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About AtomicAxe

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    Skilled Mud Bug

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  • Location
    Amarillo, TX
  1. sometimes finding the right consistancy of the clay helps too, with smaller details ... softer clay sticks to those fine details, more surface area to do so. plastic will work so will some ball clay in powder form, corn starch helps as well. Sometimes really it comes down to having an excellently designed stamp that is a blend of fine details and solid design that doesn't lend itself to clay failures but that just comes with using many many stamps to know what is perfect for you.
  2. only time I have used saw dust into a clay body was when I was making water filters ... but that was to create a clay that had pockets in the body. We had a guest at my university from potters with peace that would teach places with unclean water to make them from local clays. Awesome stuff too. Ended up making some for some people who had hunting cabins out in the boonies of florida when I still lived in that part of the world. Really though, any sort of material like saw dust most likely won't show up in the final product as it burns out and can probably make the product weak
  3. as others have said, it's the memory of the clay, with the bowls it's going to be harder since just holding them in a leather hard stage can give the clay enough motivation to move into an ovalish shape let alone cutting them lets them move freely without the support of the rim trying to hold it in shape. As a general rule, I always follow the mantra 'the flatter it is, the slower it dries' also, if you have to invert, or do something to assist with drying (waxing handles and lugs, waxing rims, inverting and drying on foam, etc) ... do it.
  4. When I do slip trailing, I just ball mill my slip, it does the job of defloculants without getting gummy in the bin. otherwise, it's just blend really well and sift after milling to make sure it's all just fine particles ... should be fine. ... should take you longer to make tests of all the colorants you want to use to find the best ones for your ware.
  5. When I would teach adults I almost never did private classes. Most of the time it would be myself watching them work, and the times I did do some private classes was something really specific like working side by side for a few hours on something like how to sculpt a bust from a live model or something equally as 1-on-1 needed. Generally I always preferred group settings, and would frequently encourage it with a group of 4 or more taking class time together getting a discount. It would give the adults learning in my studio support from friends who would also let them feed off each others
  6. Silicosis of the lungs is going to be your main issue. do a bi-weekly clean up and you can minimize risks to your lungs. Wear a resperator, sweep your studio with minimal agitation to the debris around the shop. then when air dust settles, mop everything ... preferably twice. wipe down all surfaces, work shelves, crannies what have you .. and you are good. Also helps to not do really dusty things in the studio space (shaking out canvases, sanding pots, crushing dry clay, etc etc etc) if you really feel icky about it still, invest in a couple humidifiers .... turn those bad boys on for a few da
  7. There was an old potter I ran across in the back woods of Georgia one time (now deceased) ... his glaze was just old beer bottles (green, clear and brown) that he ground with a diesel motor and 2 concrete wheels then hand mixed with a feldspar and ball clay by hand measurements ... made the most interesting glaze I have ever seen. Occasionally I play with that technique, but I tend to use it as a decorative process and not a primary glaze. Funny though, when I asked him about the glaze on his ware ... he responded with 'Oh you city boys are just too smart for your own good' and showed me what
  8. Welcome to the forum. I an NOT from Texas!


  9. At the school I do my work in ... through donations only I estimated about 500 pounds of barium is sitting in the back closet in various containers and bags. I personally hate the stuff ... I can see on a purely sculptural piece why people like it in a glaze ... but in a studio that has students who don't know dink about glazes ... it's not good to have just sitting there. I will use lithium and deal with the colors not being AS vibrant ... but barium ... yeah ... that is a beast of many backs, none of which are nice. As it is i'm going to make a push to throw away the large mass of bariu
  10. welcome to the forum.

    I am also from Texas via 30 years in Montana.

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