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About PeppernPatches

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  1. Thank you Callie and Neil! I think for the US, what Neil is saying makes sense, although it seems like some non-profits are paying far less. I find that the percentage formula gives the artist more incentive to help fill the class. However, some studios will start with a flat day rate, with a minimum enrollment, and then add $50 to the rate with each additional student past a certain number. So if the minimum enrollment is 6 people and maximum is 15, then after 10 people enroll, each additional student helps the organization pay more money to the instructor. In this country the strain is being felt in art organizations, and budgets are getting tighter. It can be confusing for the self-employed potter sometimes, so I appreciate your input!
  2. I know there is no set formula for what to pay teachers for teaching pottery workshops, and have heard a wide variety of answers, which only seem to confuse the issue more. The standard, and most simplest compensation format, seems to be 50% of the total workshop fees collected (with min and max enrollment). I've had organizations offer an hourly scale based on experience, from $20 hrly to $50 hrly for only the workshop hours taught, which I feel is problematic and doesn't take into account other important artist costs (prep time, self-employment tax, travel time). The hourly scale also puts most of the profits into the organization, and can feel demoralizing for the artist. Does anyone have any opinions or thoughts on this?
  3. I also use Oregon Brown and haven't had bloating issues in cone 5 or 6. I did have bloating with Electric Brown clay. I bisque to cone 06/07.
  4. You can and just re-glue old wadding, but it will not sit the same way and be a little wobbly. I tried but the effort is not worth the time for me and I think it's safer to just use fresh wadding so the piece is totally stable.
  5. Thank you! Much appreciated. Is there a name for that Shino?
  6. Thank you Mark! I will definitely do that and study up more on this. Since I like Rods bod so much, I think it's best to change to another type of Shino for soda firing.
  7. Hi Min, Actually I did make a NEW batch of RIO slip for the last two firings which had the shivering. It was a different recipe from the one that I used before. Here's the difference: Fish Sauce Grolleg Porcelain 43.8 Minspar (200) 23.5 Silica 15.6 Bentonite 9.4 Pyrax 7.8 Red Iron Oxide 15 New RIO Slip EPK 50 Silica 35 Custer Feldspar 25 Bentonite 2 Gersley Borate 10 RIO 15 However, a few pieces of mine had no RIO slip decoration on it, and they still shivered. I'm not very knowledgeable on glaze chemistry and so really appreciate your input and have always enjoyed reading your posts! Thank you!
  8. If it is the OM4 discrepancy, then I wonder why it didn't shiver before in previous firings? Only in the last two firings, and only in combination with Rods bod clay. Does anyone recommend a better Shino recipe for soda firing?
  9. Thank you for your insight Callie, much appreciated. I'll run some tests with the recipe that has more OM4 in it! What is COE?
  10. Hi Min, No the shivering is happening on areas on a couple Rods bods vessels that had no slip on it.
  11. Hello everyone! I am stumped on this issue and was wondering if anyone had any insight or advice on this. We opened our soda kiln a couple weeks ago and I had a problem with my work. I fired 64 pcs, most of which was Rods Bod clay body which also had some Red Iron Oxide slip decoration on it. I used Penn State Shino that I mixed the day that I glazed. 60% of it had major shivering! The glaze was just crumbling off and some thicker areas coming off in large pieces, leaving a grey stony finish behind. Such a bummer! See video here: https://youtu.be/0cbd0eXvYII Some things to note in this firing: - No one else's work shivered, but no one else used Rods bod or PSS Shino. - Pieces from previous firing that didn't make it in kiln and fired this time were ALL okay. They had been sitting for 6 wks and were Rods Bod with RIO decoration and PSS glaze. - I fired over two dozen spoons with Takamori clay body and PSS glaze, and NONE of them shivered. There was some crazing. - All my Rods Bod pcs with SF Shino or other glazes did not shiver. - 5 sake cups that fired cold didn't shiver. - There was crazing on several pieces. - Areas that got hit with a lot of soda on Rods Bod/PSS would shiver. - I did rush the drying process of Rods bod, drying in the sun and did a 2 hour pre-heat when I bisqued. I never had a shivering problem with Rods Bod and PSS glaze until the last two firings, which make me wonder if it's a clay body issue, a combo of clay body and glaze fit, or something happened in the glaze mixture. Or could it be the soda ash? I did find a discrepancy in our PSS recipe vs. the one from Liz Willoughby when I double checked today; we use 4.9 OM4 amount instead of her 14.9 OM4 amt, and I wonder if that makes a difference in anything. SODA ASH SPRAY RECIPE 1 lb soda ash to 1/2 gal water PENN STATE SHINO RECIPE - LIZ WILLOUGHBY 14.6 Neph Synite 7.8 Soda ash (light) 9.7 EPK 4.9 OM4 34.0 F4 feldspar 29.0 Spodumene
  12. both are wood fired pots, reduction fired for at least 48 hrs. the first image might be shino, but the second is very likely from an anagama kiln with no glaze. It would be very difficult to come close to having a cone 6, 12 hr firing look like those images. Will you fire oxidization? I think creating texture on the clay body, and layering glazes would be helpful to achieving something that might pass for your clients, but it will be a great challenge to make it feel a wood fired piece. Good luck experimenting!
  13. I'm a little confused by this topic - are we talking about Cone 6 Clear or Cone 10? I am also looking for a Cone 10 Clear recipe that will work well in soda firing and not go opaque.
  14. Thank you Neil and Potterbeth! Very valuable feedback Neil, we only fire once a month at most. And people who bring pieces here usually will use our glazes, wadding and sprayers. Two people usually rotate being the kiln masters, and both will load/unload. So it makes sense that their labor should be factored into the fees, because at this point they don't want anyone else touching/running the kiln. I think we will also charge based on our guess of what percentage of the kiln is used. But if the items fall below 25% percent of kiln space, then we will have to charge per sq inch. This is where the amt per sq inch gets tricky. We have a 14 cu ft kiln. I think once we figure out the propane costs per cu sq inch, then we will have to just tack on a percentage that will cover wear and tear, expendables, glaze and the labor that others put in for loading/unloading and firing. It will probably be 30%-50% on top of the gas.
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