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Rae Reich

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Everything posted by Rae Reich

  1. @Pres, do you take the casters off the chair? I don't think I could throw sitting on a chair that wants to roll.
  2. Hi, Doc! I'm thinking that just because these platters are intended for the wall, you are not giving enough love to their backsides. As Neil said, there's a lot of movement going on in such a wide form. Additional trimming on the back, even if you don't trim a footring, could help prevent the cracks you're getting by adding a little compression to the only (but large, area-wise) part of the piece that isn't compressed from both sides. I dry large flat-ish forms on slats for good air circulation, my slat shelf is a repurposed baby crib side (the part that lowers).
  3. Maybe related to the string of cup/mug firing disasters some of our potters have reported lately??
  4. @Mark C., got an example of Mamo Wamo? Not a glaze I've heard of - Stoneware? and, of course, what's in it??
  5. Well, Louise did try other colors :/ For potters, though, barring deliberate constraints like glazenerd's or economic/local restrictions, probably very few potters find a favorite glaze and never change it, never look for variety. It would have to be a very successful formula for them. Sometimes even when we don't want to change, we must, as when Kingman Spar was no longer available. Changing locations/kilns can sometimes mess with a glaze too. Even when I still had Kingman, we could never get Stoneware Yellow in my home kiln.
  6. Sounds like fun, @Mark C.! The old redwood and mahogany are treasures. I love the Toto I got for my tenant - nickname: Big Gulp!
  7. Yikes! It's probably gone past leather hard by now! If it doesn't drop out easily, there is a chance that there's problems with the mold design - this is assuming the mold is not a commercial one. Can the OP post a photo?
  8. It looks like the colors are applied by pouring and trailing. Brushing would disrupt the glaze beneath.
  9. @keith barber, your fairly thorough elaborate calculations remind me of the efforts to monetize all the work done by a typical wife and mother, usually neglecting to deduct room and board, haha. We do it because we love it. The more we love it, the more it shows and the better it pays, imho.
  10. @LeeU, love my Bag Balm Never thought of using it as a release!
  11. And how about that pot that throws itself??? Also, the apparent drips of throwing slip that weren't obsessively cleaned off made nice surface interest.
  12. Thanks for finding the YouTube, @Magnolia Mud Research. And thanks to @Chilly for the delightful look into the past. @liambesaw, the potter at 25min demonstrates what I was trying to describe about leaving the rim thick - 100 yrs ago! Watching the pots being made, I recognized the turned-up rim as a basket, but the turned-down rim was a puzzler. Until the final shot - an object of almost zero relevance for Americans today, except maybe Roger Stone! I want to be a pottery archeologist in my next life!
  13. @Slipperman, to get back to your question, my fellow potters have some built-in resistance to production slipware, but I think there still may be a limited market, if the molds are old enough (stuff that people's grandmas had) or standardized dinnerware forms, or dragons. I noticed last Christmas that nostalgia for all the slipcast stuff we usually mock - Christmas trees, Santas, nativities - was resurging in social media. So, older holiday-related forms could still be viable, in season. I'm 70, so older, for me, is 40's and 50's, but millennials probably think older is the 70's - 90's.
  14. The technique I described is intended to get the height you want without the extra compensation for wobble that occurs when raising a wall with a thin, weak rim. Not suggesting that you form the fat rim first, just leave the top of the wall with the same or a little more thickness as the wall with each pass, and compressed. After you've got your height, you can shape any style of rim you want.
  15. @Gabby, she could change it to Bacon Dress and have fun glazing different costumes!
  16. @LeeU. Nice piggy! I've taken many to-be- bisqued molds. For areas that don't impress as well as others, I work from the back. My favorite "roller" is a 2" blue sports ball (handball?). A little practice with gentle pressure, not moving the clay sideways, but firmly down, with straight or circular motions as it suits you. This fills in detail better than a cylindrical brayer. Of course, you could instead hand-carve more definition where you want it. What are you using for release?
  17. Good job on similarities! How big will these end up? I appreciate your sharing as you're learning, especially since you made a clear, steady unfussy short useful video. Please make another to demonstrate the gobble-slowing feature! Suggestion: If you release outside pressure about 1/2" before the top on each of your raising passes, especially the first- see where it tapers sharply?- and lightly rest a finger on the rim as you finish each raise, you'll end up with a thicker rim that needs less adjustment.
  18. @hitchmss, doesn't the copper remain in the glaze whether or not it reduces to red? I have refired improperly reduced disappointing not-reds and achieved red the second time without reapplication of glaze. I think you left the impression that the copper burns out - "so if you dont achieve reduction at the proper temp, you will burn off the copper needed to produce the red colors," when actually the firing went past the necessary reduction period without having been reduced, leaving the copper unchanged.
  19. Nice video, @Hulk ! Dang, why did I never think of using a ladle to pour glaze inside vessels? It can hang out in the bucket, too, not like my dipping mug that accrues drippy rings on a nearby bench. Never too old to learn!
  20. Always annoying to have great test tiles that don't match the finished pieces. Several variables, though, to account for the differences: Vertical vs horizontal surfaces, glaze application/thickness, location in the kiln, surrounding pieces I try to photograph new or experimental work while it's still in the kiln (much cheaper to do now than before digital) to be able to use those factors for puzzling out "What Happened??!?? Love your octopus
  21. My old peanut butter crock rim is straight on the inside and beefy on the outside, leaving a nice fat break-resistant ledge for lifting. The lid design has a minimal knob, but the overhang is easily graspable. Its inside collar is also stubby and minimal, but that's a definite advantage as far as durability, the slight curve of the lid helps to center it on the crock. Its clear that these crocks were mass produced, their design streamlined for ease of production and all the needs of the user satisfied. They could have their lids fastened down by looping cord around the knob and below th
  22. So, it looks like it forms a glaze on the bigger blobs of the upper shelf and its plate. That wouldn't be plain copper or or carb. I put a penny (a real one) once, on a kiln shelf for a firing and it blackened and boiled and melted down into the shelf. Bad idea, I'm sure it's been done before. My point is that it seems more like a copper glaze. Is there any copper glaze in the studio?
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