Jump to content


  • Content Count

  • Joined

  • Last visited

About tb001

  • Rank
    Advanced Member

Recent Profile Visitors

2,032 profile views
  1. I've been reading through this thread and love some of the results you're getting! I had planned on doing something similar to the mat you've developed, though more for testing colorant blends vs glaze ingredients. The idea of having some sort of vertical test in a grid is really intriguing. If you had the spacing worked out correctly, using something like 12 or 24 well plates to mix glazes and dip the tiles might work. Amazon and eBay sell lots of what's meant to be disposable lab equipment that can end up being pretty cheap if you reuse. It's often used for doing medium thruput work where you're looking at a lot of variables, so perfect for this sort of application. Also in agreement w glazenerd on some sort of g/in^2 or specific gravity surrogate. I finally have my studio finished and kiln hooked up and excited to get started glaze testing again, though will likely be a while as we're due with our second child in a few weeks. I find the glaze testing one of the most rewarding aspects of ceramics--so many variables in terms of clay and firing cycles alone! It definitely appeals to the former scientist in me!
  2. Pres, how do you know if the tension needs to be adjusted on the Brent? I have one I bought used and have only ended up using it a few times. The wires seem *very* tight! After reading your post, I think I definitely need to grease them. Turning the is harder crank is harder than it seems like it should be. Is WD 40 a good option for this?
  3. I've been watching on a website called dailymotion.com. All the episodes seem to be there as well. Really enjoy the show!
  4. Great to hear! As a lab scientist in a previous life, I'm used to dealing with dyes that are photosensitive. Just occurred to me that I'm using some of the same chemicals in the studio, but didn't think about precautions until I saw what the sun had done to a magazine I'd left on the counter.
  5. Wondering if any of the typical oxides used in glazes (copper, cobalt, etc...) are degraded by uv exposure. I have my oxides sitting in clear jars in a window and just occurred to me that may be an issue. Don't see anything on msds, but not sure it would be there?
  6. Really interesting to hear how everyone deals with getting water into the studio. I run mine off of a garden hose attached to a sprinkler line. Feeds into a sink through the wall of the studio. I'm curious how people manage waste water/clean up. For the typical clay slop seems easy enough to just throw out the bucket, but what about when you're cleaning up after glazing or glaze mixing? I don't use anything too toxic in my glazes, but not comfortable just tossing the waste water--maybe I'm being overly paranoid? I have a drain hooked up to a rain barrel and have been using a sump pump to feed the water back into the house drain (after several catch basins), but it's kind of a pain and would love an easier solution.
  7. Ha! Given my pottery obsession, my DH thinks I'm already there! It's the fun kind of nuts though!
  8. Thanks glazenerd--this is exactly what I was trying to figure out! Once I get fully up and running will try calcining the zinc as well. I used to be a scientist in a former life, so am used to the concept of most chemicals not going bad, with the exception of those that absorb water or are light sensitive or especially unstable, but I'm also used to the chemical composition being exactly what it says on the bottle! I love glaze testing and plan on doing a fair bit of experimenting, so want to be able to repeat my experiments when I need to refresh ingredients. I'd love to try some of the crystalline glazes and, if it's anything like lab experiments, the fewer variables the better. Old lady, I mostly have 5-10lb bags, other than the basics like silica. So enough to do a fair amount of testing. For most things it sounds like probably doesn't matter too much, which is great!
  9. Ah, Custer feldspar is the one I was thinking of I think. Any idea roughly when this changed? Any others I should be aware of? Love to experiment w glaze formulations, but just don't want to end up having a glaze I love that I can't replicate because I can't get one of the components anymore.
  10. I'm finally nearing the end of the renovation of my studio space and starting to dig through the boxes of old materials I have in storage. Right before I packed everything up, I also bought a used kiln and ton of supplies on craigslist from a potter who was shutting down her studio. As I'm opening up boxes and boxes of glaze chemicals, I'm wondering if any of the basics have a shelf life. Everything looks ok, with the exception of the zinc oxide being a little chunky... Also, I know things can change in a mine over time. My chemicals are at least 5+ years old. The ones I bought from her I'm guessing could be 5-10 yrs old. Have there been any major changes in particular chemicals over that time? I'll be doing a ton of glaze testing and would prefer not to optimize a glaze for a chemistry I can't get anymore! So excited to finally be close to having a functional studio again!
  11. Another vote for insight here, though I'd like it a lot more if it were tablet friendly. I would love to find a good iPad app--much more studio friendly than my computer and would make uploading pics easier.
  12. I think there's a special component to clay that makes it feel more attainable. We all played with play dough when we were young. The lucky ones had art classes in school that included a clay session. The average person has likely made an ashtray (dating myself) or a spoon rest or the like. What you didn't know is the careful curation of glazes your teacher went through, or the fact that just the right clay for hand building was selected for you. Add to this the proliferation of the paint your own pottery places, the tendency of many to view clay as a 'craft' a la polymer clay from Michaels and the abundance of super cheap ceramic goods, it's easy to see why people underestimate the skills necessary. Personally, the depth of knowledge needed is one of the reasons clay has kept me so fascinated for so long. There's always a new direction I can explore, a different technique I could learn.
  13. Mark, thanks for clarifying re Heath. I would swear I saw some marketing material from them showing potters throwing, but it makes much more sense that it would be slipcast. I like their product, but the durability of the glazes drives me nuts--totally different topic I know!
  14. I don't have much to contribute to address the original question, but I think the work is simple and beautiful. Got a marketing email from Serena and Lily today and I'd swear it's the same line. Nice work and great to see people building a larger business. The one point I'd make, that may be contrary to what others have posted, is that, like any other profession, there are a likely lot of people who have the skills to make beautiful things, but either aren't good at the business end, or just don't want to manage a business. I think Heath ceramics in the Bay Area employees production potters. It seems like it could be a great opportunity for someone who wants steady income but does t want the added hassle and stress that goes along with running a business.
  15. I've just discovered this artist and love the effect she's able to achieve. I believe she uses terra sig and low fire. Would love to try something similar from a glazing perspective, but wondering if it's possible to do with a cone 6 approach. Any thoughts? Do glazes just move too much at cone 6, or could you use an underglaze and sgrafitto like approach? Bakaric-3W-400x400.jpg Edited to add, that I love the combination of matte and gloss glazes!
  • Create New...

Important Information

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