Jump to content


  • Content Count

  • Joined

  • Last visited

About pent19

  • Rank
    Advanced Member

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. i was reading your post from july 2010, i am really interested in trying encaustic on my sculptures and tiles, can you point me in the right direction to get started? thank you!

  2. Lucille, these are fabulous ideas! You could be a life coach! Totally agree!! Thanks!
  3. Mugs are one of my favorite things to make, I agree with the size though, nothing is worse than turning back around to fill up your mug! Chris said it though, once you get them fired and glazed you can see how they function, a good looking mug isn't always a working mug. I make sure I can clean it easily, and that even guys can get most of their fingers in the handle comfortably. The rim is also important, how thick it is and if the lip curves (many people prefer that). I do a slab like handle because I am awful at pulling, but they have evolved and I am happy with where they are at now. I am not a fan of the round handle because I don't think it would be comfy to hold onto. Also, huge mugs are great but conisder the weight of that mug when full!! Most importantly keep on trying, and look at lots of mugs and think about what you enjoy in a mug. And always keep a few of your beginner mugs around, it's neat to see the progression
  4. My beagle, Maggie and lab, Libby, are in my studio as well. They don't usually stick around for long, but I have an open door policy, forunately they are small and don't get into too much. My shelves and materials are high enough that they don't get into that stuff. I have lost a few wooden tools to Libby though. Forces me to keep the studio clean and organized (as much as a studio can be!)
  5. I purchased bags at nashville wraps- I purchased assorted sized frosted bags and didn't need to buy 1000 bags. I can then change them by putting different colored tissue paper in it. Since they are plastic I couldn't stamp them, so I purchased 8x11 label paper, printed off labels, and used them on my bags. So far so good! Michele
  6. My first instict when reading the title of this post was Alfred. I studied at SUNY Oswego under Richard Zakin (who recently retired but is still around the college). I recieved my BFA in painting and ceramics. I immediately went for my Masters in Art Education at SUNY Oswego as well and was forunate enough to find and job right away and will begin my 6th year of teaching this fall. I would not be able to have my own ceramic studio at my house without my art education degree and job. I have found a balance that allows me to teach and share what I love doing with others, and using my off time to create and work in my studio. When it comes to her degree she should go with a BFA, a BA is designed for someone who may double major. As far as schools go I would look at the professors in the ceramics department, how long they have been there, what their work is like, any books they have written and where they show their work etc. If the ceramics dept has a high turnover the program may not be what your daughter is looking for. While I worked under Richard Zakin (a master in the electric firing world) I am clueless about raku and gas firing because he didn't offer those options in his program. However, my knowledge of electric firing has got me to where I am today. I would have your daughter spend the next few months meeting with the professors of the art departments, especially the ceramics department. It is important that she feels she can work with the professors and have them mentor her. If she attends a 'well-known' school and gets the cold shoulder from her ceramics professor for 4 years she really isn't getting as much from that program that she could. However, she may find that a smaller school will give her the guidance and mentoring she needs for future in ceramics.
  7. I use square on my I Phone. It has worked great so far and has minimal charges. I don't accept checks and cash only sales can limit your sales. I have made plenty of sales because I now can accept credit cards(vs. losing sales because I was a cash only booth). In addition to taking credit cards, you can put your cash sales on the square, photograph an item, and type a description. It also calculates sales tax and change due as well. You can then go to the website and have your sales invoice printed. Square can be linked directly to your bank account and I believe your paypal account? If you don't use the square you don't get charged for it either-no monthly fees. Haven't been in the art show business long, but I know other companies charge for their credit card services. I don't know if square will go there or not, but I will stick with them because it is a user friendly application and tracks all my show sales for me. Since it only cost money if and when you use it, I would try it and see.
  8. I am starting to do a few art/craft shows (one every 6 weeks or so) and am jealous of all the thoughtful bags and packaging that other one-ceramists use for their products. I am wondering what everyone else does for packaging at shows? For me, weight is an issue, I don't want a cute bag's handle tearing in the parking lot and smashing my wares! Any ideas are welcome! Thanks!!!
  9. I have always signed my work a dated it. Having only been in the ceramics field for 8 years (college and now) I enjoy seeing a pot from my early years, chuckling to myself on how far I have come and how awful my glazes/trimming/heavy my old pots are. My signature is an M with a circle and the date at the tail (alot like the '@' sign). I also like the idea of someday beingwell known and someone coming across an early piece of mine. My work is evolving so i like to date my pieces. I may someday decide not to date, but for now the date and 'm' will be on all my pottery.
  10. I have my laptop in my studio. Its a netbook, does the basics and wasn't very expensive. My studio is dirty but I have pandora, itunes running while I am working and even listen to movies (via netflix) while i am working sometimes. If you are concerned about dust you can alway get an i-pod and use that. I have done that as well and put it on an arm band that protects it from the clay. I am sure you can by a keyboard cover that would protect the dust from getting into the keyboard. My boyfriend (the tech-y one) bought a set of speakers and amp(?) to hook the laptop or ipod too to help with volume too since the sound in a cheap laptop is not that great. I only work a couple days in my studio a week so the impact hasn't been awful but an everyday potter is going to create more dust which could ruin a laptop. Perhaps you will end up with a cleaner, musical filled studio!
  11. ***Please use caution when running the kiln with the lid propped open while at school!! I set off my fire alarm (fire trucks and all) when the heat from the kiln set off our heat sensor alarm in my kiln room(from propping). The technique will work but be cautious with the amount of heat that escapes even with the kiln at low! I was the banished from running my kiln for a month while the school made sure there wasn't a bigger problem (just an impatient art teacher taking care of business!) You are trying to rush the firings. Because you haven’t much time I understand this. You need a firing schedule that will allow for more kiln work. It could help if you pre-fired the ware. For example, if you load the kiln on Monday afternoon, you can start to pre-fire when you come in on Tuesday morning. Set the kiln to low with the door propped open for about four hours, then close the door leave settings on low and fire to late afternoon or until you leave the school. Set an alarm clock if you need help to remember to shut off the kiln before you leave. It will cool down over night. This pre-fire will be just to remove the physical water and some of the gases. You can then come in on Wednesday morning with the Kiln still already loaded; place your 04 cone in the setter for the bisque firing. You can then start to fire on the medium setting. Prop the door for an hour or so to get rid of lingering gases and then close the door to start the maturation firing. Use your regular method to determine when to step up to the high setting. This schedule requires less time to reach the cone 04 bisque temperature.
  12. A class on purchases would be wonderful!! If you have a local distrubutor someone should be able to help you with the the glaze selection(food safe, lead free for the kids. (if they make their own dry glaze you may be able to ask them to mix them for you which would be cheaper than commercial glazes). If you don't need the students to paint the bottom (ie: bowls, vases) and no one will see the bottoms, teach them not to paint the bottoms. Loading work with stilts is a huge pain. If you need stilts get them big enough for your projects and based on size of kiln, enough for a full load. They make assorted packs too. You distrubtor can help you with this too Thank you for that information. They really don't prepare you for making purchasing decisions! I just bought 500 lbs of clay from our local distributor, but when I walked into their glaze room and saw the number of different glazes I basically panicked and choked! Now I'll have to make another trip over there. Another question, how many and what size of stilts do you recommend? Your clay whistle project sounds intriguing!
  13. About how much glaze do you usually use for a project? I am about to start my first ceramic project with 175 6th graders and I am unsure how far the glazes I have will go. The projects will be fairly small because I have limited kiln space. Because I will be purchasing both the clay and glazes myself, the Amaco glazes in gallon sizes sound good. Will five gallons usually cover all of your students' work? I bought 5 gallons of glaze last year and its going to last at this year and most of next year. I add a touch of water to it because its thick and hard for them to get it into the deeper areas. I go through about 400-500 pounds of clay a year (some ends up in reclaim). I show them how to keep the glaze on the bristles (not the silver part of brush), wipe off excess and keep glaze off the table while painting. I put it out in smaller ziploc containers which help with control as well. The amaco glazes have good coverage and 1-2 coats do the trick. My students know how much everything costs ( I compare it to school lunches for those who don't know the money concept yet). I make ornaments, pinch pots, wall hangers, slab boxes (some with and without lids), coil pots(blended and not blended), and clay whistles. I purchased my amaco glazes and clay (laguna/miller) through a local distrubutor who gives me a quantity discount so if you could find a local distributor you could save a ton on shipping instead of a art magazine supplier. best of luck!
  14. I don't know what grade level you are teaching, but I teach elementary and use the following set up. If i get out the random pints (from previous teacher) the students are instructed to share and go to the pint, pint isn't in use it gets put back on the cart. I used art catalogs and cut out the glaze charts in them and taped the sample to each lid. I also re-wrote the glaze name on the lid to help with cleanup. I only use amaco in my classroom and have a poster of their colors but its like where's waldo and kids have a hard time matching names to glazes and get frustrated when i don't have a glaze they like. I recently switched to gallons. I put these in properly labeled ziploc containers and have about 6 colors to choose from. I show the students how to enhance textures by sponging on dark colors, spattering, and layering to really make 6 colors seem like alot more. I demo techniques and have students go to the color they want which is at a specific table. If doing 2 colors in a class they let the glaze dry (which is pretty quick anyways) before moving to the next station. I usually set a timer so students know when to switch. I know it may be a major ceramist faux pas but I sometimes add food coloring to my blues and greens to help the students distinguish them while painting. I haven't noticed a change in the glaze outcome and if nothing has gone wrong yet I will keep doing it. I would love to make the jump to dipping glazes (oh the time it would save and no more white spots), but i have alot of other glazes to use up first.
  15. If you are planning on this I would have an electrician come in to see what your house is capable of so you don't sink money into a kiln that you can't use. Also consider (even though it may be a hobby) what you would like to make. Will the kiln size limit what you make and are you ok creating things to fit in your kiln? Do you want to stick with low-fire or go to midfire-high fire range? I thought I would always be a low fire girl but made a huge investment into mid fire glazes because I was consistently unhappy with low fire glazes. You are also going to want to consider the specs of your garage studio for safety as well. What type of flooring do you have? Skutt has a a manual on how to set up a studio safely and that should help you figure some of these things out. Overall home studios are very possible and so convenient! Best of luck in getting things set up!
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.