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Posts posted by docweathers

  1. Here's some more research demonstrating that this is a general phenomenon, not restricted to the arts. I brought this whole topic up to suggest that artists could improve their income not by just improving their product by providing a more self laudatory presentation. That might be using the artsibabble language that you find art critics using. Also providing a classier display and other marketing framework. Learn to look proud of your work.

    Here is a link to an article in the Atlantic that says:Chief executives with bigger signatures make more money ... but only for themselves.

    Chief executives with bigger signatures make more money ... but only for themselves.

    The use of signature size as a general indicator of narcissism is widely used and well established by high quality research in psychological research.

    I really think that the fine refinements in the quality of work between a middle grade and a very experienced expert potter are only meaningful to other partners and not to many buyers. So spend some time learning how to sell your stuff gently and not sound like a braggart.

  2. My point is that there's a lot more than the art itself the controls the perceived value. Many times I have thrown a pot in my trash barrel because I didn't like it or didn't come out like I hoped to find a similar pot by a famous artist that is selling at a high price.

    This is most apparent in some of the bizarre simplistic paintings that sell for millions of dollars. It's high status to own the painting of a famous artist and there's an implicit assumption that if you are a famous artist you see beyond the rest of us to some higher plane of beauty, which is BS.

    So to sell your pots for more you have to do more than make better pots.

  3. It is not just about price, It's also about presentation. You want  to role-play with the customer or the art critic how you want them to describe your work. to themselves. Posture how you want them to posture, touch it the way you want them to touch it etc. This will pattern their mirror neurons to more likely repeat and believe your performance as their own. 

    This process is similar to why it's much easier to do something after you see someone demonstrate versus describe an action.  

  4. I think it's a matter of balance and delivery. Anything carried too far can become toxic. With most medications there is a therapeutic level and a toxic level. 

    I think you want to appear confident in the high quality of your work but not be a blustering braggart. You want to have the posture toward your work that you hope your audience will imitate. You do this with both language and body language.

    I personally take a very low-key approach. I always described myself as a beginner. However, I have licensed to do this since I generally don't. try to sell my work. I give some to charity auctions and the rest clutters up my house and yard. Being retired and not dependent upon selling my stuff for income makes this a lot easier.

  5. Indoor safe heater

    Outdoor-only heaters, such as propane tank mounted radiant heaters and portable forced-air propane and kerosene heaters (sometimes called “torpedo heaters”) have traditionally been used at work sites and football sidelines. When these types of heaters are brought inside a, residential home or garage, the risk of CO poisoning is significantly increased.

    CO is a colorless, odorless and highly poisonous gas that is produced from incomplete combustion. CO interferes with the blood’s ability to transport oxygen to the lungs and can result in flu-like symptoms including headache, nausea and dizziness. Increased exposure without exposure to fresh air can lead to death by asphyxiation.

  6. 35° is what it is when I go out there in the morning to turn on my heaters. But the glaze has been at that temperature for 10 to 15 hours. I try not to go out there until the temperature comes up to at least 45° My pottery studio is in one stall of my garage, which is well insulated. My welding studio is in another stall. I don't do much welding in the winter because I have to keep an overhead door open because of the nasty gases off of the torch.

    What's this Buddy heater? 1500 BTU, I think I should get one. 


    Yesterday I mixed up 500 g of deep purple. Today I went back to use it and it had precipitated out about 1/10 of its volume in hard flat chips. I tried to grind these chips with a mortar and pestle and was not successful getting him to go through an 80 mesh screen. This is not pancaking  sludge on the bottom. It is very brittle hard little plates, Anybody have any idea what would cause this?

    Here is the recipe I used
    Deep purple

    Custer feldspar          27
    nepheline syenate      14 
    silica                                     33
    Whiting                             12
    magnesium carbonate   1.7 
    Gerstley borate           8.6
    lithium carbonate       3.7
    tin oxide                           4.8
    chrome oxide             .17 
    cobalt carbonate         .6
    bentonite                     2.

  8. 14 hours ago, neilestrick said:

    Layering glazes could be a good solution. I do a lot of underglaze work, and I've found there are two things that prevent the underglazes from looking too flat and boring. One, make sure the cover glaze is thick so there's some obvious depth on the surface. Second, make the cover glaze slightly fluid so that it picks up a little of the underglaze and moves it a little. Perhaps these ideas could be used with your stains as well. Layering a clear or other transparent color over your glaze with stain may give the appearance of more depth and provide movement.

    Great idea... I will give it a try

  9. Thanks for the link to Leslie's webpage. She does some really nice stuff that I could only aspire to.

    I don't have a specific texture I'm looking for. I would just like to make better use of encapsulated stains but I don't like the flat lack of depth in the color.

    Any suggestions on how to easily make them more interesting would be greatly appreciated.

  10. 17 hours ago, PSC said:

    Don't let your kiln goddess hear you talking like that ;)

    Sometimes I think I'm plagued with kiln devils not goddesses. But I think it's my fault because I'm constantly experimenting with new glazes and glaze combinations. Of course some of don't come out like I hoped. If Iris smart guy I would get 1/2 a dozen glazes I like and use them. But what fun would that be.


    On 1/10/2019 at 2:21 PM, glazenerd said:

    try not to get it in your beard.

    Gee I thought the best way to measure CEC was by taste but of course that sometimes puts it in my beard. My wife hates it when I give her a big kiss with a beard full of clay, but what fun.

  11. On 1/6/2019 at 4:46 PM, Magnolia Mud Research said:

    I use a low fire grog-less white commercial clay body as a white glaze at cone 10 R.  

    You might try a low fire clay body as a stiff slip glaze at cone 6 over (or maybe mixed with) your glaze.   


    I have no experience with low fire anything. What cone low fire  clay would you guess might serve as a stiff majolica "cake icing"?

    I tried adding 20% alumina hydrate to one of my current majolica glazes. It did absolutely nothing to stiffen up the glaze. 

    Does the strategy have any merits i.e. did I not put enough alumina hydrate in the glaze.

  12. I asked Skutt how I might implement a Fallonator configuration with my 1227. This is what they said:


    "Hello Lawrence,

    We do not recommend introducing fuel into the chamber of an electric kiln.  It can be quite dangerous to do so.  In the case of the Fallonator it looks like you are depending on CO2 to displace any fresh oxygen in the kiln to prevent combustion, but if that CO2 fails to do its job you are turning the kiln into a big explosive container.  The heating elements get well beyond the temperature needed to ignite the propane.  I would recommend looking into Steven Hill's electric firing process.  He is able to emulate the look of an atmospheric firing through spraying his glazes and firing very slow without bisquing the pots (once firing).  This would be a much safer way to get the look of a gas fired piece.  Here are some links to his articles:



    Generally speaking, introducing gas into an electric kiln chamber will deteriorate the elements and the brick, but it also has a chance of combusting.  I would not recommend putting any sort of gas in your kiln.  You may also be interested in asking around your community for access to a gas, salt, soda, or wood kiln.  Wood kilns are a lot of fun!!"


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