Pres

I have edited the title here @dawn neusinger. This will allow more direct traffic to your question, and allow our search engines to pinpoint the question in future searches by others looking for the same information. Welcome to the forum. . . lots to learn here, and a good community! best, Pres

Never did wood or other types of fuel firings, but thought it would be fun. Funny as I live very near a very renowned wood firer. best, Pres

My firing experiences over the years have been limited in some ways, and yet extensive in others. While in college undergrad and grad, I was involved with reduction firing to some degree, loading and unloading, helping with firing and firing a salt kiln with a partner. All of this was done with cones and rings for the salt. Lots of fun, but not much use for someone living in an urban environment. I started firing Ox electric with an old square Amaco kiln in my first year of HS teaching. It had a setter, and would reach ^06 for glaze. . .just barely! Then I was involved with planning for a new building where there would be a Jewelry & Metalcraft/Ceramics classroom. We ordered a new L&L stacking octagonal kiln with setter/timer rated to ^10. We changed clay bodies from buying from an art supply house to Standard Ceramics just south of us by 2 hrs in Pittsburgh, clay bodies were ^6. We fired lots of pots for the kids, and liked the setter. However, when it came to buying a new kiln for myself, the same L&L, but with a special order no setter or timer! I had wanted complete control over the firing much like the firings with the gas reduction kilns. I wanted to be able to set a slow cool down to 1000F. and to choose a hard ^6 or a soft one. In this manner I would baby sit the kiln til all times of the day and night until fired. Lucky for me I was younger! Then @36 years later the old L&: was worn out. My wife bought me a new L&L kiln with all the bells and whistles, and not I fire a program that allows for all of the particulars I liked in my manual firings without the constant baby sitting. QotW: Do you fire your own kiln, is it manual by cones, setter, or program? Do you fire Ox or Reduction, and to what cone? best, Pres

As others have said, much of the glaze surface could be had by a speckled clay body. However, if I were experimenting, I would try using iron rust mixed into a White or off white glaze, you might even try adding some Rutile, powdered to a glaze white glaze as it has a tendency to make a more buttery looking color. . . then add the iron rust to that. When I say iron rust, I mean to scrape some rusted metal to get irregular sizes of iron, then grind it some to remove the larger particles screen it through a 200 to 300 mesh screen. Depending on the size of particles you with to include in the glaze. Then comes the fun part, deciding how much iron speckling you want in the glaze. Lots of testing, but could be a great learning experience for some more advanced motivated students. (For some reason or other, I got this on to another strand about a glaze search. . . Mod-Min brought my error to my attention) best, Pres

Lately I have been using the web of my first two fingers to compress the lip, Used to use the chamois or a piece of folded paper towel, but would not be able to find the chamois all the time. At times would use a fishing float on the chamois to let it float in the water bucket. Over the years have used nearly everything possible to compress lips, just to see what I liked to use. best, Pres

Definitely a thickness issue. Years ago, I had a student that made animal objects at home with our clay. They brought them in while still wet for me to fire them. looked at the pieces that were about 8 inches in length and 5 in width. Felt way too heavy. So I told them so and we decided on a plan to lighten them up without losing the form. On the legs, she cut long deep grooves and then used a child's spoon to hollow out the inside, then sealing it back up with a slab of clay the same thickness as the leg area, We followed this plan with all the body parts, and found ways to leave hidden air holes to help with drying and firing pressure. Drying was done over a two week period, and firing turned out well along with the final glaze firing. Years ago, but I remember it well . . . . especially the excited smiling face after seeing them being unloaded from the kiln. best, Pres

Last week we explored a little about feet on vertical forms, and alluded to the importance of lips on vertical forms, mugs, cups, pitchers, vases etc. Which of the following profiles would you attribute to you forms? Do you use more than one profile, or do you have a profile that is not listed here as in 7. I think most of us started out with something like 1 or 2, when beginning to throw, and often maybe felt that wasn't enough and went to 4 or 5. Just my thoughts. QotW: How do you finish the lips of you vertical pieces? Please explain, and provide pictures if needed. best, Pres

I guess I'm one of those that unloads the dishwasher from the top down. . . water dripping on other pieces. My answer to this is rounding the inside of the foot ring or cutting grooves in the ring to allow drainage. Just and aside from a practical solution to maybe a non existent problem. .. . Depends on how you look at it. best, Pres

In reply to your inquiry, I learned pottery when in final years of undergrad school, was hooked. My tools come from decades of buying, adapting or making tools that fit my needs. Over the years my needs have changed as arthritis and other things have changed the types of things I do. Because I can't pull handles anymore. . . I jury rigged an electric putty gun to extrude handles. I made ribs and trimming chucks to specifically throw chalice bowls and stems. I was always a teacher in a HS, not a full time potter but addicted just the same. I don't intend to quit, and at the same time love getting dirty in the clay. All that @JohnnyKhas said goes for me. I have been doing this for over 50 years. . . it has been hard work learning, and it is a skill, I doubt is there is much that could be done now that hasn't been done to make it easier or better. best, Pres

The foot that creates a shadow at the bottom of a pot is excellent in so many pieces as it keeps the pot from looking like it is part of a table/counter/ what have you. However, when you introduce a foot ring, you bring in a new problem. . . how will the foot ring drain in the dishwasher or even after hand washing and set drying in a dish rack? Just thought @Kelly in AK not criticisms. best, Pres

I taught for 36 years, much of it Ceramics day to day. Not really work of the physical type that potters do, but still a lot of clay, wedging, throwing, demonstrations, lectures, and coaching beginners and intermediates. Retirement brought on some regular throwing, lots of bowling, and other activities that taxed me. Now in my mid 70s I find that it is easier to get tired, delay going out to the shop, or to not take that kayak out as often. Luckily, even though I have quite a bit of arthritis in my hands and other areas, I still enjoy working with the clay and creating one of a kind pieces. . . for my self, or my vision. So what if I make less, there is no need there to sell, but still the need to make . . . hope to continue on til gone. best, Pres

I have used similar products frequently with stains and glazes. As @Chillystates not great for overall glazing, but useful in many ways. I you have highly textured surfaces you may use stain or glaze at angles across a piece to accent the texture. These work well over a base coat of glaze, dipped or sprayed on. At the same time the slow build up of color over texture will show many variations of depth in the surface. The latest slab/wheel combination piece in my galleries is an example of a highly textured slab surface with cobalt and iron stains applied first, painted and sponged glaze added on second, and thirdly a series of sprayed on glazes that I was not familiar with only using test tile references to build up the surface. Load the image into an edit program an look at it closely. . . . you may be surprised. best, Pres

Strangely enough, over the years lips, and feet have been important paths I have followed. As @Mark C.says each potter has to find their own way of doing it. All of us probably started with #1 when learning, and then modified as we became more aware of the importance of feet. . . . and lips. best, Pres

Once again I will try to elicit a question that raises a little discussion. Often I wonder as it seems folks take time to think before posting as much of the posts come later in the week. Maybe it takes time to get under your skin enough so that you have to post to kill the itch! This week there have been discussions of runny glazes, failing glazes, and other problems with glazes. I have had some problems over the years with some runny glazes especially when used over other glazes. I loved the colors created by these layers, but hated the fact that often I had to quit the glaze line of the culprit 2/3 from the top of the pot. Back in those days, I was using commercial glazes and not really cognizant of the methods of modifying a commercial or other glaze. That has changed a little. However, are there other options? In a discussion of late I suggested changing the foot of the pots being thrown to alleviate much of the over run that caused problems. Often though even these need other measures to come to a good solution. These thoughts got me to wonder. . . . what type of foot do people use on their vertical forms? So I did a quick sketch of feet that I have seen on vertical forms and would like you to comment on the type of foot you use and maybe even include a picture. QotW: What form of foot do you use on vertical forms? Is it one of the ones listed or other? Please include pictures if possible. best, Pres

As @Kelly in AKsays the texture is a problem/blessing. I have good luck in heavily grogged clay with a spoon back. A metal one would work like burnishing, and a wooden one would leave more texture. Maybe playing with a variation of both on a piece. best, Pres

You may have to rethink some of your design features of you pots. On uprights like mugs, glasses, pitchers and such maybe a large drip catch at the bottom of the piece would be part of your answer. You may even find that using more of a an unglazed area at the bottom will slow the run of you juicy glazes. The rough clay body should help with some of the running when not coated with a base glaze. You are definitely in need of a diamond grinding at the bottom to take care of the roughness of the clay body. I would hesitate to push that cup bottom on any finished surface, even the faux stones so popular in todays kitchens> best, Pres

I have been fifing some pieces for next season, and Christmas of late. On the last load, I found a rough piece of clay inside a glaze fired bowl. About 1/32 long, I wondered how it got there. I had recently vacuumed out the kiln, so I was puzzled about what happened. Looking closer the piece seemed to have glaze around it. I sieved all of the glazes again once to a clean bucket then back to the original. Re-vacuumed the kiln and hope that the next firing will be different. QotW: How often do you vacuum out your kiln and sieve your glazes? best, Pres