Pres

Thank you, Mark best, Pres

Hi folks, I have been doing some thinking about the white liner glaze that I have been dipping the hazelnut and the white clays in before spray glazing. So I decided to try a piece without glazing the whole piece in the white glaze, just the inside and neck. I think you can see the difference. Seems like to me, the white is bleaching out the cream rust glaze here, pieces I had sprayed with the cream rust, the variegated blue and the rutile green would always be more blue and green. Interestingly enough, the hazelnut pieces would have more browns in them. best, Pres

Reposted as I had it in the wrong strand! These are a few from the last load. best, Pres

Denice, compression seemed to be the key, but it was not consistently so. I wondered about that, and went to Hamer for research, and then to several other sources before seeing a video of an Asian potter throwing off the hump. He would create a pancake, then raise the pancake edges up into the walls and complete the throwing and the shaping. Why you would ask, but after Hamer, I knew. The pancake caused the walls to wrap in the corner with no particle irregularity. Partly because the walls were pulled outward first allowing compression, then as turned into the side walls the movement from the base to the wall the particles were aligned. Hard to imagine without images, but it does work very well. best, Pres

Understand house having an attitude. Years ago, our starter home that we never moved from had an attitude. Doors we knew were closed were open, footsteps sounded in the middle of the night, things in the attic were moved around, doors would slam without any reason. Disconcerting! Over the years, we have made major changes to the house, stripped rooms to bare walls and redone, added space with bump outs at old porches, created different movement patterns by consolidating smaller rooms, and made a bathroom suite across the back of the second floor while adding a downstairs bath. House is now quite quiet. I guess things are at rest or it wasn't home anymore. We did find out that there was a tragedy when someone died in a burning kitchen, evidenced from framing exposed during a kitchen renovation a few years ago. best, Pres

About 5 years before retiring from teaching, I was commissioned to throw 2000 vessels for a religious retreat, the particular even was called "Filling your Vessel". Truth be told I decided to take the job as I needed to improve my skills at throwing off the hump. I would seem to get "s" cracks in everything. By the time I was done, no "s" cracks. They disappeared after about the 300th vessel. Makes life easier today when throwing off the hump. A lot can be learned from repetitive throwing, even though not changing forms is quite boring, IMPO. best, Pres

As there have not been any new questions in the question pool, I will pose an old question. QotW: What is your studio companion lately? This for some of you may be a pet, or it may be a radio, or a television or some other device . . . CD player. . . 8 track tape? At any rate, I pose the question. I have a television in my studio, and use old movies or movies that I don't have to watch to keep me company. Long hours of wedging and throwing can be repetitive and to some degree boring. The tv adds a little noise and on occasion I do watch. Lately though, I have been wondering about putting an Echo Dot in the studio. The prices right now are really low. it is voice controlled, and can play off of a variety of streaming services both free and for subscription. I prefer free! It will also play audio books. Might be a possibility. What are your thoughts? best, Pres

These are waiting for glaze firing tomorrow or next.

Yeah, I am retired, but what does that have to do with the love of making pots?? At any rate, I am also painting a bathroom, as my wife decided we needed a color change with the new shower in the downstairs bath. The old one was thin plastic liner that I poked a hole in the corner when caulking. New stall looks so much better. Getting started next week on mugs and honey jars, as the order should be coming in before too long. Need to buy more clay soon as the last of the boxes is nearly gone. Think it will still be the hazelnut and the SC630.

Working on a bird bath 18" diameter, a long loaf paten for double chalice set, and first four of a series of floor vases for Christmas. Pictures to follow. best, Pres

Hi folks, and once again no new questions in the Question of the Week pool, so I will take another stab! We have been doing tool kits for different activities that we as potters may need to do a task. This is my way to allow beginners to look at possible needs to do pottery, glaze pots, and to clean up after a kiln load. So taking one more step forward. . . .toward doing shows. QotW: What would your tool kit for doing shows include? It has been many years since I have done shows, but in the 90's I did the Penn State Festival of the Arts for about 7 years. I found that having a few organized boxes of items needed to set up, and be ready for the show was very important. Back then, I had one metal box, call it the Cash box that was lockable, had needed change, business cards and stand, PA sales license, sales stickers, sharpies and pencils, scratch paper pad, string tags, and a leatherman. The next box was the tool box, where I kept a 2 socket wrenches and sockets needed to set up the booth, a Phillips and straight screwdriver, duct tape, and large paper clamps(used for tablecloths, awnings etc.), mallet, tent stakes. rechargeable dremel tool with assorted grinding/polishing bits. large water container for water, and another drinking container of water. Most of this is self explanatory, but some things may not be. Dremel tool was to clean up anything rough I found in handling pots that I may have missed. . . you never know. Water container helped selling teapots and pitchers as folks wanted to know how they poured. My booth was assembled with long bolts that attached areas together, needing ratchets. So what would you include in your tool kit for doing shows? best, Pres

Hi folks, and once again no new question in the QotW pool. I have been doing this thing with tool kits as far as aspects of pottery production, so I thought why not the final work on the pots, that time after glaze firing that might need a little TLC. So my QotW is: What tool set would you have post glazing? I just finished a couple of loads and packed them away for delivery to Savannah Bee in GA. When pieces came out of the kiln, there were places where there was a roughness on the base, there were some spots not quite right in the glaze surface, a little rough or so, and some of the lids did not fit quite as well as I wanted. My basic finishing kit requires a few things: diamond disc mounted on a masonite bat for grinding bases and edge of base, water bucket, a dremel tool with a diamond bit and a rubber polishing bit, buffing wheel and toothpaste, dust mask, griffin grip, 3 small diamond sponge pads and another bucket of clean water with a sponge, and a towel for drying. Most of these are self explanatory as I do my bottom grinding on the wheel dipping the pot in water, and also use the GG and the dremel tool with diamond bit to clean rims and grind lids to fit. I also use the dremel with the diamond bit to clean rough spots and polish these into the surface with the rubber polisher. Finish this with toothpaste on the buffing wheel. Rinse everything clean, and check for leaks, in the water, then dry and pack. I could include packing materials, but then they vary with mode of transport.For this trip a bunch of wine/whiskey boxes and bubble wrap worked fine. Mugs got stacked 3 deep, cardboard in between, 18 to a box. Honey jars were tougher, but often second layer above mugs with cardboard between and bubble wrap sheets 1/4 ered and spoons forced through a small slit, and lids on pots with bubble wrap between. In most cases honey jars could be stacked 2-3 deep. So once again, when they come out of the glaze kiln: What tool set would you have post glazing? best, Pres

Not on my workbench, but to let you know what I have been doing. These shots were from delivery of pieces to Savannah Bee on June 24th. best, Pres

Yep, I forgot to mention the drill with paint mixer, the stick blender for the jars of spray glaze, and a toilet brush to mix base glaze. best, Pres

Hi folks, again no new QotW in the pool so. . . .after last weeks QotW about handbuilding and throwing tool kits lets extend to Glazing. What would your basic tool kit for glazing be? I have been doing a lot of spray glazing of late, and will start off with a pair of dip tongs(for base coat dip glazing), compressor and spray gun. I use a simple one that uses standard quart jars that works really well for my purposes. I would also add a banding wheel, a bucket of water to clean out the sprayer between colors, and a small brush for brush work over glaze. Glazing for me also includes cleanup before loading into the kiln. Include here a potters sponge, a bunch of 1" sponge brushes, a bucket of clean water. I also wax bases of all of my pots before glazing so that would be with an electric skillet and paraffin. What would your glazing kit include? best, Pres

Wow Marcia. good to see you posting. The piece is phenomenal! Surface depth and color, contrast and transparency all so subtle and yet defining the orb form so well. best, Pres

Yeah, I use a trimjin to lift my bats, as years ago made a happy mistake and cut some of the aluminum wheel head edge. . . so bats lift easily that way. I also used to throw on plaster bats in college and love them but my present situation does not do well for the storage of the old thick bats, and I really like larger area, not tile size. best. Pres

Okay, Okay, I did forget the cut off wire, and the chamois even though I often use a the web between fingers, and a japanese style throwing rib for bellying out the mug and jar forms. best, Pres

There was not a recent QotW question in the question pool, so I will pose one that I have been thinking of lately. What would your basic tool set be for handbuilding, or throwing? I have been throwing a lot lately, simple things, mugs and honey jars. I find that I use only a short list of tools: water bucket, sponge, needle tool, a bamboo spatula blade(handle cut off) with a pointed edge with a notch for foot establishment, and a pair of calipers for the jars. This short list is supplemented by a bunch of odd stamps and textured surfaces for pressed in pre-shaping decoration. A rather short list I believe, but all I really need to do to throw @1# mugs or honey jars. For handbuilding, there is another short list: slab sticks, rolling pin, fettling knife, a bevel wire( used to do this with fettling knife angled on table edge), and some magic water with tooth brushes and regular bristle brushes and a round wooden rib to work edges. Again, I would supplement this with the texture tools, and often decorate before final stretching of the slabs. So I will post the same question to you: What would your basic tool set be for handbuilding, or throwing? best, Pres

Glazenerd is one of the few who has posted a question lately in the QotW, so here it is: What name would you ascribe to the current period of art history that began in 2000? That is a tough one for me, and I really wonder how to describe what I perceive to be happening. My personal observation and discussion with others brings to mind much of what I believe would be seen in art circles during the 19th and 20th centuries with the reaction to Industrialization. I also believe that we are in the early stages of a new manufacturing revolution along with some great changes in the way we view consumables and all sorts of everyday appliances. As 3D printers and the technology become more able, less will be manufactured by hand, less will be shipped, and planned obsolescence may be a term of the late 20th and early 21 century. We cannot continue on the way we do now. When any idea, could be printed in 3 dimensions, cheaply, easily with no skill involved other than the thought process and being able to use a 3D interface of some sort to construct the object, the value of the object will become less important. I believe that people even now are returning to human made/performed arts and crafts. The idea of the human touch, warms the object or performance. It appeals to the individual looking for value, relevance and a human aesthetic in their environment. Just as the Industrial Revolution brought about a number of movements, Fauvism, Impressionism, Expressionism, Cubism, to name a few, we will be looking at several movements in the first part of the 21st century that will either hug new technologies, or ignore them, or react with direct opposition to them just as the arts reacted to photography or the Industrial Revolution. I have no idea what to call them, but I do believe we will see a new resurgence in the arts. So for you I ask, Qotw : what name would you ascribe to the current period of art history that began in 2000? Also if you believe differently than I Please let me know. best, Pres

While spoons are setting up in this warmer weather, I use a small bucket with a lid, sponge in the bottom with a plate on top. They last for weeks in that. Everything else gets a used garbage bag. best, Pres

Right now 40 jars sitting in the shop waiting for honey/spoon lids, 26 in the kiln, Mug throwing next week 75 for the order, probably get them thrown on Tues & Thursday. Recycling thawed out clay is rougher this year, but doable. Now use a heavy wiggle wire to cut bread slabs, spray and slam. Used to put finger holes in the slab, this is quicker and easier. Wiggle grooves hold water well. best, Pres

Folks,as Callie has said This entire conversation at its heart is meant to be about showing each other compassion and respect. When I posted this my best intention was to open up a discussion about diversity of culture within the arts. In a mature society, where images, sounds, speech, and feelings are often identified by cultural differences, I would hope that those of us within the arts can have shared feelings and empathy for those that are different from us and yet have much to contribute. I would hope with so much chaos in the world that we can find a common ground and get along. Please keep this civil, and be aware of using your own cultural expressions to explain, not hurt. Language can cut as easy as a sword, but often the damage is not as sudden as the sword, but lasts along time. best, Pres

All too often, the college courses for teachers, and non Ceramics majors was negligent on glaze chemistry. Possibly for the lack of appropriate teachers, lack in belief that students needed or even cared about it, and as budget required efficiency, was left out of the curriculum for lack of enrollment. I never had one on glaze chemistry, only a general that told us to read Nelson's chapter on glaze chemistry and be ready for a quiz that never occurred. Oh well! best, Pres