Jump to content

Mark C.

Members
  • Content Count

    8,048
  • Joined

  • Last visited

3 Followers

About Mark C.

Contact Methods

  • Website URL
    http://www.liscomhillpottery.com

Profile Information

  • Gender
    Not Telling
  • Location
    Near Arcata Ca-redwood rain forest
  • Interests
    Diving-underwater photo-salvage diving-dive Travel
    Extreme offshore tuna fishing off north coast of Ca.

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Oh ya I recall these-I forgot about them. Very nice-maybe I should order some out of porcelain from you?Couple 100??only kidding
  2. Mark C.

    Bisque firing help please

    Use a soft vacuum brush to clean out the small blown up bisque ware from the elemnts -they need to be clean or a crevice tool but do not touch the element with that hard plastic tool end. The element damage very easily . But they need to be clean of exploded pieces to be fired again. dry your work more and go slower with heat.
  3. Fred I got that east /west screwed up as I was sitting on the couch with a cup of hot coffee in a bone chilling 70 degree dining room. I shoulkd know better as my Brother published a book called East west back in the late 80s.I have a copy-its an art book only a small run made.
  4. Mark C.

    Hardening of glaze

    The best commercial product for settling is Magama-you can buy it online. It will hold bricks in suspension-follow instructions Just use a TINY amount in your commercial jar of glaze.
  5. Pres speaking of honey jars-I dropped off a bunch of them last week to an outlet and I forgot to include the honey sticks. Its always something . Do you include sticks with your pots?
  6. Fred You got to move south to a warmer climate dude. Over here on the coast (due east and north a tad from you)it rained 1 inch last night and is a balmy 59 degrees
  7. Rockhopper has it spot on I always have posted this on the wall this written out above my throwing wheels I work this up with a shrinkage bar of all clay bodies I work with. Mark the bar in metric so the percentage is easy to see. Make the marks that sjow 10CMs (you would divide your desired finished size by .88 to arrive at the 'Make' size) There have been many a post on this subject-I posted photos og my bars about 3-5 years ago.
  8. Mark C.

    Hardening of glaze

    A little Epsom salts dissolved in Hot water-then just add a litle of this water to glaze to suspend it. Mix it all up (including the hardpan) you can do this in a thrift store blender very easily .
  9. No witness cones-well thats an error for sure. If the sitter got jambed-did you place a shelve to close to it(things expand in heat)?? You will see when it cools what temp you got to. Let us know how this turns out. My guess is it got to hot-lets hole this did not happen.
  10. Thats about almost free compared to our costs down south. I have time of use meter and only occasional bisque in an electric and only off peak hours-its to small at 10 cubic feet to really get much work done anyway.My gas kilns are so much cheaper to operate.
  11. Mark C.

    Lustre and iron oxide

    Mother of pearl shows best on whiter/lighter colors-Yes you can do it and see what turns out. Let us know how that works. It could be interresting.
  12. One thing to always keep in mind is the piece you hate the worst is someones best treasure.
  13. Neil I think it was a marketing ploy that started this idea-In school oxidation was just one more of a miramid of choices for color and glaze look. Personally do not think one is better or worse-actually I cannot say how many times I see an oxidation glaze and wish I could have that in my kiln. I think it was a way to sell products to folks. Maybe not coming from technical backgrounds As we all know one is not better or worse. I feel its harder to work in cone 6 as you have to deal with the fluxing issues (this is for those who make thier own glazes) I personally like your cone 6 work and also know you come from all temp firing backgrounds. Its more about what you know and feel comfortable working in as well as economics of firing. I learned form gas kiln folks from Alfreds (in school)hence thats where I ended up-yes I learned and worked in low fire as well all part of a good ceramic education as you did.You have been through more change in working temps than I -as I have only done cone 06-cone 017 and cone 10-11 as a education. I missed exposure to cone 6 in school but its just another end point really like all the other ones.
  14. As a general rule I have noticed is electric use is very popular more so in present day than in the past. The other generalzation is its a bit less so out west than back east.I only know a few electric cone 6 full time potters out west Electricity costs a lot out here say comeared to the midwest where its jusr about FREE.Not sure of costs in the East. Mea on this boiard is a cone 6 full timer in electric . Not only is she working in and out of electric but in a basement as well.Shes has to have a strong back to handle that load.She does have a plan on how long she will do this. Most full timers I know are all gas kiln users in cone 10 still. They learned that and stayed with it. Just go to a large juried art show and see whats up with the potters and ask how long they have been at it. You nevers ee much salt or wood fired pots as production as its to hard for that. You need to go to speciality areas like Seagrove on the east coast to see much of that. Some history is needed to understand the cycle. When I started out in late 60's-schools taught high fire . The general public who was intrested in ceramics went to slip cast shops ( we used to call them (oldlady ceramic shops in collage) . Sorry Oldlady no harm meant. They cast things like bunny rabbits and ashtrays-in fact I had a wholesale deal with one of them to get 40% off all Kemper tools in the early 70's. These shops were everywhere .You could cast forms or buy the bisqueware. They over time all but went away and morped into the paint your own craze. These new shops sprung up in the cites and spread out to small towns-at one time they where all over. Meanwhile as Steven Colbert likes to say us full timers just kept working in high fire selling our wares at art shows Business was good as homemade items where very popular in the 70's and as the imports hut the markets in the 80's a little less so (imports like the 99 cent slip cast China mug)Things slowed up a bit then handmade became popular once again-this goes in cycles as well. The Magazines show this same cycles -look at CM s (ceramic Monthly) in the 60's and early 70's they show the same trends .Cone 10 was king in mid 70's My fellow full timers and I have spent some time talking about these public trends over time. When the paint your own shop trend started to slowy die out -late 90s and early 2000's the next craze which many of feel was a incrediable kiln marketing ploy was the cone 6 movement.This is also shown in the magazines at the time. Now you can buy an electric and do the whole process at home. The cone 6 glaze market really expanded and the ads started to show glazes that said like cone 10 glaze but its cone 6. Now I have seen a change to more art centers getting back to cone 10 and overing that to the public(just saw a new one in a CM article yesterday in Sebastopol Ca-they are building a soda and a wood train kiln and have electrics and are offering workshops and you join as a member. This is a trend that is now just starting again-really back to the 70's where some of us never left. Now be aware this is my take on this and others will have there own ideas, all are relevant-this is also one big generalization of my 45 years in the field on the west coast .I'm sure I will take some heat for this but its what I have experienced so its my truth not anyones else's . Back to present day . I know of a few mostly Washington state potters who are making a living with electric cone 6 buts its harder on the body in my view as loading and unloading into an electric is hard. Electric costs can really eat you up out west as well.I have seen many a cone 6 person try to get traction in my field and then fade away. I cannot say why other than there are many factors-the biggest is the hard work to make it full time. If I was doing it in an electric I'd get one that raised off the bed (tophat like L&L sells-they call it something else) My self after 45 years have become very profecient at cone 10 glazes and learning to flux them at cone 6 has less than zero interest for me or my felloow cone 10 potters.If I switched to electrics at my sky high electric rates I'd be out of business soon and my back would not survive. If I lived in an area where electric rates are super low this may appeal more to one.I'm a reduction person and my entire market base is built on these snappy glaze colors-thats what my customers like. Thats what I like (I'm sick of blue myself) Our local Art center does not fire cone 6 only cone 10 reduction and does some glaze fuzing. Our local collage does not teach cone 6 only cone06 electric and cone 10 gas. For some reason they never went with cone 6? same is true with our local JC. Salt and wood are so labor intensive you need a crew and for production work without a crew you need to be young-it will take a toll on you. I fire my salt kiln with 3-4 other potters always-to much work alone and never production pots. Thats my two cents out west with cone 6 making a living-it can be done Myself I suggest a small front loading gas kiln-Easy on the back-or if your electric rate merit it a front loader electric The thinking is take care of your back now as later its to late.The only reason I could stay in this field for 45 years at 10 tons a year is my car kiln.I cannot overstate this fact.
×

Important Information

By using this site, you agree to our Terms of Use.