LeeU

I can relate to that, due to age and body issues & doing less production (which for me was not much in the first place/small hobby biz). However, gotta say that to obtain it as you have described sounds like a royal PITA--would it be worth it? As far as the QotW, I have everything I need or want, other than someone to do my reclaim/wedging for me!

None for me, either. I use Vermont's Original Bag Balm (yes, the stuff for cow udders) which is hydroxy quinoline in a petrolatum lanolin base--amazing stuff. But don't get it on bisque-I wear gloves if I need to.

I do the same as Old Lady--in fact it was she who turned me on to single-fire. I very rarely bisque anymore-only if a decorative technique requires it or if I'm going into a community kiln or for a raku fire. You might look up Steven Hill and articles in Ceramics Monthly archives for more info.

I got the L&L 23-S, which is a shorter kiln, and Thermal Light half shelves that are super easy to get in and out. I like the half shelves for flexibility-the kiln has a large capacity so I can do all kinds of varied shelf heights for a mix of different types of pieces, from flat smalls to bead racks to tall vases etc. in the same load.

I primarily use mid-fire commercial clay bodies & glazes from mainstream manufacturers such as Amoco/Coyote/Laguna/Highwater/Sheffield/Standard etc. and have not had any problems whatsoever with clay-glaze fit. I mix it all up and 99% of the time love the result. If you jot down what you used/what you did, if you run into issues you'll have a head start on figuring out what went wrong. Or what to do to duplicate that happy accident! Update--I should add that to some degree I just luck out, re: common commercial bodies/glazes & good fit & lack of (so far) other issues. It

What are the brown speckles on the white glaze? Me, I'd want to just harness the effect and use it "as is"....love it!

When I retired from my day job, I had 3 choices for my "pay out" of accrued vacation/sick leave etc.: save for the inevitable rainy day; go to Europe to visit art/culture centers like Italy/Germany/France (I've never never been north of Maine) or; make myself a studio. My big treat for myself was buying new equipment-I am a wizard at saving money & have no problem with used/repurposed stuff, but this represented what I had put on the back burner for over 40 years, so brand new it was! Highest costs were my L&L 23s kiln, the Brent ie-X wheel, and my Bailey table top slab roller. Equal

The only time I sit is for glazing and only in time limited sessions. I stand for everything else (no longer do much wheelwork, tho if I do I use a chair). My body prefers that I stand, but even that not for too too long. I get consistent bi-weekly chiropractic adjustments and that has been a life-saver for being able to keep working at all! I did not know this was possible, but the chiro has even reduced--yes, reduced--some arthritis in my left shoulder that was restricting my neck movement! The other major assist was getting the Thermal-lite shelves for my large L&L short kiln, so I can

Stephen Branfman is also an expert in Raku; his book Mastering Raku is excellent https://ceramicartsnetwork.org/ican/portfolio/branfman-steven/

Be prepared for a variety of color changes when firing 05/06 to 5/6. Many will wash out or become muddy-ish. Some will stay true, but ya never know. Check the product detailed info on the manufacturer's site AND on the suppliers' sites, because they do not always match. The better labels and descriptions will tell you something like "this 05/06 deep purple becomes pale pink at 5/6".

No, and it is not food safe. This Facebook group may also be of help. AMACO Cone 5/6 Exchange

The Not Broken piece is still greenware, with no glaze yet. It will likely be quite colorful. Primal will not look starkly red and black as it does now-the "reds" are iron rich glazes--could be copper, merlot, rutile??-no idea--I deliberately don't take notes & never can remember what I used after I've made my choices. I like how the "reds" come across & I was tempted to wash them off and actually use some red/red browns, but I am restraining my self. Serendipity awaits.

I incorporate silence & secrets in my work; sometimes rather than provoking a hint of mystery, it runs the risk of just making no sense to the viewer. I tend to be more in need of self-gratification than external communication, however, and I need to appreciate that people are not mind readers. A bit of explanation from the creator can't do any harm! For the No. 8 Not Broken mask, the print block design is a spin off of "energy" from making a previous mask, No. 7 Primal (pictured below-unfinished, waiting to be refired). Assault survivors are often marked (imprinted: psychologically/phy

I think Callie covered much of the territory in dispute of this nonsensical assertion. Lemme guess---made by a semi-arrogant, fairly patronizing, guy who also told you you were being a dilatant. (Opps-that wasn't about your experience, that was about mine!!) When I brought my painter/graphic designer self into the world of ceramics, I got squashed flat by the educational belief that there was only one correct scientific/technically sound way to produce "credible" ceramic work. I totally agree it is essential to learn and know and be able "to do it right". However, once a decent standard is at

This is the No. 8 Not Broken piece today-it is indeed already "lighter" in affect, and that is a deliberative part of my process for this mask. When done, it will be more uplifting, bright and pretty rather than sad or gloomy. The edges are no longer so fragile, rough, and craggy, but are smooth and more curved/fluid. The outline reflects the reality that while survivors can emerge from brokenness to thrive, and perhaps attain joy in their lives. The point is to not deny what has occurred and the physical/psychological imprint that may be permanent. This one will be donated for a silent aucti