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  3. We just recently redid the walkway to our front door. Used to be exposed aggregate concrete and we were going to put in pavers then found outdoor porcelain tiles that look like stone. The ones we got are 2cm thick, (also available in 3 cm thick) if they are installed on a solid base they can be used as a driveway, they can also be installed on a gravel and sand base without mortar. They come in both a rough finish and smooth. The ones we chose are 2' square, non slip rough finish, they don't stain, change colour, grow algae, get damaged with winter salt and they are supposed to be stronger than flagstone of an equal thickness. They are more expensive than other options though, we paid 25- per 2'x2' tile.
  4. adding printers blankets to your slab work might help. they are sturdy, stiff enough to allow movement of large slabs with a little support underneath and easy to clean. my knife or needle tool is not sharp enough to cut the fabric side when i work. and they do not hold as much dust as canvas.
  5. concrete has the added benefit of being less slippery which might prevent falls.
  6. The thing about a belief is that you hold to it whether it's convenient, cost effective or not. If you believe in recycling as a principle, then you do it consistently. There isn't any doubt or room for discussion that we live in a throw away society. It's that mindset that would have to change. I can chose not to participate.
  7. Ordered the slab roller machine, DRD2, and I'm sourcing the materials for the tables construction. Question on the table holding the machine. Is that one contiguous piece of plywood with the machine mounting on top? Bailey build instructions show a 45 degree miter on the table top being fed by the roller. If your setup is built that way, it would have to be 2 separate pieces. Also, the Bailey instructions call for an immediate rise of 1" on the fed side. So the finished slab side is 1" higher than the feed side. Is your's set up differently?
  8. jeff, yes, you can DO anything. sometimes things you try work and other times it does not. that is how we learn. you are at that stage in becoming a good potter where every piece is precious to you. it is very hard to realize that each unexpected thing is a way to improve your skills by working through the new problem. it is difficult to realize that the piece in your hand might not make it to the finish line. but it is. after all, only clay and if you could do it once you can do it again. by the time you have made 6 of them, the first will only be an experiment and the last something to treasure. one thing you might want to do is learn more about your clay. if you take a piece of dried scrap bigger than one inch square and quickly dip it into clean water to wet it, then scrape it with a sharp tool, you will see how little effect the water has on the bone dry clay. do it repeatedly so you can gauge the amount of water it takes for the clay to fail. once you know this, you will be able to judge what will work and what will not.
  9. Hi all - Many thanks for your suggestions. I am concerned about the integrity of the joint and not just the cosmetics and may opt for the paper clay or spooze (had to look that one up). Just curious - couldn't I mix up some defloculated slip and epsom salts and then push that into the crack? - Jeff
  10. With Etsy’s new policy of any item over $35 shipping for free it is nearly impossible to make a profit on larger items. I cannot sent a large bowl in a large box properly padded for free. Working the cost into your sales price does not always work as well if you are looking for more salable price points and taking into consideration the ever increasing fees on Etsy. I would look into local artist collectives, boutique shops and pop up shop collectives for outlets to sell your work. In 10 years on Etsy, I have sold the same amount as I would at one good art show or pop up shop. Selling your wares to shops would require your pendants to be on a chain or cord so they would be instantly wearable, but that would not take much to achieve. You would need to consider the highest price point you would think they could sell at, because the shops buying ‘wholesale’ from you would only want to pay ‘keystone’, or half of the retail price. You mentioned selling pendants at $10. I don’t think it would be too hard to add a necklace cord and make the ‘retail’ price $20 so you actually get the $10 you wanted. It would make you much more to sell larger quantities at once than to try and sell one at a time on line and pay the shipping & packaging cost, etc. This is just my opinion, but I have been making and selling porcelain pendants for 25 years, so I do have experience with this topic in particular.
  11. Sorry for the late reply, This is the book: https://www.amazon.com/gp/product/0873496035/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1 I have been mixing glazes for quite some time, I would recommend starting on cone 6/10 oxidation glazes, get comfortable with them and then try crystalline!
  12. Firing schedules is what I’m looking for. I will search. Thank you.
  13. I have to sign in every time I want to make a comment. Perhaps because I seldom do so. Having to go to my email to copy and paste a temporary secondary password is ok. Trying to remember what I replied to this website for the questions is difficult, because many of my sites have similar questions and I don't want them all to be the same - in case of breaches. Nancy
  14. Great jousting from everyone on this topic, I have been busy moving my 96 year old into senior living facility. She grew up in the dust bowl area of Kansas, she was 5 years old when the famous black Friday dust storm rolled into town. It was blowing across the US to Washington DC. Just when it hit the capital building the senators were taking a vote on helping farmers with education and funds to rebuild the soil and how to plow to conserve the soil. When it turned black outside the bill passed. Hundreds of people especially children died from breathing the dust, Farmers weren't aware that they way they farmed could contribute to a disaster of such magnitude. We know now and shouldn't ever think that what we do personally can't affect the earth. Denice
  15. Can you define what you mean by details? Are you looking for firing schedules? If you do a search here on the forum you can find a lot of information on firing schedules.
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  17. 1.5mm is a bit big for a glaze fill. I just suggest paper clay (slip) because it doesn't shrink as much as normal slip. I wouldn't just leave it because if it has pulled away visibly from the joint, the entire joint is compromised.
  18. And chiselling on rock or making firinf a clay tablet and then mining the ink stone makes for a big day at work. Certainly need that cuppa Benzine of bizarre brain..ah you tach teenager's art
  19. I like both suggestions but any water will cause the repair to shrink as it drys so at this stage if you do fill it compressing the joint as it dries with a small ball bearing ended tool this often gets the repair dense enough to offset the inevitable shrinkage. This works great on sharp edge joinery and provides a little more insurance to the repair. In the event there is a very small gap after bisque, you can still fill with some bisque fix,, glaze and have your perfect pot.
  20. Top both Liam and Hulk - thanks for the suggestion of paper clay. Not sure I need that much of an aggressive repair. The gap itself is only about 1/16" inch (.159cm) and is right where the two pieces join. I though also that the glaze may fill/cover it. Then I began to second-guess it. This is how obsessive I can get. I may dampen the area as suggested and brush a bit more slip in there. Thank you both for the suggestions! - Jeff
  21. Good question! If the gap is small enough to bridge with glaze, an opaque glaze would, err, may hide it. You might try misting the area with water (spray bottles are an essential!), just a little bit, for too much with melt your work, wait a while, mist a bit more ...until the area is damp enough to accept some slip. If you really like the piece, try it out on some scrap stuff first. Paper clay, sounds good.
  22. Hulk recently posted in the QotW pool: Still curious what mentor/mentee experiences others have had with regard to throwing? Hulk adds to this question by stating: I started at the local JC Ceramic lab, where short demonstration introduces skills required for upcoming assignments, then practice. From there, anyone struggling and/or having questions and/or asking for help would get some one on one or small group. I as (still am) ok with that. I have/am learning by practice, making mistakes, and observing others. Isn't it interesting what we see when observing others - particularly what we didn't see earlier? ...aha! For myself (Pres), even though I thoroughly believe that learning to throw is much like learning how to ride a bike; I believe that good practice can be taught, reinforced, and improved upon with the aid of an experienced teacher. First to cover my beginning statement, much of life depends on what is referred to as a priori knowledge that is pre existing knowledge to help learn something. However, riding a bike is something that you really don't have a lot of pre learning to help you out. Much the same when working on the wheel. The coordination of using the foot pedal, you can relate to the gas pedal on the car as it makes things go faster. but how do you learn the right pressure to move the clay, to center it, to brace yourself for greater strength/pressure on the clay, or how to gauge the thickness of the walls or the depth of the floor? All of this must be learned by viewing others, practice, practice and. .. . well you get the idea. In the beginning a good demonstrator/ teacher is paramount to understanding the steps in the process, the general body positions, the positions of the arms, hands and finger, and the speed appropriate for the stage of the throwing at hand. Only practice will really allow you to approximate the steps demonstrated and end up successfully. My last sentence of the opening paragraph states that a good teacher observing can make good improvement on what is already learned. I have seen many adults taking an adult ceramics class that I taught in the Winters at the HS where I taught, and where I still help out. Many of these folks are art teachers, or had ceramics in HS, college or both. All too many times they have developed weak habits when throwing, that as an experienced thrower I can help them to correct, improve upon and by doing so allow them to throw larger amounts of clay with greater confidence and experiment with forms they would have never been able to accomplish before even though the desire was there. So to return to the original question from Hulk: What mentor/mentee experiences have others had with regard to throwing? best, Pres
  23. If you glaze pieces for a "totem " close to the edges of each piece how do you prevent the glaze from getting on the kiln shelf? 

    Are there special stilts that can be used?  It seems like most shapes; balls, tubes, boxes need to be lifted off the shelf ???

    1. Min


      Hi PattiKaye, your question would probably get more replies if you posted it in the Studio Operations and Making Work section. This Status Updates section is more for what people have going on at the moment rather than a place for asking questions. Welcome to the forum :)

  24. I'm a relative newbie - been at the wheel for about a year. Have spent most of my time at the wheel practicing forms. Last week I tried something different - threw a bowl and then a separate pedestal which is essentially a small bowl itself. I let them get to leather hard, trimmed, then scored the bottoms and joined the 2 pieces together with slip. Cleaned the connected area a bit today by trimming off the rough leftover slip. But I noticed that I didn't completely fill the gap in a spot where the two edges meet. The piece is now bone dry. Can I add a bit more slip the the gap and smooth it out before bisque firing? Will it stay in place or just crumble off since it's a bone dry piece? All guidance welcome. - Jeff
  25. Just received y copy of Mastering Kilns and Firing. I am happy to be included in this new book by Lindsay Oesterritter..

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