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Member Since 13 Feb 2013
Offline Last Active Jun 15 2016 09:03 AM

Posts I've Made

In Topic: Creating Product Lines / Over Time

29 January 2016 - 02:47 PM

I don't believe anyone has brought this up; my apologies if I'm repeating.... As I understand it, you're not able at this time to do shows. For the experience of selling your work in person without doing shows, sales galleries exist where you rent display space (jury of your work usually required) AND commit to spend some amount of time acting as gallery staff. While you are not there all of the time, this offers the potential both to see customers interact with your work and for you to interact with customers. I know several successful potters who do this in addition to shows, custom orders, straight commission gallery sales, direct sales from their own studio, etc. One caveat, you can lose money if you don't sell enough to cover your rent and transportation costs to/from the gallery, let alone paying yourself for the time you spend staffing the gallery. Congratulations on your new business!

In Topic: Glazing Question

29 January 2016 - 12:43 PM

Glaze the inside first! Wipe away any drips, allow to dry, then spray the outside. If you want the inside glaze to overlap the outside glaze at the rim, clean an appropriate portion of the rim bare after you glaze the inside, then do a rim dip after you spray the outside. If you don't want any of the sprayed glaze to get inside, you might be able to use Press and Seal wrap or wax resist to mask off the interior during your spraying.

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