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About dom

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  • Birthday 01/01/1981

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    Los Angeles
  1. I did stumble upon that page on DigitalFire but was having trouble understanding it, or how I should practically apply that information to my work. I am surprised to learn I should routinely be using gloves when handling glazes and oxides! Nobody at the studio does it, nor do the instructors recommend it... I see on other message boards that some teachers do not let pregnant students in their studio, while others let them do almost everything… Thank you for your answers and links. Keep them coming!
  2. Thanks tb001, I'll dig up that thread, I somehow missed it earlier. You raise a very good point about the community studio… Some people bring their own supplies, so there is no way of knowing exactly what is being handled there. I would consider taking a break from pottery for the time being. Or I could work in my garage with just clay for a few months and take everything to be fired and glazed at the end of the year. My first step will be collecting MSDS then, and discussing them with a specialist.
  3. Hi John, Thank you for your sound advice and the book recommendation. Be assured that I don't see this thread as a place where I would get definitive medical advice, but rather a place where people with practical experience could give me pointers about what I need to discuss with a doctor. My physician admittedly doesn't know about risks associated with pottery, as for my OBGYN, she doesn't want to hear about me until at least 6-8 weeks from now… Hence my turning to this forum to start my research.
  4. Hi all, I just found out I am pregnant. It is too early to make it an official announcement (please no congratulations, there are still a few weeks to go until we can safely start celebrating). I am quite superstitious, and I thought I would turn to this forum as a 'safe' place, instead of telling my ceramics teacher in person for now. I know some of you will understand. Are there any products I should avoid using in the coming months while in the studio? I am a hobby potter, I work at the studio about 8 hrs on Saturdays as well as a few hours here and there on evenings during the week. I like to work with Black Mountain, which I read contains manganese that can be toxic, and I love to get my hands in the clay buckets as well as working with oxides. (Some of the glazes we use are Shino, Malcolm Davis Shino, Chun glazes, Celadons, Oribe, Temmoku, Eggshell, Majolica etc…) Any specific ingredient I should be looking for in glazes and rule them out? The kilns (gas reduction) are often firing while we are working. We work in a large outdoor shed that is open on one end, and has lot of space between the walls and the roofing. It is not an enclosed space. Could fumes be an issue? I don't throw, I mostly work standing up, so I don't feel too concerned about posture at the wheel or that kind of thing. Although any tips would be welcome. I will absolutely change the way I work if I need to. I am probably being over cautious, but I thought it would be prudent to ask. I was not able to find any information online that was easy for me to comprehend, so I was wondering if there were some women on the board with this experience who could give me pragmatic tips. Thanks, Domitille
  5. I use Black Mountain with an eggshell glaze that comes out a matte cream color, with purplish/pinkish tints in places. It also come out speckled from the iron. I love it. It plays great against the relative sheen of the unglazed Black Mountain at ^10 reduction. I can post pictures when I get home and ask about the glaze at the studio I work at if you'd like to know.
  6. Vote doesn't have to be about what are the 'best pieces'. It can be votes on a spectrum of things like : 'most creative take on the theme', 'most functional piece', 'newbie piece of the month', 'most spectacular fail' (<we'd learn a lot from that one with a little humor)… you name it. It can be fun and out of the box. Just a thought.
  7. Thank you for the suggestion. I've been looking up underglazes, and so far the Amaco Velvet underglazes and Stroke and Coat stand out. I like the possibility of a matte finish with the Velvet, but the Stroke&Coat sounds more versatile. The idea of getting all the decoration done in one glaze firing is very exciting, so thank you for pointing me in that direction!
  8. Hi all, Thank you so much for your time and this valuable information. I get what you are saying about issues of color holding on to vitrified clay, and oxidation modifying the color of reduction fired glazed. Thank you for your suggestions, I'll keep experimenting and testing until I get the results I want. Or some other result, who knows? That's been a big part of the fun so far, one discovery leading to another… It seems endless! Thanks again! (ps, I don't know the people who made these pots, I just didn't want to post photos without crediting the artist)
  9. Hi all, this forum has been a treasure trove of information while I was learning and exploring techniques, I hope you can help me with a specific question. I like the look of unglazed clay when it has been fired at ^10. Red clays, black clays, off white clays… I like to play with the contrast of glazed and unglazed fired clay. One thing I would like to try, is to give color to the unglazed areas of my work, sort of like the pitcher pic I attached below. This is not exactly what I'm going for, though, but close. Here I assume the pattern on the unglazed clay is iron oxide applied along with the glaze and high-fired at the same time. Perhaps the tumblers I attached are like a better example of what I'm talking about, you can see she dipped the rim in white glaze and painted the rest with bright stripes, I'm puzzled as to how/what steps/what with. What I'd like to do is work in two steps. First I'd glaze the pot & fire it, and then I'd apply vivid colors to the unglazed parts, leaving the glazed part alone, and fire the ware again, at a lower temperature (lower^ is how I understand I will get the brightest colors). So my question is : What kind of color (overglaze/underglaze/stains..) would a) adhere to mature unglazed stoneware, and become permanent during firing ? This is not for the interior of dinnerware, but possibly destined to items that would get handled a lot. I guess another question would be : Am I approaching this wrong and should I consider another process? Thank you for any insight you may have on this, D. The photos are of work by Ako Castuera and Shino Takeda
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