Jump to content


  • Content Count

  • Joined

  • Last visited

About MadMudder

  • Rank
    Advanced Member

Profile Information

  • Location
    Mooreville, NC
  • Interests
    Water Gardening, Dirt Gardening, making interesting pieces for gardens and ponds.
    High Fire, (soon to be midrange firing) slab, handbuilding and throwing.
    Been playing with clay off and on for 23 years.

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Put them in a 200 degree oven for a few hours and let them dry out. 200 degrees is not that hot. They also dry really well on a dry sidewalk in the sunshine. I make many molds and never have problems with the side walk or the oven. I try not to have the smooth molding side directly on any cement. Brace it up with 2x2s or something a piece of foam. Slump and Hump molds are my favorite! They are kind of hard to find and The Big Ceramic Store has a bunch of them. http://www.bigceramicstore.com/Supplies/SlumpHump.htm Sadly I found a couple more I may need.... MM
  2. OMG what a great tip!! They are so cute, I can see putting them between bigger tiles, framing, color bands, all sorts of stuff. Thank you! This is exciting... Beth
  3. I moved and my new "studio" is a garage. I could not throw anymore. I was SOOOOOOO frustrated. Then I noticed (duh) that my garage floor sloped quite a bit. Made it easy to wash out but not very good for other things. I put a level on my wheel and it was about a 1/4 bubble off the center. I put a nice piece of wood under the 3rd leg of my beloved Brent wheel and suddenly I could throw again. Had to line it up with the slope. It doesn't take much to throw off throwing : ) but you should check the simple things for a problem. A studio I recently visited had throwing pins for sale. That way when someone wanted throwing pins they were less than a buck and can be put in and easily removed. Beth
  4. My Brent CXC is 25 years old. When I use it I use it a lot. It has been the best wheel ever. I had a Shimpo, ICK, had a "Pacifica Glide Torque" the wheelhead was off centered. After calling Pacifica and being informed that if I wanted a straight shaft I had to pay an extra 200 bucks... As if. The Brent has been the best. People selling used pottery equipment seem to be insane with their pricing. I think you did very well and you have a great wheel. Enjoy it kiddo!!! Mad Mudder
  5. Hang it on a wall and call it art. The design is really lovely. Sorry for saying this but it is nice to see that even you can make a boo boo.
  6. I use Armoral. It seems to work fantastically well. Plastic wrap works really well over wood.Just tape together on the back of the wood. You may have to scour the finished mold just a bit to remove wrinkles from the plastic but it is not much of a problem. Beth
  7. Laure, Where do you live?? I try to buy clay that is produced, dug out? fairly close to me. Standard clays seem to work very well. I use their Sculpture 420 which is a cone 2-6 clay and is really forgiving. That is not to say you don't have to dry slowly and take normal precautions but it is one of the best sculpture clays I have ever worked with.It is very forgiving. High Water Clay is more local for me but the Standard is my favorite for both big and small pieces. Beth
  8. You need more BEEF in the handle. Even though the skinny little things look cool they are non functional, find a way to thicken them up. The place where they have broken is so tiny.... YMMV B
  9. For workshops I use whatever notebook I happen to have on hand. As far as drawing ideas, i can't draw at all. An excellent pottery coach in Oregon, Kurtis Piltz tried to make me draw what I wanted to make. I just could not do it. My brain works it out and then it just sort of shows up in the clay. I love coloring books though, I get so many ideas from them. Good coloring books with great designs like you find at art stores. Take those designs and see what they turn into on a piece. Pictures make great references. My kids have taken all our cameras. My husband does television production and yet we don't have a still camera that works well. GRRRRRRR Beth
  10. There is also the Cedar Creek Gallery just a little north of Durham on I-85. They have lots of artists working on site and it is just a very kewl place to visit. I would love to be able to work in a place like this. http://www.cedarcreekgallery.com/ Beth
  11. So, you finally find a couple designs you like. I have some designs for bird baths and other large pots that I really like and want to use them frequently. However, I don't want my work to look the same. It is really hard to make the same thing over and over. Of course things change with each firing a little but it somehow seems like cheating to me to really embrace a design and just go for it. Is it a "sin" to make anything more than once or twice? How do you guys out there handle this issue? Is it a large concern for anyone else? B
  12. This is turning out to be a darned interesting topic. I went to a workshop on "how to fire your kiln." It was supposed to be for any kiln. It was all about the PROCESS. Well it wasn't. The process was raku. Raku doesn't translate over to anything and I guess I was naive because that was the stage where I had changed from making pots into making garden stuff and I needed a different palette. I thought this class would do the trick. Um no. Finding the right glaze with the right base combination is an art form too. Zinc (zircopax) can turn all your greens to brown. Finding a good, durable, well fitting glaze for over the colors is crucial. I just found one!!!!! Applying the glazes to the piece is also very crucial. Should you spray it? Paint it? Throw it from across the room?? It all has to work. There is no magic key. Thank goodness I seem to be on my way now. I wish the same for all my potter friends. My hub is coming home today from 2 weeks of traveling. We can set up and take some pics to post. Thanks for the thought provoking conversation.... keep it coming. Please. Beth
  13. Love the dress analogy!! In my mind's eye I can see all sorts of interesting pictures. Back to work I guess. I will post some pics as soon as possible. B
  14. I used to throw functional pottery and not much else. Had a great palette of cone 10 reduction glazes and that is what I did. Then, I started making fountain tube things for water gardens with lots of applique type stuff and needed some color slips but they always looked like heck coming out of the gas kiln. That branched off into architectural ceramics, wall sconces, tile pieces, bird feeders, (there are so many cardinals, blue birds, blue jays etc in my yard eating from the bird feeders) bird baths etc. Now I have an electric kiln, just had an excellent firing with many cone 6 glaze colors that I collected on line and my good friend Peter King. (I know I am name dropping but he and his wife Xinia Marin are such amazing people and potters.) Ginny at the Carolina Clay Connection also helped me move into the new firing techniques I am using now. Now it is hard to tell what to emphasize. Sure the piece itself has to look excellent but is it the glaze or the pot? Both? How do you find the balance?? How to keep one from overwhelming the other? Are there guide lines? Beth
  15. I use quite a few plaster molds. Lately I have been putting the almost dry molds on top of my electric kiln when I fire. This seems to achieve maximum dryness. In the summer I put them on the cement driveway and solar dry them... heehee and that works really well. I recently bought a couple slump/hump molds and they say in the directions which I actually read, to put them in the oven to cure them. I had no idea that there are different ratios of plaster to water for different size molds. This reading the instructions things is kind of amazing! Beth
  • Create New...

Important Information

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