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Everything posted by LeeU

  1. LeeU

    White or Clear glaze

    A photo would also be helpful, to see form and mainly the texture. Diffferent colorations and tehniques work better on different types of textures.
  2. LeeU


    This is Coyote's mid-range Turquoise Matt. Appearance (my results, anyway) was the same at 05 as at 5, on stoneware-Bella's Blend multi-range).
  3. That is a great article. I remember discussing the "non-politics", yet politics, of Gropius and others in my first year of ceramics at VCU, where several of us were pressing for increasing the degree of global socio-economic and domination/oppression-related relevance of ceramists' work, as taught/discussed within the history of ceramics. Most instructors were well-educated in this and accomodated the interest we had. Here is a little bit on the ceramics of the Bauhaus workshop/studio http://bauhaus-keramik.de/en/bauhaustoepferei/
  4. I have no idea how to find anything by member name or album name in the Gallery, but if you can find me there, I have an album of pics for a studio set-up; a 12x14 space that has full studio functionality. Walking space is narrow but I can walk all around the glazing table to get to the sink, the clay, the drying shelves, the kiln loading shelves, the wedging/work surface table, the wheel and the supplies. The kiln is elsewhere (back porch) and there is no pug mill or extruder. Have fun---setting it up is a blast! Using it, even more so.
  5. This side will have a dug-out channel going around the sun. The piece is a spinoff from my Excavation series, and incorporates a Hidden Dragonfly when placed sunny side up. I was at the potters' guild reception for the Once Upon the Earth show and it pained me to have to deal with the fact that nobody could touch and handle my pieces. I handle and touch my pieces from the beginning of the process as though I were blind. Their heft and texture is half the point, as with this one that is on the workbench. 3/11 added pics after some carving
  6. A work in progress. Last piece for the anagam fire in April. Double sided whatchamacallit. It will get some carving & just a bit of weight reduction.
  7. Man in checkered shirt looking at one of MY bowls (shelf right) at the reception for the NHPG Once Upon the Earth exhibit. The photo is manipulated for a retro look. I was glad I went-I usually don't...just not my thing, but it was fun to watch people cruising my stuff.  


    1. Gabby


      I think it is great that you went.

      This way you can see very concretely whose day you made richer because you shared your work. 

  8. I put a bit of Bag Balm (kinda like Vaseline) on a cotton ball and lightly coated the metal press--which I think may be brass, not iron. I finally got a good impression today. Yes, I rub from the back! Not fooling with plaster, tho I know I "should". No picture of the best mother mold------I looked up and saw this---ran for the camera, which of course had the wrong lens on it...there were FOUR of 'em wandering through. I've lived here for 16 years and never seen this out my windows.
  9. Scored an old iron bacon press; want to make a mold so I can make trays. I found a good clay for the purpose (Si02) but I need a better first impression so when I bisque it and make the final mold I get enough detail, especially in the letters (it sez bacon press). The rough & quick tray is with a direct pressing, so the words are still reversed--it's just for some glaze testing.
  10. This lovely penguin was made by Liz Fletcher and I got it in a NH Potters' Guild pot swap. A good friend collects penguin stuff and I am reglazing it to make her a gift of it. The black was too thin in spots and there's a little chip on the beak that needs coverage. Hopefully, an 05 refire will do the trick. Yes, that's snow in the background.
  11. My kiln is sometimes too large for me to fill full if something is time sensitive. I've learned to do as Neil suggests--distribute the ware evenly, plus I'll add a few broken shelf pieces, or kiln brick, or even unglazed shards that I use for wasters/cookies. So far, so good, over the last two years of periodically doing these light loads. I have not seen any big difference in my electric bill, either.
  12. Look at the backdrop in Marks' Fish Mugs. It is perfecto!
  13. I didn't want to be the one to say it, but yeah, might be best to consider finding a professional photographer with experience in product/tabletop presentation. You are being judged/juried as much on the quality of the photograph as on the piece, since they cannot see it and touch it. You are competing against other ceramists by way of how good your work looks on a monitor or sheet of photo paper. Sad, but true. If local photogs are too pricey, you can sometimes hire their assistants. They are often as good, sometimes better, truth be told, than the big shot. Once they "arrive", photographers often have the studio assistant do much of the work that actually gets the job done. Assistants will freelance at a much lower hourly rate than the pro because they are trying to break into the field. Ask them to do a few test shots of your stuff...don't just go by their portfolio. Some will also give you a less expensive per job rate, vs. an hourly.
  14. LeeU

    Fish Mugs

    What fun!!!! You may have mentioned this before, but what do you use to get such a smooth gradation for the background of your pieces?
  15. I have to laugh...I do this kind of rim all the time, kind of a signature look, and accentuate it even more, like little flames coming up. Skip-I think it is just beautiful, "as is". Simplified, short clay is when clay lacks plasticity and will crack/tear. There are corrections for it. Here's a link to a bit of a discussion.
  16. I've found grouping multiples in one shot to be particularly difficult--hard to get a great composition, the colors and sizes may not work well together, and if one piece is just not as hot as the others, it will stand out! The bland wavy fabric/background is not serving to enhance the beautiful colors of your work. I agree with Logical-whatever is casting that darkish oval has gotta go. If you have two light stands you can move them around to better control where your shadows/highlights fall, how dense or thin they are, and find the sweet spot that will better accentuate the forms...they look just a little soft...need a little snap/crisp edges. I also wouldn't crop right up to the top & bottom edges of the form and would leave just a bit more space on the bottom than the top. (Aren't you glad you asked? LOL..maybe it's time to demote "brutally " to small letters)
  17. Well, yeah, until you get hooked, and it is still a hobby, but once you are hooked, and then it is no longer an inexpensive hobby, because, you are HOOKED!!! Hmmmm...didn't someone say " frighteningly addictive"? As in hooked!! And every self-respecting addict worth his/her salt knows that once you are hooked, there is nothing inexpensive about it. Just sayin'
  18. I posted an announcement for the NH Potters Guild exhibition for March in the Events of Interest forum.  I have two pieces on display.  Both bowls are pushing 2 lbs and are roughly in the 7" x 2" range.  Stoneware (stamped) and porcelain (incised). 

    BW 3c--.jpg

    BW 2c.jpg

  19. The 2019 biennial exhibition of the New Hampshire Potters Guild opens March 1st and runs through the month. It is held at the lovely Victorian Kimball Jenkins estate in Concord. https://www.kimballjenkins.com/upcomingevents
  20. The problem is clearly that Mark lacked the foresight and skills necessary to include a big fat smiley face after his comment. But I also wonder if C. banks may be doing a little subtle ha-ha as well.....especially since if there is ever a site markedly free of ire 98% of the time, it is this one! Hmm.....?? Me, I am ROFL
  21. Benzine, I tried and tried to just read your comment and move on!! But----no-can-do. I have found ceramics--and I am still at hobby level --to be quite expensive these days. I just found myself unable to order 50 lbs of a well-known common clay--nothing exotic--because they wanted $75 for the shipping. I'm in an area where there are no convenient local suppliers. Just one pint of commercial glaze runs roughly $14. I know that "expensive" is relative to other hobbies, and to personal income, but I want to offer a different perspective based on what I have been experiencing since I got back into it a few years ago. It cost thousands of dollars to set up a functional home studio with the "basics" (including kiln/wheel/electrical/sink etc.), but even if I'd beat the bushes for really cheap used equipment, it still would have added up to thousands of dollars. To me, that ain't an "inexpensive hobby"!! I'd also argue that unless you are paying for classes or going to a commercial studio where everything is available to use, or maybe just making pinch pots at home, for most serious work-including quality dishware- you really do need more than just some clay and some tools. I do agree that it is exciting and addictive.
  22. Want-want-want. Saving the pennies for someday-someday-someday.
  23. I have the Bailey table-top on my work table that I use mostly for glazing and sorting, within a 12x14 total studio space. It's worth every penny, especially with some of the benefit to reduce wear & tear on my body. I often use it for other flat surface work when not rolling clay. I'm careful about cleaning it and keeping the surface in good condition. The masonite boards come in handy for other things as well. It earns its keep. and if need be I can stash it under the work table.
  24. LeeU

    Drying porcelain

    Does anybody use a waxed paper or parchment paper "sandwich" instead of newspaper? If so, does it serve well, specific to porcelain? Just curious-will test it out when I "finally" get my back-ordered clay.

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