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Posts posted by dhPotter

  1. 13 hours ago, Rachel Hawkins said:

    Another potential hypothesis: My wedging is bad and introduces too many air bubbles. Would I be better off using clay straight from the bag? (Or, sigh, trying to get better at wedging?)

    I would stop table wedging completely. I have not wedge clay in years. Straight from the bag to the wheel and cone wedge 3 times like you do.

  2. @nancylee For amounts of clay you are talking about, I pat the clay, as the wheel slowly turns, into a semi-centered mound. Then I place both hands on the opposite side of the mound and as I increase the speed of he wheel, pull the mound towards my body. This gets the mound closer to centered, but I don't worry about perfect at this time. Now I cone the clay 3 times, after each cone try to place your hands in your centering position and hold till the mound gets closer to centered. By the 3rd cone everything should be aligned and centered.

    I had read where Marcia Selsor likes to have the chair she sits in be positioned so when she looks down at the wheel she is looking about 1 inch beyond the center of the wheel. This has helped greatly. Try to lay your weight on the mound with your shoulders well over the mound. I usually end up with clay on my chest from hugging the mound.

  3. Try to sell your pieces in person. This changed my mind from ever judging glaze results. I, like you and nearly every other potter, have a "look" you think should come out of the kiln. When it doesn't we are disappointed. But, I guarantee, there is a person who will come along and love what you have done. This has happened more than occasional. If you think it is ugly there is someone who thinks it is equally beautiful. People will buy that funky stuff because it is original and one-of-a-kind. Unique is what they seek. Smile as you wrap their purchase and stuff your pockets full. Success makes all of your second guessing go away.

    Try not to guess what the buying public thinks about your glaze results. The mob is fickle.

  4.  I also have a base white liner that has made 3 other liner colors. On Tony Hansen's website is the chemical analysis of Butterscotch I used to back into the glaze recipe, with the help of glaze software - this is now 1 of my favorites. From MC6 - Licorice, Raw Sienna and Waterfall Brown which pairs very well with Butterscotch. From Britt's ^6 book - Bailey's Red 2 and Val's Turquoise.  From Steven Hill's Spraying glaze workshop - Red Orange, strontium crystal magic cool and warm, Juicy fruit Cool, SH Copper Ash and Hannah's Fake Ash Iron.  From the internet - Hsin Matte Black, Pete's Seafoam, Satin Matte Green, Shatz Blue Matte, Silky Matte Z Blue - this is Tony Hansen's G1214Z, Marcia Selsor's Turquoise Satin Matte.

    Actually do use all of these glazes. I go thru stages of using 3-6 in various overlaps and combos.  I spray glaze. Do not have a clear glaze but don't want one either after reading about all the bubbles and other problems here on the forum.

    @Hulk you are a brave person with Kitten's Clear - this glaze crazed horribly bad for me. We did use this in school layered with a Floating blue, did some really neat stuff.

  5. @oldlady, Right now the chickens and their eggs are priceless. Have heard of a dozen eggs going for $7 in the grocery stores.

    To attach the hardware cloth to the plexiglass, I drilled holes thru the plexiglass (place tape over the plexiglass at your drill point then drill), then cut a piece of 1x4 to fit the width of the plexiglass. Put the 1x4 on the back side of the plexiglass, this is your "nailer". Screw, using deck screws with a pan washer, the hardware cloth thru the plexiglass into the 1x4 to hold it all.


  6. @oldlady, I did exactly what Tom Turner did in that bookmark you have.  Only thing I did wrong from the begining was not use a powerful enough exhaust fan. This past fall I switched it to an attic fan like Tom Turner. It has made a world of difference with sucking the glaze haze out. If you do things the way he has done them you will do well. My booth is inside my studio and it is on wheels. The exhaust goes out a window where the booth is backed up to. The fan is about 4 inches from the open window. The most important part is to have the thin plastic film at the top of the booth that allows the water to "flow" down the wall. I used a dry cleaner bag cut down to about 12 inches wide.  Another important part is at the bottom of the plexiglass - the 1/8 inch hardware cloth. If the hardware cloth is bigger than 1/8 inch the water will not flow well and you will have gaps in the water wall which allows glaze to get into the fan.

    Of course you can holler at me if you need any help. Good Luck. On your way home to WV, take a hard left and come by MS. I can show you how it works.


  7. Have you a decent clear glaze? My clear glaze crazed but I did this any way and got a very nice base glaze, that does not craze, to add colorants.

    Do a line blend between the clear and the G2934 Dolomite Glaze. 20/80, 70/30, 60/40, 40/60, 30/70, 80/20. You will find a a nice satin glaze somewhere in the line blend.

    I added 12% zircopax to get a white liner glaze. The liner is 60% clear and 40% Dolomite Matte. I have added 5% Black stain to get a light grey, 2% robin's egg stain to get a nice light blue.

    I use the G1214Z Silky Matte with the 6% rutile, 3% copper carb and 1.5% cobalt carb to get a medium blue glaze - this glaze is used a lot. The 6% rutile and 6% rio gave me a nice caramel color.

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