Jump to content

Judith B

  • Content Count

  • Joined

  • Last visited

Posts posted by Judith B

  1. Plaster moulds can be very detailed, you might just have to replace moulds more regularly to keep those details sharp. 

    The shape of the house will probably have to be tweaked to make it easier to take out of the mould. Did you want the mould for the outside shape and texture or inside AND outside? 

    I wonder if is might be easier to cast a textured rectangular shape and then add the windows and frames made in separate moulds?

  2. 10 hours ago, neilestrick said:

    If I went to a different studio I would want to know how things worked.

    Agreed, I feel at loss when joining a new studio trying to figure out how things work and where things go without disrupting anything! Of the studio I have been so far, only the privately owned would take me through a thorough tour. Community centres and associations have let me use facilities with a very brief welcome session only. I find it quite interesting knowing how much safety hazards there are in pottery studios!

  3. thank you so much for your contribution! I didn't think about having people sign a document but it seems to be a great way to officially acknowledge they have been talked through the rules. 

    There has been some debate amongst our circle of volunteers to recognise prior experience and not put those experienced member through the induction session but I feel like everyone should know how our studio functions. 

    Our studio is pretty much the only one in the city and is really cheap so I think we get lots of people who are "curious" and have no clue you can't just do whatever with clay and glazes. There is definitely a need for an education process!

  4. Hi everyone,


    I recently joined the volunteer circle at my pottery club and there is a need to put in place an "induction" process for new members. The idea is to run them through the safety rules and basic Do's and Don'ts. At the moment, it's pretty crazy what people do, like glazing a bowl and dumping the excess glaze in the sink, pouring wax in the sink, etc.


    So I was wondering, if you have been member at a pottery club and used their facilities, did you get any kind of crash course when you joined? If not, how did you navigate the different spaces and rules?

    Thanks for your input :) 

  5. Moving from a country to another quite often, I never really considered starting a collection. When I was in Japan and visited some pottery centres there, I found 2 pieces that I decided I would keep with me. If they ever break I will replace them with some other handmade pieces. It makes me incredibly happy to use unique and beautiful pieces but I don't feel the need to have more than what I have now. 

  6. I don't know much about the details but when you single fire, you need to fire up to your clay's vitrification temperature. 

    If you throw porcelain, your firing will need to be around 1250°C (or whatever you usually fire at). So earthenware glazes would finitely not withstand such temperature. If you underfire, I guess your glazes might vitrify but the clay won't mature leaving you with a very fragile pieces (especially if the bottom is unglazed and water gets in there as you use your pot)

    I also wonder if there would me some mismatch in terms of shrinkage rate between your clay and your glazes...

    But basically single-firing is skipping the bisque firing. So the firing you do should be your regular firing 

  7. I am personally a huge fan of people staying curious and keeping this ability to marvel at things.

    While sometimes it may feel like too much, as long as the compliments come from a sincere amazement, accepting it without judgement and then trying to share knowledge with them is the most important for me.

    So many people are jaded or have been shut down in the past, I want to give a space for people to express their admiration.

  8. We've had this happen a lot of times at the Paint Your Own ceramics studio I used to work at. We usually would repaint the area and reglaze it and most of the time it was fine. Like Neil said, this shivering is quite common in low-fire.

    I don't know why it does this but for us, it usually happened when the pieces were quite dirty to start with (people eating chips while painting their pieces :D). So maybe making sure your piece is really clean before painting and glazing could help?

  9. I think people mean it as a compliment so I'd take is as it is without thinking too much about it.

    I guess if you feel uncomfortable you could explain that for you it's more a matter of skill and like Min said, educate them to your views on that.

    But I wonder if people really see a big difference in those words to start with, or if they use it interchangeably to say they think your work is impressive...

  10. I knew a potter who would mop the studio everyone she glazed, which was one or twice a week since she was spraying the glazes. Also the had a home studio so it just made sense to keep it super clean.

    The studio I go to here in Tokyo is always super clean, people use slippers or are sometimes barefoot and I like that, even though it means a lot of cleaning everyday. Better not to let anything accumulate too much.

    That article is so interesting, thank you John!

  11. You know what. . . Why don't we start a list. . . Marcia listed:  Yanagi, author of the "Unknown Craftsman", Bernard Leach, Hamada, and the young Rudy Autio and Peter Voulkos  Others were Beatrice Wood and Otto Heino. Name names. let me know if we should do a separate strand and I will set it up. Who do you know of that you feel is important?





    Yes, that is a wonderful idea! Like Karenkstudio said, if someone has the knowledge of something and can share it, it helps everyone.

    I can also think of Lucy Rie.

  • Create New...

Important Information

By using this site, you agree to our Terms of Use.