oldlady

kelsey, congratulations on getting your first kiln.   it is the same kind i started with in 1972 or 3.   it was a good learning experience and i remember the electrician who installed it did not know anything about kilns.   we called in an expert and i was a glad to have him.  my house was built in 1940 and did not have enough amps for anything modern.  forget the stuff we use today!
if the person you are using is not experienced in kiln work and does not even know that other kinds of "fat" cords are not correct for a kiln, ask your local supplier for some names .    if you are lucky enough to have a local supplier.
it really matters that someone knows how to do it correctly.    you do not want to provide the first negative experience that makes him/her learn what not to do.
north carolina is full of potters.   look up someone and ask for a reference.  just throw a rock in any direction and it will probably hit a potter.

it appears you really want to save the clay.   what size bag are you using?  the amount of work it will take to "save" the clay is probably not worth the enormous effort you seem to be anticipating.   just toss it and then you do not have to think about it another minute.  clay is cheap, stress is expensive. 
btw, it is not necessary to use plaster in your studio.  there are lots of ways to reclaim clay.

just finished reading this from the OPs opening sentence. 
at 83,  i may be the oldest potter in this group, old  means i do not work in my studio every day.  when i do, i enjoy every part of what i do.
over the last year i have been knocked down with a strange physical problem that has not yet been solved.  losing over 60 pounds without trying is a very scary thing.   i have seen all kinds of specialists and had some treatments of a minor nature but nobody has said "you have XX and need to do ZZ to cure it".   i have to guess that if i had the big C i would know by now, so i am looking at a total change, maybe turning the studio into a B and B like my neighbors did.
when do we give up?  this is the far other end of the continuum.
 

just finished reading this from the OPs opening sentence. 
at 83,  i may be the oldest potter in this group, old  means i do not work in my studio every day.  when i do, i enjoy every part of what i do.
over the last year i have been knocked down with a strange physical problem that has not yet been solved.  losing over 60 pounds without trying is a very scary thing.   i have seen all kinds of specialists and had some treatments of a minor nature but nobody has said "you have XX and need to do ZZ to cure it".   i have to guess that if i had the big C i would know by now, so i am looking at a total change, maybe turning the studio into a B and B like my neighbors did.
when do we give up?  this is the far other end of the continuum.
 

just finished reading this from the OPs opening sentence. 
at 83,  i may be the oldest potter in this group, old  means i do not work in my studio every day.  when i do, i enjoy every part of what i do.
over the last year i have been knocked down with a strange physical problem that has not yet been solved.  losing over 60 pounds without trying is a very scary thing.   i have seen all kinds of specialists and had some treatments of a minor nature but nobody has said "you have XX and need to do ZZ to cure it".   i have to guess that if i had the big C i would know by now, so i am looking at a total change, maybe turning the studio into a B and B like my neighbors did.
when do we give up?  this is the far other end of the continuum.
 

Ok my reduced gas line to new kiln was unable to fire the new kiln and it shut off at 2100. I fired the other two kilns. Today I fired that Geil kiln off in 8.5 hours to cone 10. Paul Geil expalned the pipe size issue and my 1 inch flex is on the way from Supplyhouse.com.
I will see those pots on friday as that kiln is super insulated and is a two day cool like all my kilns now.

Well I spent 5 weeks this summer getting ready ,pouring a 2.5 yards concrete pad ,moving  kilns around and bringing a new used 18 cubic foot Geil into the mix -got it all vented and organized did the 1st bisgue in the Geil a few days ago and today I have all three kilns glaze firing a 12 cubic and 18 cubic and a 35 cubic car kiln. I'm a bit worried the gas system may be streched to thin volume wise (all two inch supply) and we shall see later today.I have not had a new gas kiln here for about 4 decades. I have a few unresolved issues with the Geil like new 14x 28 advancers that I yet do not have. I'm firing 3 typrs of sheles in that geil thaty came with it.
The hollow core type -4 brand new and they will warp soon at cone 11,4 old style silicone carbide which will warp soon as well . (I fired this style alot in the 70s -80s but not since then have I used them and the cheap Chinese recystilized sic shelves which will warp soon as well.I need to order about 14 of the advancers  which will cost as much as the kiln did (6K). I keep reminding myself I'm slowing down.
all this will equal 664 cubic feet of glaze wares-I hope the Geil helps with my rutile pitting issue I have been fighting with all year. 
On the pitting issue many I know are struggling with the same rutile issues as well currently . I have used rutile for 50 years an seen alot of woes with it but nothing like now.
all three kilns have oxy probes and I can tell easy about reduction atmospheres in each.
I have my only art fair this year coming up this weekend (its my 49th annula show  there) and am almost done packing up a huge wholesale order (20 banana boxes which will fill our Forester Subaru).
I'm working hard to get out of the country for 4 weeks of diving in Indonesia soon-I know tough life

wish i had had this advice back in 1990 when i was building a house and studio.   3 or 4 fifty pound bags were wet and i left them on the ground where thay had fallen after delivery.  2 were frits 3124 and 34.  when the bags were finally dry enough to lift they were no longer rigid but i did not look closely enough before they were tossed in a trash truck and driven off.   what a loss that was.

buying permanent shelving can be expensive if you shop for pottery equipment.   if you can get used baking racks, the kind you see in supermarket baking areas, you can save a great deal of money.   spend the savings on thick drywall shelves to fit those rolling racks.  mine have lasted for over 25 years and yes, i am the only one using them but they are still perfect.  at 18 by 26 inches, they hold a lot of work and the racks vary in height and spacing between suports.   restaurant supply stores are great, the  heavy plastic quart size soup holders make great glaze containers.  use sharpies for labelling them and hair spray to remove any excess  labels as you get into using them.
a variety of wheels are inexpensive at harbor freight and make simple plywood into rolling supports for boxes of clay and other heavy items.  cut the plywood to fit under tables or other stationary storage and buy wheels that let you get the most storage out of the way.  size the plywood boards so you can lift them if necessary.  four wheels on the corners and one in the center work well with heavy stuff.
  window or cabinet handles make it easy to pull them out when needed.

buying permanent shelving can be expensive if you shop for pottery equipment.   if you can get used baking racks, the kind you see in supermarket baking areas, you can save a great deal of money.   spend the savings on thick drywall shelves to fit those rolling racks.  mine have lasted for over 25 years and yes, i am the only one using them but they are still perfect.  at 18 by 26 inches, they hold a lot of work and the racks vary in height and spacing between suports.   restaurant supply stores are great, the  heavy plastic quart size soup holders make great glaze containers.  use sharpies for labelling them and hair spray to remove any excess  labels as you get into using them.
a variety of wheels are inexpensive at harbor freight and make simple plywood into rolling supports for boxes of clay and other heavy items.  cut the plywood to fit under tables or other stationary storage and buy wheels that let you get the most storage out of the way.  size the plywood boards so you can lift them if necessary.  four wheels on the corners and one in the center work well with heavy stuff.
  window or cabinet handles make it easy to pull them out when needed.

cannot say enough good things about AMOCA.   there were so many of the pieces in the many books i have read over the years that i was stunned to turn the corner and see them.   the couple who lent them for this exhibit were photographed with some of the collection not on display.  unbelievable.    books are great but to actually see a pot that is huge and perfect had an impact that measurements printed under a photo cannot.  could have stayed all day.   the contemporary crafts location was not close enough for a visit.
there is a craft fair that is apparently year round in laguna beach.  the "tents" are permanent buildings and have many different types of work.  a glass blower sits inside a cage about 20x20 feet that keeps the public safe but able to see everything being done.  potters are close to the entrance and numerous.   great place for visiting.  named Sawdust
 
thanks for the suggestions.

cannot say enough good things about AMOCA.   there were so many of the pieces in the many books i have read over the years that i was stunned to turn the corner and see them.   the couple who lent them for this exhibit were photographed with some of the collection not on display.  unbelievable.    books are great but to actually see a pot that is huge and perfect had an impact that measurements printed under a photo cannot.  could have stayed all day.   the contemporary crafts location was not close enough for a visit.
there is a craft fair that is apparently year round in laguna beach.  the "tents" are permanent buildings and have many different types of work.  a glass blower sits inside a cage about 20x20 feet that keeps the public safe but able to see everything being done.  potters are close to the entrance and numerous.   great place for visiting.  named Sawdust
 
thanks for the suggestions.

it appears that the plates are completely flat, no foot ring.   i fire that kind of work on sand or small grog.  i make a small hill across the shelf and wiggle the plate down on it to level it off.

it appears that the plates are completely flat, no foot ring.   i fire that kind of work on sand or small grog.  i make a small hill across the shelf and wiggle the plate down on it to level it off.

thank you roberta and wildflower!  
i knew for a long time there was something worthwhile in pomona but did not know what it was.  thought it was a clay supplier, don't know why.  good info, sent to my friend jan who lives nearby.  we traveled all over britain back in 2002 visiting potteries and had a great time.  thanks.  (i drove, she shifted gears.)
craft contemporary  sounds like a good place to visit as well.   i hope it works for jan.   looking forward to a great time.  thank you.
 

to simplify even more,  use a mirror or clear flat glass to determine the amount of moisture still in the kiln.  whatever degree of temperature you guess at, the glass tells moisture level accurately no matter how heavy or closely packed your kiln is each time.  each firing is different so temp reading alone is not as accurate.
hold a clean glass horizontally above the top opening.   if the glass steams up, wait for awhile and try it again.  my kiln is clear at about 1000 degrees F.  do not know C.
do wear a glove or use a potholder so you do not lead the heat to your fingers and burn them.  my glass is from the dollar tree and is in a metal picture frame so it is big.
 

to simplify even more,  use a mirror or clear flat glass to determine the amount of moisture still in the kiln.  whatever degree of temperature you guess at, the glass tells moisture level accurately no matter how heavy or closely packed your kiln is each time.  each firing is different so temp reading alone is not as accurate.
hold a clean glass horizontally above the top opening.   if the glass steams up, wait for awhile and try it again.  my kiln is clear at about 1000 degrees F.  do not know C.
do wear a glove or use a potholder so you do not lead the heat to your fingers and burn them.  my glass is from the dollar tree and is in a metal picture frame so it is big.
 

not a sculptor but i wonder if it is possible to suspend the piece upside down somehow?
electramom, the stilts shown are usually used for low fire earthenware clay.   stoneware or porcelain would likely melt over them at the high temps used to reach maturity of those clays.

that previous life went by at 100 miles and hour, you were too busy to notice all the things you do now as separate from the old daily rat race.   now you have a few more minutes to notice that you still have to work.  the new work is called "chores" and are with us forever.
we all need time to look around at how beautiful life can be if we just sit down and breathe once in a while.

that previous life went by at 100 miles and hour, you were too busy to notice all the things you do now as separate from the old daily rat race.   now you have a few more minutes to notice that you still have to work.  the new work is called "chores" and are with us forever.
we all need time to look around at how beautiful life can be if we just sit down and breathe once in a while.

all the advice you have been given is valuable.   you will learn how to treat the  clay so it is just right to work with.
sheetrock will dry out the clay.   it is great for drying clay after it has been shaped the way it is to remain but it will suck out the moisture as you work with it.   put it aside for later.
stop wedging brand new clay out of the bag.  you cannot get air out of that kind of clay, a huge machine has already done that.   just slice a piece that will come out thicker than you intend to use and flatten it as quickly as you can.  you might put a pillowcase over a regular piece of plywood, spray an amount of water that will dampen, not wet it, and roll on that.  you can use a spray bottle to get a slight sheen of water onto the clay as you roll it.  as quickly as the sheen  disappears, roll out from the center into each direction.   flip and repeat until the clay is larger and as thin as you want.
you might be trying to roll the clay to the exact size you want to use, try using a bigger piece and cutting off those cracked edges.  try lifting an edge as you roll and you will see when the clay is just right for working.    at some point you will just do all this automatically.
one other thing,  just my personal observation is that clay that comes in a cube is more difficult to use for slab work than clay that comes in a brick shape.   cutting thick pieces from a cube to make something long is harder than cutting a slice from a brick shape that is already part way there.

i am one of the folks happy to be  once firing.   i have not had any problems that could not be attributed to my own errors.   very few over many years,  maybe once a year one piece .   i am absolutely NOT adjusting any firing.   i have an L&L programmable kiln that i only fire to the standard cone 6 slow glaze.  i do not know more than the manufacturer so i stick to simple.  it works.   i have one  wonderful white clay, highwater little loafers that works on the wheel and as my favorite, slab serving pieces.    
my own errors have been twice i did not fully dry a piece that had an overlap.   the design was new and i was just too impatient.  so one thing blew up.  it did hit a few other pieces but everything else survived.
i never wedge, clay straight out of the bag is much more compacted than anything these old hands could wedge.   to make a slab, i smash the slice of clay on the floor stretching it and compressing it at the same time.   no bubbles and i never make anything as thick as the 1/4 inch beginners are told is necessary.   why?
i have refired pieces for changing  a color or adding a second color detail and to adjust some pieces that did not get a deep enough sprayed layer.   in any load there might be newly made greenware,   totally dry.   a piece that is glazed and has gone to cone 6 with insufficient color,  or a glazed piece whose test on a smaller piece made it seem good color that i recovered in something else.
have used many different glazes without problems.   maybe being self taught has freed my head of the restrictions some people think are necessary and i have never considered myself an ARTIST so i don't look for DIFFERENT.
try it, you might like it.

i am one of the folks happy to be  once firing.   i have not had any problems that could not be attributed to my own errors.   very few over many years,  maybe once a year one piece .   i am absolutely NOT adjusting any firing.   i have an L&L programmable kiln that i only fire to the standard cone 6 slow glaze.  i do not know more than the manufacturer so i stick to simple.  it works.   i have one  wonderful white clay, highwater little loafers that works on the wheel and as my favorite, slab serving pieces.    
my own errors have been twice i did not fully dry a piece that had an overlap.   the design was new and i was just too impatient.  so one thing blew up.  it did hit a few other pieces but everything else survived.
i never wedge, clay straight out of the bag is much more compacted than anything these old hands could wedge.   to make a slab, i smash the slice of clay on the floor stretching it and compressing it at the same time.   no bubbles and i never make anything as thick as the 1/4 inch beginners are told is necessary.   why?
i have refired pieces for changing  a color or adding a second color detail and to adjust some pieces that did not get a deep enough sprayed layer.   in any load there might be newly made greenware,   totally dry.   a piece that is glazed and has gone to cone 6 with insufficient color,  or a glazed piece whose test on a smaller piece made it seem good color that i recovered in something else.
have used many different glazes without problems.   maybe being self taught has freed my head of the restrictions some people think are necessary and i have never considered myself an ARTIST so i don't look for DIFFERENT.
try it, you might like it.

i am one of the folks happy to be  once firing.   i have not had any problems that could not be attributed to my own errors.   very few over many years,  maybe once a year one piece .   i am absolutely NOT adjusting any firing.   i have an L&L programmable kiln that i only fire to the standard cone 6 slow glaze.  i do not know more than the manufacturer so i stick to simple.  it works.   i have one  wonderful white clay, highwater little loafers that works on the wheel and as my favorite, slab serving pieces.    
my own errors have been twice i did not fully dry a piece that had an overlap.   the design was new and i was just too impatient.  so one thing blew up.  it did hit a few other pieces but everything else survived.
i never wedge, clay straight out of the bag is much more compacted than anything these old hands could wedge.   to make a slab, i smash the slice of clay on the floor stretching it and compressing it at the same time.   no bubbles and i never make anything as thick as the 1/4 inch beginners are told is necessary.   why?
i have refired pieces for changing  a color or adding a second color detail and to adjust some pieces that did not get a deep enough sprayed layer.   in any load there might be newly made greenware,   totally dry.   a piece that is glazed and has gone to cone 6 with insufficient color,  or a glazed piece whose test on a smaller piece made it seem good color that i recovered in something else.
have used many different glazes without problems.   maybe being self taught has freed my head of the restrictions some people think are necessary and i have never considered myself an ARTIST so i don't look for DIFFERENT.
try it, you might like it.

i am one of the folks happy to be  once firing.   i have not had any problems that could not be attributed to my own errors.   very few over many years,  maybe once a year one piece .   i am absolutely NOT adjusting any firing.   i have an L&L programmable kiln that i only fire to the standard cone 6 slow glaze.  i do not know more than the manufacturer so i stick to simple.  it works.   i have one  wonderful white clay, highwater little loafers that works on the wheel and as my favorite, slab serving pieces.    
my own errors have been twice i did not fully dry a piece that had an overlap.   the design was new and i was just too impatient.  so one thing blew up.  it did hit a few other pieces but everything else survived.
i never wedge, clay straight out of the bag is much more compacted than anything these old hands could wedge.   to make a slab, i smash the slice of clay on the floor stretching it and compressing it at the same time.   no bubbles and i never make anything as thick as the 1/4 inch beginners are told is necessary.   why?
i have refired pieces for changing  a color or adding a second color detail and to adjust some pieces that did not get a deep enough sprayed layer.   in any load there might be newly made greenware,   totally dry.   a piece that is glazed and has gone to cone 6 with insufficient color,  or a glazed piece whose test on a smaller piece made it seem good color that i recovered in something else.
have used many different glazes without problems.   maybe being self taught has freed my head of the restrictions some people think are necessary and i have never considered myself an ARTIST so i don't look for DIFFERENT.
try it, you might like it.