Pres

If I can't fix it, the other half usually can.  The only thing he won't play with is the final stages of electricity.  He will rewire plugs, wired up everything in the conservatory when that was built, and got a sparky in to check and connect.  Metal wood is his domain, clay, ceramics and textiles is mine.  We did get  a builder in to convert a bathroom to a shower room, with all new fittings, tiles etc.  But that wasn't coz we couldn't do it.   We decided we could make better use of our time.

Since I joined the USAF back in '68 I was and am the person that people that can't fix it hired to take care of the problem. I found that I had an innate ability to analyze problems and solve them. All of the myriad jobs I had over the decades involved a position that enabled me to use my abilities culminating as a remodeling contractor which spanned 40 years. I'm still asked by friends for solutions to their various problems and if I can talk them through so they can do it themselves, so much the better.
So, to answer the question... I look at the problem, see the outcome, and proceed to fix it!

Around the house or for ceramic equipment etc between my husband and myself we don’t ever hire anyone to do anything. It just goes against the grain to think of hiring someone to do work that we can do ourselves. I think it started when we lived in a very remote place where materials had to get either flown or barged in. if you needed something done you either did it yourself or chances were it didn’t get done. Same with making do with what you have, adapting scrap materials whenever possible to repurpose into something else.

Hi folks, once again no questions in the QotW question pool, but I will attempt to raise another once again. I was making a list of parts I needed to repair my kiln the other day, and had taken off the switch panel of the L& L and taking a few pictures made determinations on the web site using the serial # of the kiln to choose replacement parts. I also had checked into areas of if this burns out, replace it, but also replace x, y. or z.  This got me to thinking about the types of things that have made me grow experience wise in the HS studio, and in the shop at home. . . making repairs!  I know that many out there have a handy better half that do repairs, others have friends or other potters nearby always handy to fix something or at least lead the way. Still others out there will call in a specialist to repair the kiln, fix the wheel or such. Over the years I have found that my understanding of the equipment is often better than some of the so called specialists that I have had looking at things. Not going further. . . 
QotW: When something breaks down, how do you deal with it?
best,
Pres

These days much of this is easier than it was in the day as the internet provides instant access to those How-to books I wasted money on back in the day. If I can see it or read it, I can usually do it.
 
 
best,
Pres

These days much of this is easier than it was in the day as the internet provides instant access to those How-to books I wasted money on back in the day. If I can see it or read it, I can usually do it.
 
 
best,
Pres

I rarely ever pay someone to fix things, especially in the studio. At home I will hire someone only if it's an extreme situation that's beyond my ability as an accomplished DIY'er, like if I need a new roof. I enjoy fixing things, though, so it's not a problem. You either need to be handy or need to be able to write a check.

Step 1: Curse
Step 2: If the thing that needs repair came with a manual, I start looking for a solution in the manual. Most of the time, the problem turns out to be routine, and the solution is already spelled out.
Step 3: If I still can ‘t quite find the answer, I call the manufacturer of the thing that needs repair. Often they have personnel who can help troubleshoot. In the pottery world, people tend to be smart and nice.
Step 4: I’ve also had good success asking for equipment help on this forum! 

To me, if I can understand a system, I can make it whole.  So as someone who is curious and skeptical, I don't accept that things work by magic, or that the way they work is unaccessible to the common person.  Everything can be understood, at least on a general level, which can be used to deduce a possible issue.
So I try to understand and fix everything, even if it's more expensive.

I fix it.  
Having a very blue collar youth, if ya didn’t fix it, you were likely walking instead of driving your old car. A lack of money is a great motivator to learn how to fix everything and anything.
I did learn one important lesson, well two maybe. Ordinary folks can learn most things and produce extraordinary results and my never give up level probably increased exponentially as a result of forced necessity.

I don’t spray big bowls. I pour the inside and outside separately, and usually add a little water to the glaze to thin it.  Go to the dollar store and get some large diameter plastic tubs: it makes life waaay easier. When setting them up in the kiln, place other items evenly around the rim to create a heat sink. Test tiles, shot glasses, mugs, even extra kiln posts. It took my cracking rate down to nothing. 

Yeah, big bowls are lots of fun. Depends on how big they get though. I made one in grad school that was pretty big thrown, even after firing it was 40" in diameter, and 14" tall. What do you do with a bowl that big! My sister-in-law uses it as a magazine rack!
 
best,
Pres

Did shows for around 9 to 10 years, 7 yrs at Penn State Festival. Talking to people was the best part of the show for me, worst for my wife as she usually ended up selling and packing! My bad for sure!
 
best,
PRes

Okay, last question was: do you make anything that is easy and quick to make but looks like it's more work than it is? That brings to mind just the opposite: QotW: What do you make that is difficult, and takes time but is not viewed as difficult?
I think if I were to look at my pots over the years there are at least two things that seem to be unappreciated for their complexity or difficulty. Large anything, and covered dishes. I will take on the covered dishes first, as the two parts for me has much to work on. I find the fitting of lids not too bad, and the placement of handles is fine, but then when you consider the throwing so that the bottom of the casserole does not crack, the marrying of the walls into the base, and the arch of the lid and lid fit, the placement of the lid handle for use with mitts and the side handles of the dish if it has them. . . . .there is a lot to go wrong. Don't  get me wrong, my percentage of survival of good well thrown and glaze ware in this category is high when I do it, but I haven' in years, They never sold well.
Large anything, I have done the covered jars, the large floor vases, and two three and four section pots over the years. In talking with lot of folks it is not construed as being worth the money!!!! They don't understand the fact that to get to the point that you can throw a 36" cylinder and shape it, trim the base, and then glaze it may only take you an hour and a half all together. When looking at the price tag they can't wrap their heads around the fact that it took years to gain the skill to do it.  Just saying... . 
So QothW: What do you make that is difficult, and takes time but is not viewed as difficult?
 
best,
Pres

Not that they are really difficult but they do take more time than they look.  From last week (finally able to start throwing again after an injury).

 
Absolutely!
 

Pretty much everything, heh.  I make videos about making things and it's been beneficial for other potters, but detrimental for selling things at a price.  It looks easy, and I can't really blame people for thinking so.  I think only people who took ceramics in school or who have tried it themselves can really appreciate the time and energy it takes to get a form the way you want it.  It's not even easy to make something really crappy.  But just watching someone do it, is like... Oh yeah of course, you just make the clay into whatever you want, easy premise.
I think the 3D arts are especially prone to this bias because HELLO you just make what you see.  Most people have drawn something, and realise how difficult it is to draw something the way you see it.  But most people have not tried to sculpt or do something in three dimensions because it's less accessible.  They have no frame of reference.  
I've gone back and forth with people on this and the jury is out, but as far as the amount of skill and time that goes into a given form, it's lost on a lot of people.
Luckily I've found that most people seeking ceramics are people who have at least tried it and are appreciative of the skill and effort.
As a footnote, I really appreciate the experience of sitting at a booth and hearing the things that we usually consider negative or condescending about our craft.  For me it brings to light a lot of things I'd never have considered and I feel like I understand better what it is that impresses people who don't have a frame of reference.  It's not comfortable at the time, but in retrospect it's something I feel is important to think about.

Just saw that I had missed this post, so glazednerd, just yesterday I was working with a few students (adults) and one was having the same problem you were. I told them that instead of ending the pull at the top of the pot to imagine that the pot was an inch or so taller and to "follow through" with the pull. This does help when coming to the top of the pot.
 
best,
Pres

Okay, last question was: do you make anything that is easy and quick to make but looks like it's more work than it is? That brings to mind just the opposite: QotW: What do you make that is difficult, and takes time but is not viewed as difficult?
I think if I were to look at my pots over the years there are at least two things that seem to be unappreciated for their complexity or difficulty. Large anything, and covered dishes. I will take on the covered dishes first, as the two parts for me has much to work on. I find the fitting of lids not too bad, and the placement of handles is fine, but then when you consider the throwing so that the bottom of the casserole does not crack, the marrying of the walls into the base, and the arch of the lid and lid fit, the placement of the lid handle for use with mitts and the side handles of the dish if it has them. . . . .there is a lot to go wrong. Don't  get me wrong, my percentage of survival of good well thrown and glaze ware in this category is high when I do it, but I haven' in years, They never sold well.
Large anything, I have done the covered jars, the large floor vases, and two three and four section pots over the years. In talking with lot of folks it is not construed as being worth the money!!!! They don't understand the fact that to get to the point that you can throw a 36" cylinder and shape it, trim the base, and then glaze it may only take you an hour and a half all together. When looking at the price tag they can't wrap their heads around the fact that it took years to gain the skill to do it.  Just saying... . 
So QothW: What do you make that is difficult, and takes time but is not viewed as difficult?
 
best,
Pres

I was demonstrating at Altoona Area HS, where I used to teach, on Wednesday last week. I did 6 demonstrations(class periods) Each included a 9" cylinder of 3#, a 4# bowl, and a plate of 5#. Then I threw a few pots quickly showing how things were done in a studio situation; the teacher Eric Hoover narrated while I worked. I used stamping on the cylinders, and the plate before final shaping.
While I was doing this, I was thinking of another basic wheel throwing project for beginners: sponge holders with drip edge. This uses a very similar concept to the apple baker. . .creating a small edge outside of a cylinder about 4-5 inches tall with a notch cut in it. I use a piece of pipe salvaged out of a toilet paper roller when the clay is near leather hard to cut two holes to establish the width of the slot and cut the rest of the slot with a fettling knife. I realize that many folks are making these, but they are not too difficult, and for a beginner another form to knock off.
 

best,
Pres

No food, since my studio is in my trailer (pardon me--mobile home) and I usually eat at my computer, in the living room.  In the studio, coffee, tea, water, always. Mostly coffee, and in my favorite mugs by Steven Zoldak (slip trailed) ,  Andy Hampton (genuine tea dust glaze), and my own. The red clay one gets the heavy traffic.   

No I try not to. I will on a hot day when loading the car kiln which is outside drink a cold drink-no alcohol
I occasionally will finish my noon expresso walking into studio before working again
 

I’ll bring a drink (tea) in while I’m doing handles, but that’s about it. No other jobs really, just handles.
edited to add: we weren’t allowed to even keep food in our studios back in college, because we’d wind up finding dead mice in the reclaim. They’d come in for the winter where there was a food source, and fall into the reclaim buckets trying to get water. No food= no dead mice. 

Coffee mug, car thermos style or bottle of soft drink. Both seal tight when I am not sipping.

No, with the exception of when I’m feeling a little under the weather. Then I’ll bring a big mug of water into the studio so I can stay hydrated. But I’ll keep the mug on a shelf away from my work stations. 

Hot and cold, large laundry/utility sink is next door to the studio, hence water in the studio is by bucket. Settled throwing water is separated - slop to slop bucket, clear water back to throwing bucket. Settled cleanup water is separated - slop to landscape watering, clear water back to cleanup. When either get all nasty, when a fresh load of water is in order - to the landscape!
Since installing 133 gallon tank to capture RO "waste" water and whole house gac backwash, I'm getting throwing and cleanup water from there (using RO water for glazes). Full five gallon buckets are heavier these days - about half full is enough.