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mnnaj

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About mnnaj

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  1. The form that Margaret made out of foam looked similar to the one you just posted out of clay. She glued multiple thickness together to get the height she wanted. After carving out the foam, she mixed up some plaster, when it got to the point of being thick - not hard, she spread it on like frosting over the entire top of the hump, she also set the form on some plaster to completely surround it. I believe she tapped and jiggled the form a bit to get it to flatten the high spots . There may have been use of a surform or green scrubby to smooth things out when it was hardened. Nancy
  2. Once you get the form made out of the foam, you could coat it with plaster to make a mold that will dry the clay. I saw Margaret Bohls make a form that way. It was lightweight and easy to use. Nancy J
  3. Thanks for all your comments, I've been in contact with the school administration. For right now I will address it on a case by case basis, perhaps bring it up during orientation first day. Nancy
  4. If your piece is large, try making a waster slab of the same kind of clay. Roll it out about the same thickness as the pot, let it get to the same moisture content and when you fire put the pot on the slab for both bisque and glaze firing. Doing this has saved many pots. I use wasters on flat bottom things all the time. Nancy
  5. She came to the first class and had no problem, her bag of clay was just fine. The next week the red clay in her bag was was splotched in grey mold, I think from being open, then closed for the week. That's when she started having trouble. I told the class that mold was a part of clay, and to most people it was like mold on cheese, no big deal. I also said if people reacted to mold, or if they wanted to, they should take a claritin or benedryl. She didn't tell me till later - after she dropped the class about having an autoimmune problem. I have been very diligent about keeping the slop in the buckets to a minimum, they were cleared out over winter break. Maybe mentioning mold on the first day of class would be enough.
  6. Hi. I am a teacher at a community education center. I teach adults. Recently I had two new students who dropped out after 2 class times. They both said they had problems with the mold - one is in her late 60's and has autoimmune difficulties. To prevent this problem (she was sick for 3 days after the second class) in the future, do you think that the program description should say something about mold in clay? Or if you have an autoimmune disease please check with your doctor? Or do you think that someone with an autoimmune problem should check with their Dr. before signing up for the class?
  7. The ash will affect the surface of the pots, and it could be directional. If you have access to some cone 10 glazes use them. I have glazed the inside of my bottles, jars, cups - anything I wanted to make fully glazed and food safe, then put flashing slip, oxides or nothing on the outside and let the fire do as it will. If you have seashells to put on top of the wadding, you will find it makes an interesting affect. If you want to try some cone 6 glazes I would suggest you put them on the inside of your pots only. That way if they run because they are being fired too high they might not hurt anyone else's pots. Nancy
  8. I've mostly been a lurker here. I comment occasionally and read many of the posts. I have been feeling very grateful for this community of people lately. I have found answers without asking the questions. And yes answers to questions I didn't know I had. Some of the comments are way over my head - technical glazing and electricity posts come to mind. I may not understand what you are posting, but I appreciate that each of you takes the time to share your knowledge with those of us who want to know. I am very glad to have found this group of knowledgeable, agreeable and respectful people. There are too many of you to name and I don't want to miss anyone. I know if I see a particular avatar that I should read that post. Thank you for your time and experience. I hope that you all continue to contribute for many years and that I can continue to lurk, while avidly reading the posts. Nancy
  9. I also suggest a barrier cream of some sort, I ordered mine from Walgreens, can't remember the name. There are barrier creams that act as a resist to water (useful for clay) and barrier creams for oil (working on cars or with oil paint). I used mine for a while, but couldn't remember to put it on BEFORE touching the clay. It works when it is used. Nancy
  10. We have found ourselves with quite a number of posts that have schmutz on them so they don't sit flat. Some of them have been ground down. We now have a pile of posts of various heights, just off by 1/16" , give or take, from each other. I'm toying with the idea of cutting the posts down to the next full inch to try to get them all the same size. The formerly 5" posts to 4" ect... Are there any suggestions on what kind of saw will work? I have access to an older type miter saw and a table saw. How about blades? And being kind of new to the maintenance side of kilns and shelving - is kiln wash necessary on the ends of the posts for electric kilns that only fire to ^6? Thanks, Nancy
  11. It looks like there is no glaze on the indent inside the hat. Do you have a post that is small enough not to touch the glaze that the hat could ride on during the firing? It would still need to be tall enough to get the edge of the hat off the shelf. Nancy
  12. Thank you for the notice on Warren, I live in Minnesota and didn't know he had passed. He affected many of the people I have learned from. Nancy
  13. How do they plan on keeping the loose powder from the inside of pots? Personally, I wouldn't want a pot I worked hard over to have schmutz (crap) or powder blown or dripped into it. If it won't melt on the kiln shelf, it will leave marks in my pots - the bowl or plate will not have a usable surface. Ish. Nancy
  14. Take classes. The dream of being a potter or playing with clay maybe upset by the reality of things you can't control, like back pain, allergies to dust, always having rough dry hands. Your instructor will be able to give advice on how to do things easier - things that might take you months or years to discover on your own. I also find that the interaction with other students improves me and changes my work. Seeing things online are ok, but being able see it done, walk around the demo, look at it from another angle, touch the clay at each stage, that is worth much, much more. Nancy by the way I started classes at age 50.
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