DOCSLIB.ORG

Layers of Color

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Jan/Feb 2011 Layers of Color Also in This Issue . Totally Tubular Playing Dress-Up Lattice Work America’s Most Trusted Glazes™ Reduction Looks for Electric Kilns Potter’s Choice 30 Colors Cone 5-6 PC-1 PC-2 PC-4 PC-12 PC-20 PC-23 PC-25 PC-27 PC-28 PC-29 PC-30 PC-32 PC-33 PC-34 PC-35 PC-36 PC-37 PC-39 PC-40 PC-41 PC-42 PC-43 PC-46 PC-49 PC-50 PC-52 PC-53 PC-55 PC-59 PC-60 All glazes available in 25 lb. Dry Dipping Form. www.amaco.com/learn-about-potters-choice-glazes PotteryMaking Illustrated | January/February 2011 1 POWERFUL SMOOTH TOUGH www.skutt.com INNOVATIVE ERGONOMIC Chaffey College Rancho Cucamonga, CA. VALUE Brian Kohl Ceramics Instructor Skutt’s unique REMOVABLE WHEEL HEAD makes clean-up at Chaffey College run like clockwork! 2 PotteryMaking Illustrated | January/February 2011 table of contents features 12} Playing Dress-Up 22} Layers of Color by Magda Gluszek by Andrew Gilliatt Getting your ideas to There’s a world of pos- come alive from sketch sibilities when you add to maquette to hol- color to your work in lowed form is a chal- stages with slip, glaze, lenge worth exploring. and decals. 29} Totally Tubular 35} Lattice Work Inspired by Peter King by Margaret Bohls Learn how to slab build When it comes to large round forms you working on the grid, can finish on the wheel Margaret Bohls has without the hassle of the skills to put it all centering and throwing together for a dynamic large pieces of clay. finished product. departments 6} In the Mix 8} Tools of the Trade 10} Supply Room 16} Tips from the Pros All-Weather Clay Texture Molds Stamp Pads Sweet Surface by Jessica Knapp by Margaret Bohls by Holly Goring by Magda Gluszek 41} Instructors File 44} Off the Shelf 48} Pottery Illustrated On the Cover It’s a Wrap Techniques Classic Greek Forms Andrew Gilliatt gets by Bill Shinn Using Slips Illustrated by his color thing going on layer by layer using a by Sumi von Dassow Robin Ouellette variety of techniques. See story on page 22. PotteryMaking Illustrated | January/February 2011 3 fired up Volume 14 • Number 1 Publisher Charles Spahr Recharging Editorial Editor Bill Jones Associate Editor Jessica Knapp Our idea of relaxing is all too often to plop down in Assistant Editor Holly Goring Editorial Assistant Erin Pfeifer front of the television set and let its pandering idiocy [email protected] Telephone: (614) 895-4213 liquefy our brains. Shutting off the thought process Fax: (614) 891-8960 is not rejuvenating; the mind is like a car battery—it Graphic Design & Production Cyndy Griffith Marketing Steve Hecker recharges by running. Ceramics Arts Daily Managing Editor Jennifer Poellot Harnetty —Bill Watterson Webmaster Scott Freshour Advertising Advertising Manager Mona Thiel Advertising Services Jan Moloney [email protected] Telephone: (614) 794-5834 or the legions of us who spend the day in an office or tending to a Fax: (614) 891-8960 Subscriptions daily routine, a bit of downtime is a welcome reward at the end of the Customer Service: (800) 340-6532 day. The only trap to shutting off the thought process is the danger [email protected] F Editorial & Advertising offices in not being able to turn it back on again—something I’ve experienced, or 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 USA rather perfected. Knowing this has resulted in me not even bothering to sign up for cable TV, hence removing a great temptation. www.potterymaking.org During the holiday season, I managed to get into the studio more in No- Pottery Making Illustrated (ISSN 1096-830X) is published bi- vember and December than during the entire ten months prior. Over these monthly by The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082. Periodical postage paid two months, I managed to use the drive home to plan what I’d be doing in at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not the studio that evening, and so was able to alter my routine away from ‘re- necessarily represent those of the editors or The American Ce- laxing’ in a traditional sense to relaxing in the studio, which, as it turns out, ramic Society. Subscription rates: 6 issues (1 yr) $24.95, 12 issues (2 became a very stimulating activity. yr) $39.95. In Canada: 6 issues (1 yr) $30, 12 issues (2 yr) $55. International: 6 issues (1 yr) $40, 12 issues (2 yr) US$70. All In our hopes of recharging you, we’ve once again rounded up some great payments must be in US$ and drawn on a U.S. bank. Allow 6-8 techniques. Our cover features Andrew Gilliatt’s bowls, which he casts in weeks for delivery. Change of address: Visit www.ceramicartsdaily.org to two stages to both color and form the pieces. The entire process is there from change your address, or call our Customer Service toll-free at making the model and mold to adding various layers of colored slips and (800) 340-6532. Allow six weeks advance notice. Back issues: When available, back issues are $6 each, plus $3 decals. Magda Gluszek on the other hand takes an unusual approach to her shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4–6 weeks work in that she adds non-fired materials to achieve dramatic life-like effects for delivery. Call (800) 340-6532 to order. for her figures. And while you may not make figurative work, I’m sure you’ll Contributors: Writing and photographic guidelines are avail- able on the website. Mail manuscripts and visual materials to discover a tip or technique in her article you can use in your own work. the editorial offices. Photocopies: Permission to photocopy for personal or inter- Peter King, author of Architectural Ceramics for the Studio Potter, demon- nal use beyond the limits of Sections 107 and 108 of the U.S. strates how to create forms of any diameter for making tall cylinders, which Copyright Law is granted by The American Ceramic Society, ISSN 1096-830X, provided that the appropriate fee is paid di- are then finished on the wheel. This inspired me to stop by Home Depot to rectly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923; (978) 750-8400; www.copyright.com. Pri- pick up a concrete form tube, which I cut in half and got to work pretty suc- or to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. cessfully for making a 20-inch tall textured vase. Margaret Bohls returns to This consent does not extend to copying items for general distri- round out the features with her quilted 2-tier vase and lattice stand. As with bution, for advertising or promotional purposes, or to republish- ing items in whole or in part in any work and in any format. Please all the features in this issue, Margaret covers several techniques and also direct republication or special copying permission requests to the Ceramic Publications Company, The American Ceramic Society, includes really sound advice on making and using plaster texture molds. 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082. Postmaster: Send address changes to Pottery Making Illus- So, for 2011 you’ve got an entire year to look forward to in the studio trated, PO Box 15699, North Hollywood, CA 91615-5699. recharging your batteries. Think of PMI as a set of jumper cables ready to Form 3579 requested. spark your imagination. And as we begin our 14th year of publication, we’re excited about keeping you running. ceramic artsdaily.org Bill Jones Copyright © 2011 The American Ceramic Society Editor All rights reserved 4 PotteryMaking Illustrated | January/February 2011 PotteryMaking Illustrated | January/February 2011 5 in the mix All-Weather Clay by Jessica Knapp t’s winter for those of us in the northern hemisphere, clay bodies made using these materials along with an ap- and in places where the temperatures get below propriate grog have a higher ratio of large spaces between Ifreezing, that means bringing in clay flower pots and particles after being fired to vitrification. It may be coun- protecting any outdoor clay sculptures with a waterproof terintuitive, but this means that the fired piece absorbs less cover to prevent frost damage. If you can’t take these water. It also means that whatever water is absorbed will preventative measures, or are making outdoor work for likely only partially fill the larger spaces, leaving room for someone else and can’t guarantee that they’ll take these expansion as the water turns to ice. steps, there are ways to make a clay body that is frost resistant, or to test your own clay body to see how resis- Putting Your Clay to the Test tant it would be to freezing conditions. Whether you develop your own clay body or use a com- mercial clay body, there’s a simple test you can use to de- Starting from Scratch termine if it’s likely to be frost resistant once it’s been fired. Making a clay body that’s frost resistant requires research It’s called the freeze-thaw test, and it’s used in industry for and testing. The goal is to create a clay body that’s highly tile, brick, pipes, and other ceramics that need to withstand vitrified after glaze firing, has low water absorption, and a severe weathering.
Recommended publications
  • Free Guide to Art Stamps: Fun Ideas and Easy Stamping Techniques Presented by Cloth Paper Scissors®

    Free Guide to Art Stamps: Fun Ideas and Easy Stamping Techniques Presented by Cloth Paper Scissors®

    free guide to art stamps: fun ideas and easy stamping techniques presented by cloth paper scissors® 1 2 4 3 a look at . print fusion: combining 1 stamp-carving supplies 4 calligraphy, foam-plate printing, and hand-carved make your own stamps stamps for one-of-a-kind 2 with dies and foam collages DANEE KAPLAN CECILIA SWATTON the workshop: 3 roll out the backgrounds LINDA CALVERLEY for adding details and stamping with precision. “Mounting the die-cut shapes on acrylic blocks or clear plastic makes it How to Make a Stamp easy to line up the stamp right where you want,” she advises. 4 Free Articles on Carving Art Stamps and In “The Workshop: Roll Out the Backgrounds,” Linda Calverley shows Stamping Techniques how to make your own rolling stamps for presented by ® paper and fabric. Using mostly recycled Cloth Paper Scissors cylindrical objects, glue, and cutting tools, ONLINE EDITOR Cherie Haas she explains how to carve rolling stamps CREATIVE SERVICES t’s nice to be able to go to an art from corks and foam insulation. Linda DIVISION ART DIRECTOR Larissa Davis supply store and buy rubber stamps also gives stamping ideas for rollers and for your mixed-media art projects, but PHOTOGRAPHERS Larry Stein patterns and offers tips on how to stamp Korday Studio iyou also like to make things yourself, right? with these objects. Projects and information are for inspiration and Try making your own art stamps! In this free “Having a fling with several art-making personal use only. F+W Media is not responsible for eBook from Cloth Paper Scissors, a Guide to any liability arising from errors, omissions, or mistakes processes, I’ve created an array of Art Stamps: Fun Ideas and Easy Stamping contained in this eBook, and readers should proceed elements for Garden Collage (featured Techniques, talented artists show readers cautiously, especially with respect to technical informa- here) and other art pieces,” says Cecilia tion.
  • Integrating Cold Forging and Progressive Stamping for Cost

    Integrating Cold Forging and Progressive Stamping for Cost

    Precision Cold Forging Progressive Stamping Enables Cost Effective Production of Complex Parts Overview Both Cold Forging and Precision Stamping are proven technologies used in the fabrication of parts for a wide range of industries. Many of our previous Tech Bulletins have detailed the benefits of each technology, and in several cases, these processes are thought of as an either- or choice. This Tech Bulletin provides insights into how combining these technologies in a process known as Precision Cold Forging Progressive Stamping can provide significant synergies and additional benefits for the cost-effective production of complex parts that cannot easily be created by either technique alone. What is Cold Forging? As detailed in other Interplex Tech Bulletins, Cold Forging is essentially an impact forming process in which billets of raw material are compressed and reformed into a part’s desired shape. Cold Forging offers the key benefits of lower costs, rapid high-volume throughput, high part strength, and very efficient material utilization. This, in comparison to processes like machining that remove Figure 1 – Cold Forged significant amounts of raw material rather than simply reforming all the Automotive Seat Belt Gear material into the desired shape. What is Precision Stamping? Precision Stamping is another proven technology that uses a press and die to form sheet metal, blanks or coil material into desired shapes. Variations of the stamping process can effectively yield several different output results including bending, embossing, flanging, coining, etc. Like Cold Forging, Precision Stamping typically offers high material utilization with minimal waste and can also deliver high-volume production results.
  • 1 Modeling and Optimization in Manufacturing by Hydroforming and Stamping

    1 Modeling and Optimization in Manufacturing by Hydroforming and Stamping

    13 1 Modeling and Optimization in Manufacturing by Hydroforming and Stamping Hakim Naceur1 and Waseem Arif2 1Université Polytechnique Hauts-de-France, CNRS, INSA Hauts-de-France, UMR 8201-LAMIH, F-59313 Valenciennes, France 2University of Gujrat, Mechanical Engineering Department, Gujrat, Pakistan 1.1 Introduction Due to the strict environmental policies and shortage of energy, the manufacturing industries are pressurized to cut down the raw material cost and to save energy. This is particularly true in the automotive industry, where manufacturers are obliged to develop advanced techniques to reduce the pollution by reducing the fuel con- sumption without significant increase in the cost. Among all the manufacturing techniques, the stamping and hydroforming methods hold a top position among the cold sheet metal forming processes due to the versatility of components that can be produced and high production rates [1]. Stamping and hydroforming processes are intensively used in various industrial sectors such as transportation, car body in white (Figure 1.1), household appliances, metal packaging, etc. The use of fluid pressure has been remarkably increased in sheet metal form- ing processes since it allows a superior final surface quality of the workpiece than standard deep drawing process [2–4]. In particular, sheet hydroforming process has great potential to manufacture body-in-white parts with consistently extreme level of ultimate tensile strength, reduced weight, geometrical accuracy, and minimum tol- erances. It has certain advantages, e.g. more uniform thickness distribution of the final workpiece component, lower tooling cost, and versatility to produce partswith different geometries using the same setup [5]. The worldwide acknowledgment of these two sheet metal forming processes is largely due to the external pressure from the government legislators to develop lightweight products.
  • Problem- Solving Guide

    Problem- Solving Guide

    Common Stamping Problems Problem- Manufacturers know that punching can be the most cost-effective process for making Dayton Progress Corporation holes in strip or sheet metal. However, as the part material increases in hardness to 500 Progress Road Solving accommodate longer or more demanding runs, greater force is placed on the punch P.O. Box 39 Dayton, OH 45449-0039 USA and the die button, resulting in sudden shock, excessive wear, high compressive loading, and fatigue-related failures. Dayton Progress Detroit Guide 34488 Doreka Dr. The results of some of these Fraser, MI 48026 problems are shown in the Dayton Progress Portland photos on this page. 1314 Meridian St. Portland, IN 47371 USA Dayton Progress Canada, Ltd. 861 Rowntree Dairy Road Woodbridge, Ontario L4L 5W3 Punch Chipping & Point Breakage Dayton Progress Mexico, S. de R.L. de C.V. Access II Number 5, Warehouse 9 Chips and breaks can be caused by Benito Juarez Industrial Park press deflection, improper punch Querétaro, Qro. Mexico 76130 materials, excessive stripping force, Dayton Progress, Ltd. and inadequate heat treatment. G1 Holly Farm Business Park Honiley, Kenilworth Slug Jamming Warwickshire CV8 1NP UK Slug jamming is often the result Dayton Progress Corporation of Japan of improper die design, worn-out 2-7-35 Hashimotodai, Midori-Ku die parts, or obstruction in the slug Sagamihara-Shi, Kanagawa-Ken relief hole. 252-0132 Japan Slug Pulling Dayton Progress GmbH Adenauerallee 2 Slug pulling occurs when the slug 61440 Oberursel/TS, Germany sticks to the punch face upon withdrawal and comes out of the Dayton Progress Perfuradores Lda Zona Industrial de Casal da Areia Lote 17 lower die button.
  • Methods Used for the Compaction and Molding of Ceramic Matrix Composites Reinforced with Carbon Nanotubes

    Methods Used for the Compaction and Molding of Ceramic Matrix Composites Reinforced with Carbon Nanotubes

    processes Review Methods Used for the Compaction and Molding of Ceramic Matrix Composites Reinforced with Carbon Nanotubes Valerii P. Meshalkin and Alexey V. Belyakov * Mendeleev University of Chemical Technology of Russia (MUCTR), 9 Miusskaya Square, 125047 Moscow, Russia; [email protected] * Correspondence: [email protected]; Tel.: +7-495-4953866 Received: 2 August 2020; Accepted: 11 August 2020; Published: 18 August 2020 Abstract: Ceramic matrix composites reinforced with carbon nanotubes are becoming increasingly popular in industry due to their astonishing mechanical properties and taking into account the fact that advanced production technologies make carbon nanotubes increasingly affordable. In the present paper, the most convenient contemporary methods used for the compaction of molding masses composed of either technical ceramics or ceramic matrix composites reinforced with carbon nanotubes are surveyed. This stage that precedes debinding and sintering plays the key role in getting pore-free equal-density ceramics at the scale of mass production. The methods include: compaction in sealed and collector molds, cold isostatic and quasi-isostatic compaction; dynamic compaction methods, such as magnetic pulse, vibration, and ultrasonic compaction; extrusion, stamping, and injection; casting from aqueous and non-aqueous slips; tape and gel casting. Capabilities of mold-free approaches to produce precisely shaped ceramic bodies are also critically analyzed, including green ceramic machining and additive manufacturing technologies. Keywords: carbon nanotubes; ceramic matrix composites; compaction; molding; casting; powder mixtures; green bodies; plastic molding powders; slips; polymerizable monomers; solid freeform fabrication; machinery 1. Introduction Compaction molding is an important technological stage in the mass production of technical ceramics and ceramic matrix composites (hereinafter, CMCs).
  • Mar.-Apr.2020 Highlites

    Mar.-Apr.2020 Highlites

    Prospect Senior Center 6 Center Street Prospect, CT 06712 (203)758-5300 (203)758-3837 Fax Lucy Smegielski Mar.-Apr.2020 Director - Editor Municipal Agent Highlites Town of Prospect STAFF Lorraine Lori Susan Lirene Melody Matt Maglaris Anderson DaSilva Lorensen Heitz Kalitta From the Director… Dear Members… I believe in being upfront and addressing things head-on. Therefore, I am using this plat- form to address some issues that have come to my attention. Since the cost for out-of-town memberships to our Senior Center went up in January 2020, there have been a few miscon- ceptions that have come to my attention. First and foremost, the one rumor that I would definitely like to address is the story going around that the Prospect Town Council raised the dues of our out-of-town members because they are trying to “get rid” of the non-residents that come here. The story goes that the Town Council is trying to keep our Senior Center strictly for Prospect residents only. Nothing could be further from the truth. I value the out-of-town members who come here. I feel they have contributed significantly to the growth of our Senior Center. Many of these members run programs here and volun- teer in a number of different capacities. They are my lifeline and help me in ways that I could never repay them for. I and the Town Council members would never want to “get rid” of them. I will tell you point blank why the Town Council decided to raise membership dues for out- of-town members.
  • The Simulation of Cold Volumetric Stamping by the Method of Transverse Extrusion

    The Simulation of Cold Volumetric Stamping by the Method of Transverse Extrusion

    MATEC Web of Conferences 224, 01105 (2018) https://doi.org/10.1051/matecconf/201822401105 ICMTMTE 2018 The simulation of cold volumetric stamping by the method of transverse extrusion Anatoly K. Belan1, Vladimir A. Nekit1,*, and Olga A. Belan1 1Nosov Magnitogorsk State Technical University, Lenin Street, 38, Magnitogorsk city, Chelyabinsk Region, Russian Federation, 455000 Abstract. The article is devoted to the theoretical study and development of the production process of manufacturing rod products with larger heads by transverse extrusion. For carrying out researches the elastic-plastic finite- element model based on the variation principle was chosen. This model, due to the development of a complex of boundary and initial conditions, has been adapted to the scheme of volume stamping of the fasteners and implemented in the form of a software package in the system DEFORM 3D.The paper presents the results of computer simulation of the technology of manufacturing the mortgage bolt 1 Introduction With the development of mechanical engineering, automotive and construction, there is a growing need for sophisticated modern fasteners which allows you to create strong, high- performance, reliable and durable connections. These fasteners contain: flanged fasteners, self-drilling and self-tapping screws, their use greatly simplifies and speed up installation work [1]. Fig. 1. Items with long cone and an enlarged head. To reduce terms of development and introduction of new types of fasteners the systems of the automated design and modelling allowing to model several options of the technology * Corresponding author: [email protected] © The Authors, published by EDP Sciences. This is an open access article distributed under the terms of the Creative Commons Attribution License 4.0 (http://creativecommons.org/licenses/by/4.0/).
  • The Dynisco Extrusion Processors Handbook 2Nd Edition

    The Dynisco Extrusion Processors Handbook 2Nd Edition

    The Dynisco Extrusion Processors Handbook 2nd edition Written by: John Goff and Tony Whelan Edited by: Don DeLaney Acknowledgements We would like to thank the following people for their contributions to this latest edition of the DYNISCO Extrusion Processors Handbook. First of all, we would like to thank John Goff and Tony Whelan who have contributed new material that has been included in this new addition of their original book. In addition, we would like to thank John Herrmann, Jim Reilly, and Joan DeCoste of the DYNISCO Companies and Christine Ronaghan and Gabor Nagy of Davis-Standard for their assistance in editing and publication. For the fig- ures included in this edition, we would like to acknowledge the contributions of Davis- Standard, Inc., Krupp Werner and Pfleiderer, Inc., The DYNISCO Companies, Dr. Harold Giles and Eileen Reilly. CONTENTS SECTION 1: INTRODUCTION TO EXTRUSION Single-Screw Extrusion . .1 Twin-Screw Extrusion . .3 Extrusion Processes . .6 Safety . .11 SECTION 2: MATERIALS AND THEIR FLOW PROPERTIES Polymers and Plastics . .15 Thermoplastic Materials . .19 Viscosity and Viscosity Terms . .25 Flow Properties Measurement . .28 Elastic Effects in Polymer Melts . .30 Die Swell . .30 Melt Fracture . .32 Sharkskin . .34 Frozen-In Orientation . .35 Draw Down . .36 SECTION 3: TESTING Testing and Standards . .37 Material Inspection . .40 Density and Dimensions . .42 Tensile Strength . .44 Flexural Properties . .46 Impact Strength . .47 Hardness and Softness . .48 Thermal Properties . .49 Flammability Testing . .57 Melt Flow Rate . .59 Melt Viscosity . .62 Measurement of Elastic Effects . .64 Chemical Resistance . .66 Electrical Properties . .66 Optical Properties . .68 Material Identification . .70 SECTION 4: THE SCREW AND BARREL SYSTEM Materials Handling .
  • Using Mixed Media with Polymer Clay Design by Lynn Krucke Many Crafters Have Discovered the Fun and Excitement of Combining Stamps, Papers and Inks with Polymer Clay

    Using Mixed Media with Polymer Clay Design by Lynn Krucke Many Crafters Have Discovered the Fun and Excitement of Combining Stamps, Papers and Inks with Polymer Clay

    FREE Using Mixed Media with Polymer Clay Design by Lynn Krucke Many crafters have discovered the fun and excitement of combining stamps, papers and inks with polymer clay. Now let’s take the partnership to the next level! The products and supplies used here are available at your local stamp, craft or art store. Polymer clay is so versatile —- the possibilities truly are endless! The Basics: Your work area - Tools (cookie cutters, pasta machines, baking sheets…) should be dedicated to crafting and not used again for food. Polymer clay contains pigments that may stain surfaces or damage finished wood surfaces. Do not place unbaked clay on furniture, flooring, carpeting, upholstery or fabric. A sheet of glass, freezer paper, a large ceramic tile, or a dedicated marble cutting board are all good work surfaces. Condition the clay - For best results condition clay before use. “Conditioning” means that the clay has been kneaded and warmed so ingredients are evenly mixed and the clay is flexible. If you have a pasta machine dedicated to crafting, great! Cut the bar of clay into thin strips and run it through on the thickest setting several times. Conditioned clay is warm, pliable, and has a soft sheen. It doesn’t crack along the edges when rolled in sheets. To condition by hand, cut clay into small pieces: knead and roll one of the pieces in your hands until it is soft and pliable; set aside, and condition another chunk —- then add to the first. Continue this way and you will soon have an ample supply. Don’t try to condition the whole bar at once.
  • AG Reading Room Final.Indd

    AG Reading Room Final.Indd

    A Linda Komaroff with Sandra Williams || Los Angeles County Museum of Art B ABDULNASSER GHAREM PAUSE 1 Artists often play the role of a social conscience by visualizing episodes of violence and upheaval, helping us to frame and appreciate our own reactions. Picasso’s painting Guernica, for example, is a masterful response to the aerial bombing of the Basque town in 1937, while the lesser-known but equally powerful work by London-based Iraqi artist Dia Azzawi Massacre at Sabra and Shatila depicts the slaughter of Palestinian refugees in southern Beirut in 1982. Both use abstraction to represent horrifically gruesome events and each, through the distance of time and space, has become as much an artistic icon as a portrayal of a human tragedy. It is perhaps too soon to gauge how or which works of art may one day embody the catastrophic events of September 11, 2001, but already there is one potent visionary, Abdulnasser Gharem, who has created a remarkable body of work born in the aftermath of this infamous date. That he is a Muslim, an Arab, and a lieutenant colonel in the Saudi Arabian army will likely provide added resonance for an American audience, while serving to remind us that terrorism is experienced worldwide. For Gharem, like most of us, seeing the World Trade Center destroyed on television was one of those terrible moments that seems to make the earth stand still or pause; he learned soon after that two of the hijackers were former classmates. Gharem has deeply absorbed this notion of pause into his work as an occasion to examine certain universal dichotomies that can lead us to choose our own life’s path.
  • Rotary Swaging What Is Rotary Swaging?

    Rotary Swaging What Is Rotary Swaging?

    Rotary Swaging What is Rotary Swaging? Net-Shape-Forming Rotary swaging is a process for precision forming of tubes, bars or wires. lt belongs to the group of net-shape-forming processes, of which one of the characteristics is that the finished shape of the formed workpieces is obtained without, or with only a minimum amount of further final processing by machining. The forming dies of the swaging machine are arranged concentric around the workpiece. The swaging dies perform high frequency radial movements with short strokes. The stroke frequencies are ranging from 1,500 to 10,000 per minute depending on the machine size, with total stroke lengths of 0.2 to 5 mm. The radial movements of the dies are for most applications simultaneous. Usually one die set consists of four die segments. Depending on the application and on the size of the machine, alternatively sets of two, three, six or in special cases up to eight dies can be used. To prevent the formation of longitudinal burrs at the gaps between the dies, there is a relative rotational movement between dies and the workpiece. The swaging dies rotate around the workpiece, or alternatively the workpiece rotates Operation principle between the dies. For production of non-circular forms the dies and the workpiece are stationary without rotational movement. Rotary swaging is an incremental forming process where the oscillating forming takes place in many small processing steps. One of the advantages of the incremental forming process compared to the continuous processes is the homogenous material forming. Rotary swaging achieves very high forming ratios in only one processing step as the deformability of the material is uniformly distributed over the cross-section.
  • Brayer Techniques for Stampers

    Brayer Techniques for Stampers

    Interactive Table of Contents (Click on topic to go to page. Main sections = black, Technique / Resource pages = navy, Art pages = cyan, Sponsor pages = green) Brayer Techniques . 3 Nancie Waterman’s Artwork . 35 Water & Brayers . 57 What is a Brayer? . 4 Marilyn Sweeney’s Artwork . 36 Nancie Waterman’s Artwork . 58 Brayer Types . 4 Bouncing Brayer Technique . 38 Brayered Perfect Pearls . 59 About Art Accents’ Page . 8 Nancie Waterman’s Artwork . 39 Nancie Waterman’s Artwork . 60 Purchasing Brayers . 9 Absolutely Everything’s Page . 40 Altering the Brayer’s Roller . 61 When Brayers Work Best . 12 Masks, Stencils & Brayers . 41 Nancie Waterman’s Art . 63 RubberHedgehog’s Page . 13 Dry Embossing & Brayers . 42 Shona Erlenborn’s Artwork . 64 Glue, Burnishing & Brayers . 14 Nancie Waterman’s Artwork . 44 Brayer Care & Storage . 65 Ink & Brayers . 16 Marilyn Sweeney’s Artwork . 45 Learn More From VSN . 67 Applying Ink to the Brayer . 16 Shona Erlenborn’s Art . 46 Other VSN eArticles . 67 Repeat Impressions’ Page . 20 Brayered Resists . 47 Dye, Pigment & Paper Blog . 68 Inking a Stamp with a Brayer . 21 Nancie Waterman’s Artwork . 49 Birdseed & Binoculars Blog . 68 Marilyn Sweeney’s Artwork . 24 Marilyn Sweeney’s Artwork . 50 Please Spread the Word . 69 Marilyn Sweeney’s Artwork . 25 StampScrapArtTour’s Page . 51 Find VSN Online . 69 Brayered Ink Backgrounds . 26 Paint & Brayers . 52 Art Challenge Drawing . 70 Marilyn Sweeney’s Artwork . 30 Stamping With Paint . 52 Printing this eArticle . 70 Barbara Benson’s Artwork . 33 Brayered Paint Backgrounds . 54 eArticle Copyright Statement . 70 Barbara Benson’s Artwork . 34 Marilyn Sweeney’s Artwork .