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Red Rocks

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Everything posted by Red Rocks

  1. A couple of thoughts on cracking - I do lots of dinnerware and large platters. Years ago I would cut the clay off from the bag, smack it around a little and put it on the wheel (this is circa the 70's and 80's). I never had a problem with cracking. Fast forward to today and if I don't wedge the clay really well before throwing a dinner plate or platter, I will most definitely get some that crack. I resisted this for a long time, as I hate wedging. It is worse with some clays but I find this to be true with all three of the clays I use. So if you are making flat bottomed pieces, it is worth the effort of wedging!
  2. Thanks Mark for taking the time to provide more input. It is most appreciated. I love the part of the country you live in and have been thru there a few times.
  3. Wow! A lot of great and thoughtful responses to this topic. Here is some feedback from Sedona: 1. We went to Zapp to streamline the application process. We still do in-depth jurying of every application to ensure a high quality show. Zapp is indeed a photo management system. Years ago I ran the Tempe Arts Festival - we used to get 5 slides from 1500 artists for 325 booths - now that was time consuming. 2. A couple of you indicate do a better job of marketing ourselves to artists. Would love to hear any ideas on long these lines. 3. Mark asked about number of attendees - it is right around 3,000. We have a new board made up of artists and business people who are committed to invigorating and expanding the Festival primarily thru more advertising/marketing in the 6 million plus metro Phoenix area. 4. I really like the idea of a discount to attract new artists and will propose it to the board. 5. I agree with Neil - you definitely want to bring in new artists and keep them rotating so the look of the show stays fresh. 6. At least in our case, Zapp has nothing to do with racking up jury fees. We would charge the same jury fee if we just asked for 5 photos without a system like Zapp. Jurying is a break even process we pay a group to jury the applications and another group to jury the show for cash awards. We pay out what we take in. Thanks for all your responses - please keep them coming!
  4. My objective in this post is two-fold. I am on the board of the 29th Annual Sedona Arts Festival and we are looking to expand our reach in terms of recruiting artists on a national basis. So my first goal is to reach out to everyone here to learn how you source the festivals that you participate in? We currently use ZAPP for recruiting and application management and are looking for other sources that potter's here use regularly and find successful. to reach out to all the potter's on t Secondly, I wanted to extend an invitation to the folks here to take a look at the Festival and to apply if you are interested. Below, is a brief description of this venerable festival: The festival itself has grown in size and reputation over the past 28 years. It is set in a valley surrounded by the majestic red rocks of Sedona. It has become a destination arts festival, known for the quality of art and first-class treatment of both its artists and attendees. With nationally known artists displaying their work surrounded by red rock splendor, there is no better place to spend an October weekend than Sedona. For more information, please go to: https://sedonaartsfestival.org/
  5. Mark C Can you please expand upon the Amazon reader that you are using at 1.6%? I did not know they had one. Thanks
  6. I spent a lot of years working in the high tech field, most for venture backed start-ups that did not make money for years! So I would agree with the comments in this thread that say, run it like a business and as long as your losses are documented, the IRS can not demand that you be profitable, otherwise a third of Silicon Valley would be put out of business!
  7. I have always done cone 10/11 in gas or wood. About a year ago I took a workshop on Cone 5/6 glazes and have been experimenting ever since. I have developed a number of mid-range glazes along with slips and washes that are really awesome. I also bought two electric kilns to support my new passion. However I still have a large Cone 10 gas kiln that I still periodically fire to cone 10 reduction. I want to test firing the gas kiln in oxidation to cone 6, so I can utilize the kiln more often and fire more pieces for less money. Do you have any idea how close I can come to creating the same glaze results in the gas kiln as to what I am getting in the electric kilns? I have done some research on this but have not been able to find any definitive answers and hate to risk a whole kiln load without having a better understanding of the likely results.
  8. Ok to leave the peep open the entire time it is cooling?
  9. One other thing that has not been really covered on this topic is the dreaded 'burp" from putting smaller pieces directly in the wax at the wrong angle or too fast, I tend to put the piece in at a slight angle with one side going in first and slowly easing the rest of the piece in and then quickly removing it. If you leave it in just a little too long, it actually burns off some of the wax. I let those cool off and do them again. Would love to hear about tricks people have learned over the years on this technique.
  10. I want to go back and reinforce my earlier post. I use hot wax with paraffin based lamp oil in an electric skillet set on warm. This setting is around 150 degrees, so it is not really very hot. `The paraffin lamp oil lowers the melting point and is what allows me to brush the wax on the entire circumference of a 20" platter spinning on a banding wheel in one or two passes. You get a nice clean line and little to no clean up.
  11. Hi Dianna Would be most interested in hearing more about you social media strategy? Most importantly, how do you track your results? I am a big believer in Facebook advertising, so I am always interested in hearing about how other people use it. Thanks
  12. There are a couple of waxes mentioned on this thread I am not familiar with - what is bulk prill form and what is soy wax? Where are these found? Thanks
  13. I have used both methods ans find latex wax resist a huge waste of time especially for large bowls and platters. You have to let it dry for several hours, better overnight and you still have to clean a lot of glaze off. We now use hot wax with an electric skillet on the "warm" setting. I never have a problem with fumes or smoking and the glaze comes off very quickly. We also add about 1/3 paraffin lamp oil to the mix. This makes the wax stay fluid longer and easier to apply to a large platter spinning on a banding wheel. I also break up a crayon to add color to the wax if am applying to white clay. Makes it much easier to see where your wax line is.
  14. Have you tried using slips on your green ware or washes/stains over the top of your glazes? You can get very dramatic results with washes and can make one glaze look like 4 or 5 different glazes by using slips. Simple, cost-effective and it definitely widens your palette.
  15. Old Lady: A good question but it was not a new batch of chemicals. I actually glazed 4 or 5 pieces with the new 20,000 gram bucket and they came out perfect. I went back to glazing several days later and the glaze was hard-panned. That is when I added the bentonite and epsom salts. Next firing in a month or so, I will pour out half of the bucket into a a separate bucket and add the Mason Stain #6600 and see how it turns out.
  16. Couldn't agree more about the low iron and lack of colbalt. However as I am learning to work with a new kiln, I first mixed a 5000 gram batch and it came out a wonderful blue green, then a 10,000 gram batch, again the beautiful blue green I expected. So not sure what causes the blue, just know that it is. It was when I went to the very large bucket and 20,000 grams plus that it did the hard pan number. I actually glazed a few pieces that came out blue green from the large batch, then I made the mistake of putting the additonal bentonite and the Epsom salts in the already mixed batch and that is when it turned light green. I think Tom Coleman's idea makes sense as Mason Stain #6600 is a strong black stain and a little should go a long ways. I will experiment with it before trying to change the 20,000 gram bucket.
  17. Quick update. I did contact Tom Coleman and he responded very quickly. He said he thought that the Bentonite did indeed effect the glaze and said I should add 25 grams of Mason Stain #6600 to bring it back to blue green. He also said he no longer uses Bentonite or Epsom salts to keep a glaze in suspension. He uses a small amount of muriatic acid like one tablespoon for 20,000 grams. Says it works great. I will try both of these over the next month or so and post and update.
  18. Thanks for all your comments on this. I am back in Red Rock country after two weeks on the coast. Over the next month, I will tackle this and report back on the process and the results.
  19. I am with Mark - I would choose to work at Hamada's back in the day. The other potter would without a doubt be Marguerite Wildenhain and a week at Pond Farm.
  20. What are you using to coat the kiln and what does the spec for the material say (if you have one?)
  21. Mark Where do you get the Aluminum overwrap you are recommending? Thanks
  22. I talked to an old friend on this today and his recommendation is to use ceramic fiber rigidizer. You basically spray this on and it creates a coating on both sides of the blanket, creating a crust that makes it very resitant to breaking into pieces, abrasion, etc. I just verifed this with technical support at Laguna Clay. I ordered a gallon for $28.75 and they said it will be more than enough to cover the arch for a blanket on a 24 cu, ft kiln. I will let you all know how it works.
  23. It is a cone 10 glaze and I will try that. thanks
  24. The issue is I have 20,000 grams of the now insipid green glaze that I need to bring back to the beautiful blue green. Since the only oxide in this is RIO, I really wonder if it is the small amt of iron in the Bentonite that caused this (we are talking 600 grams or so out of 20,000 plus). I want to try and bring the liquid glaze back and want to know if anyone has a good process for doing tihs? Many thanks
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