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TwinRocks

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About TwinRocks

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  1. I have a 124f Crucible Kiln manufactured by Seattle Pottery but know nothing of how it fires, I contacted Seattle Pottery and it seems like they may not be able to dig up information about this older version of this model for me (to the great credit of their customer service, they have been obliging in trying to help). Ive fired kiln sitter kilns before, but the mechanism on this looks different and I can’t tell if it is missing something. The stumper is there isn’t a box outside of the feed tube of what I believe it the thermocouple, and it almost looks like the cone support is outs
  2. Is the regulator a nessasary part, I see they sell them with and without?
  3. Georgies is great! Id bet the hot water is to dissolve the gum Arabic, it's the same thing used as binder for watercolor paint and can be bought in liquid form from any well stocked art supply shop but then you don't know the dilution compared to the recipe. Since it is syrupy, I'd assume that's why some other other variations use corn syrup...the kitchen cupboard is easy to raid! I am glad I saw this thread, I'd thought about trying a commercial greenware mender but since the pieces I have are just rim chips this sounds more practical...usually I just scrap broken pieces, but I have two t
  4. I couldn't help with the warping, but I know Georgies carries non-metallic stilts that are supose to be able to go all the way to cone 10. They would leave stilt marks though.
  5. The rough foot thing seems moot to me: if you are concerned for the surface of your furniture, you should be using coasters, placemats or trays regardless of how smooth or rough the pottery is to protect the surfaces from heat, moisture and staining. Even though a lot of my parents furniture was litterally found in allies (or otherwise rough antiques), there was always a couple of coasters where ever someone might place a cup...and woe be the soul who didn't use them!
  6. Part of the oil bottle vs mug thing would also the mental comparison to mass produced retail items. With dollar stores and big boxes, an array of mugs can be had for $5 or less. Sure, a handmade mug adds to the coffee experience, but most people are too precious: they would fear chipping a $60 mug and would rather buy and cast aside a dozen junk mugs than drink from one good one. Imports ruin consumers. An oil bottle isn't as common, yet it is an item most cooks would like to have. A plain ceramic cruet from a big retailer is $20-30, decorated ones are even more...and they tend to be low f
  7. Jolieo brings up an important point to consider: throwing wholesale into the mix means it's a good idea to charge a higher retail price. Essentially, when you sell something yourself, give yourself the addional profit margin a gallery or gift store would take. Asking too little tends to lower people's impression of your work. That said, $20 is a sweet spot for small items, a couple dollars more really slows sales IMO. If only the mint would start producing $25 bills instead of $20s, people love paying with a single bill: makes it a lot easier to buy on impulse it would seem.
  8. I've noticed a trend in marking pottery with an extremely small stamp with no other form of signature. Do people generally do this on dishware only or on more extensive sculptural work as well? I am curious how others prefer to mark their work. Do you sign with a needle tool? Use a chop or seal! Have a stamp made? What information do you try to convey? Some of the stamps I've seen used are so small and simple it wouldn't lend a clue for someone who bought it to remember the maker. Do you prefer a simple mark or something more identifiable? Do you use your name, a symbol or both? I
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