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Posted 18 May 2013Interesting..... I got the idea for using hangtags from, you guessed it, Good Elephant. I think my fault lies in not using a heavier weight cardstock, trying to cram too much information onto the tag making it larger than I would like, using jute (which is a pain to work with and messy), and not trying out a few other affixing methods like the glue dots. I have more experimenting to do.
I should add that I also pack a separate "artist card" which is like a business card but without any contact info other than my website. This card contains my short artist statement and the "dishwasher, microwave safe" language. I keep them in a stack on my checkout table so customers can take them, and I also pack them with the sold pots. That way I don't have to squeeze that info onto the hang tags. The hang tags only say my company name, plus the name of the pot.
I have started putting the brochures to art work, with business cards in a little envelope on the back of the work when I have work I have purchased framed. I have also seen pots in homes where all of the business cards, contact cards, brochures for the pottery were kept in the pot. It might be neat to have all of this on one card that could be detached as the purchaser desired. "Yes, I used the emoticom right!"
Posted 18 May 2013Thank you all, for the suggestions. I like the sponge brush idea. I'll have to give that a whirl. But water soluble wax resist? That sounds like the type of black magic that gave the art world, water soluble oil paints.
I buy my wax resist from my clay supplier, Continental Clay. The resist looks light green, like those Shamrock Shakes, McDonald's sells around St. Patrick's Day.
I have tried to use Q-tips to remove the beads, but I can never get all of them, especially with my more intricate designs.
In regards to clumping, it's not the wax resist, that I have a problem with. That always stays nice a smooth. It's the latex resist, from the same company, that I had an issue with. When it was new, it worked great. But as time went on, it started to clump together in the bottle, despite, being completely sealed.
Last few years at school, I ordered the water based wax resist. Found there were two types other there-one for on clay, one for on glazed areas. Now find there is a third for all areas. The Van Gilder book from DYI shows him using sponge brushes to apply his resists, so I tried that. They clean up very well, and you can get a nice even coating. There are time that you want a regular brush line for clean wax resist. For that I have used the brush, and cleaned it up with a little dish detergent. When I used hot water, I got a gummy sort of wax that was harder to remove. This may have been because of the brand though. As far as the beading of glaze on the resist, I keep some stiff oil painting brushes that are varied in size as dusters. When the glaze is dry, dust off.
Posted 18 May 2013Anyway I love this forum, have no intention of going anywhere and if I ever tangle with anyone and come off as rude or insensitive I can only say it truly is unintentional and that I might have been misunderstood.
Aren't you the guy who posted on a thread about buying a used kiln: "It is kind of Larry's fault for walking into a cyber room of potters and asking such a divisive question like "should I buy this used kiln?"? That didn't come off as rude or insensitive but it did come of as a strange thing to say. I hope Larry wasn't offended.
No Mr. Sandefur, Larry was not offended. It was a an attempt at humor over the way the thread had turned into an argument and Larry posted immediately afterward indicating that he did in fact understand I was joking.
Well, Mr. Stephen, you should have used an emoticon.
I will be using the emoticon's now that I know how to. TJR nicely informed me that dragging is the only way they worked. I will remember that when I am trying to be humorous, but don't come across that way.
Posted 17 May 2013Hi all. New to the forum. I've been a potter for around 13 years. Started doing a show or two a year at about year 5 just to make some hobby money back. This year I decided to ramp up and try to actually make a bit of profit. We'll see how that goes.
No suggestions on price tags (okay, just one: Try different brands. Some stick better than others.), but I want to thank you for the above statement. So many people start inflicting their precious first pots on the world after a pottery class or two (sort of like someone wanting to be doctor starting to practice medicine after biology 101), that it is really refreshing to read the above.
I believe that until a person is able to throw that too precious pot in the slop bucket realizing it was a mediocre existence that they should only foist their wares on their relatives and then in limited numbers. :Psrc="http://ceramicartsdaily.org/community/public/style_emoticons/default/tongue.gif" height="20" width="20"> Waiting for five years is a good start.
Posted 17 May 2013Hello folks
I am interested in reducing the length of glaze firing for my pots. I was told, or rather, I always assumed, that you need to fire slowly to about 600ºC, then get up to temperature asap. I fire at 1255ºC, electric. (sorry not familiar with cone systems).
I have come across pottery bloggers who claim the need to fire slowly is a myth. After all, the industry fires tiles in 45 minutes from crude. And once, I had some pieces of porcelain fired by a kiln technician who set up the program to finish in 6 hours! and it worked.
I use an electric kiln and don't want to damage it by doing crazy firings.
Can I really do a firing cycle for porcelain in 6 hours? Pieces previously bisqued.
Any suggestions, much appreciated,
I use lots of different clay bodies (including porcelain) and when doing a regular cone 6 elect glaze firing simply load the kiln, shut the lid, shut all the peeps and turn all the switches to high. I don't know why anyone would do it any other way unless they are too lazy to test or just like wasting time and electricity.
I pretty much do the same, but when ^5 starts down I turn back the kiln on the top switch and the middle more at the top. This gives me a better soak, and eliminates the little bit of pinholing I get on a straight up firing. I fire without a setter and hit about ^6 1/4.
- Member Title:
- Advanced Member
- 63 years old
- August 20, 1949
- Central, PA
- Camping, kayaking, family, travel, Art in general. I have a small studio in my garage. Two electric kilns, two wheels, wedging table etc. I am primarily interested in cone 6 Ox. but like to see what is going on at all ranges. Read about ceramics voraciously and love the feel of the clay and throwing. Have to admit that my greatest joy is in the making, not the glazing. That said I do mix my own glazes, some of my own formulas, some borrowed. Retired from teaching art, last year after 36 years, taught ceramics 34 of those years.