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GEP

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About GEP

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    full time potter / past forum moderator

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  • Location
    Silver Spring, MD
  • Interests
    biking, jogging, cooking and eating, veggie gardening, baseball (Orioles)

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  1. I have an extra day off this week, so I am exploring some of the ideas that have been rattling around in my head. If possible I like to introduce new designs at my open studio in december, which means I need to start figuring them out now. Edit: ....aaaand now that I’ve studied this photo a bit, I’m going to erase the “7” on the brown one, and try to put it in the right place.
  2. Yes, your walls are too thin for a pot that size to support its own weight. When I throw a multi-part pot, the two parts are not equal size. I try to achieve 2/3 to 3/4 of the pot's height with the bottom piece. The top piece is just the last 1/4 to 1/3 of the height. So maybe 10 lb bottom and 3 lb top. I also throw and shape the top part with more water than I usually use. I don't want to create too much drag and torque, knowing there is a weak spot at the connection point.
  3. GEP

    Cone 6 Red Stoneware Recipe

    Are you dead set on making your own clay? Or would you be interested in a commercially made clay? Years ago I used a clay called 308 Brooklyn Red made by Standard. It’s quite an intense red/orange at cone 6. https://www.clayworkssupplies.com/product/308-standard-brooklyn-red/
  4. GEP

    Hannahs Blue Fake Ash Glaze

    I’ll take your word for it. I admittedly do not have much experience with blue glazes. @Eastwood Pottery could you possibly have mis-measured the cobalt oxide? Oxide is super-concentrated, far more than cobalt carb. The oxide is often a component in black stains. A small measuring mistake can make a big difference.
  5. GEP

    Hannahs Blue Fake Ash Glaze

    The recipe in Neil’s link notes that they used a local red clay instead of redart. I would still recommend to OP to replace the redart with something lighter.
  6. GEP

    Hannahs Blue Fake Ash Glaze

    I agree with curt. That much redart will make any glaze brown.
  7. GEP

    How To Improve?

    I recommend that abject beginners should start with a class. Having nine classmates who are all dealing with similar questions and isues can multiply your learning by a lot. And it also gives you perspective on how quickly you should expect yourself to progress. But I also thnk in person classes come in a wide range of quality. Many of them are just supervised open studios, where the students are on their own unless they ask for instruction. Which means the student needs to initiate meaningful questions, which is not really an effective way to teach. Lots of excellent teachers out there too, just saying that an in-person class doesn’t automatically mean quality.. If a good teacher is providing specific and meaningful instruction, and a framework for learning, this is more important than whether it is delivered in person or not.
  8. A lot of my greenware needs to be smoothed out. I’m doing a combination of @neilestrick and @Benzine ‘s suggestions. I wear a respirator, buff with a scotch brite pad, then pick up the loose dust with a big damp sponge. I do this over my slop bucket, some of the loose dust falls there. Sometimes the damp sponge cannot reach the loose dust, like when it’s in the recesses of a sgrafitto carved piece. In that case I’ll use a big dry paintbrush to gently move the dust out of the recesses, then pick it up with the damp sponge.
  9. Hi JMWP, I agree with @JohnnyK . I am an experienced potter who has done oodles of wholesale work, and even I would turn it down. Those pots are large and complex, full of potential to fail while drying. Plus, if the first sets are accepted and taken to the trade show, you would have no control over the production demands after that. It's the type of situation that can easily become a nightmare for a one-person pottery shop. If you are getting into production work, I can't emphasize enough how important it is to understand your production capabilities in realistic terms, and maintain control of your time. 40 tea cups by December is a much more sensible deal. Stick to those types of opportunities. The buyer also sounds like they don't quite understand the process of handmade pottery. That's another reason to say "no thanks." I wouldn't let someone sell my time if they don't understand what I do.
  10. GEP

    Breakage location

    It’s possible, can we see how much the thickness varies? This plus the possible rapid cooling might be combining to cause the cracks. This next one is just a hypothesis, but the hole in the bottom might be contributing to the problem too. For a large pot, the bottom holds the walls in place while the whole pot shrinks. In your case, the edges around your hole might be getting caught on the kiln shelf. Therefore warping rather than shrinking comfortably, and causing stress in the walls. You might consider firing future sinks on a waster cookie?
  11. GEP

    Breakage location

    Does the sink that cracked have an area of extra thickness? Either in the middle area, or around the rim? Knock it with a hammer to break it all the way in half, and look at the cross section.
  12. Please provide your firing temperature, and also whether you are firing oxidation or reduction. There are plenty of food safe green glazes. There’s another aspect of learning here, which is to never take commercial orders for pots you don’t know how to make yet. It might take a while before you work out all the technical details, and the final product might not be what the customer had in mind. There are too many variables in ceramics to agree on details that were only discussed verbally, without an actual sample in hand. The word “green” alone can mean so many things!
  13. You did a great job! Yes, you learned the hard way what it’s like to be next to the music stage. Next time you can request a quieter spot.
  14. GEP

    Brand new to pottery

    Every wheel thrower needs to teach themselves their own techniques to a large extent. However, you will save yourself a lot of time and lower your learning curve if you have someone teach you some basics. Such as, how to position and brace your body, arms, and hands. How to center. Basic knowledge of different claybodies. Basic tool knowledge. Beyond that you can personalize your approach as much as you want.
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