with water one large and a smaller container In the large container of water put a small drop of gum arabic Have on hand premixed ink, brayer, papertowels, spoon to mix ink, photocopied images and leatherhard clay slab. As you can see in this photograph the sketch is photocopied reversed so that it will be correct when finished. Next place about a tablespoon of GUM ARABIC onto the glass set out for the image AND onto the other piece of glass put a line of INK ( STIRfirst) Page 5

6 Smooth out the Gum Arabic over the glass until you have covered the glass in the same approximate area of your image. Now place the image FACEUP on the glass over the gum arabic. With your fingertips (remember your rubber gloves) gently smooth the gum arabic over top of the image until an even layer is applied all over. With a paper towel remove the excess gum arabic from around the image and the glass. Place the brayer over the ink and roll in one direction until the brayer has an even coat of Ink. Page 6

7 Now carefully roll onto the image until an even coat is on top of the image. Take the wet sponge from the container with the gum arabic and squeeze the water over the image do not touch the image with the sponge this is the wash out stage. Now with the other smaller container of just water wet the sponge and ring out until damp. Lightly sponge up the excess water from the image and pat dry over top of the image in the white areas leaving the darkened areas as much as possible. DO NOT rub the image as the wet paper will tear GENTLY pat dry. Page 7

8 Step 3 Repeat Inking, gumarabic water sponge washing out, patting dry with clean sponge. cleanup arean with papertowel around the image.you should ink and wash out and pat dry three times. Step 4: Place image face down onto clay slab. This is the most difficult part as you must be careful not to rip the wet paper image. With your fingers or a tool pull up the corner of the image. You only have one chance at this so be careful when placing the image onto the clay. center it carefully. I use a larger slab and just place it in the middle and then cut my clay to size. It is also important that your clay slab is smooth for best results as a clay slab with pit marks or dents will affect your image transfer. Once the image has been placed onto the clay pat down with a clean damp sponge being careful that the paper does not move on the clay and smudge the ink image. Gently pat removing air bubbles and making sure it is adhered to the clay. Let dry for about minutes. With the back of a spoon burnish the image. Once the burnishing is complete you can pull up a corner to see how well your image is transferred if it needs more burnishing place the corner back down and burnish over the area again. Remove the paper in an upward movement The paper image must be removed prior to firing in the kiln. I Page 8

9 have also noticed the longer it is left to dry on the clay it adheres making it difficult to remove leaving behind paper bits. If this occurs try to remove as much as possible but only leave to dry approximately 20 minutes for best results before burnishing. I have made a book cover as my sister loves books and I want to make her a journal. I cut the clay to the size and leave to dry before placing in the kiln. Or watch the video byceramicsartdaily.org Be patient it took several tries before I got results that I was happy with and still need some more practice with other mason colors and other projects. Page 9