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Madison Mitchell

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About Madison Mitchell

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  • Birthday 11/15/1968

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    Pottery, Wildlife, Asian Cusine, Music

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  1. I'm with Chris here, I can't think of any that might work; there is always the issue of durability as far as cleaning the ware goes. I don't know if any cold finish would stand up to dishwashing, utensils, etc. Plus, there is always the fact that after a couple of months, someone is going to just assume that the ware is glazed and durable, and then they might stick it in the oven, microwave, who knows what else? Probably best to use cold finish only on obviously decorative work.
  2. I think one way you might try is by firing down your kiln if possible. If I remember right, letting it cool by itself, rather quickly(?) gives you a higher gloss than firing down. Maybe I have it backwards, it's been so long since I've done it, we just let our kiln temp drift down by itself. Of course, you have to want ALL your glossy pieces to come out that way. If you are making just decorative or sculptural work, you could apply one of the satin polyuretanes to the pieces. Anyhoo, slower cooling might give a more satiny/matte finish. I'm sure someone else could verify.
  3. There was a method in one of the pottery mags called "stack and slam", I believe. It was a form of wire wedging that involved cutting stacks of clay, slamming them on yer bench, and then repeating, resulting in a very thorough mixing. I will try to find it, in my back issues, I think it might have been in Studio Potter, or Pottery making Illustrated. Anyway, I don't know how long it takes most people to reclaim, or what you make an hour potting, but I disagree on the cost of reclaiming clay. I use three kinds of clay, and when I "lunch"(old dragracing term for blowing your engine) a pot, I drop it into one of three trays I have set aside for reclaim. It sits there and dries out while I MAKE OTHER THINGS. Time invested - 13.5 seconds. After the clay is all bone dry, I break it up with a hammer. Time invested - 10 minutes. After it is broken up, I fill each tray with water to slake overnight. Time Invested - 5 minutes. The next day, I pour off the excess water and leave the clay to dry to wedging consistency. Time invested - 30 seconds. The clay dries WHILE I MAKE OTHER THINGS, and it takes two - ten days in the summer. TIme invested - 0 minutes. When the clay is dry, I wedge it up and bag it - Time invested - 30 minutes. That represemts a total time investment of about 46 minutes, and I get about 50 pounds of clay doing this. Chris is right, the clay is about 30 cents/lb, so I have "saved" $15 of clay. That works out to about $20/hour that it costs me to reclaim clay. Now, not to brag, but my wife and I make a good five figures making pots part time, and we, after figuring in all our time and costs, do not make anywhere NEAR $20 an hour. In fact, the way I work, I don't think I could ever make that much, and I doubt the average person on this forum does either. Besides, every pound of clay that you throw out is another pound that has to be mined, processed, and transported, which all cost energy. As far a pugmill is concerned, the cheapest mill I have found is about $2600 US. At $.30/lb for clay, that is about four and a half TONS of clay. That would last us about five years at least; so how worthwile is a pugmill, really? Besides, a lot of the potters I see could use a little more of the "physical effort" involved in reclaiming. Anyway, I will look for that article, and if/when I find it, I will try to post pics. for you, as I remember, it was a lot eassier on the hands/wrists.
  4. No, your post was clear, I understand that you don't want the dirty black look. I was just hoping that MY pot didn't have that dirty look, and wouldn't be any help. We use our electric kiln for raku some, and you could either do that also, or, what I have also done is a technique similar to yours. After we are done "rakuing" with the electric kiln, it is still hot of course. I was bothered by that waste of heat, so I began wrapping little pendants and pots in foil with combustibles, like you do. Then I would put them into the still-hot kiln, and as it cooled, the paper and such would burn up as you described. The pieces came out nice and black, but they had been burnished; I didn't use a terra sig, I just burnish the grogless white stoneware, and it gets surprisingly smooth. Anyway, somebody can help, there are some really helpful people here!
  5. Hi Spencer, Here is a little black pot I did about three years ago. I don't know if it's black enough for you, or if it has the "dirty" color that you refer to, but it was easy to do. I just fired it in my raku kiln to about 1600 F, then pulled it and did a hard reduction in a can with newspaper. It is a cone 6 white stoneware, bisqued to 04, not burnished or anything. You can see some of the newspaper marks on it from the reduction, but they are a little more apparent in the pic than in person. I just did it to see what would happen, and it turned out pretty well for me.
  6. I like ducks as much as the next person, but I am puzzled as to what is going on here. As you can see, this is an example of ceramic "art" on the cover of a recent magazine. But I am puzzled as to what is going on, what is this piece trying to say? It's a duck holding a lute, or guitar of some sort...but it isn't a lute, it has a drill bit coming out of the fingerboard. Is it ironic? Is it cynical, is it making fun of culture? I have to admit, this new kind of ceramic art kind of baffles me, I apprectiate the skill that goes into making it, but what is being said? Or is the whole idea just to generate posts like the one you're reading now?
  7. Also, try Ceramic monthly classifieds : http://ceramicartsdaily.org/ceramics-monthly/classifieds/?floater=99
  8. I wonder why there are only eight threads in the "Aesthetics" section of the forum, and many more in the other sections. I realize that there are many technical aspects to ceramics, but aren't (isn't?) aesthetics just as important, if not more important?
  9. tluvs has already tried press molding, and was having problems also : http://ceramicartsdaily.org/community/index.php?/topic/602-tile-making-with-mold/page__fromsearch__1 From what Lucille has written, I think she is on to something. Since the arms of your cross are drying faster, it kinda looks like the sharp corners are acting like wedges, and giving you cracks. I am not expert, but if this were my project, I would try to speed up the drying of the center with a heat gun, or blow drier, and get the whole piece to the same dryness, as much as you can. It might not work just right the first time, but after you try it a couple of times, you might get the timing right, and be able to pop the whole thing out; then, if it has consistent moisture throughout, it might dry crack free. Even out the moisture, as Chris suggested. You'll get this solved, eventually!
  10. Chris, Marcia, last year there was a live video webcast of the demos, which included Ron Meyers, Christa Assad, and others. It was great for those of us who can't make NCECA. Do you know if they plan to do that again this year, and where the links might be? I looked, but couldn't find anything.
  11. And more advice here : http://ceramicartsdaily.org/community/index.php?/topic/515-opening-a-new-public-studio/
  12. I have never been one to follow the rules in potting. I do what *I* want to do, "right" or "wrong", and I see how it turns out. So I fire my pieces and lids separately. I like glaze on the gallery, so I have glazed the whole piece, and just waxed the lid, and fired it next to the piece it is supposed to fit on. So far, so good, I haven't had any issues with warping, especially if the lid is smaller. I actually hate the unglazed edge of the rim also, so at one point, I was using wadding, normally used for soda firing, to "stilt" my lids. I did this by making a cone of the wadding, wide enough to support the lid, and then used Elmers to attach the lid to the top of the cone, only touching it in the center of the lids underside. When it was finished, it looked kind of like a toadstool or mushroom. It worked well, sometimes the lid would come off the wadding of it's own accord, most times I was able to break it off cleanly. Then, the only unglazed part of the lid was a little circle, in the center of the underside of the rim, which I preferred to the unglazed edge. I know it's a little late in the day for this idea, and may not be an option for you, but it might come in handy in the future.
  13. I remember this brief discussion from a while ago, and finally found it : http://ceramicartsda...at-kind-to-buy/ This is the kind they had at the art center I worked at, and it took all kinds of abuse and kept going, although I think it was one made from metal (remember metal?) Also : http://www.chicagoai...m/pa62sphe.html
  14. As Mea wrote, the thing to do would be to try it. In my opinion, the bones will not survive a glaze-temperature firing (even low-fire), intact. Even if they did so, you will have to stilt or hang them so they do not stick together or to the shelves. Please keep in mind that I have NEVER, EVER been wrong before in my life! It's an intruiging idea, you should let us know what happens, and post any pics if possible. Neat idea!
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