Jump to content

Rae Reich

  • Content Count

  • Joined

  • Last visited

Everything posted by Rae Reich

  1. It doesn't sound like you're repairing a broken pot. If you just want to re-do the surface decoration and the piece won't be used for food or drink, there are non-fired as well as oven fired paints for ceramic and glass that you could use, finished, perhaps, with a clear acrylic spray. I would not recommend putting an older piece back into a kiln unless you know for certain what the original clay, glazes and firing temperature were.
  2. If you think the crock pot is the best solution, check yard sales and thrift stores. I used a small tray-style warmer, covered in foil, beneath a s/s bowl*, but the buildup of silt at the bottom of the bowl would soon absorb most of the heat. Crock pots distribute heat more evenly, because ceramic, and elements better sealed. Still, emptying at day's end is recommended, and a full clay pot not as easy to handle as plastic. My new electric kettle heats a cup or two of water in a trice. *on a GCFI circuit
  3. I wonder if the glazes she was using were actually ^06, since she says they're mature. Also she does not seem to have used cones, as @oldladywas asking about.
  4. That's what my daughter suggested I do, too. Makes sense to me. In the big Laguna fires years ago, the potter with an unopened finished glaze load lost about everything but those pots!
  5. You could try packing a layer of firm clay into the talc-dusted mold or mold parts , unmolding as soon as possible to join and dry, if you just want a one-off piece. The rubber will not allow the clay to dry, but might be flexible enough to peel from the clay. Expect distortion which might be repairable because the clay is still damp.
  6. My used Brent C only had the front half of the splash pan when I got it 50 years ago. I've made do with a plastic dish pan cut to sit slightly around and under the front pan. The squared off dishpan gives me a bit more room to reach in and pick up scrap than the close fitting original, so I'm just as glad that I didn't try to find an authentic part. The less water you put onto the pot while throwing, the less time you'll spend drying/undoing the wet. You'll have more control of the clay, too. Slow motions when putting your hands on and off the clay, match the speed of your motions to the rotation of the wheel.
  7. So it goes. Can't blame the pot, but it does become an unfortunate artifact
  8. A note on custom work: I was asked to replicate a favorite mug for a sweet old couple. It was not my usual style but handsome, with straight sides, a narrow handle with thumb rest, deep cobalt with a tenmoku liner. I made 3 and they all came out well, looking handmade rather than slipcast. The couple took two and I put the third on my shelf where it caught my mother's eye. That piece was the only mug I ever made that she liked and she continued to use it for the rest of her life. It gave me great pleasure to bring her morning coffee in it every day. That was an unexpected bonus.
  9. Personalized ware always presents extra challenges. Gold lustre, fired at 1800F, can be applied to an area that you've designated for naming. If you haven't used it before, do some tests. Excessive thickness will drip or bleed. It doesn't always look right on stoneware, but porcelain is a more elegant base. Practice your lettering skills. Possibly include a tag suggesting Hand Wash. Carving the personalization into the ware is not only simpler, it is a sure sign that the piece was made only for them. Clay is cheap, so I have usually made two or three copies of an item to allow for the unforeseen. Choose the best and destroy the others. That's what makes it truly custom. Not much is more discouraging than having to start all over again due to a stray bit of kiln wash or a hairline crack.
  10. I think products made from molds are as unique as the maker cares to make them. A limited edition, even a limited yearly edition of a successful and admired piece could conceivably retain value over the years. The Japanese aesthetic can seem baffling to westerners. If you really want to complete with the high-dollar guys, you will need to do more research. What makes one pot appear to sulk on the table, while another offers its tree to the gods? What other qualities, besides function, appeal to bonsai lovers? How will you know when you've achieved them? How many tries did it take to achieve an admired piece? A perfectionist might cast 100 and keep 8. How many people are lined up to own one? Mindless mass production devalues the product, but controlled access increases the value. Making lots of stuff for profit does not comport with the aesthetic of patiently pruning a tiny tree for generations. Granted, you can "only" be an American bonsai potter, but you can decide how much you want or need to conform to tradition.
  11. @GEP, pretty nice idea. Design suits your aesthetic and the raw clay too. Does the user put the leaves into the steeper, then put the steeper into the cup, then pour water? Thinking about displacement... (don't worry about the bail, you don't want it to fall over)
  12. Great article with all the practical things carefully thought out. Thanks!
  13. https://nyti.ms/34ROrkx This potter convinced a farm-to-table restaurant to include dinnerware in its ethos. He takes their beef bones, calcines them, adds kaolin and Cornish stone and thin-casts cups, bowls and plates, oxidation fired to 2400F. Being very thin, the cups and bowls warp so that each is different. No glaze is mentioned for his once-fire, maybe they self-glaze? This all seems pretty precious to me - a Concept gimmick. I'd hate to be the dishwasher there, and storage? No stacking! I also wonder if the potter picks up and recycles the shards from inevitable breakage. He could make wall mosaics, maybe a frieze?
  14. I think that cooking spray, which is oil, would resist a slip or engobe applied over the stamped area. As @oldladysays, WD40 evaporates and would be less likely to interfere with the application.
  15. That is just the prettiest little juicer I've ever seen! Ergonomically, picturing the cocked elbow/downward pressure needed for the usual juicers as opposed to the lateral arms positioned as needed for your design, it would appear that you've built a better juicer!! Congrats, hope you patent it and sell a bunch. (There's some science to getting the pour spout drip-free. That would make it perfect!)
  16. We SoCal potters are lucky that for most of the year freshly glazed pots dry so quickly. My sympathies to all those who live in high humidity. When I worked down by the beach, glazing on foggy mornings, we put the drying glazeware into the still-warm kiln to help speed the work and, further inland, the kitchen stove on low, Rainy day ^10 firings with an outdoor manual gas kiln are sorta thrilling. Before we built the kiln shed around it, my kiln was mostly covered by a tarp between firings but inevitably got a bit wet. The damp hard brick steamed a lot as the kiln heated up, dried pretty fast and then created its own aura of heat that evaporated rain before it could reach the brick! You could stand two or three feet away from the kiln and be dry on the kiln side and wet on the away side. I have often thought that the difference in barometric pressure between dry days and rainy days would have an effect on firings. @Bill Kielb, you have any idea if this should be so? (Guess I'm mostly referring to gas firing.)
  17. @GEP The wash supports the delicate ink work. Lovely. Good form for the table.
  18. https://nyti.ms/2J7ni56 This Berkeley Vet gives away his cups. I admire his focus and his mission. And his cups.
  19. I think if you put a toothpicks or pasta in a hole before glazing and then left it in for firing there is a possibility that a buildup of glaze around it could enter the hole during the firing after the toothpick or pasta burns out.
  20. OP, why not put the running machine in the garage, since it helps you create your own heat? I think your HVAC should be sealed off enough not to be sending clay dust into the rest of the house , but you could have it inspected to be sure.
  21. On the whole, I would rather that any breakage be done by me, rather than a friend or customer. I feel so bad for them feeling bad. I lost a whole box of finished pots consigned to a friend who didn't understand well enough how to pack ceramics. Do you know people who pack their glassware for moving by stuffing it with newspaper?
  22. Yes, they can all go together in the same bisque, but be sure to permanently mark on the bottom by scratching an indicator of the final glaze cone number. Porcelain can look very much like earthenware after bisque, as I learned disastrously.
  23. @liambesaw, have you considered a small dehumidifier? Leave it running overnight (cover the throwing bucket). Under $200 could save you lots of waiting time. Of course, you want those carafes to dry more slowly than cups.
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.