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Found 3 results

  1. Hi All, writing as an American from East Coast but living in Denmark. I am in need of a new kiln after buying 2 used that I couldn't get working properly (I live on an island with only 6,000 people - none knowledgeable about kiln tech/specs/operation/parts etc. and my husband and I are useless for various reasons. I will sell the 2 to people off the island and get back some money). In Denmark there is one manufacturer of kilns and, as such, they get hefty prices for quality I'm not so sure about. Before, I buy, I'd love to hear anyone's recommendations, experience or knowledge of qualities/reliability/durability of kilns in EU (some being sold in the U.S. as well)? (Rhode, Nabertherm, Paragon, Olympic, Cromartie, Potterycrafts, possibly Skutt- many others made in the UK)? I would absolutely be buying an L&L in the U.S. if I were there (and couldn't join a shared studio). Rhode and Nabertherm are closest to where I live in Denmark. L&L does not have a supplier in EU, though I do have one on the East Coast who will ship to me - so I am considering that too. I know though that customs duties will be outrageous, and tax will include the duties and shipping costs plus price and tax the whole amount at 25%! All those I can find in EU will require shipping to where I live so would consider the right kiln from UK or other EU countries. Any ideas - they will be highly appreciated! THANKS in advance
  2. How do you educate your customers about your work. Do you teach him some simple tricks to use when looking at ware? Long story short, many years ago I had a customer at my home buying several Communion sets. I had set out 25 sets for him to choose from, and we did some changing around of chalices with the plates to match what he saw in the way of pairs. We were having a discussion of why I paired up chalices and patens, and decoration details etc. when he noticed a paten setting by itself. I had a Paten(plate) set aside that had a beautiful finish with decoration that had come out quite well. He wanted to know why I was not including it in the selection as he thought it was beautiful. I told him it was a reject, and I was going to use it around the house. He pushed the issue, so I held up the plate with fingers supporting it underneath, rapped it with a wooden dowel. I then did the same with one of the ones in the sale. I asked if he noticed a difference, and after an explanation of cracks, and overtones in sound got him to listen closely again. He could then hear the second sound. I then showed him where the crack was, and he said he would have never seen it unless I had pointed it out. I told him, that it may last years, or a few days, but that the crack was a flaw and I could not sell it. Before packing up the 20 sets purchased, he was happy to check each plate and each chalice to see if he could find a crack I had missed-nada.
  3. Hi all Wondering what other potters do with their product 'seconds? I have smashed the pitiable ones, I have given many away to friends until eyes glaze and smiles freeze at another pot I have damaged the maker's mark and sold them cheaply at school fetes and carpark markets well away from my gallery and high end outlets but....after 12 years I'm running out of ideas. I don't mean the really horrible 'seconds' which deserve a new life as mosaic .....but those with a small fault that are still functional but not 'good enough' for the regular outlets where high quality and reputation are essential to good business. Talking faults like.......small 'S' crack under the foot ring, pin hole that won't heal in refire, post fire warp, glaze not the 'right' colour, pre-loved experiments....etc What do you do with your pottery 'seconds'? regards, Irene
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