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Idaho Potter

Member Since 26 Aug 2010
Offline Last Active Yesterday, 08:21 PM

Posts I've Made

In Topic: Does Your Dominant Hand Dictate Form Or Are You Ambidextrous.

19 July 2014 - 07:43 PM

Right hand outside left inside, wheel turning counter-clockwise.  Until I had a 14 year old student who could not handle those positions.  Spent several hours teaching myself to throw left hand outside, right hand inside, wheel turning clockwise.


 For the most part my left hand & arm are just there for balance when walking. Although when right hand was out of commission for most of a year, the left hand signed checks for bills.  The signature was on a par with fourth grade attempts at cursive writing.  The bank didn't care.



In Topic: Aesthetically Pleasing Garments For Clay Workers.

19 July 2014 - 07:20 PM

Thrift stores frequently have sweats for sale cheap.  I've bought a couple pairs and altered them slightly.  Waist band intact, cut off back side (butt & legs EXCEPT a two inch strip for behind the knee, and the cuff or elastic at the ankle).  These fit well over jeans, shorts (indoor or outdoor) or anything else you wear (or not).  Let them dry and next time you throw take them outside and scrunch up the thick clay areas and start throwing.



In Topic: Where To Start With Wheel Newbies?

19 July 2014 - 07:02 PM

I am stumped!  Why would you encourage him to buy a wheel?  Surely, he needs months--not days--of practice before considering the purchase of a wheel.  If it turns out he's prolific in throwing on the wheel, where is he going to fire the pots he produces?  Are you going to do it for him?  I am always astounded at the number of people who immediately run out to buy a wheel, before considering the purchase of a kiln.  A kiln is far more important to establishing yourself as a potter.  Handbuilding, tiles, sculpture can be produced in clay, but until the objects are fired, it is still mud (dried).  Permanency means a kiln.  As a friend, you owe him the information needed to fulfill his desire to work in ceramics.  Give the lessons, but temper his enthusiasm with reality, or prepare yourself to fire his work with yours or instead of yours.


my two cents,  Shirley

In Topic: Image Envy ...

19 July 2014 - 06:28 PM

I'm sure we all have image envy, but personally find it too hard to sustain.  I have an attention span shorter than the life of a fruit fly and have a bad tendency to get side-tracked easily (if you saw the movie UP! and understand "squirrel!", you know whereof I write).  I am not a multi-tasker.  I have a one-track mind that occasionally jumps the rails.  All the great ceramics I've seen, books I've read, music I've heard and conversations I've had with others are filed away somewhere, but I can't remember the password to access those files most of the time.  Soooo, I'll continue to drift through the years and every once in awhile have an AHA moment when I recognize an object or idea that clearly rings a bell--too bad I can't find that door to answer.


Now, what started this thread?



In Topic: Source For Brown Raku Clay

19 July 2014 - 05:40 PM



I, like you, prefer raku clay for sculpture because of its ability to stand up to sudden or severe temperature changes without falling apart.  If you like the smooth finish that it gives when producing anatomical sculpture, groggy sculptural clay may not give you that result.  I also use B-mix (no grog) for sculpture, but have found it doesn't like the sudden temp changes in raku firing.  Perhaps you could leave the work in the pit to cool (when doing pit firing) using any brown/tan sculptural or stoneware clay so it wouldn't have to survive thermal shock.


Are you also wanting to use this as a primary color for your sculptures of people?  If you find the right clay, this could ease some of your problems you've had with stain applicatons.


JLowes wrote that he got pink pigs from bisqued (pink?) with a clear crackle glaze.  My raku bisques to a pink color, but when raku fired with a clear crackle, the glazed areas are white.  Did I misunderstand the post?