Magnolia Mud Research

I wonder if the apparent 'bleeding' is a technique used at the time the blue colorant was applied to the pieces - that was the way I achieved similar effect on canvas with water color and pastel crayons.  after lots of practice a "light" stroke with the "right" brush would produce the allusion of bleeding.   
LT
 

If you notice both examples of running/bleeding you posted are blue, most likely a cobalt (carbonate or oxide) wash rather than an underglaze. If you are after blue, I would use a cobalt wash rather than underglaze. Unless it is very thinly applied, cobalt will have a tendency to run or bleed. 

I wonder if the apparent 'bleeding' is a technique used at the time the blue colorant was applied to the pieces - that was the way I achieved similar effect on canvas with water color and pastel crayons.  after lots of practice a "light" stroke with the "right" brush would produce the allusion of bleeding.   
LT
 

Finally settling on a single glaze for all of my work.

Try making 8 lbs. lidded Jars  for the farmers. 

@liambesaw, the way I see it, it’s much better to start out with low prices, and raise them if the pots are flying off the shelf. Compared to starting out with overpriced pots, and having to lower the prices. Especially at a recurring market like a farmers market, where the same customers are going to see the evolution of your prices. 
Also, don’t let others pressure you into raising your prices. Especially from across the internet. We don’t know the area where you’re selling. Every location has different market forces. Base your pricing decisions on how fast your pots are selling. 
From across the internet, I can’t judge the weight and balance of your pots. But from what I can see, your pots are very attractive and of good craftsmanship. So present them with a sense of respect, not like bargain fodder. Which is related, but not specifically the same thing, as the number on the price tag. 
This market is a good choice for your first attempt at fair selling, due to its low booth fee. You can continue to do it this summer for the experience, but I would also start looking for something that is a step up. Where you won’t be selling pots next to snake oil. 

My fellow demonstrator transformed a lump into a vase for a group of observers. First question, "How did you get it hollow?"
( A patient answer here could create a new newbie.)
Zeiner proceeded to make another. 
 
The question, "How long will it take?" is easy to answer with "Wait and see," "That depends," and "Take notes." But it's the hardest part to learn about clay, for lots of students - "Patience!"

Hi folks, 
I have been doing some thinking about the white liner glaze that I have been dipping the hazelnut and the white clays in before spray glazing. So I decided to try a piece without glazing the whole piece in the white glaze, just the inside and neck. I think you can see the difference. Seems like to me, the white is bleaching out the cream rust glaze here, pieces I had sprayed with the cream rust, the variegated blue and the rutile green would always be more blue and green. Interestingly enough, the hazelnut pieces would have more browns in them. 

 
best,
Pres

My all time favorite-John Baymore.  June 16-19 John Baymore (is) “Headed off to South Korea ...in a week for an exhibition, then (the vessel with the neck will go) into a public collection.
The container is my single favorite piece of all things made of clay that I have seen to date.  John says " It is not done yet. Next it gets overglaze enamels." 
 

Which "newbie question" has most confused/confounded you?  For example, today, I was asked:  Why do you always tell me to do a glaze test before I use it on something real?

I realize this topic is 6 yrs old, however, as a local potter who took classes and went to night school for ceramics as well, albeit without a degree, if I had had all the technicalities dumped on me from the beginning and the strict guidelines, it would have killed any desire I had to enjoy clay.  I think the first things to establish are, how do you like the feel of clay in your hands, moving on to experimenting  with it to see if you like it well enough to take serious classes, and then college courses where you spend time on how to and when to and why.  And by the way, there are many correct ways of getting from point A to point B depending on how you perceive it.  I don't think strict rules do or should apply in the world of art.  Clay and it's manipulators are constantly evolving.  I began at age 56, I will be 76 in August.  I love it, I've sold it, I have to have it and to keep making , but I do it my way, always trying new things and I'm still enjoying my passionate and very personal relationship with clay.  All this is to explain that a one or two week clay class is to allow who's taking it, to see if this is something they want to pursue, whether for pleasure or profit.

Right now 40 jars sitting in the shop waiting for honey/spoon lids, 26 in the kiln, Mug throwing next week 75 for the order, probably get them thrown on Tues & Thursday. Recycling thawed out clay is rougher this year, but doable. Now use a heavy wiggle wire to cut bread slabs, spray and slam. Used to put finger holes in the slab, this is quicker and easier. Wiggle grooves hold water well.
 
best,
Pres

Am I the only dork left using dry cleaner plastic?

I think you will enjoy your Skutt 181. That's an interesting old kiln. One can learn a lot from firing a manual kiln.
Your 181 might not need new elements. Check the elements with an ohmmeter. If they're okay, shrink them back into the grooves. Here is a video that shows how:
Sincerely,
Arnold Howard
Paragon Industries, L.P., Mesquite, Texas USA
 
 

Liam:
i agree, Mark has an inspiring success story in the pottery biz. After 45 years in carpentry, I am aware of the time, energy, and sacrifices he made to build it. Pottery is unique; full time, part time, weekenders, full time hobby, to monthly dabble. My only intention starting out was to "play" with crystalline glaze, until I accidentally fell down this very deep rabbit hole. Rabbit holes are also unique, but also common in pottery. To answer the QotW: I do not want to make any pottery plans: because it is the only area of my life that is not. I find the unplanned happy accidents of discovery a relief from a lifetime of calculations.
T

The wax is just an adhesive to hold the alumina in place.  The wax burns away. 
LT

At what point in a potter's career does he/she stop searching for and testing new glazes?
When does the potter become satisfied with his/her stable of glazes and says "This is enough"?
 

put six-by-twos under the seat,
or use the phone book on the seat, that solved the problem of the low level chair at the dinner table when I was a kid.  
LT

put six-by-twos under the seat,
or use the phone book on the seat, that solved the problem of the low level chair at the dinner table when I was a kid.  
LT

Currently, too much "crap" is on my workbench. 
I need to start getting things cleaned up, and organized, so I can start on Graduation mugs, for my Seniors. 
I was going to get started on all this weeks ago, but this second half of the Winter has been brutal, so I've spent waaaaay too much time moving snow!

Over the years, I have found that I often have to have a "Gestation state", a period of time where I don't do something, but think about it. Then when I return to the activity or problem, I have solved it without even really knowing it. This has happened to me often when dealing with throwing over the years. . . throwing off the hump and having "S" cracks, throwing large and not getting enough out of the base, Wonky rims, that were weak and poorly finished, trimming through too many large plates, cracks in large plates, cracks in large bowls, and the list could last for much longer. Point is, problems do not just disappear when you push more time into it, often you have to figure out why. Research helps, thinking about what you research helps, also thinking about what you know about clay and how it is structurally made up and how to use that instead of fight it. All in a lifetime of working with any material, especially one so simply complex.
 
best,
Pres 

On the subject of “hours vs. years,” I agree that there is a minimum number of hours required for development. But I’m not sure you can speed up the process by cramming in all of the hours within a short period of time. In order to make what I consider “professional” or “sellable” pottery, you need to be a fully-fledged adult with a strong grasp of your own values, tastes, priorities, etc. The pots you make are a reflection of who you are. And if you have not yet answered the “who am I?” question, your pots will look immature too. So even if you’ve spent 4 years in a college ceramics program, putting in many hours of intensive study, a degree holding 22 yr old still has years to go. A college campus is not the right environment to answer the “who am I?” question. The environment is too safe. (I remember as a college design student, I thought the program was so hard, intense and competitive. Then I hit the real world and realized how safe the environment had been.) In other words, the hours of study are just a starting point in terms of technical proficiency. The years of personal development are necessary too. In my experience as a pottery teacher, I occassionaly worked with students who had been practicing pottery for a year or two, and already making wonderful pots. They were mature people (which doesn’t necessarily mean older) who had a good sense of their values, and a large bank of life experiences to draw on and guide them. 

well, PT Barnum didn't think so.  
My perspective is that the customer  controls of what is bought, while the supplier controls what is offered for sale.   
 

well, PT Barnum didn't think so.  
My perspective is that the customer  controls of what is bought, while the supplier controls what is offered for sale.   
 

According to my memory, there is a paragraph or two in Val Cushing's handbook on clay bodies for use in cold climates.  Fully vitrified porcelain is not one of those clay bodies, as I remember;  there is a optimum porosity for freeze - thaw requirements.   Also check the Rhodes & Hopper book on clay bodies. 
Remember that roof tiles and bricks have been used in cold and snowy regions for several hundred years and they have survived lots of freeze thaw cycles.

LT