Pres
-
Posts
5,654 -
Joined
-
Last visited
Content Type
Profiles
Forums
Gallery
Posts posted by Pres
-
-
Hi folks, sorry about the problems with the ICAN website roll out, and I have been thinking a lot about the loss of things like the CLAYflicks, and what it means to people.
Over the years, my best source of information involving almost anything was a good book. I recently finished rewiring a circuit in an old house, and used a book to help me solve some stupid problems that took more smarts than I. An old magazine that I had saved had the answers to adding a ground, making certain all circuits in the line worked, even if one burned out, and surface mount wiring solutions. When it comes to ceramics, I have a very extensive library that soon will all be unpacked into a new library. However, lately more and more of what I have been doing when working on pottery or other things has come from a video or two before hand. Helped my son put new brakes on his car with the help of a video, leaned about some more decorating techniques in pottery on CLAYflicks, and used a video to help put in a floating floor in our house. I still peruse my books nearly everyday finding pictures that I have missed, and tips that I have forgotten, and don't get me started on the books of recipes for glazes!
All of this makes me wonder if the shift for all learning has moved to video and Youtube or is there still a place for good how to books and magazines?
Therefore, QotW: Do you find that your learning about ceramics has moved toward more video use like Youtube or CLAYflicks or do you still find a good book viable as a means of learning?
best,
Pres
-
Go to my blog site, as I have posted the CM article that I co-authored with Madeleine Coomey there , February 18, 2019. It makes minor changes to a Ryobi battery powered caulking gun by using available plumbing pieces.
best,
Pres
-
Hi folks, once again no questions in the pool.
All of you know that I have been firing a manual only kiln for over 35 years. Firing by cones and temperature color has been a learning curve, but the new kiln has made me jump into a whole new world of programmable firing. I have been using the fast bisque, and the fast glaze for my firings, but now that I have calibrated the cone offset to -40F. I yearn for a bit more depth in my color as I had achieved with the manual firings. The reading is interesting, and I am considering my own schedule. This brings me to wonder if others just use the available programs for firing or do they write their own.
QotW: When using your programmable kiln, do you use preset schedules or set your own custom schedules?
best,
Pres
-
Hi folks, I recently noticed a strand in one of the other areas, and thought it to be a good fit for here as it seems to be mentioned in several strands.
As I have said before, I did some long awaited shopping in the Standard Ceramics store in Pittsburgh. My wife and I took the two hour drive down to pick up some kiln shelves for the new kiln, and to get glaze chemicals. I also picked up some tools as I am a tool junkie! I was able to fill my list easily with the chemicals, and pick up tools. The one item on the list that surprised me was the large 1/2 shelves for the kiln; they had none. Back orders were listed, and there were no ETA for stock supply.
QotW: What effects have the Covid, and the Supply chain failures had on your production and delivery of your pottery? Have you had to make any substitutions in materials, or failed to be able to get essential tools, equipment or materials?
best,
Pres
-
Hi folks, time for another topic, and don't forget you may post new ideas for QotW in the pool here:
Of late I have considered some changes in the decorative process, I have often been interested in surface decoration and texture. I have probably done the gambit of Impressing, incising, piercing, added on clay or sprigging. In my earlier years I did mostly glaze dipping over bare surfaces, then spraying glazes through lace, and silk flower/leaves, along with calligraphic brushwork to bring out or add details. The last 20 years have been more about texture in the piece; first was faceting, then incising the unshaped cylinder. Then I started stamping, and forcing more into the clay to the point I often had to repair the piece when leather hard. Glazing was completed by spraying from different angles to highlight the surfaces. Lately I have considered returning to the smooth surfaces for large areas, with other areas of texture applied before the shaping. I would then decorate the smooth areas as mentioned before with stencils and inglaze work.
QotW: What is your predominant method of decorating the greenware, and how do you deal with this decoration in your glazing?
best,
Pres
-
Welcome to the forum @Angelique! We usually start out with small amounts of a lot of glazes, and then narrow them down as we start making our own, and making larger batches. Many of us use glazes that work magic when over top of or underneath other glazes. Makes one recognize the characteristics of their glazes, and encourages experimentation with different types of application techniques, layering and other possibilities.
best,
Pres
-
Hi folks, I was driving north the last few days and looking for fall color to start in. However, I found mostly green, here in PA, recent rains have attributed to very lush green landscape without the usual browns found this time of year. At the same time my mind wanders when driving, and one of the subjects was whether I should add a new color of glaze. I have often considered working with some Iron reds when I go back to the hazelnut brown. May even test tile on the SC 630. I have not changed my glaze palette in quite a while, so I am getting a little antsy about it, and at the same time am wondering what the iron reds will do over the newer style textured pots.
QotW: Are you planning to add any new glaze colors to your palette of colors?
best,
Pres
-
Oh yeah, I use a hand held power extruder for handles and other small pieces. Have used glaze calc software for years, as I really hated doing the paper work in college. Also have a recipe spread sheet to automatically figure batch weights.
best,
Pres
-
Hi folks, no new suggestions for a new QotW topic in the pool or elsewhere. So I will pose another question once again.
Lately, I have been thinking about the direction the new kiln is taking me, and what that means. I also have realized that maybe my age is showing because I still like to do some things in old ways.
As far as the new kiln goes, the process of calibrating the thermocouples is pretty much completed. Only the next glaze firing will tell. I find the ease of firing with the Genesis controller mixed, as even though I do not worry over the setting for a firing, I do have a tendency to double check color against the firing graph. I guess the kiln controller if my step into the future.
Things that I do that are old school will include the use of a triple beam balance to weigh out glaze chemicals, wedging clay, and reclaiming scraps. Setting the weights on the triple beam balance makes me think about what I am doing. . . kind of a second check, as is marking the chemicals with grease pencil on my plastic sleeved recipe charts. Keeps me focused. Wedging, actually helps my back believe it or not. The pushing down while rotating the clay and body eases back strain for me, and is one other reason I reclaim scraps.
QotW: What things do you do that would be Old School, and what do you do that would be considered Embracing the Future?
best,
Pres
-
When doing lighting, go LED, brighter, less shadows, easier to pay attention to detail.
best,
Pres
-
Hi folks, nothing new in the pool for QotW, so once again, I will pose a question.
A while back we asked: What studio habits do you have that others have warned against? Asking just the opposite- QotW: What best habit would you recommend to a beginner setting up their studio? My best suggestion would be to look at your storage, surfaces and flooring, in order to control dust. I would suggest sealed rubbermaid type bins for chemicals, sealed buckets for glazes, work surface easily cleaned, without dust gathering canvas or other materials. I would try to stay away from containers with deep recesses in their lids, as they gather dust, Stay away from low shelving as they will gather underneath. Use dolly's to move larger containers out from under shelving to be easier to clean areas. Then clean once a week at least. Limit your ceramics space to ceramics, no household tools, or other storage in the studio. Most of my mistakes are listed here!
Asking once again! QotW: What best habit would you recommend to a beginner setting up their studio?
best,
Pres
- Min, Hulk, Lucia Matos and 2 others
-
5
-
@neilestrick, I get it, respected friends, those who know, I wouldn't mind. I'm lucky in that there are very few around me involved in Ceramics of any sort, that do not have a kiln.
best,
Pres
-
Hi folks, not much in the way of activity in the QotW pool of late so I am STUCK once again. Not to give away any trade secrets as I am sure that some of you know or guess that there is communication between moderators on their own forum category. Put this together with a posting in the marketplace of late targeting a web site or app for renting out kiln space. There was a bit of back and forth over whether to post it, and where. As you can see, the issue is resolved and it is posted. However, is it really resolved? My response from in the moderators "dungeon" was:
Interesting concept, not that I would join, but interesting. I would not want to be responsible for a "precious object" being ruined some way, either perceived or actual, as I would not want to be privy to a piece that would damage my kiln either by wrong clay, glaze, or application. Too many uncontrollable factors for me. Much different than in a classroom where everything was controlled by me.
To put this into a question: QotW: Would you be willing to participate in a kiln space rental that would bring in a little extra cash, and supply a service to potters without a kiln in your area, and if so why? If you would not want to participate also tell us why.
You can thank @Min for this question as she saw my response and thought it would be a good QotW,
best,
Pres
-
@Mark C.You point out by your post that much of your success is more about playing the suppliers like one would play the stock market. Buy low, sell high, stock up for rainy days and consolidate/control shipping costs and other costs. More than a potter you are a manager of your entire business. Many of us do not have your business sense, but can certainly learn from your example.
best,
Pres
-
Hi folks, I was at the Standard Ceramics store in Pittsburgh on Monday. This was a buying trip for materials, as I have not been there since the last NCECA, and have not really purchased much in glaze materials in nearly 20 years. Last order I had stocked up on a lot of items, probably more than I needed. However, this time I was in need of replacing frits, oxides and a few other chemicals. Add to that the common novelty shopping for ribs, cutting wires and other tools and it is easy to drop $500 or more. I was a little shocked, but considering what I had heard out there had braced myself for a surprise. Seems like to me that the frits were nearly double what I had paid when I bought 200 lb of each. Oxides I knew had gone up, but cobalt carbonate seemed higher than I had expected. This got me to thinking about what the community has noticed in the way of price increases over the years. I would especially be interested in the opinions of @Min, @GEP, and @Mark C..
QotW: What have you noticed in the rise in prices for materials over the last 20 years? Has the cost of glaze materials progressively increased or is it a steady rise?
best,
Pres
-
Hi folks, I have unloaded a bisque of new plates for the communion sets this year, and find myself pleased and yet dismayed. All of the plates are beautiful, but all are different. Some do share a texture format, and some brown slips, but they are all different, thus requiring chalices to be made to match each plate/paten. This and some other posts from individuals makes me wonder about the shotgun effect I am having on my work of late. When I was doing festivals, my work was centered around thrown forms with organic images mixed with lace remnants from glazes atomized on the surface in natural greens, blues and browns with occasional flashes of tin/chromium. Lately I have moved into much more actual texture making the pieces more tactile even though I spray on the blues, greens and browns from different angles to enhance the textures. Make me wonder what folks are doing, shotgun or more narrowed rifle shot at what they are trying to make do. I also realize that the shotgun effect will not get you anywhere when applying to craft shows.
So QotW: How did you arrive at your present place in your pottery, by a focused approach, and experimental approach, or other direction? Please include examples, or even pictures to illustrate your journey.
best,
Pres
-
Latest bisque with cone offset of -35F. shows that the kiln is still slightly hot, as the witness 06 was down, slightly relaxed instead of arched. Much closer to where I want to be. The next offset will be -40F.
best,
Pres
- Hulk and neilestrick
-
2
-
@Mark C. in a recent Qotw mentioned attitude being everything, but then went on: attitude is everything unless the customer crosses the line (been there as well) Refusing service always is a last resort but I have done it more than once-this may be another topic? Good topic I would think as people get into doing more shows(if Covid allows).
Attitude is everything when dealing with customers, and I have had some interesting interplays with customers as I am sure if you do shows you have also. I can always relate to the folks that could never find the right colors with my pots to match their decors, or those that wanted me to pull out all of my stored pots so that they could find the perfect piece and yet leave with nothing. I have also had those that seemed to want to get out of the sun and just stand in my booth. . . making me request that they move along. Then there have been the young people that got into an argument that was about some non festival related topic that I feared would get violent, so I asked them to take their problem elsewhere.
I do remember one very particular person that came down the Penn State Festival booths with a bucket of water and a ladle. He stopped at every potter and wanted to test their teapots for pourability! Some potters turned him down as it was a very busy day, sometimes crowds 4-5 deep at my booth. He had not bought a thing, and had tested out some pots up from me maybe 4 booths before he got to me. He had a daughter with him in her 20's he appeared to be in his early 50's. He introduced himself and asked if he could test out my teapots. Big crowd, do you turn him down? I didn't. He poured water into a teapot, and put the lid back on, noticing the rim notch. then he poured form the pot a few times with quick and slow angle stops. He repeated this for 6 teapots (all I had out), setting all aside and not saying a word. When finished he and his daughter looked at each talking about aesthetics and color etc. In the end he bought 3 teapots from me, and he proclaimed to the crowd that all were excellent! I was relieved, but better yet by the end of the day I had sole 4-5 more. Attitude is everything, whether on the part of the customer or the vendor.
QotW: Attitude being everything; how do you deal with customers that cross a line of sorts, and have you ever denied service to someone?
best,
Pres
-
7 hours ago, shawnhar said:
Bailey pro 50r wheel
Bought one of those for the HS I worked at. Great wheel, solid, good motor and controller. For most potters it would do well, but for the HS with 50 min. periods and clean up at the end, better to have the other version with the removable splash pans. Next 3 were those.
best,
Pres
-
Wow GEP, that is a different solution. Thanks for sharing.
best,
Pres
-
Coolers are really important for outdoor shows. I remember days when the PSU arts festival would be 98F. and 90% humidity. People just dragged themselves through it. I bet they sold lots of water that weekend.
best,
Pres
-
Hi folks, pondering new questions, thinking about old days, festivals and art shows, small events and large, far away and near. . . .and one question was always on my mind; how do I feed my self and wife when working the booth? I don't know about you, but I like good food, not overly seasoned or salted, not heavy in the belly, but flavorful and healthy, within reason. I would see all sorts of solutions with folks from buying from a vendor/food truck, to coolers of sandwiches and drinks, and even some folks cooking brunch at a small camp stove behind their booth. Their food would have probably sold better than the crafts from the smell of it. My own situation was usually my wife would go and get something of her tastes, then I. Other times we would bring a cooler with salads and cold drinks. I thought it might be a good topic, as many times food is important to keep your nerves even, and your blood sugar from diving!
QotW: How do you feed yourself when working art shows or festivals? Please include examples!
best,
Pres
-
Yesterday @Mark C. posted:
Any supply chain issues for you as well as raising costs in thios new landscape . Things like plaster are scare as well as talc at Laguna Clay Com.Equipment is long backordered they say- Prices are creeping up on most items
I had to raise my prices as well to keep up.
any issues for you in ceramics?
To paraphrase, if I may, QotW: Are you dealing with any supply chain issues, or seeing creeping material prices that have or may cause you to raise prices?
Personally, I have not purchased any materials this year yet, and not any in the last few years as I am usually a bulk buyer with little in the way of output. I even have #50 of Albany slip purchased years ago! However, as I have run out of metallic oxide materials for glazes I will be making a trip to Pittsburgh SC to stock up once again. I am sure I will be in for sticker shock!
I will repeat my plea: QotW: Are you dealing with any supply chain issues, or seeing creeping material prices that have or may cause you to raise prices?
best,
Pres
-
I enjoy the delightful O'keefe reminiscent forms of Martha Grover.
Even though these are not a style far from my own, I can relate to them, and find them quite pleasing. I have seen Martha demonstrate a few times at conferences and she always amazes me with her use of the wheel, un bottomed forms that she reshapes and adds bottoms to, and the control of the porcelain. These attributes are only enhanced by her subtle use of accent color.
best,
Pres
QotW: Do you find that your learning about ceramics has moved toward more video use like Youtube or CLAYflicks or do you still find a good book viable as a means of learning?
in Int'l Ceramic Artists Network (ICAN) Operations and Benefits
Posted
@Hulk, Fantastic, Ceramics Bro!
best,
Pres