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About Pres

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  • 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. That is why I would build a "sand box" to throw in. It would help control the trimmings and splashings. You could even add some partial wall areas if you want more control, or put it in a corner diagonally facing outward or inward. Myself I would prefer outward as you could see what is going on. Carrying pottery will be a pain if you have to go through the house. best, Pres
  2. You don't indicate anything about the entrance/exit options here. If you have a pull down ladder to enter. . . I would nix it. If it is a narrow stair with a turn, I would nix it. However if your stairs are of at least a normal width or wider I would say you should be good to go. I would consider ware boards to carry pots down to the next level, probably best when leather hard. I would consider a skylight for lighting during the day, and several LED hanging panels to keep from having a lot of shadows. Looks like you have enough sockets, You may want to build yourself a throwing area with some way to catch the trimmings etc and keep from having clay tracked everywhere. How about water? Roof top reservoir may work well, with a spigot and bucket with an outside drain to the garden. I would also consider a ware rack somewhere. As far as the kiln firing downstairs make certain it is well vented either with a hood or power downdraft set up. Finally you come to some sort of tool rack/storage area for your bats, tools and other items you may need for throwing along with an hangers for aprons and towels. These are things I would be thinking about if redoing my area with two levels, and should help you out some. best, Pres
  3. Glazing interior of cruets

    AS others have said, glaze the interiors of anything functional. Also be careful of clays. Some clay bodies have a range that may be from cone 4-10. Don't think that because it has that range that it is vitrified at ^6. Not anywhere near. I learned the lesson the hard way. All too often the long range clay body will end up soaking up moisture causing problems with inside and outside glaze as in shivering, crazing and even mold. Best to opt for a tight range clay body and stick to it. best, Pres
  4. The technique of pounding/slapping the clay to center is an old technique used in Asia. It usually is done in concert with the fist pounding of the clay while slow wheel rotation. Yes this is fully centered, and if done properly there are very few lumps. The technique is usually followed up with a very stable pull that really does not move a lot of clay, but smooths the walls of the knuckle bumps on the inside or outside or even the finger marks o the outside. It is an ambitious technique to learn, but I have used it often when throwing 20# jars or vases. It looks like it takes a lot of energy, but really does not take as much as you might think. best, Pres
  5. Fuddling Cups

    I'm not trying to be argumentative, Sputty, it is just that I have used one from the last century(so consider it modern) by a potter that had 3 cups, all three were joined. However there were only holes leading into one. In other words, the left cup had a hole into the lower cup, and the right cup had a hole into the lower cup. However, there were no holes between the right cup and the left cup. Another way of confusing the issue when we were discussing this he told me was to change the size of the hole when working so that the liquid out of one cup would not drain as quickly as the other. Lastly, I have read that in a Fuddling Mug that had more than 3 chambers that they could be designed with two sides to drink from, or that the the furthest chamber would have only one hole draining it into a chamber next. The larger the Fuddling Mug became the harder it was to drink out of it without . . . dribbling. best, Pres
  6. dog-lover, When we talk of an explosion in the kiln, that is exactly what it is. The kiln when opened after a firing has little pieces everywhere in the kiln, not all are small, but most are. If there are other pots in the kiln they could be damaged by the force of the pieces from the explosion-especially if there are any fragile attachments on these pots. So if a pot just comes apart, or falls apart in the kiln, it is from improper assembly. If it blows up in the kiln, it is because it is not completely dried before firing, or the firing is too fast. best, Pres
  7. Fuddling Cups

    Actually, from what I understand about fuddling mugs, you almost always have to drink from one particular mug otherwise spilling. It is all derived from either a serial or parallel connection of the pieces in the set.
  8. CPB, There are kilns large enough out there to fire this, but I don't think you want to buy one. about 4-6K. My solution to your problem would be to locate a local college/university that has a ceramics program. Most of the larger schools would have gas fired kilns. Contact with the Art or Ceramics department would possibly get you in the door, but you would have to convince the professor in charge of the ceramics program to allow it to be fired in a load. You should have available with you when you meet with anyone: good pictures, clay type with manufacturer, and the drying time of the piece so far. It could probably be bisqued with a standard load, but I doubt that they would be firing a cone 6 glaze load in the larger kilns, but then I may be wrong as cone 6 is very popular for ceramics right now . best, Pres
  9. No dog-lover, we have not met, but as a moderator I have tools to moderate the forums and those on the forums. best, Pres
  10. In the world of glazes, there are a lot of variables that cause a glaze to fail, or at least not to meet your expectations. One of these that comes to mind is the pink range. These pink glazes often depend on a delicate balance between tin oxide and chromium oxide. All too often I have seen the glaze turn out white instead of pink. is the white a bad glaze. . . no, just not what is expected. If the pot does not require the pink, then should you reject the pot, because the glaze is not quite right? I don't think so, as long as the glaze is sufficient in other aspects such as surface, durability and enhancement of form. Other glazes I have seen that have problems are those that are applied over too high a bisque, as in the one jar/vase I posted the other day. The pot had been fired to cone 6 accidentally. I had not expectations with the glazing of it, just needed to fill a spot in the kiln. As it turned out, I often return to look as it sits in the hallway. It is nice. I hope this clarifies my statement.
  11. Chris posted Campbell posted a question from a recent strand in the forums. . . You know you are not meant to be a potter if ...... As a teacher, I have heard this so many times quested in so many ways. Usually starting with some sort of excuse. Those excuses vary in so many different ways. There would be the students that couldn't stand to get their hands dirty,or the girls who would not risk a broken finger nail,or the student that complained they weren't strong enough to move the clay in one way or another. There were those that making something out of clay. . . such an old process.. . was beneath them, or it wasn't art, and they were artists. There were those that were to smart, wanted a more difficult problem to solve, or those that building something was to big of a problem to solve. In the end, and all too often, once they allowed themselves to experience the clay, they would fall in love with it. Those that were to weak, got stronger. Those that didn't like getting dirty found their hands felt better after a class with wash up and hand cream(I always kept a bottle by the sink most years). Others cut their nails because it messed up their pots to have them. Most were not meant to be potters, but they went on to appreciate pottery when at shows or other events where pottery was present. I would see them at craft fairs, and many times they were carrying a pot in a bag that they wanted me to see. You really aren't meant to be a potter when you allow your expectations to get in the way of good results. If you can't bring yourself to accept a form, glaze, or other attribute of a pot even though it is a good pot, then you should not be a potter. If making something has to be so perfect that it never makes it to the kiln, you should not be a potter. On the other end of the coin, if you cannot throw out a poorly made piece, at any stage of its creation, then you should not be a potter. Those are the aspects that I think makes good potter. The ability to discern quality against expectation, and the determination to make the best you can within your skill levels. best, Pres
  12. I throw all sorts of rectangular pieces on the wheel, or at least they end up rectangular before removal from the wheel. best, Pres
  13. I think you need to check your coils with a multimeter. Check your Cress manual for voltages, and then test. Neil can tell you more, but from what I see in your images looks like one of the top coils is kaput. This should be a pretty easy fix if you are handy, even if not, an electrician could do the job quickly once you have the coils. best, Pres
  14. If my guess is correct. Your nearest Ceramic supply stores would be in Grand Rapids. There are quite few in the area. Do you have art classes in your school? I would check with your local art teacher if you are really interested in Ceramic art/craft. At the same time you could visit some of the suppliers in the Grand Rapids area, and they could put you on to any local groups that would help you with your new passion. You can always get posts here on the forum, but sometimes you do best if you ask more specific questions about what you are interested in. This is a group of enthusiasts, amateurs and professionals, old and some young, but all of us are here trying to help and get help with specific, and often complex problems. I highly recommend that you begin learning more about clay materials and processes by visiting the past forum posts and reading through those that interest you. The search engine in the home page will refer you to questions, or words that you type in across all of the different forum categories. Good luck on your journeys to an understanding of clay. best, Pres
  15. Chris, Oh what seemingly simple rumors we pass on, so now pots that blow in the kiln are in that special place where nothing survives and yours get there if the teacher does not like you! Yeah, been there heard that. best, Pres

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