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Everything posted by LeeU

  1. My preferred mid-fire porcelain is Cool Ice (milled in Australia; the only U.S. supplier is Seatle Pottery-gorgeous body. I like Standard's 621 Troy wood fire ^10 for throwing and Sheffield's "Z" for handbuilding. I do not care for the generally popular B-Mix or Little Loafers. Been using Bella's Blend for a fairly "true" multi-range 05-6 & Buncombe White ^6 , both from Highwater.
  2. Weird --I hit the link and it just pops to the list of forums right here. So--if anyone is interested, you just need to type the URL directly into the browser bar. Nice video snippets about the course. I was not familiar with TeachinArt so it was a "good to know" experience--a number of familiar clay artists provide their online speciality courses there.
  3. Happy Joyous and Free, and celebrating Independence Day! I put some pics in the LeeU Anagama Fire album in the gallery.


  4. LeeU

    LeeU anagama fire

    John Baymore and students built the Fushigigama kiln at the NHIA Sharon Art Center, New Hampshire.
  5. Which may be what needs to be addressed more than the fear of silicosis. (i.e anxiety becoming an impairment, not just a passing bit of worry.) And thus, you have identified and defined the work you need to do at this point in time!! Willingness is the key.
  6. I was just was given a piece that I had in the recent anagama fire, that had been found afterthe unloading and cleaning of the kiln. I did not even realize it was missing from my fired ware, though it was one of my favorites going in. It is nicely crusty on the interior, which I was going for-I'd made the inside very rough hoping it would catch ash. The external effects make me happy-happy! The piece is roughly 5.5" h x 2"sq. and about 1 lb. 8 oz., which is how I like it. Body is Sheffield Z, glaze was just small splashes of tennmoku and white on some areas and thetexture is paddled or hand treated. John said the firing reached cones 11-13 overall. Update--I put more photos in the album Lee U Anagama Fire in the Gallery.
  7. I guess that could work for very simple mugs with simple glazes. A formula that enables ease of processing/handling is a beautiful thing! However, the price also needs to reflect the detail and features of the piece. This mug by Steven Zoldak has a slight sparkle in the clear glaze (maybe mica in the body-I don't know), beautiful top detail, the handle is super comfortable, and the slip trailing makes it a winner. It holds 8 oz., but it is not a $15 mug...nor should it be. These retail for $35. I have a friend who turns out the most elegant slab-built mugs, textured with a unique foot design and they too hold 8 oz. in volume for $35. Both are prices from a couple of years ago--dunno if they have held there or gone up. The location also affects what the market will bear---urban, rural, tourist-attractive etc. Another factor to consider is how do you reduce the price for products that are already so low if someone wants to buy a bunch of them, say for a cafe or to put in their gift shop---do you have enough room to move without ending up not paying yourself? I guess what I am saying is that, for me, a formula based on how much coffee it would hold would not be a practical approach...some think "size matters"; I don't think size matters all that much...other attributes have higher value.
  8. Maybe contact Simon Leach and ask him https://www.simonleachpottery.com/contact.html If you get your answer, come back and post what the book is.
  9. I am not a production person nor a professional, but I value an organized inventory system. I use two things--for "on the fly" records I use the free mobile app Pottery Log. My permanent inventory is an Excel Workbook with separate sheets for each "category" of pieces: catchalls, bowls, desk top (i.e. business card holders and the like) etc. etc. and ones for wood fire/raku. The pic is from my sheet Bowls; the item code is the same as I use on my webpage as a product number. I use a simple alphanumeric code for each category, i.e. catchalls is CA, DT is desk top etc. The code goes on a piece of masking tape affixed to the bottom of the piece then I can store it and find it. Storage boxes or drawers are labeled BW, CA etc. It's a lot of detail and some would say not necessary, but it works for me.
  10. Well golly, Pres. You didn't leave much room for me (can't speak for anyone else) to add much! Your list pretty much covers it all...and much more than I have in my studio (no grinding base or GG-- if it won't Dremel off or respond to the various diamond-based assists and other manual processes, then it's just not happening). Then again, I'm not cranking out jars with lids, and my inherently "rough" style lends itself to very minimal finishing needing to be done. Packing I've got down to a science and am pretty good at it, but I don't do anything special that anybody else doesn't do, as far as standard practices go. If I use newspaper, I do make an effort to use sheets of interest from our local publications, like The Weirs Times, serving the Winnipesaukee lakes region of NH. Here's a sample of a pic I would use as a wrap. And I often include a small moose hanging ornament along with my biz card. My smalls bags are white, blue, or brown Kraft and I have a sticker with my logo to seal them shut.
  11. That is an important bit of advice! Everything Neil mentioned is gold and should help assure a good experience at these shows. I want to address the "flaws" disclosure issue. My perspective is perhaps a bit different from many ceramists, and I am not a professional. For me, the role of "flaws" in clay (or paintings, sculpture etc.) is an aesthetic and philosophical issue that each craftman/artist should explore and come to personal terms with. Over time I have moved from seeing technical flaws as flaws in the work--and even as flaws in me as the creator-- to seeing technical flaws as just that: technical. If I am aiming for the best craft, the most sound chemistry/technique etc., that really matters. But if that is not my goal, then said flaws are not necessairly artistically "wrong". Obviously, there is also the matter of values, and one should be quite clear about what one's values are, and why. Then your words will reflect your values. First question---what flaws do you see? The flaws I see depend not just on my knowledge of ceramics, but also on my approach to the field and the process I use to generate my style. I decide, on a piece-by-piece basis, whether to accept technical flaws or not, as an artist. If I don't accept the flaws (i.e. the glaze crawled, piece has got some burples, there is a warped curve--whatever) the piece meets Mr. Hammer. On the other hand, I may choose to embrace those vagaries of forming the clay, glaze & firing as it is expressed in the finished piece, "warts and all". Not ever to deceive or mislead a customer regarding the integrity of the piece--i.e. if it doesn't hold water one must disclose that the "vase" is only for dried flowers or pencils--but to stand behind my style, to affirm my point of view as the maker. The point I am making is that while that perspective is not for everyone, perceiving flaws as flaws is a conscious process and may extend beyond the technical aspects. So, in that regard, it might be worth some of your time to think about what it is you do see as flaws, and why, and what do you want to do --or not do--about it. None of that involves pointing anything out with a customer!
  12. Be the most awesome parent in the world and get her a newish used kiln that is up to snuff for 2019. It will serve her well over the years and while deep discounts are great, old crappy stuff is not. People can make do with a lot of used equipment and supplies, but, to my mind, a decent, preferably computerized, kiln of the right size is worth every penny. I have an L&L e-23S-3 in my small home studio and it is just terrific. It is a bit large for me, actually, so the 18 Easy Fire would have been perfect. The 3" brick is wonderful. If one take's the craft and the art of ceramics even half-seriously, outfitting a studio space to work in clay should feel good and be very functional. There's nothing better than your own kiln in your own space, and a decent wheel. Remember other things are needed as well-a vent system, nearby running water, a work table suitable for wedging, shelving for drying greenware, and space for storing clay & glazes. My studio is small, about 10x12, and fully stocked with many goodies; with good organization there is still room to move around-not much, but enough! If it doesn't work out, you will certainly be able to sell the equiptment and recoup some of your investment. The investment in her creativity, motivation, enjoyment, talent etc. is "priceless". Lee's 2-cents worth!
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