Pres

I do a lot of stack and slam using two different consistencies of clay. Lately I have found a course wiggle wire is even more effective, especially when spraying some moisture on to the slabs. The wiggle waves hold the water better. best, Pres

JohnnyK, Looks great, the old splash pans were pretty weak, your solutions look quite good. I bought two of the CI's back in the day for the HS using district funding. They were cheaper at that time, and were pretty good. They are still running also! I hardly ever demoed on the MP, only on the HP. Most of the time my centering style would make the MP groan, or worse yet, stop. I probably would get along better with it today. However, my CXC is still kicking. I still have a fond spot for the large work table and the decent torque of the HP. best, Pres

On the work bench, and in the kiln. . .mugs, honey jars and soon teapots. best, Pres

Mark, Nice work, squeeze bottle looks like it works very well. Another option for folks out there. Thanks for posting. . . .now post a pic of the squeeze bottle. Love the iron rich glaze. I used to use a spodumene that looked similar. best, Pres

No problem with mold, it usually makes things a little more plastic, but will only burn out in firing. Now if it were mossy, then has to be removed before using the clay, especially for throwing. best, Pres

Lots of times, when experimenting with clay body additions, a test tile or test piece is helpful to ascertain correct temp, or any other oddity that might show up in a finished product. Especially if you added something that caused melt down or extreme blow up, rather have it happen in a small piece than a large finished project. best, Pres

Recently LeeU asked in the question pool.. . "There are some posts in the archives about using coffee grounds for texture or glaze effects, and some old Clay Art posts about using everything from crushed walnuts to granite dust. What kinds of organics have you used recently? Did it “work” or not so much? Please specify if fired by electric, gas, wood, or raku, in oxidation or reduction." If I get this question right, I imagine it is What kinds of organic materials have you added to your clay or glazing recently? Please specify if fired by electric, gas, wood or raku, in oxidation or reduction. I have worked at Penn State in graduate classes(credit, but non-degree). While there we did quite a bit of experimentation with Don Tigny. I did add straw, chaff, raw oats, wheat, and other materials that were organic to the clay bodies, especially when working with raku. I also put the proverbial banana on the top of plates and lids, or just the peels, peach skins, apple slices, and even flowers on while doing reduction gas. I really did not fire these kilns. Then I did salt where I tried some pieces with organic and mineral materials added to the clay, but as at the time I did not understand how to work with the chunkies in the clay while throwing they were not very successful percentage wise. Later I had a workshop that used sawdust added to the clay, and pearlite added to another body. Both of these to help speed drying for 2 day workshops. So what have you done to you clay and glazing that may be of interest to the community? best, Pres

Mark, Thank you for the kind words. . . means a lot coming from a real pro. I have found the electric extruder to be so easy to use, and I find that I use the clay a little stiffer than when pulling; it makes it easier to attach and shape without distortion. The honeycomb texture comes from an MKM rolling stamp or a simple silicone hot pad from Bed Bath and Beyond. I have found applying the textures before shaping and then using a throwing stick to shape is really pretty efficient. .. . looking like a lot more work than it is. best, Pres

Actually the rollers and stamps are applied before shaping right after the cylinder is thrown. This expands the textures, smooths them a bit, softens edges. No old lady, I am not getting rich, just a labor of love, wholesale, but not bad. teapots are higher return, but all in all I'll be fine. Hoping to save enough for a new L&L with controller!

Working on the next order for Savannah Bee, mugs, teapots and honey jars. About two thirds complete, all teapots, ready for glazing, 30 mugs and 25 honey jars in present load. On the workbench two days ago was this. . . . All extruded handles! best, Pres

Once again, I am trying to come up with a QothW, as there are no new ones posted in the question pool! Sooo as not too long ago someone posted about backfilling handles, and I have also posted in the studio about doing extruded handles, I will post here about the shape of the handle curve. I am certain that most of you have a preference in how the final curve of the handle looks. So here is the question: Are your handles the ear type, the D, droopy D or other shape? I have been doing handles on mugs this last few days, all extruded now with the electric extruder. What a time/effort saver. At any rate, once I put the handle on at the top, and drop the bottom and join both with magic water I add a center ball, impressed as a thumb rest, at the top and two smaller ones on either side pressed in with a rounded wooden rib to finish the handle lines into the mug. Then I arch the handle to a slightly drooping "D" and back fill the bottom. These usually fit well for two and 3 finger use depending on the mug size. So how do you do handles in regard to the final shape of the handle as it profiles on the mug. By the way, even my teapot handles have the droopy "D", but they droop a little more. best, Pres

Hi folks, no new posts for the QotW so I will resurrect one from a while back: What is your latest environmental companion in the studio? I stated this question with the addendum of latest, because just today I used my phone streaming Pandora via bluetooth to my hearing aids! Really cool, but I found that it used the batteries to the Comm Pilot that makes the connection. Only could use it for about 5 hrs. Maybe have to pick up a battery pack to plug into as it is rechargeable from USB. best, Pres

Teapots posted in my gallery. Part of an order for October. best, Pres

Yeah, forgot about changing clay colors. My original wedging table is concrete covered with canvas. It has been used for brown clays for years. Now I have built a 3/4 cover of plywood with vinyl covered edges to place over top. This cover has edge boards underneath to set very securely over the original wedging table that is very secure. I use this new board only for white clays that I have been using of late. The SC 553 I did not like, but seem to be able to work the SC 630 quite well, even though I miss the tooth of the brown clays. best, Pres

No sink in my studio, lots of big buckets for water. best, Pres

Hi folks, I really haven't seen anything new in the question pool for a new QotW, fo I will pose one once more. How often do you clean your studio, and in what manner? I ask this question as I have a small very crowded one car garage that I use for a studio. Presently it stores most of my regular tools: drills, circular saws, miter saw, hand tools including hammers, wrenches, and other tools gathered over the years as I found need keeping up the house. I also have two kilns presently, a Brent CXC, and a wedging table, with all of the other items I use like hand tools, the new extruder, and various trimming chucks for use with the Griffin Grip. Cleaning for me has become more of a cycle thing, throw a load, fire a kiln, and while firing clean up which means washing surfaces, sweeping floor, washing floor, and reorganizing tools, checking slop buckets for bag wrapping to recycle, wiping down areas with damp cloths to remove excess dust, and doing whatever else need done. Most of this is done with a full dust mask on, while wearing an apron, and lots of water and sponges. Troublesome, but for the small studio. . . needed. I have found over the years, that much of my mess comes from wiping hands on myself, not cleaning up an area while using it, and not being smart about what makes messes. This knowledge has made me more aware of saving from making a mess by using sponges in work areas, using aprons more often with attached hand towels, wiping tools up right after use, and finding ways to keep better organized. What tips do you have to pass on to folks in the way of timing your clean up and how you clean up? Best, Pres

Forgot to mention, that the professorship was for something completely out of art area, but related. Seems because of my computer animation background that the college thought I would be a good fit to teach teachers how to transition into using their computers to prepare classroom materials. So it was about creating good legible organized slide shows, overhead transparencies and handouts for the classroom. . . pre white board. best, Pres

Gabby recently asked in the question pool. . . . Recognizing that some days are obviously different from others, and some here have studios that are available only in warmer weather or not in really hot weather, what is the typical day, hour block by hour block, during a time of year you are at your ceramic work? The interesting thing in these is the variety in the time of day people spend at their creative work, some starting in the morning and ending at 4, say, others starting at 4 and going into the night, some working at a stretch and others doing a couple of shifts, and so forth. There is also variety in how they spend the times they are not working. Some have a habit, like a walk. The choreographer Twla Tharpe, I believe, takes a cab to the gym every morning for a couple of hour workout. Some people have time specifically dedicated to reading (most of the writers do) or to family/spouse time. In reply to this of late it has been problematic getting into the shop, and once in, a problem getting out of the shop. I will often go to breakfast with my wife around 7:30, come back to the house around 8:30, check the forum here, check email, check news, while putting in laundry, waiting for the drier, folding clothes and getting other things done. About 10 am, I may get into the shop, but sometimes not until 12:30, then I may work until 6 or 7 pm, and sometimes back at it until 8pm after some dinner. Weekends are the same, Sundays hardly ever unless pressed, Thursday no afternoon, as I bowl, and if the weather is nice I kayak at least once a week. . . . this Summer none yet. Hey! I'm retired! Now if you had asked me that question in the mid to late 90's, I was in the shop earliest of Spring every night after school from nearly 4 til dinner, 7 til ???? Then back to school the next day at 7am. I did Saturdays all day, and some on Sunday if needed. Once school was out it was in the shop before breakfast, then breakfast, then lunch, and dinner. . . the only breaks in the day til 10 or 11 every night. No in the long run, not fun, and doing shows did not pay well. When offered a itinerant professorship at a local college with me in full control of the curriculum, teaching for two weeks to make more than I made in the entire Summer, I relaxed and made pots when I wanted. best, Pres