Pres

@Callie Beller DieselThe problem of low tech vs high tech is that it also has a history component that makes defining technology difficult. There are some who would say stick turned wheels are low tech as compared to today. but then they are a big improvement over the cave wheels of egyptian use. To try to rate and configure this would be a monumental direction. If someone could come up with a statement for it, then please present one . I really can't figure a way to define it in a few sentences. My best effort would probably be several paragraphs. best, Pres

Technology for Ceramics may be defined as any practical advancement of knowledge within a ceramic process that will allow a cost effective, easier or quicker, way of doing traditional practices with the aid of a new system, tool or piece of equipment. This could be some form of evolutionary technology building on traditional methods and equipment or completely new technology. @Min I tried to include wifi under new system. . . understanding that there are a lot of different definitions out there as to old and new and types of tools. @HulkGood thoughts, I understand that potters are interested in pots, sculpture sculp, hand builders don't throw, designers look for form. However, I believe it best to come to a broad definition that allows us to cover all. I did not catch the double word use of process and processes, so I changed it to "practices" in second usage. Seems to fit better also. best, Pres

Technology for Ceramics may be defined as any practical advancement of knowledge within a ceramic process that will allow a cost effective, easier or quicker, way of doing traditional processes with the aid of a new tool or piece of equipment. This could be some form of evolutionary technology building on traditional methods and equipment or completely new technology. Taking some thoughts from @Bill Kielb, and adding a few into the first definition above. . . . . any better? best, Pres

Great thoughts folks, but lets put this into a definition statement. best, Pres

I think it would be a good idea to come to some consensus on the meaning of "technology" I would propose that we collaboratively write a statement of what "technology" means to us in the Ceramic community, or at least in the ICAN Community Forum. As a starter I will present what it means to me. Technology for me as involved in ceramics is basically anything that makes my life easier when working with clay. This could include anything that makes my life easier, that I may have had another way of doing, but something technologically innovative would be helpful. for Example: when cutting stencil to spray glazes through I started with commercial stencil, went to hand cutting my own, then to using a cricut type cutter controlled by my computer to cut them. You all know about the handle pulling problem I have with my rt thumb, and not being ambidextrous to use my lt hand, I tried using a hand held putty gun type extruder. That was too much for my hands, even though it worked, but cranking out 100 handles in one day was tough. I switched to a modified battery powered putty gun modified to extrude my handles and other small sections for pottery. At school, I used a setter to fire the kiln, took a step backwards to not have a setter on my own kiln because I wanted to fire up and down. Now days a kiln controller will fire pots up and down and do so much more. I use a scroll saw to cut the dies for my hand extruder, used to use a coping saw. Two years ago while teaching the adult class at the high school someone needed a die for the handheld extruder at the school. Another teacher taking the class took a drawing of what she wanted down to his "shop" scanned the drawing into the computer, took it into a cad program and cleaned up the scan scaled it and then hit print. A laser die cutter had the die outside cut and the inside extrusion area cut in about 3 minutes! Whole process took maybe 10 minutes. I use a Griffin Grip, today that is old tech, but when it came out in the 80's I think it was like WOW to me. In a little bit of no time I realized how much faster I could trim pots. Even though I knew all of the tap centering tricks and was quick, this thing was quicker, and it would handle odd shapes with a little creative help. Now days with pieces of plumbing parts I can trim stems and chalice bowls and assemble in short time. Also use outer edges of some parts to trim to exacting diameters. Easy and Quick. So to me, unless I can afford or justify the tech, it is not any good to me. Surprisingly enough, the laser cutter, are dropping in price to where cutting the dies will be cost effective. The teachers cutter was about a 24 X 36 table. Pretty big for home use. I will pose a starting point for a definition: Technology for Ceramics may be defined as any advancement in a process that will allow a cost effective, easier or quicker, way of doing traditional processes with the aid of a new tool or piece of equipment. This could be some form of evolutionary technology building on traditional methods and equipment or completely new technology. Please edit, or completely rewrite it. . . .and as we go along, maybe we can come to a consensus. QotW: How do you define technology involved in the production of Ceramics? best, Pres

Thanks @Min, I will try to post the question as an ongoing updating definition editable statement. Thanks for the 2fer. Finding a topic is tough at times. best, Pres

@Min, I really like this suggestion, and will post if after posting the question included in the suggestion, ,, , What do you define as technology when thinking of things Ceramic? Hope this meets your approval, as I believe it is essential to find a definition that most would approve of. best, Pres

I guess we old guys have seen a lot of tech happen over the years, but then again maybe the correct word would be innovation for some. I look at the marvels of the kiln controllers of today remembering why my kiln was purchased without a setter. Major change in innovation, and technology. I also understand the reluctance of 3D printing but realize that many of us are using computer controlled cutters to make stencils and decorating forms. All the way you look at it. Glad to have found a topic that generates some traffic! best, Pres

I don't think 3D printing is faster when it comes to making a mug @Chilly, but it may be tireless when producing 100 or 1000 mugs. Imagining 20 machines cranking out mugs all day. . . tires me out. I think there will always be a call for well crafted hand made ceramic either functional or non functional/decorative or sculptural. Just as there will always be call for well designed aesthetically pleasing massed produced functional or non functional/decorative or sculptural pieces. Then there will be the those that will produce mass produced pieces of now aesthetic value at all as in a widget is a widget and aesthetics is not necessarily functional. best, Pres

Huh! Think about how much discussion we have had over the Griffin Grip over the years! Tech will always advance new ways, and good ceramic practitioners will constantly learn to incorporate the tech to their purposes in the best manners possible. best, Pres

Yeah, @neilestrick, a lot like saying unless you mix your own pigments oil, guache, egg tempera, you are not a real artist. . . . Often said at the beginning of the 20th century. best, Pres

As @Bill Kielbsays "I refuse to build an automatic kiln control, only monitors so one can learn to master their trade and more clearly associate what you see and hear with what is going on. I am speaking reduction of course, automatic kiln controls for electrics have already destroyed teaching rates and schedules and what happens when and why. " However, just as it is important as a teacher to teach the skill of centering a pot on the wheel, before allowing them to cheat with a Griffin Grip, teaching color of heat is important also. I believe that technology needs to be backed up by physical and mental skills before depending on it. When I was teaching computer animation, my basic teaching guide was the Disney book of Animation written by one of Disney's original animators. The skills taught in the book about the Principles of Animation, and ways to grab the audience were invaluable. As with that, much of what has been written in the past about Ceramics is paramount to understanding much of what we do. However, learning from personal observation and careful analysis of that observation is a personal way forward. best, Pres

Any way we look at it the future is coming fast, and it is cheaper to send a piece of software over the internet than to mail a package of parts. bbest, Pres

3-D printing is already an accepted manufacturing technique. Parts for equipment currently in use may be printed to replace old parts. The idea that someday you will pay a price for a piece of software to enter into your printer to make a new home decoration, machine part or such is not that far off. As with photography taking someone like Ansel Adams to raise the craft to an art form, it may take someone to raise 3D printing to an art form. best, Pres

Hi folks, once again no new questions in the pool, so I will pose a question that seems appropriate for the times even though I believe it to have been discussed in the forums in one way or another. . . . . . . QotW: Do you draw a line in the sand about technology when it comes to your studio or anything Ceramic? This idea of technology involved in the arts seems to be ongoing whether you are a photographer, graphic artist, animator, painter, sculptor or potter. Much of these and many more forms of art and craft have been hit by the tech bug in one way or another. Photography has gone digital, and yet we see a renaissance of film photography going on. Graphic art and design has gone almost completely to digital, even though concept work may still be done with paper and pencil. Technology is not something that we can hold back it appears, and I would not want to. However, there is a polarization involved with technology, there are those that fear that the use of technology is not true to the art or craft it is used in. I have personally seen people's lack of understanding and prejudices cloud their opinions almost appearing to be on a Witch hunt when it comes to something new as when I introduced a course in Digital animation and music with a fellow Music teacher at my high school. Oh well. Some may assume that I bought my kiln years ago with out a setter and fire by heat color and cone packs that I do so out of fear of losing control, not at all. When I purchased my kiln Orton kiln setters were the top of tech for the day. I wanted to be able to fire up and down, with a cone setter this is awkward, but not difficult, but I figured learning to do it without the setter would be good for me. My kilns at school had setters on them, and I used them constantly changing cones up or down to match what was firing or what I saw happening in the kiln. I was always very aware of "zones" where things would work better whether firing reds, or greens or colors with iron or chromium. Time gives you a lot of insights. Even though I have often thought of adding a controller, wonder now if it is worth it on this 35 year old kiln. I also insisted on adding a slab roller, extruders, and other pieces of equipment when working in the HS studio, going to digital glaze calculation as soon as possible, doing spreadsheets for glaze formulas and anything to make my job easier. I have not gotten into 3-D ceramic printing, and doubt if I ever will, just as I have not done a lot of casting; I am more of a hands in the mud kind of guy. I also like the idea of wedging the clay, throwing on the wheel as exercise that is good for my arthritis. So I will ask of all of you: QotW: Do you draw a line in the sand about technology when it comes to your studio or anything Ceramic? I think it is obvious I don't draw a line just prefer to work the way I do. best, Pres QotW: Do you draw a line in the sand about technology when it comes to your studio or anything Ceramic?

ONce again there are no new suggestions for questions. I have noticed that there seems to be concern about doing shows with the Covid situation, and up till this point I have tried to stay away from Covid when asking questions, and will continue to do so. So ignoring Covid (if possible) if you do retail shows, what are you most comfortable with in the way of shows? I started out years ago, by joining the local Pennsylvania Guild of Craftsmen, Blair County. I was a founding member, and therefore a party involved with by laws, activities and meetings. We decided to jury within the chapter, and that any member wishing to be in a local Guild sponsored would need to be juried in the chapter. I was one of the first juried in, and later became a juror. We did a show at Christmas time for a few years, then I did some local shows in the Summers, mostly finding it a waste of time as they were too small to draw a proper crowd, a beginning but expensive. At the same time as this was happening the Penn State festival was having changes and their local artist groups were complaining about lack of local artists being represented. This brought about a separate jurying that allowed work in person after slides to be judged for the local division. In the beginning the locals were located in one area, then over the years spread over the entire 400+ slots. This was a large show, and I did it for about 7 years. I loved doing the show, even though it was a lot of work, and I met a lot of local people. My wife helped me at the booth, and at times a friend of ours. I often would have to return home during the day to unload a kiln and make certain I had stock. After 7 years my wife was pretty burned out, as was I trying to teach in the Spring and throw pots at night to get up 10K of stock for the show. This was rough on family and our social lives to the point that when another venue opened up for shorter hours and better return I took it and became a college professor for the next 5 years teaching night and Summer classes. If I were to return to doing shows, at my age it would be local, small booth set up with easy to sell items with a few show pieces. No large booth, no orders, what you see is what you get sort of thing. Just to keep busy, but then again, a good display in a retail area would do as much good I think. QotW: if you do retail shows, what are you most comfortable with in the way of shows? best, Pres

@Callie Beller Diesel(last Dresden. . . still finishing, sad about Murphy, scary) Working with boxes can be really addictive, I did a run of potpourri burners in the 80's, tower with a ball shaped box on top, lid was carved with pierced decoration to allow the potpourri fumes to escape from the votive candle burning in the chimney base. So many variations of the same form can create some really neat pots. best, Pres

@Callie Beller DieselI really like the box form with the resist design. . . .works really well on the dark clay with the snowy glaze. I love making the boxes, and when I was doing them I could sell as many boxes as I could mugs. Time involved is about the same, but the finished effect looks more valuable for lots of people. I would display them with bath beads or salts, paper clips or other things. They work really well in bathrooms when you have toothbrush holders, soap dishes and other things for the bathroom. Some people even talked about using them for salt as salt pigs were not lidded. As far as cold, snow, ice, and all that comes with it. . .these aged bones are not up to it . keep it! best. pres

@liambesawSpiral wedging was one of the techniques I taught when teaching, along with cut and slam, and the rams head. Spiral takes the least energy when wedging the most clay. . . .very efficient. I have read some good descriptions in books, but videos help the most, or a teacher than does demo, hand on hand, and then critiques as you wedge. Tough to do otherwise. best, Pres

Hi folks, Once again there are not new questions in the QotW pool, so I will pose one I was thinking about when wedging clay. Everyone has a "go to" point or comfort zone, for wedging, throwing, rolling out slabs, and other things. Myself I figure over 15# is work when wedging. When it comes to throwing, 25# is my limit, but then I don't often do that, only for large jars and vases. I usually limit my throwing off the hump to 15# as that will easily get me a good hour or two of throwing for stems or chalice bowls. Most recently I have been running some experimental ideas on chalices, so use about 8# of clay. When rolling out slabs I limit my clay to about 8# as I don't have a slab roller, but use a 25 inch maple one. Some people run their limits because of their kiln sizes, or their own physical limits. While others will find work arounds for their dreams, as in an extra kiln section, combination throwing and handbuilding, or making modular pieces to assemble later. Putting this together in a QotW: What is your go to" point or "comfort zone" when dealing with clay weights or sizes for your work? best, Pres

I make mine with separate drain platter. I have given several sets at Christmas time, and found many people use them for all sorts of fruit on a counter or table, others for rinsing berries and grapes or other small fruit. I hadn't ever considered suing them as a steamer on the stove in a lidded pot, but will consider it next time we do mussels. I put an inside swirl line using a small rounded wooden tool to make a nice groove from bottom to top, then put a series of holes following the swirl line getting larger as they move toward the rim. I also flair the rim as in most of my bowls so that it is easy to lift them without a handle. best, Pres

Hi folks, sorry this is late, but I have been having trouble coming up with a new question for the QotW. . . . imagine that! However, lately I have seen the strands that refer to measuring sizes, using a variety of ideas, so I decided to ask: What form of measurement do you use when making pieces, and what sort of preplanning do you do? My own measuring process depends on the type of work I am doing. I have often said that I throw off the hump when making much of what i do in the way of chalices, small jars and lids. I really did not go into much more than the throwing, saying that I use measurements like tennis ball, base ball, golf ball, or softball for measurement. These I form on the top of the hump, by my hands and using the shapes as equivalent to weights. When I first started throwing off the hump, I found that weighing out balls of size, and matching that size when throwing was a good way to go. Tennis ball was approximately 1lb depending on clay wetness. When throwing larger pieces, I have some charts from various potters that list sizes that are now annotated by me for my sizes and throwing style. If throwing several large pieces that have to match, I use either calipers or a pointer device. Rarely do I use a ruler when measuring, unless for height. However, when making small jars I have a board that has several measurements marked as straight lines with end marks for setting up calipers. I also use plumbing parts for chucks to trim lids with that makes it really easy to get the same size diameter. When it comes to handbuilding, I start with a sketch. Then I use sketch proportions to help me figure sizes of base, and height, but the rest is more jigsaw puzzle assembly. Usually no more measurements than the base size, and the approximate height, both measured by ruler as sort of a bounding box. Once again, QotW: What form of measurement do you use when making pieces, and what sort of preplanning do you do? best, Pres

Yeah, well I have both. best, Pres

@SorceryI can only imagine what that would do to my cholesterol problems! best, Pres

@Mark C.I understand your concerns. Surgery 6 years ago on the rt thumb left me with a dead joint in that thumb and limited movement. Surgery that works out that way is not a solution for me. I still have quite a bit of grip as most potters do, and my wrists do not seem to be majorly affected by the arthritis. However the last joints on my fingers all seem to be getting knobby. I believe that part of that is the way I have thrown for years hooking the last joint of the lft hand fingers to pull the clay on the inside. They naturally have a hooked position even at rest, and only straighten out if forced. I will resist any surgery as long as I can. Everyone's health concerns are different, and with progressive arthritis you have to make your own choices. best, Pres