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Everything posted by Morgan

  1. Seems like it would be really hard to judge how close or dense to pack things in with a front loader, especially in the back of the kiln? Being able to look down see space, rearrange etc from a birds perspective just seems a bit easier. I say all that but my next kiln would be that Hercules if I could thing just looks so well built and solid.
  2. You could try the drop and soak firing schedule…
  3. Do you use a talisman rotary sieve? That is one of the better tools in my studio that saves me god knows how many headaches when glaze making.
  4. So glazes for eclipse came out great for me, if not amazing for me. I will say I have never had much luck with any mattes on dark clays…unless being super rough is ok with you, every glossy glaze I have turned out great. Still blows my mind the difference a clay body makes on a glaze. The cons to eclipse are it does not fire very smooth like brown bear which just begs to look and admire a well done foot and exposed clay. Eclipse has a much more rough and rustic feel to it. That said it throws incredible which makes sense given the former. Super slow 04 bisque and glazed to cone perfect 6…I should probably test them at 5 given almost all of them suggest they should be but so far no bloating or anything for me on either of those. I am sure the black ice will look stunning and my guess the best out of all of them but it really irks me how soft it is out of the bag and what I am having to do to prepare it to even try. Not to mention it is laughably expensive. Clay should come ready to use IMO. I do want to test standards dark body as Neil suggests, I just wish it were a tad darker. hope that helps, will post some pics later as well.
  5. I have way too many but they all seem to sell so…until that breaks I will keep the variety. It does make the glazing process a bit longer…I think I have 12 glazes now.
  6. Depending on the audience I broke down and finally made a “made in Kauai” stamp as it gave me chills on how tacky it felt. Unreal how much that stamp alone sells a mug haha.
  7. I myself have started playing with dark clay bodies as the come out so stunning. I bought a few bags of eclipse from SPS that I am firing right now actually. I never tried the midnight black but they say this is what replaced it and it is “improved” compared to the old midnight black. Or is that not the case? we shall see how glazes come out but as far as throwing it, it’s wonderful and super easy to throw thin etc. Wet it comes super red and fires to black and might be the messiest clay I have ever worked with. Hoping for some nice results. I do like the results of brown bear but it is pretty annoying to throw vertically…but it takes my glazes fine and the end result is spectacular. I do have a few bags of black ice porcelain to test as well but from how soft it is and the effort to get it to a workable state plus it’s insane cost I can already tell you it will not make the cut for me.
  8. Totally agree Neil…which was the genesis for making a topic about it. I am going to give it some time and see what evolves naturally but I totally agree as well and want my body of work recognizable and associated with me very easily. I see your work and it’s automatic that is a Neil ware, and that is something invaluable. working with galleries has actually helped that with specific asks of what I make, sets, collections etc but the markets of tourists are what get me going in every direction as they don’t frankly care who the artist is per se, they just want xyz that they got in Kauai.
  9. Ya I agree and thank you for the responses. I think it is just engrained in me that having over x glazes is too much along with limiting your body of work. Maybe I am just in that having fun exploring stage still and it will most likely hone itself in. And your right variety sells…still blows my mind how many times I almost leave certain pieces at home thinking who would want that…of coarse those are the first things to sell! price increase is certainly something on my mind but I personally feel they are already a bit high or I should say in the mainland they would be for sure. I am in a very very unique market where it’s always tourists and for quite a few of them price is not a thought in their head…they just walk up with a piece and a credit card. Then again some scoff at a 40-45 dollar mug. That said materials and being in a potter in Hawaii is absurdly expensive for materials, electricity etc. anyway thanks all I think I am just overthinking it.
  10. As far as the full time job, i am working more and harder than any job in my life, I am basically selling out at every market I attend, in quite a few prominent galleries and cannot keep up with demand. I have all but ignored online sales so far as it goes so far locally fast enough. All wonderful problems to have. So I suppose it’s full time in the sense that I do it to make my living pay the bills and then some and it has been going very well from a financial aspect…relatively speaking for ceramics I suppose that adds to the question…maybe I could keep up and be doing better if I was a bit more honed in/disciplined on my body of work, glazes etc…
  11. Just a small backstory for those that do not know…I have been a potter for decades but just in the last year or two started it as a full time job. So far it’s going great really BUT… Just curious as to some opinions on here. I feel like I am well outside the “creative” zone. What I mean is I do not have an exact body of work, it is changing daily and I personally feel it’s all over the map in just about every aspect. That is great and all but I also know it somewhat butts heads with most artist success etc. The basics are I am having fun…I have gone from porcelain only to having 4 clay bodies in the studio and more on the way to test. The reason for that is I really used to hate glazing and now I am obsessed and the different outcomes on clay has me nerding out haha. Along side that I feel like I am adding a bucket of glaze a day versus the wisdom of only having a handful. Same applies to too many forms…this one is probably the biggest as it actually interrupts my process on what I need to make or should be making to sell to build solid inventory (outside like mugs which always need to be made). now I have been fortunate enough so far that people have liked and received pretty much everything I have thrown at them but I feel the need to ask for advice and hone this down a ton, or does this approach actually work ok for some people? I suppose I am doing it because, well, it’s fun and what I like doing but I also know that is not always how you should be approaching it from a business and artist standpoint. Thanks in advance for any feedback!
  12. If cone 5-6 works I’ve enjoyed standard 112 and lagunas speckled buff
  13. I guess I should have elaborated on that…I agree a half a cone should be fine and for the most part they are I am just the one picky haha. they just do not come out how I want them. Some need pretty thick applications to get some of the proper colors and blending etc and that extra heat (it’s going more than a half a cone too btw) will cause some problems in the middle at times. Of coarse I also agree with you all that part of me should just accept this, pack different stuff there and compensate for it and move on, change glazes, but I thought this was a bit more than your “middle running hotter is normal”. There could be some application issues on my end that are adding to that maybe but regardless it’s getting overly hot. as far as how dense, it was about as dense as I could with mugs, cylinder type shapes on a couple of 7ish posts while getting them as close together as I legally can at the end of the day I’m pretty neurotic admittedly and I feel like getting proper cones throughout the kiln should not be that tall of an order
  14. Ya fair point, I really have no reason for the 5min, just seemed in my head like a short window to even things out a bit at peak.
  15. The built in cooling drops from peak to 1900 then control cools to 1500 or so I believe. Ok, I will try the TC offset, thanks Neil (as always)! PS - What is a good starting number for ~half a cone off degree wise? Start with say, shaving off 15 degrees and see how she does?
  16. if you can afford it, advancer shelves are hard to go back from once you use them IMO. Glaze comes off them with little effort, no warping, thinner, lighter...the list goes on.
  17. I am about ~38 firings into my new eQuad pro and I thought I had everything dialed in but I guess not. When I first got it I ended up doing a cone offset of 35 degrees in order to get my cones perfectly aligned at the base of the self supporting cones. I began testing some newer glazes and started having some issues on the middle shelves...sometimes nothing to bad just could tell it was getting hotter there...which I also know is normal. So I put some cones on every shelf the past few firings (sides and middle of shelves) and top and bottom fire perfectly ^6 and the middle is a hot cone 6 (if not hotter), they are touching the shelf and then some. Some of my glazes will not handle this extra heat, run, crawl etc. I read back on old threads and have done quite a bit of testing based off them so new info would be greatly appreciated (waiting on a response from l&l). I just ran a fast firing to ensure all the elements were glowing normal, check. All diagnostics seem ok, no errors etc. I have changed the way I load the kiln and that did not work. I added dense pots in the middle as well to try and help there and that did not work. I do not have a vent system and simply use the peep and lid to let moisture out but part of me thinks the middle thermocouple is done. They look ok, somewhat corroded but nothing bad bad. My firing is 04 slow and for glaze a slow glaze + 5min hold on the top with built in cool down. Not sure what to test next but kinda tired of ruining pots in the middle of the kiln testing it. Do an empty load with cones just to rule out how I am loading it? Do an additional TC offset on #2? Replace the TC's already? PS - TO make matters even a bit more frustrating is I have the same problem on my ^04 (no offsets or anything) but it happens to be hotter in the middle giving me a perfect ^04 in the middle and just barely begins to move the bottom and top cones. Since it is a bisque I have not worried too much about that but alas.
  18. just to +1 the 100ml syringe...its a must. quick, not messy, accurate and you do not have to deal with trying to pour it into a cylinder
  19. not sure if this helps but...use a bit a wd-40 on your stamp (I always do and store it with a bit on it after each use)....helps it not stick at all to the clay. I also try and position my stamp as close to the side walls as possible since there is a bit more support there vs the center. Clearly let it dry as much as ya can while soft enough to indent and voila. Also if the form allows, simply counter the pressure from the inside with your finger etc.
  20. Yup you are right Neil, I had a vendor tell me point blank they make their own. Not that there is anything wrong with that but seems rather fishy to sell something by a brand name when it isn’t. I guess mason is pretty laid back about enforcing their TM considering all of these places specifically say mason along with masons color code.
  21. Good to know thanks for all the info! And I am already buying in 5lb increments given my location but that will last me a long time. The little bag I got from non laguna I will just test for funzies but I have what I want from the 5lb from laguna whom I trust a tad more I suppose. thanks again for the info folks!
  22. I love frost when it turns out but it’s finicky is not worth the effort imo…it is hard to match but I found standard 365 to be better in almost every regard. I can throw it paper thin if needed, it’s super white translucent etc. months ago I tested every porcelain I could pretty much get my hands on and 365 won for me as it checked every box.
  23. Problem is almost every company that sends masons does not come with a label they simply come in ziplock bags, brown bags etc with the mason number on it, besides laguna usually just written in a sharpie, which anyone could do. I guess I am getting at the questions mentioned above…are there different brands, dyes or in the end is the visual color not a big deal? I guess your right though a call to them can’t hurt and ask if these other third party vendors are truly selling their mason stains.
  24. I have yet to test this but just found it curious on getting the same mason color from a few places can look so different in dry form. In my case chartreuse from laguna and the ceramic shop (I think that was the other). I mean one is darn near a saffron yellow while the other actually looks chartreuse. anyway just curious how all these vendors source their mason colors or if it even matters. I only ask because I did quite a bit of testing to finally get the right glaze color I wanted using the non chartreuse looking one from laguna only to get more somewhere else and was frankly shocked how different they looked. Time will tell but thought I would throw it out there in the interim.
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