Pres

Thank you Ben, best, Pres

Yeah, glaze is in 2 am. Tomorrow we sleep! packing on Thursday night. Hmmm better get some bz cards printed up for promotion. Always something. However, weather was perfect today, high 70's and sunshine. best, Pres

Busy glazing once again, Honey Jars this time to be out on Thursday for trip Friday. best, Pres

Any weight component there Rex, as I would think without one there would be some really good, and some really poor cylinders, some with 3#, and some with 10#! best, Pres

Glazing today, bisque is just turned off. Glaze load goes in tomorrow, then another on Tuesday. This is today load that I have finished glazing though the pic was taken this morning before. best, Pres

Forms seem to be a common thread of interest lately, as we had the last question asking about Masculine or Feminine forms. Gabby lately asked: Do you have favorite shapes or forms now in your work? If you do, how have these favorites changed over time? (What made me think of this was the current discussion of throwing huge planter pots, because I can see that is of great interest to some and of no interest to me- neither the very, very large nor the very small and light). This is something that I have often considered in my own work. Years ago, I threw a lot of narrow rising, high belly, tight shoulder with short neck jars. These were almost inverted pear shapes. Mugs were much the same. Then there was the car cup craze, before cup holders where you had a neoprene pad on a wide based mug form. These caused me to rethink forms a bit, and I started throwing some forms that were more pear like in form. I always have had a tendency to follow the Golden Mean, as an artist it just seemed to make sense. I used to surface with inglaze on an eggshell glaze for interesting textures through lace and other masks. Now I press/stamp the pots before shaping, thinking about how I will shape the form so as not to punch through the wall while shaping. I also like to have the form with texture vs smooth, and use shoulder accents often to establish and slow the eye movement through the form. So things are changing, but at the same time, when throwing large, I still prefer the narrower base high belly forms. Need to create some of these with the stamping textures for some new stuff. best, Pres

Thinking about it, I may have a bias of sorts. . . I still judge a pot by whether it looks/feels overweight, if it is heavier than I think it should be, it goes back in the bucket, as no amount of trimming will make up for poor throwing. best, Pres

Min recently asked the following question, and it runs differently than most of the ones asked in the pool. It has also been bumped by LeeU in a post that she like Min's question. . . so: Do you make feminine, masculine or gender neutral work and is it a conscious decision? I have never thought about masculinity or femininity of any work. Looking over my work, I believe it is all over the gender situation. I have biases that I will admit when throwing work: I really do not like to see a flat spot in any curve, I consider the diameter of bottoms in proportion to height as not wanting a piece to be visually too bottom heavy or too spindly because of a narrow base to a tall form, I like shoulder accents in "S" shaped curves to slow the motion to the neck or rim, I love to texture the piece before shaping(something that has only happened within the last two years, and I have a tendency to follow the "Golden Mean" when throwing, handbuilding or combining forms. In much of this I do not pre sketch unless I am constructing a form either of slab, thrown or combined pieces. Most of my work is completed visually within the throwing and trimming. I throw lots of pieces of the same genre (mug, bowl, honey pot etc) at a time, breaking off in different directions in the form as I see something I particularly like at the time, then head in another direction. You could look at my gallery, or blog to see if you find a gender in my pieces, I really don't know as I have one. best, Pres

I still haven't gotten any new additions to the QotW listing, so I will once again pose one of my own. This has been asked before in different ways, but I will ask again: Do you have an environmental companion in your studio while you work? For me it has been old westerns on television in the studio. Old tv series, old movies, etc. I know almost everyone of them so don't have to pay attention, and when that great line comes up. . . I chime out! However, of late I have been looking at streaming of sorts, maybe using wifi to use something like Spotify or some other streamer to get in music, and not use the TV. Not sure, but possibly as I have seen several albums that are mood/quiet, and some that are classical guitar etc. Might be a new thing for me. May have to extend the house wifi out to the shop, but no big deal, I am capable of messing with a bit of that. So Do you have an environmental companion in your studio while you work? best, Pres

Magnolia Mud posted a question very recently, actually quite a few questions, but this one seemed to be one not asked yet: Where do you go to obtain more information (and/or background) on ceramic related topics, ideas, suggestions, insights, or questions you pick up from colleagues, general reading, online forums, in casual discussion, or your own pondering? This strikes at the heart of why I am involved as a moderator and a contributor on the forum here. For years, there was no internet. . . yeah I'm that old. Local libraries put their budget into things that would get the biggest audience. . . usually fiction. Magazine subscriptions were available, but in specialty mags you know that they can be expensive. Books were the biggest source of my information in the 70's to the late 80's. I searched local bookstores, went to Penn State for the textbooks used in the art department at the student bookstore, checked with professors about what books to read, and get and then ordered them in. Over the years, I developed a pretty nice library of which you have seen many in the Potters Quiz of the Week. Then came the internet, and the world changed. It was a safe place in the early years, kind of elitist to be on it, and yet so much specialty information existed and forums popped up with discussions on all sorts of things several devoted to Ceramics. They came and went, and evolved. Some became fractured by argumentation, others died from lack of interest of lack of participation. Happy to say that our has not gone and seems relatively healthy. For me though, obtaining more information often calls for specialization, as in glazes chemistry, or firing techniques or some other area. Often this leads me to a thinking period (gestation) where the material is sifted and rethought to come to my own conclusions. Forms are usually that way, techniques with texture and decoration in the bare clay, and on the glazed surface. Much of it is a reformulation of old stuff, and new stuff, and Preston stuff. best, Pres

Tough one for all the kiln builders and the wanna bees! I know that I would have had to think long and hard before answering some. First question takes a lot of visual geometry; Second takes knowing the timeline of fiber casting materials development, as this book was written early;Third one is fogged with a bunch of made up false answers, and the last requires only knowing the shape of the brick that the weight of the arch starts on. best, Pres

Hmmmm No takers this week? Cowardice will get you no where. best, Pres