LeeU

I'm using Weebly/Square, where I'm posting some "about" my work, images of current and historical work, blog entries, contact info...
It's not perfect, but it is fairly easy to use and maintain.

Weebly is still fine as long as you don’t want to add e-commerce. As soon as you want to start adding e-commerce via Square, it gets clunky and obnoxious fast, and the financial reports are limited when you try to integrate the two. Don’t let anyone talk you into a Square website if you want to improve that reporting. Their layout and tech support are both limited and abysmal. And their templates are mostly ugly. 
If you need e-commerce, bite the bullet, prepare to push it out enough to be profitable and go Shopify. Their back end is nice and straightforward, and if you need help tech support is amazing,  even when you tell them you’re just on the free trial to see how the back end works, and won’t commit any time soon. 

Glaze pencils on white clay would be good for writing more than 10-15 words. Bisque a few small pieces to test how the glaze pencils work and how much clear to apply. Make a few large pieces, a bowl, a pitcher, a vase, with some surface smoothed with a rib to write on. Bisque fire the pieces.  Choose the one you like best. Write lyrics on the cleared space with the glaze pencils and brush over that area with clear glaze. When dry, wax over the lyrics and proceed to glaze the rest of the piece with colors you have been successful with.
If there aren’t too many words, you can carve them into the leather-hard clay with a stylus, needle tool or small loop tool and glaze as @Pres suggests. You will still need to make test pieces to try out various glazes or stains that will work for you.  
 
If you are working on other things in the studio for practice or assignments, you can test some of your ideas on them. 
 
Happy Anniversary (even if you have to present an unfinished piece or photos) 
 

You didn't mention how much time you have to pull this off. You will need several tests and trials, from start to finish, before you are likely get a result that is what you intended and (or) that you really like.  So, I'd want to be sure I had enough time to deal with the inevitable process of getting from point A to point B, including set-backs. Time is especially important if it should turn out that  there is a need to switch gears and design something else. Just something to think about--how much time is available to explore & produce to your satisfaction. Just FYI, Sanbau Studio offers underglaze transfer papers (lettering sets) for ^04 to 10...maybe someone else here has some experience with a transfer method...tho it would probably not be something to use for a lot of text.

You didn't mention how much time you have to pull this off. You will need several tests and trials, from start to finish, before you are likely get a result that is what you intended and (or) that you really like.  So, I'd want to be sure I had enough time to deal with the inevitable process of getting from point A to point B, including set-backs. Time is especially important if it should turn out that  there is a need to switch gears and design something else. Just something to think about--how much time is available to explore & produce to your satisfaction. Just FYI, Sanbau Studio offers underglaze transfer papers (lettering sets) for ^04 to 10...maybe someone else here has some experience with a transfer method...tho it would probably not be something to use for a lot of text.

You didn't mention how much time you have to pull this off. You will need several tests and trials, from start to finish, before you are likely get a result that is what you intended and (or) that you really like.  So, I'd want to be sure I had enough time to deal with the inevitable process of getting from point A to point B, including set-backs. Time is especially important if it should turn out that  there is a need to switch gears and design something else. Just something to think about--how much time is available to explore & produce to your satisfaction. Just FYI, Sanbau Studio offers underglaze transfer papers (lettering sets) for ^04 to 10...maybe someone else here has some experience with a transfer method...tho it would probably not be something to use for a lot of text.

You didn't mention how much time you have to pull this off. You will need several tests and trials, from start to finish, before you are likely get a result that is what you intended and (or) that you really like.  So, I'd want to be sure I had enough time to deal with the inevitable process of getting from point A to point B, including set-backs. Time is especially important if it should turn out that  there is a need to switch gears and design something else. Just something to think about--how much time is available to explore & produce to your satisfaction. Just FYI, Sanbau Studio offers underglaze transfer papers (lettering sets) for ^04 to 10...maybe someone else here has some experience with a transfer method...tho it would probably not be something to use for a lot of text.

Testing/proofing on test tiles, small slabs, et cetera, time permitting ...afore committing a large piece.
How many words are you looking to depict? A phrase, a stanza, the entire lyric?

As for decoration, have you ever thrown a cylinder, then decorated it by either stamping, or incising then shaping the cylinder into the shape you want?  I find this a very satisfying way to work, and if you have letter stamps, or a decent script hand you can work wonders with phrases in the clay. Then after bisquefire before glazing you can use a stain/underglaze to work color into the script and wash off the high areas. This will allow the decoration to show up under glaze layers if the glaze layers are thin enough and not too dark in color. Check out some of the posts on my blog site. . . listed in my profile.
 
best,
Pres

Books are my "essentials". My library is Lawrence, Branfman, Rhodes, Mills, Nelson, Tristram, Pitelka, Clark, Penland School, one on Seagrove, one on certain hazards of art materials, and one account of an American apprenticing in an old school Japanese pottery village that John Baymore strongly suggested: The Road through Miyama by Leila Philip.   Also  imperative, I still use  my comprehensive art school notes. Other than those, all of which are the "old friends" that must be respected, revisited from time to time, and cherished, the Internet is a treasure trove of anything I  need to or want to know about anything, as long as I exercise some discernment regarding the quality/accuracy/true usefullness of the material. At the top of the cyber list is groups like this one! Last, the ceramics communities in this and neighboring states are friendly and helpful, tho being rural, all involve lots of travel.

Books are my "essentials". My library is Lawrence, Branfman, Rhodes, Mills, Nelson, Tristram, Pitelka, Clark, Penland School, one on Seagrove, one on certain hazards of art materials, and one account of an American apprenticing in an old school Japanese pottery village that John Baymore strongly suggested: The Road through Miyama by Leila Philip.   Also  imperative, I still use  my comprehensive art school notes. Other than those, all of which are the "old friends" that must be respected, revisited from time to time, and cherished, the Internet is a treasure trove of anything I  need to or want to know about anything, as long as I exercise some discernment regarding the quality/accuracy/true usefullness of the material. At the top of the cyber list is groups like this one! Last, the ceramics communities in this and neighboring states are friendly and helpful, tho being rural, all involve lots of travel.

Shut everything down and unbricked the door as fast as I could. There’s a strange kind of panic when you think your phone is cooking. It’s a new feeling. Sure enough it was cooking. When it was cool enough to handle I peeled off the melted gooey case and of course tried to turn it on. Half the screen was gray, the other half looked like nothing happened. I was able to plug it into the computer and back it up, which seemed like a miracle, another new feeling. I went and got a new phone, and all was well with the world. I also ran an extension cord and lamp to the kiln.
Makes me smile every time I think about it. What a dork! Haha! 

My worst screw up was generating an emotional wound. I know how to load a kiln properly. The mistake I made was in part due to cognitive deficts (memory/acting on flawed recall) , but also  due to arrogence (know-it-all ism/being over confident). My sister made some pieces in a community class. She was very pleased with her stuff and her pieces were really lovely. She actually hauled the glazed greenware up to NH from VA on her vacation.  One piece was a beautiful tray. My half shelves where I put the tray were not aligned at the same level--one was about an inch higher. I placed the tray with one end of it extending over the gap. My sister asked me if it would be OK that way. I assured her it was fine. She asked several times--I wish she had said she just plain didn't want me to do it. Each time I said it would be fine. I fired it like that and of course it warped and was useless. I have no idea what I was thinking or why I didn't reload the kiln to avoid the situation. I absolutely know/knew better.  The worst of it is we have never bounced back or healed from that, because the loss, the disappointment, was just one more in previous and subsequent other problems afflicting our relationship-still unresolved. Apology if TMI.  And just FYI, I'm OK-I've perfected the art of self-forgiveness when such is essential for my own well-being. 

Where is the ha-ha emoji when we need one?  Do please  follow up with what happened!! 
 

Where is the ha-ha emoji when we need one?  Do please  follow up with what happened!! 
 

Where is the ha-ha emoji when we need one?  Do please  follow up with what happened!! 
 

Ok, the question’s been out here a while, but I just remembered an epic screwup that makes me laugh and had to share. Not the worst , but probably the funniest. I was loading my kiln, it’s outdoors and dark, so I turned on the flashlight on my phone and propped it up on the bagwall. Finished loading, got the door bricked up, lit the burners and reached for my phone to take a picture. Where’s my phone? Oh noooo!!!

I was very happy when I got Sueharu Fukami's book and there was a series of photos demonstrating his creative techniques. Finally I had some proof those works really were created by a human.
 
 

Steve Reynolds ('40-'07 &  past President of NCECA) was visiting professor in my last semester at VCU School of the Arts/Ceramics. He was addressing sculpture (and social commentary)  but would start off with the most perfectly, seemingly effortlessly, thrown pots--before he smacked, squished & whacked them into another realm of beingness. This was in the early '80s, which was such a vibrant time;  contemporary art was lurching and soaring, as evolving postmodernism.

Steve Reynolds ('40-'07 &  past President of NCECA) was visiting professor in my last semester at VCU School of the Arts/Ceramics. He was addressing sculpture (and social commentary)  but would start off with the most perfectly, seemingly effortlessly, thrown pots--before he smacked, squished & whacked them into another realm of beingness. This was in the early '80s, which was such a vibrant time;  contemporary art was lurching and soaring, as evolving postmodernism.

Steve Reynolds ('40-'07 &  past President of NCECA) was visiting professor in my last semester at VCU School of the Arts/Ceramics. He was addressing sculpture (and social commentary)  but would start off with the most perfectly, seemingly effortlessly, thrown pots--before he smacked, squished & whacked them into another realm of beingness. This was in the early '80s, which was such a vibrant time;  contemporary art was lurching and soaring, as evolving postmodernism.

Steve Reynolds ('40-'07 &  past President of NCECA) was visiting professor in my last semester at VCU School of the Arts/Ceramics. He was addressing sculpture (and social commentary)  but would start off with the most perfectly, seemingly effortlessly, thrown pots--before he smacked, squished & whacked them into another realm of beingness. This was in the early '80s, which was such a vibrant time;  contemporary art was lurching and soaring, as evolving postmodernism.

My worst screw up was generating an emotional wound. I know how to load a kiln properly. The mistake I made was in part due to cognitive deficts (memory/acting on flawed recall) , but also  due to arrogence (know-it-all ism/being over confident). My sister made some pieces in a community class. She was very pleased with her stuff and her pieces were really lovely. She actually hauled the glazed greenware up to NH from VA on her vacation.  One piece was a beautiful tray. My half shelves where I put the tray were not aligned at the same level--one was about an inch higher. I placed the tray with one end of it extending over the gap. My sister asked me if it would be OK that way. I assured her it was fine. She asked several times--I wish she had said she just plain didn't want me to do it. Each time I said it would be fine. I fired it like that and of course it warped and was useless. I have no idea what I was thinking or why I didn't reload the kiln to avoid the situation. I absolutely know/knew better.  The worst of it is we have never bounced back or healed from that, because the loss, the disappointment, was just one more in previous and subsequent other problems afflicting our relationship-still unresolved. Apology if TMI.  And just FYI, I'm OK-I've perfected the art of self-forgiveness when such is essential for my own well-being. 

My worst screw up was generating an emotional wound. I know how to load a kiln properly. The mistake I made was in part due to cognitive deficts (memory/acting on flawed recall) , but also  due to arrogence (know-it-all ism/being over confident). My sister made some pieces in a community class. She was very pleased with her stuff and her pieces were really lovely. She actually hauled the glazed greenware up to NH from VA on her vacation.  One piece was a beautiful tray. My half shelves where I put the tray were not aligned at the same level--one was about an inch higher. I placed the tray with one end of it extending over the gap. My sister asked me if it would be OK that way. I assured her it was fine. She asked several times--I wish she had said she just plain didn't want me to do it. Each time I said it would be fine. I fired it like that and of course it warped and was useless. I have no idea what I was thinking or why I didn't reload the kiln to avoid the situation. I absolutely know/knew better.  The worst of it is we have never bounced back or healed from that, because the loss, the disappointment, was just one more in previous and subsequent other problems afflicting our relationship-still unresolved. Apology if TMI.  And just FYI, I'm OK-I've perfected the art of self-forgiveness when such is essential for my own well-being. 

I was taking a community sculpture class and decided to make a lions head sculpture for a fountain.  My teacher thought it was so beautiful that we should make a silicone mold of it,  I don't think she knew anymore about it than I did.   I bought the expensive spray separator and sprayed it according to directions and covered the head with several tubs of silicone.  I couldn't get it off,  I asked my teacher what should I do and she said to burn off the silicone in my kiln.  That turned out to be a smokey disaster,  the smoke went up 3 stories in the stair well.  My son and I hung out on the balcony until it cleared up,  I am glad it was dark our neighbors probably would have called the fire department with all of the smoke coming out of a 3rd floor window.   My kitchen ceiling was the only thing smoke damaged,   I prime and painted it the next day,  my husband had was out of town.   I didn't tell him what happened,  he did comment on how clean the house looked when he got home.   I had dusted every inch of it, even the ceilings.  Denice