critique tomorrow!

There's a critique tomorrow and I actually have a piece done for it.......kind of. It's an old piece, so it doesn't count, but I got the glaze done for the hand-claw-talon. I was too impatient to make a test tile for the glaze, so I reaaaaally hope it turns out okay. We'll see how it goes. It came out disturbingly thick...which Ryland said was a good thing, but who knows. I put my other piece in the kiln sometime mid last week, but it didn't get fired in time. I'm thinkin my next hand will be something like this...except, you know, much much cooler. I really like the idea of making hand-bones with skin just kinda.....thrown on them. kind of decaying, but more just.....revealing? plastered onto the bones?

hellllooooo

So! Critique tomorrow! My piece isn't fired, but I'm happy with how it turned out. I'm really surprised the fingers haven't fallen off, or drooped and messed themselves up. For all of you who haven't seen it, it looks something like this, except all the fingers are intertwined

Hey guys! So I started working on that new piece. Like I said, like the claw hand, but smooth and flowy and all tangled up. If you guys have ideas or suggestions for my piece, or pieces I should do to incorperate into my concentration, I'd love to hear them. I've heard a few really great ideas already.

So, you all saw what I have been working on lately--- that claw-talon-hand sculpture. For my next concentration piece I was thinking about doing some sort of the same thing with the whole elongating the fingers in the hand, except I was going to make them super smooth and flowy. Sort of like if you've ever pulled a handle for a ceramic mug (which, I assume you all have). I've been slacking pretty hard on the details of my hands, though. They have a decent amount of detail, especially in the curves of the palms of the hands, and some of the knuckles, but I can do a lot more. With the next piece I'm going to spend some time really focusing on getting preportions right, giving extra definition to the way the skin stretches throughout the hand, and defining the knuckes better than I have been doing.
I was also pretty inspired by Collin's smoker hand, and I was thinking about doing one of my concentration pieces where you could see the bones in the hand (and probably some muscles, too!). Maybe something like where I have some skin stretched over the bones, enough to cover most of the hand but still have gaps where you can see in to the bones and stuff. The thought is still being mulled over, tell me what you guys think.