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Pres

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About Pres

  • Rank
    Retired Art Teacher
  • Birthday 08/20/1949

Contact Methods

  • MSN
    bisquefire06@hotmail.com
  • Website URL
    http://picworkspottery.blogspot.com/

Profile Information

  • Gender
    Male
  • Location
    Central, PA
  • Interests
    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, in 2009 after 36 years, taught ceramics 34 of those years.

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  1. Mark, That is what I call production. Heck I don't even have the space in my back yard for that much! Keep potting on! best, Pres
  2. Pres

    WEIRD NOISE ON BRENT CXC

    Wheel sitting for 19 years, I would say the banging is a flat spot in the belt. May smooth out, or just replace it. Everything else sounds fine, at the price. best, Pres
  3. Working in the brick garage in Summer is an advantage as it stays cooler. This is yesterdays completion, as more were thrown. still need to rub off nubbies. best, Pres
  4. As there were no new questions in the pool, and as I have been going through a bit of change of late. . . I will ask: When/How do you decide to take the next big jump, and change things around about your work? I have gone through about 5 variations in my work that I would call major. First when I started out, I was doing cone 10 redux, and using college glazes . When I started teaching, we were using ^06 glazes, and white clay from Amaco. A year later I took over the class and moved to ^6 with commercial glazes. A little after this, I started working at home as I had finished my 36 credits for permanent certification in PA. I bought a kiln (L&L) a used Amaco motorized kick and started firing ^6 with my own white glaze that was a dipped Bristol, with atomized textures from stains over top, brush strokes, and sgraffito. This lasted for a few years until I realized a couple of things, first in my area, I did not have enough pots doing part time to do good shows, and bad shows were not worth the time. At the same time I got a Summer two week job as an Interim Professor at a local college, said job paid me more than I could make at Penn State after 5 months of hard work after school and weekends. Lately however, my main concern was integrity vs sales. Finding that in most cases one begets the other. If you make good pots, and no one else has the same, you can sell well. However, as I am now 68 nearly 69 I really don't want to do the show route anymore, and neither does my wife. . . .big no there! Now my changes have been about form and style, actual texture has become major, and durability of glazes certainly has improved. I have gotten rid of the atomizer mostly in favor of a spray gun, I dip another white much more durable than the Bristol, and work with glazes I have mixed from research formulas or Insight, over the white sprayed on as in In-glaze. Change has come slowly at times, and in other cases very quickly. My new direction may last a few years, but then part of the fun is getting there. . . . wherever that may be. best, Pres
  5. I have moved/merged the posts dealing with Lusters to Working with Lusters. I will leave it in the Studio Operations and Making Work area. best, Pres
  6. I do rub my hands over the not quite bone dry ware to remove small nubs and such over a bucket. This takes care of high points that arise in my decorating process from before shaping. best, Pres
  7. Nancylee, we have discussed this in some other threads. I have had trouble having fingerprints made. Such a pain. Imagine the difficulty of id ing a body if little else is found. Now that we have dna testing not so much a problem. best, Pres
  8. Sima, looks like you have a collection of luster glazed pottery. Most of these are functional items, but I would not use any of them for serving food etc. Maybe just an old potters prejudice. The process involves firing ware at a regular temperature where clay and glaze is matured. After that glaze firing, an overglaze of luster that is toxic, and often contains metallic oxides or salts is painted on over top of the original glaze in part or all. Then a third firing(assuming bisque, glaze, luster firings) is done at a low temperature, near 1500F, with a vented kiln. The fumes from the firing are quite toxic, and the ware afterwards needs gentle polishing to remove a slight residue. Did this process in 90's with some pieces, successful, but not interested in the lack of durability and the toxic nature. The lusters will rub off over time, and if you consider the materials they are made of you would be ingesting these if the pottery were meant for serving or food. best, Pres best, Pres
  9. Callie, it was easy, I had my wife take the picture of my hands! Of course she had to ask the weird questions! best, Pres
  10. Pres

    Glaze Bilsters...

    I believe Mea has really hit the nail on the head, too thick a glaze process, and possibly an incorrect firing schedule for you body/glaze. I would recommend a series of test tiles placed at different areas in the kiln with a series of cone packs to measure temp/results. When doing the test tiles make certain to mix your glaze to a chocolate milk consistency or just slightly thicker, then double or even triple dip your test tiles in stages so that you have areas with 1, 2, and three dipped coats. Firing a load in this manner should not take long to set up, but will tell you a lot about your kiln, your glazes and your process. best, Pres
  11. YOu may even find that it is just rusted in place with no wing/thumb/regular nut in place. I never use the nuts on mine preferring to be able to remove the bat pins to work on the wheel alone for throwing mugs, off the hump, and vases, pitchers and such. best, Pres
  12. Just remember that any angle will point to a position on the width of an object, and on the height of it. So a stick in a lug of clay will point to the edge of the first object, and every one afterward will be the same height and width. best, Pres
  13. Yeah the older we get the more the bruising seems to happen. . . not even knowing how! best, Pres
  14. Yeah, for the hands, I have most look like a lot less for wear than mine. As to the fingerprinting, I found that out a long time ago when I had to get printed for something. Couldn't get them, seemed there were two reasons, now swirls and did not seem to hold the ink well! Wonder why? At any rate folks, lets see those hands! best, Pres
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