LeeU

Yep yep yep--I got a good quality Shimpo banding wheel--use it all the time for so many different things/handbuilding.

I use both, pretty much based on the mood of the moment, generally with smaller poundage of clay. Anything hefty and I use "cut and slam", which I really like and it seems to save some wear & tear on my wrists.

What an odd --and inadequate--comment from the potter. That's not even an explanation. I'm curious whether you had any comment yourself, or any further discussion with the potter? Unless the "holes" are deliberate, for some intentional stylistic, or philosophical/aesthetic statement (which should be able to be explained), I don't see why the potter would be OK with having what is essentially a defect be in circulation under their "well known" name.

Prez--I have a strong hunch that you ought to just accept the fact that you "are" the QotW guy & only rarely will the rest of us rise to the occassion with a pile of questions just waiting to be posted . LOL I have a core library (Branfman, Pitelka, Rhodes, Mills, Clark, Lawrence, Nelson, Tristram) and a few others of special interest, but I don't need to reference stuff that often anymore. I only do commercial clay & glazes, mid-fire electric, programmable kiln, and I work to keep it all real, real simple-not even wheeling it anymore. Members here, incl. those with websites, are invaluable. A couple of the FB private groups are useful-I like Coyote's group & Potters Network. I also get input/advice from friends I made when I was a member of the NH Potters Guild. Most of the time all I need is some quick info-not much need for deep dives.

I hate wedging, but this makes it tolerable. Fresh snowfall last night.

I used to make bird bath bases about the dimensions you mentioned-a little higher-and some were used as pedestals to put thick round glass tops on to make patio tables. Never had any issues with the weight on top. Sounds like a fun project-hope you come back w/pics of the finished table.

Generally, whiteware means it fires...surprise---white or off white. The term can be used for many different types of clay that fires white/off white, whether low/mid/high fire.

Well, clearly a schedule can be worked out, but to me, the whole thing about inadequate wheels is just wrong, wrong, wrong. However the college tries to justify cheating the students like that, and regardless of whether students are paying or getting credit. It's just plain wrong. I can't even fathom walking into a wheel-throwing class and students not having full access to a wheel--whether I was the student or the teacher! Maybe it's time to make some noise!

Here's a ceramicist who may be worth contacting. Karen Orsillo-pics of her work & contact info is on her website. https://karenorsilloporcelain.com/ Karen is very approachable and so expert-her work is dazzling. She says " My process is a technique often called neriage (nair ee ah ghee) or nerikomi ( nair ee comb ee) from the Japanese tradition,

?????????? what happened?

I think the full size (for suit or dress) dry cleaner bags are awesome-the best-the local dry cleaner here gives me 5 for a dollar. I use them as is or cut some into large or small sheets. No marks-which I do get even when trying not to-from other plastic materials. & just the right drying time.

About 250 round trip--quickly decided it wasn't for me! (not a commercial biz & I hated the packing/unpacking/hauling/setting up/tearing down/packing/hauling/unpacking of shows and ended up hating even the mundane routine of schlepping around to local (w/in 60 mi ) shops.

I sometimes use enamels to embellish glazed clay, for artistic reasons. If I wanted to color match, I could (testing the color 1st). If you have an eye for color you might consider paint--even just a good quality acrylic-you could also do a contrasting color, or a metallic for some bling--whatever you might like better than the bare clay body. If it were my cute little vase, I would not risk the reglaze.

People may respond well to the "hand made", but the "crappy imperfections" aspect of the craftmanship is not likely what they are attracted to. The nature of successfully working with clay includes an awareness that it takes time, requires patience, can be expensive to do it right, and, at a minimum, a good basic ceramics class is worth the investment of time and money. I too am impatient and I had to become willing and delibertive in learning about clay/glaze/equiptment, testing clay/glaze chemistry, becoming familar with my own kiln, and a bit about ethics and integrity when passing on my work to others, whether as gifts or for money. "Flaws" can be intentionally and creatively used in a visually stylistic manner, but they still must be structurally sound.

I'm not understanding something--bisque is not yet finished and ceramic lawn art is fully fired. So why do you say you don't want to "refire"?

With wind chill we hit - 40 the other night at -17. Very windy! I was really glad I had taken my Thermal-Lite shelves inside from the non-insulated screen porch! It has not been this cold in NH in the 22 years I've been up here-the lowest previous was maybe -28 w/wind chill. I'm able to block the snow drift from coming in but I wonder about the effect of such cold on the kiln (L&L 23S)? I have a kiln load ready to go but I assume I should not be firing it! For some reason my studio (former bedroom) stays warmer than the rest of the trailer so I don't alter what I'm doing indoors.

Are you ware that this is not available? dead link

I have no tips or experience in deliberately going for this effect but it is a great topic and I hope there are some more replies---I could use them too. This piece (HMS No. 8 Not Broken) has some intentionaly gestural line work. The clay is Clayworks Cool Ice porcelain (^6 electric fire) and the drawing is Ghana Black Engobe (Laguna's Moroccan Sand series). I wonder if the engobe over a slightly wet surface would give the bleed?