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Mullins Pottery

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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
  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
  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 t
  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
  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.
  16. My pottery skills were aquired by many many hours of practice in the studio. That along with taking as many clay classes as I could for additional instruction. It wasn’t till after spending a lot of time in the studio that I was able to benefit from watching videos on YouTube and such to see different techniques and forms. But I will say after gaining my own experiences in the studio spending non studio time watching YouTube demos and sketching pots helped and still helps a ton. Pottery can be a never ending journey of learning but it’s a pretty awesome one. Good luck!
  17. If I understand correctly as long as the pieces are bisque fires prior to the glaze firing you should be good to fire as quickly or as slowly as you like. As far as the hold at the end of the firing it depends entirely on the glaze. If you’re not sure on a particular glaze, fire several test tiles or mugs to make sure. As always test test test!
  18. I tend to think of throwing proficiency in terms of forms. If we're talking about a 6" cylinder I know my professor was expecting that 2nd or 3rd week for beginning throwing classes. I felt like after a year in high school I could throw a 6" cylinder if at the drop of a hat. I was listening to Ben Carters podcast during one of his New Zealand segments and on of the artists described mastery on the potters wheel as an ability to throw anything you can think of. Some of the interviews I've listened to have surprised me looking at the work of some of these artists, very accomplished ceramic arti
  19. In terms of american pottery a few yeas back I did a paper on Maria Martinez and another on Juan Quesada. Their work rediscovering the traditional native american ceramic aesthetic and process I think is definitely worth mention.
  20. Thanks so much for this insight. My journey in ceramic art is taking me toward teaching. I've heard a ton about the pros and cons of teaching at different levels and this so far has been the most clear and instructional.
  21. My workbench is empty! I just cleaned it off this morning (finally!). I have the last couple weeks worth of bisque ware to glaze and decorate now. Which usually ends taking up the most time and energy of all.
  22. I'll have to agree on the side of hand made wares being more functional/durable in many cases than commercially made wares. Though hand made pottery can fall on the lower scale of functionality (most of us can remember when we just began making) it has much greater potential to be both more functional and durable. Commercially made wares don't have the artistic eye of a functional maker watching over each piece. Each piece has a quality that a factory can't produce and that quality is individuality. That's why your serious mug, bowl, tumbler, etc. buyer takes the time to handle several pieces
  23. Thanks for the info. In terms of my goals with this process I know that there are other ways to accomplish a similar aesthetic with other glazes but I'm working with shino because I enjoy the carbon trap process/color pallet . Also I've been tinkering with Gustin shino and Malcolm Davis shino to produce high fire overglaze decorations. At first separately but more recently I've been using them on the same pot. Shino's don't shift in the firing so they have been good candidates for brushwork and such. So basically getting that charcoal backdrop is just one part of the equation. I very much en
  24. Also I know at my school they usually do a body reduction around 1400 for 30-40 min is too soon?
  25. What do you look for in terms of reduction when you say heavily? In other words how do you gauge how heavy/light the reduction is? What are the key indicators you look for when gauging reduction?
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