It's for doing cuerda seca. The black remains, the wax burns off. You slip trail or brush the wax on then fill in the spaces with glaze. Wax probably won't work to screen with, original formulas were oil based I believe.. (I linked the video mostly because I like the brushes the women are using)
I use 6lbs of clay (porcelain that shrinks 14%) to make my fermentation crocks, finished size of base is 8" tall X 7" wide so I would guesstimate yours to take double that so Marcia's figures seem spot on to me. The lid takes 3lb 4oz but a lot of that gets trimmed away. (no trimming on the base) If you use a groggy or sandy clay would likely take a bit less.
(excuse my mess on the work counter!)
edit: I was at a Robin Hopper demo years ago and one of the things he made was an enormous bread crock, it was large enough to hold 3 or 4 loaves of bread. Can't remember ever seeing one over on this side of the pond, maybe they are a British thing?
As been said before, there is no reason to wholesale at 50% your normal price, there is nothing wrong with selling it @ 60% to 75% of your normal cost.
My 2 bits worth of advice.
1) be upfront with the shop owner and tell him/her that the mugs are hand made and there is little wiggle room to mark down your product.
2) Its easier to lower your price than it is to raise your price, start at 75% off if they agree to purchase X amount of mugs.
Absolutely. I don't wholesale or consign anywhere if I don't get 60-65% Still not giving a discount for early payment though. All my shops pay within 30 days, 2 of them pay on delivery. 1 of them even offers to pay me for materials before I even make the work.
The biggest problem my students have when moving up to larger amounts of clay is that they don't cone it properly during centering. If you don't bring in the clay at the bottom of the cone enough then that part of the clay does not center up properly, and since it's at the bottom it messes up everything else above it. From a ball of clay to a cone, the diameter at the bottom of the clay should reduce by about half when bringing it up.
Also, when bringing it back down, come down slowly and focus on pushing in at the top with the left hand or you'll be chasing a mushroom all the way down and it will overlap when you reach the bottom, making a mess.
The problem i see students having trouble throwing bigger pots is they under estimate the amount of clay needed to make the size they want and then pull the walls to thin which leads to collapse.
When you start with a well made ball of well wedged plastic clay there is no value to spending time making cones up and down except to show off.
Center the ball as a big round block and go straight to opening and raising the wall.
Neil is one of the most generous and gracious people on these forums. With all due respect I really don't think he is suggesting coning to show off.
"I am going to jump in here and disagree with Nerd on a few things, not because I am smarter than him (no way, ever, he brings so much to the table and I am constantly learning from his generous shared wisdom) but because I have messed around with both standard reduction firing in gas-fueled kilns and several forms of Western-style raku.”
@dw, Your experience speaks volumes. I also appreciate the maverick way of thinking Nerd brings to this forum. I don’t think anyone here has any problems with a peer review.
Totally agree that glaze thickness makes a huge difference with how the glaze turns out. It's all about trial and error with glaze testing. Some glazes have a little wiggle room for temperature, others are quite sensitive to being fired too hot or cool. (nudge, nudge, use cone packs)
For example, with Xaviers Warm Jade Green, it needs to be thick to get the visual texture. Try mixing it up with 100 base to 70 water. On tall test tiles (with room for the glaze to really run) try a single dip, a double dip and another tile with 3 dips. It will run when thick enough, you just have to fine tune how much you want it to run by glaze thickness. If it’s fired to ^5 - 5 1/2 it is more of a satin matte than a gloss. Refiring this glaze will have the glaze running off the pot and loosing the varigation. (also runs more on porcelain than stoneware) Not sure which version of this glaze you are using but the Ron Roy version does get the nod for being “An extremely stable glaze. It should be excellent for functional or decorative work”
This little cup is the RR version with less rutile and a little titanium dioxide (lined with faux celadon). Subbing part of the rutile for titanium dioxide makes the greens and blues a little less muddy than the original glaze. You can see at the bottom of the cup where the glaze has less variegation I have applied the glaze thinner so it doesn't run onto the kiln shelf and thicker towards the top.
Think I'm right in the middle of a "What am I thinking" moment right now. Trying out red clay in my workshop where I only used white clays. Holey moley does the red stuff make a mess. (need to give myself a smack on the back of my head but then I'ld have to go wash my hair)
Both ways would work, but I think you run the risk of having the rim distort when you cut it off the batt if thrown right way up. If you do throw it this way I would use a needle tool to cut it off the batt rather than a wire. Just slide the needle under the base and run the wheel slowly while pressing the needle firmly to the batt. If I was making those I would throw a V shape, then flip it over, trim and throw the knob directly onto the pot.
Our Catahoula dog has some merle, if I was trying to copy his coat I would use a stippling brush or a torn off bit of coarse textured sponge and underglazes. I would pounce the brush or sponge rather than making brush strokes to build up the colours.
A little Christmas silliness. For all those who use a Griffin Grip, how do you avoid getting feathers in your face or a tail slap as it goes whizzing round and round? Do their claws scratch and breath smell? What happens when they grow too big for your wheel?
I actually prefer when there are other potters selling where I am. I have found when a shop, gallery or market gets known for carrying ceramics it becomes a draw for shoppers who are looking for pots. I sell most of my work myself at markets but am in a half dozen shops also. I do the best when there are many potters in the same market and with the shops I do best in ones that carry other potters work also.