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Mullins Pottery

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About Mullins Pottery

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    Advanced Member
  • Birthday September 12

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  • Location
    Utah

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  1. I have noticed a couple professors that have the nod. In their cases it's definitely a nod slight movement side to side but pretty dramatic movement of the head up and down. Neither of them realized that they did it when I asked about it. I sometimes move my mouth when I'm feeding the babies. It seems to be a similar relationship where an action invokes a subconscious behavior. Most of the nodders I know don't realize that they are doing it. I am as of yet not a nodder. Once I realized that for them it was subconscious I began taking note and recording myself throwing and asking whether or not I did it lol.
  2. I'm not sure how they are made but I've been wearing a Black Diamond Ceramic wedding band for about 4 1/2 years now and it's been a very durable ring. No scratches so far. I've had it hit/smashed it pretty hard as I work with some pretty high end kitchen appliances( AKA heavy appliances). Its light weight and comfortable. Also on the point of breakage I'd much have a ring break off on my finger than have a metal ring get bent into my finger. My guess is it's fired without glaze, colored porcelain and machine ground to proper size and machine polished to a high sheen.
  3. I've had issues in that past with cracks forming around the foot area. In every case it was the result of a foot that was too wide. It doesn't happen every time. But I did discover that by thinning my foot a little ended the issue.
  4. It's a funny questions because I like to listen to a wide variety of music from Stevie Wonder to Ed Sheeran and Johnny Cash. But when I'm in the studio it's either bluegrass via my Sara Jarosz Pandora station or Traditional Hawaiian music via my Keali'i Reichel Pandora station. I don't know why but to me bluegrass and pottery just makes sense.
  5. I got me a Shimpo VL Whisper about a year and a half ago. Besides the quiet operation it's always been able to handle the workload I've put on it. So far I haven't done any 30lb plus projects yet but it's been awesome for everything else. It's a great wheel I love it!
  6. Nicky it is extremely dangerous to fire a kiln in your living space. I would definitely find another solution for your firing. Clay and glaze maturity are both achieved by many chemical reactions/changes. All these reactions release little bits and pieces into the air that will end up in your living space. I love your enthusiasm for this wonderful field of study I hope you keep with it it’s very rewarding!
  7. This sounds like a great intro to a book. . . A text book perhaps?
  8. Well honestly if it wasn't for Duke Bush leaking the family's secret baked bean recipe we would all be suffering in terms of culinary knowledge! In all seriousness though cultures all over the world have different ways of viewing aesthetic not only in their artwork but in their music literature etc.. At the same time most cultures have specific things that they take serious ownership in, some call these parts of their culture holy or sacred and so forth. These things I think should be preserved for the peoples who hold them that way. That being said what happens when someone doesn't know that some melody, story, symbol, etc. is sacred or what if the culture has a shift in what they view as sacred? I know in my heritage many of the symbols and imagery that was once viewed as sacred by my ancestors has been highly commercialized mostly because of tourism. I didn't grow up thinking that these things were sacred in any way I just knew that they were part of my heritage and were special. I thought that that was cool. Well now I know that my ancestors were pretty serious about those patterns, symbols and so on. I admit that when I see the imagery associated with my heritage I kinda laugh to myself a little and think "they don't know what that means" but I am not upset about it. Many people's heritage is preserved through other cultures that absorb the symbolism and ideas that they admire. There's a lot of gray area. Great topic Pres
  9. Also make note of the thickness of your glaze. A glaze that's had the lid left off might end up a little thick after mixing. Either add water to keep your glaze to a specific consistency or make a mental note to hold it in for a shorter period of time. If you're a little extra particular about keeping your glaze really consistent you can measure the specific gravity. This number will essentially tell you the ratio of dry material to water. I agree with liambesaw 2 dips is almost always too much. A glaze at a proper thickness that is mixed well before use should be good with one dip and the thickness of glaze can be modified by the amount of time you have it in the solution. Great questions, good luck!
  10. I've fired it to 04 and cone 10 so I haven't fired any other temps to test. At cone 10 the clay turns black and has no sign of scumming.
  11. Perfect thanks for the info! secondary question for the 300lb that I've already processed and have been aging for several months lol. Any ideas of what i might be able to do to get rid of that after bisque? or do i just need to bite the bullet and start over? I don't have a pugger all this clay is being dried in an inverted perforated metal table outside with sheets for a liner. Winter is just getting started here in southern Utah.
  12. Hi all, I've posted about this local clay body before and I'm checking with the forum to get ideas on trouble shooting another issue. I'm firing to cone 05/04. The body itself is a beautiful lowfire body but after the bisque it gets a white scum on the surface . I'm not sure what it is that's causing the whiting but I think that the clay body would be gallery quality were it not for this blemish. I have sanded the surface after firing and the white can be removed. Obviously this is not a solution but it confirms that there is a beautiful clay body just below the surface. Any ideas of how I can resolve this kind of issue in the clay refining stage? I have links for some images below https://drive.google.com/file/d/0BwDDXHDlS0HGMHVKZVE1VDJuNkUzY2JIbXFFZ2NwMWJ6RHR3/view?usp=sharing https://drive.google.com/file/d/0BwDDXHDlS0HGa2Q1LXFkMy1sLVlMaGJBdkE3djN5RUtxNnhJ/view?usp=sharing https://drive.google.com/file/d/0BwDDXHDlS0HGMjZQZ1kzb1JnQklZbzc1WExhM1Q2VWVUVjFz/view?usp=sharing https://drive.google.com/file/d/0BwDDXHDlS0HGSjFXa2MycWRLcVZwVlJPNWxMM0VYTjlwQ0tn/view?usp=sharing
  13. I have never used a griffin grip I trim everything from mugs to 20” vases and bowl to bottles. Usually I just use a little water on the wheel head or nothing at all. I think it’s an essential skill to learn how to trim well without the griffin grip. Tap centering and balance till get you anywhere you need to go in terms of trimming. I can’t think of anything else you should need aside from a couple good bisque fired chucks for bottles and such. *from mugs to 27" vases,
  14. I bought a 40+ year old Lockerbie several years back for my first wheel it set me back $150 and a couple of tumblers. I used it religiously for a few years and it was a great wheel. Now I have a shimpo and like limbsaw said my kick wheel is a giant paper weight in the corner of my studio. That being said it was a great wheel and still is. It’s nice to have if the power goes out. But I wouldn’t spend that much on that. Maybe a couple hundred on an older Lockerbie.
  15. I just use mineral oil soap on all my molds works like a charm.
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