Pres
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Posts posted by Pres
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Consider a flat piece of metal, about 3" wide, maybe 8 " long. Bend the metal perpendicular to the length 1" from the end at 90 degrees. then on the other end, which will be the handle end cut an oval hole to create a handle. Wrap the handle with tape, cloth or foam to protect your fingers from the edges. Another alternative would be to take two hand dirt rakes, and cut the tines about 1" long from the bend, as the gripping edge, then modify the wooden handle to be able to lift the shelf comfortably. Hope this makes sense to you or you Hubby!
best,
Pres
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If I were doing what you want to do, I would consider spraying the underglaze on from and angle so that it would pick up and edge of the texture leaving a bare area on the other edge. I have used this technique with 1, 2 and 3 colors from different directions to accent a texture.
best,
Pres
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Some things get the hammer, and others my wife insists on having???
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Pres
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I folks, we have several new suggestions for QotW in the pool, so I will choose the first one from @Kelly in AK :
I’ve seen it addressed in various ways and places on the forum, but with the holidays coming up lots of pots are being sold and it feels like a timely question. Absorption, crazing, pinholes, % of metallic oxides, barium, lithium... lead??? How about “S” cracks? Cutting to the meat of the question he asks:
QotW: What’s the standard for work you’re sending out into the world?
My answer to the question is the same as it always was: To produce the best work possible with my existing knowledge and skills. This meant even in the beginning, Ring True, No "S" cracks, use well for pouring, drinking eating for functional. Functional and Decorative well fitting glazes, good recipes, well fired. No cracks or loose areas in constructions, I always refer to my first statement about the quality, knowing that there have been variables that I did not know of, but once known corrected.
Thanks to Kelly for the topic suggestion!
best,
Pres
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Elaine, you can see some of mine on my blog site along with a teaching handout on teapots, and the use of embroidery hoops to change the angle of the lid opening for a little fun.
best,
Pres
- Rae Reich and elaine clapper
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I love to make teapots also, they are the considered ultimate form challenge for me as most potters. I wonder if you are putting your handles on with the lid on, and also what type of handles you are making, strap extruded or coil, over the top or down the side. . . etc. I usually do extruded handles down the side anymore, and attach them with the lid on the pot. I leave the lids on teapots all the time so as to assure the nothing causes warping of the rim of the pot. When you are handling teapots, as in putting on spouts, handles, or other things like simple ornamentation you can warp that top ring accidentally. Best to protect it with the lid.
As to hole punches, I have a variety of hole punches that I use, many of them are simply made of thin pipe found at hobby or hardware stores. Another favorite of mine looks like a pipe that was cut to a point like a knife, but the curve and the cut allows you to make several different sized holes from the same tool, and they are all tapered.
best,
Pres
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I use the same mixer all the time, spinning the glaze off of the end when out of the glaze. Of course these means having a taller bucket than needed to let the slop glaze spin off. Then a spinning rinse in the clean water bucket. No glaze really wasted as the clean water bucket stays relatively clean through the entire glazing time.
best,
Pres
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When I was doing Penn State Festival, I would at times fire overnight, and unload the following morning. Pieces were too hot to do with out gloves, but all did survive. I did not have crazing on them, but the zinc glaze was matt. Most of my pieces were large jars and vases back then with some bowls and mugs. However, I would be hesitant about removing large flat platters because they cool so quickly in open air. .. . large surface areas disperse heat quickly. Back then I opened the kiln by feel, no thermometer, but again, most of what I did was by feel and sight when it came to firing.
best,
Pres
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@oldlady all of the years I loaded shelves at the HS and at home I never used gloves. Had lots of little cuts from sharp glaze edges and such, but no major damage. However, now that I have the new kiln with the shelf kit which included gloves, I wear them all the time. They are great when loading and unloading the shelves. Most of the time I have the kiln cool enough I can easily hand touch everything, but on occasion have also used the gloves on warmer pots. My wife says I handle everything hotter than she could ever do, that goes for spicy food too!
best,
Pres
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I was a HS teacher, and later in that career I taught college courses to supplement a HS teachers salary. I made more in two weeks of Summer college classes than I did for an entire Summer of shows. I still made pots, but stopped doing shows as my helper (wife) got tired of doing them with all of the hassle from March when the weather broke to end of October. In the long run it was tough on the family. One would think a teacher would have so much time off in the Summer that it would be easy to make pots and sell them. . . not so!
best,
Pres
- GEP, Kelly in AK, Roberta12 and 1 other
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I've told the story before about the guy carrying a bucket of water to the Penn State festival because he wanted to buy good teapots and used the water to test them.
Then there are those that want to be certain they are buying stoneware, but don't know anything about what that means. All stoneware is brown, all porcelain is white, and low fire earthenware is red!
I have also had the casserole passed up, because the last one they bought cracked all apart in the oven. Fix it the night before, and put it in the fridge then take it out and put it into a hot oven!
Needless to say the lack of education for the public consuming functional ceramic is apparent, but there are bright spots as the day I sold 3 teapots to one customer!
best,
Pres
- Hulk, GEP and Kelly in AK
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Hi folks, once again, no new topics in the pool for the question of the week. I will try one from a different angle. .. thinking about customers here! Over the years I have had several people that wanted to know more about pottery, others that just bought on impulse, and some the really knew about what they were getting when buying a pot of mine. I have wondered in the past where they got or missed exposure to pottery.
When I was teaching HS, I believed that part of my job as a teacher was to get my students to realize that even though they might ever make a piece of art they should understand what good pieces of art or craft would entail. Often this would entail talking about aesthetics as another story, but more often in was about the craftsmanship. When talking about pottery as a consumer I reinforced the things that I taught about making a pot: smooth edges, tight joins, well designed functional ware, glaze technique, weight balance, and other things. I always would tell students during introductory talks that even though the may not make pots again, they might be consumers.
QotW: How savvy are your customers about pottery?
best,
Pres
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I suppose if you could center the shelf on the wheel and grind the edge with the wheel going slowly it would work. Any one have any better thoughts. Sticking the shelf to the wheel, maybe with a centered wet clay as in centering a bat on a wheel without pins. Just a thought.
Another answer would be to make two hand tools shaped like and "L" bracket with a handle on one end to lower the shelf with thus saving your fingers.
best,
Pres
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When teaching at the HS, I had a full bottom shelf and several other fulls that I would use. Mostly these allowed for full loads of small pots packed very tightly in glaze loads. At crunch time at the end of a semester it was how to get things done. I would also have shelf pieces to break a layer in to two layers with small pots or platter/plaques. I also used this approach to firing in the old kiln.
These kilns would have the bottom full shelf removed every semester to have clean up and updating to the kiln wash. BOTH of these kilns had no ventilation just a garage, or in the HS a fan overhead for draft. However, now that I have a downdraft vent in the new kiln it seemed more proper to use half shelves for best ventilation. I leave a 1 1/4 inch space between the bottom shelves, and all of the upper stacked ones.
As to core strength, never been a problem with the kayaking, push-ups, pull ups and Total Gym. Yet after the bought with Covid this Summer I find that all of my muscle mass is lacking and am just getting that back. It certainly can set you back.
best,
Pres
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@Denice, I also worked in a bank night duty, posting liability ledgers, trouble shooting branches that did not prove out, holiday decorating and signage using art skills. Did a 8' X 15' nativity scene for Christmas decoration, they hung it many years after I was gone in the lobby. So many different phases in life each seeming like an individual on their own. . . I am sure many have been the same.
best,
Pres
- Kelly in AK and Hulk
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It is possible, check out the postings of @Mark C.. A lifetime commitment for certain, but he takes time to travel, scuba, and fish. A well balanced life of working hard with a focus on ceramics.
best,
Pres
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I believe that the shelf problem with the top loaders can be mitigated by seeking alternatives. Don't use full size shelves, use half shelves. Use lighter shelves, silicone carbide, instead of the heavier high alumina shelves. Stack well making best use of your space for efficient use of kiln resources and less firings.
best,
Pres
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Did your school have hands on subjects, shop, typing, home economics, sewing, anything where you used your hands?
I think this is a great question, and something that I have been considering for years since I have been a HS art teacher in a previous life! I remember my own US education where we were taught all sorts of fine motor skills from using scissors, and carving knives, up to band saws and table saws and drill presses in shop classes, how to use art materials in art classes with gluing, cutting, assembling with staples string and other things. I went to a college that had art education as a major, and there I learned about more hand tools and equipment in the studios, weaving, jewelry and metalcraft, ceramics, painting, drawing. Many of these I had learned much before, but learned much more in the college studio classes and formal learning. Much of the foundation for all of this was learned from home, my parents taught us to use tools, my dad around the house and car, my mom taught me about sewing and mending clothes, we always cooked or baked together. Then their was the Boy Scouts and i learned about camping in all seasons, making fires and cooking on them, water skiing, swimming and much more.
We look at the advances and benefits of computer operated machinery, robotic assembly and welding units, and lately 3D printers. We think Wow! so neat, so easily efficient, so safe! I remember my own US education where we were taught all sorts of fine motor skills from using scissors, and carving knives, up to band saws and table saws and drill presses in shop classes, how to use art materials in art classes with gluing, cutting, assembling with staples string and other things. Yet what are the consequences? @Kelly in AK posted his notice of the decline of students in their manual dexterity at being unable to do simple tasks like fold paper, use scissors and such. Sad to say, but I believe him, and hate to prognosticate where this may lead to in our society. Will folks loose their ability to use their hands for simple tasks like cutting out a snowflake, beyond just forgetting how to fold the paper for the snowflake? Throw in your thoughts folks and lets have fun the future is here!
So should we expand this question to ask where you learned physical dexterity skills and how?
Thanks for your question oldlady!
best,
Pres
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Folks, as much as I love having help with the QotW, I would prefer questions to be posted in the pool as I regularly monitor it, and use it as a way to keep track of ideas. In the future, instead of a new suggestion for a QotW, post it here:
I will use the suggested question mentioned here as todays post. Post your replies to that post in the new posting.
best,
Pres
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Hi folks, sorry I' a day late here. I had to mull over options for the QotW, and didn't know which way to go. However, all is good as I have a question that I don't think has been asked in a while.
QotW: What's your genre, Fine Art, decorative, sculptural, or Functional?
I have played around with all of the above over the years, yearning to express different facets of myself and the clay. There have been early school assignments that would be simple, but could run to the extreme like: Create a closed 6" cube. I have also done other things that started with no reason other than to just build following one small slab on a large slab for a base, no idea where it would go until done and then cutting the base to fit the slab construction. These usually took days while the kids would be doing slab projects. Other times I would have a sketch showing proportions of a slab or slab/thrown project, only to know if it worked when done. However, when it comes to clay I always return to what I love the most, throwing beautiful functional wheel thrown pottery. At the same time though when I go to shows, or look through trade magazines and others I am drawn to the Fine Art, and the sculptural forms often Photographing those that inspire me.
So What's your genre and what do you enjoy looking at?
best,
Pres
How to prevent this from warping when glaze firing?
in Studio Operations and Making Work
Posted
The only solution I would have is to use 3 point pin setters upside down on the piece, then put a kiln post on top of that to force the piece down. This will leave setter marks, that can be ground and then polished out. Tough situation given your time frame. Firing on the side does not seem to be an option and it will probably not change the warping problem.
Good Luck... Really!
best,
Pres