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Everything posted by oldlady

  1. claypple, have you truly understood what you read? where did i say that these were my students? will you please read the things that inflamed you in a few days or have a second person read them and see where i claimed it was my glaze? please stop criticizing me for telling people that red is not red, and that it could be red instead. MMB, somehow you have written a script for a movie instead of reading what i wrote. i did not speak to these people. at all. i have no stake in their success or failure. i was merely trying to tell people who might not know that red is not necessarily red. nobody here has defined EXACTLY what i said that was so "arrogant". WHAT are you talking about that i wrote that is so offensive to you? anyone else want to take a potshot at me??
  2. don't try to explain color with words. it must be seen.
  3. you might ask jim bailey if you can convert the model you have to a drive board type. that style allows you to send a board the width of the slab roller through the rollers with a canvas FIRMLY nailed in place and your work safe inside that "envelope". canvas never touches the bottom roller at all. he is the person who knows the most, ask him.
  4. benzine, i choose to believe that cadmium based glazes should not be used for food. just like bciske showed above.
  5. claypple, sorry, they were not my students. i do not teach. they were talking about a pot one had brought in. it was clearly a reduction fired piece with melted spots of metal that bled through the covering glaze. then they were arguing about what color produced a shino piece that was on a shelf. the instructor is the one i felt sorry for, busy trying to save the shelves. i did not talk to them at all, just wandered around looking before i left. there was a very substantial set of reference books on shelves in the corner. a cursory inspection of any of the basic books would have shown what they were looking at. my problem is just that today's students need basics and to get them is sometimes work which seems to be out of style.
  6. they will be correct for any wheel head since their purpose is to hold bats onto a wheelhead. do you have a bat with holes in it so you can make sure you get them lined up right? try for one with two round holes. some now come with a single round hole and a slot. guess that is for sloppily installed pins.
  7. probably only worry if the percentage of additive outweighs the original clay body throughout the whole load being fired. can't picture that happening.
  8. my goodness! some of you are reading something more than a simple description of red as used when talking about glazes. how can a simple definition insult someone? who sees themselves being insulted? i am not putting anyone down, just defining a term. claypple has mentioned tomato red. that is usually shown in pictures and recipes as an iron red. thank you bciske for enlarging the discussion with solid facts. Chris, don't forget they also have Zambonies! Jrgpots, having decorum is not something i have ever been accused of. we are all students, we are all teachers, please, someone teach me what set you all off! benzine, don't taste the glaze before you "bake" it.
  9. how can just a description of the varieties of red result in such feelings of being deeply hurt? what are you reading into this that was not there to begin with.?
  10. pompots, some of the questions asked here indicate that some beginning potters are not sure about firing clay to maturity, what cone firing is, what is the difference if they use a high fire clay and a low fire glaze or the reverse. this is a very big audience and many of them have little experience and lots of misinformation. even the labels cannot be believed at all times and in all situations. food safe is an inaccurate catch-all that i hear too often. how is giving a suggestion to get educated not in the best interests of everyone? there are no complete answers and that is the message.
  11. if i were not so stupid that i cannot post pictures, the original would have contained 3 pictures, one red, one red and one red with gold and green flecks. all three fired in my cone 6 electric kiln. and jim, "can get" doesn't mean "anyone can always get" which these three students were furious about. believing the label on a commercial glaze is something i will not do. test, test, test. do you want to be responsible for something bad happening to someone who buys your work? at least today, someone is paying attention, there has been little activity here in the last 3 or 4 days.
  12. information and facts are not opinions. red is not red if it is iron red and you expected santa suit red. small bottles are expensive and carefully formulated and some ingredients are carcinogens. layering glazes sometimes results in too thick an application and glaze runs onto shelves. discussions among students without an instructor's input can result in mistakes from inexperience. "generally not available" does not mean impossible and i would certainly not include you in a post to beginners, jim. yes, those guys were figure'n while their instructor was busy grinding excess glaze off 3 shelves with 4 6inch circles of glaze an inch high. defining red was my only intent. tell me who i "slammed" by that definition.
  13. for you new people who think that red is the color of santa's suit you should understand that when many experienced potters talk about a red glaze they are talking about a rust color obtained from iron in the glaze recipe. it all depends on your frame of reference. if you are purchasing little bottles from a manufacturer of underglaze or glaze you have a color chart from them that shows a real, santa suit red. as you move into making your own glazes, know that the color in those commercial glazes comes from an ingredient that is dangerous for the average studio potter to use. cadmium is a carcinogen so it is not generally found in home studios. bottled red glaze should not be used on surfaces that will come in contact with food. if you want to paint little red flowers on the outside of your vases or flowerpots, go ahead, just not on a plate. potters who fire fuel burning kilns can get wonderful colors and flashing of golden highlights in their iron rich glazes. these effects are generally not available to those of us firing electric, lower temperature kilns. people like those effects and think they are "colors" and want to buy a jar of that "color". some manufacturers recognized this and have developed glazes that give some of these effects by layering glazes on top of each other. so you buy 2 or 3 jars of something that looks great on their samples but you cannot get the same results even though you try everything you can think of. (probably ruining several shelves in the meanwhile). all of this is just by way of introducing the idea that as beginners it is your responsibility to educate yourself. asking a question here is helpful to solve a single problem but it does not end your search for knowledge. if nothing else, get a fundamental book that has a thing called a glossary in the back. learn the terminology and explore the subject as thoroughly as you can. start at the beginning of a general text and READ it from cover to cover. do not skip around looking at pictures until you read the text. all this because i visited a small teaching studio while several beginners were trying to figure out how to achieve something one of them saw and wanted to duplicate. remember that ice dancing in the Olympics looks beautiful but would you expect to do that your first time out on ice? the first color is Spectrum Christmas red out of a bottle, the second is Don's crimson (not the original name, not candy apple red) and the third is from Jane Cullum who calls it Chinese Red.
  14. you can assume that any ingredient in a glaze or terra sig recipe is dry if it is listed in grams. i know, don't assume.
  15. did you at any time try to pick it up without supporting the bottom first? lifting it one handed by the rim could have done this.
  16. whatever you are imagining is just imagination. the glaze will run, it will not vaporize anything else or cause problems except that in melting while everything else is firing, it might drip over the edge of its shelf and fall on something else.
  17. you're right! frederick is where i shop and where i can see more people at an intersection than i can at home in a week.
  18. i just looked at all my own pots and found that there are 3 of them made in that clay. the only thing that shows the color is the bottom which had been waxed before glazing. i can take pictures but not post them here since i just don't seem to get them right. the color is the color of redart. plain red brown. make up 5 pounds and try it. it is very smooth but you could add grog since it is inert, (i think) and won't affect much more than tooth and color. i stopped using it because my hands were constantly stained by it. it is a really good clay. i used the cement mixer at Foxcross Pottery and just tossed in a bag of each, some water and turned it on. Del Martin had set up the cement mixer years ago and allowed me to use it. i took home 6 or 8 five gallon buckets of fresh clay each time.
  19. cutting the spout at an angle so the cut is on the same plane as the rim of the teapot will make it more graceful. hot tea is delicious unless you are only offered Lipton. that is dishwater. alice as well, neighbor
  20. but he did spell poly wrong.
  21. hello, your website shows some very nice things. excellent work, bright colors. the only thing missing is the measurement of each piece. cannot tell if i am looking at something the size of a fingernail or a hand. hope you do well.
  22. love your answer. thank you. hey, axe, you listening??
  23. you have to define the term "works". the presumption that the glaze will not "absorb or flow" in a way you perceive as correct is not related to the question of whether someone should do this. Jim posted the answer that would satisfy almost anyone involved in clay. i am only adding the fact that firing raw, unglazed clay to any temperature results in bisque ware. there are some wonderful videos of the factories in stoke on trent during their heyday and looking at the whole process done in a factory is really informative. just try getting today's teenager to lift even one of those saggers full of pots and sand on their heads and climbing a 20 foot ladder!
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