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yappystudent

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Posts posted by yappystudent


  1. Update: After poring through their online and paper catalogs, getting my hopes up, and finding nothing for less than approx $300 a semester involving clay education, I gave up briefly. Actually I was a little depressed and pissed off since I'd decided I really needed to take another class but I wasn't going over $250 and it was going to hurt if that much. Something kept nagging at me (probably Oldlady's and Preeta's posts)  so I decided for larks to pick up the t-e-l-e-y-phone and talk to an actual human. I found out they indeed have -wouldn't ya know it- community education classes ( I typed that into their search engine, also adult education, vocational, night classes, etc, with no results) -including the ubiquitous night classes for approx half of $300. You even get a bag of clay. Idaho had about the same fee but the class was only 6? can't remember now, nights and the last the teacher was completely involved in finals week for the kiddies. Anyway, enrolled in the next available. There were three, now two, spaces left. Happy happy joy joy!:D


  2. You'll get lots of better answers when the experts get around to you, but for my two cents if you spray your glazed pot with hairspray first before attempting to do your reglazing it will help the glaze to stick. This works sometimes, sometimes not. Just adding some details with underglazes like you're doing should work pretty well if everything else is per usual. I admit I don't know what apt2 is but someone will. 

     

     


  3. 4 hours ago, Mark C. said:

    Q: Does the term  wholesale cover lots of half a dozen items or less? Is this the potter's code word for buying instead of consignment

    It usually means they are buying your product outright-not consignment-as to quantity that will be up to you and the buyer.Usually you set a minimum amount of goods-entirely up to you.

    Selling them outright or wholesale is better than consignment especially in the small amount your are talking about.They will double the buying price most likely.You could off to buy them back in say 6 months if they do not sell-that way its a no brainer  for them.Better than keeping track of any sales every month.

    I like this notion, ty


  4. 1 hour ago, Callie Beller Diesel said:

    craft brewery or fancy tea shop and zen spa: very clean, modern and welcoming with nary a mushroom or rainbow in sight. Think of a fancy juice bar, but with jars of weed behind the counter. The focus of the staff is on educating the public on the differences and benefits of all the different strains, differentiating the kinds of high and which balance of chemicals a user might enjoy or benefit from most.

    This gave me a good chuckle. I wish this were the case. Weed shops here identify as medical dispensaries, even though you don't need a prescription to buy anything, you'll get a discount if you do. I'm sure it has something to do with laws or recent laws and covering their arses if the laws change, etc. They're all basically small get in, get out stores with everything behind the counters and the selection is overwhelming, to a ludicrous extent some with dozens and dozens of varieties. The only thing they try to sell you is the most expensive stuff they stock w/e that happens to be. the stores are usually clean, well lit, well armed, but friendly? err, not exactly hostile I guess once you get past the overly loud door buzzers and cameras pointed at you.  


  5. 37 minutes ago, pizzuti_ said:

    I'm not exactly sure what you are talking about but the piece I referenced in this post was already in the kiln by the time anyone responded and it came out just fine, over an inch think in places so I guess it was completely dry.  I've only blown up two pieces, not really a big deal, it's not like I can't make another one.

    My icon is porcelain.

    Is the porcelain head sculpture in your icon hollow, or solid? 


  6. Some points I should ask, add or clear up: 

    Yep it's true I'm not going to make $6 dollar pipes, or for that matter mugs and bowls. My stuff is always going to be higher end or it's not worth my time as an artist. Also I have a lot of time to twiddle my thumbs and can price it at whatever I want. I just need store owners to agree. 

    Weed is legal in Oregon with a few restrictions about buying and growing. Personally I think it's great and have no more qualms about it than I would making a wine cup, in fact probably less. However I have concerns about work with my stamp on it being sold to states where it's not,  just another legal complication and I'll probably never sell on the internet. I don't make enough stuff to justify the hassle, if I can sell locally it's not worth shipping. I've used the internet to try to find comps but the prices are all over the map, just as they are locally from shop to shop.

    Q: Does the term  wholesale cover lots of half a dozen items or less? Is this the potter's code word for buying instead of consignment? 

    There are a lot of shops in my area that are in the process of currently 'weeding' themselves out, probably due to the market being over saturated with availability. Businesses on the rocks don't buy handmade accessories in my experience. 

     

     


  7. Sounds like you'd rather find out for yourself than do things the usual way. There's nothing wrong with making solid sculpture essentially as long as you're willing to have it destroyed when it's fired, and only blowing up your own work and damaging your own kiln for no particular reason, being that there are better ways to do it that were discovered thousands of years ago. I'm wondering why you're asking questions about it if you're so sure it will work? It seems like a lot of wasted effort when you could be focusing on sculpting instead of things blowing up. 

     I too enjoy pushing the boundaries and generally have to see things to believe them, but in my old age I've learned actually taking advice lets me move forward faster, (note my signature, if you like). But, my bit of advice is to make sure things are bone dry. Not just think they look dry. You can get away with a lot if it's simply bone dry. Solid sculpture is going to take a long, long time to fully dry, hence the hollowing. Air doesn't expand much, steam does. 

    Question for you: What is the head sculpture you use for your icon made of? 


  8. So it's time to break into the retail market in my area. On the member gallery at the bottom of the forums page is a photo of some of my smoking wares. If you or someone you know were intending to peddle something similar in their local touristy stores, assuming it's one of the approx 15 states where somesuch is maybe legal, what would you, or your friend, ask in exchange monetarily?

    Obviously I'd rather the owner just bought them from me outright but I suspect I'll end up being offered consignment situations instead until they see if they'll sell. I've sold both my oil paintings in the past  retail and upcycled women's clothing online, and bartered various services, mural painting, drawings, and yardwork, etc. I have yet to sell either pipes or incense burner/ashtrays to store owners. I am neither desperate for sales nor too proud to adjust my prices and work to fit the local market. Local comps on similar work are hard to find; there are some local and non-local artists stocking glassware for these stores, and their stuff is disappointingly cheap, at least to my eyes. Etsy is pretty damn cheap also and I'm sure at least some of that "handmade/US only" search results were made in small factory situations if not straight from Mexico.  Anyway I can't help that I guess. I've seen no ceramic yet but I haven't been to all the stores, there are quite a few even in my home town. I'm culling all except my best stuff, some is porcelain and looks it.

    Any thoughts, advice? 


  9. Having to approach the question from a different angle as a relative (a little over 3 yrs now as a home potter, not counting the odd college clay class or two in the past) -newbie. My problem is I'm sick of trying this, that, and the other. I think I'm done testing and meditating on what I want to do most, and the most practical from a monetary standpoint. I've tried several things, and I've no shortage of ideas, some probably original, and many many  variations of derivative that all sound great when they first occur to me.

    I seem pretty good at making stuff out of clay, but I can't say I've enjoyed the process of making certain types of work. For example, my main focus was on ceramic jewelry focals and beads for almost half of the time I've been into clay. Why? because I've had an ebay business in the past and shipping is a pain. Also for the money VS the tiny amount of materials spent, it's pretty cost effective. Not to mention kiln space and other things related to diminutiveness. Unfortunately, this seemed such a great idea that I think I was in denial about the fact it gave me very little satisfaction. What I wanted to do was still hazy. 

    At some point recently I started losing interest in clay and realized, at last, that the jewelry wasn't working for me. I had to bite the bullet, load it all into plastic shoeboxes and stick it out of sight. Overnight I went from forcing myself to spend about 6 hrs a week fiddling with bead making, to a few hours most days making slab vessels. In the same amount of time and effort to form a half dozen artsy beads -probably less- I can form a single big *** bowl with attractive decoration. They are more satisfying both to make, look at, and hopefully sell. Instead of worrying about shipping costs I intend to take the opposite approach, make a fairly low number of big and bigger things and drive them around myself. This coincides with my move last year to the Oregon coast and the fact there are venues for this up and down the coastal highways. I'm no longer trapped in a small conservative city with only a couple galleries, 600 m away from everything artistic. I don't intend to do shows or fairs, just approach store owners like I used to do with my oil paintings and see if they're interested. 

    As far as sculpture goes, I'm still meditating on it. Even if I was working on any at this time I'm not ready to re-enter the fine art market. I get my fine art needs met through drawing and painting at the moment, it's a nice break whenever I'm feeling burnt out on clay, which has only been once in the past 3 years. 


  10. Another suggestion: when using a press mold go ahead and carefully hollow it out as much as possible. If it's really stuck in there you can take most of the clay out while it's still in the mold leaving a 1/2" shell, or more, any amount will help, even just poking a few holes with a skewer about 1/2 apart will help a lot, -that will dry the clay and let it drop out of the mold much faster. Beware to cover the edges with a little plastic or foil or they will crack even while still in the mold. I like this method as it saves me risking breaking the piece later when it's delicate greenware, the mold no longer holding it together, and must be hollowed out. 


  11. Not sure exactly how detailed the molds are, but you can spray them with cooking oil and line them as carefully as possible with plastic wrap. The oil will make the plastic stick to the mold, when your piece is fully pressed it will come out easily then you peel the plastic off. I sometimes use large plastic slump molds and have the same problem as your metal ones but don't have to worry about the detail issue. 


  12. 2 hours ago, Callie Beller Diesel said:

    Well, my fingers have always been too short to be called graceful. My nails are soft and don’t really grow long anyways. So I am glad they are strong, skilled hands. 

     

    (Also, given the weird things I had to do to take this shot, how did everyone with both hands in the shot get theirs?)

     

    @ Callie Beller Diesel: Camera with a timer on it, balanced on the back of my work table. 


  13. Really glad you followed up McRocks, I love your stuff, it makes me want to write fantasy stories behind the pieces. Did I hear you right that you wanted to make vessels to hang your jewelry pieces on for photographing? I did jewelry for a while but I'll admit I just couldn't stick with it, also my stuff wasn't as good as yours, ha! At the time I was thinking about photographing them in-situ outdoors laying on big rocks and such. In my mind a few of yours would look good against rock, grass, etc. with a desert landscape in the background.  Anyway your stuff is powerful enough that the black backgrounds look fine too. I don't want to herd you down a path, you seem fully capable of coming up with your own great ideas. Also I admire you for being willing to radically experiment, that's important, not everyone is and IMHO that's part of what makes a real artist. Keep up the good work, more power to you!:wub:


  14. On 6/30/2018 at 6:40 PM, preeta said:

    Unfortunately we don’t have space for preparing clay the proper way.  Not for the matter the man power.  But Tyler the wet clay is a mix of clumps and slip in the buckets they sit in. We have vertical space, not horizontal. 

    Mark I keep saying one should put the bottom of the water bucket and the splash pan in the recycle bucket to replace what is lost.  Instead I just see it trapped in the clay trap which we run from since it smells so when the trap is emptied. 

    Mark the school bought the non vacuum pugger which was available when they bought it 16 or 17  years ago. I think the biggest vacuum puffer is smaller than the deaired one and therefore the school insisted on the deaired one. Just like they insisted on a downdraft gas kiln Because of fuel efficiency issue. Some years ago they also changed from ^10 to ^6.

    I guess we should pug/mix more often and then let it age. Usually the clay sits waiting for pugging mostly due to manpower issue.  

    Since lubrication  is key then too much pugging should not matter.  At least it is mixing well.  

    You have given me ideas I need to test to see if they work.  

    The aim is lubricate.  And collect the splash pan residue.  

    Kudos to you for helping out your clay class, it's not a job I'd want. 

    This is funny because at the first college clay classes I took they had everyone use clay out of the pugger also, joking about how it had student hair and fingernails still in it from 1975, not to mention sawdust, insects, gravel, the occasional cigarette butt, and such. They weren't kidding. It was extremely short also, which made student's first efforts much more difficult. A simple explanation of why it sucked and that it needed aging/wetting would have made a big difference but I assume they pushed everyone to use it raw because it was more labor and time to fix it properly and the college wouldn't pay an aide to do the work. Being extremely broke at the time like most of the kiddies "free" clay seemed like a good deal compared to shelling out for a $15 bag. Considering how many projects from that class I attempted that cracked or otherwise failed in the kiln clearly that was a bad call. When I got my first bag of commercial clay I was astonished how easy it was to make things. 


  15. I have the sneaking suspicion not everyone agrees with you LeeU, but I'll put an image up in my gallery folders if you're really that curious. -If you'll look in my "Finished Wares" folder on my gallery page you'll see two photos with the first load of smoking wares included. All the pipes were press molded except for the little spiral shaped ones. Enjoy!


  16. In addition to what was said above, I occasionally successfully make press molds of small objects using standard ceramic clay. Basically I take a lump of clay, press an object into it about half way, let it dry overnight or thereabouts. Once the clay has hardened just a little remove the object and carve off the excess from the outside of the mold. Do the same thing for the other half of the object. Sounds a bit easier than perhaps reality but I do make pipes in this manner and it works well. 

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