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      Ceramic Arts Network is looking for two new forum moderators for the Clay and Glaze Chemistry and Equipment Use and Repair sections of the Ceramic Arts Network Community Forum. We are looking for somebody who is an active participant (i.e. somebody who participates on a daily basis, or near daily) on the forum. Moderators must be willing to monitor the forum on a daily basis to remove spam, make sure members are adhering to the Forum Terms of Use, and make sure posts are in the appropriate categories. In addition to moderating their primary sections, Moderators must work as a team with other moderators to monitor the areas of the forum that do not have dedicated moderators (Educational Approaches and Resources, Aesthetic Approaches and Philosophy, etc.). Moderators must have a solid understanding of the area of the forum they are going to moderate (i.e. the Clay and Glaze Chemistry moderator must be somebody who mixes, tests, and has a decent understanding of materials). Moderators must be diplomatic communicators, be receptive to others’ ideas, and be able to see things from multiple perspectives. This is a volunteer position that comes with an honorary annual ICAN Gold membership. If you are interested, please send an email outlining your experience and qualifications to jharnetty@ceramics.org.

AtomicAxe

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About AtomicAxe

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    Skilled Mud Bug

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    Amarillo, TX
  1. How Do You "mark" Your Pot?

    I'm going to point to my signature. I have a chuck made from a wooden dowel I carved to be my signature. I have 4 different sized ones of the same "G" with two dots under it for size limitations ... and I utilize it to be pressed with a tiny pad of clay for a signature sprig. Works well for my needs. I will also tend to use different colored clays (black clay when used with red or white clays for example)
  2. Non Runny Ash Glaze

    Human remains aren't the same as a wood ash so you will need to use a different formula based on the more calcium rich materials. The two times I made a glaze from cremations have been more buttery matt than glossy because of the chemical makeup of the remains. Mixed in 5% batches into most glazes shouldn't affect the glaze quality too much ... Here are a few to get you started. Black Friday Glaze Con 6/ox Nepheline syenite 270x 20 Whiting 15 EPK 18 Ferro frit #3124 20 Flint 325x 17 Bone ash (Friday) 10 Mason black stain #6600 12 CMC 1% Audra Loyal Eugene OR SU STANDING BEAR ^6 OX. (Bill Edwards) ------------------------------------------------------- Wollastonite10.00 Silica 15.00 EPK Kaolin 20.00 G-200 Potash Feldspar 20.00 Ferro 3134 30.00 Bone Ash (Human) 5.00
  3. I have never had an issue with consignment itself. There are many times where consignment are right. Most notable is a gallery setup, you never get wholesale for that and everything is cataloged and inventoried. Curio shops and your average retail shouldn't be consignment ... it's basically giving them inventory that can break and shatter in 100 different ways from when it leaves your hands to when it gets back that you will never be paid for. I have gone as far as to give a pro-rated return if they need to send work back ... ussually it's the amount minus the restocking fee which sometimes doesn't amount to much. but we are talking wholesale, the most important thing is to have good predefined terms when you do either consignment or wholesale. Usually, for something like a cheese shop ... wholesale. The more custom you make the work ... the more restrictive the terms.
  4. Don Reitz R.i.p

    He came here to Amarillo a few short months ago. I was happy to hear him speak and to see his work in person. Truly a loss. I got to meet Davis, Voulkos and Soldner as well a few years before each one passed. The world gets a little more dull with every passing of one of my heros. :-\
  5. What others have said, first and foremost. They are effectively hiring you to sell them product that they can sell under their own brand. This would entirely be wholesale. Now, the terms of the agreement are important to determine wholesale rate. Since you are no longer a consignment potter there you would need to make sure it's worth while to you. Are you going for a 6 month contract? year? etc? how big are the orders going to be? how frequent? are you going to negotiate rates every contract term? are they going to request different product designs? (because afterall, you're designing their products now ... they might want seasonal ware) Since what you are doing is entirely custom to them and not returnable or resellable by you ... are they expecting to buy your product for half of what you are selling it for now? a third? because this is wholesale and then they apply their markup to make a profit. This is important since your work is selling you've established the price, and at wholesale you could lose money on deals where they could profit only to turn around and drop you when they find someone who can do it for less ... it's their brand then.
  6. Self Glazing Cone 04 Porcelain

    I always did like experimenting with self glazing clay bodies when I was in college. really any clay body can become self glazing ... it really just comes down to finding that point of fluxing a clay body to where it still holds it shape with in a cone or two higher than you fire but the surface flux melts at the cone you fire to or a little under. I had one I called a volcanic clay which I used silicon carbide in with high flux on an iron-ish rich clay body ... it fired to cone 10 and would sort of form a bubbled skin looking like course rock for some of my sculptures. Mind you, it still had warping and distortion in thin areas because of the self fluxing, so that had to be overcome with thickness.
  7. Anything that is not a glaze would need to be glazed. i.e. underglazes, mason transfers, custom block printing inks, etc some you fire a second time over a glaze (some laser transfers and decal work for example) but pretty much if you need it to be food safe, glaze it.
  8. Mailing Lists

    I use mailchimp as well. From being able to create embedded list signups for my website, being able to create and easily change multiple lists of recipients, create multiple campaigns that are fully customizable and can be for specific uses, being able track the campaigns with reports on them. Plus because it's an opt-in service (they have to agree to get email) ... and you are not sending it through your standard e-mail ... you won't get caught in a lot of server rules about spam. Good stuff. I also keep a list of potential galleries, museums and shops as well as brokers, wholesalers and a few others in a google spreadsheet that I can easily import into mailchimp to update my lists. I also take my hard copy of a guest list and put that into my email list in mailchimp as soon as I can after an event ... that way It's not a tedious thing later when I need to send out my e-mails.
  9. Hiring An Assistant

    I know I'm a little late to this discussion but oh well. As someone who has hired assistants and has been an assistant .. I can tell you that this is the way to go. the positives are better than an indi-potter. for pay, just make sure you're flexible ... the more tedious and menial ... the faster you'll get turnover regardless of pay. but be prepared to pay a decent rate for someone to live off of AND pay off their school debts.
  10. The last few demo's I've done have turned from structured how-to instructions into really just discussing art while constructing work and answering a couple questions people might have. Keep your process simple and informative, don't feel like you HAVE to stay structured, and have fun with it. People at a live demo can tell if you're not having fun. But as long as you are practiced, you will be fine.
  11. Photo Lithography on Clay

    I use a transfer method using 50 mason stain to 50 frit and have the same problem where the details disappear after glazing. What does adding the epk do? the epk just provides something the stain can bind to with the the frit and the clay body itself to bind in turn with the stain and frit, doesn't need to be alot, but when it sits on top of the clay body the stains even with a frit don't truly bond with anything so when you glaze the top, it can not only 'dissolve' a little in the glaze that does cover it but can slightly wash away ... do that to 100 plates and your glaze starts taking on a tint ... not good for batches of ware. Think of the EPK as the second half of the binder to make a truly durable 'ink' ... with a more lean binder (burnt plate oil) and the modified pigment you can do just about anything. And you probably only need a 50/50 ratio of frit to stain if your painting on glaze. and that is only to help stain melt into the glaze surface (and you still only want to deal with thin layers.) otherwise you can get a crustier matt finish. But that is only because the stains have been made to not melt at high temps on their own.
  12. Use Of Gum Of Arabic With Clay

    Gum arabic disolves in water, so with clay you probably don't need much, just wedge some prepared Gum into the clay and make it homogenous and you shouldn't have a problem ... Dang it, now I want to try it.
  13. Do You Use Highwater's White Clays?

    Whenever I went to Tampa, I picked up Hestia but that was also when I fired salt and wood frequently ... worked great and was mature at cone 10 but didn't bloat with overfiring (wood). Otherwise, Loafers Glory is nice ... sort of like an impure porcelain. if you're looking for mid-range ... sorry, wasn't my firing range when I could get that clay.
  14. glaze 'flaking' off

    Yeah, I think it's just the clay content in the top glaze. sticks like a champ to refires, and as the first glaze ... Tried drying all the way then coating the second time ... here are the results :-P just not a glaze i'm going to double dip I suppose.
  15. glaze 'flaking' off

    No need to post the glaze .. it's all drops from tests. I did on the other hand find a use for it ... on my refires ... seems to stick well without flaking on vitreous ware.
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