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  2. 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.
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  4. 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!
  5. Firing schedules is what I’m looking for. I will search. Thank you.
  6. 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
  7. 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
  8. 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.
  9. Yesterday
  10. 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.
  11. 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
  12. 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.
  13. 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
  14. 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.
  15. Hulk recently posted in the QotW pool: Still curious what mentor/mentee experiences others have had with regard to throwing? 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! 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 depend on what is referred to as a priori knowledge that has 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. However, 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 ceramcis 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
  16. 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 ???

  17. 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
  18. Just received y copy of Mastering Kilns and Firing. I am happy to be included in this new book by Lindsay Oesterritter..

  19. I am new to the pottery world and purchased an older Cress model FX 2418 kiln to start out. I am trying to locate a user's manual with details for operation. Looking for suggested sources. I have been to the Cress website and found an owners manual, but wondering if there are other sources for details. Thank you
  20. New slip and Darvan and it's not working? Symptoms of of over deflocculated slip from Digitalfire: "If the slip does not gel at all, or settles out in a layer on the bottom of the container then there is too much deflocculant. Too much deflocculant is also indicated by a thin slow cast, a wavy and gritty looking inner surface after draining, rapid formation of a skin on the slip after the mixer is stopped, poor mold release, splitting and cracking of the ware during drying and brittle ware." From your first post: "Every time I come back to the studio the slip is gelled thick but never settled and never develops a skin." What's the viscosity of it? How are you mixing the slip ?
  21. Dille- In agreement with the site to which Hulk refers. However your location will/can be a determining factor as to whether frost resistance and water absorption are issues. Regards, Fred
  22. I'm guessing it was first used by a manager, to slowly sip, while critically looking at their employees, "Yeah, I'm going to need you, to get those manuscripts turned in, before you leave today..."
  23. Here's what it ended up looking like. Just a rough mockup to see if they're interested.
  24. Hi Dille! Flooring tile may be rated for durability - resistance to wear; for high traffic areas, typical long wearing tile are porcelain; that said, your pool surround and garden path aren't likely "high traffic"... https://homeguides.sfgate.com/determine-quality-ceramic-floor-tiles-24866.html Are you considering concrete at all? Textured and coloured concrete is typical for pool surrounds here in central California. As for suitable forum, most of the discussion here has to do with making and finishing ceramic work.
  25. Chilly- Don’t know why the search field doesn’t show up on your browser. My phone and computer both have a large “search for items or shops” field with a magnifying glass right at the top. Not saying that it works well, but it’s available on my devices. Regards, Fred
  26. Hi, I plan to brush iron oxide as under clear glaze or over white glaze. How much amount of water do I mix them with and do I need to add slip with it? I'm totally new at this, how exactly do I mix it Thanks in advance
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