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Pres

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  1. Week 35 Angelica Pozo writes of three tenants that all tile makers should be able to agree on. These include using a clay body with 15 to 20% grog to prevent warping or cracking, _______________________________, and do not hurry the drying. White clays are best to use for tiles Earthenware tiles are most durable clay has memory and therefore should be kept flat at all times Wall tiles have the same glaze consideration as floor tiles. Mary Barringer, a potter who started with reduction firing, and switched over to electric firing calls the electric kiln the ultimate firing tool, ready to be used and do ones bidding (within limits), but with __________________________. the set back of oxidation firing very little character of its own Pricey electric bills too small a firing chamber Michael Sherrill, who works with extrusions, makes his own dies using________________or nylon sheets 1/2” thick. Aluminum plywood fiberglass polyethylene Michael also ___________ many of his forms while still in the extruder. Thus allowing for organic tapered forms. pulls cuts paddles measures This weeks questions come from The Penland Book of Ceramics, Master Classes in Ceramic Techniques, c 2003 Lark books, Lark books a division of Sterling Publishing, NY NY Note from Pres: This book is one of those involving a lot of techniques by renowned artists in clay. For those looking for inspiration, possible solutions to specific problems or just good reading, it is a gem.
  2. Hi folks, I have been working as a temp at times with the Qotw, filling in every once in a while for Evelyne. I really don't know how much to thank her for all of the hard work she has put in since she took over for Marcia Selsor. However, she has my most sincere thanks and appreciation for all of her efforts. I hope that I can do half as well. Many times when I was doing the temp thing, I would feel like I was digging into a deep well of darkness trying to come up with an idea, but there was no light! So I am asking for help. I would like folks to participate in helping me see a little more light by submitting a question that you think would be a good one for Question of the week.We all have personal interests, and I realize as an educator with limited studio experience that I have different interests that others, and this probably influences the questions I ask. I usually look for questions that will stimulate some sort of conversation. I really like to know more about participants and find that the Qotw is a way to draw folks out. A large pool of questions from participants should help to overcome my personal inadequacies. This is not the only reason for these weekly queries, but it is something I have looked at. No question is too big or too small, if we have a pool to draw from, it will make things easier for me. I would reserve two rights, one that I will choose which question to post each week, and two that I am able to edit the question if need be without changing the intent. So please reply to this post to submit your own questions, and hopefully the first of these will appear next week. best, Pres
  3. Again folks, there was nothing new in the QotW pool of questions so this one is again on me. I just did tools under $100 dollars, now I am going to go in a different direction. . . . What kitchen tools have you repurposed, is there such a word, for use in your Ceramics studio? I have found several tools that were kitchen items that I now use either because I have seen something about using the item, or because I was looking for something and found something else. . . make sense? I will start with cheese cutters and cutting wires used to replace their broken wires. I love these for faceting pots, mugs, bowls, jars, vases, and other things where I want a faceted exterior. I usually facet before the shaping so that the facets become much more muted, and the edges a little softer. At the same time shaping will cause the facets to move in a spiral up the piece if you torque the top a bit while working on the rim and neck. Often these are really nice with glaze as the edges will break well with the standard cone 6 glazes out there, double dipping often even more so. Working with the cheese cutter, caused me to consider another tool for chalice stems. . . the potato peeler. I have found that faceting the stems of my chalice is so much easier and really cool to facet part of the stem as it makes it easier to grip. Lately, I have been using a silicone hot pad that has a hexagonal pattern n the surface that is quite deep, at the same time there is a counter point of a circle and rounded edges on the square pad. All of these allow for a lot of playing around with straights circular and hex patterns pressed into the pot before shaping again. Love it, and it works really well with a roller I picked up of pine branches, needles and cones. Most of you probably have the portable drink blender in the studio for mixing up glazes, I use it to mix nice slips with stain coloring, and small batches of glazes that I have modified with extra metallic oxides for something to be sprayed on. I also have a series of kitchen knives that I have files to change the shape, and sharpened to use as fettling knives or potter's knives. What recycled or repurposed tool do you prize in the studio? More than one? best, Pres
  4. I should not forget my cheap bamboo kitchen tools that I cut the handles off of and used the pieces for all sorts of ribs after considerable reshaping with saws and sanding. best, Pres
  5. PQotW #35 is up and ready, it is diverse, and about famous artists, so enjoy.

     

    best,

    Pres

  6. The trimming chuck I use for chalices use a Pipe flange, piece of 3" pipe, a pipe hub donut donut and a soft rubber inner donut. The soft donut leaves very little marking on the chalice stem. Pretty much self centering, as long as you keep the base level. best, Pres
  7. NCECA

    I'll be there, and I will want coffee. . .morning, noon and night! Maybe we can find a place. best, Pres
  8. NCECA

    Sorry, Marcia, but folks will be looking for the ICAN display as that is the new name and direction for Potters Council. Myself I will be hanging out at the ICAN booth, trying to snag some more diamond tools, some rollers, cutting wire replacements and other odds and ends, not that I NEED anything. best, Pres
  9. Hi folks, There have not been any new questions in the question pool of late, and I believe I have gone through everyone of them. So tonight I will pose my own question. What studio tool under $100 was your best purchase? I have to look at a series of tools that cost less than $100 dollars to purchase, my triple beam balance, my really nice banding wheel, my regular scale for weighing clay, the hand blender, and my Griffin Grip. I use most of these quite a bit, and would be lost without most of them. I can not go without using the balance and scales. I can work around having the banding wheel as I have a potters wheel. The hand blender can be replaced with a whisk and a lot of work. I can trim everything with chucks, tap centering and clay chocks or damp wheel head, but I really have gotten attached to my GG. So for me it is the GG. I purchased this way back in the 70's maybe a year after they appeared. Over the years I have trimmed a lot of pots on it, used it to band decoration and recenter rims of cheese hard forms, used the 3 divider lines to facet rims, and cut foot rings, set up at rimming chuck to trim chalice on, and use it to final sign all of my pots. Yeah my GG was my best purchase. best, Pres
  10. Mark, are you suggesting to throw the form with a thicker/deeper rim, and then cut the inner galley to a straight edge so the lid fits into place? I think you have a solution there, I will have to play a bit. . .I only need one. best, Pres
  11. Thoughtful Rae, but the rim still arcs upward as the corner is created. I think part of the problem is the form is more of a bowl. If it were a dish with more upright sides it may not rise as much. Either that or throw it without a base and do the squaring while upside down forcing the rim to stay flat. best, Pres
  12. I have done this also, and have a project now that requires a thrown square bowl. My biggest problems it that even though I have conquered throwing the object fit the metal lid someone asked me to do, I have not figured out how to keep the rim from rising. where the sides get squared. best, Pres
  13. I would ask a few questions here. When did you change clay bodies, why? Have you sieved this glaze since mixing it, second year, third year? What is your current cone temp for your firings? best, Pres
  14. I have a small studio also, and have seen these at NCECA. . . really intriguing. However, never tried one. I do remember that there was a post a while back (2015) Doc Weathers showed a home made one here: It may be something your friend would be interested in looking at. best, Pres
  15. Hi folks, I have been thinking a lot of late of the types of things that would be good experiences for beginning throwers, withing to improve their throwing skills. so a few listings of ideas in this thread would be helpful for anyone wishing to develop greater throwing skills and control on the wheel. Basic 9" cylinder with 3# of clay. This should have a flat bottom, evenly compressed, side walls tapering slightly in thickness to the rim that should be slightly thicker than the side walls at the top. Cut several vertically in half to gauge your progress using a cutting wire from the base to the top. 8" diameter bowl with 3# of clay. Remember that a true bowl has a rounded interior, so when opening up develop a rounded bottom instead of a flat bottom as in the cylinder. Again cut several of these in half to check progress. Always remember that a bowl will need extra thickness at the base to support the outer walls from collapsing. 10" plate with 3# of clay. Begin using softer clay, and make careful compression across the area of the plate, as the biggest problem with plates is the lack of compression causing "s" shaped cracks. Basic + Hump Vessel- small cup off of tennis ball size piece of clay. Throw several off of a 4-6# Ball of clay, center the entire ball as much as possible into a cone, then center the top portion of the cone into a tennis ball size, well centered. Throw a cylinder shape, use a rib to define the base, and cut from wheel with a cutting wire, and remove to a bat. Repeat until all of the ball is used up. Bowl-throw several bowls using a baseball sized ball of clay off of a 4-6# hump of clay. Try to make the form a bowl shape, cut and remove as in the vessel, and check progress. Apple baker-Start this form with a baseball sized piece of clay. Open the form as in a bowl, slightly away from center leaving a center stem area. Open the center stem area and pull upwards into narrow cone, close the cone with your fingers, necking inward. Then finish shaping the outer bowl area. cut and remove from the wheel. Check progress with these also to assess the two pulled shapes in the single form. These are just thoughts and I wouldn't have had the apple baker in this list until lately. However, I do believe that the simplicity and complexity of the form will help to improve throwing skills of anyone wishing to advance their skill level. Please feel free to add projects that you believe that will advance throwing skills for a beginner, intermediate, or advanced thower. best, Pres
  16. name this glaze?

    Could it be that it is a cone 6 clay like SC 112 with a thin mix of possibly ART or Minnesota clay oatmeal that has been double dipped, but only bottom second coat half way. Something like light blue brushed on to the mid section with a brush of a white. Used to get very similar to this effect as the 112 has manganese in it and does spot quite a bit under the oatmeal. best, Pres
  17. I am glad to hear that you have shifted your priorities and at the same time seem to ready to feed your passion. Sometimes it takes the balance between a day job, and a studio of some sort to maintain sanity. As you said, as we get older our priorities change, but then they will shift many times in a lifetime, and later in life when you look back you'll think "why was that important to me back then?" best, Pres
  18. Thank you, Nancy. The top is a Lid with two pulled ceramic "horns" attached into the center which is attached to the lid. Everything there is clay. In my gallery there are some closeups of the rings and the textured surface. Blender is and open source 3D modeler and animation program. It also does film editing, and will create entire environments. I use it now days just to visualize the proportions of my pieces. Once I figure what my height vs width is for the center slab section, all other pieces can be scaled by eye to match up to what I visualized. It is just another step, but a pot like this takes 3-5 weeks of construction, glazing etc. Shame to waste any of that time if you decide it is "wonky" for some reason or other. As for templates, I have not looked into it, but am sure that there is a way of doing them. You can get lots of help with Blender on line at their web site. . . very large community. Best thing for me is as it is open source. . .It is free! best, Pres
  19. I have done some square forms, hex, sept and others. I usually use a combination of wheel thrown, and slab constructed pieces. Often these are planned out on paper, sometimes rendered in a 3D program like Blender, and then created in the studio. These usually start with a paper template for the slab walls usually have wheel thrown neck/shoulder and wheel thrown feet. Here is one that I did 10 years ago.
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    From the album Older pieces

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