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Pres

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  1. 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
  2. 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
  3. As @Min and @Hulk says, to add one more point make certain to place rows tight on the floor between the wheel wells and walls. This will prevent shifting at the floor while traveling around those mountain roads and curves. Load shift is problem when carrying boxed heavy material. best, Pres
  4. I started out with a Summer class back in 1970. Class was a 3 day a week, but I was there every day and weekends often for about 6-8 hrs. Class grade was based on work, class was 8wks I believe, I waited til the bisque deadline week to keep anything and had 9 pieces that I kept. Ceramics 2 maybe had 20. I practiced all of it from throwing to pulling handles, 3 major forms cylinder, bowl, and plate. Kept so little that everyone thought I was crazy, but what I did keep was good for the time. Over the years of teaching, my skills improved because of teaching and lots of experience. As far as water goes, I use it to center, make first pull and a few later, then dry my hands and throw dry for the rest of the pot. I keeps me from slumping the pot and allows me to compress/thin the walls. best, Pres
  5. I believe the correct setting is a bisque, fired empty. Check your manual for the kiln, or if you do not have the manual, you can find it for your kiln at L& L's web site-https://hotkilns.com/ best, Pres
  6. @mky1000, Often there is a tendency of the beginner to mold the hand to the cone on the wheel head. The angle of the lt hand is important to keep from leaving the bottom wonky. If you keep the palm of the hand perpendicular to the wheel head, or even angle it slightly tilted away from the clay, the edge of the hand opposite of the thumb will have a natural tendency to center up the bottom area of the clay. This technique seems to work especially well when using a rt fist to push the clay downward. your clay will not look so much like a cone, but more of a hockey puck slightly narrower at the top. This will also be easier to open up than a cone, and at the same time give you an easier reach for the first pull. All IMHO, based on years of experience teaching HS and adults. best, Pres
  7. @Skip, A few answers to some questions may help the community with some helpful suggestions: Where does the pinholing occur, where glazes overlap, on the inside of the bowl, outside of the bowl, in the bottom of the inside of the bowl? What is your prep for this brushing on, have you washed the pottery with a damp sponge, or do you dip the bowl in a sink of water as some do? What is the consistency of the glaze that you are brushing on? A picture would also be helpful. As to the food safeness of the bowls, I would not sell bowls with pinholes on the inside if prevalent. best, Pres
  8. @xinyao When posting here, please do not place in outside links, and please use english. . . .to make it easier for the majority of the forum population to understand. We can all google for a translator, as I have with your post, but would prefer things posted in english. Welcome to the forum! best, Pres
  9. 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
  10. I enjoy the delightful O'keefe reminiscent forms of Martha Grover. https://www.marthagrover.com/ 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
  11. Function and Form are certainly variables that the maker uses to express their aesthetic. Some of us create functional ware with the intent on giving joy in use to the user. Often these functional pieces are stale or dull in their execution and identified as such by those that write about or critique ceramics. Potters wishing to step outside of the aforementioned status will often experiment to the extreme of form thus jeopardizing function. I believe that such is the case of the tea set you have pedestaled. Some might even argue that it has accomplished its function by the responses it has received in this strand. best, Pres
  12. I have used both kilns over the years as a HS teacher, and department chair for a few years. I know how well the Skutt runs in the early years, and over time the abuse of novice teachers and others using it caused major amounts of element stretching from broken channels. Both of these kilns had sitters and timers, not electronic controllers, so newer are different. However, when it comes down to long term use and stability of the elements and bricks due to the element holders/liners in the L&L's they were my pick for my new kiln that replaced a 36 year old full manual L&L, eventually all the wiring other than the elements was fried and would need major work. best, Pres
  13. More money for next fishing expeditions! best, Pres
  14. Hi folks, I have been thinking a lot of how the studio is the center of artist's experience and how things can impede or enhance that experience. Something that I miss being able to do was to have an open studio event. I used to participate in one with a painter. She had a barn near her house that she had a studio set up in, and would open up in early summer for an event. She would usually have some music, a couple of other artists, some food and wine venders. It was not real large, but would usually have over 150 visitors. I did it with her for about 3 or 4 years, and then she moved and it was gone. My own studio would never lend itself to an event, or even open studio tours as are offered in some areas. So my question this week. . . QotW: Do you participate in any open studio tours, kiln openings, or other events allowing visitors to your studio/shop? best, Pres
  15. @docweathers,The matt/rugs are sold around here as a decorative item, they fit into a frame holder of rubber. The pad/rug is thin rubber, maybe 1/4" with a piece of something that feels like felt on top. This is my pad that I use that I glued onto the old bat, and then stapled the edges. I only really need the center area to about 8" out, but hope to take a little more time to fill out the edges. best, Pres
  16. When taking classes in the summers at PSU back in the 80's, I watched the prof and a group of grad students set up a wheel on blocks near a wall. I was curious at the time and kept watch. A woman rather large with child came to throw at the wheel. Sthe threw nearly every day I was there quite well, having little problems with the wedging or the throwing and trimming. He pieces were not large, largest maybe 12#, but she threw well with little problem. I would think for her advanced time it was easier standing. She returned to the class a few weeks later, and still used the standing wheel for a while. I talked with her about it when she mentioned something to me, and found she was in her last few classes of an MFA and wanted to finish up the work during the Summer with a degree major in Painting. best, Pres
  17. Actually didn't do much, but yesterday after thinking about it I tried spraying the pad with a mister bottle, no dust. I had originally tried wetting it down with a sponge last year, and it got things too muddy. However, the mister bottle put just enough on to flatten the dust, and not muddy up the bottom. Once done I touch up easily with a damp sponge brush. On my large patens 12" diameter this saves a lot of time. best, Pres
  18. A sponge brush also works well to clean areas larger than a Q-tip. I use sponge brushes a lot to clean areas around foot rings, or even to load a brush with stain when doing calligraphy. best, Pres
  19. Even with every student working at home on a wheel, it would be difficult. I have taught several adult groups where folks have had some Utube experience, have worked on the wheel, and formed really bad habits because they missed some of the really basic beginning steps. A good teacher can identify poor throwing habits when with the student, demonstrating correct form, correcting bad arm positions and helping the student to realize the amount and variation of pressure used when throwing. Some of these may be corrected it 2 way video is available, but still not the same as in person. I have also had adult students that took in person classes at colleges. Seems that the numbers of students in beginning throwing classes are daunting, and that a student may be overlooked. I could help these folks get on the right track with a little adjustment here and there. Biggest fault of most was what I call "chicken winging" where they bend their elbows incorrectly. best, Pres
  20. Lately, I have a bat that I have glued a piece of rubber with thin cloth matt on top. These are sold as area entry matts now. I use it on the wheel with dry and it rubs off most of the bottom area and up the side about 1/4". Little touch up and I'm done. best, Pres
  21. @oldlady Hats. .. .you know my picture. . . years ago I demonstrated at a street festival for the arts-3 day affair. Throwing pottery in the 90F. days without a hat, and no tent overhead. I ended up with large blisters all over my head, even though I used sunscreen in the morning. Never again do I go without a hat. best, Pres
  22. Hi folks, as there is much talk about the heat lately, I began to wonder if the weather interferes with shop time. I am sure over the years you have heard me complain about freezing clay, complain/praise the brick garage/shop that is my studio, and various other thoughts about the weather; I need not cover it further. QotW: Does the weather interfere with your production/exploration of Ceramics? BE specific, and tell us whether you have air conditioning, heat, or other means of controlling your shop/studio environment. best, Pres
  23. @neilestrick, I get their main header with the diamond tools on it, but when I go to the clays only get a side bar with listings but nothing else. best, Pres
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