Pres

I am working on communion sets, and today is glazing on these chalices. Same number of patens will be fired also in this load.
 
best,
Pres

Still making  2 inch tiles,  I was loading a glaze firing and noticed that I was low on C5 cones and the ones I had left were much smaller than the usual cone.  I fire with a Skutt thermocouple but I like to have a cone in my kiln sitter.    I picked up a box at my local supplier this morning,  they reopened Monday and were pleased with the amount of business they were getting.   My husband and I had dental appts.   this morning so we decided to find some breakfast afterwards.   We found a local restaurant with only one car in the parking lot,  had a wonderful breakfast.  This is the first time we have been in a restaurant in two months.  Our favorite restaurant was packed so just drove on by,  avoiding crowds for now.    Denice

I am working on communion sets, and today is glazing on these chalices. Same number of patens will be fired also in this load.
 
best,
Pres

I am working on communion sets, and today is glazing on these chalices. Same number of patens will be fired also in this load.
 
best,
Pres

Even better than lineman's pliers, get some mini bolt cutters. I use them for element pigtails and they are sweet.

Oh those will work much better because I actually need to be able to cut with the tip

I am working on communion sets, and today is glazing on these chalices. Same number of patens will be fired also in this load.
 
best,
Pres

I am working on communion sets, and today is glazing on these chalices. Same number of patens will be fired also in this load.
 
best,
Pres

I am working on communion sets, and today is glazing on these chalices. Same number of patens will be fired also in this load.
 
best,
Pres

I am working on communion sets, and today is glazing on these chalices. Same number of patens will be fired also in this load.
 
best,
Pres

Thank you for doing this!!! I understand now!!! 
Much appreciated,
Nancy

Nancy, Maybe this will help, quick sketch of  hand positions, my kiln is firing today, so did it inside. hope this helps.

I  usually hold a sponge in my rt hand so that the water will drip down the forearm as I hold in place.
best,
Pres

Nancy, Maybe this will help, quick sketch of  hand positions, my kiln is firing today, so did it inside. hope this helps.

I  usually hold a sponge in my rt hand so that the water will drip down the forearm as I hold in place.
best,
Pres

How the heck did I miss this post Nerd? In answer to your questions. . . Yes you get to a point where everything seems to click and you are doing so much better. Problem is when you get to that point you want to push more..  relax and enjoy!
 
Question 2, about the pulling  near the top. . . Imagine that the clay is actually an inch or two higher than it is, then continue pulling up. This will be an amount of follow through that should keep things from going wonky. At the same time consider drag, the better you get to throwing the less water you are using. . . correct me if I'm wrong. If you are using less, maybe you have a little more drag that shows itself near the top, try to use as little a pressure point as you can to get a pull. Less drag, taller pots, thinner walls, less wonky.  I also think of the wheel as a machine, my body in tune with that machine. As the wheel goes around a ratchet goes off in my head to move my hands up a bit, each time the wheel goes around I move. Dang clicking in my head at bed time!
 
Hope this helps,
Sorry for the miss,
best,
Pres

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

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

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

I used to not do shows that did not jury in. It kept some of the carnival atmosphere away from the show. I did a few shows early that were non juried, and was stuck between someone selling knock off purses in one booth, and someone selling pipes imported from China. A few times of that and you realize to establish your sense of worth, or give in and sell crap. IMHO.
 
best,
Pres

Nancy, Maybe this will help, quick sketch of  hand positions, my kiln is firing today, so did it inside. hope this helps.

I  usually hold a sponge in my rt hand so that the water will drip down the forearm as I hold in place.
best,
Pres

I have heard about some show doing strange things like that. Now in Montana cancelled and offered to sell your small wares at 10% on their website-you do the shipping. They would keep your entry fee as a down payment on that endeavor -made zero sense (this was from a another potter that told me this story)
I despise shows that prey on us without respect-they need to give the booth or jury funds back or if you wish let us decide any other option like next years show as option two. Anything else is unethical and you should decide not to continue business with them in the future.
We as artists have the power to decide who we get to work with. since they are supported by us we get more say than you think. Sometimes it s letter to the board that wakes them up.
I have  more than once in my career done this letter or spoked directly with the main person (above the director) . I was instrumental in replacing a sour director at a show about 10 years ago-they fired her on last day as we had had enough and the board knew we would never return.She was hired from one of the Ann arbor shows and treated us like slaughtered pigs .Its in their best interest to do the right thing.

As a retired educator, I am glad to be out at this time. My granddaughter is a senior, she is the salutatorian, no pomp and circumstance for these kids, no prom, senior trip, graduation, the class that never graduates. Hopefully something can be worked out to make some of it up to them.
 
bst,
Pres

Nancy, when throwing larger pieces my arms are usually part of my technique, I often will use a fist on the top of a 10# piece of clay, with the forearm up the side, holding that side of the clay in place as my left hand is pushing into the solid arm and fist, because of the arm and fist the clay cannot go anywhere, so it has to become centered. It is brute force, but can be done slowly with more water and patience. I have a tendency to muscle the clay into center, but part of that is my wedging also as I wedge cone shaped, and put the clay on the wheel with the cone centered on the wheel head. Then I slap the clay into partial center while turning slowly then center as mentioned above. Try it.
 
best,
Pres

My first instructor was well traveled in the orient and a believer in the discipline.
Our first assignment was to throw ten 10" cylinders of the same diameter.
If you cannot,  then throw until you can.

sorta one step on from apple cooker, with Min on the one pot must be versatile in use to make it in my kitchen, same technique with bit extra, a candle stick holder, made by then opening centre core of clay , pulling up, turning down for flat rim, doing same to outer rim, attaching a little handle , wee Willie winkie style.

Looking at the design of those and couldn't help but wonder what else you could use them for. Thought it somewhat resembles a lemon reamer. If the middle bit was a titch wider at the base you could carve sharp channels into the center part and if one of the scallops on the rim was sharpened a bit it could be the pour spout. I like having more than one use for pots,  it's got me thinking....