Marcia Selsor

I clear my 4' x 10' work table and put my thrown work on that. I cover the pots with various size buckets or large 24" or 30" storage containers to keep them damp. I can get 10-12 small bat inserts under one storage container. If I am doing large orb , I use 5 gallon buckets or larger storage containers. I also have shelves if I need them. Marcia

Have you tried photo image transfers? For one of, it may be more simple. Look at the video on CAD for litho photo transfer.

Can you share a photo? Some belts are easy to find at auto supply stores, others need to be from the manufacturer. Marcia

This is what I use...adapted from Peggy Heer's . 1:4 toilet paper to clay? Soak toilet paper overnight, squeeze dry, add to dry clay, the same body as you are repairing.. Then add vinegar and a few drops of sodium silicate and mix with blender. I have repaired students' work with this as well as a sculpture of my own.\

Michael Cardew said it takes 7 years to master the wheel. I think he was correct. I felt very confident after 7 years. I feel more confident after 50 years. It takes practice, observing and persistence. I taught and still teach. I loved teaching throwing and feel I did a good job. Teaching can be trying as administrators required larger and larger classes. Pursuing pottery as a profession requires learning skills in clay as well as kilns, chemistry, firing practices, business savvy, marketing, etc. And lets not forget aesthetics of a good pot, balance, visual appeal, etc. There are several professionals here who generously share their knowledge, but you need more than a discussion group. If you are in for the long haul, try taking short term workshops on things you want to to learn. There are many venues for this. Search for workshops in magazines such as Ceramics Monthly, Clay Times, or on Facebook sites. Vimeo, Youtube, Periscope, offer good visuals, but individual contact is hard to beat. Marcia

my finger id for my phone never works. I think they may be worn down. Marcia

Terra sig, if applied too thick, can pop off the surface. I find it odd that people are using it as a slip. Maybe their sig has an added ingratiate to overcome the flaking problem. Marcia

I re-pug my porcelain in my de-airing Bailey pugger. I pre-condition it first by softening it by dipping in water and wrapping in tee shirts for a few days in large plastic containers.. This works well. I have begun remoistening hard/stiffer unused clay using the 1/4-1/2 cup of water added to a bag sitting in a bucket of water. This works surprising well too. In Spain I saw clay mixed in a large (several meter basin) then drained onto large shallow basins lined with bricks. This was left to sit until workable, then it was put into a mixer. Marcia

50+ years of working in clay.Just back from Italy and a wood firing at La meridiana, installed an installation and exhibited our work in Faenza plus presented talks at the Carlos Zuali museum. I find the clay in Italy to work like a softener. My hands don't usually look this good when working in porcelain.

I am not on the chat group, but Fred posted it. I just got back from three weeks in Italy, 2 at La meridiana and several days in Faenza for an exhibition and presentation along with Evelyne and others. Marcia

you should get on the chat group of Exploring Midrange glazes with John Britt. They just did these types of glazes. Marcia

I have one about 19 years old. It may be the model before the ProX. I replaces the potentiometer and the drive belts. Very easy to do. Great wheel. Test drive it first ,then talk price.

I used it in a clay body out of desperation in 1991 when I was one of the last artists to arrive at our studio in Latvia. A previous group had worked before the second half arrives. I was given one large lump of Chammotte ( high fire very refractory with gravel like grog, and a lump of red earthenware. I had to make pieces for our exhibition at the end of our visit, I walked down to the Baltic sea and returned with a bag of sand. Mixed it all together. Test fired it and it worked. Made several pieces for the exhibition. Marcia