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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.

Recent Profile Visitors

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  1. 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
  2. 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
  3. 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
  4. 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
  5. 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
  6. 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
  7. 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
  8. Copied Images

    I did the same, but added a test overlay.
  9. 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
  10. 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
  11. Copied Images

    It may come to using a "NO REPOST" mask over all work that you post anywhere. It is easy enough to do in any image editor using a second layer with the lettering, and then lowering the transparency of that layer to 10 or 15%. Flatten the image, and re-save under a new name for the "protected" image. If it is used in a place often known for image theft, I would consider it.
  12. The Hazelnut brown from SC looks similar to clay at bottom, but the speckles do not happen from it. The glaze could be Folk Art Guild White, possibly with addition of granular rutile or Ilmenite. Really don't know, just guessing. best, Pres
  13. Like you Mark, I love my Brent CXC. It has taken a beating, not near yours, but over the years it has had its days. If I could scarf up one anywhere near $800, would. Learned to use direct drive at Penn State, and those were C back in the . . . mid to late 70's. Good wheels, but then I could crank them down when pushing. CXC I have never been able to crank down. best, Pres
  14. Food safety in glazes

    As Neil says, if you are using a formula/recipe and are accurate with your balances you should have no trouble in sustaining repeated results from each firing, if you are using the same cones for each firing. I use a triple beam balance with large container to weigh my bulk materials, have my formulas in a spread sheet with formulas set so that I have 5000 and 7500 gram batches. I use an erasable marker over the plastic sleeve in my binder to mark each ingredient as it goes into the bucket. Erase off when done til next time. In the end consistency comes with practice and organization. best, Pres
  15. Since everyone has crit' the planters, I will talk a bit of the vase form. From a personal aesthetic, I feel your shoulder line is too low, creating an awkward form. I would bring the shoulder line up a bit thus shortening up the neck. Then give the neck a bit more curve flaring to the lip. This will protect the lip from anything inserted into the vase, and give a little more support to the flowers or other objects placed inside. You have a second line on the neck just below the lip, this could be used as a double shoulder line giving the neck/shoulder greater emphasis if they were within a 1/4" apart. All subjective, but I think the form needs more robust treatment. best, Pres
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