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About mrs_christopher

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    Marysville, OH
  1. Thank-you for sharing! This was a nice story! The last time I drove past that part of the state I was wondering how those kind of companies were fairing in today's economy. It's nice to see someone helping.
  2. I'm working at trying to find what I'm good at in the ceramics area. I guess I'm still "finding myself" as the artistic expression goes. I need to organize, and mange my time a little better, and I wouldn't mind trying to get into a few festivals this year if I can get some inventory built up, but I think the first one is most important. Great thread!
  3. Thank-you! That sounds like a great base glaze, and my supplier carries all of those raw materials too! Thanks for sharing!
  4. Whoops! Actually 25lb bags makes more like 3 gals. Mayco offers the different sizes of dry glaze on their site, however, it can only be bought through a distributor of their products. Buckeye and I primarily use Columbus Clay, so it may vary for your location, but there are many online distributors out there that carry Mayco.
  5. Yes, and they are wonderful! But I will note unless you're investing in their dipping 5 gal buckets (25lb bag of dry), then you'll probably have to brush a couple coats on if you plan on using their brush-able 16 oz version, but that's usually standard with most commercial glazes anyways. I was using a lot of Amaco products before, but I'm actually finding Mayco to be a little bit more user friendly and forgiving.
  6. This is great! It really gives me some great motivation to keep on chugging along. I feel like right now I'm stuck in the "finding your voice" period where I'm trying so many techniques, and trials and errors to see what clicks, and what works for people to look at my pieces and go, "Oh, that's so-and-so I can tell by their work." It's about individuality and taste... I just wish I didn't have to spend so much money, and so many years to get there. I'm still waiting for my "A-Ha!" moment. It makes you wonder about people who quit earlier in the game. Perhaps they could have been the next great artist if only they devoted a little extra time and energy. Thanks for sharing, Chris!
  7. I guess I just got excited that they mentioned "Kaolin", because it gives me another place to start searching as far as slip recipes. Unfortunately, I am not a chemistry major, nor a ceramics engineer, so my knowledge about the effects of raw materials is very-very minimal. I wish I knew it better to determine whether something would work together, or not! I really envy those who can!!! I may just be forced to use a few coats of a white underglaze until I can get a good white slip recipe that would mesh. I've contacted some suppliers out west to see if they would carry anything compatible, but have not heard back yet. My quest may have to wait till next summer when I get back out there. :\
  8. Yay! I found an answer. and wanted to share incase anyone else references this thread later on! Taken from http://www.alltribes.info/index.php/Acoma_Pottery A fine white kaolin clay is used to make the white slip of traditional Acoma pottery from a mixture of fine clay and water. The potter brushes on several coats of the white slip, which needs to dry between each coat. After the final coat, the pot is again sanded with a stone. This slip serves as an ideal base for the paints most Acoma potters use. The white backgrounds allow the Acoma potters to create crisp, detailed black images, as well as rich polychrome designs. The Acomas use two types of paints, which are vegetal or mineral based, for their intricate designs. The clays, vegetable binders, and mineral pigments for the distinctive Acoma polychrome are gathered or dug locally and are ground and mixed by the potter to get the intended colors. The pot is then painted with the specially prepared pigments, often with a yucca brush, much as it has been done for hundreds of years. The exact mixtures of binder, water and pigment must be used or the colors will be either too powdery and flake off after firing or be too watery and pale. The last step of firing changes and deepens the colors while bonding them permanently to the clay. Traditional Acoma pottery is fired at a very high temperature, which makes the pot stronger. Since the early 1970s, most traditional potters fire their pots in an electric kiln, which can maintain the steady high temperature desired, about 1,873 degrees Fahrenheit / 1,023 degrees Centigrade, a temperature that rarely can be reached in exposed outdoor pit firing.
  9. WOW! That's a cool idea! And upholstery tacks, really!? That's something to contemplate. Anyone want to share their favorite supplier for Nichrome wire? I did a search a few months back, but want to know what the other kids are using.
  10. Thanks for the Book suggestion, Buckeye!! I'm happy to see there's someone who may have some of my questions answered. It's hard to find people that write about Acoma and Laguna pottery. Thanks Bciske!! Those are wonderful suggestions and tips! I'll have to check them out!! I know there's commercial engobes out on market, but I'm just not 100% sure if they would work or not.
  11. Wow!! Once again you've amazed a lot of us! Those look great from your last attempt!!
  12. Lately I've been fascinated with the Acoma Native American's style of pottery. From what I gathered on their technique is that they make coil pots from their native red clays, but then they cover the pot with a bright white slip before firing. After reading the latest post on CAD the other day, it inspired me to get back into trying red earthenware clays like terra cotta... etc. However, I am having a brain freeze at figuring out how to obtain a nice white slip to go over the piece and resist cracking, or flaking off before firing. Would a white low fire earthenware slip mesh well with the red low fire earthenware clay? Or does anyone have a great universal low fire slip that does well on most low fire clay bodies? Does is even exist? I had seen where a couple potters on this forum dabbled in Native American style pottery, which is why I'm asking. Certainly someone must have an answer.
  13. That is SOOOO cool! It puts you in the mindset of being on the beach instead of in reality where old man winter is quickly approaching.
  14. I looked around and I'm stumped. Maybe someone else will find it.
  15. Amusing thread! I'll bite!!! I almost feel like every piece I do is a nightmare, but my worse of the worst experience was when the kiln I was working out of did not shut off, causing the ^4-6 pieces I made to become giant pancakes on the kiln shelves. Then to make the day better, I sliced my finger while trying to chisel the pancakes off of the shelf. So after an emotional breakdown, the shelf was places in the basement and was never looked upon again. This was all the effect of rusty screws falling out which held the kiln sitter box in place, which prevented my latch from falling to trip the electric off. I go into detail HERE.
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