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Everything posted by docweathers

  1. I'm trying to push the boundaries of typical majolica by using cake icing piping tools. It all works pretty well except on larger decorations the cake icing is inclined to crack as it dries. At one level I have solved this by putting in a little cellulose like you do with paper clay. This works pretty well except for one hangup. The bits of cellulose tend to clump together and make it hard to extrude the majolica. I've tried putting the raw cellulose in a food blender and running it for quite a while to get it chopped very finely. This helps but there's still a problem with the clumping. Any suggestions would be appreciated
  2. Has anyone experimented with slightly different chrome to tin ratios? What happens?
  3. I gobbed it on thick on 5 chrome tin recipes and they all cam out nice reds... Thanks
  4. This one quoted above by Marcia works very well. It will hold a very sharp edged piped shape at: ^6 oxidation. I made one modification I substituted FF 3134 1 to 1 for the gerstley borate. I also found that if you want even stiffer adding up to 20% alumina hydrate will make it very stiff when it is mat finish at that point
  5. I gobbed it on thick on 5 chrome tin recipes and they all cam out nice reds... Thanks
  6. Thanks for the recipe. I'll give it a shot in my next glaze firing,
  7. Those are great ideas. I'm going to try them starting tomorrow. Thanks for your guidance
  8. I have a pretty good sense for shape and form but my sense for color is pitiful. I read all the stuff on color wheels complementary supplementary etc. etc., I get the logic in the diagrams but I don't really have any gut sense of what looks good and what doesn't. It's all just pure geometry to me Typically I conjure up a few ideas then ask my great photographer wife for an artistic consult, which she does very easily. How do you develop a gut sense for color?
  9. I have a number of chrome tin reds. Sometimes they work really nice and sometimes they come out a yuck gray. As far as I can tell , I'm doing everything exactly the same with the same raw materials with the same formulas, same firing schedule etc. but something is obviously different for the different outcomes. I am firing ^6 oxidation. Any suggestions would be greatly appreciated.
  10. Here's some more research demonstrating that this is a general phenomenon, not restricted to the arts. I brought this whole topic up to suggest that artists could improve their income not by just improving their product by providing a more self laudatory presentation. That might be using the artsibabble language that you find art critics using. Also providing a classier display and other marketing framework. Learn to look proud of your work. Here is a link to an article in the Atlantic that says:Chief executives with bigger signatures make more money ... but only for themselves. Chief executives with bigger signatures make more money ... but only for themselves. The use of signature size as a general indicator of narcissism is widely used and well established by high quality research in psychological research. I really think that the fine refinements in the quality of work between a middle grade and a very experienced expert potter are only meaningful to other partners and not to many buyers. So spend some time learning how to sell your stuff gently and not sound like a braggart.
  11. I think it's interesting that there was very limited response to the core message of the research articles. The essential message was that how the artist himself presents his art affects the value of the art. (First article) However, this can be overdone in the artist presentation and it turns into bragging. (Second article).
  12. My point is that there's a lot more than the art itself the controls the perceived value. Many times I have thrown a pot in my trash barrel because I didn't like it or didn't come out like I hoped to find a similar pot by a famous artist that is selling at a high price. This is most apparent in some of the bizarre simplistic paintings that sell for millions of dollars. It's high status to own the painting of a famous artist and there's an implicit assumption that if you are a famous artist you see beyond the rest of us to some higher plane of beauty, which is BS. So to sell your pots for more you have to do more than make better pots.
  13. I was hoping some of you would recognize my atava. It is from Michael Angelo's painting of God and Adam on the Sistine ceiling. So you have heard the words of God about selling pottery.
  14. It is not just about price, It's also about presentation. You want to role-play with the customer or the art critic how you want them to describe your work. to themselves. Posture how you want them to posture, touch it the way you want them to touch it etc. This will pattern their mirror neurons to more likely repeat and believe your performance as their own. This process is similar to why it's much easier to do something after you see someone demonstrate versus describe an action.
  15. I think it's a matter of balance and delivery. Anything carried too far can become toxic. With most medications there is a therapeutic level and a toxic level. I think you want to appear confident in the high quality of your work but not be a blustering braggart. You want to have the posture toward your work that you hope your audience will imitate. You do this with both language and body language. I personally take a very low-key approach. I always described myself as a beginner. However, I have licensed to do this since I generally don't. try to sell my work. I give some to charity auctions and the rest clutters up my house and yard. Being retired and not dependent upon selling my stuff for income makes this a lot easier.
  16. Outdoor-only heaters, such as propane tank mounted radiant heaters and portable forced-air propane and kerosene heaters (sometimes called “torpedo heaters”) have traditionally been used at work sites and football sidelines. When these types of heaters are brought inside a, residential home or garage, the risk of CO poisoning is significantly increased. CO is a colorless, odorless and highly poisonous gas that is produced from incomplete combustion. CO interferes with the blood’s ability to transport oxygen to the lungs and can result in flu-like symptoms including headache, nausea and dizziness. Increased exposure without exposure to fresh air can lead to death by asphyxiation.
  17. Is it safe to use indoors? I.e. what about carbon dioxide and carbon monoxide?
  18. 35° is what it is when I go out there in the morning to turn on my heaters. But the glaze has been at that temperature for 10 to 15 hours. I try not to go out there until the temperature comes up to at least 45° My pottery studio is in one stall of my garage, which is well insulated. My welding studio is in another stall. I don't do much welding in the winter because I have to keep an overhead door open because of the nasty gases off of the torch. What's this Buddy heater? 1500 BTU, I think I should get one.
  19. So you think my 35° studio is the problem. How warm do I have to keep this stuff so it won't crystallize? I haven't had that problem with other places.... Why deep red? No, I did not filter it after I mix it up but it looked pretty good. Thanks for your help
  20. Yesterday I mixed up 500 g of deep purple. Today I went back to use it and it had precipitated out about 1/10 of its volume in hard flat chips. I tried to grind these chips with a mortar and pestle and was not successful getting him to go through an 80 mesh screen. This is not pancaking sludge on the bottom. It is very brittle hard little plates, Anybody have any idea what would cause this? Here is the recipe I used Deep purple Custer feldspar 27 nepheline syenate 14 silica 33 Whiting 12 magnesium carbonate 1.7 Gerstley borate 8.6 lithium carbonate 3.7 tin oxide 4.8 chrome oxide .17 cobalt carbonate .6 bentonite 2.
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