glazenerd

Sbsoso- welcome to the forum.
You did not State clay body type: but I will go with porcelain. When doing production: not a bad idea to keep 25lbs from the previous lot to compare to the new lot if problems arise. No problems before, and now problems means the first stop is to check with supplier if others have reported issues. Like potters, clay manufacturers shop for low prices: which sometimes creates issues. You have a plasticity issue which you can only resolve by adding water. Adding water does not increase plasticity; just moves the body closer to its liquid limits. Adding water will also increase drying issues such as warping. Your plasticity issue is caused by one of two things: the % of plasticizer has been lowered, or the plasticizer (ball clay) has lower plasticity properties. The second is Nep Sy being used as a body flux. Nep Sy has 14% soluble salts that can migrate: which can cause rapid dehydration of water. Sodium is hydrophobic- fancy word for- not fond of water. Again adding water compounds the problem by allowing further migration of soluble salts. 
As others stated: de-airing pugmill has zero influence. All a de-airing pluggers does is remove the air between clay particles which speeds up the transfer of negative particle charges. De-airing has zero influence of the actual chemistry of the material.
Tom
 

Our New Hampshire  Institute of Art (NHIA-reference John Baymore, and the anagama kiln standing unused (hoping to be moved-that is still a possibility) at the now-defunct Sharon Arts Center) has been swallowed up by New England College (NEC-top heavy on education & business) and is  called the Institute of Art and Design at NEC. Ceramics was listed as a minor for a short period after the takeover  but the page is now archived and there is no link to anything.  NEC abruptly (no notice) spat out Maureen Mills, the  extraordinary director of the ceramics program, after she built it up to something truly excellent. Checking the website today,  Ceramics Dept. is totally gone-and clay is not mentioned or pictured in the sections for Art or Fine Art. Those potters I know from the NH Potters Guild (a not very active guild) seem to be doing OK in NE galleries  and local shows, to the extent that they are happening at all.  There are minimal small classes at the tech school or community--the intro-style  offerings seem to attract young people who  want to be able to make some pots or small sculptures that are nice for fiends & family (based on the work I have seen; I mean no disparagement-this is a subjective observation).

There's at least one young full timer here in the neighborhood - standalone dedicated shop/studio in their back yard; her friend, also young, is a serious part timer. Met several young folk at the local JC Ceramic lab (a few years ago) on the road to full time potter (wouldn't expect them to all make it there, however), and a few building their portfolio for graduate applications... 

There is a difference between the vacuum power of the commercial machines and the studio machines, but it's not about the size of the pug. Large commercial puggers don't vacuum the air out of the solid 8" block, it cuts it into pellets as the clay enters the vacuum chamber so the air can more easily be removed. An upper auger moves the clay into the vacuum chamber, it's cut into pellets and falls to the bottom of the chamber, where a second auger moves it out and extrudes it into the block. If anything I'd say the larger commercial vacuum is needed because the clay is moved through the system a whole lot faster than a studio pugger. But there's a limit to how fast clay can be pugged because a worker has to bag the blocks as the clay comes out, and you can't bag anywhere near as fast as the machine can pug, so the de-airing is very, very good. I do believe that the commercial puggers do a much better job of de-airing the clay.
In terms of the relationship between clay particles and water, pugging has the effect of near instant aging. It removes the air between clay particles, so all the particles are coated with water and hold together well. Aging further enhances the process with the growth of organic material, but a freshly mixed batch of clay right out of the mixer is very useable. When I worked for A.R.T. clay I regularly used clay that was fresh out of the pugger, with no problems. There was a big difference between that clay and the stuff I mixed in grad school, which required further aging of at least a couple of weeks after mixing and pugging a batch, even when using reclaim in the mix.

About half the tradesmen around here retired, or moved south. Of the other half: 90% are 45+ years old. Everyone once in awhile I see 20-30's at the lumber yard. Local colleges and schools ceased trade classes over a decade ago. Most schools have dropped art classes. Local community college cut pottery classes way back. State college still has a strong pottery criteria; but heavily focuses on sculptural work. 
Prez: that would be an interesting question: do your local schools/colleges still teach pottery courses (historical, not Covid related) Changes in focus, technique etc.  You get the drift ; phrase it as you wish. Curious to see changes.

(Time for the young people to step in. )
I wish some young potters would step in around here but as of late there are no takers. Seems nobody wants to be a full timer anymore around here.Might be a sign of the times.
Even at shows in other nearby states I never see young potters coming into this field.

That's what it feel like to be retired,  I had my husband retired as soon as we could afford it.   The company he worked for was going to kill him.  His boss retired so he had to cover his work,  the hazmat personnel was fired another job for Stu.  Millions of questions to answer from amusement ride owners and government officials  and when he had some time he could do his actual job of technical publication,  writing the huge manuals that went out with each ride.  He has been retired for two years  finished restoring a rusty 74 Challenger last spring .    January he started working on a man cave in our unfinished basement.   He hired a few jobs out but did everything else framing, plumbing, wiring, painting, trim work and tiling.  Most of the theater and bar is finished  he still has to tile the bathroom.  It sounds like a lot of work but he loves doing it and he starts and stops whenever he feels like it,  even sleep late in the morning now and then.   You can keep doing what you really enjoy  with out any pressure of a schedule    Denice

Mark:
One of the drawbacks of any trade: downsizing when the time comes. Took off before Thanksgiving, and not going back until Jan1-12. Never took that much time off in 45 years. I like it!

Like Min; moving is in my near future- next year or so. Will have to decide which kilns to keep, which to sell; along with other equipment. I built a 26x44 work studio over a decade ago that is stuffed with equipment and supplies; most of which will not go with me into my golden years. Truthfully, I wrestle with just walking away all together. Would not miss the glaze so much as I would miss the clay-chemistry.
Tom

Mark: built my last house in 2018: sold off ski steers, trucks, backhoe, trailers, etc in .2018/2019. Since then, I only do high end finish work. Custom cabinets, wainscot, crown work, custom only wood/Ceramic. Already put the word out; cutting back to 7-8 months next year. Time for the young people to step in. 

Mark:
One of the drawbacks of any trade: downsizing when the time comes. Took off before Thanksgiving, and not going back until Jan1-12. Never took that much time off in 45 years. I like it!

The car kiln and the updraft are maybe only a few of the reasons I cannot move.I'm thinking about pouring a large slab in kiln area for an 18 cubic Geil kiln I have access to add to my kiln quiver as well now. All my stuff is heavy-the many tons of Bronze in the yards from shipwrecks is also a deterrent . I did sell about 2k worth last year in salvage and have at least that again to sell. Heck I have one blade of a bronze ships propeller that weights over 750 #s in driveway.Now its a 40 foot x 14 solar array that I put in that also a chain around our ankles now. The two dive compressors I can still move -The  house is only 1250 square feet so thats not an issue all same level as well. Its the near 1 acre yard work that will be an issue-I have a rider mower now but the day will come we hire a Gardner-its just in the plan.
The zillion tons of glaze materials also slows down the move process as well as just about everything I do is so heavy.
In my next life I think car salesman so all my hand s have to do is point towards cars-that a good one over there see where I'm pointing .Its also a high milage unit-yes Desoto is an older brand name but just look at that styling.

Like Min; moving is in my near future- next year or so. Will have to decide which kilns to keep, which to sell; along with other equipment. I built a 26x44 work studio over a decade ago that is stuffed with equipment and supplies; most of which will not go with me into my golden years. Truthfully, I wrestle with just walking away all together. Would not miss the glaze so much as I would miss the clay-chemistry.
Tom

Well Mark- you have a 35CF car kiln=== just sayin... I would love nothing more than to stay where I am at. Yet, I know that I will not be able to take care of it as time marches on. 

Like Min; moving is in my near future- next year or so. Will have to decide which kilns to keep, which to sell; along with other equipment. I built a 26x44 work studio over a decade ago that is stuffed with equipment and supplies; most of which will not go with me into my golden years. Truthfully, I wrestle with just walking away all together. Would not miss the glaze so much as I would miss the clay-chemistry.
Tom

written on a typewriter.!
Marcia

Marcia:
Speaking of crystalline glaze- I read a thesis paper on crystalline glaze written by a student at SIU-C in 1973. As a historical perspective: 1973 was 25 years before any formal books on crystalline glaze was published ( Macro Crystalline Glaze by Peter Isley) I have read it several times: the insights and theorem are well within the boundaries of modern crystalline chemistry. The author of this thesis paper was YOU.
T
 

Saw this artist on the History Channel a year back or so.
Anna Coleman Ladd was a porcelain sculptor who used her skill to make porcelain prosthetics for soldiers who had facial disfigurements after WW1. There was another woman from New York that made them for Civil War soldiers.. forgot her name.. sorry!
https://hyperallergic.com/314255/the-sculptor-who-made-masks-for-soldiers-disfigured-in-world-war-i/
Tom

Harvesting and processing wild clay is an emerging trend; more popular than most realize. Many are processing their own silica, fluxes, etc from wild sources. Natural basalt is gaining popularity for some amazing reds. The best looking celadon I have seen is processed from natural materials. Certainly not profitable or suitable for production: although some are heading that direction. Hunting wild clay is somewhere in the panning for gold category: hoping to find the perfect pit. Firing crystalline; absolute No for me- cannot give up modern kiln controllers.
Tom

Harvesting and processing wild clay is an emerging trend; more popular than most realize. Many are processing their own silica, fluxes, etc from wild sources. Natural basalt is gaining popularity for some amazing reds. The best looking celadon I have seen is processed from natural materials. Certainly not profitable or suitable for production: although some are heading that direction. Hunting wild clay is somewhere in the panning for gold category: hoping to find the perfect pit. Firing crystalline; absolute No for me- cannot give up modern kiln controllers.
Tom

Harvesting and processing wild clay is an emerging trend; more popular than most realize. Many are processing their own silica, fluxes, etc from wild sources. Natural basalt is gaining popularity for some amazing reds. The best looking celadon I have seen is processed from natural materials. Certainly not profitable or suitable for production: although some are heading that direction. Hunting wild clay is somewhere in the panning for gold category: hoping to find the perfect pit. Firing crystalline; absolute No for me- cannot give up modern kiln controllers.
Tom

Min: the first mention of slow cooling I seen was in an ACERS journal by Edward Orton, Jr. (The cone guy) in 1908. The mid 1970's is when I have noticed changes in modern pottery. However, I also noticed detrimental effects of technology in the last two decades. Modern kilns, glazes, and premix clays makes pottery easily accessible to any and all: which is a good thing. However, the ease of operation does not require the user to acquire any basic working principles of functional or food safety guidelines. We have all seen the end products on EBay and art fairs. 
That said: technology has opened doors on previously extremely challenging techniques and glazes. I spent all of one month attempting to fire crystalline glaze in an old kiln with a sitter before I quickly realized I was not spending 8 hours babysitting it. Kiln controllers rank high on technological improvement list. Anyone who had or played on a kick wheel: would say the same about an electric wheel. I have been playing around with self glazing clay bodies----one of these days....
T

Min: the first mention of slow cooling I seen was in an ACERS journal by Edward Orton, Jr. (The cone guy) in 1908. The mid 1970's is when I have noticed changes in modern pottery. However, I also noticed detrimental effects of technology in the last two decades. Modern kilns, glazes, and premix clays makes pottery easily accessible to any and all: which is a good thing. However, the ease of operation does not require the user to acquire any basic working principles of functional or food safety guidelines. We have all seen the end products on EBay and art fairs. 
That said: technology has opened doors on previously extremely challenging techniques and glazes. I spent all of one month attempting to fire crystalline glaze in an old kiln with a sitter before I quickly realized I was not spending 8 hours babysitting it. Kiln controllers rank high on technological improvement list. Anyone who had or played on a kick wheel: would say the same about an electric wheel. I have been playing around with self glazing clay bodies----one of these days....
T

OK, @LeeU, I'll bite on that, anyone else have something to add or change?
 
best.
Pres

I think the other thing that has made a significant change to how electric kiln fired glazes turn out is the practice of slow cooling. I think that has been a game changer; being able to get the micro crystallization of dolomite mattes etc. that are possible with a high mass hard brick kiln that cools so much slower than the typical electric kiln. I was looking through an online CM magazine from the fifties, an article spoke of using the kiln sitter and propping it back up and turning the dial(s) back on to medium for a few hours. I didn't know it was a thing back then to slow cool (I wasn't around then), it's my understanding that the practice of slow cooling electric kilns really took off when it was written about in the Mastering Cone 6 Glazes book from Hesselberth and Roy. I know that when I went to school in the 90's the electric kilns were mostly used for bisque or earthenware firing. Can't remember anyone slow cooling the electrics.