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trina

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Everything posted by trina

  1. I would love you to see my video I think that is the link. If that doesn't work just go to you tube and put in making of a mural by trina doerr and it will come up. Ya, I love living in Spain today it is sunny and about 20C. I am going to try to send you a pic of some of my little monster people. It might make you laugh...Trina
  2. I would love you to see my video I think that is the link. If that doesn't work just go to you tube and put in making of a mural by trina doerr and it will come up. Ya, I love living in Spain today it is sunny and about 20C. I am going to try to send you a pic of some of my little monster people. It might make you laugh...Trina
  3. Thanks for taking the time to reply, I love your little creature guy. I am not that articulate so I always keep bits of clay in various states of dryness, to show my students what i am talking about, maybe try that, nothing like being able to pull out a piece of leather hard clay and tell the instructor carve, add or demonstrate with this piece. I find this very useful when demonstating faces or just eyes. I would hate it if I was responsible for making everything look my way. Trina
  4. hi lyn that is exactly what i am talking about, just a simple box and digital camera nad maybe a small light source. I will let you know how it works out. Trina
  5. Hi there, I definately use an accountant. So worth it in many ways. Not only in the tax department, but if forces me to keep records of everything it do, so at the end of the year I know exactly where i stand. Plus where i live, as an artist, you get certain tax advantages, which I would never have found out about without professional help. My advice is go and see someone and find out what it will cost and see if that amount is worth not having sleepless nights worrying about your business. Trina
  6. Hey thanks for the replies! I get my students to fire even the crappiest of pots so that we can do glaze tests ect. It helps so that they can start to experience the thrill of developing their own glazes or combos thereof. I am a clean freak, and so clean is good! Good tip about the music though, I normally have the radio going but have never thought to ask if it bothers anyone. Definately will now. If you had access to a photo box would you use it? Think it a good addition? Thanks Trina
  7. What i DON'T want to happen is to HEAR any crap from the instructor and be LIMITED BY SOMEONE ELSE in any way, shape, or form Those are really lovely sentiments teardrop. Trina
  8. This comes from the thread managing your studio. I though it would be interesting to hear what the students really want from their pottery studio experience. Trina
  9. Wow that sounds like you have had some bad experiences soujouner. I am going to start a new thread, What do students really want, and what keeps you motivated. Trina
  10. Hi there, Don't know what your space is like but old fridges work well, albeit they are god ugly and take up space. Otherwise I know you want to get away from the plastic bag thing but I find that that very thin plastic that dry cleaners use is great. Trina
  11. I just did my year end and it is at the accountants now....I rent premises but think that I am close to your %. I will let you know:) Trina
  12. I agree, I don't think this is what we are talking about, you can sell your work all you want and in reality no one can stop you. However I personally am not interested in subsidizing professionals. Why should I? There is absolutely nothing in it for me. I love teaching but if you have nothing left to learn you are a potter in my book so more on. If you have your own wheel and clay the next logical step is buy a kiln, take all the responsibly for your work (I had a kiln failure this morning which I get to explain to my group tomorrow, that would be a real drag for you if you had 200 coffee cups in there that just got over reduced) I wish I knew a studio that would let me work en mass for the prices which I currently charge. I know where I would be tomorrow Trina
  13. I get the part about insurance concerns, but as a student, I'll decide for myself when and if I want to sell a piece. I don't need anyone else's permission to do so. I'm fortunate to have my own wheel now, and I have access to community studio kilns for a reasonable cost. I'm much more critical of my own work than anyone else. As a successful silversmith for many years, I can tell when something is salable, and frankly my standards are higher than many "professional" potters I have known. I appreciate that you must be going that extra mile, to feel that you don't have problems with "student personalities", I think that takes a really special mindset to work in practice. But I wouldn't give up my right to dispose of the products of my labors as *I* see fit. This would be an insurmountable obstacle for me, though clearly it doesn't seem to be for a majority of your students. I may be a student, but I am not a supplicant, and I just would not give up my right to control the disposition of my work when and as I choose. I'm a long way from trying to sell anything I make, but that is my decision to make, and no one else's (other, of course, than any hypothetical buyers). "I don't need you to remind me of my age. I have a bladder to do that for me." -- Stephen Fry Hi again, I guess that is the good part of owning my studio. I am gonna sound like my father here but it guess it plays true : as long as I pay the rent I get to make the rules ;9 Happy Potting Trina
  14. Hi I have bought this and the thicker rods don't sag but have been unluckey with the thinner ones. Totally sag and I have also found that you definately need to fire them empty first as they flake the first time. Trina
  15. Hi there, How thick are you cutting your slabs at the moment? I normally use a thickness of about 6-8mm. Clay has a memory so the less you handle it before getting it into the mold the better. Roll it out it every direction and then let it go off a bit (firm up) before placing in the mold. Dry slowly and normally you can see a warp starting even before you fire. Hope that helps Trina Thanks Trina, When rolling out your slab do you use a slab roller or do you do it by hand? I do not use a slab roller. I generally do use clay that is between 6-8 mm to start with and then pound and roll the clay out until it is about 6 cm thick.. I am flipping the clay each time I roll out the clay. I guess I am wondering if I am handling it too much. I let the platter dry on the mold lightly covers with plastic and some light weights on the platter. Good advise to let it set up for a bit before transferring the clay to the mold. I normally roll that type of object by hand, just onto a piece of cloth with a couple of slats on each side to give me the thickness. Normally on a plaster bat. Don't flip it over each time, keep everything as flat as you can till you put it into the mold. I think that the flip might be your problem way too much bending going on there.... I also don't use weights, they won't stop it from warping if that is what it wants to do, it only will prevent you from seeing the warp before you put it into the kiln. Trina
  16. Hi there, How thick are you cutting your slabs at the moment? I normally use a thickness of about 6-8mm. Clay has a memory so the less you handle it before getting it into the mold the better. Roll it out it every direction and then let it go off a bit (firm up) before placing in the mold. Dry slowly and normally you can see a warp starting even before you fire. Hope that helps Trina
  17. Ohhhh ya now that is a really good idea! Just what I need.....Trina
  18. OK hi again, let me see if it works this time. OK I would say that you need a business plan, to figure out what you should be charging. I never charge double for the clay with the expectation that that covers the cost for anything else. I know from experience that i use 12kg of unprepared clay per session. I know through experience what that means in terms of kiln volume (as I know what they are making and we normally have a max size for projects) and my firing schedule (kiln wear and tear costs and electicity). Take an inventory of your studio and then figure out what it will cost each month to keep the levels up. I then know I need to spent xxx Euros in material costs every month. Write down what your expenses are. Think of everything that costs you money. So rent, electric, materials, material wear and tear, starting costs (tools that you own and use tables equipment ect ect) accountancy fees, taxes, Do you supply coffees and cake... toilet paper cleaning supplies : just whatever costs you write down. Then divide that amount with the maxium amount of students /other artists you can cope with. If your goal is to have money to pay for your studio that covers it. Then your own work is where you start to make a living.... don't confuse this with profit profit comes way way long time later... As my studio is open twice a week to potters, I charge by the month so I know the number that I will have more or less (but don't worry too much about it as they have then paid) But they themselves have arranged to come either on Monday or Wednesday. Sometimes a Monday person will come on a Wednesday but as I have a large studio and we can accomodate it. Rarely /nearly never do I have everyone at once, communicate and students communicate back. Really it sounds to me like you should convince your two students to join your studio as fellow artisits and share the expenses if that doesnt cramp you personally too much. I don't know if anything that I wrote helps you but that has been my personal experience....just ask if you wanna know more. Trina
  19. hey cool i am canadian too, welcome to this site. Trina
  20. hey cool i am canadian too, welcome to this site. Trina
  21. I agree with you totally, I can do all the things required to be a potter. But it takes a lifetime to be a great potter, if one ever gets there. I am constantly blown away with the work of other contempary potter artists that it's not even funny. Will I get there... don't know but gonna die try'n Trina
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