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Pres

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About Pres

  • Rank
    Retired Art Teacher
  • Birthday 08/20/1949

Contact Methods

  • MSN
    bisquefire06@hotmail.com
  • Website URL
    http://picworkspottery.blogspot.com/

Profile Information

  • Location
    Central, PA
  • Interests
    Camping, kayaking, family, travel, Art in general. I have a small studio in my garage. Two electric kilns, two wheels, wedging table etc. I am primarily interested in cone 6 Ox. but like to see what is going on at all ranges. Read about ceramics voraciously and love the feel of the clay and throwing. Have to admit that my greatest joy is in the making, not the glazing. That said I do mix my own glazes, some of my own formulas, some borrowed. Retired from teaching art, in 2009 after 36 years, taught ceramics 34 of those years.

Recent Profile Visitors

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  1. I thought that this might be a place for this. You folks know that I create chalices and patens for some church organizations. Last few weeks my contacts at colleges and organizations have been asking about pouring chalices. Seems the church organizations believe there will be a shift in communion services. They are asking for chalices with pouring spouts. Thinking about this I am going to have to make up some prototypes for this situation. I am thinking of a chalice with a shorter stem that I have and a deeper bowl with two opposite pouring spouts. . . for visual balance. I also can see one possibly with a handle, but not sure if they would go for that. Working next week on these, and will post the greenware ideas here. best, Pres
  2. Take the 5th of July next year to inventory the van, pass on the 4th show. Doesn't time fly? I started teaching in '73. best, Pres
  3. Folks, should this strand be moved to the equipment use and repair area? best, Pres
  4. Betty, Duly noted, Thank you. You don't know how much it means to the moderators to hear something as simple and pleasing as Thank You. We appreciate it. If you haven't heard it before, Welcome to the Forum. I hope you have many more years of enjoyment from it. best, Pres
  5. Used to light a fire inside at PSU, allowed it. newspaper, or sawdust keep feeding for a while. Takaezu used to do it, where I got the idea. I think it was in my first Nelson. best. Pres
  6. If the bottom section is much drier than the top section, and you pull up the two together, you end up with lamination problems as the two sections of the wall are mismatched. best, Pres
  7. When in grad school, as a non declared student, I believed my throwing skills to be sufficient enough to start throwing larger. At the time Takaezu was all the rage, and I read a lot about throwing large, and sculptural ceramic. I started by throwing pieces that were multiple cylinders, and got to about 50" in that manner. Then I tried a coil piece, starting with a 24" base on a bat, with a 20# starter. Coiled up and thrown in steps for one week, 6' in the end, dried to about 5' in Summer 2 weeks later bisque fired then glazed and fired. Sold at student show after course was done for @$200 . Paid my studio fee. I could have never done it during a semester, or at home. The kilns were big enough, the wheels were enough I could monopolize one, and there was equipment to help me load it into the kiln, hand skid loader. This class was about 1976. One thing I did learn in all the reading was to not overlap the coil layers when pulling, pull each on the other, weld together at the join, but not to try to pull layer below into the coil above when pulling the coils. Enough for me that I could do it. Now I usually only throw big with 3 sections if at that. Too much work. Still like to throw larger pieces, bowls, storage jars, lidded containers. Especially like combining slab and thrown pieces. best, Pres
  8. Said it before, and will say again, barium is too dangerous for me to have, broken bag, or container, and contamination is really difficult to clean up safely. Why have it in you studio if it can be absorbed in so many ways. . . think of a Coronavirus that attacks through skin, absorbed by mouth and breathing. . . . what a killer! I realize that there are some out there that use it, and are responsible, but I would not allow it in my HS studio, or in my own. Ben. . . .get rid of those old Yellow copper enamels! best, Pres
  9. Suspend the plexi from the ceiling, that would not take up table space. best, Pres
  10. If someone thinks you are being excessive with plexiglass dividers, just say it's to counter mud spats from wedging and other handbuilding activities. best, Pres
  11. When throwing/assembling this pot did the top stiffen up much? Did you rib the inside to expand the volume when finishing, Looking at the cracks, they really look like formation/throwing problem, INMO. What are the measurements of this 25# form? best, Pres
  12. Is there a fuse on the controller panel for the fireright? Check on its condition. best, Pres
  13. Yeah, I used the electric raku outside with and extension cord, always unplugged before opening kiln. Don't know as a problem, but read in one text where hot air is a conductor so I took precautions. Better safe.. . . . best, Pres
  14. KCamm, I was an art teacher at a central PA Hs, that started teaching Ceramics in the early 70's. We started with ^06 pottery, but I was not happy with the several attributes of the 06 clay, plasticity, absorption, and overall feel was not what I was used to coming from ^10 in college. I turned to SC in the Spring of '75, looking for a new clay body. They helped me out by supplying several ^6 bodies of which #112 was one of them. I used #112 with glazes from SC, Minnesota Clay, Amaco, and A.R.T. Most of these reacted well to the 112 with glaze fit and color. We found the best results with layering dipped glazes, or base glaze with spraying with an atomizer or a compressor and spray gun. We had over 20 glaze test tiles of various glazes from different suppliers. As far as the Velvet underglazes, you probably realize they do need a white base for best color. We would use a white slip, or and underglaze and then paint on that, covering with a sprayed transparent. We worked this way for several years, transitioning from gal. mixed wet glazes to dry glazes in 25# glazes. Things were working well until we were hit with a 20% budget cut, that meant something had to give. I moved to mixing glazes on my own with a little investment of money in a triple beam and some base materials for the next year. This happened around '85, and continued until I retired in 2009. I also had the 225, as it did not have the manganese in it, and used it at home while I was teaching. This way no one could accuse me of using school clay for my pottery. best, Pres
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