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Rae Reich

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Posts posted by Rae Reich

  1. 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. 

  2. On 7/17/2020 at 7:05 AM, GEP said:

    I’m going to take the intellectual property owner’s side when it comes to copyright enforcement. Disney has every right to aggressively enforce their copyrights. NO small business or artist has the right to turn a profit off of the wild popularity of Disney characters. Especially given that the selling is done to (or through) little kids, which adds another layer of unethical. That includes the daycare. Especially when it comes to those calling themselves “artists.” Using copyrighted material is dishonest, cheesy, and shows a total lack of original ideas. No sympathy for those who get nailed for crossing the line. Anyone who wants to be a professional artist needs to learn where the lines are drawn, and to respect the lines. 

    In my experience, there are two kinds of professional artists. Those who have had their work ripped off by another, and those who haven’t yet experienced it. When it happens to you, you’ll see why it’s important. 

    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?

  3. 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.


  4. On 5/28/2020 at 10:20 AM, CactusPots said:

    I have a collection like that from the starting the  time CDs came out.  My player of choice is an old school Ipod.  I think it's like 120G.  Music only.  I play the songs in alphabetical order.  The style jumps around quite a bit.  Occasionally I'll play an album start to finish.  Playing songs in order means I never run out. 

    LOL, my iPod is an oldie like that. I like to put it on Shuffle and just let it go. It's so old it has no way to separate out the Christmas songs, so I just let them bring a smile :)

  5. I have recently been ordering a lot from that big South American river. I notice that the large and heavy boxes suffer more than smaller heavy boxes. 

    Double boxing is good, but only if there is still 2" of air or packing around each piece, top-to-bottom as well as side-to-side.

    Although it may cost a bit more to ship two smaller boxes instead of one, I think you'll benefit from less breakage. 

  6. 1 minute ago, Pres said:

    Yes @Rae Reich, I like 2 & 7 also. I find that some even though they will work, don't have the feeling of volume that others do.  I have them all loaded into a bisque awaiting final drying of a few pieces. Looking forward to getting some orders out.




    That seems odd to me. 2 and 7 look to have more belly - is it the height of the slender ones, do you think?

  7. @Babs, in olden days, sheets of mica were employed as small windowpanes. Probably not  as expensive as sheet glass, considering it's a found resource, ready to split into thin panes. Also lampshades, as recently as the 1920's and '30's, a mellow amber tone (Frank Lloyd Wright?). Not sure how readily it was available, but it was commercial.  I think it has been used for oven peep holes, since it could  withstand more heat than glass.

  8. Would you want to fire to ^6 or ^10?  Many white earthenwares can fire to higher temps without distortion, although a thinly slipcast piece might distort due to structural imbalances. Mix up a small batch and make some test pieces. It will behave more like porcelain in some ways, but how your high fire glazes react when on earthenware will be interesting. Let us know what happens?

  9. On 4/22/2020 at 8:25 AM, Pres said:

    Now that crunch on crunch is solvable, I used to use the a  paste cleaning compound with grit in it on lids of vanity boxes. put it on the bottom, little water, put lid on and spin away. I often would use the griffin grip to help me get it done quickly. They would feel silky afterward, and no crunchy sound. Made them much nicer. I would think that the same type of paste would work on lids for growlers.




    That's great for those kinds of lids, but twisting threaded lids open and closed enough times to smooth gives me carpal tunnel just thinking about :blink:


  10. W.H.O. Recipe for hand sanitizer:

    Mix in well-ventilated area.

    8.5 liters ethanol, 417 ml hydrogen peroxide, 145 ml glycerol and enough distilled or boiled water to make 10 liters. Mix by gently rocking the lidded glass or plastic container. Pour into smaller units. Let sit 72 hrs to kill microorganisms. Use within a few days. 

    Says mixture won't smell pretty. A little essential oil?

  11. If it doesn't like high humidity, as I'm hearing, the virus wouldn't like to live in wet clay, tools, hands. A drop of detergent acts as a (oops, lost the word) emollient?

    6' apart. Really, at least.

    Hands should not touch faces and should be washed before and after  working in dry areas. Standard area mop-up between users.

    Heavy breathing and exertion, even while masked, are more likely to expose you to stray airborne particles. Do such work far from other breathers. Breathe far away from such exertion.

    Pay attention. Be intentional.

    Fortunately, except for the greater separation, this is stuff that potters do or need to do anyway.

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