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Member Since 13 Feb 2013
Offline Last Active Sep 11 2015 07:48 AM

Posts I've Made

In Topic: Fusing Glass With Clay

11 September 2015 - 07:52 AM

A number of my students have experimented with adding glass to their work at cone 6 electric.


First, unless you are firing to VERY low cones, most common glass will melt entirely and flow to the lowest point it can reach. Experiment only on the interiors of test pots first...unless you want to replace kiln shelves for the studio....


Second, less is often more. Experiment by beginning with small quantities of glass (just enough to cover the bottom of a piece), then increase to gauge results.


Third, real glass beads from the craft store are another source to explore. But they are very light and roll around. If you use glass that can roll, it is helpful to glue it in place to make it easier for the person loading the kiln. Just regular glue, like Elmer's, which will burn off long before anything starts melting...not an option to hold the glass where you want it for the entire firing.

In Topic: Material Shopping List

11 September 2015 - 07:23 AM

One avenue to achieving beautiful matt glazes in a mid-range electric kiln is down firing (controlled cooling). Steven Hill offers great advice and a link to an article on the subject on his website: http://www.stevenhil...y.com/articles/


Double ditto on Neil's advice about not giving other people in your studio access to anything that isn't food safe. If you plan to share glazes with other studio users, you might consider keeping such glazes and materials in an "off limits" area for only your use.

In Topic: Teapot Lid

07 September 2015 - 07:10 AM


In Topic: Painting Underglazes On Bisque With Brushes

10 August 2015 - 07:11 AM

If you're firing to mid-range stoneware and have a nice, stable white glaze that dries to a durable surface (we use Coyote White), do some tests applying underglaze on top of the glaze...faux majolica! Usually works best using the underglaze as a thinner wash, think watercolor style. If it is applied too thick, it will not fully incorporate into the glaze and gloss up during the firing. Thickish applications will remain on top of the glaze and be dry/dull.

In Topic: Group Studio: How To Figure Out Cost Sharing

22 May 2015 - 08:46 AM

If you are doing all of the loading, remember to pay yourself for labor!


It's great that you're making the resource available, but a fair price for providing a firing service should be at least double what it actually costs you. Even at that price, it will still be a bargain for participants.


I rent part of my personal studio space to other potters. Renters are responsible for the cost of all of their own expendable materials and have assigned storage spaces for their work, tools, and materials. I have two firing fee structures, one if the renter does all of his/her own loading/unloading and another if I load their work. When I load, I base the cost on the height of the shelf required to accommodate their work and/or the percentage of the kiln space used, rather than weight or actual square inches. Ultimately, it is my judgment call. I strive to be fair and usually err on the side of charging on the low end of my estimate. I haven't had any complaints.


Finally, if renters  want to use my glazes, they pay a fee per 25 lb bag of clay opened. This grew out of the system we use in the teaching studio where we buy the clay and sell it to the students with an up-charge that covers the cost of the studio glazes and underglazes.