Revision of The Extruder Book published in 2001. New images, updated materials.If you have an extruder and aren't sure what to do with it, Daryl's comprehensive book updates his best-selling first edition. You'll discover tips for setting up your studio, supplies you'll need to make extruding easier, and accessories that will help you with more complicated extrusions. Your extruder set-up can be as sophisticated as any pros with less effort than you think.Since his first edition, Daryl has expanded his offering of projects and you'll discover sixteen great demonstrations which will increase your confidence and challenge your skills. From using simple dies to constructing projects from multiple-part dies, Daryl carefully leads you step-by-step through projects that run the gamut of complexity. As you master each process, your imagination will inspire even more ideas to take on.If you don't already have an extruder, don't worry. Daryl describes what's on the market today from major manufacturers, but he also includes plans on how to make your own extruder from parts you can gather at a local home center. But the essence of an extruder is the die and here is where Daryl showcases his expertise. From altering stock dies to creating complex multi-part dies, you'll find instructions for making unique dies unlike any you can buy on the market.To illustrate just how versatile the extruder is, Daryl showcases the work of dozens of potters and artists using the extruder in their work. You'll be inspired by the creativity and you'll see that your extruder is capable of much more than just making test tiles or strap handles.
Beyond the world of pinch and coil constructions and wheel-thrown pots lies a vast array of opportunities for the ceramic artist. In Extruder, Mold & Tile: Forming Techniques potters will discover a wealth of information, techniques and inspiration on topics that span the usual to the unusual as well as the functional to the sculptural.The advent of the extruder centuries ago has served to benefit the artist in many ways, facilitating work that cannot be done easily, or at all, on the wheel or by hand. Molds have been used since the dawn of ceramics beginning with making pots inside baskets. And with tile making, ceramic artists find the two-dimensional aspect of claywork challenging and create astonishing works with both traditional and nontraditional forming methods.Here is just a sampling of what you'll find:In Steve Howell: Creating Forms with Hump Molds author Harriet Gamble provides a detailed look at how Steve Howell creates his elegant, yet simple, forms and also reveals his technique for making the lightweight molds he uses.If you think an extruder is limited to the number of dies you can purchase, you'll be amazed at what can be done beyond the plain, round and square tubes or coils that are standard fare. In The Versatile Extruder, Bill Shinn discusses the many possibilities of this tool and how it's ideal for sculpture, both abstract and representational.Laura Reutter, a professional tile maker, shows you how to make Flat Tiles the Easy Way with detailed step-by-step instructions.Tim Frederich solves the problem of making an extrusion directly onto a wareboard to minimize handling and create a cleaner extrusion with an Extruder Table that pivots between the two positions.David Hendley's Homemade Extruder Dies allow you to make shapes with finer details.Daryl Baird saw some Extruded Boxes and set about developing his own technique for making them with his 18-step process.By Following the Catenary Curve you'll turn your trash can into a source for creating beautiful works of art.Cara Moczygemba enjoys Creating Sculptures with Molds. These ghostly intimate figures combine press molding and slip casting earthenware and stoneware along with slip and terra sigillata surfaces.Clive Tucker gets into Dusting Off the Mold and incorporating molded pieces and parts along with thrown works to create fantastical assemblages.Dannon Rhudy likes Throwing Molds. While this sounds absurd, her technique is exactly that - throw a form then handbuild something inside of it at the leather-hard stage. When the piece sets up, peel off the thrown mold.Jerry Goldman describes how you can make Poured Mosaics by casting slabs of clay then stacking and firing them so they're crushed by their own weight.Jeanne Henry creates deep Sculptural Tile Reliefs and DeBorah Goletz creates textured tile murals that are reminiscent of Ceramic Postcards. From Jeanne's stunning use of bas relief to DeBorah's architectural scale, the work of both artists is inspiring.A Clay Draw Plane is a tool you can make to cut slabs for sculptures and tiles. This simple tool is easy to make and you can create several at one time, each with a different cutting angle for right angle or bevel cuts.If you don't want to work with plaster, you can try Making Platters with Molds made from wood and clay. Bill Shinn demonstrates making slump molds using thrown parts attached to a piece of plywood.After draping clay over or into a mold, gently pummeling it into place is done with a pounce bag. It's in the Bag for you when you make this simple tool according to Judy Adams' instructions.
This book is intended to fill a gap between the theoretical studies and the practical experience of the processor in the extrusion of thermoplastic polymers. The former have provided a basis for numerical design of extruders and their components, but generally give scant attention to the practical performance, especially to the conflict between production rate and product quality. In practice extruders are frequently purchased to perform a range of duties; even so, the operator may have to use a machine designed for another purpose and not necessarily suitable for the polymer, process or product in hand. The operator's experience enables him to make good product in unpromising circumstances, but a large number of variables and interactions often give apparently contradictory results. The hope is that this book will provide a logical background, based on both theory and experience, which will help the industrial processor to obtain the best performance from his equipment, to recognize its limitations, and to face new problems with confidence. Mathematics is used only to the extent that it clarifies effects which cannot easily be expressed in words; ifit is passed over, at least a qualitative understanding should remain. The approximate theory will not satisfy the purist, but this seems to the authors less important than a clear representation of the physical mechanisms on which so much of the polymer processing industry depends. M. J. STEVENS J. A.