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Pugaboo

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About Pugaboo

  • Rank
    Lifetime artist 3rd year potter

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  • Gender
    Female
  • Location
    Helen, GA
  • Interests
    Art, painting, drawing, photography, ceramics, Pugs, dogs, reading

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  1. A message from Alice (oldlady) regarding Terry (Pugaboo)
    "Terry Buffington, known to us as the vibrant Pugaboo, lost her husband on October 4 to a serious illness.  He had been ill and hospitalized for several weeks.  I know Terry would be glad to hear from her forum "family".  I am sure we all feel part of her loss and would like to express those feelings to her."

    1. Show previous comments  7 more
    2. Chilly

      Chilly

      So sorry to hear this sad news Terry, all our thoughts are with you.

       

    3. Joseph F

      Joseph F

      *hug* thoughts with you.

    4. Denice

      Denice

      Sending lots of hugs your way I am sorry you are having to go through this.    Denice

  2. I made a silkscreen of my logo and use that. It's nice because it can be done at leatherhard, bone dry, or bisqued stages. The screen isn't in a frame, in fact it's less than 2x2 inches, I just hold it in place with 2 fingers swipe the ceramic ink across it with another finger and I'm done. I also have a nice transfer of the same design that I use on all my transfer pieces since they go in to a 3rd firing. i do have my Turbo Pug metal stamp that I stamp into the bottom of all my mug handles but I do that more because I like it than as a signature. T
  3. Weekly schedule

    Go into studio and work every day. Even if you don't feel like it, don't feel creative, etc. once you can do that it's easier to look at your to do list of forms that you need and simply start tackling it. For me it's my job and I treat it as such and go to work everyday unless there is a medical appt or something but even then I go in the studio for a few hours. I count teaching private lessons as well as group classes and art center time as work as well even though I am not in my personal studio for all of that it's all part of my clay journey. I like to work in lots or groups of forms. A couple dozen mugs, a dozen bowls, a few dozen spoon rests, etc. I set the studio up for that form and get to work until I have the number I am aiming for before moving on to the next form. I fill up rolling racks with pieces drying then fill Bisque from that selection. I like to wax everything at once then get the glaze ready and glaze everything the same color at a time. In other words if I am doing Blue Rutile pieces I glaze several dozen forms that need that glaze all at once. It's faster and easier than glazing this color then that color then back to this color etc. I fill the kiln as soon as the glazed pieces are dry enough to handle and fire immediately. If I have festivals coming up I will fire pretty much back to back bisque, glaze, bisque, glaze until I have a nice amount of stock ready. Since I use my Extruder a lot as the base form for many of my items I'll Extruder several hundred pounds of forms at once, fill all my damp boxes up then get to assembling them in those lots I mentioned. I have found that thinking in groups rather than single pieces makes it easier to accomplish. T
  4. Cautionary Tale

    Oh wow nerd! I'm printing that out and hanging it on the wall over the art centers studio glaze Kiln. Cautionary tale indeed. T
  5. raising my wheel

    I have a Bailey and they sell leg extensions as well. I got the ones to raise it high enough to stand at, they also make a shorter set for sitting but higher up than normal. T
  6. Thin Pieces Close To Lid

    A TC Offset is a thermocouple Offset. I have programmed in a cone 6 TC Offset on my kiln. I found that doing this gave me the results I was looking for in my glazes. I was having trouble with pinholes and such but when I did a hold at my max temp then I was overfiring the pieces. I tried a slow cool but my glazes went too matt on me. When I programmed in the TC Offset on a cone 6 firing it reduced the max temperature reached so when I add on the hold I get a perfect cone 6 bend, no pinholes, no matt surfaces and no overfired pieces. Doing this has also allowed my Kiln to fire more evenly from the very top to bottom and shelf to shelf even right under the lid. I tried a lot of different things to get the results I wanted and this did the trick. T
  7. Thin Pieces Close To Lid

    I've done it with small flat items like pendants and Ornaments and about a 2" clearance and had no issues. I would just make sure there is 1 coil above the shelf to get heat into the section. I do a slow glaze fire to cone 6 with a TC offset so I can do a 10 minute hold at the end to give everything time to even out and get the heatwork they need without over firing. Good luck! T
  8. I donate to a couple local art centers, and I used to donate to Pug Rescue when I was involved. When I donate they always want me to fill out paperwork with all this stuff on it so I can get my tax write off. I hand them the unfilled out paperwork back and tell them this is a gift I don't claim my gifts as it's not worth the time I take to fill out the paperwork. Most of the time they take the item and their paperwork, write my name on said paperwork and thank me. I don't have time to sit there filling all that ehem "stuff" out if they want my pieces I am happy to gift them just not sitting there filling out forms to give them something for free. I used to get the line, but it will be such good exposure for you! Blek! Gag! Shut up if you say that I'm not giving you anything and you've just insulted me on top of it. I got it a lot as a graphic artist when they wanted work done for free but thought if they told me how much exposure I was going to get by working on their project I would happily spend hours working for nothing. It took only once as a young artist to learn this is bull-pucky. I'd like my doctor to donate his time for free to help this artist and her favorite charity (ME) but I still get a bill in the mail. I don't do email requests, phone requests, or mail requests, they all get dumped. If I personally know you, believe in what you are doing, care enough to give you something to help you continue what you are doing, I will GIFT you something as long as you don't ask me to fill out paperwork. Hmm rereading that it may seem a little harsh but after 30 years of getting the same lines again and again I just don't have time for the "game" they like to play anymore. T
  9. In my personal studio I wear old workout clothes with a simple chefs style apron over them and crocs. When I do wheel I use a bath towel positioned as I need it. I dry the aprons and towels out, bang them, then hose them down or let the rain do it before hanging them on my fence to let the, dry. My clothes usually have a few smudges, but nothing major. When teaching I have a prettier bibbed apron I wear since I am always wiping my hands off as I move from student to student and found out wiping my hands on my pants led to some pretty awful stains with brown clay and glazes. I wear crocs also for teaching. I have more trouble with clay on my face and in my hair that I get told is there by other people since I do not have a mirror in either studio. T
  10. Have you placed orton test cones in the kiln to see how hot you are really firing? Like Neil said, bloating is generally an over firing issue. Pinholes could be several things from too thick a glaze application, or your bisque schedule isn't letting everything burn away, or too fast of a cool down once temperature is reached during your glaze firing which doesn't give the glaze time to smooth out before it drops. Lots of things could be going on and you need to start eliminating some of the variables. 1 clay or both clays doing it? All glazes doing it on BOTH clays. Only one glaze? Only one Clay etc. First I would check and see just how hot you are actually firing with cones. If too high Program in a cone offset and test fire again with test cones on the shelves to check HEATWORK achieved. T
  11. Introduction And Garage Studio

    Nice start! You should have lots of fun in your set up. My husband has cut me off at half of a 2 car garage... he says I'm not allowed to have any more of it and he is NOT parking his truck outside. Oh and the garage is just for the kilns, shipping and stock storage it doesn't count the studio or extra storage in other rooms. He's just lucky it's a multi story house or he might be sitting on clay boxes to watch tv. Soooo Being a kind and generous wife I agreed to not take over the entire garage, offered to build shelves to help organize it better, and in the process score a few more feet without him realizing it. GRIN T
  12. Try searchig on "bisque MOLD" Here is a recent one: http://community.ceramicartsdaily.org/topic/15892-plates-slump-hump/?hl=+bisque%20+mold T
  13. Is Anyone A Toolmaker Or Machinist?

    I'm not sure if something like this would do what you need. A picture of the tool from another angle to see its exact shape all around would help. The shape I can see from your photo reminds me of the scratch tools used for scratchboard drawing. http://www.dickblick.com/products/scratch-art-tool-set/ There are various sets and you can even just buy the heads.... do any of them kind of look like what you need? T
  14. Listen to Neil and the others.... DON'T DO IT! Not worth the stress and possible negative outcomes. When I took over the pottery dept at the art center I called around trying to find out if anyone fired other people's work in their kilns and what rules they used. NOBODY NO BUSINESS NO ART CENTER around here will fire work not made with their clay in their classes or facilities. The risk is just too great, lose your Kiln and you could be out of business. T
  15. I currently only do 1 day local shows, it's not in the books for me to be able to travel any distance or be away from home overnight. My situation is... I've only been doing shows with pottery for about 4 years. My most expensive show is $75 and most are around $50. 1 show cost me $0 to do as I was invited which was nice. The rules are pretty good and I haven't encountered any "terror promoters". The furthest show away is 30 miles one way and most are less than 20 miles with 4 of them being within walking distance of my home. I never have to pay for parking, it's always provided. Super easy setups and tear downs. I use a pop up canopy or no canopy at all if the weather is good. My set up breaks down into small pieces so I don't stress my body too much. Most of the shows are in the 1000 spectator range. Festivals usually run from 10 until 5, a couple start at 11 or end at 2, I only have one that runs past 6. Amounts below are all approximate: I average $500 a show, the most in 1 day was a little over $1100. If I make less than $300, unless it's raining or something, I won't do it again. Between $300 and $450 it's a let's give it another chance and see if I can build on it. $500 and up it's a definite do again. I am getting a nice schedule set and am hoping within a year or so I don't have to keep adding new venues. I'm looking to get up to 12 shows a year and this year I'm doing 10. I have my eye on 4 more shows to pick between for next year if the dates and such align in my empty spots. I also have back up shows marked on my calendar in case a show I am doing now disappears so I can simply slip another into that weekend. The shows I am looking at for next year I have gone to as a spectator or will go to this fall to check out the lay of the land. I am always talking to other artists, local, etc gathering information on festivals and such which I then research and if it looks like a possible I write it into my calendar to keep track of it. As others have said you have to decide for yourself what makes a show worth doing and worth repeating, nobody can answer that for you. All my shows are easy, cheap, with little to no additional expenses so I can make less and still profit. Good luck! T
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