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susieblue

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About susieblue

  • Rank
    Advanced Member
  • Birthday February 26

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  • Website URL
    https://www.etsy.com/shop/FoxRunPotteryStudio

Profile Information

  • Location
    Deep River, CT
  • Interests
    Way too many interests to list them all...aside from pottery; silversmithing, painting, drawing, gardening, kayaking, hiking, camping, sewing, and home improvement (my "real job" is Commercial Interior Design).

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  1. As a follow up for others who may encounter this: I spoke with Bailey and they told me to first check the set screw on the top roller at the back (inside the plastic housing.). It sometimes slips off the flat surface of the roller rod so the roller isn't grabbing well. If this doesn't work and it turns out that the surface of the rollers has become worn smooth (which he says usually takes a long time - many years) they recommend removing the rollers, masking off the ends and spraying them uniformly with a light coat 3M Super 77 (spray mount adhesive). Allow it to cure for 24 hours before rein
  2. My friend is downsizing. She stopped making large pieces and huge quantities a while ago and realizes she's not going back to it. She only works on small ornaments and makes jewelry now. She is planning to rent out her detached studio space to another artist (or someone else who can use it) so she's selling off items that are taking up space. Finally got some new pics from her today. She cleaned it it up a bit. She realizes she's got a limited market and is not like to get a lot for it so we're posting it all over the place including with a well-known equipment repair shop/studio, group
  3. Wow. Thanks for the heads up on the power connection. I'll have to talk to her about that.
  4. Hi folks, A potter friend of mine has an old L&L Kiln. She is "technically challenged" so I offered to put a flyer together for her. I know she paid 6k for it in 1989 but she used it a lot back then. It is in working condition and the elements have about a half life left in them. Since it's all about the market and who happens to be looking at the time we've discussed a multi-pronged approach and posting it at two local art centers that teach pottery (one is a Potter's Association) as well as listing it on Craig's List, Facebook Potter's Attic, PottersWeb.net, and maybe the classifi
  5. Hello Howdy, A lot depends on what type of effects you want. One recommendation: It's easier to paint your underglazes on greenware or bisque ware, then fire and apply clear glaze after the underglaze has set. This helps to avoid bleeding and movement of the underglazes.If you are firing to cone 6 make sure the underglazes you use are rated for that. Some will lose color at higher temps. . Ceramic Arts Network (here) has lots of freebies on glazing techniques. I would start by looking up majolica techniques. Linda Arbuckle has some video clips and books out there. Check also online
  6. Thanks. The clay is Miller 45 Buff. I understand that the porosity of the bisque is the issue and I am wondering how to circumvent that without having to fully vitrify the clay first. I am going to test the wetting technique tonite but was hoping someone here might have run into this problem, or was aware of it, and had a workaround. Thanks..
  7. I would have majored in ceramics instead of graphics and interior design. I was being practical. I thought, but after having left clay behind for about 25 years I regret not having it in my life at that time. I work full time and spend just about every minute of my free time in my basement studio. I always wonder where I could have gone with the knowledge and experience I would have gained not to mention the passion I have for it. I think love clay more than people as I am more willing and motivated to spend time alone with my wheel. (Fortunately my friends understand.) Clay is my zen thing.
  8. I have been experimenting with black iron oxide wash lately. The first time I tried it I used a cone 6 fired, unglazed clay (Miller 45 Buff) and got a nice clean wipe with the wash remaining in the crevices and achieved an even tone over the rest of the piece. When I tried it on bisque ware (05) it was another story. No matter how much I scrubbed I ended up with a blotchy wash on the flat surfaces. I am wondering if there is a trick to working with washes on bisque that I am missing. I thought about wetting the piece first and/or making the wash thinner perhaps. I don't want to have to tak
  9. I may be a little late in the game here but if I can volunteer my 2 cents: I had similar issues at one point. I thought had it down then, suddenly, it wasn't working for me. Ditto to many of the above comments. I have had hard spots in my clay from under wedging (who actually likes to wedge, anyhow, lol). That definitely can cause torquing as well as uneven walls...and working with hard clay is really difficult as well. Closing your eyes and focusing on what you feel in the clay can sometimes provide answers, too. My advice: Make sure you are not moving your hands too fast (or the wheel t
  10. Thanks, I am loving those Potter's Choice layering glazes. Once of these days I'll start making my own...maybe.
  11. I'll always have the story to tell of the time my rack went off balance and toppled down the steps while I was photographing my work. The few that were left sold out, at least...and I have orders for more.
  12. You're not the first one to make that connection, Mark. Nor shall you be the last. We humans just love our innuendos. Thanks, Joseph. It's actually glass in the middle - a couple of those colored glass blobs that are used in vases, etc. They melt quite nicely.
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