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Rae Reich

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Everything posted by Rae Reich

  1. My bat sponge is pretty thrashed. Now I won't have to buy another!
  2. I love the idea of the center ring for support. That will save a lot of plates and platters!
  3. Oh, I didn't know you were making the bricks, too! They do look different from the bricks I've seen here, very handsome. So you do 3 firings? Brick, Glaze, Decal?
  4. That's pretty cool, Pres! Will it work with Masonite bats, too?
  5. Why do you need a special kind of kiln/oven? Your colors are pretty and bright. What temperature do your glazes fire to? I assume that the decals are fired to 1800 deg F.
  6. I use a short piece of dowel or stick to clear the straw when punching multiple times. Saving any size plastic straws I come across now....an endangered species ;)
  7. Very interesting. Thanks.
  8. Don't think I've ever seen a clamshell Raku kiln - got pics or link? I definitely do not like leaning over a top-loader and the lift is awkward, at best. I don't load little pieces into the back of my front-loader, which is a converted square electric, turned on its side.
  9. You should be able to use your underglaze colors to decorate on your unglazed slip before firing. One thing I have found with painting white slip onto dark clay bodies is that what looks like a thick enough coating of slip when dry looks thinner after firing. If this is your first use of your slip, take note of how thickly it has been applied in your glazing notes. You should also make a few test tiles, applying the slip in various thicknesses, with and without underglazes, to have a better idea of what you'll need to do on future pieces.
  10. When I get a drip that I know will mar the appearance of the glaze, I shave it down with a trimming tool after it dries.
  11. @Chilly, nice chocolate glaze! Serving dishes are pretty, too.
  12. Well, it's not all rehab ads, there's also arthritis and depression. Clay and throwing seem to be symbols of creativity that are tactile and don't require you to "draw a straight line." Most people won't really try it, but they admire it. I think it's good that folks like JohhnyK were inspired to pot by Ghost and I'm sorry that it inspired some jerks to ogle. I didn't realize the depth of feeling it released in Real Potters to have their livelihoods made iconic. I still love Patrick Swayze and Whoopie, so there's that.
  13. I think, Mark, that only practicing potters took exception to Demi's "throwing." Making pots is still romanticized in a lot of commercials today because - it really looks magical when you do it. Really, what was it about pottery that caught your imagination? Why did you start in this back-breaking field (assuming you didn't know about the drawbacks when you began)?
  14. I just sent via USPS a 13.5# box insured for $300 and signed for. It was $49 from CA to MO, ground rates 5-7 days. Not sure which company now sends me a photo with their tracking of my purchases. It shows the package I'm expecting sitting on my porch. Only problem last time was that it wasn't my porch! Don't know how it could have been resolved if, in the middle of my furious message to the company, my neighbor hadn't brought it over. The deliverers transposed the address numbers.
  15. I like the color variation in your glazes, also how "fat" the clear is. The Ivory Crystal is nicely frosty. Are they ^6? I noticed that Mark is still doing candlestick holders, so they must still have a market. Maybe you could add your LeeU inflection to some hand built ones based on the little dishes?
  16. For a one-shot, time-crunched project where specific colors are essential, don't try to mix colors. If you want greater variety and flexibility in your results you must first test test test or risk disappointment and wasted time.
  17. Learning on the kick wheel, that speed-matching became essential. You wanted to get the maximum amount of work in before you had to kick it up again. The natural slowing was especially helpful when shaping large pieces. You feel how much drag you put on it - the optimum is not to drag at all.
  18. You're a fast learner, @shawnhar! Speed and accuracy will improve by matching your motions to the wheel speed and vice-versa. Eliminates wobble.
  19. I made a squirrel and a spoonholder sometime before 3rd grade. Then, in my twenties, returning to JC, I watched George Geyer on our first day throw a classical Greek vase about 18" tall with grace and economy of motion on a Lockerbee kickwheel in a trice (a technical term meaning I was too bewitched to keep track of time). Still bewitched. I saw that vase's archetype about 12 years later in the Athens Museum - breathtaking, and even taller.
  20. Even later to this party, I'm surprised that nobody has mentioned the tremendous amount of fine particles you are removing from your pots by constantly adding water, then scraping off the slip and throwing it out. Not only are you wasting lots of motion, you are not making use of the great lubrication that slip provides. Do try keeping a small wet sponge or piece of chamois tucked into the palm of your right hand, as Mark suggests, where it's handy to use to smoothly moisten the walls by redistributing slip, rather than scraping and re-wetting. Your walls will be stronger and be able to take on more stretching or fine-tuning without wimping out, helpful with larger forms. Your finished pieces will be stronger, too, when the fine particles remain between the large ones, especially with thin walls. And, when fired, surface grog sticks out less, seems to me, if you have compressed those fines into your surface with a rib instead of scraping them off. Happy Holidays!
  21. Sounds like they're over-subscribed. I have no idea how one could make good use of studio time with no shelves or storage areas. Are you paying a lower rate than the other members? Is there room for a shelf if you used your own materials? Perhaps shelves are not assigned but are on a first-come-first-served basis?
  22. It's kinda thrilling to me to know that there are professional Ungluers!!
  23. You can use your armature as a guide, but don't trust it to hold your sculpture together. Plan for a "third leg" (maybe a tree stump or animal or fence) look at other free-standing sculptures to see how a triangular or tripod base is used for stability. Or you can plan to attach the sculpture to a backing/background. If freestanding, the weight of the left arm and fiddle will need to be supported - that "third leg" would be handy here - a fence post standing behind the point of the elbow to buttress it? Instead of packing the clay around the sticks, pad them with taped together crumpled newspaper or foam sheets first. Then make 1/4" thick sheets of clay to form cylinders to wrap and shape your piece. Scratch and slip the seams to make secure joining. Then add all your details. Ask again if you run into problems, and please let us see your finished piece.
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