Jump to content


  • Content Count

  • Joined

  • Last visited

Posts posted by Roberta12

  1. 51 minutes ago, ^5 clay said:

    Thanks that's a great suggestion I will definitely try it. It allows multiple use too

    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.



  3. 1 hour ago, Nicky S said:

    Am still at the very basics Have not added any color to anything If someone would be so kind as to explain in “ simple terms “ what the differences between Engobes , Stain , Mason stain , and Pigments are And then Underglaze And Overglaze ?

    Thank you Nicky

    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!


  4. 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.  


  5. 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!!


  6. 2 hours ago, Marcia Selsor said:

    I had a friend receive a large quantity of chemicals from a family of a deceased potter. It was going to cost the family about $10,000 to throw away the chemicals which would have to be tested for toxic disposal. You might explain that to the family when you make your offer. That is a lot of good chemicals some of which are extinct.

    I'd like to suggest to old potters out there to consider leaving your studio chemicals to someone so the family doesn't have to deal with disposal costs. There are lucky to find Roberta.


    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.  

  7. 8 minutes ago, Callie Beller Diesel said:

    Roberta, Colemanite was available in the 70's and got replaced by Gerstley Borate. The analyses of the two aren't identical, but Gerstley is subbed in for Colemanite with some adjustments, kind of like min spar/Kona.


    And those are some very nice carbide shelves. They're the fancy lightweight ones. 

    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.  

  8. 2 hours ago, glazenerd said:


    colemanite is also known as calcium borate. Typical analysis can run as high as 48% boron and up to 22% calcium. One of those products that varies pending mine location: most abundant in Turkey. Can use it at any cone, but the higher the temp; the less you need. I use to make a boro-silicate (sort of) type glaze for tile. Also use a pinch of it in crystalline glaze. Hard to come by in the USA. 


    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??  

  9. 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!


  10. 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? 


    20180929_164550 (1).jpg

  11. 6 hours ago, Mark C. said:

    I do not have any plans to move my stuff once I'm gone other than donate it to our local ceramic shop.I am in next few months going thru a good friend who passed ceramic materials and sorting out what I can use and what other may want.

    The hardest part of this is the labeling of materials and clay-especially if you work in several temp ranges as he did.

    If you cannot figure low or mid or high fire than its just trash-true with mixed glazes or clays.

    Myself -I have purged all low fire products. My assistant also know's  this .

    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!!!!!  

  12. On ‎9‎/‎6‎/‎2018 at 2:57 PM, oldlady said:

    roberta,  one more thing.  i notice that the labels on the plastic containers and the metal ones are written on masking tape or some other tape.   take a sharpie when you go to pick the stuff up and label everything on the containers themselves.  you can see that tape gets useless after a long time and it is a nuisance to have labels fall off.   

    sharpie or other markers ink comes off plastic if you use hair spray and a cotton ball.  have done so for years and must have some containers whose contents have been different dozens of times.  it is great for marking tests so you do not put the wrong lid on the bucket of clear or white,    some will say use acetone but it does not work.

    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.  

  13. 1 hour ago, neilestrick said:

    You can easily look up the current value of those materials on the web site of any clay and materials supplier. I wouldn't offer the full value, of course, especially since you'll be taking a fair amount of stuff you might never use. Be prepared to have to deal with the stuff you don't want. You could probably donate it to a local college program.

    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.

  14. 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! 


  15. 10 hours ago, Min said:

    I would be looking at how much of the expensive materials there are, cobalt, tin etc. and base your offer on those materials. Ajax is a kaolin, low plasticity, about 1/3 less silica and alumina than EPK and minor other differences. One good thing is the bulk stuff is still in bags so less chance of a material mixup.

    Yes.  I would feel fairly comfortable using supplies from this studio.  Everything was clearly labled and in sections.  There were a couple of tubs unlabeled, I will just pitch those.   Being a midfire person, I have never come across Ajax in a recipe.   What recipes use it?

    6 hours ago, Mark C. said:

     Cobalt, tin etc as Min says is the money-the rest is low cost stuff.

    Yeah, I was excited when I saw the colorants and tin ox and zinc ox etc.  

    7 hours ago, Callie Beller Diesel said:

    Ask the family if he had some kind of glaze book he kept. Could be a starting point for some experimentation. 

    Hadn't thought about a glaze book.  I will ask.  


Important Information

By using this site, you agree to our Terms of Use.