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Mosey Potter

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  1. In reply to Neil, I have 3-5000 dollars of pottery in each bisque firing, and having worked with this schedule for over two decades I’m going to stick with it. I hear you that I could save a few bucks on electricity by shortening the firing but for me it’s worth the extra cost in peace of mind. To the original poster, you might try Neil’s schedule and see if it works for you. Mine allows me to include mugs that I’ve attached handles to that morning (I work on deadline and sometimes you gotta push the boundaries a bit!) with no problems at all. I don’t like to make that a regular habit but it’s nice to know I can get away with it when I need to. Like I said in my original post, what works for one does not always work for another when it comes to working with clay. Cheers to all! Owen
  2. I fire my bisque manually and have followed this schedule successfully for 25+ years. I load the kiln during the day. That evening, before going to bed (my studio is at my home), I put the kiln sitter up to 20 hours or so, then put the bottom element switch to Low for 8 hours. I put a one inch thick piece of soft brick under the lid so that it is propped open. The following morning I put the middle and top switches to Low, and close the lid, leaving the spy plugs out. After four hours all three switches go to Medium and I put in the spy plugs but leave the top one out for the whole firing. Four hours later all switches go on High. At this point I make sure that the kiln sitter has enough time on it to complete the firing. I don’t want it to prematurely stop the firing before my biscuit temperature has been reached. Over the years I’ve determined that once I put the switches on High it will take about five hours to reach temperature, so I always set the kiln sitter at six hours. I’m pretty anal when I fire my kiln, I have at least a month’s worth of work at risk and I can’t afford to lose a paycheck. So, I’m always around when the firing is occurring. My kiln is a big oval, I think it is 11 cubic feet. As always, know that what works for one clay artist does not always work for another, so do some testing with wares that are not critical until you learn what works for you. I learned this schedule, by the way, from a production studio, the Blue Spruce Gallery (which is no more) here in lovely Bend, Oregon. Hope this helps! Cheers, Owen PS I glaze fire in my gas kiln so I can’t help you much there.
  3. I spent many years pricing my work too low. One day I decided that my time was worth a minimum of $20/hr, and I priced my work based on that. Now, I am getting into some really unique work, which in addition to taking longer to make, also has the underlay of everything I have learned in my 25 years of interaction with clay. I ask a lot for these pieces and by golly people are buying them. So don’t be afraid to price your work based on your financial requirements, there is a niche market for you. Potters who compete on price are not always factoring in anything beyond the amount of time they took to make a piece...and in so doing, they deny themselves the financial reward they are due. Cheers, Mosey
  4. Greetings! I recently stumbled upon a folder of photographs I took some 15 years ago at a wonderful Paul Soldner workshop, held in southern Oregon. I was delighted with this discovery and posted them on my blog for all to enjoy. https://www.mugrevolution.com/blogs/blog Best wishes to all and happy holidays! Cheers, Mosey
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