Pres

If this object is solid, I would use a drill bit to drill a series of holes in the bottom of it to allow for steam to escape. They don't have to be large, 1/4 inch or so maybe four or five where they would not be seen well space apart in the bottom. Welcome to the forum! best, Pres

This Summer, I also have to finish setting up the library, repair siding outside of the library on the second floor over porch roof, clean the driveway area of winter debris and power wash the deck and the fence. Make repairs to the fence, and try to organize what isn't ceramic in the shop/garage. @Mark C.don't mention snakes, as I had enough encounters with them when in Warner Robbins, GA and in northern PA. Coral snakes, Moccasins, and coral snakes are not to be messed with only respected with healthy distance. @Kelly in AK, I agree with you, AK is one of the most beautiful places on earth, and needs to be seen. I have been there three times. Once drove a motor home with my Dad, Mom and Wife up. Left day after I finished teaching, and returned the day before she started. Great trip!! Other times have been cruises that really are nice, but dont get the job done! best, Pres

Gravity is the big problem when gluing with a glazing. Geometry plays a big place in gluing also as the bulbous forms will have a tendency to slump., but then maybe you want that at times. best, Pres

We have recently booked a trip to Utah coming in September, which I still consider Summer now that I am retired. Made me wonder what other folks plans are for the Summer months that do not involve ceramics. QotW: What are your non Ceramic plans for the Summer, please explain, dates are discouraged. best, Pres

I remember classes from Penn State in the Summer with David Dontigny where he stressed thinness of the raku, but insisted on thicker rim areas as the tongs would sometimes abuse the rims. We threw an entire Summer with that heavily grogged clay and I had permanent sores on my first, third and thumb knuckles from the sanding they got. Never kept a single piece of that summer. Throwing loosely was counter intuitively to me at the time, and I hated the pieces. Still see some around town, but don't admit to them. best, Pres

For sharpening, I use the blue green (silicone carbide) bits for grinding, and i have a very light touch. I do not grind hard, and always touch up with a wet stone well oiled. Some of the tools I really like are bent in a question mark shape on one end with a square spade on the other. These are hardened, but thin and when sharpening you have to be very careful with them. One big things to realize is angle. You have to be particular about the angle you grind to as a poor angle does not do the job as well. best, Pres

HI folks, I have been in the shop recently trimming patens(communion plates) and find that it is time to sharpen or replace my tools. Personally, as long as the metal is good, I prefer to sharpen. Yet, I do remember a teacher from a few years back that didn't bother. . . he just threw the old tools out and bought new ones! I have often wondered how others would sharpen their tools. I use a dremel mostly and then finish with a wet stone. I put the tool into a vise, and sharpen using a cone shaped grinding bit. I mostly like the L shaped over the the hoop tools as they are easier for me to sharpen. Over the years I have used and owned cheap tools and very high end tools. I prefer the high end as they do hold up well both is the overall and sharpness of them. QotW: Do you sharpen, if so how, or do you toss when your trimming tools need sharpening? best, Pres

Speaking of old pillow cases, try hanging one in a frame, and add your slop clay to it. Let the water drain, then when stiffer. inside out the pillowcase to release the clay and wedge. best, Pres

Epoxy may be more scratch resistant than acrylic, especially over glazed surfaces. IMHO best, Pres

Hi folks, going through some of my old techniques, and things I have figured out for myself and wondered about others tricks. QotW: What is your favorite trick/hack that you have used to solve a problem when making pottery? One of my favorites when working with cylinders or other thrown forms is to use an embroiders hoop to mark the line around a thrown form to mark an easy cut an angle to cut and then reverse the top portion 180 degrees and rejoin for pieces like salt pigs. best, Pres

Fire it as bisque, and if not happy with the color, use a stain over top to adjust the color/value and refire it. If the piece has texture, the stain would be the best way to make the texture stand out. You can apply the stain to the bisque, and wash/sand off the high areas leaving more the natural color, but the texture will have accents. best, Pres

Drinking coffee this morning, wondered who else has a favorite mug they have made, and a favorite mug that they have acquired from someone else. I believe this question was asked a while back, but time has passed along with Covid. . . QotW: Show us a favorite mug you have made, and one you have acquired. I have included two of my favorite mugs, the one on the left is a reject of mine, but it fits my hand well, holds a good cup of coffee and kisses my lips. The one on the right is from a trip into New England years ago, and I don't know who the maker is as we have lost his card. We bough it in his studio give shop. I was pleased with the flowers and the quick natural strokes of the brush depicting them. best, Pres

It really depends on the glazes, the amount of wait time between glaze, and consistency of the glazes used. I always try to make certain glaze dipped over glazes is done without a whole lot of time before the second dip. I let the first dip dry for a few minutes then dip in the second glaze. Both glazes for me should be the same consistency, and the dip times the same. There are other times when the two glazes for some reason or so are not compatible to being dipped over. best, Pres

Ms Maria, what grade levels are you teaching? Could you post a picture of the kiln here, or at least the specs of the kiln: Manufacturer, model etc. I taught several years in a classroom that had the kiln setting in a corner, but as it was HS and warning signs and student warnings were standard for me. You could always have a screen put up to block entrance to the kiln corner. Venting out a window with a downdraft vent would probably handle the slight amount of gasses. best, Pres

Sometimes @LeeU, it takes a village. . . . best, Pres

Hi folks, running a little behind here with the QotW. However, I have been thinking a lot lately of my wife, and her participation and support over the years when dealing with clay. She puts up with a lot, from the tracking in of clay dust from the garage to the time spent alone because I am busy playing with the clay. She has even put in time during the show years helping me pack, price, set up, and take down. She has sat booths with me, and without me when I was busy getting more pots out of the kiln for the days show. She did most of the base glazing in the early years, sometimes with help form a girlfriend. Then I would put on the decoration and finishing touches. When my kiln burned out a few years ago, she was the one that told me to buy a new one and don't take too long. . . saying she would find the money. She knows that I have an itch called ceramics and that it makes me a better person when I can do it. Makes me wonder. . . . how does it work for others out there? QotW: How does your wife, husband (or significant other) and other family deal with your need to create ceramics? best, Pres

Much of my teaching career was like being a good coach. You had to analyze the strengths and weaknesses of each student while they were working and pinpoint behavior/motions that would not allow them to succeed or improve and correct them in such a way that they understood without them becoming frustrated with your coaching or the task at hand. best, Pres

Welcome to the forum, @Earl! I believe you will find answers here, that will probably lead to more questions, as a past teacher. .. don't be afraid to ask. Hope you find the forum friendly and informative. A few hints about searches. If looking to ask a question, often you can find an answer by entering key words in the search window on the home page, This will get you strands from all of the categories to read through. Browsing the forum is one of the pass times of many here as it is at times faster than posting a question. However, If in sudden need, ask the question and I'm sure someone will answer within 4-8 hrs. best. Pres

I still tap center when doing small things, like mugs when I don't have a GG to work with. Use a sponged amount of water on the wheel head and tap into place, but then this is where my tendency to use the left hand resting on the top of the piece came from. This is the wedding band finger mostly with the small finger following. The others help guide the trimming tool. @Hulkon some pieces where I have a bit of rough trimming, I reverse the wheel and use the back of the trimming tool to burnish some of the roughness out. best, Pres

Hmmmm @Hulk, you don't level the bottom of pots with a hack saw blade across the base? I use a hacksaw blade or a section of 1/2 '' band saw blade to level the base by holding the blade even across from edge to edge through the center perpendicular to the pot bottom. . . works really well, especially on chalice stems, mugs and other small items. I also use it on the bottom of patens and casseroles. best, Pres

Interesting how some folks seem to be trimming yet not aware of how they do the specifics. Neoprene disc sounds good for some things. I think I'll look into them. Still love the GG though with chucks made of plumbing pieces. best, Pres

Single exposure to the dust should clear up if you have any problems with coughing or wheezing etc. However, if symptoms continue into tomorrow, see a physician. Clay in the wet stage has some organic elements, but dust is dry, and only worries would be the silica in the dust and any chemicals that may be harmful. Clay usually does not have poisonously harmful chemicals. Silicosis from inhaling clay dust comes from heavy breathing of the dust or from extended exposure to the dusty environment. Cleaning areas with sponges, mops and water is the best solution along with avoiding techniques that create large amounts of dust in the atmosphere. . . .dry grinding pots, sweeping up residue, allowing scraps to stay on the floor to be ground into dust by walking over them etc. best, Pres

Lately, I have been trimming patens for communion sets and realized that over the years there has been a change in my tooling habits. When I was younger, 50 years ago, I would trim with both hands, one holding the tool, and the other resting on top of the paten or pot and use the thumb as a guide in part for the hand holding the tool or directly on the tool. I believe this method of resting the hand on the pot came from the fact that I did not trust the clay chocks holding down the pot while I trimmed and wanted to have a hand there to catch it just in case it slid loose which would happen at times. Flash forward to today, what changed? One thing different is the use of a Griffin Grip during the late 80's which I got at school for the kids to use. Then at home. Another change is the years of practice with the GG, and with chucks in the GG. For years now, I have been holding the tool in both hands. . . actually one holding the tool at the front the other holding the tool at the back. I use an open trimming tool for most work and have several variations. By holding the tool this way I find that I use the front hand to trim away the clay holding it at an angle on the pot, while the back hand steadies and at time refines the angle of the cut by turning the handle slightly. Then again too maybe just maybe I hold it in two hands to make certain my older hands can hold it well. . . . NOT! QotW: When trimming pots how are your hands configured? Please explain. best, Pres

I believe that your analysis is spot on. Over the years I have fired several student pots that were what I would consider oversized. At the same time these pieces were student work and so not as well constructed as a professional or good hobbyist. My firings in the day were controlled by a setter, and for bisque and glaze I erred on the side of high caution, turning up the kiln slowly watching the climb and making certain to let the kiln cool naturally. It really helps. My ramp up took my entire teaching day until around 4-5pm when I would turn all switches to high. Hope this help. best, Pres

Sorry folks, but for future reference and search clarity I have moved this strand from In the Studio here with Equipment and Repair. best, Pres