Bam2015

You will need to start this journey a small and large thumb,   a medium wire tool to cut out excess clay and a rubber rib to smooth clay.   You might want to make your first piece before you buy anything to get a feel for the tools you will need,  your hands are your best tool.   Look around your house and garage and there is many objects you can use.   A old credit card makes a great stiff smoother,  you can make a them out of plastic bottles also.  A couple of homemade wire tools  I bought are the best wire tools I have ever had.  I have seen a  small cheese slicer used to cut off excess clay.   The thumbs will have to be whittled out of wood,  using a dremel  grinding stone on a piece of soft wood like pine it makes  pretty quick work of it.  I made a small thumb once by gluing a stack of popsickle sticks together and shaping on end like a thumb.   Have fun!  Denice

So sorry to hear! I hope your dental woes are behind you. 
Betty

Beautiful work! Thank you for sharing.
Betty

Haven't been potting very long, coming up on five years.
Seems like I've more getting stuck in terms of skill development* than evolution of form and finish, trying for new forms, textures, details, patterns, et cetera**
Stuck is, however, stuck.
Earlier, I watched a lot of video clips, and looked at many books and magazines.
Now I persist for a while, then break off for the day, or even a few days afore returning to the challenges.
I read this forum! ...variety is, "they" say, and yet, the themes are remarkably consistent.
Every once in a long while I'll watch a few video clips, pick up a book or magazine, even wade into a "classic" magazine.
*There are those times when skills seem to be going backward.
There are also those times when skills appear to be stagnating - running in place.
**Whilst there's nothin' new under the sun, there's plenty that's all new to me.
New (to me) forms - even scaling up a familiar form - entails a development or refinement of skill.
For me, it comes back to skill, even how one looks/sees evolves; is skill involved in that as well?

90% of the time un-sticking tactics for me involve filling a need that I’ve been neglecting. Is it my mind, body or spirit that needs attention? Do I need to rein in my caffeine consumption so I can get some sleep, do I need to get out of my head and go visit friends, or do I need some time to sit and noodle over a problem? Do I need a new playlist or audiobook? Am I hungry? Mostly getting unstuck is some form of “go away and do something else for a while so your unconscious can work on it.”I don’t love everything Julia Cameron does in her Artist’s Way books. I don’t think that treating a creative block as a pathology or an inner child is necessarily the best, but the parts of her approach that involve treating yourself gently and giving yourself mental/emotional space and time are good general life advice.
Creativity is play. You have to feel safe and warm and fed, and a little curious and a bit bored in order to begin to play. If one or any of those elements are missing, you have to do whatever it is that will get you into that state. 

Just thought I'd throw these out there. ^6 Oxidation faux celadon on ^6 porcelain.   Selsor Faux Celedon ^6 Oxidation (hold for 20 minutes) Whiting 18.5 Neph Syen 25.8 EPK 18.8 Silica 31.1 Gerstley B 4.6 98.8 Copper carb 0.3 Mason #6600 Black 0.02 

Sorry Pres, I must have forgotten or missed that a similar question was asked previously. I probably responded to it and forgot, or perhaps I even asked the question?   If I did ask the previous question, maybe it's because I keep getting stuck. Not stuck in life, but stuck in my crafts, but I assume this is common amongst crafters/artists/creatives. I'm always trying to figure out my style, or how I would like to represent myself in my art, but I keep changing my mind. 
Because I posted the question, I should respond, right? I use all of the things that I listed in the question. Sometimes I spend too much time looking and need to just create. I also get a lot of mileage out of self-help books that don't necessarily focus on art, but on organizing one's life and developing habits. 
Betty

Recent entry in the QotW pool comes from @Bam2015. .. my suggestion for a QOTW is: 
As an artist, when feeling 'stuck,' what helps to inspire or motivate you? Do you look at Instagram photos, read self help or art books, take a walk in nature, etc?
I think we have had this question asked in a similar form in the early Summer of last year, but good thing to return to. As all of you know, I have a lot of books, and magazines on ceramics, and other art techniques. I often return to these looking for inspiration and ideas on new forms, textures, and techniques to keep the creative juices going. Often thoughts do not come from the ceramics books, but the watercolor, photography or landscape books especially in the winter. 
QotW:As an artist, when feeling 'stuck,' what helps to inspire or motivate you? Do you look at Instagram photos, read self help or art books, take a walk in nature, etc?
best,
Pres

I like to read the Ceramic Monthly from the 50's and 60's and check out the techniques that was used before I  started seriously working with clay in the late 60's.   Once in a while I will try to make a piece that I have seen.   I know I will never come close to copying it,  by the time I keep cutting and changing it there isn't any resemblance.     Denice

Jeff, thank you for that info about discontinued Mason stain formulas. I had no idea that this info was available. I like a couple of stains that have been discontinued and now I can recreate them without the guess work.
Betty 

I believe that only another potter can truly appreciate a "second".
 
best,
Pres

When I go to the clay pad, it's on a bat, so I can leave the pins in (+1 on stainless steel; I used the "tooth lock" type lock washers and stainless wing nuts), transition to trimming set up, back to the clay pad or bats, back to the clay pad...

...a bit of anti-sieze on the threads, (almost) always a good idea.
 

Rae, that's an interesting thought. I'll try a locking washer as well, thank you for the suggestion Kelly.
Betty

Hi All,
I use a Dirty Girls bat system on a  Shimpo Whisper and the bat pins keep coming loose. Any tips on how to keep them from loosening? Seems like such a silly question to ask, but it is an issue, it affects centering.
I am editing my post. While on a ceramic supply website, I see that bat pins are specific to wheel brands. I didn't know that. A friend gave me my bat pins and she has a Brent. I am going to order some for my wheel. 
Betty

Hi All,
I use a Dirty Girls bat system on a  Shimpo Whisper and the bat pins keep coming loose. Any tips on how to keep them from loosening? Seems like such a silly question to ask, but it is an issue, it affects centering.
I am editing my post. While on a ceramic supply website, I see that bat pins are specific to wheel brands. I didn't know that. A friend gave me my bat pins and she has a Brent. I am going to order some for my wheel. 
Betty

The easiest way I can think of is slowly reduce the silica and see if you can satisfy your desired level of gloss. In effect you will be changing the Si:Al ratio (lowering it). In general a ratio of 7:1  ought to be glossy and as it decreases toward 6:1, 5:1 the finish should move towards matte.  Of course this can’t be done forever and may change the glaze fit but it’s likely the easiest thing to try.
Unfortunately the best you can do just removing all silica is 7:1 which in theory is still glossy. The epk, 3134 and wollastonite contribute significant silica already. Finally you have about 0.19 boron, if you are firing cone 6 you really only likely need 0.15, so maybe a quick test reducing the 3134 from 20% to 15% and the silica to zero or near zero as a quick try. That gets you into the 6:1 range and might be perfect for your look.
No guarantees, but pretty easy to try.
 

Thank you Min! I appreciate all of the work you did to respond to my question. I will check out the link that you sent. 
Betty

Question: are single-fire potters less patient??  I can relate to wanting results sooner!

Good question Kevin.
Starting out, I was convinced that a natural gas fired kiln would be the best choice for me.
Down the road from there - there isn't a place to set one up at our house, the neighbors are too close, a large enough gas kiln that works well would be heavy and expensive... I went with a used Cone 10 rated electric kiln to fire Cone 5/6 ware. I like it well enough that I'm looking to replace the unit with a new one when we move upstate.
Electric may be more portable as well.
The space, setting, and infrastructure available will likely be factors, also what kind(s) of work you are interested in, and your budget.

Hello Marco,
Welcome to the forum. While I can't answer as one who makes a living from pottery, I can share my observations. It appears to me that many of the more successful potters  not only make pots to sell, but they also teach classes in a studio and/or workshops at craft schools, and are very active on social media. 
Betty

Hello Pres,
I have a question for you, or for our viewers. If this topic has been discussed ad nauseam then I understand if you skip it, but it's something I think about.
Question: To wedge or not to wedge? Do you wedge clay when it comes straight from a bag or pug mill? If you do wedge, why?
Maybe you wedge for the following?
a) It's what I was taught and I can't get my instructor's voice out of your head?
b) I'm a little OCD, I can't sit down at the wheel until I've repeated my wedging "x" number of times.
c) There is scientific proof that one must wedge! 
d) Nope, don't wedge, waste of time and my pots turn out beautifully!
e) Other...please enlighten us.

This is going to sound terrible.   My best employee quit a few days ago because I thought i had made instructions clear about colors but guess I didn't.   I think I've just reached my limit in being a tactful manager.  Well, she could only glaze for the last year or two anyways.  I'm down to just Me in the studio ... and it's the happiest I've been in years.   I'm going to do all the making and glazing.   I'll have one person 3 days a week out front ... wed, thurs, friday waiting on customers and making jewelry.  That's all I really need out there.      Down 2 full time employees in the back now and I'm actually looking at more profit.   Almost zero production loss and the profit per sale is literally around 75 - 80% vs 20%.     The jewelry and fragrance sales way more than pay for the front studio labor.   I'm looking forward to the next year.   Just ordered 4000 pounds of clay and 8 gallons of glaze.    Plus I just got another 50 pounds of dry glaze.  Going to order my other dry glaze tomorrow.   So there will be no backing down
I'm sticking to this.    The numbers look really good.  Just the thought of only needed to load 2, maybe 3 kilns a week is delightful and I can make a really good profit on that.  Better than before.   I figured out each back studio employee was costing me the profit on at least 1 kiln.   So I was doing 2 .. even  3 kilns just to pay people.     I am so looking forward to this.   I'm actually enjoying the work back there now.   
 

Sculpture, as for art, was mentioned. Sculptors-in general-are not a group that earns lots of money.  I have a sculptural approach to my work that is basically a vibe, an essence, a thought process, and which is counter to commercial refinement.  I found out within two years that standard commercial retail sales, would only lose me money. Additionally, the daily grind of sustaining and advancing the marketing/production/constantly changing the items to feed the hungry consumer is a full time job (unless you hire a company to do all of that, which reduces control). Those who do enjoy the making & selling process, and thrive on that energy flow, I believe make out very well. But, as Mark said, it probably needs to be a passion and one coupled with rigorously sound business practices, as Callie & others note.  Seven years since start-up, I have stopped selling completely.  I'm back to using other gigs to pay for the studio overhead/materials and nothing for my time. What I make now I mostly donate to selected non-profit organizations (those providing mitigation of domestic violence/addiction/homelessness). I give them certain ceramic "scupturally functional" items for home and office, which they use for their auctions/fundraisers. It's quite satisfying, recipients seem to like my work, and I'm gaining a bit of local name recognition as a ceramic artist, but even if these were sales, it will never pay the light bill!!

Ok I showed up at noon and others where walking thru house buying up stuff. Looks like a small amount of my work had sold . . But the tables where still stuffed.I told the fellow for me its all or nothing deal. I made a quik  rough list and  and down sized my offer to 450 $ cash. I said I have the boxes and paper and will take only my work as there was other ceramics mixed in especailly on the floor under tables (not in the photos)He took the offer which is about 16 mugs for me sales wise these days. I boxed it into 6 Banana boxes  full and dollyed it out feeling great. The womans sister spoke to me and said the lady (her sister) had a stroke and was in full time care now in North Caralina.I said she had the most work of any customer I ever knew  of and gave her my card to thank the sister . I have never met here as 99% of all the work was from a few outlets and they all had the price labels and cards inside of them. Not my own show price labels but those of my Eureka outlets. The largest amout of stuff was from a co-op organic market I pulled out of a year ago as I am slowing it down with a plan. I put a care and feeding tag in every pot  then and all those where still in every pot. Now I have a nearly a 35 cubic feet whole  kiln worth of new old stock. Its insane really. In my 50 years I never in my dreams would expect this to happen. I'm selling the stock twice this time without having to make or glaze or fire it.  Of couse prices have risen since I sold this  originally so I'm really ahead . I'm making 4 dinner plates for the friend who sent me the info last night. She really came thru for me.
There where two tables of pots  like the one photo  as well as a bunch on the floor
Just when you think you have seen or heard it all   -boom something new surfaces .

I wholeheartedly agree with what you are saying.  I was merely generalizing on my observations ,which I felt like I had made clear, but I guess not, and trying to answer Marco's inquiry. 
There are no two exact roads for any two people. 
Betty