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Timseeclay

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About Timseeclay

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    timseeclay@yahoo.com

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    Syracuse, NY
  1. I have been lucky and only had to deal with three broken pieces at A&C shows. One was a drunk lady who dropped a teapot lid when flipping over the teapot. She stumble/ran away a cop saw it happen and brought her back she refused to pay anything and the cop asked I wanted a statement to take her to small claims court, I did not waste my time. The next one was a lady who dropped a little pourer while picking up another piece. I was going to let it go but she wanted to get the only other little pourer I had ($90) she wandered in my booth for a while and chatted, she had a volunteer shirt on. While bagging up someone else the lady left. when packing down noticed the pourer gone, she stole it. She dropped the other one while trying to conceal it. So the last one, which happened this year got my full fury. the piece was fragile and placed on a high shelf with a sign that could not be missed saying please ask for assistance. It looks like metal (she thought it was) and turned a handle that snapped off in her hand. The claimed it was broken when she picked it up, but I heard it break. Got her name and info and was telling her that if she didn't pay for the piece I would follow up in small claims court. She negotiated a price that was about wholesale and wrote me a check... If you guessed it was a bad check you win. Not sure what I will do the next time but I at least want to get the interaction on video.
  2. Stuck Lids.....

    The glaze used on the inside could be the culprit. If it contains sodium, or other low temp volatiles they will be trapped in the vessel. With the only bear clay available being the areas you waxed they flux out the connection. Alumina wax can help but with one of our studio glazes that contains GB it still does not prevent sticking from fuming. Turns the pots into mini salt kilns it does.
  3. Hobby Potter Teaching Others.

    I suppose this thread diminishes the training a teacher gets during their education. A potter knows how to throw, trim glaze and the rest. Being able to teach it is more than just saying what you are doing in front a group of people. Unfortunately for many early potters this is what they end up getting. A great potter will not always make a great teacher. A great teacher may not be a great potter. We cannot judge your ability to teach by photos of your work. What we should be asking is... Can you teach? Can you lead? Here is a great exercise, video yourself giving the lesson you imagine giving day one. Now turn the wheel in the other direction and follow your lesson. Evaluate how you did? Did you say everything you needed to? Did you say so much that you couldn't keep all of the info accessible. I wish you luck but just like throwing takes research and practice so does teaching.
  4. What's Wrong With Big-Runney Feet?

    Ha, I was hoping they would just put some soft music on, turn the lights down, have a nice dinner and see where it went. I wouldn't want either pot parent in a poor relationship, perhaps they would need to see other pots after some time. Oh the what my students must think of me.
  5. Kiln To Propane Tank Distance

    Here in upstate NY fire code dictates 10 feet from ignition source. I would add that keeping it in a well ventilated, not in direct sun, outside sort of spot would give you the piece of mind that if it does leak as stated above from the PRV that it will do so in a way that it is away from light switches compressors and the like and cannot fill a space with vapor. Pressure relief valves will let vapor out if the tank gets too warm. Keeping it out of the sun will keep temps down when it is hot out.
  6. What's Wrong With Big-Runney Feet?

    Thanks Larry, So much of what lurks in our pottery subconscious is left over from those beginner lessons. There is so much information when explaining how to do all the steps to making competent pottery, that often why we do the steps is forgotten or eliminated. I am having my more advanced students this session making historical reproductions. They are to replicate a piece that originates in a cultural point where there is little outside influence. In doing this I hope to have them find the cultural, functional and production reasons for each attribute of the two pots they choose. To further the thought process I am including a bonus assignment of mixing the two pots and making a "pot baby" After thinking about your last post we will have a conversation about many more "whys" about many more parts. Thanks again Larry
  7. What's Wrong With Big-Runney Feet?

    Doc you got to the point I would have mentioned. It comes down to intent and expectation. As a craftsperson and artist we make decisions to get us to a end goal visually and functionally. We can choose paths that leave some surprise, like the wood firing mentioned earlier. We have expectation of runs, stuck wadding and crusty bits. We may do things to encourage those. Your original intent for those pieces did not include the loss of control that contributed to a wide puddle of glaze for a foot. It was a accident and therefore a loss that gives an opportunity for reflection, growth or dismissal of the pieces. Just as I would not be happy with shiny black oilspot glazes coming out of my wood kiln. It may give me a chance for exploration but the shiny black pots would be failures. It all comes down to intent and expectation.
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