Hulk

Thanks for posting the my question 
As some of you know already besides clay I have a few other passions-one is diving with a camera the other is Tuna Fishing.
It took hold of me in the middle 90s (tuna fishing) and I have only missed one year since catching albacore tuna. Most is what we refer to as ( out front) our local Humboldt county waters or trailer the 23 foot whaler up to middle Oregon or as far south as Monterey. I have fished most ports in a 300 mile rage from home in past 25 years.
About three years ago some local filmmakers got a grant to make a film about the food grown or made or caught in whats know as Humboldt Nation ( I live in Humboldt County)
We produce some of the best foods on the planet here like Cypress Cheese as well as Beers and Breads. They filmed  interviews for a year and thought about one large film but realized it was to big so they made three films-the first two where shown at a grand opening last fall in our restored grand Eureka Theater. They where very well done and have been rebroadcast on local PBS station. Its big screen film. The third film on local tuna was completed last week and they released it a few days ago for free  due to Covid and the Theaters being closed here . Its on Vimeo
I will add My interview was 3 years ago and since that time Myself and crew supplied them with sport tuna video clips during the last two years -the shots taken with the Dophins and the tuna working bait where taken off my vessel Onokai as well as us catching tuna. We are the ones in the yellow bibs catching tuna.This was a few different trips. I'm the guy with fish on working the boat throttle back and reeling fish in as My friend Duncan McNeill gaffs the fish. My other Friend Yoshi  Uemura and Travis may also abroad shot video as well as caught fish.
My friend Dennis Rael (in film as well speaking about sport tuna) got me involved in this film (he fishes on my boat as well) He got the filmmakers  intrested into the sport Tuna part of this fishery story .I am known around here as a Tuna Head (I have whats known and Tuna Fever ,a really bad case of it) Its  been infecting me going on 26 years now.There is no known cure.
Now the ocean is really whats behind this passion and thats where I am most comfortable -either on it or under it. Tuna for me has spilled into making lots of ceramic tuna as well as My underwater photography has turned into making clay fish-mosty tropical as I know about most of the saltwater species now and fish are a huge passion for me . I have a library on fish species as well as cal and of course Tuna Books-I seem to only catch and eat Tuna mostly the days over other fish (a few Halibut as well) . Clay still runs deep but I need ocean time to maintain the studio time-its wrapped together for me as a lifestyle at this point. Clay Tuna and diving.
 
A foot note-this film is best viewed on large screen so if you can you can run it thru a Roku unit I'm told or I ran it thru a HDMI cable and adaptor and on to a large screen TV thru a laptop or iPad .
Just use the largest screen you access to. to have the best experience of the film. It was made for the Theater screen. They did great job with the editing and sound
Enjoy the film -Click on the food for thought Humboldt County photo when it comes up
https://vimeo.com/search/channel?q=Food+for+thought+humboldt    

Mark C.  asked a question in the QotW pool this week, that is a different take:  What are other activities that influence your ceramic work or keep you mentally healthy other than daly directly. For me its other passions that are just like clay. I have to do them-what are yours.?
I have often mentioned my bowling, and my kayaking. This last several months has been tough on both. Bowling has been canceled until Fall, the leagues are done. Most bowling alleys are opening, every other alley. The largest population of bowlers is older, so it is doubtful if there will much in the way of tournaments or other larger bowling venues in my area. 
Kayaking, has been on hold, as last fall I purchased a new Mazda 3 hatchback, and will have to spend a bit to get a new rack to fit the car. strange to see a 16 ft. sea kayak on a Mazda 3, but that is what I have been carrying them on. Actually two of them when my wife or someone else is along. 
All in all these things are exercise, stress relief, and recreation.
So once again, 
QothW: What are other other activities that influence your ceramic work or keep you mentally healthy other than daly directly.
best,
Pres

What are other other activities that influence your ceramic work or keep you mentally heathy other than daly directly. For me its other passions that are just like clay. I have to do them-what are yours.??

Hi folks, it's been awhile. I've still been throwing pots and being a potter. Recently I made a leach style treadle wheel and I love it. It was made with less expensive materials, pine instead of hardwood, and a couple other decisions I made that kept cost down. I'm thinking I might be able to make a Leach style Treadle Wheel for about $1000, unfinished. Maybe $1200 painted. Do the wise sages of this ceramics board have any idea if there would be any sort of market for this? 
Here's my thought. I've always wanted one of these wheels, and my buddy came across some abandoned homemade versions that were all piecemeal and rusted. But I salvaged them and learned how to build the wheel, and it works really well. I finally have my dream wheel, and I didn't have to spend $2500 on it. Maybe there would be more treadlers if the wheel was more affordable? 
I'd love advice if you are in a helpful and loving spirit. Thanks all!

I have been working on a regular slab made butter dish. I made the mistake of making one as a request from a niece for Christmas last year. Others in the family saw it, and decided they needed one. So I instead of doing a one off, several times I came up with this set up.

I am using a thin piece of plastic between the form and the slab of clay, as it makes removal a breeze, and the plastic stretches into the corners of the form. I use rollers and stamps to decorate the slab pieces. The 2X4 is covered on one side with an extra layer of rubber backed felt to bring the form up to the correct width.
I recently had a custom stamp made of a design I created in Corel Draw that is uses my symbol/signature as a basis.
 I have still not fired any of these, but don't foresee any issues.
best,
Pres

This is a personal project for my house. I recently switched to using bar soap and bar shampoo, in an effort to reduce my plastic bottle consumption. I was using a soap dish I had made years ago, but soon discovered that it was not well-suited for an environment as wet as a shower. I made myself a new soap dish that is designed to shed excess water onto the shower floor. This concept is not original to me, I've seen photos of other handmade pottery self-draining soap dishes. But mine is the first wheel-thrown version that I've seen.

Today, on my workbench, is pot #1 of 3. Formed around a flower bucket, wrapped with bubble-wrap.  
 

Recall we received clarification from Orton on small vs large cones: 
      https://community.ceramicartsdaily.org/topic/21668-kiln-sitter-cone-for-witness-cone
The website was corrected (the .pdf was ok)
      The small cone description has been changed on Orton's website, now reads (emphasis added) "Small Cones used on the kiln shelf deform at about 9°F after Large or Self-Supporting Cones of the same number."
My take is still (mostly) repeatability - how the glaze and clay behaves when cone is bent thus, hence difference between large and small cones matters when a) switching to the other cone type (I like the small ones) and/or b) when sharing firing info with others.

I make my living throwing pots, so it’s not like I’m just at the wheel for relaxation. I’m not making 100K of pots a year, but I manage a respectable wage.  A Giffen grip simply isn’t ideal in all situations. I’m not for a second saying people shouldn’t use one, nor am I some kind of Luddite. Currently I have a skill set and a demand level that renders one unnecessary. 
Lots of people pull handles rather than extruding them too, even though the extruder is a lot faster. Some of it’s preference, and what’s wrong with that?

I re-read this thread and couldn't find anyone arguing against the Giffin Grip. Advocating learning to trim without one and then making their own decision whether to use one or not in their own studio seems sensible and was brought up a couple times.
BTW there are alternatives to clay wads, wet wheel head or the Giffin Grip for securing the pot down. I use a neoprene disc on the wheelhead, it gets a swipe with a damp sponge and then I put the pot down. It works so well that often I have to "burp" the neoprene to get the pot to release. It costs less than $10- and I've been using the same one for about 30 years. For pots with uneven rims (like my avatar) I use a chum or chuck. What works for me might not work for you but I'm sure you could say that about many of the practices we use while making pots. I'm glad you find your Giffin Grip useful, I've never felt the need for one even though I make a lot of pots.

I do remember that thread Tom, it's what made me question what the info on the cone charts says. The blurb with the charts is reading the opposite of what the Orton Booklet is, hopefully they will change the oversight. I emailed them, will update my post if they change anything.

Recall we received clarification from Orton on small vs large cones: 
      https://community.ceramicartsdaily.org/topic/21668-kiln-sitter-cone-for-witness-cone
The website was corrected (the .pdf was ok)
      The small cone description has been changed on Orton's website, now reads (emphasis added) "Small Cones used on the kiln shelf deform at about 9°F after Large or Self-Supporting Cones of the same number."
My take is still (mostly) repeatability - how the glaze and clay behaves when cone is bent thus, hence difference between large and small cones matters when a) switching to the other cone type (I like the small ones) and/or b) when sharing firing info with others.

Here's a chart with both:

Seems we are shifting between Celsius and Fahrenheit a fair bit so I'm adding Links to Orton Cone Charts in both to save people looking them up who might not be fluent in both. If anyone needs it there is some really good information regarding the behaviour of cones and how the rate of temperature increase during the final 1 1/2 - 2 hours of the firing effects the final cone, also on the links below.
Orton Cone Chart in Fahrenheit
Orton Cone Chart in Celsius
edit: There seems to be an error in the information regarding small cones in the above information to the right of the charts. "Typically, small cones will deform 7-10 degrees C earlier than a self-supporting cone, so the temperature values for a self-supporting cone can be used to determine an equivalent small cone temperature by subtracting 7-10 degrees C (or 12-18 degrees F)." This contradicts what it says in the Orton Cone Firing Booklet: "While not recommended, Orton Small Cones can also be used on the kiln shelf in place of larger cones. Because they are smaller, higher temperatures and more heat are required for them to bend (see page 19). When used in this way, the Small Cones require mounting in cone holders or plaques." 

Check Claybabe's post on page two, the .pdf is still available.
https://community.ceramicartsdaily.org/topic/37-anyone-have-a-really-old-creative-industries-model-mp-wheel/page/2/
...looks like JohnnyK posted the same manual on page three!
Per said manual, CI wheels have a reversing plug; the Jr model is .25 hp, "...can center 25 pounds of clay..." 
Centering capacity and hp ratings - not an exact science. If your JR model is still running well, give it a break and stick to small pots?

A sugar jar from last fall, but playing with photo editing. 

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

Long limbs, eye that, in the 99th percentile, reach for height - fun shopping for long sleeve shirts that fit at the wrist, neck, and body ...on t'other hand, reaching the top shelf, painting walls, etc., heh.
Often overlooked: a) clay shifting on the wheelhead/bat, where just a smidge of movement is all it takes to "throw" off your center. b) shearing - apply too much pressure, too soon, where the separation/shear that results will continue to influence that pot, throughout - start over. c) poorly prepared, where a thick or thin bit of clay, bubble, crumb - any inconsistency - will disrupt the flow of the clay. d) poorly prepared, where thorough wedging is continued in the several "conings" (as DH mentioned, above) on the wheel, continued, where a clockwise thrower tips up the rams head to the right, eh? Try it. e) poorly thrown base, as the opening and working of the base/bottom is a continuation of the preparation to throw a vessel - easy to impart a shear at this step. f) direction, where one may be better suited for one over the other; whilst I can (sort of) throw counter clockwise, t'other is soo much easier for me. There may be a right/left handedness to it, meh, I'm right handed. f) too wet/dry, where the patience and persistence required to work stiff clay ...it's difficult! ...and squishy clay doesn't provide much feedback, and requires quick work. If the clay is a smidge too damp to start with, it will be just right once thoroughly wedged - wedging removed some moisture, eh?
Learning (wouldn't say learned) all that th' hard way.
Having seen eighty five pound eighty five year old potter throw large pots without straining (except, perhaps, lifting the clay to and from the wheel head!), not sure much strength is required?

Long limbs, eye that, in the 99th percentile, reach for height - fun shopping for long sleeve shirts that fit at the wrist, neck, and body ...on t'other hand, reaching the top shelf, painting walls, etc., heh.
Often overlooked: a) clay shifting on the wheelhead/bat, where just a smidge of movement is all it takes to "throw" off your center. b) shearing - apply too much pressure, too soon, where the separation/shear that results will continue to influence that pot, throughout - start over. c) poorly prepared, where a thick or thin bit of clay, bubble, crumb - any inconsistency - will disrupt the flow of the clay. d) poorly prepared, where thorough wedging is continued in the several "conings" (as DH mentioned, above) on the wheel, continued, where a clockwise thrower tips up the rams head to the right, eh? Try it. e) poorly thrown base, as the opening and working of the base/bottom is a continuation of the preparation to throw a vessel - easy to impart a shear at this step. f) direction, where one may be better suited for one over the other; whilst I can (sort of) throw counter clockwise, t'other is soo much easier for me. There may be a right/left handedness to it, meh, I'm right handed. f) too wet/dry, where the patience and persistence required to work stiff clay ...it's difficult! ...and squishy clay doesn't provide much feedback, and requires quick work. If the clay is a smidge too damp to start with, it will be just right once thoroughly wedged - wedging removed some moisture, eh?
Learning (wouldn't say learned) all that th' hard way.
Having seen eighty five pound eighty five year old potter throw large pots without straining (except, perhaps, lifting the clay to and from the wheel head!), not sure much strength is required?

Long limbs, eye that, in the 99th percentile, reach for height - fun shopping for long sleeve shirts that fit at the wrist, neck, and body ...on t'other hand, reaching the top shelf, painting walls, etc., heh.
Often overlooked: a) clay shifting on the wheelhead/bat, where just a smidge of movement is all it takes to "throw" off your center. b) shearing - apply too much pressure, too soon, where the separation/shear that results will continue to influence that pot, throughout - start over. c) poorly prepared, where a thick or thin bit of clay, bubble, crumb - any inconsistency - will disrupt the flow of the clay. d) poorly prepared, where thorough wedging is continued in the several "conings" (as DH mentioned, above) on the wheel, continued, where a clockwise thrower tips up the rams head to the right, eh? Try it. e) poorly thrown base, as the opening and working of the base/bottom is a continuation of the preparation to throw a vessel - easy to impart a shear at this step. f) direction, where one may be better suited for one over the other; whilst I can (sort of) throw counter clockwise, t'other is soo much easier for me. There may be a right/left handedness to it, meh, I'm right handed. f) too wet/dry, where the patience and persistence required to work stiff clay ...it's difficult! ...and squishy clay doesn't provide much feedback, and requires quick work. If the clay is a smidge too damp to start with, it will be just right once thoroughly wedged - wedging removed some moisture, eh?
Learning (wouldn't say learned) all that th' hard way.
Having seen eighty five pound eighty five year old potter throw large pots without straining (except, perhaps, lifting the clay to and from the wheel head!), not sure much strength is required?

@nancylee For amounts of clay you are talking about, I pat the clay, as the wheel slowly turns, into a semi-centered mound. Then I place both hands on the opposite side of the mound and as I increase the speed of he wheel, pull the mound towards my body. This gets the mound closer to centered, but I don't worry about perfect at this time. Now I cone the clay 3 times, after each cone try to place your hands in your centering position and hold till the mound gets closer to centered. By the 3rd cone everything should be aligned and centered.
I had read where Marcia Selsor likes to have the chair she sits in be positioned so when she looks down at the wheel she is looking about 1 inch beyond the center of the wheel. This has helped greatly. Try to lay your weight on the mound with your shoulders well over the mound. I usually end up with clay on my chest from hugging the mound.

Would not recommend using a glaze with 40% barium carb, especially for functional work. https://digitalfire.com/4sight/hazards/ceramic_hazard_barium_in_materials_and_fired_glazes_26.html
@ImogenB, not sure I'm following you when you say "I am firing to cone 8 to help the longevity of my kiln elements, my clay vitrifies from cone 6." I'm guessing this a clay that is advertised as having a wide firing range? 

I picked some asparagus Sunday and mixed it with some tulips in a bouquet for my mother in-law.    She lives in a senior living facility,  they have sheltered in for 8 weeks now and not allowed any visitors.   The food is alright but they haven't had any asparagus on the menu since she moved in 6 months ago,  she loves it raw or cooked.   We watched the staff from our car gather the items to be delivered to her,  they noticed the asparagus bouquet and got the strangest looks on their faces.   She called us later and was bursting with joy over her unusual bouquet.   She is 97 and everyone thinks of her as their mother so she had received lot of candy and flowers.  She said the asparagus was the best present she had received in a long time.     Denice

I mentioned in another thread a few days ago that I would be attempting to throw an extra-large planter for my patio. Here it is so far. This was a combination of throwing and coil building. 25 lbs of clay total. It is currently 17.5 inches across and 10 inches tall. No guarantees it will make it through the rest of the process. 

I did some remeasuring and found out I need about 300 more two inch tiles,  this will bring me up to 1000.  I haven't even started on the molding tile,  oh well it will keep me busy while sheltering in.       Denice