Hulk

I rebuilt my very old CI MP pedal last year. I wish I would have known about this site back then! 
I was having the same problems, either full on or full off, very little tension in the pedal, etc. etc. After opening up the pedal body I found that the foam strip that dampens the movement was pretty much non existent, the potentiometer needed to be replace and that it needed a general cleaning and greasing. It was worth the effort to rebuild it. Surprising how simple the mechanism is. 
Mouser Electronics had a direct replacement that works great - it costs about $30.00 . Just search for this part number on their site. RV4NAYSJ502A
ETI Systems Potentiometers
I'm going to try to rebuild the bearings this week, they've completely locked up from non use and old age. If anyone has suggestions for replacement bearings, please let me know.
 
 

LeeU statement of "I have lost so much ability (physical/cognitive) that I can't get back to where I once was. So, my present place is some  "other direction".  At the moment, I'm  just looking to satisfy myself" really hits home with me. I have little background in ceramics, however a career in metal working. When i first started my metal work, it was all about exact spec..like down to .001" tolerances. I then began repairing vintage art pieces as well as making pieces for Columbus Museum of Art. My wife as an artist, is very free flowing. Her circles, in my book were more like  ellipses (we always call it "designer math").  When life dealt its cards that put me into the same category that LeeU spoke of, i found new freedoms in "just not caring" if something was no longer in  spec. Yes, i still want to be able to control my mediums, but at the same time, artistic variation is what makes unique hand crafted versus stamped out reproduction. I re-aligned my customer base to those that appreciated one of a kind uniqueness.  My world of medium and creation has greatly expanded. I particularly love "voodoo" art..ie only general science behind it. I love flame coloring of cooper, metal spinning and the look forward to  the intrigue of mystical glaze remnant mixes, burial firing.
I believe you have to have the honest conversation with yourself as to which style energizes your own creativity and interest. From there, make sure the customer understands and is interested in the same end result. These days I make what i want, if someone likes it, they buy it. Otherwise i gift it to my daughter..lol   
I do believe you have to look at it like any art...be it music, literature etc. Do you want to be a Grisham who cranks out very good but predictable recipe novels or a David Bowie who constantly pushed his artistic envelope and growth and surprised his fans with something new. Neither is wrong as long as its honest and you give it your heart and soul.

I feel like any diagram or 2D representation of my career path should involve crayons, lol!
To say it was indirect for a good long time is an understatement.I did start off being pretty focused, and got a whole BFA in ceramics, but when I graduated, I had what I know now to be the crash that every gifted kid with case of undiagnosed ADHD seems to wind up with. So I worked a bunch of wildly unrelated retail or reception jobs for the next 14 years, and made pots on the side while Life Happened and Was Not-pretty (TM).
After having a couple of kids and coming to the conclusions that 1)I make a terrible employee but an awesome boss, 2) since I can predictably earn a couple hundred bucks every time I resupplied the one gallery I was in, maybe I just needed to consistently get my work in front of people to earn some adult money. 
Once I had relaxed and begun to see opportunities and possibilities again, my work did some pretty rapid growth and development. I built a TON of new forms, I went from cone 10 reduction to cone 6 ox, and went from using a white porcelaneous stoneware to a red stoneware with white slip deco. I challenged myself to keep the qualities of the cone 10 work that I really enjoyed while incorporating some of the easy turnover and colourful elements that cone 6 offers.  
I don’t think I know of an artist that has had direct, linear path. We all seem to incorporate bits of our lives and our loves and our experiences into the work we make.

I started out very focused, learned the basics quite well--got a good comprehensive ceramics education (and a BFA in crafts). Then I  became engaged with experimental techniques/more sculptural work, while still in VCU art school. (I was going to out-Voulkus Voulkus, don'tcha know).  It became a moot point when I took a detour into a 25 Y career in the addiction treatment field. I thought it would be short lived, because voc rehab was willing to bankroll my Master's if I committed to working in public service for a few years. I turned out to be very good at specialized program design & getting federal grant funding, so ceramics went into the attic to gather dust. After I retired (State Planner in Behavioral Health for NH DHHS) I constructed my little studio in my trailer (bedroom & back porch). However, I have lost so much ability (physical/cognitive) that I can't get back to where I once was. So, my present place is some  "other direction".  At the moment, I'm  just looking to satisfy myself and make enough (local smalls of the home decor variety)  to break even, which I am finally doing. Probably the most consistent thread from then to now is I am continuing my Hidden Mask series, which I started back in '81. 

Latest bisque with cone offset of -35F. shows that the kiln is still slightly hot, as the witness 06 was down, slightly relaxed instead of arched. Much closer to where I want to be. The next offset will be -40F.
 
best,
Pres

Usually  my return customers are my best sales force. I have had a few bad eggs and refused service to about 3 folks over the last 45 years. One was two women from New York with really bad mouths and attitudes  and very loud. I usually just let nature take it course and they leave but these two where not going so I had to say your money is not good in this booth-soon they got it and left .
I also did that  about 25 years ago to a aggressive man who told me after putting 4 mugs down on my sales table what I was going to charge him. I picked up the 4 mugs quietly and returned them to the shelve and told him politely his money was no good in my booth and he left.You get to refuse service as its your right
Another was a man who had no clue about reality.
I have had a few drunks as well over the past 45 years who required removal before displayed got hurt.Dogs peeing on racks-0dog fight in booth-food being dumped etc
My usual way to say no is your money is no good in this booth-that usually gets them wondering  why this may be soo and soon they drift away.I do not confront folks most times. Keep smiling and say what I mean. Sometime the customer is not always right

In my former life, I used to be middle management in a health food/grocery store in an area with a pretty diverse cross section of humanity. Specifically, I was a Cashier Supervisor, and I have management training.  In working the customer service desk there, I couldn’t even make up the things that happened! I have witnessed someone drop $1200 in vitamins and bulk items on the same day we had to remove someone tripping balls on crack from the store who was trying to shoplift very, very poorly. I have kept a straight face while witnessing someone checking the “energy signature” on a day-old muffin by holding it to her forehead (she bought it), and while someone was shopping with a pyramid on his head without a trace of irony. The guy returning 7 organic cabbages that had spent a week in his car in August did manage to bust my poker face though. It wasn’t hot by southern US standards, but 30*C was involved.
So my threshold for weird is probably a bit broken!
Serving demanding customers can pay off when they’re in earnest, but it’s helpful to ask a few screening questions to see what they’re after and to establish if you’re able to help them now, in the future, or not at all. To do this, you have to have your boundaries and service offerings defined for yourself.
If someone is in earnest, I would have no issue with them wanting to check teapot pour, and would probably aid and abet this with my own water bottle. If someone is looking for a specific pot, I’ll ask a few clarifying questions and produce the best available options for them to choose from. It helps them pick faster if the choices are limited. If I know I don’t have the options, I’ll say so. I’ll either offer to put them on a list for when the right thing is back in stock, or send them to another potter who might have something that suits better. My philosophy is to help people find what they want as efficiently as possible, and to be of service to customers in my booth. People seeking things like discounts or to not pay tax are met with a professional responses (“I only offer price breaks on wholesale quantities” or “I do some nice things for repeat customers and my email list subscribers,”  or “The price for cash sale is the same.”). Being of service does not mean undervaluing yourself.
I do not tolerate abuse or cruelty though. 
I have only asked 2 people to leave my booth. One person made an exceptionally crude sexual comment that he then tried to say was “just a joke.” I replied “Jokes are supposed to be funny,” and gave him Mom Look Number 32b (Arched Eyebrow Variant). He backed away in embarrassment. The second lady I think didn’t have any idea what a fine craft market entailed, and had a very loud sticker shock response to a $35 mug. Like..REALLY loud. And rude. And angry. And personal. She used the words “Who the $%^& do you think you are!?” I walked up to her and said in a calm quiet voice pitched for her and no one else “This item is possibly not for you, but there is nneed to make a spectacle of yourself over it. You should leave my booth now.” Anyone being rude or mean to me does not mean I have to stoop to their level.
 

Becasue I live in a rented mobile home I am not allowed to have any traffic at all and no sales from my location. The master bedroom has been converted and outfitted as my studio & the enclosed back porch is my kiln room.  They are nice, tho small, environments, well laid out, and I have all the usual cool stuff of any functioning studio. It's frustrating because I know absolutely that I would do really great if I could have mini-tours/sale days right here. There's enough room open on the back porch and rear deck that I could do a great display.  I have inventory, but no ready outlet for it that doesn't involve way (way) too much work on my part to get it where it would have to go--just not up for it. My daughter might help me set up an Etsy store, but even that seem like too much hassle at this particular juncture in my life. I seem to be treading water at the moment. I may do a down & dirty pop-up yard sale with  my "smalls" as part of the stuff (we can't have yard sales either, but if it was up & gone real fast-just a few hours & no road signs-only an online ad- I'd probably be OK).  I used to go to studios/kiln openings before the pandemic but I'm not willing to chance it (personal risk factors) until the Delta factor plays out & we see whether the vaccines loose effectiveness around 6 months, as is possible.

I plan to have an open studio sale type thing, but will miss this year due to the move and having no inventory left. We are going to make it Labor Day weekend and have a big party at the same time. Lots of food, games, tents, cots and what not. 

We'd visited some studios over the years during Fall "Open Studios" event here; since becoming interested in potting, we visited a dozen or so potters' studios.
Last year the event was put on hold - it's "on" for this year (fingers crossed). I've ponied up the fee and hope to get some traffic - two weekends in October. I'm looking forward to it, but will miss the opportunity to visit others' studios...
Most that we visited feature display of ware, some where workspace/process was visible, some where workspace was not visible/accessible at all. In my case, am thinking the studio itself will be open, and ware displayed there. 
Year afore last I'd invited one and all to visit my studio two weeks before Christmas - a few dozen folk came by; sales were modest but very appreciated.
Visitors are welcome any time I'm available. Seems unlikely that traffic will ever become a nuisance.
I've been considering inviting the local potters I've met to a meet/greet in our courtyard for an open ended eat, drink, be merry - perhaps late August.

My output is so minimal that bulk purchase does me no good, and yet, of course, the shipping on small orders is beyond do-able. I've had clay arrive so late (by more than a month) that I missed a production deadline. All the prices are creeping up. I have to drive to another state to get anything from a pottery supplier-one is is in ME  & one is in MA.  Auto gas is up and the electric bill for the kiln is now very discernable-it used to be quite modest. The primary outlet that carried my "smalls" had great tourist traffic & did live online shopping, but effective the end of June, it failed as a new business and and is now closed. Other than all of the above, things are just peachy-keen.

Hate to point it out in case it creates a rush, but Ferro has closed some US manufacturing plants and is in the process of moving them to Mexico. There are interruptions in the availability of 3134 and 3124.

My clay prices and chemicals have all gone up. Demand has gone berserk
I have raised prices and am still doing that. My 1st show is coming up  a few states away and all pots will cost more except for spoon rests .
My  natural gas cost has risen as well. 

Yesterday @Mark C. posted: 
Any supply chain issues for you as well as raising costs in thios new landscape . Things like plaster are scare as well as talc at Laguna Clay Com.Equipment is long backordered they say- Prices are creeping up on most items
I had to raise my prices as well to keep up.
any issues for you in ceramics?
To paraphrase, if I may, QotW: Are you dealing with any supply chain issues, or seeing creeping material prices that have or may cause you to raise prices?
Personally, I have not purchased any materials this year yet, and not any in the last few years as I am usually a bulk buyer with little in the way of output. I even have #50 of Albany slip purchased years ago! However, as I have run out of metallic oxide  materials for glazes I will be making a trip to Pittsburgh SC to stock up once again. I am sure I will be in for sticker shock!
I will repeat my plea: QotW: Are you dealing with any supply chain issues, or seeing creeping material prices that have or may cause you to raise prices?
 
best,
Pres

I had studio sales twice a year at the studio for 19 years-stopped in 1993 when I went to more long distance art shows.There where no local studio tours like these days back then. I had a 1000 person mailing list and mailed a postcards out the last 5 years-before that I had a bulk mailing permit (#75 ) and did bulk mailing as it was the cheapest.I gave up mailing lists in the early 90s never looked back-All the work sells so  why botherb looking for more customers?
I did a local studio tour one time in early 2000s -it was a bust for me money wise for the effort.
I did about 12 traveling art shows for more decades than I recall.Gave up on studio sales .
as time went buy shifted to local venues (shops,galleries,stores) and a few less shows
I sell to customers who call ahead every year maybe 3-10 a year -just sold $300 last week to return  dinnerware customer. I only do this when the production allows it -not on glaze day - or loading day ,usually after a glaze  kiln comes out
I keep track of these studio sales and they average 1k to 3 k a year -in fact I keep a small 1/2 sheet of paper on fridge side with all sales of every sort every year to compare  year to year .Sure I could spread sheet it  in excel but why-I log them in when they happen-pen and paper
At one time I sold (my display )at a local produce stand in a barn) for a few summers about 1/2 mile away from home.
I also had pop up stands in the 70-s and early 80s around this area-now they are called pop up sales 
I have tried pretty much all ways to sell-turned down the trunk show offers 20 years ago at Norstrums-You have had to say no many times with others trying to make a $ on your work-you get to pick and choose.
 

pres, some of the fairly local studio tours partner one or more skill at a single studio so people do not have to drive so far to see a variety of work.   i do not have a tour nearby but it does sound good.

Hi folks,
I have been thinking a lot of how the studio is the center of artist's experience and how things can impede or enhance that experience. Something that I miss being able to do was to have an open studio event. I used to participate in one with a painter. She had a barn near her house that she had a studio set up in, and would open up in early summer for an event. She would usually have some music, a couple of other artists, some food and wine venders. It was not real large, but would usually have over 150 visitors. I did it with her for about 3 or 4 years, and then she moved and it was gone. My own studio would never lend itself to an event, or even open studio tours as are offered in some areas. So my question this week. . . 
QotW: Do you participate in any open studio tours, kiln openings, or other events allowing visitors to your studio/shop?
best,
Pres

I incorporate silence & secrets in my work; sometimes rather than provoking a hint of mystery, it runs the risk of just making no sense to the viewer.  I tend to be more in need of self-gratification than external communication, however, and I need to appreciate that people are not mind readers.  A bit of explanation from the creator can't do any harm!  For the No. 8 Not Broken mask, the print block design is a spin off of "energy" from making a previous mask, No. 7 Primal (pictured below-unfinished, waiting to be refired). Assault survivors are often marked (imprinted: psychologically/physically) by the weapons used on them. Rather than incising the residue of stabbings or burns, I did the edges that way (whacking the clay with an object at hand) to thinly represent one attribute of tribal behavior-domination of one/more over another/others.  
 

Thank you Akils
...also from the Times:
The Price of This Artist’s Work? A Conversation About the Horrors of War - The New York Times (nytimes.com)
also
Ehren Tool | Studio Potter

This one's not behind a pay wall:  Ehren Tools War Cups

Doyle Lane
https://www.nytimes.com/2020/07/29/arts/design/doyle-lane-ceramics.html

Mine is much cleaner and in great condition compare to the photo of this one.
And the original legs are attached too.
It's so hard to part with an old time friend since 1972, know what I mean?
I want my wheel to go to a good home that will love it as I do.

@Wheel Have you tried reaching out to Skutt for the specs? You might be able to find replacement parts anywhere you find small motors and/or automotive parts.

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!