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Chantay

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  1. Like
    Chantay got a reaction from KLS in Large Flat Pieces Cracking During Glaze Firing   
    I am working on larger ( greater than 8 inches) bonsai pots.  What I have learned to do it make extra feet to support the bottom of the pot.  The bonsai pots have feet, but they are heavy and have the same issues with cracking as a flat plate.  The feet are not attached and travel with the pot from making through drying, bisque, and glaze firing.  They are then thrown away as each pot is unique.  I have also done this with a large 24 inch platter that I made with feet.  I place the extra feet about every four inches.
  2. Like
    Chantay got a reaction from Tabathos in Firing Beads and Pendants   
    I am soooo lazy.  I made a bowl. then squished into a square/rectangle shape.  When it was leather hard I cut small wedges out of two opposite ends.  This is where I place the wire to hang the pendents after the bowl was bisqued fired.  This way if the glaze dripped, the bowl caught it.
     
  3. Like
    Chantay got a reaction from Wingnut in Firing Beads and Pendants   
    I am soooo lazy.  I made a bowl. then squished into a square/rectangle shape.  When it was leather hard I cut small wedges out of two opposite ends.  This is where I place the wire to hang the pendents after the bowl was bisqued fired.  This way if the glaze dripped, the bowl caught it.
     
  4. Like
    Chantay got a reaction from LawPots in Teaching Ceramics to Adults   
    My first pottery class, at a local college, was terrible. The class I'm taking now is so much better. In the first class the teacher offered very little instruction and minimal demonstrations. The class I'm taking now, beginning throwing, the teacher has a set schedule. Starts with cylinders, next bowls, etc.. She does several demos in each class. She also repeats, repeats, repeats instructions. The class is all adult, many older. I for one need the repeated instructions. My throwing has improved immensely after just the first two classes. She also allows room for experimentation and creativity. But this is a teacher who can teach good basics. Others in the class must like her. Most of the students are repeats.
     
    -chantay
  5. Like
    Chantay got a reaction from Aurora in Firing Beads and Pendants   
    I am soooo lazy.  I made a bowl. then squished into a square/rectangle shape.  When it was leather hard I cut small wedges out of two opposite ends.  This is where I place the wire to hang the pendents after the bowl was bisqued fired.  This way if the glaze dripped, the bowl caught it.
     
  6. Like
    Chantay reacted to LawPots in Going Price Of Mugs   
    I'd like to echo Mea in a way.  I am a student of hers, but I also fit the demographic that Mea sells to - craft fair enthusiasts with upper middle income.  I happen to go to the types of shows she participates in. I went to many of them before she started doing them, like the Smithsonian show.  I've paid up to $60 for a mug.  I bought a mug from Sang Joon Park for over $40 at ACC Baltimore, broke it a week later, and bought a second mug from him at the Smithsonian show.  The reason I'm estimating his price?  I can't remember it.  I didn't really care how much it was. 
     
    So, were there cheaper mugs at both shows?  Yes.  Did it matter?  No. 
     
    I think you do have to find a mug that you can make for a rational price for both you, and your target market.  I figure making, glazing and firing a plain mug takes about 12 minutes each mug.  Provided that you are a quick thrower, don't trim, and don't do much decoration.  A modest decoration, some marketing overhead, and a retail mug at $25 is my guess for a minimum price for a mug if the maker lives in the greater metro area of Washington DC. 
     
    Likewise, $35? Totally an affordable price for a handmade mug.  In 1980, that was about $12.00, and in 1972, that was $6.  Which happens to be right in line with a previous post.  Check this out: http://www.bls.gov/data/inflation_calculator.htm, if you want to want to compare a historic price to a current going price.
  7. Like
    Chantay reacted to crazypotterlady in Going Price Of Mugs   
    Thanks so much for this thread.  It's a very timely one for me as I just starting the pricing process for my 1st big art fair of the year and I'm struggling with what to price my mugs.
     
    I've been selling mugs (^10 reduction, thrown, trimmed, pulled handle, dipped glaze, wax design and contrasting dipped glaze over) since the '70s. I started selling them in a shop ($7.50, I got $5) and I gradually inched the price up to $25 for my ^10 mugs last year, selling at art fair and my studio tour. For the last 10 years I have also started doing work in ^6 oxidation, using underglaze color, sgraffito, carving and majolica. This new work takes me 2-3 times as long to make as my ^10 mugs, yet I've only charged a little more for them (10 years ago my ^10 mugs were $16 and ^6 were $20; ^6 now are $35). 
     
    When I first started working in ^6, I did only 10-20% of my total work at ^6, over the years that proportion grew, last year to about half of my work.  At my first big fair last year (same fair as what I'm getting ready for now, on the Mendocino, CA coast) I sold 3 times as many ^6 as ^10 in all categories. (In everything except mugs I priced my^6 to refIect how time-consuming the work is). I wondered why I sold so many more ^6 mugs because my ^10 work is beautiful: well-thrown and designed.  I thought maybe the customer realized what a good deal the ^6 mugs were compared to the ^10 mugs. Maybe... This same thing happened at each of my 6 art fairs, until I was putting my ^10 mugs on sale ($15-$19) and they were still out-sold by the ^6. This was an eye opener, and I made the decision to just work in ^6.
     
    So, back to my original question: what do I price my mugs?  I won't have any ^10 mugs there to compare to.  After reading the responses and philosophies on this forum, I decided to 'go for the gusto' and price my mugs at $35 for an all-over carve with a colored transparent glaze, up to $45 for the sgraffito/blackline, dotted work. Wow $45 for one of my mugs! I never thought I'd see the day. (We'll see if they actually sell...  wish me luck)
  8. Like
    Chantay got a reaction from Roberta12 in Large Flat Pieces Cracking During Glaze Firing   
    I am working on larger ( greater than 8 inches) bonsai pots.  What I have learned to do it make extra feet to support the bottom of the pot.  The bonsai pots have feet, but they are heavy and have the same issues with cracking as a flat plate.  The feet are not attached and travel with the pot from making through drying, bisque, and glaze firing.  They are then thrown away as each pot is unique.  I have also done this with a large 24 inch platter that I made with feet.  I place the extra feet about every four inches.
  9. Like
    Chantay reacted to Seedy Potter in Large Flat Pieces Cracking During Glaze Firing   
    I am having trouble with successfully firing large flat pieces in a glaze kiln.  When I bisque fire them, I put a little sand under them to reduce the friction on the shelf as they shrink and move during firing.  This has been very successful.  However, I am hesitant to put sand in a glaze kiln especially with a vent master drawing air downward.  I am afraid that the sand will be drawn into molten glaze.    My question is:  is that a reasonable concern?  If so, what would any of you suggest to use to keep large pieces from breaking apart at ^6.  Might the problem be solved if I brought the kiln temp up much more slowly? What temp range is the most critical? 
     
    Is it possible that all the moving sand will have "found a home" by the time the glaze is molten?  This still feels if-y to me... I could use some sage advice! 
  10. Like
    Chantay got a reaction from Stellaria in Firing Beads and Pendants   
    I am soooo lazy.  I made a bowl. then squished into a square/rectangle shape.  When it was leather hard I cut small wedges out of two opposite ends.  This is where I place the wire to hang the pendents after the bowl was bisqued fired.  This way if the glaze dripped, the bowl caught it.
     
  11. Like
    Chantay got a reaction from Mug in Firing Beads and Pendants   
    I am soooo lazy.  I made a bowl. then squished into a square/rectangle shape.  When it was leather hard I cut small wedges out of two opposite ends.  This is where I place the wire to hang the pendents after the bowl was bisqued fired.  This way if the glaze dripped, the bowl caught it.
     
  12. Like
    Chantay got a reaction from Babs in Firing Beads and Pendants   
    I am soooo lazy.  I made a bowl. then squished into a square/rectangle shape.  When it was leather hard I cut small wedges out of two opposite ends.  This is where I place the wire to hang the pendents after the bowl was bisqued fired.  This way if the glaze dripped, the bowl caught it.
     
  13. Like
    Chantay got a reaction from High Bridge Pottery in Making colored slip   
    Robbin Hopper's Slip Recipe:
     
    75 Ball clay
    10 Kaolin
    5 Feldspar
    10 Silica
     
    I do a lot of slip trailing with an applicator.  If I want the slip to stand up firmly after I have sieved the slip I add a few drops of darvan and then add more ball clay, or some of the dried clay that I am throwing with till a thickened consistency.  All the ball clay makes this a nice slippery slip.
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