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About Deanna@AtlantaClay

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  • Birthday August 28

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  • Location
    Atlanta, GA
  • Interests
    Microcrystalline low fire glazes - fired to cone 04-2. I work sculpturally - and am primarily a handbuilder. I do occasional cone 6 functional adaptations of my sculptures and also do some functional porcelain work with old school tattoo drawings on them. I enjoy a wide variety of clay work (when I have time to do it!)

    I also love to cook - bake - and grill (or smoke!)
  1. MudFire is great (Deanna and I are the co-owners of Atlanta Clay and MudFire) - the trial month is $99 and the monthly fee is $149 with a month to month contract - $129 with an annual contract billed monthly. We have over 50 studio glazes there - a reduction kiln, raku kilns and oxidation firing plus very reasonable clay pricing. Daphne
  2. I agree - as a handbuilder I would say the personal comes in after rolling the slab but it is interesting to give people you are teaching a theme and see how different each artist's visual reference or framework for that object is. It is also fun to watch what develops after people attend an artist's workshop to see how they take the technique they are learning and run with it in their work.
  3. Hi Jeri - Can you run a dryer? L&L has a model called the Liberty-Belle that runs on a 30amp dryer plug and is larger than a doll kiln size - they also make a 220V option - you may want to call and actually talk to them since your situation is a little unusual - they also have a tech support email address on their site - www.hotkilns.com. Rob Battey is the tech guys name if you call them. What voltage/phase is the kiln you are successfully running now? Is it a 120V also? L&L kilns have a lot of great features - one of which is that they are very easy to work on and have a very helpful staff on hand at the company. I live in an old bungalow with somewhate updated wiring (in the late 1980's) and I can not run a doll kiln at my house (at least not with modifications to my existing wiring - because codes were different when the house was rewired - my lights and electrical outlets are not seperated from each other and if any lights are on - if you run the kiln it flips the breaker) - except on my front porch since it was added after that remodel and has it's own breaker for just the outlet. I am not familiar with the AIM line myself. My advice is to talk to an electrician before you make any decisions on the new kiln - in our area we are lucky and have a kiln repair guy that also is a licensed residential electrician.
  4. A spreadsheet of your most common glaze recipes will help a lot - most suppliers give quantity discounts and you can see where your best price vs how much space in the studio you can designate for dry materials and clay. It will also help you plan out your oxide / opacifier / stain usage a little better - A pugmill would make your life a lot easier if you decide to make clay but I would highly recommend a commercially produced body and buying in bulk as the potters posting above have mentioned. Another important thing to consider - your plumbing and electrical needs - I would talk to a good electrician or kiln installer in your area and see what that will cost, along with running a kiln vent if your kiln will be in your studio - wheels are easy - your regular electrical outlets with a good surge protector will work fine. For your plumbing you'll need a homemade trap, a Gleco trap or a grease trap installed so you don't end up with costly repairs later
  5. Julie - I have used a metal rib - a kemper S3 or S4 with good results as well - as long as everything is leatherhard you can scrape with a swift motion and not get colored slip on the white clay. Deanna
  6. Hi Ashlee - while a porcelain is very different in feel from an earthenware body there are many very white choices - I love 105 from Standard Ceramics and also White Earthenware from Highwater Clay. Most commercial clear glazes work great but always test to make sure you aren't getting any crazing. Amaco's LG10 is great, Mayco's 2101 is good too (and a little cheaper!) There are lots of great recipes floating around too - I think yesterday's Ceramic Arts Daily post had a good one from Kari in it. Deanna
  7. is working on some new cone 6 oxidation faux shinos

  8. i've used it - you may not have it thick enough - it is somewhat dry but not scratchy like concrete in my experience.
  9. I use Amaco Velvets and Spectrum Underglazes to cone 6 - some are better than others but typically do not disapper. I draw sailor tattoos and use a variety of bright colors on porcelain. Try applying on leather hard clay and bisque firing to set your colors - maybe your clear glaze is contributing? Make sure you use a zinc-free clear.
  10. I love the Mastering Cone 6 Glazes book - have mixed quite a few glazes from it - if you've got a computer kiln and can use the controlled cool those are awesome - also I second the recommendation for Georgies if you like something a little more dry in surface - they have lots of satins, mattes, and sculptural mattes! We carry them in our shop and I have used the Copper Patina and Cool Lime Matte with great results! Deanna www.atlantaclay.com
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