LeeU

When I first was learning to load my electric kiln (vs. the wonderfully huge gas kiln at college) I realized it wasn't as easy to plan the space as I thought.  All it took was one time of getting the thing almost loaded and then finding I had to disassemble it and redo it becasue there were some time sensitive pieces to be fired, which of course were the last ones and wouldn't fit. So I made myself mock shelves out of foam core. I was able to quickly plan out the load on the work table, accounting for height, and after a couple of times doing that, I pretty much get it done w/o the assist. The missing corner on the foam core is courtesy of the rat that moved in while I was on vacation. He ate my good woodfire gloves, the trim  on my best boots, chewed a hole in the wall to/from the outside , and would not leave until I took drastic measures.   For stuffers, I use the smallest of the smalls (incense cone holders/spoons) to fill the little spaces. No baked rodent, tempting as it was.

When I first was learning to load my electric kiln (vs. the wonderfully huge gas kiln at college) I realized it wasn't as easy to plan the space as I thought.  All it took was one time of getting the thing almost loaded and then finding I had to disassemble it and redo it becasue there were some time sensitive pieces to be fired, which of course were the last ones and wouldn't fit. So I made myself mock shelves out of foam core. I was able to quickly plan out the load on the work table, accounting for height, and after a couple of times doing that, I pretty much get it done w/o the assist. The missing corner on the foam core is courtesy of the rat that moved in while I was on vacation. He ate my good woodfire gloves, the trim  on my best boots, chewed a hole in the wall to/from the outside , and would not leave until I took drastic measures.   For stuffers, I use the smallest of the smalls (incense cone holders/spoons) to fill the little spaces. No baked rodent, tempting as it was.

When I first was learning to load my electric kiln (vs. the wonderfully huge gas kiln at college) I realized it wasn't as easy to plan the space as I thought.  All it took was one time of getting the thing almost loaded and then finding I had to disassemble it and redo it becasue there were some time sensitive pieces to be fired, which of course were the last ones and wouldn't fit. So I made myself mock shelves out of foam core. I was able to quickly plan out the load on the work table, accounting for height, and after a couple of times doing that, I pretty much get it done w/o the assist. The missing corner on the foam core is courtesy of the rat that moved in while I was on vacation. He ate my good woodfire gloves, the trim  on my best boots, chewed a hole in the wall to/from the outside , and would not leave until I took drastic measures.   For stuffers, I use the smallest of the smalls (incense cone holders/spoons) to fill the little spaces. No baked rodent, tempting as it was.

Oh dear---I apologize for writing "publically" (on impulse, when I was mad, of course) on the personal disability-related accomodations  issue I referenced in this thread. I should not have named the group--that is just as unfair as posting negatives about a named supplier when they aren't present to respond. 
I am ernestly requesting that anyone who has quoted from it (where the organization is named) would (please!) do me a personal courtesy and delete those as well.
This was just not the way or the place for me to grouse about a specific entity--I should have framed it in general, non-identifying, language. I would not want to spread negativity or do any harm to the group, which I like and support. I will deal with the issue-this just isn't where I should be discussing it.     (I really am just mortified...foot in mouth dis-ease!!)

Oh dear---I apologize for writing "publically" (on impulse, when I was mad, of course) on the personal disability-related accomodations  issue I referenced in this thread. I should not have named the group--that is just as unfair as posting negatives about a named supplier when they aren't present to respond. 
I am ernestly requesting that anyone who has quoted from it (where the organization is named) would (please!) do me a personal courtesy and delete those as well.
This was just not the way or the place for me to grouse about a specific entity--I should have framed it in general, non-identifying, language. I would not want to spread negativity or do any harm to the group, which I like and support. I will deal with the issue-this just isn't where I should be discussing it.     (I really am just mortified...foot in mouth dis-ease!!)

"If I lived nearby, I would do the eight hour shifts for you."
Me too.
As for what I think/feel/do regarding limitations, I'm very lucky to be able to adjust for weak and sore thumbs (and a few other minor problems).
In public settings, I can hold my breath and/or walk away when artificial fragrances loom. Unfortunately, it's not a "real thing" for many - my "doctor" (looking for a new one), my employer (former, retired early), ceramics instructor (so farr, staying upwind of the two stinkers is working; when the weather turns cold and the doors close, weelll, I'll just open the doors, or go home), etc.
I'm lucky!
 

If they were to see a wheelchair, do you think they would make accommodations? 
You are right that most of the time organizations just don't get it.  Even organizations specifically charged with providing services for the disabled have procedures that make no sense. 
I hope in your case that the organization puts the subject of disability accommodations on the agenda. I think the fact that the NHIA has a rule the Potter's Guild could copy is important. Drafting new rules can seem scary for people not used to doing it, but adapting existing rules requires way less effort.
If I lived nearby, I would do the eight hour shifts for you.

I do a lot of stack and slam using two different consistencies of clay. Lately I have found a course wiggle wire is even more effective, especially when spraying some moisture on to the slabs. The wiggle waves hold the water better.
 
best,
Pres

On the work bench, and in the kiln. . .mugs,  honey jars and soon teapots.
best,
Pres

There's an emerging discussion on another thread (re: craft/art) that is looking at the value of, or lack of value of, or even the detrimental impact of, schooling (college/training).  As someone who earned a degree in fine art (ceramics) at an esteemed art school (while on welfare and struggling mightily as a single parent & who was 20 years older than the other students) I must say how extremely enriching, valuable, freeing, and supportive of my creative expression and drive, the experience was. I have carried and used the benefits of that excellent education throughout all aspects of my life, not just in art interactions, but in ctitical thinking, world-view, career, understanding people and cultures, and many other areas of functioning. To me, formal training-- from competant, knowledgible & skilled instructors--is invaluable and can only enhance  one's creative expression and appreciation of crafts & art. What do others think--is formal education/training in ceramics (or any form of art ) stifling/useless/a negative or enriching/useful/a positive?

My bench is clear today, having finished the pieces in prep for the pending anagama fire. I cleaned up my space, and the pile of tools, went and bought some window caddies to hold finishing materials, set up my most-used tools behind my little work slab, and finally got that annoying curtain out of my way--looks tacky, but I was in a hurry and just strung it up with those vegatable ties you get on bok choy--the poor man's Velcro LOL-works great. 

There's an emerging discussion on another thread (re: craft/art) that is looking at the value of, or lack of value of, or even the detrimental impact of, schooling (college/training).  As someone who earned a degree in fine art (ceramics) at an esteemed art school (while on welfare and struggling mightily as a single parent & who was 20 years older than the other students) I must say how extremely enriching, valuable, freeing, and supportive of my creative expression and drive, the experience was. I have carried and used the benefits of that excellent education throughout all aspects of my life, not just in art interactions, but in ctitical thinking, world-view, career, understanding people and cultures, and many other areas of functioning. To me, formal training-- from competant, knowledgible & skilled instructors--is invaluable and can only enhance  one's creative expression and appreciation of crafts & art. What do others think--is formal education/training in ceramics (or any form of art ) stifling/useless/a negative or enriching/useful/a positive?

There's an emerging discussion on another thread (re: craft/art) that is looking at the value of, or lack of value of, or even the detrimental impact of, schooling (college/training).  As someone who earned a degree in fine art (ceramics) at an esteemed art school (while on welfare and struggling mightily as a single parent & who was 20 years older than the other students) I must say how extremely enriching, valuable, freeing, and supportive of my creative expression and drive, the experience was. I have carried and used the benefits of that excellent education throughout all aspects of my life, not just in art interactions, but in ctitical thinking, world-view, career, understanding people and cultures, and many other areas of functioning. To me, formal training-- from competant, knowledgible & skilled instructors--is invaluable and can only enhance  one's creative expression and appreciation of crafts & art. What do others think--is formal education/training in ceramics (or any form of art ) stifling/useless/a negative or enriching/useful/a positive?

I DID...I swear it WAS NOT THERE last night!!!!!!!!! I looked there and in Aesthetics & even Studio (tho I knew it wasn't there.) Thanks---It's a little crazy-making but it's definately there now! 
ANYWAY....here are some handles from when I used to do mugs. They're more like a capital C , maybe, than the other types. I like my mugs on the hefty side, with the handles in balance. 

Here's what's on mine today. In progress--carving the outer surface of what will be a lidded container, assuming all goes well. It's for an anagama fire in the fall--the clay is new to me--Sheffield's Z--which John Baymore recommended, and I just love it-can't wait to see how it fires.  I can afford maybe a half shelf, and I hope to have enough vertical pieces to get the most out of that type of fire.  The kiln, at the NHIA-Sharon Art Center was built by John & his students. I get to join in, provided there is available space, as part of the New Hampshire Institite of Art's public-access Community Education program.  Not shown is the banding wheel, a half dozen trimming tools, foam to  cushion the upside down lid w/knob, porcupine quill, hole cutter, a Chinese Lucky Cat wving his paw, and a large mug of fresh hot dark roast. 

Here's what's on mine today. In progress--carving the outer surface of what will be a lidded container, assuming all goes well. It's for an anagama fire in the fall--the clay is new to me--Sheffield's Z--which John Baymore recommended, and I just love it-can't wait to see how it fires.  I can afford maybe a half shelf, and I hope to have enough vertical pieces to get the most out of that type of fire.  The kiln, at the NHIA-Sharon Art Center was built by John & his students. I get to join in, provided there is available space, as part of the New Hampshire Institite of Art's public-access Community Education program.  Not shown is the banding wheel, a half dozen trimming tools, foam to  cushion the upside down lid w/knob, porcupine quill, hole cutter, a Chinese Lucky Cat wving his paw, and a large mug of fresh hot dark roast. 

Here's what's on mine today. In progress--carving the outer surface of what will be a lidded container, assuming all goes well. It's for an anagama fire in the fall--the clay is new to me--Sheffield's Z--which John Baymore recommended, and I just love it-can't wait to see how it fires.  I can afford maybe a half shelf, and I hope to have enough vertical pieces to get the most out of that type of fire.  The kiln, at the NHIA-Sharon Art Center was built by John & his students. I get to join in, provided there is available space, as part of the New Hampshire Institite of Art's public-access Community Education program.  Not shown is the banding wheel, a half dozen trimming tools, foam to  cushion the upside down lid w/knob, porcupine quill, hole cutter, a Chinese Lucky Cat wving his paw, and a large mug of fresh hot dark roast. 

Here's what's on mine today. In progress--carving the outer surface of what will be a lidded container, assuming all goes well. It's for an anagama fire in the fall--the clay is new to me--Sheffield's Z--which John Baymore recommended, and I just love it-can't wait to see how it fires.  I can afford maybe a half shelf, and I hope to have enough vertical pieces to get the most out of that type of fire.  The kiln, at the NHIA-Sharon Art Center was built by John & his students. I get to join in, provided there is available space, as part of the New Hampshire Institite of Art's public-access Community Education program.  Not shown is the banding wheel, a half dozen trimming tools, foam to  cushion the upside down lid w/knob, porcupine quill, hole cutter, a Chinese Lucky Cat wving his paw, and a large mug of fresh hot dark roast. 

Here's what's on mine today. In progress--carving the outer surface of what will be a lidded container, assuming all goes well. It's for an anagama fire in the fall--the clay is new to me--Sheffield's Z--which John Baymore recommended, and I just love it-can't wait to see how it fires.  I can afford maybe a half shelf, and I hope to have enough vertical pieces to get the most out of that type of fire.  The kiln, at the NHIA-Sharon Art Center was built by John & his students. I get to join in, provided there is available space, as part of the New Hampshire Institite of Art's public-access Community Education program.  Not shown is the banding wheel, a half dozen trimming tools, foam to  cushion the upside down lid w/knob, porcupine quill, hole cutter, a Chinese Lucky Cat wving his paw, and a large mug of fresh hot dark roast. 

Working on the next order for Savannah Bee, mugs, teapots and honey jars. About two thirds complete, all teapots, ready for glazing, 30 mugs and 25 honey jars in present load. On the workbench two days ago was this. . . .

All extruded handles! 
best,
Pres

Just pulled this out of the kiln. One of my better pots with this decoration style.

Figured I would share in the joy of posting stuff on workbench! Waiting on the rest of the load to cool so I can see all the rest of it. Hopefully more as good as this one. It is nice to get a little reward before I take a long pottery break yet again to study. Hopefully I will have time to get back out in the garage and get some more work made!

I DID...I swear it WAS NOT THERE last night!!!!!!!!! I looked there and in Aesthetics & even Studio (tho I knew it wasn't there.) Thanks---It's a little crazy-making but it's definately there now! 
ANYWAY....here are some handles from when I used to do mugs. They're more like a capital C , maybe, than the other types. I like my mugs on the hefty side, with the handles in balance. 

I DID...I swear it WAS NOT THERE last night!!!!!!!!! I looked there and in Aesthetics & even Studio (tho I knew it wasn't there.) Thanks---It's a little crazy-making but it's definately there now! 
ANYWAY....here are some handles from when I used to do mugs. They're more like a capital C , maybe, than the other types. I like my mugs on the hefty side, with the handles in balance. 

My glazing table is down to a few pieces of bisqued  mid-fire items. I need to fill one more shelf with new greenware (they'll go in as a single fire) and then I am ready to fill my kiln again.  
 
 

My glazing table is down to a few pieces of bisqued  mid-fire items. I need to fill one more shelf with new greenware (they'll go in as a single fire) and then I am ready to fill my kiln again.