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About Pres

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

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  • Gender
  • 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. Along with ventilation, powder is on surfaces; you raise it any time you are in there, so take precaution as when you move those bins or even walk into the room you will have dust that you will eventually inhale. So include a closed room in your dust collection system. best, Pres
  2. I am going to try "pulling" some of the extruded handles to see if they will hold to it. I still pull large handles for pitchers and other things where the wider furrow in the center or edges does not matter. However, these extruded ones look pretty good, I will post pics when I have them bisqued and later glazed. best, Pres
  3. Pres

    new saggar and obvara pieces

    Marcia Your new pieces are . . . well I have no words to describe, as they are beyond simple words. The pictures have to be seen to understand. I really like the way you are getting the soft colors against the light back grounds on the tiles and on the forms. . . fantastic. . . true art ! ! best, Pres
  4. Ben, You have probably read how I pulled ribbed ribbon handles for all of my pots. My mug handles have gotten poor definition of the ribs due to extreme arthritis of the rt thumb as it now has no cartilage between the end and next bone . At NCECA this year I picked up a hand extruder, and die set for handles. Using a dremel, I modified one of the handle dies to replicate the handles I used to pull. I have just finished up a grouping of 60 mugs using these new handles and find that there is little to be seen different between the pulled and the extruded. I do miss the taper that the pulled had from top to bottom, but find I can live without it. I really did not know what to do until this solution, and I have been having trouble training my Lt had to pull handles. best, Pres
  5. In the past, I have watered down brush on glazes with water. My final consistency was the same as a dip glaze that I would make up. I checked this by dipping my hand in the glaze and checking the layer. . . if cuticles were hidden it was too thick, thin a little more, when the layer was thin enough to cover the cuticles but show them then it was Ok. Then I would test tile it, dipping one coat, then a second coat on part of it tile. This allowed me to check the next firing and begin to use the glaze. best, Pres
  6. There never can be enough storage. I had a classroom that had an entire back wall with shelving up to 8 ft. At the same time we had shelving under all worktables, and a second room for wheels with shelving on the walls and narrow workbenches for standing while glazing. Don't forget storage for all powders in bins or such. Control of the dust is important. best, Pres
  7. I would think that you need two types of storage areas, one for bisque, one for greenware. and possibly an area for glaze ware before firing, I really don't see enough of that. You may also find this link of help as we recently had a spec out on another studio: best, Pres
  8. Thinking about it, I may have a bias of sorts. . . I still judge a pot by whether it looks/feels overweight, if it is heavier than I think it should be, it goes back in the bucket, as no amount of trimming will make up for poor throwing. best, Pres
  9. Pres

    visit to jingdezhen

    I have moved this to Aesthetics, as it really does not fit under the ICAN category. Really don't know exactly where to put a travel log. Made a trip to China a few years back. . .great trip. Did Beijing, Xiangyang, and Shanghai. Saw lots of craftsmen, terra cotta warriors, the Great Wall, and much of Forbidden City, etc. Great food also. best, Pres
  10. All too often those rejects/duds will come back to bite you as you improve with skill and knowledge. To let something out there that tarnishes your rep is not a good idea in the long run. Short side of things is a bit of extra cash, long side is that bad habits are kind of hard to break. Acceptance of mediocrity is a bad habit. All of this in my humble opinion as I have had it happen to me, and it has hurt. best, Pres
  11. Min recently asked the following question, and it runs differently than most of the ones asked in the pool. It has also been bumped by LeeU in a post that she like Min's question. . . so: Do you make feminine, masculine or gender neutral work and is it a conscious decision? I have never thought about masculinity or femininity of any work. Looking over my work, I believe it is all over the gender situation. I have biases that I will admit when throwing work: I really do not like to see a flat spot in any curve, I consider the diameter of bottoms in proportion to height as not wanting a piece to be visually too bottom heavy or too spindly because of a narrow base to a tall form, I like shoulder accents in "S" shaped curves to slow the motion to the neck or rim, I love to texture the piece before shaping(something that has only happened within the last two years, and I have a tendency to follow the "Golden Mean" when throwing, handbuilding or combining forms. In much of this I do not pre sketch unless I am constructing a form either of slab, thrown or combined pieces. Most of my work is completed visually within the throwing and trimming. I throw lots of pieces of the same genre (mug, bowl, honey pot etc) at a time, breaking off in different directions in the form as I see something I particularly like at the time, then head in another direction. You could look at my gallery, or blog to see if you find a gender in my pieces, I really don't know as I have one. best, Pres
  12. Pres

    Copied Images

    The second image, should be much harder to wash in any editor. However with the new tools, no image is safe. It just means that the thief has to decide if their time is worth it. IN most cases they will judge not, as there are too many images out there to choose from that are not protected. Do I protect my own. . . no. best, Pres
  13. Pres

    Copied Images

    I did the same, but added a test overlay.
  14. Pres

    Pottery Stools, what do you use?

    I use the stool you have pictured. It works extremely well for me, is inexpensive, and ergonomic. I find it easier to push on larger pieces of clay because the seat leans slightly forward and the back gives a small amount of support. Adjustable for all sorts of throwing, nice for off the hump so that you can lower as you get down in the clay. I first bought them for my HS when I taught, then a few years ago when I got tired of "make do's" I bought my own. best, Pres
  15. Pres

    Copied Images

    I would much rather do it myself, I really have become very untrusting in some ways. To load a file onto an app on line, seems to possibly open myself up to trouble. . . either for the file or otherwise. So I resist this sort of thing. Now if it were a downloadable file that I could download from a reputable download site, then I would consider it. However, til then, I'll use the Gimp. best, Pres

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