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Everything posted by Roberta12

  1. I have done that as well, just get some sort of mat under the Tyvek and an exacto knife and make your own stencils. Tyvek works great on slabs, paper works better on dry leather hard pots, (dip the paper in water, sponge or rib it on the pot, apply underglaze, let dry a bit, then peel the paper off. ) You can also cut your own stencils out of paper, using an exacto knife, a couple of thicknesses of paper and a mat.
  2. I have used rubber stamps on bisque ware quite a bit. As was mentioned before, it's better on a flat surface but you can 'rock' the stamp on a curve and still get a good impression. I was taught to make my own stamp pads with a sponge, a brush, and underglaze. I use sponges I get from the hardware store for grouting, cut them up to the size I need, brush underglaze on the sponge and then tap tap tap your rubber stamp on the glazed sponge. It works well, does not bleed, and is permanent. You could slide the whole sponge into a zip lock bag and it would stay moist. I have carved stamps out of clay and bisque fired them and those work well, I have a manufactured acrylic stamp that I use for a local business, there are lots of ways to achieve your end goal! Good luck. Roberta
  3. Roberta12

    Selling Internationally - Import Taxes

    Joseph, just to be clear in my own head, the mug was one price, the shipping was one price, then the customer paid an additional 25 Euro for duty fees?
  4. Roberta12


    In the search bar at the top, type in those subjects. There is a LOT of information on this forum concerning stains, engobes, Underglaze, etc. Once you have read through that, you will have many more questions, that can help to clarify! Roberta
  5. Roberta12


    As always Marcia, you have created a beautiful piece.
  6. Roberta12

    Terri’s Earthy Rusty Yarn bowl

    Absolutely beautiful!!!
  7. Believe it or not, but I have also tried most of those clays over the last 10 years. For a variety of reasons. At this moment I am using Laguna #16 and Laguna WC429. They are both easy to work with in a number of techniques and most important to me, work well with my glazes and make sturdy functional ware. But I do not believe they would work for you with your criteria. You did not mention Laguna Half and Half WC402. It has some grog to make it stable but not too rough. Before I read your list I was going to suggest Aardvark's Artic White. It was stable and easy to work with as was Texas White. I do know that they use Laguna Dover White at our local community college. Laguna WC398 is not on your list. I haven't tried it but it sounds promising for you. Would you have space in your classroom for your students to change their shoes or wear aprons? Clay is messy and that does seem to go along with the process. There are a number of teachers on this forum that may have better advice for you in that respect. Roberta
  8. Mea said it best. Your first show will be your test. You will have things left from that show that you can stock in the 2nd show. I usually have work that is bisque but not glazed in between shows, so I can have a few glaze loads in that two week time. And simply take as much as you possibly can so that you see what appeals to your customers. Make certain to engage in conversation about your work, customers will give you insight as well. Have a great time!! Roberta
  9. Roberta12

    Earthenware bakers

    You could contact the clay manufacturer and get their recommendation. Roberta
  10. Roberta12

    Simple question

    I love the printer blankets I received from Old Lady so very much, I got another set from our local newspaper right before they were set to start printing in another town! Clean up very easily. No texture. Roberta
  11. Roberta12

    Age of dry materials

    Thanks Marcia. I was trying to decide yesterday which things to combine, and which to keep separate. I combined his cobalt carb with mine, silica, epk, A couple of other things. I did not combine the rutile. It is a little bit darker than what I have, but it still looks like it should. I thought I would test some of those things first. As I am going through all of his carefully labeled bags and pails I just felt like I could not let these things go to waste. You are right about it costing so much to properly dispose of chemicals. So, 50 pounds of custer feldspar is going to Steamboat to a hard working potter. The colemanite is going to a forum member. The talc is going to a forum member, the shelves are going to Palisade Colorado, the dolomite and bentonite are going to New Mexico. And on and on. It's a way to create a legacy for Steve Grandbouche. And pass along a tradition.
  12. Roberta12

    Age of dry materials

    A local potter passed away and his family is selling his house. The realtor knows me and asked if I would take a look at what is left in his studio to give the family an idea of value. The studio is neat and well organized and everything is well labeled. As far as equipment, he has an electric wheel which he modified but it runs very smoothly, he put a wooden board on the wheelhead and made his own wooden bats. The wheel weighs a TON because he poured concrete in the recessed area. But it would be a great wheel. There are bags of Custer feldspar, Neph Sy, and then tubs of cobalt carb, copper carb, tin ox, zinc ox, RIO, Gerstley, Manganese Di. I think I will make the family an offer and take all the dry chemicals. I don't think the gentleman threw much the last couple of years. The labels on the bags are from a supply place in Denver that is no longer in business. So these materials could be 5-10 years old. What would be the advice of this knowledgeable group as far as using these materials? Shelf life?? I will try to attach some pics..... Oh, and what is Ajax P? Roberta
  13. Roberta12

    Age of dry materials

    And speaking of Kona, there is a small bag of Kona as well. Not sure what to do with that either. Thanks for the info on the shelves. There were two small chunks that did not have kiln wash on them., everything else is washed but in good shape. They are going to a friend who gas fires.
  14. Roberta12

    Age of dry materials

    Thanks! I have no recipes that use colemanite. I will have to think what to do with it. Do you know what the shelf material is (in the picture) ?? Is it a shelf made for gas fire??
  15. I have access to 500 pounds or so of unmarked bags of clay. Is there a way to determine whether it is mid or high fire? No boxes, labels, receipts or notebooks in sight. Roberta
  16. I don't fire to cone 10, but I know some friends that do. And I like the absorption test idea also. I really hate to just pitch all this clay. There is a big barrel of rock hard, really white clay. My assumption is that it is porcelain. I think he used both. But there is an old refrigerator full of a medium brown clay. Most of it still soft. I think he fired gas in the past, but in more recent years he must have been firing electric. A family member took the kiln that was in the shop. I did not get to see it. I have seen no evidence whatsoever of earthenware. Thanks friends for a direction! Roberta
  17. Roberta12

    Age of dry materials

    I picked up the rest of the supplies from the studio I was cleaning. There were some kiln shelves stacked up, rectangular, and black. I think they are for a gas kiln. Can you tell me what the material is? Also, there was a bucket of Colemanite. I looked it up and it is different from gerstley borate. Is colemanite used in cone 10 glazes? Roberta
  18. I LOVE this Jed!!!! Thank you for your work!!
  19. soap dishes, Christmas ornaments, buttons, wine bottle coasters, ring dishes (which look a lot like wine bottle coasters) wind chime pieces, spoonrests…..
  20. Roberta12

    glazing in red and black

    I use a red underglaze from Amaco, Radient Red. Stays red to cone 6, oxidation. I believe the other manufacturers also have a nice red underglaze. Lovely work, by the way. Roberta
  21. Roberta12

    Age of dry materials

    oh yeah, I did NOT mention the bags of clay at the gentleman's studio. No labeling, no boxes, nothing. A HUGE container of hard, very white clay. Just looking at it I would assume it is porcelain, and I know he mostly high fired, but unfortunately, I will probably have to pitch the clay. Labeling, yes, a very good idea. And Lee, we have made out a will, which is when we had the conversation with our kids. I am a labeler, but I think I will talk to a couple of other potter people that I could trust, and leave phone numbers for our family. I don't even have 45 years in this business and I still have a lot of stuff!!!!!
  22. Roberta12

    Age of dry materials

    I will not keep those red tubs. They are old lard buckets. Old is the word here. They are beginning to deteriorate. I think I have the wheel sold. Selling off some of the big bags o stuff just because I don't need all of it and limits on space. I am thinking of offering the family $100 for the dry materials and maybe see if I can get $50-75 for the wheel? I have to ask, do we all have plans in place for our pottery supplies and equipment if we are no longer around to use it?? I jokingly told our kids that my business and equipment was ALL THEIRS if I was gone. All I got was eye rolls. But, I guess I should think about someone to help them make good decisions.
  23. Roberta12

    Age of dry materials

    I am the only potter in this part of the valley who mixes glaze. Everyone else is commercial glazes. Including the college. But I did just email a friend in Steamboat with her own studio and teaching set up. And yes, there are a few unmarked tubs that I will dispose of. Thanks to everyone for their help.
  24. I just wanted to add to this thread by saying I have tried a lot of the continental Clays. They are very nice, throw well. Most, not all, of their clay bodies are rated for a wide range of temps. Super White is rated 5-9. I have used it and loved working with it, but all the glazes I used on it crazed. If not right away, then later. Their mid fire white is also quite nice to use. It crazed with the clear I was using. It crazed with all clears that I had mixed up. But did not craze with other glazes. Their mid range oxidation and the mid range oxidation with manganese are both very nice clays. I did not have crazing problems with them. I have tried to stay with clays that have a narrower range of firing temps. I seem to have fewer problems that way. I have my work and glazes dialed in with 3 Laguna clays right now. And mainly that is because it is easier for me to get those clays than the Continental clays. I use porcelain for a lot of my work, which is functional. Porcelain can be a very good everyday use clay. All of my pots go in the dishwasher and micro. I agree with Benzine about midfiring. (cone5/6) kiln repair/replacement is a cost of doing business, but you don't want to have to do it more often than necessary. Firing to cone 10 will accelerate that schedule! Roberta

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