Links to sculpture & pottery websites

http://www.scotlandart.com

Garden Art by Sandpiper ...

Wonderful site featuring art for the outdoors. Our Product: "Simple Beauty" is a hybrid spiral topiary and trellis, a handcrafted teak plant support with brass fittings, which creates an artistic ...
http://www.gardenartbysandpiper.com

Olivier Duhamel - Drawings and Sculptures...

Bronze sculptures, portraits and nude drawings in pencil on paper, finely rendered in a realistic style and with meticulous attention to detail by New Zealand artist Olivier Duhamel. An original artwork, a valuable gift....
http://www.duhamel.bz/index.htm

Discover birthday & anniversary gift ideas, unusual jewelry gifts, Celtic pendants, oak leaf brooches, gold earrings, silver bracelets, unique necklaces, key chains, pressed flowers and mate gourds....
http://www.patagoniagifts.com

Shmatko & Sons; Marble Sculptors...

Here you can see and get the most remarkable, exclusive and expensive works of art (a sculpture from the Italian and Ural marble of King of a marble of 20 centuries Shmatko N.G.).....
http://www.yessy.com/kingofmarble/   and at   http://www.Kingofmarble-Shmatko.com

Clay is formulated from earth components and minerals to create a "plastic" material that is easy to form and will stand up to the drying and firing processes. Basically, there are three types or categories of clay: low-, medium- and high-fire, each requiring specific firing temperatures and glazes.

Low-fire clay requires the lowest firing temperatures, around 1500 degrees to 1800 degrees, to achieve rock-hard permanency. Low-fire clays come in a variety of colors, including white, off white, red and browns. It has the least resilience to abuse, but can be used very successfully for all aspects of clay work: functional, decorative and sculptural.

Earthenware is the clay in the middle firing range. The temperature required to fire it to permanency is around 2000 degrees. Minerals and additives to this clay usually create gentle earth tones when fired to a maturing temperature. Reds, browns, speckled or smooth, earthenware is the most popular type of clay, especially among beginners and intermediate potters. The consistency of the material makes it easy to form, either in hand work or wheel throwing. It usually yields a smooth surface with little or no pebbling or grit to show through the glaze.

Porcelain is often referred to as high-fire clay. It requires the highest firing range, around 2600 degrees. At that temperature, thin areas on forms (such as edges) begin to turn translucent. One well-known and revered characteristic of porcelain is its smooth, near-velvety feel. It is, however, this very smoothness (very fine grog or none at all) that makes it the most challenging clay to work with. But, the fired surface is unparalleled in quality and elegance.

Shaping the clay can be done on a potter's wheel or by hand. Many collectors consider a work done without the aid of a wheel to be more "aesthetic" and organic; and many artisans feel the same way and never opt for a wheel. There is a huge selection of hand tools to assist the artist in shaping, joining, texturing or otherwise manipulating the material.

Glazes for clay are the area where the craftsman and the professional potter/ceramicist take two different roads. The hobby potter will most likely buy his glazes in premixed batches, by the pint or in a smaller quantity. The professional will formulate special glazes to fit the clay and structure of his work. Despite the quantity difference, the glazes function in exactly the same way. By buying a pre-mixed glaze in a specific firing range, you are guaranteed a good fit to the clay, a smooth surface and a wonderfully luscious look to the finished piece.

Following the instructions as to application is essential--usually multiple coats brushed on to achieve a uniform thickness. Professionals create glazes in quantities large enough to dip their work, thus speeding the process; but, again, the results are very similar.

Surface decoration of pieces is possible in a number of ways. Underglaze pencils and crayons can be used to hand draw images that will show through a clear glaze. Overglaze chemicals can be purchased or simple metallic oxides can be combined with water to add instant and intense color on top of a glaze. During firing, the fluid glaze absorbs the colorants to make the drawings a permanent part of the surface.

Carving a clay form when it is in the "leather hard" stage of drying is another way to create great visual and tactile texture. Glazed or simply carved and fired, the unique and slightly three-dimensional look is very appealing.

The purchase of a kiln gives you more flexibility and the ability to work on a grand scale. Kiln firing chambers range from small jewelry kilns for small projects to very large-capacity models. The most expedient way to "get firing" is with a small counter-top model that can be used on a regular 220-volt household circuit. Larger models necessitate heavier wiring and pull higher amperage. Extra wiring may be needed to facilitate a kiln large enough for large pieces.

Amazing things can be done by developing decorative items that can be joined after firing, making it possible to use a small firing chamber to create larger finished pieces. Stacking or the use of epoxy to "weld" components together are but a couple of the techniques used by potters and ceramists who do not have a large kiln. Perhaps, initially, you might opt for another plan.

The joy of working with clay is well worth the investment in materials, but if the kiln represents a snag in your plan or if you live in a small apartment, don't despair. Kiln firing is often done at neighborhood craft centers or ceramic shops. These shops usually fire your work with others and charge by the piece, allowing you to do projects in a timely manner. Make some calls, take a class and get dirty!