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  1. I am retired, and between "other college classes" and the studio hours are not recorded or ground in stone. I have my pugger, blender, table, wheel, and the kiln with me right here and I just go from project to project. When the clay is stiff, pug it, when it is too wet, put it with the dry. I am currently involved with some rather large items and it will be tasking now because I am still working on finding my "white" body clay for ^6. I am doing fine with a lot of the forms, but my examples are just photos or drawing of what the anthropologists believe they looked like. I do need the white clay. Then I will make a mad dash to the south west and get a few hundred pounds of "Rocky Mountain Bee Plant" for the rest of the project. As for the original question, I will work from the time I get up until I have to take a shower and go to bed. This is relaxing. :Psrc="http://ceramicartsdaily.org/community/public/style_emoticons/default/tongue.gif">
  2. Yes, Southern Pottery is still there and I have used them and it appears that they may be the major source of my clays. I am still working on a blend for myself and it looks as though I may have done it. It fires great to bisk. Now my glazes need to be tested. If Southern Pottery is still there, they are great!...I used them many years ago while at Tulane
  3. If Southern Pottery is still there, they are great!...I used them many years ago while at Tulane
  4. I have been working in slip cast ceramics for over 40 years. I have found that as the mold ages, it will wear. The condition which you are describing could be caused by casting too soon. Reguardless of what you have been casting or pouring, it is known that porceline can be cast more than non-porceline casting in a regular period of time. The pieces of mold could be caused by fatigue by the plaster. Remember, you made the mold. The general rule of thumb is when the cast item is dry, the mold can be cast again. I am a certified ceramic instructor and have been so for many years. As for putting something on the surface of the mold to protect it, do not. The slip will not set up in that area and you will ruin the mold. I am manufacturing some molds of my own and I am keeping it simple. I make the forms from hard wood and then produce the mold with good plaster. If there is a problem with my mold, I make another one and destroy the bad one. Good luck in your actions and career
  5. I have for a time, used "B" mix and enjoy it, but it still gives me a headache at times. The size of my pieces cause some problems. I want to try porceline and I am about to start making my own, but I do not like working with cream cheese. It is therefore, the reason I am working at making my own white body. I want that so that my pastel colors stay pastel and the white stays white. I want my colors to stay alive, so I will be using white. No particular source as yet. I am still experimenting. I will check with a source in Baton Rouge in a couple of weeks, he will blend and produce my clay for me once I get it formulated.
  6. Brian, I have taken pottery serious for over 10 to 12 years so far and have worked with slip casting for over 40 years. My level of education in pottery is what I would consider adequate since I have taken three years at one college and about to get into another one just for the advanced experience. As to the situation which you are in, I am sorry. I lived on Whidbey Island for many years and love the area, Seattle included, but I have never seen any one that was willing to set at the table and just have a good potters round table. I do not live in that area now, but still have the same problem. It appears that there are a good many potters and the objective is to "take" someone's idea. I am still trying to organize a guild where I am at and am surprised that it is a "no-go". We all started together and now most of them do not want to talk with each other. I have my glazes which I made, I have my clay which I have made and that which I have blended. I do not run from them. I just have a couple glazes which I do not let people know how I did it, and what is in it. The major problem I am having down here, Mississippi, is that some people want to run an organization which is not conducive to good communication. We cannot dictate what an organization will do. Get a document started which would be like your business plan, let that be the "Constitution" of your organization and once there is a meeting, modify as needed. You do not need a 501C3 organization as some people claim. I am trying to organize a guild, still, and I am using the ideas from one area which I found very nice. Door County, Wisconsin has a guild that is made up of 8 different potters and they all talk quite highly of each other. They collectively have a brochure advertising their own studios. They are impressive. I am on the mailing list of one of the potters and the next time I get his update, or find the last one, I will email it to you. Better yet, go and visit Door County, Wisconsin. I wish the best of luck to you and your ideas are great. Good luck.
  7. slip casting

    Now with what you are telling me, I can do this with any body of clay that I use, reguardless of cone. It will work for that respective temperature. This will be good. I will also have to try this one. It will be an answere to a prayer if it does work. For some strange reason, I had wondered about this and it seems as though... Just give it a try. Thank you.
  8. slip casting

    I will copy this and try it. The ingredience is simple enough. And as you say, a small amount first as a test batch, then experiment with a larger batch. Thanks a lot. Wil
  9. I have been making my own clay for the past four years, but just recently I have been wanting a white body clay. I have some "B" mix and a lot of Highwater in the studio. I would prefer to make my own clay because of the cost and control I have over the product. I would appreciate any and all inputs as to where I can get a good recipe for my own cone 6 clay that will fire out white.
  10. Disposal of old glazes

    Do you still have the glazes? If you do, are they dried out? I would immagine that they would be. The reason is... I have kept the unused portions of the glazes that the students mixed and we kept them in buckets from some home improvement center. Mixing them up and letting them settle for a few minutes, gives me the most uniques glazes after a few minutes. It cannot be duplicated, the different compounds settle at different levels and gives you a rainbow of affects which are fantastic. What cone range are these glazes? What ever you do, do not dump the wet glaze compounds in the land fils or water reclamation system. You just wasted a fortune in glaze materials and probably broken a dozen other laws in the neighborhood.
  11. I have been working in both clay and slip casting for quite a few years and have considered mixing my own slip for casting but have not found any cone 04 slip recipes on the internet. With the rediculous pricing of the slips I have seen over the past few months, I have considered looking toward the workers in the field, you folks. Are there any cone 04 slips that can be made in one's own studio? Please help me, I would greatly appreciate it. Even better if it would fire out white as the other slips do.
  12. I have been looking around and have many recipes of different clays that I have been mixing and using, but I have not found one white clay. I do not desire to use a porceline based type clay and would enjoy mixing my own. Is there anyone that has a white cone 6 clay recipe which they are willing to share?
  13. Email me I am new on the forum but have had some good results with my leaf glazing which I have done in the past 10 years. I use the handle end of the brush to create the details of the leaf. Next is to take a dark glaze, and do the details with that color. After letting that dry, I use a natural sponge and with the selected glace colors, I dab my sponge in the glazes and pat them on the leaf. I do not put the glaze on too heavily so as not to cover up the detail. As you gain experience, you will know how much to put on the detail of the leaf, and how much glaze to put on the leaf itself. I hope this helps.

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