Chris Campbell
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Bysmerian reacted to a post in a topic:
Question... Why Bisque Fire To Cone 05 Rather Than Cone 04?
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Bysmerian reacted to a post in a topic:
QotW: Where does one draw the line between deciding what is a second and what is OK to represent your name?
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Rae Reich reacted to a post in a topic:
? Secret Ingredient In Underglaze?
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Chris -- after sitting for a long while my terra sig precipitates further and forms a semi-solid base at the bottom a watery TS (presumably even thinner) at the top. When I go to use this terra sig, should I "remix" it, or should I just use the watery top layer and consider it "super refined"?
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For me it is not pride or ego ... it is in my nature. I simply cannot sell a pot I believe to be a ‘second’ at any price. I have learned that for me ... a ‘second’ is a second before bisque. Nothing in a firing is going to save it. No glaze or decoration is going to do magic. No raku voodoo is going to hide it. So I don’t bisque it. No piece is so precious it cannot be made again. Set your own standards on what is a second for you, then live with it. -
Well, it depends. Are you going for a single sale or a repeat customer? It’s bad enough when your early ‘good’ work comes back to haunt you ... cannot imagine how horrible it would be to meet a second in the hands of a potter I admire.
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Another good question might be ... basic things you can do to avoid needless failures and disappointment.
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Here’s one from a current discussion .... you know you are not meant to be a potter if ......
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Clay dries too fast in hands, dry skin?
Chris Campbell replied to Kathy P's topic in Studio Operations and Making Work
I would suggest trying another, more forgiving clay body. Some are better than others for hand building. If you absolutely love this clay, then wet your work surface so any forming or rolling is being done on a damp surface. This works better than directly wetting the clay ... misting sometimes just makes the clay slippery as it does not sink in. -
Personally, I have no problem with being called talented. Smile and say thank you to the gene pool. I know lots of people more creative than I am ... more talented than I am ... more original than I am ... more educated than I am ... more experienced than I am ... smarter than I am ... better connected than I am ... just all around more artistic than I am . I also know many will not take that next step ... the one that promises total success or abject failure. F A I L U R E on a visible stage. So ... take a deep bow if a hideous kiln load did not stop you ... if a bad glaze jus
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... and is creativity really needed to make good pottery?
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I could not agree more with John and Joseph ... once you have your own kiln, try other temps. Group pottery centers require specific firing temperature RULES in order to guard the sanity of the loaders. If they give an inch they will soon have forty people absolutely needing their own specific firing profiles. Amazing co-incidence is these people seldom volunteer to load and unload kilns ... if they did, they would quickly be setting their own rules. So ... when you finally get your own kiln ... experiment. Try different temps and firing profiles. Play a little. The Cone chart has mor
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Using Slip Soaked Yarn
Chris Campbell replied to Benzine's topic in Studio Operations and Making Work
I suspect that teapot is extremely fragile as well ... it is the nature of the process. Another potter your student would really enjoy is Charan Sachar ... he knits too and his work looks knitted but is very sturdy and functional. http://www.creativewithclay.com/home.php#.WNUyrJH3ahA -
Using Slip Soaked Yarn
Chris Campbell replied to Benzine's topic in Studio Operations and Making Work
Can you post some images of the look you are aiming for? I have done this process with yarn, string and lace with porcelain and regular clay. The results are fragile by nature since you are burning away the interior support system and leaving a hollow tube. One way it is more successful is if you soak the string or yarn in slip then lay it on the surface of a pot as decoration. Multiple layers of slip sometimes result in a loss of definition ... you lose the pattern you wanted to see under the smooth surface of slip. -
Plates - Slump & Hump
Chris Campbell replied to Joseph Fireborn's topic in Studio Operations and Making Work
Another idea is to throw a few hump molds. Load the clay on a bat and smooth it on your wheel until you get the inside shapes you want your plates to be. Let them set up to leather hard and use to make a few plates. When you are done, simply re-cycle the clay. I like making my molds out of clay because this process does not leave you with a whole bunch of heavy plaster molds or bulky styrofoam molds. -
A picture would really help ... can you try to attach one? There are just so many possible reasons.
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In case you have to use up the stuff you already have on hand ... a trick from an old Ceramics Monthly was to gently rub some liquid soap into the brush before using it to prevent the wax from sticking in the first place.
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Yesterday I sat down to do some editing of my website ... and could not find it. Gone. Not in my time machine backups, not anywhere on my disc, gone from the application. LUCKILY, it is still live online ... do not ask me how that happens. The help people offered a way to retrieve all my data from the online site but I have to go in and re-configure and edit since it does not refine anything. My site is over 100 pages so I will be here for a while. I have decided to treat it like a bad...
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bummer
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Huh. That is terrible. If you re-make it, it will be better, right?
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i just found a copy of it on an old computer ... maybe a couple years old but better than doing it all from scratch ... now just have to figure out how to transfer it. ;-)
