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dazzlepottery

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About dazzlepottery

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  • Birthday 10/27/1990

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    http://www.danabechert.com

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    Lancaster, PA

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  1. It’s possible, I do think that may be the issue with some of the marks here. Some are obviously fingerprints. the ones that are a mystery seem to have come from areas that rapidly dried during a draft when they were wet.
  2. I’m wiping the rims of pieces after glazing the inside with clear. So the water bucket gets some clear glaze in it. I use our tap water in Pennsylvania
  3. Actually this last time for most of these teal pieces I made the slip from clay for the first time. Including that low bowl with the haze. I didn’t have enough of my throwing water to mix up the teal. The two vases with the blotches were made the old way ( letting the solids settle and just pouring off the suspended liquid) but the rest were made with crushed clay scraps. It’s not just a random bucket of wash water, I am careful to only use water from a pure porcelain throwing session, pour into another bucket to settle further. Then reduce what stays suspended. Just comparing the two slips on these pieces, I prefer my method, because the unglazed surface has more sheen to it. The clay mixed slip is rough and flat. like I said I’ve made thousands of pots this way with no issue so I don’t think that’s the problem.
  4. Yes I make my own slip, out of suspended clay from my throwing water, reduced and mason stains. The pots are leather hard when I apply slip, I let it set up between coats so it doesn’t remove the last layer. i bisque to cone 06. the water often has a layer of glaze in the bottom after wiping the bisque. Perhaps I just need to change water more often. the coats of slip are very even, as are the walls and surface of the pots. I’ve been making pots this way for almost 10 years, thousands so far, and the problem has only just begun to present itself. it’s the mystery of the patches on the vases that I’m most concerned with. I can come up with at least some kind of explanation for the streaks from wiping. Still don’t get why a dry patch would still look light after firing.
  5. It has been happening the last few rounds of firings. Not sure if it Corresponds to a new batch of clay, it’s possible. This is standards 365 English cone 6porcelain. I’ve been using this claybody for many years. the worst time was once when I tried rinsing bisqued pieces. I ran the water from the rim to the base and let dry overnight. The pieces weren’t glazed on the outside. The bottom of those pieces were horribly streaked. also lately when I’m cleaning up clear glaze on the outside of pieces with a wet sponge, those areas tend to have sponge mark streaking. I assumed that was from leaving a residue of glaze that didn’t have enough components to flux. I don’t know much about glaze chemistry but that was my guess. However I’ve never noticed this before and in the last firing I tried hard to use fresh water and wiped many times and still had issues. Since this thread, I found a photo of the vases before they were bisqued. The irregular Light blotches were present then. I remember areas of the clay drying much more quickly than others. It’s very possible there were drafts when they were drying and these were exposed areas from holes in my plastic, but I’ve not had pieces dry this dramatically in random areas before. See attached, area around dogs leg. I can’t figure out why quickly drying an area would affect it after it’s been fired either.
  6. Wow I think you may be on to something. I used to do a 30 minute soak in all my glaze firings. I don’t remember when I heard that would be a good idea but someone scolded me once saying I’m probably over firing. So I stopped. It seems that loosely corresponds to the time this issue started. It may be that was what I needed to vitrify my pieces. I always pack very densely. And i never use witness cones since I switched to a computer kiln. Elements are getting pretty old so it’s very possible it’s not getting quite up to temperature. the slip I use is more like a terra sig. does anyone know if that would have a higher firing temp? would be wonderful if a simple refire and soak could solve the issue.
  7. Thanks for the replies. I may try a gloss medium (on a less important piece first). I’m afraid to try to glaze and refire though I may try that too. still a mystery to me why especially the random splotches would occur. The walls are even thickness and I don’t trim the large vases at all. Almost seems like an issue during firing. It’s only been happening for the last 6 mos or so and nothing in my process or slip mixing has changed.
  8. Hi there Ive been having an issue with some areas of my slip coated pieces getting lighter and hazy when fired. I apply slip with the piece rotating on the wheel using a wide brush and several coats. This is what’s happening on the low bowl shape. The bottom gets kind of lighter hazy scuffed . At first I thought it was from rinsing a bisqued piece and perhaps dust got on the bottom so I never rinsed again but it’s still happening. Any thoughts? this last firing I have this new lighter area issue on the larger vases. I really don’t know what that could be from. A few guesses are areas that dried more quickly, or areas that got wet when they were unfired. Also could be an issue with the clay body? they didn’t look lighter until they were glaze fired to cone 6. The stakes are kind of high for these, they’re due soon for a big client and I don’t have time to remake them. I don’t normally glaze the outside of these illustrated pieces but I think that would solve the issue. Any tips for clear glazing a piece that’s already been fired to temperature? I don’t have a sprayer but that seems like it may be best? ive noticed that if I have oil on my hands and I wipe the splotches they darken some. I know it’s very unconventional but has anyone oiled unglazed ceramics? They’re for display only and won’t be used. sorry the slides are oriented wrong, couldn’t get them flipped on my phone.
  9. To clarify, I don't think the breaker was the issue at first. My husband wired this for me, I don't know exactly what he had to change to solve this issue, part of the wire needed to hook into the bottom of the breaker rather than to top from what it looked like? Seems it was getting just enough power to display the temperature but not enough to actually start the firing. I had been firing this kiln at our last house for the past six years on a 50 breaker (not knowing it was undersized) so I went ahead and fired the bisque with the undersized breaker-which was new (I know, lazy and dangerous, our local hardware store was out of 60s and I'm on a very tight firing schedule because I have a big show next week). It did flip the breaker after a few hours at around 600*. So the next day I located the 60 breakers and we changed them out and that seemed to do the trick.
  10. Thanks everyone! At first we had a mix up with the wiring. Also changed out the breakers to 60 and that did the trick. First bisque successfully completed in the new studio!
  11. Hi, I'm having an issue with my Skutt 1227 kiln. I've had the kiln for years, haven't had many issues. Recently I moved and had my new studio wired to work the kiln. We added a 50amp breaker, (kiln requires 49). When we finished, the kiln flashed with its temperature like always, indicating it has power. Today I loaded a bisque firing, and went to start it. Immediately when the kiln tried to make the first heating, error code ErrP showed up and the display flashed between the temperature and the error code. According to Skutt ErrP means: A continuous Err P indicates a short term power outage has occurred and the kiln has continued with the program. (caused by ) Power Outage. Power Surge. Wondering if anyone has experience with this error and any advice on how to begin to troubleshoot it.
  12. Hi There, I make work that is sgraffito carved, most of which I try to do when the piece is leather hard but sometimes it's a little drier than I'd like. I am very concerned about silicosis. In the last couple of years, I have been wearing my respirator when I carve. It's a msr mask with p100 filters. Recently I met another sgraffito artist who suggested that unless I am replacing those cartridges VERY regularly (she suggested weekly or more) then it traps dust and does more harm than good. So she has switched to a regular dust mask that she replaces daily. I can't imagine that is true but wondering about peoples thoughts. I replace my cartridges about every 6 months and am never using them for heavy dust scenarios and the filters always look completely new when I replace them. Also looking for tips to improve my carving workstation to minimize dust. Currently I use a dropcloth which is laundered daily, and a pillow, encased in a plastic bag, then a pillowcase which is laundered semi-regularly, and a scrap of towel for the part that is touching the pot (also laundered daily). The dustiest part is when I shake the dust/trimmings from the towel to the drop-cloth. What would you suggest for a less dusty setup? How concerned should I be about silicosis? Is it possible to get lungs checked for damage already done? Anyone have any experience with respiratory issues? Thanks
  13. I'm still in my first iteration of my art fair display but I'm pretty pleased with it so far. I have setup that all folds down and fits into a Prius V (their version of a wagon) with the 10" stick lumber pieces on a roof rack. I use the handheld shrink wrap to keep the long pieces tidy for transport. I must look like a mess when I'm setting up because people always approach me, surprised, afterward and say "wow it really came together in the end." At first I was shocked by the price of renting pipe and drape and even more so by the idea of buying a setup, so after ground scoring 4 10' dowel rods at a show (people leave all kinds of materials behind, especially in New York) I decided I'd try to make it myself. I use this structure to support my lights and some hanging planters as well so it had to be sturdy. The whole thing can be assembled with bolts and wing nuts for the union convention centers that don't allow power tools although it's much easier to put it together with a driver and screws. I bought black curtains and sewed drapes, which, besides hardware, was my only expense for the unit (around $150). The shelf in the back of the booth is made up of pine 1x2 pieces. Not very strong but the weight is distributed in such a way that it doesn't seem to matter, I made sure to pick out lumber with straight grain and no knots. these have a fixed hinge at the top so they just fold down and stack for storage and transport. The shelves themselves are built from very thin underlayment used as subfloor, framed at the edge with the same 1"x material as the shelves. I had someone help me cut these at the big box store so I didn't have to mess with a table saw, and I think I used one sheet at about $15. These are very lightweight, I can carry the whole unit as a stack at once. The one major flaw is that these don't respond well to outdoor weather, they can't get wet and shouldn't be out overnight in the dew so I use this only for indoor shows, even still they are starting to warp, a problem that could be fixed with a better frame underneath. The most versatile part of the booth are the tabletop shelves. I read in a NY Times article that people buy things at eye level, so I did my best to get my work up in people's faces. These have a single step shape on the sides, and two long pieces that connect them, I take the long piece off to transport and just put it together with a few screws for the show. Four nice pieces of lumber (walnut and cherry which I already had) just rest on top and the weight keeps it in place. I do some smaller shows with just enough space for a table or two and these really help the elevate my space and make it look more professional than just a bunch of pots on a table. The tables are just 6" plastic folding tables. I keep all my bins (big plastic totes stacked) that hold the pots underneath and I never have to mess with the out of booth storage that everyone is always so worried about. Everything; my hand truck, tools, step ladder, etc fits under here easily so its all ready to go at the end of the show. I pack everything in bath towels, I pack boxes pretty full and just make sure that nothing is touching or putting extreme pressure on a rim or anything, but I'm really not terribly careful. I handle the bins carefully and have had very little breakage. Thing's I'd like to change: -Would like to switch to smaller bins soon because they are a bit too heavy to lift comfortably. - Need a clean professional area for packing orders and storing packing material (i use unprinted newsprint and paper bags with my logo rubber stamped on them.) -Would like an area designed into booth for me to go, where I'm not hiding in the corner but high up and ready to engage with customers.
  14. I am relatively new the the craft fair game but I sell a good bit of large work. I've been selling online internationally and to decorators for a few years and they normally buy what I call the "large statement pieces." One thing I've noticed is that at some shows, like the higher quality fine craft shows, having the large work helps to draw in clients and sell the smaller pieces, ($95 for a mug doesn't seem so bad when the vase you really want is $1100). But at other shows, like the ones with younger crowds where people are expecting a deal, I think having the nice work is actually hurting me, people will come up to see the big striking vase and the rest of the work, pales in comparison even though it would have been attractive on its own. Not sure what to make of that, or how to handle it, I still want to bring the big stuff to small shows to make a good impression, you never know who you're going to meet. I have found, especially at some of the higher end shows (like PMA), people who like your work want to "collect" the nicer pieces. It definitely makes sense to at least bring some large museum quality pieces just in case that buyer is there. The bulk of my sales are still in the $80-$120 range, for small vases and mugs and stuff (I do a lot of surface decoration so my price point overall is higher), but boy is it easier to sell an $800 vase once than to fill a giant wholesale order and ship it, or make, lug and sell 32 $25 items. I think I could gross more at a show if I were selling more volume of lower priced items but I'd rather focus on making less work but work of higher quality, than making my studio like a factory to pump out the cheaper items. Not to mention the toll it would take on my body. I do have some pieces that have sat without selling for a year or more but that doesn't bother me, if they're good they'll sell, and if not I'll drop the price and someone will really feel like they're getting a deal, even if they're spending $400 or more. Another note, since most of these large pieces have sold to people who may be collectors, I do worry about selling similar work at a lower price because I'm ready to move it, I don't want to disrespect these clients by devaluing their investment but at the end of the day I'd usually rather have money than pots. I make sure the keep my online prices consistent, because that is the "worldly face" of my brand, but at a show I will lower a price significantly if the situation is right.
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