Hulk

I have a fully functioning home studio and would like to "pass on" a lot of it now! But: (1) I'm emotionally obstructed-just can't do the sorting/labeling/organizing/marketing , even calling on helpers is just too much right now, and; (2) I have too much $ invested to just give it away (plus need some money soon for a pending family situation). So--maybe I'll get lucky and pass on before I fret too much over the current state of affairs LOL.
If that should be the case, I have dumped it, in my Will, in a friend's lap. He's instructed to either give it all to the NH Potter's Guild (they'd have to take everything, no cherry picking--if they want my L&L 23EZ & nice Brent wheel,  the tools, etc. they gotta take all the containers of dried clay trimmings & dried  glazes too) or he may sell everything  and keep the proceeds.  NH colleges/university have suffered the same down-turn for ceramics departments and even just scattered courses as other states have, so donating to a school is a non-starter. 

There is two private pottery schools in Wichita when we decide to downsize again I will contact them to see if they are interested in any of my studio materials.   One private school is  fairly large  the other school  is in a large arts center building with other schools.   The pottery school was already growing out of its space and it hadn't been open that long.   It probably had 30 powered kickwheels  in the main room.    We have one large college and three small colleges that have a ceramics program.   There is hope that handmade pottery will survive if not future archeologist will be digging up our pots out of the dump.   Wondering who made them and why?  For now I plan to keep working in my studio until my hands turn into curled up pretzels.  Denice

Remembering my student days, the experience of actually handling pots made by acknowledged fine potters was given to us by a teacher who brought us in contact with contemporary fine potters. 
Consider a collection donation, documented as well as possible, to a favored school with a ceramics department. A “library” of pots available for reference would be wonderful inspiration. (I’m assuming that most of the works that we have accumulated are not ‘museum quality,’ but what we could afford.)

Digitalfire has a materials analysis of it here:
https://digitalfire.com/material/451

If you click on the create option in the menu then choose new material you can add it that way if you have the frit analysis.

1972 Brent Model C belt part numbers:
This model of wheel uses two separate ribbed, polyester reinforced polyurethane 60 degree v-belts, type 5M1090, i.e. 5mm width, 1090mm "length" (outside circumference), or if you prefer 0.16 inch width, and roughly 42.8 inches circumference.
Amaco Brent sells a pair of these belts as Part # 22037T (but their web sales are currently suspended so you have to go through one of their distributors, and then it's drop-shipped by Brent).
The manufacturer of the ones sold by Brent is Bando , part # BANFLEX 5M1090 (made in Japan, available through industrial distributors)
An equivalent product from Gates Rubber is: GATES Polyflex 5M1090  (Made in USA, widely available from many distributors)
Price is pretty much the same wherever you buy.

Finally got the new belts and it was definitely the issue! I read that you can still throw with broken belts but it was messing me up big time so I don’t recommend. 

I’m not too worried about “the youth,” @Pres. I saw a young potter on the Great Canadian Throwdown describe the coil-building technique as “like a 3D printer.” .
Clay adapts to people and our needs.
I’m starting to look for inheritors for my stuff. There are also our collections of significant (to us) pots - I’ve begun to redistribute some.
 
 

We have everything taken care of with the help of our financial planner.  The only thing we have left is my studio and my husband has a lot of cars and tools.  If my son doesn't want to handle it I will find a charity like the Goodwill or DAV that will empty the house out and sell everything.  When my son moved to Costa Rica he said we need to clear everything out before we die he doesn't want to handle it.   I am hoping when I sell my equipment I might find a real potter who could use my chemicals,  they will go to hazardous waste otherwise.    We plan to move into a nice senior apartment when it is too hard to maintain our house.  Hoping we can handle the disbursement of our life.  Denice

Good question.
I'd executed my parent's estate.
The paperwork and "big stuff" was all clear.
The hobby and tool stuff, not so much.
My Mom's embroidery stuff - not a box of stuff, no, an entire walk-in closet full, plus more boxes - a person who came to look at the lighted magnifying thing took it all, for they ran embroidery classes and were involved with a few groups. They were literally sobbing with gratitude.
My Dad's lathe - a person who bought that took a truckful of material and tools that we pushed. Many tools and contraptions went in the truck to Goodwill.
We found homes and/or beneficiaries for everything, mostly by luck.
The person we called out to fix the well asked after something. I said, "You can have it for giving me a hand moving these things? Can you burn part of your lunch break? We'll feed you." They came back over the weekend; without their help, idk, we'd have never finished. ...and they were thrilled with a pile of gadgets and tools.

Our lifes big  stuff is in a trust-Property etc. autos .boats etc are in  both names and we havea plan with all that . The trust outlines our wishes . The ceramic part of my life is not in that plan so I need to have a plan and it should be soon . The schools here ( two collages no longer have good ceramic programs)  one is not working now in my temp range so my high fire kilns would be of zero interest .My 5 wheels and the electrcic are easy low hanging fruit to sell. The shear volume of materials may be another thing . The property would be best for a working potter but these days that a pie in the sky idea. I need to work on a plan and a plan B.
If you are a full timer and on the west coast send me a pm if your are willing to take it all when that day comes . It includes gas kilns,two that move as  units , two that are a pile of bricks.more bricks fiber, much in new boxes ,more bricks and a few tons of dry materils-you need to be much younger that I by the way and have a great back and a large lift gate truck.
I have gone thru this death deal a lot already with my family  so I know this path and we have no children only nephews who are in the loop with the trust so that part is done.
I once was going to give it all to the local  state collage but that plan went to heck when they plan on tearing down the ceramics lab and no longer have anyone but temperory lectures teaching. Longevity is not on my side of the family as I'm the oldest male in over 100 years to have lived this long. I think clay has a lot to do with that for me.

Hi folks, Some of you may know that I recently lost my father. He had all of his ducks lined up and as executor, I had little to do other than notify banks. His wife notified the SS, military ret., and others. It got me to thinking about what I should be doing. . . Oh, I have the will and living will etc. However, that does not cover the pottery equipment. I have thought to leave my pottery equipment to the HS I taught at, if no one in the family wants it, along with my library of art books.
So once again, the QotW: What are your plans for passing it on when you pass on?
 
best,
Pres

I would make my own wash and remove with a wet sponge  before firing any commercial wash as it usually poor quality.
Speaking of quailty wash I noticed on the Advancer shelve (kiln shelve.com ) site they use the same formula as I posted years ago
1/2 alumina hydrate
1/4 epk
1/4 calcined EPK or (glowmax)

If it hasn't been fired on yet then yes it can be dusty. 
It would just be a guess but the least expensive materials to use in a kiln/ batt wash would be kaolin and silica so if companies are trying to save money with the wash they supply they will load the wash up with that and skimp on alumina hydrate. There is a link below discussing kiln/batt wash with some tried and true recipes (it's towards the end of the link). Also, I would suggest wiping it back from the edge about 1 cm and wipe off any drips from the side of the shelf.
https://community.ceramicartsdaily.org/topic/20981-frit-substitution-chart-orton-cone-charts-kiln-wash-recipes/

Workbench has some recently glazed wares waiting on foot polishing, inspection, and washing; and some just handled raw wares as well.

The test tiles are IMCO's new "Terry" clay.

I think maybe you're working too slowly. It should only take a minute max to sift the plaster into the water, another minute at most to gently hand mix. Then lit it sit for a couple of minutes and then power mix.

I did a little research and found that old plaster sets up fast,  a bag that is 4 to 6 months may to old.   And the big hard lumps are from adding to much plaster at one time and not getting well mixed.  The plastic bag might have made it harder to mix,  I use a pretty old bucket and pop off the cured plaster and wash it.   When it gets to the point it won't clean up anymore I find another old bucket.     To make sure my water is really cold I put ice cubes in my water,  when they are melted I am ready to mix.    I never slake my plaster slab plaster,  I haven't had trouble with bubbles.  I set the edge of the bucket in the bottom of the mold and pour it out letting the plaster fill in the corners.  Sometimes I need two buckets of plaster so I find a friend to help mix a second bucket  while I empty the first one.   I made two to four piece molds for a while,  and used the finger flip method on ornate pieces to eliminate bubbles.   I was train dental lab technician and spent the first couple of years making plaster molds off the forms the dentist sent us.  You should be alright on you next slab,  just one of those days.    Denice

Seeing (just a minute ago) there was an update on this thread, thought of some of my Parents' and Grandparents' tools that I treasure.
The needle/pin tool I use most in the Studio was made from a small screwdriver that my Dad ground down to a point; it's a convenient length, and I like the handle as well.
There are several, err, a few dozen potential replacements in the bad screwdriver bin, but the one I'm using is special, because.
That's a nice caliper Hyn!
Is there a vernier on the inch scale as well?
I've several of Dad's calipers. There's a large one (it's big!) he bought when we were in Italy, and several smaller ones, both the vernier and dial indicator types, which will get you within a few thousandths or so.
In the Studio I use inexpensive plastic calipers, similar to the brass one depicted in Hyn's post, above, except the jaws for measuring inside are opposite the outside jaws. When it wears out, there's several more queued up for "next"...

Firing two glaze fires today still trying to appease the pit monster.I can now work 1/2 days before foot say no more.Spent many 1/2 days glazzing and loading up till todays firing. Spring mini heat wave yesterday (81 was the high and the low was 37) it's a 3 day deal.

Thank you for answering. The kiln is very basic, no kiln sitter, just the controller shown in the attached phot. I changed the fuse which has fixed it, but I don't know why the fuse would have blown - maybe it was just old. I waited until it had cooled and had a look inside - everything looks ok, just half-fired! I have now turned it on again and will just watch to see if it happens again.
Julie
 
 

Workbench has some recently glazed wares waiting on foot polishing, inspection, and washing; and some just handled raw wares as well.

The test tiles are IMCO's new "Terry" clay.

For Flux Sake is one of the offshoots from the inestimable Matt Katz, who in one of his webcasts long ago expressed an opinion that in addition to the usual list of pinhole suspects, poor application of the glaze was often a cause, particularly with brushed glazes. If the first coat of glaze had irregularities, those nooks and crannies could be covered by the next coat, leaving a tiny air pocket underneath. The problem is especially acute on textured surfaces. As the glaze melts during the firing, those little air pockets would rise to the surface and pop, leaving the pinhole. So, in Matt's opinion, pinholes could be from user error as well as decomposition of the glaze or outgassing from the body. Matt typically uses porcelain tiles for his testing, and bisques to 08 for consistent absorbency. A clean body such as porcelain does not need the higher bisque to burn out the organics and impurities.

The reason was that the high porosity leads to glaze sticking well without much (invisible) air bubbles. I’m doing a bad job explaining it, if you can listen to the podcast, it made sense technically but I have never heard of it before.

Workbench has some recently glazed wares waiting on foot polishing, inspection, and washing; and some just handled raw wares as well.

The test tiles are IMCO's new "Terry" clay.

I am glad you are getting better,  I know that eight weeks is a long break for you.   I finished my radiation therapy on my skin cancer a month ago and it has finally healed.   I need to go buy a big straw hat for the summer.   Don't overdo it.      Denice