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About Benzine

  • Rank
    Socratic Potter

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  • Gender
  • Location
    The Hawkeye State
  • Interests
    The Arts (Drawing, Painting, Ceramics, Graphic Design), Running, Music (Mostly Rock), Movies, Technology
  1. Also, in regards to selling your work, as a beginner, if it is functional, safe to use, etc I don't see a problem with it. We are all growing as artists. Not only have our skills developed over time, but so have our taste. Forms and glazes, that we may have liked, at one time, might not interest us anymore. The same is true for any artist, in any media; Painters, photographers, designers, etc. This doesn't mean that earlier work is worthless. So if your work is well made (No cracks, horribly uneven spots, overly thick) and you've got a proper glaze on it, by all means, sell away. As Mea said, she has family with some of her earlier work, that she would rather "Didn't exist anymore". I too have some out there. They are all gifts, but that doesn't diminish my distaste for them. I can happily report, that a few of them were liberated from my Grandparent's, when I helped during a move...
  2. Mark made 6000 pots, in the time it took for us to have this conversation...
  3. Benzine

    Thinning a Commercial Brush Glaze

    I remember Mark stating, that he believed that extruded handles were actually stronger, as they are being compressed, while being made, as opposed to stretched out, with a pulled handle. I wonder if anyone has experimented with this, to determine the difference in strength?
  4. Benzine

    Thinning a Commercial Brush Glaze

    Dang lazy, non-dominant hands! I too like the taper of pulled handles. I will continue using them, for my own work. I really do like the look of those that we extruded though. I just made the die with a drill and scroll saw.
  5. Benzine

    Thinning a Commercial Brush Glaze

    Thanks for the suggestions all. I'll mix up some different batches, and give them some testing, before using them, on the wares. I also need to do my best, to make the glazing "Student Proof". Not all my Art Club, have experience with clay and glaze work, as some haven't taken that class with me. Even those, that have still struggled with the making of our wares. I tried to initially do pulled handles, but there wasn't a lot of consistency. Soooo, ended up making an extruder die, and life got easier...
  6. Benzine

    Thinning a Commercial Brush Glaze

    What if I added a deflocculant? That way it would flow easier, but the water content would be the same.
  7. My Art Club students are glazing dozens of the same form, for one of our projects. I was initially going to use one of our dip glazes, but don't think we have enough, nor do I think I have enough time to order more of it. So I do have quite a bit of another color that will work, but it is a brush on glaze. The instructions say that it can be thinned for dipping or pouring, but don't specify how much I would want to thin it. For dip glazes I've always gone with the "Heavy Cream" consistency (What's a hydrometer?), but I wasn't sure if that's the consistency I would want for something that is normally brush on. My concern arises from the fact that I know that commercially made, bottled glazes, that are meant for brushing, have additives that make them easier to brush, like gum. Anyone have any experience/ suggestions on this?
  8. This is my every day. It's taking a toll on my back. In some circumstances, I'll have the student give up their seat, especially if the fix requires precision.
  9. Benzine

    Dry wood ash on glazes

    11 herbs and spices?
  10. And my students laugh, when I point out the instructions on the glaze bottles, about no eating, drinking or smoking, while glazing... They ask, "Who would do that?"
  11. Some I break, some are still sitting around for me to rediscover, and once again mock me with failure... Usually, if I am not happy with something it doesn't make it to firing. Those that do, the defect is usually with the glaze, and I keep them, because I like the form. Others, I have in my classroom to discuss the issues. For example, I have a small vase with a really nice glaze combination, that cracked because that combination cause some severe dunting. It illustrates nicely how a clay body and the applied glaze interact with each other.
  12. I have seen plenty of students dry out their clay from overworking. Especially those, who have never worked with clay, who enjoy "playing" with it, As the clay is exposed to air, it loses moisture, especially as it is needed and more and more of it is exposed to the air. Couple that with the hands pulling some of the moisture out, and it doesn't take long to dry out. How warm the clay is really doesn't contribute much to how quickly it dries, unless a person is generating a couple hundred degrees of heat. An absorbent material however, like canvas plaster, cement and dry air, will pull water out of the clay rather fast.
  13. Benzine

    Blistering / What Causes it?

    Any time I've run into similar issues, it was because of underfiring/ cooling relatively quickly.
  14. I don't even let my students glaze all the way down to the base of the foot, and we use low fire glaze, which barely move at all.

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