: JLowes - Viewing Profile

As Benzine suggests, making a large clay chuck is one way to make the support for trimming a platter. I like the idea of cloth to keep the platter from sticking, but I also use plastic wrap over the chuck to keep the trim item from sticking to the chuck. I like this, as it keeps the clay in the chuck ready to be wedged and used again.

Another method is to use thick foam, or layers of foam built up, to support the platter while trimming. I have a bat I made using foam that I use to trim. If the rim is wider than my foam bat, I use that, and build up foam support as needed. Keep the wheel speed low, and carefully work the platter on center to trim. Cautions are catching the trimming tool on too soft clay and gouging or jerking the piece off center. I frequently trim too soft and learned the cautions the hard way.

John

Hello VermontSarah,

I have made Watercolor Green (Watercolor Blue is similar) and mine is water thin, so something may have gone wrong for one of us. I spray my glazes, and mixed mine to the consistency I saw during a Steven Hill workshop, and they work well thin.

I like this video by John Britt discussing flocculation and deflocculation, and some of the things you can try with a small sample to see if you can make it workable:

http://www.youtube.c...h?v=fpQns05RdVU

For comparison, the recipe I use is as follows for 1000 grams (I never mix much at a time):

Watercolor Green
Cone6
Batch Weight1000.0
Ingredient Wt (Grams)

Custer Feldspar 442.4
Flint 156.7
Lithium Carbonate 36.9
FRIT 3124 46.1
Whiting 147.5
Strontium Carbonate 69.1
Copper Carbonate 73.7
Bentonite 27.6
Totals 1000.00

If you divide the numbers above by ten you will have a percentage recipe.

I suspect that there is something in the batching that is causing your problem. Is your spar different than the one above?

I also looked up a recipe for the Wright's Water Blue, and it appears to be frit based, so it would tend to hard pan on the bottom if the Bentonite can't keep it in suspension.

Wright’s Water Blue Glaze
Cone 1-6
Oxidation
Glaze Material Percentage
Lithium Carbonate 3%
Strontium Carbonate 9
Frit 3110 59
Edgar Plastic Kaolin 12
Flint 17
Total 100%
Add: Bentonite 2%
Copper Carbonate 5%


John

Hi Lori,

Good question.

I have attended numerous workshops, and although I got something out of all of them, I find that I get more out of the later workshops, as my skills have grown and I can apply the knowledge better.

My most recent workshop was with Tony Clennell, watching him explaining and throwing his large work, and approach to handles. He made a prodigious amount of work, got Ron Myers to come by, and in general inspired his audience. Using the technique, I was able to put together a 30+ pound "Texas Sugar Bowl" when I returned to my home studio.That one made it nice to know I can make the big work that once seemed so beyond my ability.

Before that there was a Steven Hill workshop that had a hands-on portion where we were able to apply his knowledge and technique to our pots using his glazes. From that one I had a pot that was awarded Second in Show in a 3-D show. With his guidance, I corrected some spraying errors and now spray most of my glazes.

From a Jennifer McCurdy workshop explaining her technique, I learned that incredibly ethereal pieces can be made (even by me) with application of a little knowledge of structure, when to work the clay, and specific techniques. Several of my favorite pieces were made after that workshop.

Fong Choo's workshop was my first, and introduced me to one of my clay heroes I found during seeking clay education through YouTube videos. He shares with me a penchant for making tools for clay work, and there is a tool he demonstrated, and that I made a version of, that I use every time I work at the wheel. Even though it was my first workshop, some of the things I learned in his workshop are reflected in almost every pot I make in some way. He even demonstrated making handles with reeds and discussed marketing with us, which have also showed up much later in my work and sales presentation.

All were enjoyable, and it is good to see other potters and hear their tales in the company of like minded folks. Occasionally something will pop up while making that wasn't an active choice, but a lightbulb moment of realization of a technique demonstrated or discussed during a workshop, and another chance to apply the knowledge.

The workshop you just experienced is one on my bucket list.

John

Vinks,

You are brave. As one who is planning the step from full time construction management to making pottery full time, I am taking it slow and equipping my studio with everything I think I will need before making the big leap, or as Sherman says, the last step.

Good luck with your quest.

John

Your color choices seem appropriate for your work, they are neither garish or bland, and if they sell well, why change? If you can use one base glaze and get several color choices from it, I say that is a good business decision and allows you the flexibility of exploring form for changes and growth instead of color. If you are purchasing glazes, then minimizing the number of glazes makes sense too. Since they are transparent, you can make changes with layering over underglazes another choice.

As one who enjoys trying new glazes, both made from recipes and purchased, and has over 50 glazes to choose from in my studio, I can tell you the thought of having two or three, or an adaptable base glaze is sometimes a strong pull.

John