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About Melinda

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  • Birthday 04/01/1944

Profile Information

  • Location
    Putney, Vermont
  • Interests
    Currently working in cone 6 oxidation porcelain, pinch pottery and slab dinnerware...also combining clay with fabricated sterling and sterling and gemstone jewelry. When out of the studios I love to hike and kayak.
  1. Centering In Pottery, Poetry, and The Person by M C Richards is about clay and life, and very inspiring
  2. After 40 years of adding pages to my thick glaze notebook, I bought the Glazemaster program. It's not ideal, but it IS very organized and keeps formulae and results accessible and records safe. Otherwise, in a card file, I classify by cone temperature, and then divide those in subdivisions by oxidation or reduction with notes on color, and surface quality.
  3. I've used my Shimp for over 40 years, never even changed the ring cone drive and it still hums along...love the "reverse" feature as well as having both a foot pedal and hand controller for fine speed changes.
  4. I have a bastement studio...have run a hose through a window into the line to a plastic washing sink and it works just fine. I ran a drain line directly into the hole for my sump pump and it's ideal. I purchased a Gleco clay trap to keep the clay sludge out of my septic system, and I'm very pleased with it...worth every penny. The one thing I'd encourage is to use heated water if you are able, that makes a huge comfort difference for cleaning up....I also use a small shop vac (you can often find them on good sales) for keeping the dust level down since they dump your debris into w
  5. I use the backer board that is made for tile installation, and it works very well....strong, somewhat absorbent, non-shedding, and light enough to "sandwich" slabs and flip them for even drying.
  6. Southeastern Vermont here, 6" of snow, supposed to be -12F overnight...my studio is in an unheated basement, so I won't be making pots right away!
  7. I have shared a studio in several cooperative situations...there are lots of benefits. The scheduling for mixing glazes, sharing equipment such as kilns, is important. It worked best for us to cost out chemicals or to figure the cost of mixed glazes to keep that fair. I enjoyed sharing clay mixing and firing chores with other people. I you enjoy the people you are sharing space with, this can be a good situation. Just keep working on the details and you'll avoid problems.
  8. I agree that you should fire slowly, until the water is all out of the pots....keep slow and keep the lid and some peeps open through about 725 F and use that pyrometer with a firing temp chart handy, it really lets you know where you are in the firing if you are firing manually. It only costs pennies for you to extend your firing time a bit, so that you avoid those unhappy "explosions". Better luck with your next firing amd enjoy a cocktail! Melinda
  9. Beautiful plates....will you share the cobalt green ^6 glaze with us as well as what you used for the color change on the rims? It's a nice glaze. Melinda
  10. Don't sit at the wheel all day long...protect your body by alternating tasks, throw for an hour, then clean the studio, trim, or dance and stretch for a few minutes . Work will flow much more smoothly.
  11. Hi, I have made simple test tiles for years by flattening a small ball of clay with palm or rolling pin into a flat lozenge shape about 1" wide and four inches tall...then banging the bottom of it on the table to form a stable foot front and back to serve as a stand. I dip glazes on the vertical part, usually in two layers to test for thickness and runniness...the "foot" catches runs to protect kiln shelves and you can fit a lot of tests in the kiln. I usually stamp a number into the base so that I can record the firing for my test records. When you have results, the tiles hang nicely o
  12. Rock works fine for throwing, oddly I'd rather have soul or blues when I trim, it seems to suit the rhythm better! If I am doing production I get caught up on the latest info from NPR. Melinda in Vermont
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