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docweathers

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Everything posted by docweathers

  1. The whole lurking business is a bit strange. I have actually had to edit their proposed posts before they would actually post. Have no doubt that I'm jumping in, having fun and making lots of mistakes that I can learn from.
  2. Since I thought it might be provocative, I contemplated starting this thread for quite a while before taking the step. I decided to go ahead with the thread because I think the pottery world looks different to those on opposites ends of the experience spectrum. I noticed that all of the responses were from the highly experienced sector, so I wanted to wait a while to respond hoping that one of us from the other end of the experience spectrum, maybe less than 100 posts, would comment. First, there were many very valid points in the responses. I think Chris is right. It's very hard to judge the skill level of your audience. It is too easy to assume your audience is more like you are than is the case. Editor's can easily fall into this trap too. Mark resonates well with this point when he says "I asked Mel about where the professionals where (other than the demonstrators) and he said that its very rare for someone like me to be at these gigs. I ... also realized who was the market and why." Mark goes on to say "you still would not be able to make it look the same as my 40 years of working with these glazing and years of reduction firing make it almost impossible for the beginner to recreate this look". This may be true, but I need a shortcut. If it takes 40 years to create beautiful pots like Mark does, at 68, I think I'm out of luck. The research says it is really focused practice that develops virtuoso performances. When I read articles, I'm looking for that focus. I have read many of Marcia's articles and they wealth of accurate information. TRJ- your directing me to Josh de Weese, Robert Barron and Oribe pottery was a useful starting point. I just want to learn how to do that in less than 40 years. You resonate with my concern when you say, "I don't think either would give you a step by step how to to produce their work." I am not looking for step-by-step but the conceptual structure to create these beautiful things. Pres- I have spent endless hours watching potters on YouTube and it has been very useful. I just discovered the utility of Clay Times and Pottery Making Illustrated. Lucille- I have gotten myself a good supply of pottery books that have been helpful. My weak area is Cone 6 glazes. I would appreciate recommendations for books that cover this well. Part of my struggle at this point is that most of my experience has been in the university setting. In some ways that is great and others is not. They provide the clay, the glazes and firing. All you have to do is the throwing and carving. I'm pretty decent at these latter two skills, but this is the first time I've have had my own studio and thus have to take care of everything. OffCenter- I had missed Stephen Hill's CD. I will check it out. Give me one concession in this discussion. Add three or four sentences to your article explaining the general steps that were taken to create the pot at the beginning of the article. Finally, if I offended anyone, I apologize. Larry
  3. Repeatedly, I read articles on Ceramics Arts Daily that show some fantastic pot at the top of the article. The implication is that the article is going to explain how that pot was made. As I read, it becomes clear that I'm going to learn something about some principles and techniques used to create that pot, but they're not going to disclose exactly how they integrated those techniques to create the fantastic pot. In the end, the article is disappointing, at least in that regard. In another thread on layering of glazes, participants pointed to guys like Stephen Hill, Josh de Weese, and Robert Barron who do fantastic multilayer glazes. Of course, this only makes one envious because there is no explanation of how these were actually created. One thinks of artists, potters included, as cool, laid-back, share with the world, re-treaded hippies. But in the very competitive world of professional potters, they are as possessive of their knowledge as most entrepreneurs. As the holder of two patents, I certainly understand the motivation and am in no way above it. It is just sad that everyone has to reinvent the wheel themselves. I guess that is what's the legal battle over sites like the Pirate Bay is about. We need some way to compensate innovation that does not restrict the flow of ideas. I can't say as I know the answer, but I am concerned and thinking about it.
  4. That clearly answers my question of how washing impacts glaze outcome. I have already run the raw ash through a 120 mesh sieve so that should make the rest of the process easier. And you're right, I should do a large quantity so I don't have to deal with his nonsense all the time. thanks
  5. There seems to be some controversy on whether or not one should wash wood ash to get soluble material out before using it in glazes. what difference does this make in the glazes that it is used in?
  6. I keep reading about potters layering various glazes, slips, oxides and stains on top of each other. I'm a little bewildered about what goes well on top of what and what does not work. Can anyone suggest any guidelines or can you suggest a book that covers this? I am firing it cone 6, both oxidation and reduction. I know I can test and test and I'll have to do some of that. But, it would be nice to start out in the ballpark
  7. I'm still perseverating on glass (not glaze) and how to get it to run smoothly versus the cracking that is most common. I mix my own glazes too, which makes the something of the mad chemist or alchemist.
  8. My four dollar blender works great for glazes. What causes the cracking that one normally sees with glass on ceramic, and how do you avoid that?
  9. If you've ever been tempted to try your wife's Cuisinart noodle maker as a small-scale power extruder, don't do it. I gave it a try today and the most important outcome was cleaning up a huge mess. The dies are much too small, require very soft clay, and are almost impossible to clean out. I will stick with my Northstar from now on:unsure:src="http://ceramicartsdaily.org/community/public/style_emoticons/default/unsure.gif">
  10. I got the theory now . What kind of fluxes etc. would I add to ordinary wine bottle type glass to keep it clear and make it flow on pottery like enamel does on steel?
  11. How come you can put glass on steel in the form of enamel and it doesn't crack whereas if you put glass on pottery it cracks? I would think the expansion rates of glass and pottery are more similar than glass and steel. How could you put glass on pottery to get it to melt like enamel on steel versus cracking? There must be something special about the way the enamel glass is compounded since I have played with welding glass to steel with my TIG welder and you don't get anything that looks like enamel.
  12. Put a little water in the bucket until clay become slightly flexible. put the bucket on its side and roll it back and forth so that the bucket flexes into an oval. this will release the clay from the sides of the bucket. put the bucket upside down and pound on the bottom with your fist. usually this will cause the clay to release from the bottom of the bucket and form a sloppy sticky mass on the floor of your studio.
  13. I don't doubt that this procedure works. I just have a compulsion to know why things work. Essentially my question is, How is the shelf different from restricting the exhaust port slightly with a brick?
  14. Given some of the feedback that I got on my swirl flush potters wheel, I've abandoned my prototype and moved on to some more practical ways of getting my throwing area organized. I found that I was spending a lot of time looking through plastic containers and lumps of clay for the right tool. I decided to glue 6 mm X 3 mm Neodymium Grade N42 magnets to my tools so that they would stick to the edges of the steel shelves that are on three sides of my wheel. I just bored a shallow hole, slightly smaller than the diameter of the magnet, in each tool. I filled the whole with epoxy and pressed the magnet in place. I got 40 of these magnets on eBay for eight dollars.
  15. I will try boring a hole at the end of crack and only use it as a baffle at the top of my kiln. Thanks for all the good advice. Larry
  16. One of my kiln shelves is developing a crack. is there any way to patch it? Thanks Larry
  17. I understand that some people place an extra shelf about 5 cm below the exhaust port on updraft kiln such as my Olympic 2827G. Can someone explain to me if, how and why this works? Why would this be any different than putting a brick partially over the exhaust port? Thanks Larry
  18. I appreciate the deep insight and understanding reflected in your responses. I will take heed.
  19. In prior posts, I've sought advice on how to keep my throwing area clean. It usually looks like something exploded. Oldlady was kind enough to send me a portfolio of Pictures of well arranged throwing areas. I think I may have been able to take that inspiration a step further. Your opinion please
  20. In prior posts, I've sought advice on how to keep my throwing area clean. It usually looks like something exploded. Oldlady was kind enough to send me a portfolio of Pictures of well arranged throwing areas. I think I may have been able to take that inspiration a step further. Your opinion please
  21. That's really nice. Thanks for sharing it
  22. This is essentially what I've been doing without problems, but being very new at this I was wanting to head off any problems before they occur. I think you're saying I'm making a problem with there isn't one. thanks Larry
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