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Rae Reich

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About Rae Reich

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    Rae - Unusual Clay
  • Birthday 06/20/1947

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  • Location
    Orange, CA
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  1. I've been told it isn't really snow until you have to shovel it
  2. When I make large shallow bowl shapes in a fiberglass bowl/mold, I crumple a sheet of newspaper thoroughly (down to a little ball several times) until it's soft and flexible and line the form with it. Yes, it leaves a slight random pattern, which I can deal with, and the piece dries very evenly. Invest in your local print media.
  3. In case you didn't know it, the cone numbers indicate increases in heat, but what takes some getting used to is that ^018 is the coolest. So numbers go from ^018 to ^01 getting hotter with each (counterinuitively) and then from ^1 to ^11 (intuitively) getting even hotter. My point is that a bisque at ^04 will be hotter than the glaze fire at ^06, but it won't be hot enough to mature the clay to non-porosity. @Mark C.'s advice to get the proper temp clay for the students will also leave you with the clay that will mature to planter tolerances when you can fire it to its own temp.
  4. If you want to dry out that old slip so that you can trash it, "glue" with a bit of slip a coffee filter over the hole in the bottom of a red clay unglazed planter and pour in your excess slip. It might take a while to dry in your climate, but it should firm up enough to discard as a solid. As your throwing skills improve, you will find that you can throw using less water (or, more slippy water) and have less to discard/recycle. You might find yourself using less water just by switching from porcelain to stoneware. Throwing with slip instead of water helps you to retain the fine particles that make the clay plastic and responsive.
  5. I think most of the yellows can remain yellow at ^6, as @oldladyfires, but ^10 is much harder on them, at least in reduction.
  6. I agree with @GEPthat it looks like proximity to other pieces has caused uneven heat distribution, in the case of the bowl, seems like the proximity was to the shelf. As long as this batch is unglazed, I see no problem with re-firing them more slowly so they all heat evenly. Maybe pack the kiln less densely. Great work - love your drawings!
  7. I have some silicone molds that were produced to make ice sculptures. Couldn't use them for clay, but I did cast a nice plaster leaping trout!
  8. My worst booth neighbor was a guy who demonstrated his skill at carving/etching unglazed pots with a dental drill - all day and evening for 2 1/2 days!! Burning porcelain smells just like tooth drilling, too!
  9. I wonder if a drop of dish soap, used as an 'extender' would make high concentrations of stain 'wetter' without dilution? Has anyone tried something like that?
  10. Crawly tankard - Lawson Park https://www.lawsonpark.org/collection/crawly-tankard The tankard is an example of Leach’s most successful fusion between the English and Japanese folk traditions, a traditional English form married with a traditional Japanese glaze. There are other versions in the Collection from Winchcombe, Robert Welch, Holkham and Keith Murray, in fact most of A mug's history of design’s category makes reference to the English medieval tankard ." It sounds to me like Leach's form is traditional and the Japanese glazes were his innovation. In that case, no, you are not stealing his form.
  11. I wonder if the cups in the original post could have been glazed and fired with a ^10 glaze and then blown on with stains in the alcohol base (with maybe a little flux) and re-fired to ^06, which would set the stains. The pretty, vibrant reds, yellows and purples would then be possible.
  12. If you are rolling each pass in the same direction, and especially if you have only one roller pressing on the clay, you may be compressing one surface of the slab more than the other. The clay will remember this torque when softened by firing.
  13. They can teach you the basics, then you can decide how to begin production.
  14. Take your original plate to a paint-your-own pottery place and ask if they can help. They will have access to blanks and food-safe glazes and the considerable amount of equipment and resources you will need for a single plate, which will save you time and money.
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