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Rae Reich

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About Rae Reich

  • Birthday 06/20/1947

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    Orange, CA
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  1. A candle inside to start. I have a dehumidifier that I’d like to find a home for. Send me a private message. Free! My friend in Oregon built a box with lightbulbs installed for heat - Not LED bulbs!
  2. Thinking of a well-oiled kick wheel and the sounds of a wooden rib bellying out a jar.... ....ASMR
  3. An advantage to putting each pot in a grocery bag before putting packing material around it - any pieces that might fall off are retained within the bag. Along with small amounts of glaze for touch-ups, also bring some Magic Water for reattaching bits.
  4. If there aren’t too many that are questionable you can dry them in an oven - put them in the cold oven and turn it to the lowest setting, leave the oven door propped open a bit with a wooden spoon for moisture to escape ( and remind you that the oven is Occupied), and leave them until you load. Then candle slowly as advised above.
  5. I once really overfired a bisque so that the porcelain was no longer porous. I got decent results using brush-on ^06 glazes (the thicker consistency helped it adhere) on pots pre-heated in the oven so the glaze dried faster. Of course, those glazes were less durable than ^10 would have been.
  6. I would experiment, or have the artist experiment, with a spare pot to see if wrapping with saran smudges the drawing. Bisquing off hair spray, especially if there are a lot of pots, could be the simplest solution Some pot shapes might be packable in a way that the packing material doesn’t touch the areas that have drawings. If you continue the collaboration, you might want to plan the pots/drawings with transport in mind. Cobalt smudges from underglaze pencils are practically undetectable before firing and they are excruciatingly obvious after.
  7. Modifying the trimmed foot is more likely to get you an evenly level pot than adding 3 separate nubs and smoothing them. However. If you are producing large quantities, adding feet will save time and clay. I believe @Pres adds uniformly press-molded feet to some of his.
  8. In lieu of feet, put a folded-to-size damp towel under the board to secure it. Or, put small dots of silicone (about 1/2") at intervals around the edges. Allow to set up for about an hour, then turn over onto a sheet of waxed paper or plastic bag on a level surface. Allow to set 24 hours, then peel off the paper/plastic. This should produce thin disc-blobs that will keep the board from traveling. If they wear or peel off, they are easily replaced.
  9. That's why I always bag the peanuts into "cushions" for packing - and they can still be compressed, but they don't spring out at the customer.
  10. Years ago my sister told me of seeing what she thought was one of my carved-through floral Easter eggs at a "craft fair" which, upon examination, was made in China and very inexpensive. Sigh. Still, we all have antecedents. I have always been grateful for the incredible generosity of the potter community. Very little hoarding of formulas and techniques, a confidence that secrets can be decoded, or reinvented. How unique is that, relative to other creative communities? Maybe it's the alchemy involved?
  11. If I understand @oldlady, she meant to pour the full coat before the marbling dries up. Work quickly.
  12. Nice work, Nancy! I have an extra-large bat that I can use for platters or whatever. It's Masonite, 18" across, so I have to take the splash tray off of my Brent C to use it and prop a large sponge at the edge of the bat to catch slops.
  13. Because you are pouring your slip in and out, you are either coating the area before it can be marbled (first try) or mixing the two colors in the mold before pouring out (second try, except for the spots where the second color hit the side of the mold before it all became mixed). Since the original marbling that you want to approximate was done by layering or kneading different colors together minimally before shaping by throwing or rolling out or carving, you are not likely to get the same effect by pouring together two liquids of the same viscosity - they will blend naturally. You could open your mold and paint the first color on the surfaces in a pattern you want, then close the mold and pour the second color. The marbling will not, of course, go all the way through, so carving the surface will not reveal more. You could use block clay instead of slip, stacking your colors and rolling out 1/4" - 3/8" slab that you press into each side of the mold, then joining the halves together when they are firm enough to remove. In this case, the pattern won't match at those seams. I have a commercially made straight-sided slipcast mug with a marbled pattern (made in China), but a close look at the footring reveals only white clay, the marbled pattern ending with the glaze, so I think the glazing was done with the pouring technique used in acrylic marbling pours (see YouTube). If you tried that technique with pouring slips into a mold you would need a second hole in the bottom of the mold for the marbled slips to continue pouring out without disturbing the pattern. Then you could plug the hole.
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