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Everything posted by trina

  1. I liked your post about working in the studio, didn't know that it would freak out so many and get so off topic ;)

  2. Hi there, I think this is going to be a very interesting topic.... I have a rather large studio (not in my home) where I work and teach from. It is a business and I constantly need to remind myself to run it as such. I know my fixed costs, wear and tear on kiln and fittings, ect. But I love ceramics and I love teaching and inspiring others to enjoy working with this medium as well. I run my studio so that the costs are more or less covered my the students. Meaning I don't profit from them in a financial way. They pay and it gives them a place to be creative, and it gives me
  3. Hi this is not a hijack, I find it a really interesting topic and we should make it a topic on it's own, for some more input. I have a studio and teach it is always a bit of a problem for me for various reason... but of course hearing from students and getting suggestions would be great. Trina
  4. Wow, Thanks for all the wonderful replies! I really do look forward to hearing about all the challenges, hard work, and joys that we will all have in the new year. Hopefully we can all cheer each other on when it comes to cleaning the studios! I just had all my floors sealed about two months ago and it as made a huge difference in hielping to keep the dust down. Again thanks and have a great start to the year! Trina
  5. I am just wondering what new ideas people have for their own work this year. I personally am going to improve the business side of my studio. And I have been playing around with lustre glazes which i am hoping to improve on. I also have the drawings done for another large mural which I will start as soon as I have digested all the Christmas and New Year food. I wish all you potters out there a super productive, creative year. Don't forget to inspire as many people as you can! I look forward to hearing from you. Regards Trina
  6. One firing is not necessarily common, but there are many potters out there doing it. Steven Hill is one name that comes to mind. In most cases the glaze needs to be adjusted for the one fire process, and the firing adjusted to include a bisque and glaze firing in one firing. This is done by having a water smoke period, slow ramp up to 1100F. or so, and then accelerated firing to the desired cone. I have not done single firings myself, but with research I am sure you can find aid in the process. The biggest problem noted with one fire is that you have to be more aware/careful when handling your
  7. Hi, I agree that uncompressed clay is a problem, but also it is worthwhile on flat tile like pieces to carve a hatch pattern on the back when the piece is leathery hard. This helps if the piece is not the same thickness overall so it removes some of the clay in the thicker areas, and if you do get a crack it often is unable to totally spread across the whole piece. I know a crack of any size is a drag but I have found with my students that if it stays in one piece and they can take it home and not all the work is lost they consider it a success. Hope that helps a little. Trina
  8. Hi there, I really admire your work! Beautiful Trina
  9. Hi Trina--Sorry I didn't reply sooner, but I didn't check the post. A week has gone by, plus. I love your birds with nail legs!! They are so whimsical. The mosaic of the lily pads and fishes is very nice--how big is it? I have a similar project planned, one with large tiles carved to feature ginkgo leaves. I did a test plate and I like the way it turned out; haven't started to tackle something like your mosaic, or mural, or whatever it's called. Any pointers for me or others who would like to make a work like that? FYI, I took my pieces to our local Farmer's Market last Saturday and sol
  10. Hi TearDrop, Nice to have you on the site. I am sorry about the loss of your child, glad though that you have found an interest in pottery, becareful you will be buying a kiln before long! Look forward to your future posts. Trina
  11. Hi there, i just read your intro, look forward to hearing about you and your art. I was just looking at your profile and now we are friends....not sure how it happened but nice to meet. you.

  12. Hi, I normally go to IKEA an buy the cheapest metal stools they have, the ones with the metal tube legs and just cut them down to size with a hack saw. Its a cheap and easy way to make a couple of stools each with a diffrent pitch.
  13. Hey John that is a nifty little tool! Looks great and might even help my wrists.... thanks for posting that Trina
  14. Hi there, Well as long as you are sure that the electrics are fine and you arent going to short your house, i would simply test it! I got a really old kiln and my electrician tested the pyrometer simply by heating it up with a tourch. You could also get some cones and just test a few ramps and see if you are getting the temps. I would call the duncan agent in your area and see if you can get a pdf file for the kiln. Hope that helps a bit.... Keep me posted how you get on. I can ask my electrician if you want. He is very kiln fit. Trina
  15. I also like to use stain glass window paints, you can get some lovely pearl effects and some really vibrant colors. Agreed not for food containers!
  16. Hi there, You can generally use iron and aluminum, but for handing stuff attaching a coil of clay about a finger size in diameter and putting two holes in it works well. I find the problem when you work with added metal you need to make sure you have enough room for shringage otherwise things crack or break. As to metal rods, I don'T know how big your kiln is but leaving a space large enough to attach with some double component glue would work better than firing with metal I would think. Hope that helps....Trina
  17. I think the biggest misconception about a clay mixer or pug mill, is the reason that pug mills are so expensive is because they have vacum systems that remove the air from the clay making wedging not necessary. I think that mixing the clay in whatever form you choose you still need to wedge. Here in spain the clay comes either in sacks and is a dry powder that you add water to and wedge or you can buy the ready made sacks that are ready to use and dont require wedging. So unfortuately whatever way you look at it, wedging is the only opion when you reconsitute clayyourself. I have seen smal
  18. hey that sounds great, cAn i buy the plans from you? My husband is great at doing that kinda stuff , i really need an extruder. Trina
  19. Those all all great ways to reuse clay, i chuk all mine in a big bucket with lots of water and then once it has slaked down i mix it up with a paint mixter attached to an electric drill. Whip it up let it settle down drain off the excess water. I have plaster bats or i just let it slowly dry out in the bucket till i wedge it as i need. Hope that helps..... When i started out i thought i needed a pug mill as well, but then i realised i just had bad wedging tecnique, once i learned how to properly wedge and not kill myself doing it thinks changed. Hope that helps Trina. p.s i am certainly not t
  20. I hoe you get this message, potter but totally computer illiterate.... anyway loved your post and just wanted to say, speaking of metal, i have been using rusy iron nails in some of my pieces and it is a great effect. I also like to use hinges as bird legs....i will psot you some pics if you are interested and i can figure this machine out hehehe. take care adios Trina
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