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Rae Reich

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Everything posted by Rae Reich

  1. If you just want a dozen or so for a project, you might as well cut them by hand. For bigger quantities, you might post a request for someone with a cutter to run the job(s) for a fee. Look at stores that sell scrapbooking supplies, ask about online communities or post an inquiry at the store, if allowed. More extensive use of stencilling for your production could make the investment in a machine of your own pay off. Also check on the availability of used cutters as scrapbookers upgrade.
  2. Try dampening the area of the pot by sponge or mister before laying on your stencil. The dry clay is sucking the slip under the stencil edges. The slip might work better if it's a little thicker.
  3. @Pres, so, now you're extruding cone pads? Where will it end? Pretty teapots
  4. You broke your arm?  Just lately? So sorry to hear that. Right or left? Hope your recovery time is minimal, don't go bananas over inactivity. Best wishes - Rae

    1. Mark C.

      Mark C.

      last Saturday while pressing 91 gallons of apple juice with 25 friends at our place-i was in one of my trees on an orchard ladder when the limb I was extended out on broke. we both went down about 7 feet-i landed on my back a little more on my left side. fractured my head of the left arm radius bone-very clean and should heal fast. I'm out out sling now -hand is still very swollen I'm using ice and as they suggest starting to use the whole hand and arm-pain is my guide they said.its my left forearm 

      no heavy work at all for 3-4 weeks-i can carry a letter with left hand but cannot tear paper off a roll yet-gradual stregthing needs to happen .

    2. Rae Reich

      Rae Reich

      Ouch! Falling out of an apple tree is how George Bernard Shaw met his end at close to 100 yrs. You were lucky. I never broke a bone until I fell on my right wrist 1 1/2 yrs ago. Afraid I started PT a little late as there is definitely some pain with some kinds of pressure/use and my hand is now shaped a little funny. I was pleased to discover that I can wield a hammer better with my left hand than my right, I never would have known.

      No doubt you'll heal quickly, as your lifestyle keeps you active and strong. 

      Best, Rae

       

  5. I learned to make a twisted cut-off wire with stainless wire: Put washer (or half-clothespin) in the center of the wire (cut doubled wire longer than the desired finished line to allow for twists). Attach washer to center of wheel head with a lump of clay. Hold an end of wire in each hand, slightly tensioned, above the wheel at about a 45-90 degree angle from each other. Power the wheel to provide twist. The wheel speed and angle of wires to each other will determine density of the twist.
  6. I wondered why you added the tin. If you want a beige or tan, it or Zircopax might be a lightener in greater quantities, but don't waste the tin to lighten your iron red, Zirco is more economical. Iron reds like to be applied thinly. They also do look best on lighter clay (I think you discovered that with another test).
  7. Lifting pots bare-handed with minimal distortion is a good potter skill to have. However.... Bats are handy when moving fresh pots decorated with slip, you can move them without touching any part of the surface. I use pot-lifters a lot for smaller pieces that I'm moving to a board. In a classroom situation, leaving even a cut-off piece on a large bat in the drying area or on a shelf can protect it from encroachments from others' pots. I throw on a bat all the time. Often the same bat, cutting off and lifting any and all that I can. But when I want to leave a pot untouched for a
  8. I think @Mark C.'s is ears, as is mine, unless sometimes on bigger mugs that seem to be for big guys - then I do big C's.
  9. Additionally, your test tiles need to be squeezed into the rest of the load, not only for loading efficiency but to get the same temps as your pots. If you know your top shelf is a cone off, that's not the place for tests. Make a bunch more pots than you think you will need to fill the kiln. You don't need extra headspace on bottom shelf, just taller pots and/or those with more volume (airspace inside). Best wishes.
  10. Wow, @LeeU!! That would be a heavy statement - tea poured over pet bound lamb. Reminds me of "P**s Christ", if we stay within Christian iconography. Of course, lambs were chosen, bound and sacrificed long before Jesus. And their breeders were supposed to be pleased and proud that their perfect lamb was chosen, tho I imagine quite a few little pre-4H'ers, madonna-like, have anguished over their success, as now. That said, I'm a carnivore. In cooking iconography, it's a little cuter than its corollary- a nice lamb shank.
  11. He's a very pretty lamb. He might be happier if he is not bound. Sorry - consciousness when raised is hard to lower.
  12. Maybe have the artichoke in the center and make a little side pocket for the butter?
  13. Years ago I made some fired on decals using China paint on hobby store decal paper. Unless there's some additive in the decal "glue" that doesn't burn off or influence the glazes, what could be proprietary about ceramic decals? I would imagine a thin coating of good old Knox gelatin dried onto the shiny surface of butcher paper might be a good thing to test. (Mods, can I get us in trouble for that?)
  14. This. You will not be able to get an iron green celadon in oxidation. That's why you will need a stain to get the color you want.
  15. I'm curious about how you keep kiln logs. Do you always enter what you do? Do you use a form? Have you tried to follow other's logs? Seen any unusual notations? My favorite odd notation on Zeiner's logs looks like (P**p emoji), radiating aroma. When I asked what it meant he said "Reduce the dogs**t out of it." That was for the little old updraft -maybe a Denver? - at the Pottery Shack, Laguna. Flames 6" out the peepholes. That became our shorthand for Hard R. Wow! Zeiner's invented that emoji in the '70's!!
  16. I think the sculptor in the article uses coffee beans impressed into the slabs because they are big enough to be an obvious textural element when burned out. I'll be interested in seeing if grounds in the glaze (left to soften or not?) give you any effect since they would probably burn out far sooner than the glaze will melt. Maybe with a stiff glaze and your feel for organic surfaces you'll make something new!
  17. There's even a Mason Stain called Celedon that you can put in your regular clear base glaze, remembering Old Lady' caveats about zinc!
  18. Iron greens, as I remember, are celadons. Glazes with a small amount of iron, fired in reduction. Traditionally, high-fire and reduction on porcelain is the standard for aesthetic appreciation. Celedons, from pale greens and blues to darker, olive-like as @neilestrick says, can now be approximated for lower temps and even without reduction, if you're not a purist who needs to do things the older, more difficult and years to learn way. So, for food safe medium greens, look for celedons.
  19. I appreciate your not wanting to sound dated, but customers usually want to have an idea of function (and I admit to seeing your avatar as a purely sculptural piece, having no idea of the scale) The term may be "old", but everyone still eats chips and dips. That said, perhaps a Swirl Snacker?? Swirl Server?? I'd fill mine with caviar, lemon wedges and blini! Dim sum and dipping sauce! Drawn butter and langustino! Even chips and dip!
  20. It takes a relatively small amount of mason stain (a powder) added to your base glaze for colorant and the color is generally more consistent and controllable than oxides. Do you want a dark green, like forest? There's a stain for that.
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