Roberta12

What
Attachments (in my experience, err, limited experience), almost always one piece is damper than the other.
The drier bit, I'll pick up half a drop of water with my finger and wet the attachment point - not enough to run, enough to impart a sheen that dissipates as the water is absorbed - add another half drop, as required (credit Ingleton potter Dick Unsworth's teapot process video).
The wetter bit, I might dampen just enough to bring up a sheen, then score it in two crosses* (like UK flag), pile on a blob of slip, score the pre-dampened landing spot (in no particular pattern), dampen it a touch more, then get to attaching. I don't mind if it slides a bit at first, for it tightens up considerably as the moisture dissipates into the surrounding (dryer) clay.
For shallow angles, like the top portion of a mug handle's lower attachment, I roll a small coil (2-3 mm, if that), cut to length, wet it, set it aside. After all ends are attached, I'm brushing a bit of slip in there, placing the coil, then smooshing it in. The edge of a loop tool fits in there. A damp brush can help. I don't remember where I saw this, perhaps a Pinnell video clip.
...now I do the same on the top attachment as well.


Why
Variations on what we were shown in Wheel I class.
There was talk of vinegar and "Magic Water" - I was curious; what is magic water**, how does it work, what are advantages & drawbacks?
I was curious, but not enough to dig into it, for my attachments were much less a problem (at that time) than so many other things!
Adding the tiny coil, well, the radius can be achieved by other means, shaping the end, for example (credit Simon Leach video clip).
 
* The slip squeezes out along the score lines.
Nah, but that was the idea, which is now habit.
**Here's an article and recipe:
Magic Water (ceramicartsnetwork.org)
 

Yes I think when I started using 1% chrome I didn’t realise the dangers associated with it, and then looked it up and read the type that potters use is not the super scary harmful one. My over thinking brain has maybe thought in the presence of zinc, if chrome turns brown - is that chemically altering it to something that is toxic? And I can’t see it because there is also cobalt & rio so the colour change is not there? I think I am possibly overthinking the combination of zinc and the use of chromium oxide….

Juried exhibitions or invitationals through galleries have never netted me any sales. They can be a nice ego rub, which has its own value, but that value isn’t monetary IME. 
Juried fairs or markets however, are a good thing. Juries can help put together a crowd of compatible artists and quality of work, which helps get it in front of people who are interested in such things. 

Juried gallery exhibitions may get you one or two sales beyond the piece you have in the show, but mostly it's just a resume builder that may help you get into other galleries or build your social media account a little. Art fairs will definitely build sales, because you can show so much more work to so many more people.

No.  Not exhibitions.  Even donations do not "generate great marketing"  (that's what the people asking will say)  If I donate, it's because I believe in the cause.  Not because it will be a marketing tool for me.  
Juried shows are a different situation for me.  A show versus an exhibition.  
Roberta

No.  Not exhibitions.  Even donations do not "generate great marketing"  (that's what the people asking will say)  If I donate, it's because I believe in the cause.  Not because it will be a marketing tool for me.  
Juried shows are a different situation for me.  A show versus an exhibition.  
Roberta

No.  Not exhibitions.  Even donations do not "generate great marketing"  (that's what the people asking will say)  If I donate, it's because I believe in the cause.  Not because it will be a marketing tool for me.  
Juried shows are a different situation for me.  A show versus an exhibition.  
Roberta

There are several potters who show their seams on mugs and bowls. I can't think of names off of the top of my head, but I follow a few on Instagram. Saying that you copied the seam is like saying that you copied the shape of a mug. 
Betty

Copying a design versus using the same technique while making a pot are two different things. Are there any new designs in functional ware that haven't been done before by someone somewhere, I don't know but I sort of doubt it.
I have noticed quite a few makers doing exactly what you describe; leaving the mark of the making process visible at the joins. I don't think you need to waste your energy trying to justify your work. Getting inspiration from others work is one way to challenge yourself into making new forms, and making them your own.  I'm sorry you are going through this, it must have been upsetting to you.

@Katie S I have become quite adamant about "what clay is it?"  Name, rank, serial number, when firing for others.  If they do not know, I politely decline.  A friend of mine just had a horrible kiln accident with that very thing.  Melted cups and plates all over the shelves.  Yes, they were low fire.  Fired to mid fire.  The person making the request didn't do their work.  You would probably be fine with 04,  probably.  But.....

This is Porths, my first version of this sculpture I started way back about 2007, almost completed in 2009 before illness derailed my studio for a while.  At any rate, I FINALLY finished this boy last year and released him in a resin edition.  I've since gone on to do a 'hairy' Pasture Porthos who's a bit chunkier, and with more feather, thicker legs, long mane and swishy Fabio tail who's casting in a resin edition this year.
Anyway, I've been busting butt to make MOLDS for these two versions of my Porthos sculpture.  Currently I am having the hairy Pasture Porthos molded and cast in England in fine bone china, though I'm also about to start testing slip and settlers for fine bone china pieces here in my studio later this year.  Meanwhile I'm focusing first on using finely ball milled earthenware with talc to cast some pieces.  This first one I've molded right here in studio is what we call Curio scale, a large mini in size.  He's my test cast to see if my mold worked (it did first try!) and to help me figure out how I want to rework and clean up my mold pieces to work even better.  Then I'll be making rubber molds starting next week of each plaster mold piece so I'll have a master from which to cast as many plaster replacement molds as I ever will want, later.
So here's my first ceramic bisque of Porthos with his original docked tail version (mane flights to be added later), an American Percheron with tail bows.

Hi Alex,
Welcome to the Forum!
Good questions.
Moisture:
Water is driven off (as vapor/steam) during the firing process, true, however, the majority of the wet clay's water is lost via evaporation whilst waiting on the kiln.
In addition to drying raw ware in the Studio, add evaporation from clay trimmings; open throwing, cleanup, mopping buckets; just glazed wares; damp - just cleaned - surfaces; any other open containers of wet stuff.
Fumes:
Several gasses (besides water vapor) are produced when clays and glazes are fired.
Kiln fumes (digitalfire.com)
The typical powered kiln vent (that pulls a stream of superheated kiln atmosphere from a small hole in the bottom of the kiln and expels it outside via a duct) gets most, but not all the fumes. With provision for adequate make-up air*, a kiln vent may be adequate.
Better, imo, would be to open up doors and windows whilst firing and run a powered kiln vent.
Even better, a powered kiln vent and an overhead hood with a powerful fan**.
Dust:
Working with clay, some dust will be generated, however, dust can be minimized via consistent housekeeping and "low dust" practices.
Number one culprit, typically, is dry clay on the floor.
Next might be the wedging station.
A wet mop for floors and a bucket and sponge for work surfaces can make a big difference.
There are several archived threads on fumes and dust here!
*air coming in to replace what is being pushed out by the fan.
**an overhead system can help with accumulated heat - firing a kiln indoors will heat the space, a lot!

Reflecting on Alex's questions, again, how does one assess dust generation?
Given that one is mopping the floor and wiping down work surfaces daily, and wiping storage and secondary work surfaces regularly, and opening the area to air movement only after cleaning - to minimize dust blowing around - how to gauge, how to quantify the dust situation?
How much dust accumulates on horizontal surfaces in the area? How quickly?
How does the dust compare to other areas? Typically, one's dressing area, and where shoes and socks go on and off gather dust quickly.
Depending on cooking preferences/methods, kitchens can get dusty quickly as well.
Monitoring and comparison may help with sharing workspace, particularly if the evidence indicates that clay dust is well controlled, as in look, the Studio is less dusty that the closet!
When I'm keeping up, most of the Studio's dust comes from having the rollup door open and what the cars bring in.
When I'm lax, the wedging station and the floor are main culprits.

Well it's looking like the second quarter in terms of Pottery sales has been slow-same as the first quarter. This is showing in my retail/wholesale outlets . The economy in our small backwater community is always lagging behind the national scene . Its been a bust and boom economy localy for all my time living here. This area was once king to Redwood timberr sales (when I moved here over 53 years ago). Then that went bust and Weed growing took over until thats gone bust in past years. Now its in between  the next thing. The toursit industry has been steady thru it all and thats a season flow for te shops and galleries . Now that I no longer travel with pots out of the area so I'm  now subject once again to this cycle except to one very large wholesale gallery far away from here wich I'm working on a huge twice a year order right now. In terms of my slowing down work wise this actually has worked well for me..I need to stock up for the summer trade season soon aas well. Not sure about te rest of the country but here pottery sales are slower than past years at this time locally.

Are you firing a electric kiln?  A lot of kilns won't make it to cone 10  if it does it will shorten the life of your elements.   I had a friend who thought she made some dishes out of a  Cone 10 porcelain.  she put them in the last firing of the year at the university.    When they unbricked the kiln they found out her dishes had melted all over the kiln and  the rest of the work.  I don't have any low fire clay in my studio or fire another persons work,  this type of accident happens a lot.   Denice

No--nope--not  chance--not worth it. Taking such high risk with any kiln (and especially someone else's with other people's stuff it) is just plain looking for trouble.

@Katie S I have become quite adamant about "what clay is it?"  Name, rank, serial number, when firing for others.  If they do not know, I politely decline.  A friend of mine just had a horrible kiln accident with that very thing.  Melted cups and plates all over the shelves.  Yes, they were low fire.  Fired to mid fire.  The person making the request didn't do their work.  You would probably be fine with 04,  probably.  But.....

@Katie S I have become quite adamant about "what clay is it?"  Name, rank, serial number, when firing for others.  If they do not know, I politely decline.  A friend of mine just had a horrible kiln accident with that very thing.  Melted cups and plates all over the shelves.  Yes, they were low fire.  Fired to mid fire.  The person making the request didn't do their work.  You would probably be fine with 04,  probably.  But.....

@Bill Kielb @neilestrick
Thank you so much!!  
Bill I’m so impressed and grateful for the time and energy you took to help me out! I have been trying to fix this since last year when I received the kiln but nobody had a clue …and in just one day you fixed it!!!  It took a long time and effort for me to get a kiln and I was devastated  because I couldn’t use it.  I can’t express how happy and relieved I feel!! God bless you!! After all this time,  I am about to finish my first glaze firing with the temporary set up, the kiln is cooling now and everything is going great! 

I will follow the advice and update with pictures and results so more people like me can find this post in the future and fix similar issues easily. 
This is a great community and you guys are amazing, thank you so much! 

No! She's got a sculpture piece.  It's also not cast but has been hand built and carved.  She was clear that her pieces will be put on a shelf for display and did not intend to glaze them - but might change her mind.  Also got me thinking about cone 04 firing.

Test tiles didn't work out but I have another slip  idea  rattling around in my head.  I decided to take a break and make new address plagues for my mailbox,   I made the original ones 5 years ago but someone decide to break them up with a tire iron.   I had made a press mold for the plague so the only thing that will require some skill is the decorative glaze work.  Living on a rural road you have teenagers drive by mailboxes and hit them with a baseball bat or run over them.    Denice

does the cone look like this? If it does it might have something to do with the old shimpo wheels
 

I’ve seen this form a bunch, and yeah, it’s tricky to get right. One solution for the warping I saw another potter online do was to do all the minimal trimming and cleanup as you describe, but they then added a slip trailed circle of clay as a foot rim. It was just enough to keep the full surface of the plate’s bottom from being in direct contact with the kiln shelf so you don’t get the warping, but still keeps the same aesthetic qualities of this style.
Results may vary with different clay bodies, but it’s something that’s worth a shot.

@chris123 When I dry my slab plates and trays, I put a bag of rice in the middle of them while they are drying. I do this with porcelain and stoneware.    It's just one of the small things a potter can do to try to insure a measure of success.  Along with maybe changing glazing or how you fire or or or....
What clay are you using and  what temp do you bisque and fire to?
Also, just a thought, "toss it on the wheel" going with clay has a memory situation, maybe carefully put the clay slab on the bat?
 
 
 
 

A corner might be good.  Clay is such a therapeutic way to manage all sorts of stress, life events.  As we have all witnessed the last 4 years, prices have gone up and up and up.  If you decide to go back to clay, your cost outlay would not be as steep.  I hope you can find a corner.  As @Denice suggested, maybe the slab roller?  If it takes up a lot of space?  Your life is crazy busy right now, but it will change.  We had 3 kids.   We get it.   Best of luck to you Joseph. 
Roberta