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oldlady

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Everything posted by oldlady

  1. welcome to the forums, tabathos. what country? does your clay have a cone number that it is fired to? is it terracotta clay"? there are many other bits of information that would help someone who is familiar with your problem make a good suggestion. what suppliers are available to you? (Kaolin is a type of clay.)
  2. OK, i have to give up my formerly wonderful all-purpose clay because it is so hard to use now. does anyone have a recommendation for something that is cone 6, white, works well as a slab or wheel thrown and dries fast? i do not add appendages to anything except an occasional flat slab handle on a tray so drying fast to get it out of the way of making something else is important to me. my old clay would do anything i asked it to do. and everything i made was dry the next day. it is now floppy and very wet so it takes 2-3 days just to dry enough to trim. and slabs slump instead of standing up, needing constant attention until dry. if you are using something that works well, please let me know. i think i remember that neil has suggested standard 181 but i am not sure it was as all-purpose as little loafers. any advice will be considered, especially if you use the clay for both throwing and slab work. thanks, all of you.
  3. welcome to the forums! there are several books that cover working with clay. some of the best for total beginners are textbooks from the 1970s. if you enter "books" at the top right on the home page here, you might get to a discussion of what books each of us consider important. there are a lot of recent books whick cover only a particular technique. don't believe any title that includes words like "complete". no single book can cover the entire field. the good ones will have a glossary in the back and any instructor you may have will appreciate your knowledge of the terminology. the photo showing a piece of lace wrapped around a balloon will remain your inspiration. it is good to have a goal when you start working.
  4. preeta, i wish i had the computer skills to put a photo here but i do not. if you would go to the website, PottersGuildofFrederick.com and look under "our artists" find Annamarie Poole.
  5. there is a well documented technique using sodium silicate to coat a freshly slipped pot, waiting for the ss to dry and then stretching the pot from the interior. this results in cracks over the entire pot. did not see the above mentioned photos so i may not be talking about the method used there.
  6. did not know you could do that, min! they look good and the bumpy salt effect is still there.
  7. i think you are going to be disappointed in hearing that the whole object needs to be fired in a kiln to the correct temperature of the glaze you want to melt. just put the glaze where you want it and ignore the rest. it will get hot in firing but will cool off and become hard when it is over and the glaze will be firmly in place wherever you have put it. picture a plain vase with a red balloon on the front. do you have access to a kiln? do you know any person who knows what to do or are you just experimenting with something for fun? disclaimer.......... depending on the glaze recipe being stable and not one that runs down any vertical surface. some glazes do that. sending photos would help.
  8. so, shawnhar, are you courtney or david ? or courtney david. you did well for a first show. aren't you glad you waited until you had everything lined up? the canopy, the shelving, the layout and the confidence in your own work. good for you, taking on a big show like that one. being part of 200 vendors is intimidating. do not let it throw you. and do not listen to other vendors stories or philosophy. people by pots because they like them. you can be one of 2,000 and if a buyer likes your work, she will pass up the others for yours. check out what sold and make more of them. and something just a little different because the buyer already has one of them but will like the new work as well next time. good for you! (only suggestion is having at least a back wall to keep distraction to a minimum. sometimes the wind means you cannot have a back or side wall but you only have 10 feet of privacy. for a sale to happen the customer has to be able to concentrate on your work, not the loudmouth nextdoor.)
  9. this is the only time i have heard of this so i do not know about frit and bentonite. annamarie uses the glaze she puts on her whole pots and adds colored stains. period. it works, i don't know how but the results are beautiful. some colors do not like the base glaze , cone 10 Shaner's clear, so she avoids the stains that do not work well. she showed us a series of brushes, most from calligraphy or chinese brush painting that she uses to get the various strokes needed so i know she applies the colored glaze with brushes.
  10. welcome to the forums . if you move this post to the correct heading, you will probably get a fast answer. see Studio Operations and making work.
  11. attended a meeting with a demo of painting on porcelain on monday. have always admired the beautiful work the potter creates that is similar to chinese brush painting . i learned the secret and realized that it is one that can be shared to everyone. if you were an art major in school stop reading here. we have had several discussions with potters from other countries about stains or pigments and i think i finally understand their concerns. i think they are trying to do exactly what our demo showed. the color was added to a base glaze that fits the pot and then the color was used as what we in the US would call an underglaze. it was made by adding about a teaspoonful of a Mason stain to half a cup of the clear glaze. the mixture was thoroughly stirred to disperse the color and make a very brushable paint. it was applied to a bisqued pot using varied brushes and techniques. because the color was mixed into the base glaze, there was no problem with covering the entire pot with the clear glaze afterward. it struck me that this is exactly what those potters in europe and the middle east were talking about. their language included the word pigment which was unfamiliar to me as being the same as a Mason stain. without an art education, it has taken me a long time to realize that learning just the vocabulary that formally trained artists use can be helpful. you guys know that pigment is carried by a medium, it took me years to figure out that one. monday's demo taught me to think of other kinds of medium.
  12. creole, the problem that business owners have when thinking that they are offering a good deal to a potter is that a potter is not a factory. it costs the same amount to make your small vase as it would to make something a potter could sell for 5 times as much as you would even consider. to scale up would be very hard for the average potter and costly to his/her normal business. i also suggest you find a factory to make whatever you like.
  13. the factory in china is most likely doing that kind of work on greenware. the immediacy of the result is why i really love doing things on greenware. carving through a covering slip, scraping off a mistake, everything is easier with single firing. i do not know why people are afraid of it. if you can pick up a baby without breaking it, you probably can pick up greenware without crushing it in your big, clumsy hands. wait. who said you are clumsy? do not believe it. just look at whatever you are picking up and see where it is balanced. remember gravity and strain, never use a handle, lift from below the heaviest part and remember it is only clay.
  14. wait, wait, wait, spotty. how many switches are on your kiln? i looked at olympic's website and there is no model with just 1818H that i could find. is there a way to see a photo of the kiln itself? firing on low for 10 to 12 hours sounds extreme. if your work is thoroughly dry, there is no need to fire on low for that amount of time. and "wedge" could be half an inch to 6 inches or more. maybe there are other kiln manuals that are more clear. have you tried calling them to ask this question? Neil, what do you think?
  15. thanks, good suggestion. sometimes, when the brain has been fried and then soaked in a heavy rain, it does not work well. been that kind of a day. sitting in a gallery with only 8 possible customers walking in, paying $7 for parking at the gallery, driving both ways in rain, having no internet at all and almost thankful not to disappoint customers who MIGHT buy something, all makes me think selling from home MUST be easier.
  16. callie, i am interested in internet sales. i have considered an Etsy shop and even know someone who can help me make one. the retrieval of email addresses through etsy is a concern. i agree that having my own email list is very important. would this work??? thank you, mrs customer for your purchase of the butter dish. i am always interested in how people use the items so could you please send me a photo of your new butter dish in use? i promise i will not sell your private info if you do this for me. thank you with proper capitalization, of course. i do care a lot about the photo but my real purpose is seeing that return email address. what do you think? will Etsy notice?
  17. spotty, there really is no simple answer to your question other than liam's sensible suggestion. every person makes pots that are individual to that person. putting them in the kiln and then thinking they should fire in the same amount of time as the nearest other potter just won't work. maybe you make very thick, heavy pots and get 4 of them into the kiln. maybe that other guy puts 50 tiny things in the same kiln. maybe you use 1 shelf and he uses 5. try liam's suggestion. personally, i have had the timer shut off the kiln before it was fired because i forgot to set it. it all depends.
  18. tell the owner to look at the right side of the red painted section that sticks out. whatever the price is, that is a very old kiln so find out as much as you can. was it used for only earthenware, low firing temperatures, or how often was it used? can you get a photo of the inside, (hold the camera down in the middle and get a shot of the wires in their grooves) is it still in use today or has it been in storage for a time? there are lots of previous posts about what to look for in a used kiln, try to find them.
  19. i do not think they will work very well, the clay is just damp enough that it might cause the jiffy pot to collapse. it is not hard to teach them to use slabs that are cut to the right shape and put a bottom on, a very simple example. to get a shape that will work, i suggest finding a good size paper cup that they can handle easily. too small is hard to do. cut it on its seam and flatten it under a heavy book. have them cut their own shape and form it over a second paper cup. look at Sandi Pierantozzi's work and see how simple it can be.
  20. that is the size i bought for a test kiln for about $100. or less, i do not remember. it is not in the greatest shape. i would keep shopping.
  21. you have not entered your location. if any of us finds something, it could be 2000 miles away. tell us more about yourself. do you visit other potter's studios? are you in a big city or a rural location? do you dream of having a salt kiln or are you happy with electric? wheel now, handbuild later? do you use power tools with gusto or do they scare you to death? can you build a table for the studio or not? everyone is different, their studios reflect the kind of work they do.
  22. aoiew well, that didn't work. i thought the cancel in edit would do it but that only works for the edit itself.
  23. welcome, andy. "tonne" tells me you are probably not in the USA. i am inferring that you have tested this particular clay by mixing, making and firing it to your satisfaction. there are several books that i have read that talk about this process. one written by an englishman in the 1970-80 period. i cannot remember the name of the book or the author but i know someone here mentioned it last year. the green cover shows a teapot and the theme of the book is that you can build a lot of your own tools and save money by firing with cooking grease from local restaurants. i knew a potter who slaked his clay down a series of wooden troughs that had wire screening starting with large openings at the top and working down to small square wire we call ratwire. it is used in places like under a porch to prevent animals from getting in. will look for the title and author. edit found it The self-reliant potter by Andrew Holden, 1986. maybe you can find it in your local libray.
  24. sadly, art teacher has only entered the question then disappeared.
  25. congratulations on summoning up the courage to get started! i assume that the numbers are measurements, do you use metric in Poland?
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