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Everything posted by lcar

  1. Hi there, I can translate it for you if you want, when I am not on my ipad. I have seen these types of murals and it isnt really a big problem to keep them damp. The back boards that it is attactched to is normally something like fibreglass boards covering marine ply. I havent seen it just pushed on like they did, normally the fibre glass is then draped with burlap. then pushed on ,this holds and suports the clay. The clay is also as you saw about 10 - 15 cm thick. After each work stage the whole thing is covered with plastic sheets. It is fun to try it on a smaller scale using and easle. I think I have a book about it in the studio need to have look if you are interested.... T Thanks Trina I am definitely interested.
  2. That's really inspiring. I would like to know how long it took them and how did they manage the moisture of the clay while they worked. I am thinking by the ocean it may not be as difficult as it would where I live that is less humid. If they addressed it I would love to know more details if someone who speaks Spanish would translate the gist of it?
  3. if you haven't already, try Barnard Clay. It's my favorite for highlighting texture. I prefer using it on bisque. Paint it into cracks and wipe it off the smooth areas with a sponge. very dark brown to black. Looks great under translucent glaze. It has a high iron content and cheaper than the oxides. Leanna
  4. I remember I discovered my love for clay at the age of 29 and I thought, "WOW, I wish I would have discovered this passion I have for making pottery at a much younger age!". You are so fortunate Cody, not only have you discovered it, but sounds like you are taking full advantage of opportunities that I certainly wish I had. Reading these posts, it seems to me all the advice you are getting is well intended and coming from people's own experiences. It's up to you whether or not the advice applies to you and whether or not you should take it. One thing is for sure as a potter, there will always be critiques. They are usually difficult to hear, but at the same time they can be empowering if you listen to the right ones. I checked out your page and your teachers are right to encourage you. I'm excited to see what you will add to your talents with a degree in art and engineering. about ebay. I sold on there for a while, quite a few years ago now. Our Canadian dollar was weak so I sold across the border to the U.S. It was a great profit. Canadian shipping prices went up and our dollar got stronger. My enthusiasm waned with the profits. Leanna (grateful now, that I discovered clay at the young age of 29, 20 years ago
  5. This Thread is making me laugh so hard! I love it. A couple of months ago, I was at a party and a good friend told me she saw a piece of mine at a garage sale. She didn't buy it. (huh?) lol, I cringed. I asked my friends in the room at the time, please please if they see my pieces at garage sales to buy them for me for my birthday, either that or I'll reimburse them. I was thinking it would be fun to get them off the market by taking a hammer to them. Of course, I'm assuming the worst, I never saw it.
  6. Thanks Mark, it really has been a wonderful experience for me and a real important part of my life.

  7. I find that starting over usually takes less time and energy, and I encourage my students to do that, but.... sometimes I lose my mind and spend the extra time "saving" something. I find cheese cloth works best to "re-damp" a pot and you can spray it a few times with a water. I worry about attaching handles to pots that are too dry though, and avoid it at all costs. This is because once, (years and years ago), a handle fell off a mug while someone was using it. I was so embarrassed. I'm sure it was because of the difference of moisture between the handle and the mug when I joined them.
  8. At my local potter's guild, our policies regarding kilns are: they must not be on high overnight, and someone must be there at the end of the firing to make sure the kiln shuts off. Preheats, delays, changing firing temps and ramp rates find us often counting on our fingers to figure out what time the kiln will shut off. Sometimes this is at the end of a long day when the brain has gone home before the body, lol. I can see a calculator possibly being useful for these reasons. Delaying shutting the lid is no longer the norm around these parts as most kilns that I know of, have vents installed. I would be interested to try your calculator, especially if I could use it on my iphone. Leanna
  9. Thanks Neil, Thanks Marcia. I am proceeding as advised and appreciate this forum. Leanna
  10. Hi Peter, I am curious about the answer to your question as well. The lack of response makes me wonder how many people know for sure? I say follow your instincts and wear gloves if you are throwing with it. IMHO I don't think food safe is a concern if you have a food safe glaze that fits well. I am not even sure leaching would be a problem as long as the clay is mature. Always make sure your kiln is well ventilated as you don't want to be breathing the fumes. I would be interested to hear if you learn more. (waves from Prince George) Leanna
  11. lcar

    April 2012

    recent work that I am pleased with the results
  12. lcar


    From the album: April 2012

  13. Hi everyone, It's starting to rain here in northern BC, and this marks the start of me "hunkering down for the winter" as it won't be long before the snow flies. I'm looking especially forward to this winter as I have just bought a small test kiln and my goal is obsess on glaze testing and furthering my glaze chemistry education. I've spent a good part of the last month digging three types of clay of various firing temperatures, as well as have gathered some rather interesting potential glaze materials. Yesterday was day one and I so happy to find my glaze program is now online. After losing my laptops in a break in last spring. It's back to square one, putting my glaze recipes into the computer. I am now also keeping copies of them in google drive. my question is for those who are often working with and comparing recipes. What is your favorite way to list the materials? (aside from the additions). Many recipes seem to put the larger amounts first. Some seem to put the fluxes and then the glass formers. Alphabetical would also make sense to make it easy to compare, I thought. I have the chance here to have all my recipes entered the same and would love to hear how others prefer it, or is there a standard in the ceramics programs? Leanna
  14. I clean my tools a couple times a day or even hour when I 'm in the throwing stage. I have a sponge handy to wipe the top of my splash pan. I use a bat system and keep the top of my plaster bats as clean as possible with a rubber rib. after throwing a pot, I scrape the plaster bat around the pot with a firm rib that is not metallic. This helps the pot's bottom dry so it will pop off the bat easier. A metal rib would damage the bat. The inside of my splash pan seldom gets cleaned. To me it's just a waste of valuable time that I would rather be doing something else. Just because of the way I throw, not a lot gets in there and the only reason to clean it would be visual. I do wipe the top lip of the splash pan. I clean anything that will help keep the dust down in my studio or will hinder my pots if left dirty or messy. The inside of my splash pan is not one of one of those things. I run my finger around the inside of my slop bucket to push the clay around the edge back in the water, i then wipe the outside of the bucket. The next day, i pour the water off the top and pour warm water in. I start with fresh water every few days and recycle the slop (the finest particles of the clay end up in the slop and helps improve the plasticity in my next batch of clay if I throw it back in). I mop the floors to keep dust down. All cleaning in my studio is done to keep dust down or pots quality up. Efficiency and organization are also kept in mind. I "try" to leave my studio as inviting as I can for my return which means not much clutter. Leanna
  15. I signed up for a painting night class at my local college. I was quite disappointed that the class didn't have the enrollment and had to cancel. After years of accounting and computer classes, it was the first time I had signed up for any class "just for fun". I reluctantly signed up for the pottery class, the only other art class available. The first night, the first time I touched the clay, I knew it was for me. Memories of every other time I had experienced clay came flooding back to me. It was an amazing experience, I knew I wanted to work with it forever. Now when I teach, I love seeing others fall in love with it this same way. It's like some people are potters, always have been, and if they are lucky they will will discover it like some kind of an enlightenment or awakening.
  16. I have a Peter Pugger and absolutely love it. I do find though, if I pug anything too long, it loses it's plasticity. For me it's the timing that is essential. It's best pugged just long enough to be thoroughly mixed and no longer. If I do screw up and pug the clay for too long of a time, it's unusable. I will let it rest a day or two and repug it a shorter length of time with a bit of water. This works for me. Leanna
  17. I'm from Prince George, Canada. This was my first NCECA. I was lucky enough to go to the Archie Bray 60th celebration last year, and that was the first time I got the sense that this is a big "family" and I felt welcomed into it. It was so nice to be surrounded by so many people that are connected with our interest or passion towards clay. So of course I must say this was my favorite NCECA! I had no idea what I was missing before this year. My favorite part was seeing old friends and meeting new ones, especially Marcia Selsor! who I was so lucky to get to know at the pre-NCECA wood fire we went to at Michael McCulloughs. as well as the rest of the gang I met there. The really fun part was for me was though I had seen Marcia's work published in various places and read her advice in ceramic forums, I had not quite heard her last name properly so didn't quite put it together until after we finished wood firing. It was apparent though, that she is a ceramic genius and had my full respect before I realized who she was. Thanks Marcia! I enjoyed our adventures at the conference and hope I can get you up to Prince George for a workshop. Leanna
  18. I use my own clay body all the time. Did you do an absorption test? here is a link just in case. http://ceramicartsda...ng-your-clay-2/ I suggest making a couple of mugs, test them, use them. See how they hold up. Ask your friend to do the same with the one you make for him. Do some microwave tests to see if it heats up and might burn someone (be careful). Put them through the dishwasher many times and see how they hold up to that. Use it to drink your coffee out of so you can not only study it, but enjoy it. The best way to test something, is use it yourself and observe. Good for you! have fun. Leanna
  19. To each his own, but I must say... I have had great deals on used wheels. I bought a 15 year old shimpo and used it for almost 20 years now, i've added a used whisper, a kick wheel and another Shimpo to my studio as well since then and they all work great and are used almost daily. A belt came of my newest one, and i managed to get it back on by myself. It has been the same with kilns, but the one I did buy new, has needed lots of work, "after" the warrantee was up. of course
  20. Do you stamp the bags? Or do you buy them pre-stamped. I'm looking at pre-stamped and they are expensive, i'm wondering if there is an economical and attractive way of "do it yourself".
  21. Can you imagine the original, while it was still moist clay? i think it would have been fantastic. I too ,would love to hear the story behind it.
  22. I have to say , for years I felt that refires were just being disapointed by the same piece twice, or three times or more if i kept beating my head against the wall! But, now.... i've been doing some testing with Sodium Silicate after reading an excellent article in the 2011 Buyers Guide to the Ceramic Arts, by Richard A. Eppler with Mimi Obstler on glazes. I have used this article, especially the section on Deflocculants and Glaze fluidity, as a start to some experimenting with Sodium Silicate in my glazes. I have made two batches of glazes this way, especially for application on refires. I am quite pleased with the results so far. I suggest trying it, and test test test before risking an entire kiln load. (I know it's hard, as potters we are so optimistic sometimes, lol) lcar
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