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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. Pres

    Temperature Algorithm?

    Sounds good Curt, let us know. best, Pres
  2. Pres

    Well, There's Your Problem!

    I purchased a Skutt from my school district a few years back when they consolidated two Jr. Highs into a Middle school. I had been a Secondary department head when teaching, and knew the kiln well. It had one melt down, and the teacher had it repaired to pristine condition, and then never used it again. I also knew at the time that the building had 240 which meant the kiln was 240. Thought I would finally get a kiln setter. However, it has just sat as it is smaller than the L&L, and so new furniture would be needed. I have decided that I need the space more than the kiln so will be getting rid of it. Hoping to put some money into a new L&L in the next few years. best, Pres
  3. Joe, the test bud vases remind me of bud vases I used to make years ago. They were breasts, thrown, placed on a board, and then tapped the board for a little sag shift. They sold pretty well the one time, and at the same time, most of the purchasers were women. Just saying, but that was a long long time ago. best, Pres
  4. Great effort for a first time show. Your booth looked well organized, pricing was simple, and pottery was within what most would call good ranges with good glaze and color. Forms were well done, and don't worry about a heavier vase, as many thing a light vase is not enough to hold flowers properly. Good job! best, Pres
  5. Check out my blog site, most of the later stuff is using these along with the Cream Rust and white liner that I have modified. best, Pres
  6. Gee, You are quite welcome, but for me it is a pleasure to be of help. This is after all the place to find good advice and tips to working in the studio. Have to love the forum for all the help it has given to me over the years, now and then it is nice to PAY BACK. best, Pres
  7. You might even consider a ^6 Pinterest search as this has worked for me in finding glazes that allude me in old recipes. I have found several there. I use Variegated blue along with some of the VG glazes for my pottery. Maybe not the effects you are looking for, but they work well in either dipping, or spraying. The variegated blue is pretty neat with the VG rutile green over top. best, Pres
  8. You might look up some of the glazes from Mastering Cone 6 glazes, and some of the glazes from Van Gilder, if you are not using any of these at this point. I fire glazes from both of these to a hard cone 6. Most of them are very durable, safe, and work very well if using dipping or spraying. I have used some of them for brushing also by working with a thicker version. best, Pres
  9. Hi SunsetBay, I have had some of the same problems with glazes over the years, and found a few things that made a difference in viewing the results of a Test fire. How full was your kiln? This will often effect the glazes as there is not much conduction of heat in a kiln that is not full. One of my solutions also was to fire Test tiles and Test Shot glasses at the same time on one shelf level, with pots that I was not entirely worried over on another level. . . thus loading the kiln. The Test shot glasses allow me to see more of the surface and the inside outside effect of the glaze. You may try a firing of this sort to allow a better assessment of your tests. best, Pres
  10. Hi folks, no new posts for the QotW so I will resurrect one from a while back: What is your latest environmental companion in the studio? I stated this question with the addendum of latest, because just today I used my phone streaming Pandora via bluetooth to my hearing aids! Really cool, but I found that it used the batteries to the Comm Pilot that makes the connection. Only could use it for about 5 hrs. Maybe have to pick up a battery pack to plug into as it is rechargeable from USB. best, Pres
  11. Pres

    Well, There's Your Problem!

    Looks like a win/win there. I always used an old base under the new base to save electric at the HS. I did do something though not mentioned. . . I cut 2" off the bottom of the metal kiln stand. . . very carefully as to remain stable. Put extra angle brackets on bottom. At home I just reach a little deeper! I understand what you say about 2D/3D requirements in college. My undergrad experience was excellent, and I got quite a bit of base information in a large variety of media. After undergrad, I took gad courses at PSU in mind of covering the 30 credits post grad work for certification. At the time I really wasn't interested in the degree. However, as I got older, decided to go for a Masters degree, and get a pay raise. Seems that PSU wanted more pedagogy, hardly any studio. My way of thinking studio was most important for an art teacher, especially an experienced one. So I returned to old alma mater, went for Med. and was able to transfer in 24 credits, take some pedagogy, art history and studios. Interestingly enough, I was able to transfer in the same number of credits that PSU would allow me to count towards the Med. there. Never regretted the decision. New teachers need as much versatility in studio background as they can get. They also need to be able to learn from books, videos or on line. Other wise art classrooms will be narrow in the media that the teacher is most comfortable with. I have seen too many cut and paste elementary programs, and flat work secondary programs. best, Pres
  12. Teapots posted in my gallery. Part of an order for October. best, Pres
  13. Welcome to the forum Araceli, As to your problem with the sculpture: The nose was about an inch thick, so I think that was part of the problem. Probably needed to be hollowed out. May be done later from inside, or use a cupped piece added on over a hole in face. This allows for modeling nose, but cuts thickness. I did not hollow the nose from the back of the sculpture. Should I have hollowed out the back or at the very least put holes in the interior of the mask of the nose? See above Also, although I didn't have problems with the eyes, I'm thinking that just may have been sheer luck. As mentioned earlier, I created the skull with sockets, literally made eye balls, then laid the "skin" over the entire sculpture, which had a fantastic effect. But I'm wondering if air could get trapped and become an issue in the future? How can I prevent this? Same effect may be completed by making eye socket not as deep, then using eyeball shape cut in half for both eyes allowing less build up of clay in the eye areas. You have good technique here, as eyes should be assembled as layers with eye ball, lids, details added in sequence. Another concern is that as I build up the face I'm adding small pieces here and there like building up the lips... Obviously there is some drying since I'm slow and it takes me time to sculpt: a few hours. I'm wondering if there is anything I should watch out for when applying these small pieces (aka could this cause air bubbles?) If the clay seems to get to dry, use a little slip or Magic water to join new areas. I don't particularly like using newspaper as the base? what other options do you recommend? News paper works well, but some have used plastic bags filled with shredded paper as a base, vermiculite or pearlite in a bag will also work. Anything that may be shaped will work that way for a rough foundation. If you wish to get more in depth try casting a plaster form as a base, then cut the head in half if full, and remove from the form. More extensive, but if doing a lot of heads. . .efficient. And last: for the mosaic, I don't want it to be heavy, so I was thinking of using styrofoam ( I know, not environmentally friendly ) and then apply grout to that to use it as a foundation. Any ideas on wether or not this technique is ok, any concerns/other options? The mosaic will not be not be hung outside. Good ideas, some others may horn in with other suggestions. best, Pres
  14. My personal answer to that question is. . . that depends. If I have just glazed the pots and if they have waxed surfaces, or if there is high humidity as in mid Summer or Fall, I start off slower, then build once I see dull red heat in the kiln. My reasoning behind this is to let fumes from wax to dissipate, to allow the ware to dry slowly, not boiling out water that may cause some glaze flaws. Of course, as I said before this is personal opinion, others may think otherwise. best, Pres
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