LeeU

Here's the little tray. I chickend out & didn't do much w/the manganese-I did wipe on then off, but very lightly & used it for the outlining. I'm happy-he's cute!

Here's the little tray. I chickend out & didn't do much w/the manganese-I did wipe on then off, but very lightly & used it for the outlining. I'm happy-he's cute!

Here's the little tray. I chickend out & didn't do much w/the manganese-I did wipe on then off, but very lightly & used it for the outlining. I'm happy-he's cute!

Here's the little tray. I chickend out & didn't do much w/the manganese-I did wipe on then off, but very lightly & used it for the outlining. I'm happy-he's cute!

Juried exhibitions or invitationals through galleries have never netted me any sales. They can be a nice ego rub, which has its own value, but that value isn’t monetary IME. 
Juried fairs or markets however, are a good thing. Juries can help put together a crowd of compatible artists and quality of work, which helps get it in front of people who are interested in such things. 

Juried gallery exhibitions may get you one or two sales beyond the piece you have in the show, but mostly it's just a resume builder that may help you get into other galleries or build your social media account a little. Art fairs will definitely build sales, because you can show so much more work to so many more people.

For me, no... however, other things have happened for me locally. I have submitted my horsehair Raku pottery to my local PBS station's annual art auction, which is a juried event, and have been accepted all 3 times and all my entries had garnered at least 3 times my valued prices. The last time around I had won a Juror's award which got me an interview and article in a local news outlet but did not generate new business. I plan on continuing my donations to the art auction because each entry gets me a little more notoriety since the work gives me 6 minutes of TV exposure during the auction and it is good enough to be accepted for the auction. Someday it may lead to greater things!

Something a little different just finished up in my studio this week!  'Smitten' medallion (small plaque) , sculpted by Rebecca Turner, produced in earthenware ceramic by Marge Para, and custom glazed by myself as a show donation for Clinky Mania Live 2024 in Titusville, FL this May.  All work done in the kiln using underglazes, then satin clear, followed by some overglazes to punch up the colors in the cat.  This ceramic medallion measures 3.5 by 5 inches and is going to public auction to benefit the show.    Photo displayed is MUCH larger than the actual piece!
I don't do many donation pieces anymore as I am just too busy but this is to help support a good friend's last year of hosting this show series for equine ceramics.  With all the heavy storms up here we've had in these mountains the past week it's been hard to fire either of my kilns with so many power outages and all the lightning.   But I finally got it done!  

A picture of one of Carlton's horns, and other peoples work (e.g. 4-headed drum, multi-chambered wind instruments, ...)
clay musical instruments
https://www.pinterest.com/baldaufa1/clay-musical-instruments/

Way cool!! (yep-link works fine) BTW--I tried to find you on Pinterest but no luck--what is the name of your board? I searched for Hyn Patty.

And thank you for your kind words.  I've been doing equine sculpture and sculpture finish work since 1976, and ceramics since 1984 though I didn't have kilns of my own until 2003.  I posted (but forgot that I'm not supposed to) the links but if you didn't already get them, just message me.  I want to abide by the rules!
 

I don’t know about other lustres, but gold and white gold are made of those actual materials, and don’t tarnish.
Some raku glazes that contain a lot of copper can be prone to reoxidizing over time. Usually folks will coat pieces like that with spray varnish or similar. I think it could work for Palladium. 

Here is the completed piece all glazed up.  All work has been done in the kiln, completed with satin glaze and minimal china painting.  The only thing on him that isn't ceramic media are his mane flights which are enameled metal, inset with pins into tiny holes along his neck.  Completed to a light dappled grey and with an optional base I have made for him to be affixed to, this piece will be posted to public auction.  He measures 3.75" inches tall and will be a unique color and variety in an edition of not more than probably 20 or so variations.  Once I have finished editing his photos and he has been sold at auction, I'll add a photo to my gallery album with him standing on his base.
Tada!  So now you know how I make my equine fine art sculpture in ceramics.  This one earthenware but I also work in porcelain and fine bone china.
 

Not sure if this will work but here's a video of my working on him today in studio.  I'd much rather be riding my motorcycle or hiking on this sunny day but I have a show deadline coming up fast next weekend!  
Underglazing Details on Curio Porthos
It is set public on my Facebook page so maybe you can see it.  Not sure if I can directly upload a video here though.  If you all can't view it let me know and I can see about uploading it to a blog post or something on my website instead.

I also posted this photo of first version 1/9th traditional scale Porthos with the docked tail.  This is a roto cast hollow white resin I have cut up for mold making.  I'm in the process of using colored oil clays to 'clay up' for pouring those molds in plaster.  Once the molds are poured, I test them to make a single casting like the curio bisque at the top of this thread.  This allows me to see where the mold is skimming or tearing clay off as I demold so I can trim those edges clean.  Tiny undercuts can be skimmed off the plaster mold pieces easily.  If there are air bubbles, I fill them with plaster paste or epoxy.  If there are details that are too soft, I can go back in and recut them much more sharply in my plaster master mold.
Then, rather than continue to use that first mold, I seal it with mold soap and then pour a silicone rubber mold of each plaster piece.  This will then allow me to cast as many plaster production molds as I want!  As the mold detail wears very rapidly (especially if I am casting porcelains) then I may need to be able to reproduce the mold several times over to keep every piece of my edition super crisp.
As usual, this probably belongs in the mold making and slip casting thread...

Thank you!  Speaking of Fabio tails... With a really complex tail such as my hairy Pasture Porthos sports I may well need to cut the tail into at least two pieces and have quite a few mold pieces /and/ still have to flood, then redetail, some of the undercuts.  Oh well!  This boy will be my most challenging piece to mold to date (this is a 3D print that is mirrored to face the other direction and a different size).  For now I am cheating.  I sent this boy and his larger version off to England to be molded and cast in bone china bisque for me.  But I will be playing with cutting one up here in studio and trying to mold that tail myself just for the challenge.  BUT at least I know he'll be in production in time for Breyerfest in July even if it takes me a while to mold and cast this version on my side of the pond.
For scale I can do pretty much anything I want within the limits of my 3D printers and the quality of my scans.  Or in the case of the spider foal - larger than 'traditional' scale because I'm doing that one BIGGER than usual.  But 'traditional' scale is what most equine bronzes are normally produced in - 1/9th scale to the real horse.  Larger than traditional is usually about 1/6th scale.  Classic is about 1/12th, etc on down or on up!  Some of these scales are used so often for equine art that they have names (though often more than one name for any given size).  Porthos is considered 1/9th scale, which usually is about 7 inches tall.  But as he's a draft horse who's taller and larger his scaling down to 1/9th came to 8 inches tall.  Of course he'll shrink a bit in each ceramic media, that's just his resin size.    If you do internet searches you can find various 'model scales' or 'model horse scales' to compare.
'Venti' scale Pasture Porthos is a little smaller than 'classic' scale at 1/15th is shown with the larger roto cast white resin that is 1/9th 'traditional' scale.  Then micros are about 1/40th scale (around 1.5" tall).  Curio falls in around 1/20th scale for comparison (not pictured here).

Noted.  And sometimes I use IPA - depends which one is handier.  I've never had an issue with either one since I literally only use a drop or so in my water spray bottle of the bleach.  The generic bleach I buy only lists one ingredient and nothing added for scent.  (I also incidentally use it for phytosanitary applications like tissue culture of plant materials.)
Yes!  This method of cutting up the piece is typical for casting porcelain and bone china in the UK and Europe.  Indeed it was a few photos shared here with me from another member (who may or may not wish to be named) that helped me figure out this problem.  I also worked with porcelain sometimes and I've been working on perfecting and testing English bone china slip I've made here in my studio.  So I went ahead and produced this multi-part mold for that purpose.  It works just as well for earthenware. 
As I knock some rust off I'll be pushing to try and make more complex molds that would allow me to cast Porthos as whole and as close to one piece as possible.  Body with three legs attached most likely, with the head and neck separate and that cocked back leg.  That would take less assembly and thus less time.  And problem solving with mold making is an excellent challenge to practice if you want to get better anyway.
One of my new sculptures I have started is the 'Spider foal' that is rolling.   I'm jokingly calling it my 'spider' sculpture for now because it looks hideous!  But it's in the early 'skeleton' stage where I flesh out the proportions of the bones and set the joints as points of reference from which I will build up tendons, muscle, skin, etc over top.  Anyway, you can see that I do not like to sculpt with molding limitations in mind.  So being able to mold them in pieces and assemble ANY kind of pose or complex arrangement really frees me up to do anything I want.  

Now, to give you a sense of what 'curio' scale means here is the same bisque shown in my hand.  Here I have airbrushed on underglaze in greys and black and I am now dappling him.  Once fired with a clear glaze over this underglaze, he will be a dappled grey!  This is a sales piece that I will be offering at auction probably next weekend while I'm at a live show event.  But for now there's a lot of work to do to him to get him ready to be the new sample of my sculpture in ceramic!  I'll post more photos as I go so you all can see the finished boy when he's done.  I work in many layers, fire a number of times, and will also work in over glazes.  The upright mane ribbons will be added later after he's completed and are going to be enameled metal but I haven't finished making them yet.  They each fit down into little  holes I have drilled down his neck.
I am also making mold pieces for a larger 'traditional' scale version of this boy that stands about 8 inches tall.  I hope to have that one casting by June in time for a huge international event I'm attending in July at the Kentucky Horse Park in Lexington, KY.

This is Porths, my first version of this sculpture I started way back about 2007, almost completed in 2009 before illness derailed my studio for a while.  At any rate, I FINALLY finished this boy last year and released him in a resin edition.  I've since gone on to do a 'hairy' Pasture Porthos who's a bit chunkier, and with more feather, thicker legs, long mane and swishy Fabio tail who's casting in a resin edition this year.
Anyway, I've been busting butt to make MOLDS for these two versions of my Porthos sculpture.  Currently I am having the hairy Pasture Porthos molded and cast in England in fine bone china, though I'm also about to start testing slip and settlers for fine bone china pieces here in my studio later this year.  Meanwhile I'm focusing first on using finely ball milled earthenware with talc to cast some pieces.  This first one I've molded right here in studio is what we call Curio scale, a large mini in size.  He's my test cast to see if my mold worked (it did first try!) and to help me figure out how I want to rework and clean up my mold pieces to work even better.  Then I'll be making rubber molds starting next week of each plaster mold piece so I'll have a master from which to cast as many plaster replacement molds as I ever will want, later.
So here's my first ceramic bisque of Porthos with his original docked tail version (mane flights to be added later), an American Percheron with tail bows.

Several of my students use the Xiem tool bag. It get's pretty filthy and doesn't clean very easily since it's canvas, but they seem to like it. I think that open bags are best, because it allows for easy access when your hands are dirty, and it allows the tools to dry after washing them and putting them away. The worst thing you can do is close up your wet tools and sponge in a plastic tool box because they'll just grow mold and mildew.

I use Peggy Heer’s orIgInal Spooze, which is, essentially, 1/3 ea. clay, vinegar & corn syrup. Sorry-too tired to find the recipe, but it's online.  I use this when I want to join or mend something or fill in a crack  on dried greenware. It works great for my purpose. (which is not production/retail/professional). It has never failed! 

I use Peggy Heer’s orIgInal Spooze, which is, essentially, 1/3 ea. clay, vinegar & corn syrup. Sorry-too tired to find the recipe, but it's online.  I use this when I want to join or mend something or fill in a crack  on dried greenware. It works great for my purpose. (which is not production/retail/professional). It has never failed! 

I use Peggy Heer’s orIgInal Spooze, which is, essentially, 1/3 ea. clay, vinegar & corn syrup. Sorry-too tired to find the recipe, but it's online.  I use this when I want to join or mend something or fill in a crack  on dried greenware. It works great for my purpose. (which is not production/retail/professional). It has never failed! 

Just for fun, I made a few "unsophisticated" rattles a couple of years ago. I used different clay bodies for the shell and the inner beads, in  various combinations, like glazed or unglazed balls inside, the same size or mixed, small or large, a lot or a few--the container might be a grogged stoneware, a thin procelain, or  a high-iron red. The range of sounds are fascinating--from light and tingley to a drum-like heavyness. This one is afavorite, that I use to sit in on a music jam at a local community center--I have no musical talent whatsoever, but "playing" the rattle I can pull off.

My entire collection, from the early 80s to the present. Binder on the left holds my (pre-internet) tech sheets from many sources; the Nelson, Lawrence, Penland, Clark, & Rhodes are the bibles from back in my school days;  Pitelka and Branfman were added from recommendations here;  Seagrove, a gift from a friend; two (Beware & Road) from John Baymore of NHIA (who helped me get back intoi ceramics); one  (Surface) from Maureen Mills (NHIA & NH Potters Guild) and one, signed, from Marcia Selsor, previously on this forum.  How & why I got each book, what I learned and still refer to, and what they (the books & the people) mean in my life matter to me as much as the contents. Fun topic!