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clay lover

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Everything posted by clay lover

  1. I use a smooth porcelain like clay and run it through the hand extruder to compress it into a long coli about as big around as a nickel. Then I cut it into 3" lengths, let them firm up some and carve both ends. I use dental tools to do the carving and often do more finishing work with the dremmel after bisque firing. I sometimes make impressions in the ends from other texture things I have around, like jewelry or button s with designs. or what ever catches my eye. I don't like having the edge of the coil show in the impressed design, so I bevel it away from the stand up design, so only the design is pressed into the clay.. I take a tray full of the little coils and the tools and a beer and sit on the back porch under the fan and carve and drink beer. Makes lots of stamps that way, some I even like!
  2. I get some things at Sur La Table but they are a bit spendy. Very nice, tho.
  3. Thanks, Stellaria. Misprint corrected, Babs.
  4. Good point. None of the pieces I saw on pinterest were on brown clay. On the white, It looks very much like the Spearmint from mc6G. Which I like but turns olive on darker clays, which I DO NOT like. I will mix some XWJG. I saw reformulated and re re formulated recipes. I found this talc 9.0 whiting 16.0 custer spar 40.0 ferro frit 3124 9.0 EPK 10.0 silica 16.0 add copper carb 4.0 rutile 6.0 Is this like what you use.? On another note, If you like Waterfall, try it with 4% of the listed colorants,, very nice I use Spanish rio. Also try it with crocus martis, different and also nice results.
  5. Stellaria, you must really know how to fire that green, I looked it up on line and found rather insipid light green with no texture definition. yours looks MUCH better.
  6. I am admiring the one at the bottom most position, maybe it is more teal that green?
  7. You have some very nice looking glazes there. I especially like the green. Here is a purple, credited to Lana Wilson, that I got at a workshop . It is very pretty, but does not run that I know of. Custer F spar 26.5 Gerstley B 8.3 silica 32.1 whiting 11.8 Neph, sy 14.1 lithium carb 3.58 magnesium carb 1.6 bentonite 2.0 add cobalt carb .60 tin oxide 4.78 chrome .17
  8. If you own your work until it is bought and paid for, does that absolve the gallery of responsibility if it is broken in their store?
  9. So far, my best sales are local 2 day shows, Spring and Fall. I can cultivate my buyers between the shows, letting them know where and when I will be set up. I also have a local gallery that I promote as my 'store'. Other galleries out of town are not doing as well for me.
  10. You have all told me what I figured. time to move on.
  11. Grype, your lack of a kiln at this stage will actually serve you well in your development as a potter. The making and trashing and making again is not done enough by many of those first throwing pots. You will learn that it's just dirt and no one pots is 'precious'.
  12. Thanks for your suggestions. I do the slip with info at my craft sales also, it really does bring buyers into the galleries where my work is. I have not been happy with the feeling that my work is lost in the mass of pottery. I have my eye on a small, well located gallery that offers only handmade works and no pottery as of yet. I'm visiting it next week to have a look see and will go from there.
  13. I say I am 'cleaning the studio' and I am, but I am doing it when what I really need to do is get down to work.
  14. Bciskepottery , are you satisfied with the 3 galleries that you have a consignment relationship with?
  15. I have work in a gallery that I can't decide works for me or not. The gallery is well located and well established. good looking, well staffed. they keep good records and checks come when they are supposed to. My problem is, to have any sales at all, I have to have a huge volume of work there. The store is packed with pots, stacked , my bowls in other bowls, my trays holding someone' else's soaps, or candles, a commercial potter with 100's of pieces gets front and center, everything else is piled. When I commit 100's of $s of work , I will get a check most months, but a very small % of the total stock I have there. What would be your feelings about this sort of arrangement ? I can't help but wondering if my total income from that work would be better at 2 samller places? Do you keep a high volume of your total work in a gallery to generate sales ? When I have sales for a couple of months, even tho I have MANY pieces in this place, my sales stop until I take in another 2-3 cases of work.
  16. Neil, this is the glaze that I wonder might need to be de- flocculated. I appreciate an y assistance. other that it's difficult bucket behavior, I also notice the standing water on the glaze is the color of ice tea. The fired results looks fine. F-4 feldspar 38 Whiting 14 Zinc oxide 12 Ball clay 6 silica 30 add Copper carb 2 Bentonite 1
  17. I think I have the opposite issue, a glaze that seems to be over flocked. Thick in the bucket, adding water does not thin it, goes on thick, no matter how fast I dip, stays wet on the pot, runs a lot, is fluffy and loose when dry on the pot. Are these symptoms of over flocking? How does a glaze get that way? Other glazes I have used Epsom salts in to cure settling and hard panning with good results, this glaze I am flummoxed with. This seems to be a confusing question for lots of potters, and the articles don't seem to clear it up much.
  18. Did you have witness cones in the kiln? That is the only way to know what really happened temp wise. My GUESS is , not enough hold at peak temp and thin glazes, but that is a guess, I do not use these glazes.
  19. It's used by hobbyists, who make a few pots and use the idea that they are 'Artists' who only do a few 'special ' pieces, as a cover for not being able or willing to do the WORK of making more. That would make them a 'production' potter. And that would not sound so good. If you are serious about what you do and are also productive and have good sales, you are not considered as 'talented'
  20. Chris, I share your opinion, but it's not the common one in this little corner of the world.
  21. Mea, thanks for your input. Do you do a good bit of coning up and down to undo the twist? Min, Yes,the last effort was with sort of stiff clay. I am using a de airing pugger, if that makes a diff.
  22. I tried that, it is harder to center than the wedges of clay I was making before the pug mill. the twist grabs my opening fingers and I can feel it all the way up the pulls. Do you do any wedging?
  23. So if I make it all myself, at my home and care if it is well made and make it when I would rather be going to the movies to meet a deadline, and also care if it is saleable, which am I? Around here, the term production potter is considered a bit of an insult, . if you make more than one of something, you are not an 'artist', you are an 'ashtray maker'. This opinion is often held by those with no selling success.
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