Pres

I was before covid hit and sales went thru the roof. I have not done an art show in 18 months and still, have a best year of my life sales wise.
slowing down got kicked out the studio door with orders thru the moon. I have said no to some lately.
The kiln buy has been in the  brain works for 3 years now and I still am on the fence-a smaller kiln sounds good at times

hopefully my first kiln.  want to get a l&l efl2026

I am debating a ring light and a second kiln. 
The first, well, it depends on what happens in the next few months. If I make a drift towards video on social media, it’ll be handy regardless of the platform I’d be using. If it turns out video is the latest dopamine fix, I don’t want to be into it for a whole bunch of equipment.
The second kiln is because I’m still having trust issues with my existing one. It’s fixed after the Great Meltdown of ‘21, but it doesn’t fire the same. But I lack the cash flow to do it until after summer. Which will translate to after Christmas between the busy season and kiln lead times.

I realize that I have been thinking and posting a lot about equipment, but then we all go through phases. This week I was wondering what would be my next investment in the studio? I have often considered numerous additions to the studio and yet I have big problems with adding any more equipment to work with-SPACE! I really do not see myself cramming another table as in Slab roller, or some free standing piece of equipment like a spray booth. At the same time my wall space is relatively limited with shelving, tool racks, kiln space zones, doors and windows taking a majority of the space.  I often wonder what others would invest their money or effort into to add a new piece of equipment to their studio. What do they not have that they really feel they need?
So the Question for this week: QotW: What piece of equipment that you do not have will be your next addition within the next year?
For me it will be a fold up spray booth. I am working on ideas and plans right now in Corel Draw, following measurements and specs that I have been gathering the last few years. I will have a fan system, with a filter system the same size as my house filter in the whole house air/heat system. I will probably use it on the wedging table, with ducting out the window next to the table.  I have for years considered building a waterfall type spray booth, but do not believe I could build it well as easily as an fan alone ducted system.  I have also considered getting a Bailey extruder, but believe the spray booth to be more important.
 
best,
Pres

Well maybe just maybe a used Giel 18 cubic downdraft  front loader kiln. I always like these kilns. I have a 12 cubic footer and a 35 car kiln -the best size for me is a 24 to fill that gap. The other issue is shelve size its 14x28 so I would just leave the back of shelve up as its a ways back to them.
Its a bit late in my life but a friend died and got this kiln for him. I may buy it from his wife (I cleaned out his studio last year for her) He only fired it twice.I can close to getting myself but at the last I let him have it.
The moving it is a huge issue (I have to take his studio wall down and the logistics at each end are hard expecially his side. I need to pour a pad here for it and the overhead is tight and a small forklift is key. The 15 mile move is also an issue as I do not have a flatbed. Not sure at this age if any of this makes since for me
I'm on the fence about this whole thing.

Hi folks, no new question in the pool so I will pose another. Based on my buying my first new kiln in over 30 years, anything over 4k is a big expense, especially for a retired teacher and hobby potter. So I will ask of you:
QotW: What is your first and second most expensive equipment expense? 
This is a pretty easy question for me, as #1 is the new kiln, the L&L e28m-3 , and #2 is my 30 year old Brent CXC potters wheel. Really in the end, considering the years of use. . . these have been really cheap, even though the original sticker shock is daunting!
 
best,
Pres

I have a wash recipe from Bill Van Gilder that calls for .25 ball Clay and .25 Nepheline Syenite. This as weight, and then .50 of various coloring oxides. Use mine quite dilute with water and it seems to work well on my two cone 6 clay bodies from SC.
 
best,
Pres 

Two one ton extended vans bought new  made by my order over past 20 years-Had one for 10 years put 180k on that one the other is also 10 years old now bought new for 35K and it has 70k on it now-slowing down on  miles now less than 4k a year on van
Then two Peter Puggers-both bought used one this year
Then Baliey electric slab roller bought new a few decades ago or more .
5-6 brent wheels over 48 year period -1st one in 1970 for 270$ new a model CXC in 82 both of those where new all the rest used except a model A off ebay-new old stock a few years ago as a spare trimming wheel
some where in this mix is lots of hardbrick/softbrick which cost more than a wheel for sure to build kilns

When I retired from my day job, I had 3 choices for my "pay out" of accrued vacation/sick leave etc.:  save for the inevitable rainy day; go to Europe to visit art/culture centers like Italy/Germany/France (I've never never been north of Maine) or; make myself a studio.  My big treat for myself was buying new equipment-I am a wizard at saving money & have no problem with used/repurposed stuff, but this represented what I had put on the back burner for over 40 years, so brand new it was! Highest costs were my L&L 23s kiln, the Brent ie-X wheel, and my Bailey table top slab roller. Equally expensive was changing the big bedroom into a studio and the back porch into a kiln room, with proper electric, running water, floor covering, & lighting. Even tho I am not doing as much now & the body & brain are resisting a bit, it is still the best money I ever spent!

Ain' got me flab roller yet.
:|
Aaand, I still have some flab.

Used, err, second hand wheel (it was still squeaky new), and very used kiln (it works gud) easily outdistance other equipment, although initial order - glaze materials, clay, some other clay supplier stuff - was more than the kiln, less than the wheel. Also spent some change on two semesters at the local JC Ceramic lab for Wheel I and Wheel II classes. The wheel, kiln, materials/supplies/tools and classes were all great investments.
Over the last sixteen years, the pounds have been dropping off, am down about ninety five or so, all without a flab roller, but the bike helps, and it rolls!

Does a vehicle count? Because I bought a minivan specifically to make my pottery business easier, although it is also my personal vehicle.
If not, then:
1. kiln
2. second hand pug mill

Hi folks, no new question in the pool so I will pose another. Based on my buying my first new kiln in over 30 years, anything over 4k is a big expense, especially for a retired teacher and hobby potter. So I will ask of you:
QotW: What is your first and second most expensive equipment expense? 
This is a pretty easy question for me, as #1 is the new kiln, the L&L e28m-3 , and #2 is my 30 year old Brent CXC potters wheel. Really in the end, considering the years of use. . . these have been really cheap, even though the original sticker shock is daunting!
 
best,
Pres

My big Skutt was my most expensive purchase,  it was used but needed elements  and a new cord.  My Bailey slab roller with the added cost of building a table for it was second.   My new AIM test kiln and Brent wheel were about the same price as the slab roller.   Best buy for the money was the slab  roller,  I have used it more than any of the other equipment.   I have never had to fix it and it works like a new one,  I could sell it easily for the money I have in it.  I will probably keep it until I kick the bucket,  people will be walking past it at my estate sale wondering what in the heck it was used for.     Denice

Hi folks, no new question in the pool so I will pose another. Based on my buying my first new kiln in over 30 years, anything over 4k is a big expense, especially for a retired teacher and hobby potter. So I will ask of you:
QotW: What is your first and second most expensive equipment expense? 
This is a pretty easy question for me, as #1 is the new kiln, the L&L e28m-3 , and #2 is my 30 year old Brent CXC potters wheel. Really in the end, considering the years of use. . . these have been really cheap, even though the original sticker shock is daunting!
 
best,
Pres

I don't throw.
I stand for 99% of the time, moving around from this bench to that, finding a tool, stamping my feet to warm them in the winter.  Moving in or out of the shade in summer.  
I sometimes sit when glazing, but not in my studio, only at the centre. 
I did sit last summer, but only because I put a low table under a gazebo to create shade when it was really bright.

The only time I sit is for glazing and only in time limited sessions. I stand for everything else (no longer do much wheelwork, tho if I do I use a chair). My body prefers that I stand, but even that not for too too long. I get consistent bi-weekly chiropractic adjustments and that has been a life-saver for being able to keep working at all! I did not know this was possible, but the chiro has even reduced--yes, reduced--some arthritis in my left shoulder that was restricting my neck movement! The other major assist was getting the Thermal-lite shelves for my large L&L short kiln, so I can load/unload the shelves with relative ease now. 
 

I stand for both throwing and handbuilding, only exception is when I'm putting handles on mugs. When I originally started throwing while standing it was because of an injured sciatic nerve running down the back of my leg (piriformis syndrome) and thought I'ld go back to sitting while throwing after it healed, with a better stool, but it didn't take long to realize how much I prefer to stand so I continued to do so. Don't know if anyone else has injured their sciatic from leaning on the edge of a stool while throwing but that's how I did it, took around 5 years to stop tingling/hurting while nerve damage healed. Still have some nerve damage/numbness down the back of that leg.  Apart from saving getting up and down like a yoyo it seems there are heart health benefits from not sitting too much so theres that bonus too. 

My wheel and primary work table are set for standing. Occasionally I will sit on a tall stool while decorating, but for the most part I do everything while standing. Back when I set up my wheel for standing I realized just how much of my energy was going into getting up and down from a seated position. Working in a standing position I can move about more and take advantage of a larger work area instead of always moving things into and out of a small seated work area.

Sit for throwing,  mostly standing for hand building,  usually up and down like a yo yo.   Use to sit a lot because of my bad feet, now that I am older everything hurts so I just keep moving.  Denice

My wedging area is a good height for standing, and I find it easier that way - leverage? The glaze mixing space - at the exhaust fan intake - requires standing. When glazing, I'm standing when stirring and dipping. There are several other tasks that require standing, and I get up from the wheel fairly often.
Otherwise, I'm looking to have a seat - several lil' nagging conditions make being on my feet a lot uncomfortable.
Also, at the wheel I'm dependent on the splash pan and my knee area for bracing arms/hands.
Your question has me reflecting on the many adjustments made, over the years, t' work around, aaah, limitations. I'm very fortunate!

Hi folks, no new questions in the pool. . . but I have been thinking, and doing some reading.
Often when working I stand, especially when handbuilding, Standing gives me much more leverage when wedging, rolling out slabs or coils. Later, when assembling I find myself standing over the banding wheel while working and while analyzing and planning the next stages of the piece. I stand when putting handles on thrown mugs and other forms. I stand when decorating with brush work and other forms. For me standing gives me more control over my view of the pot from different angles, up and down. I think much of this comes from standing in front of an easel when working with canvas or stretched watercolor paper.  
However, when it comes to throwing, I still sit with an adjustable chair that has a tilt leaning me towards the wheel. I often will change the height of the chair when throwing as the pot gets taller or if throwing off the hump. I often will end up standing in final stages of tall pieces so that I can reach with a straight arm down into the form. Everything seems quite natural, and I have not had back problems in many years, so do as I have come to be used to.
So I will ask this: QotW: Whether hand building or throwing, assembling or decorating, do you stand or sit?
 
best,
Pres

Hi folks, no new questions in the pool. . . but I have been thinking, and doing some reading.
Often when working I stand, especially when handbuilding, Standing gives me much more leverage when wedging, rolling out slabs or coils. Later, when assembling I find myself standing over the banding wheel while working and while analyzing and planning the next stages of the piece. I stand when putting handles on thrown mugs and other forms. I stand when decorating with brush work and other forms. For me standing gives me more control over my view of the pot from different angles, up and down. I think much of this comes from standing in front of an easel when working with canvas or stretched watercolor paper.  
However, when it comes to throwing, I still sit with an adjustable chair that has a tilt leaning me towards the wheel. I often will change the height of the chair when throwing as the pot gets taller or if throwing off the hump. I often will end up standing in final stages of tall pieces so that I can reach with a straight arm down into the form. Everything seems quite natural, and I have not had back problems in many years, so do as I have come to be used to.
So I will ask this: QotW: Whether hand building or throwing, assembling or decorating, do you stand or sit?
 
best,
Pres

I also love buying historical books about art.  When I find them at a estate sale it is like finding a treasure trove,  they are coming down in price now because younger people just want to look it up on the internet.   I have quit buying so many books recently ,   having  two estate sales after  my mother in-laws death I realized I need to downsize my stuff.    Denice

I'm heading the other way-still subscribe to CM since the early 70s although at times I wonder why-
dropped pottery making as it aims more for beginners and I got little from it.I donated all my issues to a local fire arts center
These days it more technical reading for me-Kilns and materials-glazes-high fire reduction and salt
less about technique these days for me
I am no longer expanding library and will down size it in next year or two.
 
 

In my early days, I read whatever I could get from the local library, or was available in the pottery room at the local community centre.
 
Now, I'm more choosy, but most of my reading is this forum, and the rabbit holes (links) provided by everyone here.