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  2. Rae Reich

    Hudson River Clay

    Wow! Beautiful results!
  3. Today
  4. Here's a good seminar on using paper stencils: https://www.youtube.com/watch?v=WPIa-G5E2PE
  5. If you just want a dozen or so for a project, you might as well cut them by hand. For bigger quantities, you might post a request for someone with a cutter to run the job(s) for a fee. Look at stores that sell scrapbooking supplies, ask about online communities or post an inquiry at the store, if allowed. More extensive use of stencilling for your production could make the investment in a machine of your own pay off. Also check on the availability of used cutters as scrapbookers upgrade.
  6. Try a line blend with a clear or tenmoku or what-have-you.
  7. Weigh 100 ml of glaze, anything over 100g is the powder theoretically
  8. neilestrick

    Butterscotch Yellow glaze TOO yellow!

    It's hard to know exactly how much dry material is in the wet mix. I would take 200g of wet glaze and add 2g iron as a starting point. Dip a tile then, add another 2g and dip a tile. Add another 2g and dip a tile. You should find something in the useable range among those 3 tiles. Then you can do another round of testing to dial it in. Once you figure out the correct iron to wet glaze ratio you can math it out for the whole bucket.
  9. Callie Beller Diesel

    applying slip for stencil decoration

    I did see one guy cut out a stencil he used extensively out of a 2” stack of tightly clamped newspaper with a coping saw... Cricuts come in varying levels of capabilities. They’re used by scrapbookers pretty extensively.
  10. Callie Beller Diesel

    38874107_300955753801903_8274936424881455104_n.jpg

    Just so you know, Skyler promptly appropriated this as his own.
  11. It’s definitely the hue that is too yellow for me. I’m going to add some RIO to it... 1-2%. Do I take 100g of wet glaze and add 1-2 g of dry iron for my test tile. I assume wet doesn’t calculate exactly to dry like that... or should I add water to the iron then weigh that first? Thanks!!
  12. The circut machine is expensive, is there one just for paper cutting maybe cheaper?
  13. GreyBird

    Hudson River Clay

    And check out the back of that last one... also very interesting with no texture! ... The lighting changes the color a bit. The others were shot in the horrible fluorescent light in the kitchen, This one regular bulb in the bedroom...
  14. neilestrick

    Butterscotch Yellow glaze TOO yellow!

    I guess it depends on how you're defining 'too yellow'. Is it too yellow in that it's too saturated, or that the hue is too yellow? If it's too saturated, then diluting it with more base glaze would help. If the hue is too yellow, and you'd like it to be earthier, then adding some iron may do the trick, 1-2% for starters. If it's both too saturated and not earthy enough, then you'll need to do both.
  15. GreyBird

    Hudson River Clay

    And my Favorite 10% Gerstley Borate, 10% frit, 30% whiting & 50% Hudson Clay:
  16. GreyBird

    Hudson River Clay

    This one is Hudson Clay with 30% Whiting so 70 g of Hudson clay and 30g Whiting:
  17. GreyBird

    Hudson River Clay

    This is Old Gold Hudson, Fixed as well... No shivering:
  18. GreyBird

    Hudson River Clay

    Well my little test kiln was all cooled down, I forgot 1/2 the firing time is a controlled cool to match my larger kiln, so I got to open it tonight and I'm quite pleased with results: I'm putting them each in their own post so there will be 4 separate posts with 4 separate images... this way I can post the images as large as possible. This post is of fixed Old Gold Albany: No shivering at all
  19. Aarrgghhh...we only got a few weeks notice that the guild I belong to is doing a raku demo 10/28.  I just emptied my kiln and I do not have anything low fire to fill it with,  so I could bisque (required) a few raku pieces for the event.  I'm going to try to crank out a lot of ^5 and bisque that along with the raku clay. I don't want to pass up the opportunity.  

  20. LeeU

    38874107_300955753801903_8274936424881455104_n.jpg

    Geeze louise!
  21. Joseph Fireborn

    Yunomi

  22. Joseph Fireborn

    Selling Internationally - Import Taxes

    For me, it was more for the joy of selling my best pieces to people who wanted them and had been asking for them through direct messages and such. I am not trying to make any kind of living selling pottery online, it was just a way to pay for materials and get some pottery out into the world for people to enjoy. I really liked getting back the pictures of people using their pots with food and drink in them. It was nice to sell my work... I am a hobby potter and not a professional one, so I didn't mind the 10 minutes here and there to sell a $35-45 yunomi or mug. I wouldn't want to make mugs and pack them for a living online by any means. My long-term plan for pottery is to slowly build my work, aesthetic and following over my lifetime of enjoyment, fulfillment, and relaxation. I am not sure what I am going to do with my pots now. I think my hammer is going to get used even more. On the bright side, winter is almost here and I don't pot much during the winter so I will probably just let this absurdly overpriced tax thing fade from my mind.
  23. Yesterday
  24. Stephen

    Looking for advice in a wheel purchase

    I'm hard of hearing and don't wear my hearing aids in the studio (expensive hearing aids hate water) so quiet helps me, so there's that..
  25. Take out some for test batches, add some RIO to one and some zircopax to another and check to see if either darkening it a little or lightening it up a little makes it look any better. There's no magic bullet
  26. Is there anything I can try to add to my existing glaze? I hate to get rid of the glaze that I have. (anything would be better than the bright color that it is now) Thanks!
  27. I have a few Corian bats that I made from some sink cutouts and discarded countertops, but I think the material might be too costly for your project... JohnnyK
  28. Marcia Selsor

    Medpinkwgray copy

    cobalt, calcium and copper. along with copper carb and sawdust in the saggar.
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