rox54

When working with students in the early years I had quite a bit of trouble with students not getting tight joins in slab construction, coil or when joining handles. At the time we were using slip as I did not know anything else for a proper join. I was teaching about compression to make certain the pieces stayed together, but still had problems with the joins students made. In the late 80's I came across reference to "magic water" in a Ceramics Monthly. It took me a while to decide to try it, but when I did I found that overnight my problems with joins in the student pots dropped dramatically. I also found that the joins were cleaner, and overall there were fewer gaps in all of the constructions. If you are not using it. . . I would recommend it.
 
 
best,
Pres

+1 for caring! My experience - this is likely a joint failure, not necessarily glaze related. I like you, worried about the same things and once I had a similar handle crack decided to knock the handles off on a handful of my bisqued mugs and even several glazed. What I found was some handles were attached so securely that the parent material or clay would fail and the joint material remain intact on only the best made joints. From that point on - I spent quite a bit of time on making sure to compress these joints very firmly during construction to be sure the material around and the joint itself was every bit as dense as the parent clay. When I did this, the joint would be as strong as the parent clay which was the best that could be done for that joint.  If I needed a stronger joint for extra rough use, then it became larger but always paying extra attention that the joint was fully compressed and attached well.
A few more well compressed attachments  later, knocking the handles off revealed the parent clay material would now fail before the joint actually would. From that point on I never had a failure, and often when tested by impact, the side of the mug would fail and not the joint. Good glaze helped, but glaze is too brittle to save a weaker made joint. Never had a critical joint fail after that. Typical well made and well attached joint below. This joint is fairly large but these are very custom mugs. It takes significant force but the cup will fail before this joint will. Always compress critical joints so the material is uniform strength was the lesson for me.
 
 

Yes, Pres, thank you for your work! I don't contribute much, but I learn a lot here. I check the forums daily and pick up stuff I didn't even know I was missing! When I first started pottery, 10 years ago, I was self taught and learned a lot from Facebook's Clay Buddies group, but I guess I have advanced to needing more technical info from the experts and I can find that here. Thank you all!

Yes, Pres, thank you for your work! I don't contribute much, but I learn a lot here. I check the forums daily and pick up stuff I didn't even know I was missing! When I first started pottery, 10 years ago, I was self taught and learned a lot from Facebook's Clay Buddies group, but I guess I have advanced to needing more technical info from the experts and I can find that here. Thank you all!

It’s worth noting that Etsy selling has never been a way for most users to make a full time living, but many do use it as a supplement or as one of many income streams. Also, don’t follow their advice on pricing your work. Because of how they structure their fees, you’ll have to start with your base price and add all the assorted percentages they charge. Use caution when using their forum for advice on running a business there. Many of the seller communities labour under the (incorrect) assumption that high prices will drive away customers, and that you have to have frequent sales and discounts. None of that is true. Cheap prices draw in deal hunters who will not treat you well. 

An additional thought on Rhodes: he wrote several books, Clay and Glazes may be the most well known but he also wrote "Stoneware and Porcelain" and "Pottery Forms".
Our high school library had all three books and I poured over them endlessly as an impassioned wheel thrower. What made Pottery Forms so unique was that Rhodes often showed pottery shapes in profile. Meaning...he would cut the pot in half to show the wall thickness. That really sent home the message that a well thrown pot has an even thickness clay wall. (To prevent cracking, mostly, and warping.) I don't think too many other books had this element? 
What the profile shots also did was send home the message that crafting a good pot involves two processes: throwing the pot and trimming the pot.
 

I don't think you have been working in a dusty atmosphere long enough to do much damage.    When I started taking ceramic classes in the early 1970's  no one wore masks or gloves and the professors never talked about them and silicosis.  The studio was in a old football stadium from the early 1900s,  no windows,  no heat or air conditioning.   When clay was being mixed you couldn't even see there was so much dust.   Huge gas kilns were fired right next doors to the throwing room.   Most students weren't there eight hours a day like clay workers,  I am 71 and still here and don't have any lung problems and have been around other silicosis situations.   I worked as a dental technician for 6 year,  had exposure to different kinds of dust.   I live in Kansas wind and dust storms quite common.  I take all of the precautions in my studio now and have for years once I found out it was a problem.   You could have a doctor check things like your breathing capacity.  I have Multiple Sclerosis because of bad genes,  I always felt bad that everyone had to slow down for me.   Now that everyone is in there 70's they all have health problems and they are just as slow as I am.  You can't live your life in fear of what might happen,  you don't know  long your life will be.  We had a young friend killed a couple of years ago walking into work.  He was on his cellphone the guy who ran over him was on his cellphone.    You never know.     Denice

I don’t believe I have his number but I will double check our email chains. I am thinking health as well and hope he is ok. That was also another reason I posted as I figured someone here might know. 
 
If someone has it and wouldn’t mind sharing ( @Roberta12 ?) it and can message me that would be great. 

I haven't purchased anything from him in over a year, but he has made 4 tools for me over the years without any issues and I was always pleased. He always consulted with me about a personalized fit for the handle etc and seemed to take pride in his work and packaged them well. He also repaired a tool that I had dropped on a cement floor. I paid as a "friend" too, but understood it as a way to avoid PayPal fees. I wonder if there is something wrong with his health? I'm sorry this happened to you.

Thanks. The angle and lighting of the photo was playing tricks on my eyes. I would say that the size of the ring is at least partially to blame. It's adding a lot of mass to the bottom so you have a wide thin platter with a thick area at the bottom. Clay prefers to be evenly thick throughout. There would be far less stress on the piece if the foot ring was much less bulky, like 1/4" to 3/8" thick. Also be sure you're attaching the ring when the slab and ring are at similar moisture level. It's also possible that the platter cracked or was at least stressed at the lip before it ever went into a kiln, and finally opened up in the glaze firing. But because the crack extends all the way into the foot ring it's probably because of the added mass there.

Oooh, I like all those too, even Simon, haha, "Oh Hi there, how are you, potters, friends, utubers?"
Ton a day Isaac Button, classic; first of four segments https://www.youtube.com/watch?v=fmG5NOmQy_4
Michael Casson, here's one of his - there are a few others https://www.youtube.com/watch?v=19YjNGEtUYo (I like his book too)
Still watching this one 'bout once a month,
Genji Shimizu (artist name Hokujoh) https://www.youtube.com/watch?v=ybb-HhSrtxA&t=8s   NHK Ceramic Treasures series - some great stuff here https://www.youtube.com/playlist?list=PLUCSFSJSz477hmqwO98PWp940W_voWW7W  Clinton Pottery clip https://www.youtube.com/watch?v=Bs2tUxKQIic&t=70s
Tim See - not seeing many potters anchoring hand on the away side to center - works for him https://www.youtube.com/user/timseepots
...where's the German lady, and the Swedish lady, hrrrm… (still looking)
Add Bill Van Gilder https://www.youtube.com/user/vangilderpottery/videos
 

I really enjoy goldmark galleries features on artists, here's a link to their 14 short films on potters: https://www.youtube.com/playlist?list=PLFvUht41DkhImM4CVUwsE7r4WVJqN6V8q
Here's some of my favorite channels as well
Hsinchuen lin: https://www.youtube.com/user/hsinchuen
Simon leach (yes THAT leach): https://www.youtube.com/user/sleachpots
Ingleton pottery: https://www.youtube.com/user/youdanxxx
Matthew Kelly pottery: https://www.youtube.com/channel/UC19npAMIfG47wgdrFX--4zw
 
And of course the obligatory shameless self promotion of my channel: https://www.youtube.com/channel/UCRyK3g9rImtTJfaI5iGAP4w
I'm in no way the same league as the ones above me, they are all seasoned professional teachers and you'll learn a lot watching them.

I taught for 36 years, much of it Ceramics day to day. Not really work of the physical type that potters do, but still a lot of clay, wedging, throwing, demonstrations, lectures, and coaching beginners and intermediates. Retirement brought on some regular throwing, lots of bowling, and other activities that taxed me. Now in my mid 70s I find that it is easier to get tired, delay going out to the shop, or to not take that kayak out as often. Luckily, even though I have quite a bit of arthritis in my hands and other areas, I still enjoy working with the clay and creating one of a kind pieces. . . for my self, or my vision. So what if I make less, there is no need there to sell, but still the need to make . . . hope to continue on til gone.
 
best,
Pres

This!   I noticed many people at the new studio I am at, many are sanding pieces with expensive diamond pads as a matter of routine.  i was taught to fix roughness early on,     sanding  finished pieces is a last effort 

It was just my humble opinion.  Didn't mean to offend anyone.

Well, that will be fun to watch. Love the British version. Would prefer to see a more accomplished ceramic artist associated with the show, but Rogen  has the popularity & the money, so why not? 

Having watched his progress on Instagram, Seth Rogen is no slouch. He’s put in some serious work in the last couple of years. His fame did kickstart some things and open a bunch of doors, but he’s still got a good eye. He’s likely supposed to be the analogous body to  Kieth, but with less joyful weeping. Probably.
That said, Brendan Tang and Natalie Waddel and Robin Dupont are all freaking amazing clay artists, and if you don’t follow them on Instagram, there’s the links. Natalie’s work in person is very delicate and makes me very happy. 
As far as where to catch the show, I’d keep an eye out for wherever you watched Schitt’s Creek or Kim’s Convenience. Those were also CBC productions, and I think they licensed them on AppleTV and GooglePlay? Amazon may or may not pick it up unless it gets super popular.
 
 
 

The least intuitive part of collaring is the part where you have to speed up for it to work better. Other than that, some things to keep in mind are to make sure you do a small pull or a pass with a stiff rib in between collaring passes. 

Hi Summerss,
Welcome to the Forum!
Could be the recommended bisque fire is 04 and the clay is fully mature at cone 6.
Can you provide identification/source of this clay?
Expect clay to become fully "closed up" - about as impervious to water as it will get, without starting to slump, melt, bloat, fizz or present any other typical overfired characteristic - at a particular cone. When fired much under the ideal cone, the clay will likely take more water, be less strong...
Some clays are more flexible that others in terms maturity range.
Some mid-range clays I've tried misbehave when fired much over cone 5; others tolerate a bit over cone 6 without issue.
That said, might be best to verify by test.
Fire the clay to 04. Is it fairly strong, does it "ring?" Does it take the glaze well - absorbs some water, but not too much?
From there, fire to target - try cone 6. Do the glazes come out smooth and shiny, no fizzy bubbles, no pinholes or other defects?
Fire some bare bars to test absorption with; weigh the fired bars, soak in water, pat dry, reweigh.
Put cones on each level. If part of your kiln fires cool, perhaps cone 5, good place to put more tests.
If cone 6 is too much, cone 5 might do.
Test!
The vendor may be able to provide some guidance.

That is a bummer! Beautiful piece. Don't give up!
Betty

I use several types of rubbing stones -I have the 100 grit diamond pads like Min posted above from Tool city .com or Temu.com which has them for low cost
also like the pucks  from clay Planet
https://shop.clay-planet.com/the-puck-hand-grinding-stone.aspx
These are easy to hold as well although not as feather light as the diamaond pads which I take to shows
I also use the 3 block white stones from tile shops (youbreak them off ) as there are three in a long shape.
I do to much production to take pots to a spinning wheel so I never did that.
We rub the bottoms as we pull them out of kiln

I run one of these over the bottoms / feet. https://www.homedepot.com/p/Monster-100-Grit-Diamond-Hand-Polishing-Pads-Block-Type-DHP0100/303097130 I've got one a flat lap diamond disk that I stick to the wheelhead with a batmate too but don't need to use it very often with the smooth clay that I use.

I'm burnishing the foot ring at the trimming stage, which seems to help.
I'd read here (the Forum) about attaching (glue or somewhat) a diamond grit disc to a bat for polishing/smoothing ware at the wheel - works great!
One can easily use water to keep things cool, prevent marking, and manage the dust.
I give the foot a run straight on (flat), then round off the corner.
If/when the disc I bought wears out, I'd like to go with a bigger one - the six inch is adequate, however, there are times I'd prefer a larger diameter...

Rub the bottom of pieces as we unload them with rubbing stones. Feel them and look at them for flaws. The more we handle them the more we can find. Put like forms on tables. 
I grind any that need it during this unloading time. Brass wire wheel and flat forms that are made with 1/2 and 1/2 to smooth.
fill orders from the pots on table and put the rest in like forms boxes for later orders
If a show is involved I price and pack the boxes full and put in van 

What Hulk said as well! I photograph before pricing because now I make the price visible as opposed to putting it on the bottom. I used to think having the customer pick it up to see the price might help sell it, but why have them pick it up if they aren't gonna like the price anyway? I  would be interested in how everyone polishes the feet on their wares. I usually just be sure to smooth the feet before the bisque fire, but would like to refine that post glaze fire.