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'Stairs 02', stop-motion animation, 13 frames, printed plastic, ink, paint. #stopmotion #stairs #animation #3dprinting

The elements of glaze chemistry have become a fascination to me during difficult times. Thank you, silica, alumina, lithium, barium, iron, copper, chromium, manganese, neodymium, erbium, praseodymium, and so many more, for illuminating the complexity of interaction, the certainty of reaction, and the potential for transformation.
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#ceramics #glaze #chemistry #clay #3dprinting #sculpture

. . . work in progress, unfired clay
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#clay#sculpture #workinprogress #3dprintedclay #3dprintingceramics #architectural #blocks #brutalism #craft #carving

Made some small extruder improvements
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#3dprintingceramics #3dprintingclay

Time lapse of glaze materials settling out over a 99 minute period.
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#ceramics #glaze #sedimentation #timelapse

A recent sculpture in glazed ceramic and bronze
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#ceramic #sculpture #art #glaze #blue #3dprintedceramics #architectural

A recent sculpture in glazed ceramic and bronze
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#ceramic #sculpture #art #glaze #blue #3dprintedceramics #architectural

A recent sculpture in glazed ceramic and bronze
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#ceramic #sculpture #art #glaze #blue #3dprintedceramics #architectural

A recent sculpture in glazed ceramic and bronze
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#ceramic #sculpture #art #glaze #blue #3dprintedceramics #architectural

A recent sculpture in glazed ceramic and bronze
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#ceramic #sculpture #art #glaze #blue #3dprintedceramics #architectural

Test Tile 01, animation in clay, 39 frames
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#animation #stopmotion #clay #3dprinting #3dprintedceramics

Reposting from @vetroeditions:
I am thrilled to be featured in "Tracing the Line", a new book documenting the use of pen plotters and drawing machines as an integral part of contemporary generative and digital art production. The work of 100 international artists is showcased.

Before I was ever able to gain access to 3D printers, laser cutters, and CNC tooling I was able to easily obtain and work with old pen plotters from the 1980's. It was a way to explore future technologies by looking backward, on a budget.

Early pen plotters date back to the late 1950's and had largely fallen out of use by the 1990's. Many artists and hackers began to rediscover pen plotters in the mid to late 2000's, myself included. I bought my first plotter on eBay for less than $100.

Newer versions, particularly the Axidraw series by @evil.mad.scientist, are much easier to use with contemporary computers, without needing to gather a tedious tangle of USB-to-serial cable adapters and ancient drivers ill-suited to a modern OS.

Many thanks to Vetro Editions and @generative.hut
for including my works exploring pen plotters, animation, and clay alongside so many artists whose work I've followed and admired for years.

Spotlight on @tom_lauerman featured on “Tracing the line”, the new book about pen plotters by @vetroeditions and @generative.hut

“Tracing the Line” 📕documents the use of pen-plotters and drawing machines as an integral part of the contemporary generative and digital art production. The works of 100 international artists are showcased. Now on pre-sale 🤖

“Tracing the Line - The Art of Drawing Machines and Pen-plotters” is the second volume in the A.R.E series (Augmented Reality Exhibition).

The book is now in its pre-sale phase - 📆Estimated release: November 2023.
Pre-order your book now with a special price for early birds 🐥

Many thanks to @uberneath for curating my work into Tez Art MTL last weekend in Montreal. Also thanks to @5tr4n0 for hosting the event in this beautiful space. I'm very happy to have these animated works exhibited alongside many artists I've followed and admired for years.
Often I make physical objects that are small in size, but large in scale. Seeing the recent animations projected in this significantly larger-than-life format gives me a lot to think about.

We built this kiln, “Reclaim”, as a class project when I first started at my present job, about a decade ago. It hasn’t always been treated well and the sophisticated oxygen probe that was carefully built into it was at some point destroyed. However, the brickwork and, importantly, the arch of the kiln are in surprisingly good shape. 

The kiln was named “Reclaim” to underscore how it was constructed using surplus, mostly damaged, fire bricks and equipment from other retired kilns. We had a budget of more or less $0 but we also had a huge pile of discarded material to chop up and reconfigure. The glazed brick exterior cladding of the kiln is even older. Those bricks came from a local salvage yard and are likely more than 100 years old. To those previously red bricks we added a range of glaze colors we were testing, creating an insulative jacket that brings the total wall thickness of this kiln to a stout 11 inches. 

I hadn’t used this kiln in some years, so giving it a good cleaning reminded me of all the students who helped design and build it, and those are wonderful memories. I’m teaching a glaze class “Ceramic Surfaces" this semester and we’ll look at all ranges of temperature, texture, and color, including cone 10 reduction, which is very well facilitated by this anachronistic kiln. 

I had secretly hoped there would be little interest in high fire reduction glazes as I find it a hard process to justify, ethically. Reduction firing is, almost by definition, inefficient as it relies on a surplus of fuel to achieve its effects. This kiln burns natural gas, unfortunately, and we are firing the kiln to a temperature (about 2300f or 1275c) that necessitates using a lot of it. Each of this small kiln’s two burners can produce as many BTU’s as the central heater in my home. 

However, the students are interested in this temperature range, along with the medium and lower temperature ranges that I favor personally. So our first of what will likely be several firings of this kiln became a guilty pleasure for me, causing me to reflect fondly on working as a kiln technician with my friend @digitburnit in Chicago.

We built this kiln, “Reclaim”, as a class project when I first started at my present job, about a decade ago. It hasn’t always been treated well and the sophisticated oxygen probe that was carefully built into it was at some point destroyed. However, the brickwork and, importantly, the arch of the kiln are in surprisingly good shape. 

The kiln was named “Reclaim” to underscore how it was constructed using surplus, mostly damaged, fire bricks and equipment from other retired kilns. We had a budget of more or less $0 but we also had a huge pile of discarded material to chop up and reconfigure. The glazed brick exterior cladding of the kiln is even older. Those bricks came from a local salvage yard and are likely more than 100 years old. To those previously red bricks we added a range of glaze colors we were testing, creating an insulative jacket that brings the total wall thickness of this kiln to a stout 11 inches. 

I hadn’t used this kiln in some years, so giving it a good cleaning reminded me of all the students who helped design and build it, and those are wonderful memories. I’m teaching a glaze class “Ceramic Surfaces" this semester and we’ll look at all ranges of temperature, texture, and color, including cone 10 reduction, which is very well facilitated by this anachronistic kiln. 

I had secretly hoped there would be little interest in high fire reduction glazes as I find it a hard process to justify, ethically. Reduction firing is, almost by definition, inefficient as it relies on a surplus of fuel to achieve its effects. This kiln burns natural gas, unfortunately, and we are firing the kiln to a temperature (about 2300f or 1275c) that necessitates using a lot of it. Each of this small kiln’s two burners can produce as many BTU’s as the central heater in my home. 

However, the students are interested in this temperature range, along with the medium and lower temperature ranges that I favor personally. So our first of what will likely be several firings of this kiln became a guilty pleasure for me, causing me to reflect fondly on working as a kiln technician with my friend @digitburnit in Chicago.

We built this kiln, “Reclaim”, as a class project when I first started at my present job, about a decade ago. It hasn’t always been treated well and the sophisticated oxygen probe that was carefully built into it was at some point destroyed. However, the brickwork and, importantly, the arch of the kiln are in surprisingly good shape. 

The kiln was named “Reclaim” to underscore how it was constructed using surplus, mostly damaged, fire bricks and equipment from other retired kilns. We had a budget of more or less $0 but we also had a huge pile of discarded material to chop up and reconfigure. The glazed brick exterior cladding of the kiln is even older. Those bricks came from a local salvage yard and are likely more than 100 years old. To those previously red bricks we added a range of glaze colors we were testing, creating an insulative jacket that brings the total wall thickness of this kiln to a stout 11 inches. 

I hadn’t used this kiln in some years, so giving it a good cleaning reminded me of all the students who helped design and build it, and those are wonderful memories. I’m teaching a glaze class “Ceramic Surfaces" this semester and we’ll look at all ranges of temperature, texture, and color, including cone 10 reduction, which is very well facilitated by this anachronistic kiln. 

I had secretly hoped there would be little interest in high fire reduction glazes as I find it a hard process to justify, ethically. Reduction firing is, almost by definition, inefficient as it relies on a surplus of fuel to achieve its effects. This kiln burns natural gas, unfortunately, and we are firing the kiln to a temperature (about 2300f or 1275c) that necessitates using a lot of it. Each of this small kiln’s two burners can produce as many BTU’s as the central heater in my home. 

However, the students are interested in this temperature range, along with the medium and lower temperature ranges that I favor personally. So our first of what will likely be several firings of this kiln became a guilty pleasure for me, causing me to reflect fondly on working as a kiln technician with my friend @digitburnit in Chicago.

We built this kiln, “Reclaim”, as a class project when I first started at my present job, about a decade ago. It hasn’t always been treated well and the sophisticated oxygen probe that was carefully built into it was at some point destroyed. However, the brickwork and, importantly, the arch of the kiln are in surprisingly good shape. 

The kiln was named “Reclaim” to underscore how it was constructed using surplus, mostly damaged, fire bricks and equipment from other retired kilns. We had a budget of more or less $0 but we also had a huge pile of discarded material to chop up and reconfigure. The glazed brick exterior cladding of the kiln is even older. Those bricks came from a local salvage yard and are likely more than 100 years old. To those previously red bricks we added a range of glaze colors we were testing, creating an insulative jacket that brings the total wall thickness of this kiln to a stout 11 inches. 

I hadn’t used this kiln in some years, so giving it a good cleaning reminded me of all the students who helped design and build it, and those are wonderful memories. I’m teaching a glaze class “Ceramic Surfaces" this semester and we’ll look at all ranges of temperature, texture, and color, including cone 10 reduction, which is very well facilitated by this anachronistic kiln. 

I had secretly hoped there would be little interest in high fire reduction glazes as I find it a hard process to justify, ethically. Reduction firing is, almost by definition, inefficient as it relies on a surplus of fuel to achieve its effects. This kiln burns natural gas, unfortunately, and we are firing the kiln to a temperature (about 2300f or 1275c) that necessitates using a lot of it. Each of this small kiln’s two burners can produce as many BTU’s as the central heater in my home. 

However, the students are interested in this temperature range, along with the medium and lower temperature ranges that I favor personally. So our first of what will likely be several firings of this kiln became a guilty pleasure for me, causing me to reflect fondly on working as a kiln technician with my friend @digitburnit in Chicago.

We built this kiln, “Reclaim”, as a class project when I first started at my present job, about a decade ago. It hasn’t always been treated well and the sophisticated oxygen probe that was carefully built into it was at some point destroyed. However, the brickwork and, importantly, the arch of the kiln are in surprisingly good shape. 

The kiln was named “Reclaim” to underscore how it was constructed using surplus, mostly damaged, fire bricks and equipment from other retired kilns. We had a budget of more or less $0 but we also had a huge pile of discarded material to chop up and reconfigure. The glazed brick exterior cladding of the kiln is even older. Those bricks came from a local salvage yard and are likely more than 100 years old. To those previously red bricks we added a range of glaze colors we were testing, creating an insulative jacket that brings the total wall thickness of this kiln to a stout 11 inches. 

I hadn’t used this kiln in some years, so giving it a good cleaning reminded me of all the students who helped design and build it, and those are wonderful memories. I’m teaching a glaze class “Ceramic Surfaces" this semester and we’ll look at all ranges of temperature, texture, and color, including cone 10 reduction, which is very well facilitated by this anachronistic kiln. 

I had secretly hoped there would be little interest in high fire reduction glazes as I find it a hard process to justify, ethically. Reduction firing is, almost by definition, inefficient as it relies on a surplus of fuel to achieve its effects. This kiln burns natural gas, unfortunately, and we are firing the kiln to a temperature (about 2300f or 1275c) that necessitates using a lot of it. Each of this small kiln’s two burners can produce as many BTU’s as the central heater in my home. 

However, the students are interested in this temperature range, along with the medium and lower temperature ranges that I favor personally. So our first of what will likely be several firings of this kiln became a guilty pleasure for me, causing me to reflect fondly on working as a kiln technician with my friend @digitburnit in Chicago.

We built this kiln, “Reclaim”, as a class project when I first started at my present job, about a decade ago. It hasn’t always been treated well and the sophisticated oxygen probe that was carefully built into it was at some point destroyed. However, the brickwork and, importantly, the arch of the kiln are in surprisingly good shape. 

The kiln was named “Reclaim” to underscore how it was constructed using surplus, mostly damaged, fire bricks and equipment from other retired kilns. We had a budget of more or less $0 but we also had a huge pile of discarded material to chop up and reconfigure. The glazed brick exterior cladding of the kiln is even older. Those bricks came from a local salvage yard and are likely more than 100 years old. To those previously red bricks we added a range of glaze colors we were testing, creating an insulative jacket that brings the total wall thickness of this kiln to a stout 11 inches. 

I hadn’t used this kiln in some years, so giving it a good cleaning reminded me of all the students who helped design and build it, and those are wonderful memories. I’m teaching a glaze class “Ceramic Surfaces" this semester and we’ll look at all ranges of temperature, texture, and color, including cone 10 reduction, which is very well facilitated by this anachronistic kiln. 

I had secretly hoped there would be little interest in high fire reduction glazes as I find it a hard process to justify, ethically. Reduction firing is, almost by definition, inefficient as it relies on a surplus of fuel to achieve its effects. This kiln burns natural gas, unfortunately, and we are firing the kiln to a temperature (about 2300f or 1275c) that necessitates using a lot of it. Each of this small kiln’s two burners can produce as many BTU’s as the central heater in my home. 

However, the students are interested in this temperature range, along with the medium and lower temperature ranges that I favor personally. So our first of what will likely be several firings of this kiln became a guilty pleasure for me, causing me to reflect fondly on working as a kiln technician with my friend @digitburnit in Chicago.

We built this kiln, “Reclaim”, as a class project when I first started at my present job, about a decade ago. It hasn’t always been treated well and the sophisticated oxygen probe that was carefully built into it was at some point destroyed. However, the brickwork and, importantly, the arch of the kiln are in surprisingly good shape. 

The kiln was named “Reclaim” to underscore how it was constructed using surplus, mostly damaged, fire bricks and equipment from other retired kilns. We had a budget of more or less $0 but we also had a huge pile of discarded material to chop up and reconfigure. The glazed brick exterior cladding of the kiln is even older. Those bricks came from a local salvage yard and are likely more than 100 years old. To those previously red bricks we added a range of glaze colors we were testing, creating an insulative jacket that brings the total wall thickness of this kiln to a stout 11 inches. 

I hadn’t used this kiln in some years, so giving it a good cleaning reminded me of all the students who helped design and build it, and those are wonderful memories. I’m teaching a glaze class “Ceramic Surfaces" this semester and we’ll look at all ranges of temperature, texture, and color, including cone 10 reduction, which is very well facilitated by this anachronistic kiln. 

I had secretly hoped there would be little interest in high fire reduction glazes as I find it a hard process to justify, ethically. Reduction firing is, almost by definition, inefficient as it relies on a surplus of fuel to achieve its effects. This kiln burns natural gas, unfortunately, and we are firing the kiln to a temperature (about 2300f or 1275c) that necessitates using a lot of it. Each of this small kiln’s two burners can produce as many BTU’s as the central heater in my home. 

However, the students are interested in this temperature range, along with the medium and lower temperature ranges that I favor personally. So our first of what will likely be several firings of this kiln became a guilty pleasure for me, causing me to reflect fondly on working as a kiln technician with my friend @digitburnit in Chicago.

geometric tile in printed clay. Starting a new stop motion animation project
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#3dclayprinting
#tile
#clay
#simple
#geometric