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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. Mark, High road for certain. I have had pieces come back to me over the years. . . .mostly chalices or patens that folks have broken accidentally. For me it is best to ask for a picture of the remaining piece and throw a new piece to match it along with matching glaze. I don't charge but for shipping on the replacement as the standing order now is over 30 years. best, Pres
  2. Won't make it this year, but hope to next as it is in VA. best, Pres
  3. Timing on the dip length of time in the glaze is important. I usually use a 1. 2. 3 count to keep the glaze from being too thick. Many beginners think that dipping and leaving the pot submerged is the answer-NOT!. At the same time, washing the pot with a damp sponge before hand is important to cut the absorbency of the glaze. Double dipping is a very tricky task unless the thickness of the glazes, the length of dip count, and the pot absorption is perfect. best, Pres
  4. A google image search reveals a series of references to Art Nouveau vase forms. You may be able to track the specific vase to a maker. https://www.google.com/search?tbs=sbi:AMhZZisvDkcRQCbsHhfho6ASPak5mPYdpjTNzH7Uu0cprPz7tlhlthEXHlyTnf0UdIQnP3Y-viiyX0pqQ5vANqmVO-pM1yfPdBZGGeirwI8m8f_1D9u4O_1jhrIiVEsQ6ILtSb5g1aX_1QUe9LXhhbzO6_1gG5qZ4KblXwqFkUvudICyXEHkqlTWfUMFQdHA-r21dZBIPKsbD0D8zNvhkvZF7r6MefToDr9_1cHiUf3WxfmscOpXsqyQwjfMp2X8dg-vJGPsliFtHy6400RoZ-PZ_19zyGrP23qf0BjzQ9IC-ezGm10BSj7rKVJRoWYK3uikee0UKwwev_1LcgbVbkoR-00j4yo04GPjLP9Ug&hl=en best, Pres
  5. Callie Beller Diesel recently posted the following in the QotW pool: how often do you introduce new forms, and does that change throughout your career? How many new designs do you come up with in a year, and what's that work cycle like? As a functional potter, of late, I have not come up with a whole lot of new designs. However, as a teacher 10 yrs ago, every month was a new piece, handbuilt or wheel thrown, or as a combination piece. Projects for students were often "tested" out by some sort of piece in the beginning. A theme like "crazy plumbing" or "crooked houses" for something like an extrusion piece would be planned out and assembled by me before ever introducing it to the kids. Then there was the demonstration piece, and when starting a demonstration, I usually would carry that to completion also. So every year there would be as many as 10 or 15 new forms. When working in the studio, I am not as much concerned with new forms as refining or modifying existing forms. An example of this may be Berry bowls that came about as I found myself using a lot of fresh berries for dessert in the Summer, and decided to do a berry bowl with a shallow plate underneath for drainage of the rinse water. That ended up as a Christmas gift that year for some relatives, and then the following year for others. Teapots may be done with tilted galleries one year, and another with regular galleries, one year rounded forms, next wide kettle type forms. None of these are really new forms just morphs from previous thoughts and ideas. best, Pres
  6. Taught High School for over 36 yrs. Taught Ceramics 2 students wheel throwing, 50 minute classes 5 times a week. Never any problems with throwing or with handbuilding that required wedging. In the long run I tend to believe that people believe what they want to believe, especially when they have other reasons that they are supporting with their nefarious beliefs. Now how you will find out what the other reasons are is quite difficult. I believe that this could only be done with continuous discourse until he reveals his true reasons for believing that the hand bones will be damaged. Wonder what his beliefs are about little league, pee wee leagues and other child sports leagues. best, Pres
  7. As 1515art has said, the chair only has pads on the bottom. It works very well for me. I have spoken to some that could not get used to the sloped seat in the beginning, but as they got used to it loved it. best, Pres
  8. dhPotter recently posted in the QotW pool: At what point in a potter's career does he/she stop searching for and testing new glazes? When does the potter become satisfied with his/her stable of glazes and says "This is enough"? I really don't know how to answer that, as I am still keeping notes on new glazes, watching for ingredients and percentages, constantly interested in new glazes and trying out quite a few in 100 g test batches. Over the years, my own work has changed quite a bit as I learned more about glaze. ... I had never had a glaze theory/making/testing class. However, as I had been a math/science major in the early days of my college education and worked as a lab assistant nights glaze chemistry is not too distant a reach for me. I have learned to be more intuitive of late as I understand much more about how things react in a glaze than I have before. I was a teacher in a HS, and as my budget was a small for the size of my classes, I turned to mixing my own glazes as a way to get the most bang for my buck. I had around 20 glazes I mixed for classes, and then a few that I used in large powdered lots of commercial glaze. In my own work, I started out by saving money with just one white glaze that I sprayed underglazes and stains over top of for color and decoration using dipping and atomizer spraying. Over the years I have changed from that to airbrushing using a series of blue, brown and green glazes over a creamy tan white that reacts well over texture as now my decoration comes in stamped and carved decoration put in before shaping. I really don't think potters say. . . enough, especially with the way the technology and understanding increases as we keep exploring the medium. Maybe I'm wrong, and after all it is only my personal opinion. Thanks for the question dhPotter. best, Pres
  9. 1976 was my 3rd year of teaching HS, graduated from Mansfield in the Winter of 72, married on the 29th., worked in a mom and pop 7-11 type for a few months then started teaching. in 76 my daughter was 1 year old. best, Pres
  10. Oh the days. . . .great shot, sure it brings back memories. What does your ex partner do now?
  11. Rae, Old Lady answered that very well. Walker pug mills were quite large, built like tanks, made of stainless steel with big high torque motors and hoppers about 2 1/2 feet long. Towels would cover the area inexpensively. best, Pres
  12. When I had a pug mill in the school, I found that running slurry through till blades and such were soaking, then left it set closed up for a few hours, then would run stiff clay through a couple of times til it was workable would remove most of the harder clay on walls and blades. When storing over the Summer, I would empty it as much as possible, then put bathroom towels in the hopper, close up the end and let it set til Fall. Of course this was a Walker pug mill, a beast often not seen anymore. best, Pres
  13. Videos help a lot when it comes to technique, but you still can not get away from books when it comes to theory and aesthetics. I have found that the Potters Dictionary is a great place to understand the physical structure of clay, the investigation of cracks and ways of avoiding them, and overall historic identification of forms. best, Pres
  14. Mastering the Potter's Wheel: Techniques, Tips, and Tricks for Potters by Ben Carter and Linda Arbuckle Very well done, Best, Pres
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