Jump to content


  • Content Count

  • Joined

  • Last visited

Everything posted by phill

  1. Anyone understand how to get such a fuzzy trim mark? Fuzzy isn't the best work, but it looks like the clay is torn rather than trimmed. Is it because there is a lot of sand in the clay? Or because the clay is really short? Or another reason? This photo is a cup made by Bandana Pottery and found on instagram.
  2. haha sorry, I guess I mean what are you thinking for prices? Why not tell us and ask if we think you are on to something? We'll give you direct feedback if you ask.
  3. @rayaldridge: I was browsing Etsy a few weeks ago and saw your pipes. I didn't know you were on these forums! Anyway, I really loved them. I don't smoke pipes (I'm assuming those pipes are tobacco pipes? I don't know what a carburetor is nor a water pipe.) but they were very beautiful and made me want to start smoking pipes. Nice work sir!
  4. I hope all critique continues on in the Monkey Farter technique. Perchance one might gracefully critique my own ceramic vessels in this way, shedding light on the darkened bowels of my drinking vessels.
  5. If anyone here lives in Boston, go to the Pucker gallery and ask to pick up some Shoji Hamada pieces. (Come to think of it, pick up everyone's work there, even the $80,000 brother thomas pieces...oooo ahhhhh. its quite an experience!) If you can't get there, I'll explain. Mr. Hamada's work is heavy. They are doorstoppers. I picked up one of his biggest pieces, a wide shallow bowl/platter that was probably 18" across, and I expected it to be heavy. It was far heavier than I even expected it to be. All his works were hefty. This was eye-opening to me, as I came from a university setting where thinner=better. I throw thicker when I'm mindlessly throwing, so I tend to have heavier pots somewhat naturally. Now, I really love this quality about my work instead of hating it when I was in college. It's okay to have thin pots, nothing wrong with that. And it's okay to have thick pots too. If you are a functional potter, consider these things a lot. You make work for people to use every day. This means that if you make very thin functional work, make sure you have reasons and promote those reasons to your customers, so they can understand why you do it this way vs. making heavy pots. A heavier pot naturally evokes a sense of strength and durability, so you are fighting instinct and first impressions and natural assumptions. for example, maybe you want your work to evoke a sense of preciousness when drinking your favorite wine. Or the delicateness is flower-like and reminds you of those early morning walks through wooded trails.
  6. I agree with Judith B. Sand that sucker till it's smooth. If the glaze ring is going to slow you way down, or aesthetically ruin the piece, then don't do it. Sanding works just fine. Look at Japan, they drink from raku stuff. They drink from unglazed pieces all the time. They are drinking hot beverages that way too, so leaching would more likely occur than a cold beverage. Just don't freak your customers out by telling them information they don't need to hear.
  7. For me the thing that ends up taking the most time if I'm not careful is making decisions, and it's generally decisions about how I should make each piece that take the longest. I never used to care I enjoy this process, like sketching on the wheel. But it can bite out big chunks of your time if you're not careful. I also used to be single. Now I'm married with a kid and full-time job. I'm lucky to get into the studio for a few hours every week. But when I get in there, it's go time. To help speed up the decision-making time, I focus on one item, and one form I really like for that item. For example, if I am making mugs, I will make a very similar mug 10 times over doing the same decoration or something very similar. It's basically batching my work. I used to make all different forms and decorations, like I had to have 10 completely different mugs. Now I am sane and have started to really appreciate more nuance and subtlety as I mature with my ceramic eye and taste. For those who like lists, here are some pros for this way of working: 1. You get to refine your favorite forms 2. When you sell your favorite you have X amount more to sell that are very similar and qualify for almost your favorite 3. You can experiment better with glazing. What if I did this to the pot instead? What about finger swipes? You get the picture. 4. You can throw faster with the decisions already mostly made ahead of time. I'm sure there are more but it's time to play a game with the wifey.
  8. I used what I had, cotton string. It worked fine, and is still working, but it is starting to rot away slowly. Time for new string! The good news? It lasted me at least 4 years. Glad you got something that is better than cotton, but even cotton works. I have one of those nylon cutters and they are terrible for cutting the pots off the bottom, but I'm glad you said this as now I can reuse my old cutter tool! Thanks!
  9. I frequent schaller gallery because the setup is great for quickly looking at pots and consuming them, and they keep their show archives available.
  10. Don't put anything on the bottoms of the pots. I use a gritty stoneware and right out of the firing the pots are super rough. But just a minute with a 60-80 grit sandpaper, hand sanding it real quick knocks the rough parts off immediately and you can get even the grittiest bottom baby butt smooth.
  11. I had this same problem. I cut one up before realizing what it was. Just thought it was accidentally melted onto itself. Oops! Over the years different ideas have come to mind, but one that sticks out is using skateboard truck bushings as a replacement. They are made of polyurethane and have different hardnesses and probably sizes too.
  12. @JBaymore: What do you mean exactly when you say "when you are in Japan"? Can you elaborate?
  13. i mix up 50% flint and 50% epk and make my packs out of that. its the same stuff as my shelf stilt wadding. this seems to work pretty well, never had one blow up but i always make mine at least the day before.
  14. It is interesting that a couple of you want to see more color, or something other than white. I was actually refreshed to see someone really have a go at this specific technique and color and style. It shows restraint, and I think a good amount of audacity.
  15. @grype and @benzine: That's very kind, thank you. @leeu: Here is an example of another cup. The green shows the inside of the cup. Notice the inside doesn't go all the way down to the foot. The foot is trimmed out. The blue shows where the drain hole is. When a cup is upside down in a dishwasher, instead of gathering water inside the foot ring, the water drains out via the drain hole. Also, this cup has it's drain hole clogged with glaze. Always learning Thanks Biglou13 for explaining. The link you shared illustrates the point too in a different way.
  16. phill

    Phillip Schmidt Pottery

    www.phillip-schmidt.com I make functional redux-fired pieces. I try to keep things simple, which is harder than it seems even with mud.
  17. if its just the bottoms you can just wipe them off with a sponge. I use vaseline on my hands when I am throwing production at my job. the water beads right off and lasts for about 50 pots, or 1/4 day.
  18. ahh yes, bisque regret. I still wonder sometimes if I should be selling my work (mostly joking, but sometimes...). However, everyone has to start somewhere. If you do sell your work, only sell your very best! That way when you go to your friend's house and see them using your pots, you won't be embarrassed you sold that piece a few years down the road. Pots have a long shelf life. I am glad I started selling my pots when I did, but I wish I had been wiser and not as giddy to just put all my crap on the table. I had some good pieces, but most were not very good. Now I try very hard to have very good pots to sell, which takes a lot of time to start getting kilns full of mostly good pots. I still struggle with the age old, what to do with the kiln gems? Do I sell them for the same price, raise the price, save them for entering into shows, keep them, give them away, etc? I have done all these things. None seem to make sense to me. The best situation however has been someone bringing that kiln gem up to me and telling me how much they appreciate it, that they picked it out of all the other pots and know its a great pot.
  19. Good idea. I love the yunomi shape. I don't use them for tea all that much, but I just like to use them for anything. You will get a lot of flak from some people if you are not from Japan or don't have their specified "credentials" to be calling your work yunomi, but I think that is hogwash. Don't let others get to you, and make what you enjoy. John's advice is great. The same goes for mugs...or anything really. Drink a lot of hot drinks out of a lot of mugs, and you will quickly find things you like and don't like about the pieces you are using. Obviously everything is preferential to your likes and dislikes, but that's part of what makes your art interesting to others. I prefer tall feet on my cups, because I have this idea in my head of a child in class that desperately wants to be called on by the teacher, and this child is standing on the chair with their hand as high as it can go to get the teacher's attention. The cup is begging to be used. And I started really liking a drainage hole so that when it is washed in a dishwasher it doesn't collect a pond of dirty food water. here are a few of mine:
  • Create New...

Important Information

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