oldlady

reminds me of an old (1910) metal lamp base.  crackled slip???  nice job on color and finish.   two thumbs up.

working on some handle attachments. I prefer pulling off the pot, but this shape wanted a pulled and attached handle. 

My workbench (all of them looked like this yesterday-today the kilns are glaze firing). Today benches are empty
One  and half handed glazing takes time
My new temporay cast can take a xxxl rubber glove over it now. 
Going to rain some it feels like.
 

Here's one of the finished lamps.  Using low power LEDs.  Not bad for a prototype!

putting them in isn't a problem unless you turn it on.  

take the pictures of the whole exterior, the inside of the lid, the inside of the kiln elements, a shot of the bottom interior,  a close-up of the metal plate with the manufacturer's name and the  electrical info on it, the end of the cord  and put measurements in the ad.   and please put them right side up.   hold the camera inside the kiln and aim at the walls for the elements condition.
if you are including shelves and posts or other furniture, separate photo.  DO NOT stack shelves on top of the lid!   a fingernail can dent softbrick, do not break the bricks by putting weight on them.
do price it reasonably.   new kiln prices usually are high because so much newer technology is included.   

Here's what I've been up to in my free time.  Been making LED lamps.  Here's a few of the prototype designs. In greenware with crackle slip.
 

that is a sign that you really are normal.  most people make hummingbird nests inside bowling balls with flat bottoms for a very long time.  
if it would not break your bank, you might want to look for an old book by charles counts.  he wrote Pottery Workshop in the 1970s and it takes a person from total novice to pretty good thrower in very simple, logical steps.  you might adapt the size of the clay ball you start with to fit your own hand if you find it too small.  do not skip a step, work from the front to the back and do not look ahead.
remember, you are not making a product, you are learning a skill.  do not expect perfection. 
and, get that excess clay out before you raise a wall, then you can lift instead of smooshing, counts shows you how.
oh yes, do not even read the glaze recipes.  some people say the errors were deliberate to keep the recipe private.

i eat things in the studio.  not clay, plaster or any other silly thing, just something i can hold in my hand.   cookies are a favorite.    and i drink water, too.  maybe even a ginger ale!

i eat things in the studio.  not clay, plaster or any other silly thing, just something i can hold in my hand.   cookies are a favorite.    and i drink water, too.  maybe even a ginger ale!

thanks, hulk.   i think the beginners who have visited my studio overlook the things that are important to me and just think i am mean or wacky.   i am probably viewed as  overly fussy about keeping the work under my hand clean by avoiding the tiny bits of clay that have separated from the actual piece being worked on.    if you have ever picked up a piece of handwork that has a dozen tiny bits stuck to the bottom, you see what i mean.   there are 2 small boxes attached to the table holding my slab roller so i can brush those bits into the box nearest my hand.   they sit there for months out of the way and not getting turned into dust on the floor.
those tiny stuck on bits make me unhappy, they call attention to the lack of care that i think we owe ourselves, not just for whoever picks up that piece in future.
and tools need to have a place to be when not in my hand.  not scattered all over the room just because i moved the piece or walked to another spot to pick up another tool.  so i provide a space for tools.   unfortunately, i keep adding more tools and the really generous space i started with now resembles a dump.   but exactly where i work is clean and it stays clean and i leave the space clean when the session is over so the next time the space is welcoming.
(funny, i can't seem to work that way in the kitchen)
 

@shawnhar
I am admittedly a hypochondriac but reading through a lot of hobbyist ceramic forums talking about silicosis made it sound like a dramatically bigger issue than it actually is. 
 
I ended up reading a ton of published studies on silicosis prevalence in various populations and it seems like the occurrence rate is so exceptionally low in general, and that these cases mostly occur in much higher exposure situations (miners, stone cutters, construction) where workers are exposed to free floating dust for hours at a time, every day, for years.  Many introductory studies stated ceramicists were at risk, but these are people who spend years doing this for a living. 
 
While it freaked me out at the idea that having this in my home made my exposure constant, 24/7 for three years now I don’t work with nearly enough volume or leave enough out for it to have been a serious issue I don’t think. A lot of the comments made it sound like leaving a few crumbs on the floor that you step on was going to give you acute silicosis. 
 
I’m still going to take it seriously and keep a tidier space, cleaning up as I go and wet mopping everything down - but I think I can relax a little and keep pursuing my passion in my apartment until I can afford a studio space. 
 
Thanks for bringing me back to reality haha

@LeeUThey’re delightful!
Whoever said art needed to be serious all the time? And who wants to hang with the guy that said it? He sounds like no fun.

Waxed and ready to glaze
1 bottle, 1 vase, 1 bowl, 10 mugs, 11 berry bows
and 4 plates that are our 15yr anniversary/test design for shape, weight, durability since it was last week's class subject, feeling pretty firmly in the intermediary category now, gettin there. It will be so awesome when I'm not throwing "a" bowl, I'm throwing "MY" bowl, another thousand pounds or so maybe, hopefully, lol.

Happy Valentine's Day 

two whose postcards hang in my studio for inspiration are melissa greene, of maine's deer isle and carol gellner levin at the alexandria, va torpedo factory art center.
the fabulous horses of susan greenleaf, who was at the torpedo factory and teaches through their school.
another workshop with both of the colemans, tom and elaine from nevada.  never enough, 100 times would not be enough.
glenn woods, chicago and palm harbor, fl,  shapes, not the gorgeous crystalline glazes.  i'm agog every visit.
kim kirchman, teaches at st. petersburg  college, clearwater,  maybe i can learn to paint!   though i think it is hopeless.
lots of members here whose photos of their work make me drool.  POST MORE PHOTOS, PLEASE!
BTW if anyone wants to visit bill van gilder, come here and i will take you to his gorgeous studio just across the river.    well, if we go over the bridges in a car, it is about 10 miles or so.
lots more, love workshops, love pottery. love learning something new!

two whose postcards hang in my studio for inspiration are melissa greene, of maine's deer isle and carol gellner levin at the alexandria, va torpedo factory art center.
the fabulous horses of susan greenleaf, who was at the torpedo factory and teaches through their school.
another workshop with both of the colemans, tom and elaine from nevada.  never enough, 100 times would not be enough.
glenn woods, chicago and palm harbor, fl,  shapes, not the gorgeous crystalline glazes.  i'm agog every visit.
kim kirchman, teaches at st. petersburg  college, clearwater,  maybe i can learn to paint!   though i think it is hopeless.
lots of members here whose photos of their work make me drool.  POST MORE PHOTOS, PLEASE!
BTW if anyone wants to visit bill van gilder, come here and i will take you to his gorgeous studio just across the river.    well, if we go over the bridges in a car, it is about 10 miles or so.
lots more, love workshops, love pottery. love learning something new!

it is very hard to explain that i do not mean drown the pot and hold it underwater until it screams.   a quick dip will not get the pot wet, it will not even shine.  but the moisture will prevent the pot from greedily sucking up the wet glaze leaving an uneven surface.   and that quick dip takes less time than tediously wiping all surfaces.
usually there were more than 20 pots to glaze each time at my studio, they were dipped in water first and lined up before stirring and sieving the glaze.  by the time each pot was glazed, some time had gone by and they were never "wet".   
there are many words to describe moisture content, dry, damp, moist, wet, dripping.    it worked for me for many years until i started spraying glaze on greenware and single firing.  might work for someone else.
 

it is very hard to explain that i do not mean drown the pot and hold it underwater until it screams.   a quick dip will not get the pot wet, it will not even shine.  but the moisture will prevent the pot from greedily sucking up the wet glaze leaving an uneven surface.   and that quick dip takes less time than tediously wiping all surfaces.
usually there were more than 20 pots to glaze each time at my studio, they were dipped in water first and lined up before stirring and sieving the glaze.  by the time each pot was glazed, some time had gone by and they were never "wet".   
there are many words to describe moisture content, dry, damp, moist, wet, dripping.    it worked for me for many years until i started spraying glaze on greenware and single firing.  might work for someone else.
 

it is very hard to explain that i do not mean drown the pot and hold it underwater until it screams.   a quick dip will not get the pot wet, it will not even shine.  but the moisture will prevent the pot from greedily sucking up the wet glaze leaving an uneven surface.   and that quick dip takes less time than tediously wiping all surfaces.
usually there were more than 20 pots to glaze each time at my studio, they were dipped in water first and lined up before stirring and sieving the glaze.  by the time each pot was glazed, some time had gone by and they were never "wet".   
there are many words to describe moisture content, dry, damp, moist, wet, dripping.    it worked for me for many years until i started spraying glaze on greenware and single firing.  might work for someone else.
 

it is very hard to explain that i do not mean drown the pot and hold it underwater until it screams.   a quick dip will not get the pot wet, it will not even shine.  but the moisture will prevent the pot from greedily sucking up the wet glaze leaving an uneven surface.   and that quick dip takes less time than tediously wiping all surfaces.
usually there were more than 20 pots to glaze each time at my studio, they were dipped in water first and lined up before stirring and sieving the glaze.  by the time each pot was glazed, some time had gone by and they were never "wet".   
there are many words to describe moisture content, dry, damp, moist, wet, dripping.    it worked for me for many years until i started spraying glaze on greenware and single firing.  might work for someone else.
 

good, joseph, i miss your photos of what you are currently working on.

I am investing in me. I've had several heavy-duty, do-or-die, metamorphoses (body/spirit/severe loss etc.) incl. minor TBI from external sources and now new damage from  decades of SSRIs used off-label (i.e. not for depression). The discontinuation syndrome process took a brutal 3 years, but I am now over a year clear of them & doing well--except for the TBI.  It is astounding to actually see it on a brain scan!!!  I have finally accepted the reality of certain limitations and become habituated to using effective work-arounds, consistently.  So my investment for claywork is to maintain the consistency of employing imperative work-arounds and take my today's Self into emerging new directions. 

good, joseph, i miss your photos of what you are currently working on.

good, joseph, i miss your photos of what you are currently working on.