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About Paul

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  • Birthday 01/26/1950

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  • Location
    Nashville, TN
  • Interests
    ceramic musical instrument construction
  1. Brandee, Thanks for the source. The Survivair Premier looks like a reasonably priced option. (BTW, I finally discovered that my Wilson mask came via an Ebay auction.)
  2. One of the best articles I ever found on respirator selection was written by Jeff Zamek early last year: http://ceramicartsdaily.org/uncategorized/respirators-for-potters/ I took Jeff's advice and purchase a Wilson Valuair Respirator, but cannot find any record of where I found the item online. What online sources are you finding that provide the best service and best prices? And, are there new/improved respirators that we (all) need to know about? Breathing easier, Paul:)
  3. I have to agree with Chris, particularly since every piece cracked. Sculpture can be deceptive in terms of varying thicknesses, which can cause stress fractures...but moisture is the killer of all killers in bisque firing.
  4. I susbcribe to the 'soapy finger' method of eyeglass cleaning...rinsing the dust off first and then a drop of liquid detergent on each lens. Also, my wife hooked me up with an eyeglass cleaning cloth that is very absorbent and ultra soft, probably from one of the big box drug stores. This is definitely the place to ask this question. I'll be hovering back to read other suggestions. Thanks for stepping up with a great/practical question. P:)
  5. Great capture. I have seen this 'look' many times...when a budding artist begins to enjoy what they can do with clay. Love it!
  6. Hi Linnet!

    Thanks for the kind note about my flutes/instruments. I have constructed one directional conga so far and have been amazed at the response with just the fired shell (without head). There is an undeveloped market out there (somewhere) for ceramic musical instruments. It is nice to find someone else with similar interests!


  7. is finally getting serious about that garage-to-studio conversion...it must be Spring.

  8. Hi Paul your flutes are great, I'm very interested in them. I have made a few clay pot drums which I have found to be very well accepted here in Australia.

  9. Anthony, The pieces on your website are an amazing source for inspiration. I want to add my commendations to those who have already expressed admiration for your work. OK, so if I get 'hooked' on paper clay, I now have someone to blame, right? *big grin* My best to you, Paul:)
  10. Willow, I consider myself to be one of the world's worst when it comes to combining pieces of varying thicknesses and of different clays. In the past, I have encountered similar problems with small formed pieces and pulled pieces when they are not all made at the same time before assemblying. My spray, misting bottle is my best friend in this case. As I work, I constantly monitor thoe small appendages to make sure that they do not dry faster than the base pieces to which they are attached...if allowed to dry faster, those small pieces tend to suck moisture away from slip/joined connections. Even with 'slow' drying, I will often keep misting a piece for several days to assure a better level of consistent moisture on all parts before beginning a lonnnng slow drying period. Otherwise, if/when I STILL have cracks, it is paper clay to the rescue! Good luck, P:)
  11. Dear centered, I used for fire all sorts of paper filled pots and sculptural pieces in an electric kiln. I would not recommend doing so, however, without an exhaust fan. Paper tends to smolder and create large volumes of smoke before it burns. Once paper ignites, it generally burn very quickly and can produce flames that will jump out any openings in the kiln. Leaving the top of the kiln propped open as the temperature reaches the combustion temperature of the paper will help to get smoke out faster...after that, fire as usual. Take a few extra steps to make sure that there is nothing near (or above) the kiln that is combustible. Paul:)
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