Hulk

The Hulk recently ascertained in the QotW pool. . . 
We read John Barth's short story "Lost in the Funhouse" in undergrad English (literature concentration); when/if one has seen and understood how the funhouse works, one can't very well go back to and have the first time through experience again. The concept might go somewhar near "knowledge is suffering" - suffer to get it, suffer because of it, and then suffer some more. Is it worth it? Uuuhm, o'course't!!
Whal, writing as art or not art might be easier to agree on that ceramic work ...or is it?
Any road, formal education/training (that isn't crap) is worth it, imo, howeber, you gonna suffer, an' one can't go back neither.
 
I'm assuming, rightly or wrongly that he is considering the value of formal education in the process of dealing with Ceramic?  So I will ask, in paraphrase: Did you have formal education dealing with your introduction and growth in Ceramics? If so how do you value this formal education? If not, do you miss the opportunity to get formal education?
 
Whooooo. . .As a teacher, it is logical that I support the value of Education. I do, with some reservations. . I don't know as I really have had need of Calculus, Advanced inorganic Chemistry, or Quantitative Analysis, but when it comes to Art, I found that the things I missed most from my High School years was mostly about Art, and the Arts. My introduction to Ceramics came in my third year of college, and I was blown away! Literally, to know that there was this wheel and the feel of the clay and OMG I just had to learn all about it, and it has been a journey, through undergrad and grad school. However, if to go back and do it all over again, I would have been more organized about it. I took classes Ceramics, did not enter a Ceramics program. Big difference. However, I am a good self learner, and over the years have read well, learned and taught. . . all of this leading to my understanding of Ceramics I have today. Not perfect, but works for me, so in the long run, no regrets. Suffering, no, something that brings me so much joy could never make me suffer. . .as when kicked by a bad load, or flopping pot, I get up and start over again.
 
best,
Pres

Thanks Min, thanks Liambesaw!
Search string "woven wire 80 mesh stainless" generates sufficient hits for me ...seeing need for smaller sieves (I have a few 5 gallon bucket size) for test batches o'glaze, etc.

Every time I make a little mosaic tile shape I like, I make a bisque press-mold of it. I have dozens of these now and don't have to worry about losing forms that may have arose spontaneously. They give me a strange sense of satisfaction. 

The tool that I made which probably gets about the most use are the small sieves. I use them to sieve my glazes before spraying. Local place charges $27- for one of the Talisman test sieves which I have a problem with since I was going through quite a few every year. (plus they are a little small for what I was using them for) I prefer the first one as it will sit in a container without me having to hold onto it. Other one was faster to make though.
 
 

"If I lived nearby, I would do the eight hour shifts for you."
Me too.
As for what I think/feel/do regarding limitations, I'm very lucky to be able to adjust for weak and sore thumbs (and a few other minor problems).
In public settings, I can hold my breath and/or walk away when artificial fragrances loom. Unfortunately, it's not a "real thing" for many - my "doctor" (looking for a new one), my employer (former, retired early), ceramics instructor (so farr, staying upwind of the two stinkers is working; when the weather turns cold and the doors close, weelll, I'll just open the doors, or go home), etc.
I'm lucky!
 

I learned to make a twisted cut-off wire with stainless wire:
Put washer (or half-clothespin) in the center of the wire (cut doubled wire longer than the desired finished line to allow for twists).
Attach washer to center of wheel head with a lump of clay.
Hold an end of wire in each hand, slightly tensioned, above the wheel at about a 45-90 degree angle from each other.
Power the wheel to provide twist. The wheel speed and angle of wires to each other will determine density of the twist. 

I'm also curious 'bout what type of line you're using GEP; there are many single and multiple strand options in stainless steel (and titanium), e.g. https://afwfishing.com/afw_products/K175T-0.asp 
Likely braided dacron (or other synthetical stuff) would work as well... oh! there's a reply!
...will try't with multiple strands of braided dacron (bass line), as I don' have any shark leader in th' tackle box.

Try www.onedreamdesign.com, or google "one dream soap pump"

Try www.onedreamdesign.com, or google "one dream soap pump"

Oooh, that'd be good for the framers (house in progress next door) - they start at seben  a.m.!

Teapots. . . 

 
best, 
Pres

"If I lived nearby, I would do the eight hour shifts for you."
Me too.
As for what I think/feel/do regarding limitations, I'm very lucky to be able to adjust for weak and sore thumbs (and a few other minor problems).
In public settings, I can hold my breath and/or walk away when artificial fragrances loom. Unfortunately, it's not a "real thing" for many - my "doctor" (looking for a new one), my employer (former, retired early), ceramics instructor (so farr, staying upwind of the two stinkers is working; when the weather turns cold and the doors close, weelll, I'll just open the doors, or go home), etc.
I'm lucky!
 

There's an emerging discussion on another thread (re: craft/art) that is looking at the value of, or lack of value of, or even the detrimental impact of, schooling (college/training).  As someone who earned a degree in fine art (ceramics) at an esteemed art school (while on welfare and struggling mightily as a single parent & who was 20 years older than the other students) I must say how extremely enriching, valuable, freeing, and supportive of my creative expression and drive, the experience was. I have carried and used the benefits of that excellent education throughout all aspects of my life, not just in art interactions, but in ctitical thinking, world-view, career, understanding people and cultures, and many other areas of functioning. To me, formal training-- from competant, knowledgible & skilled instructors--is invaluable and can only enhance  one's creative expression and appreciation of crafts & art. What do others think--is formal education/training in ceramics (or any form of art ) stifling/useless/a negative or enriching/useful/a positive?

nataniajoy,  you are very fortunate to have such a nice manual kiln as a gift.  i thought by now you would have received an answer that addresses your problem as a totally new kiln user.
couple of things might help you understand the manual fred has so helpfully found for you.  you need to realize that the kiln is a very old one as far as its manufacturing date is concerned and there was a slightly different vocabulary used then.  "Automatic"  back then meant your kiln was equipped with a Kiln Sitter that would mechanically turn off the kiln when a particular temperature was reached.  the manual keeps referring to it as the ASD, automatic shutoff device (or sitter. prior to the use of a sitter, the potter had to watch the firing and turn it off at the end by looking into the kiln peep holes and judging the temperature at which to turn off the electricity. ) cones have been use for over a hundred years to help do that.
the temperature you select for each firing is commonly referred to by a cone number.   that means the same kiln can be used by potters who fire earthenware or stoneware which is usually fired to a higher temperature.  so you need to select the cone number for the clay and/or glazes you are using.
the number on the cone indicates a temperature but the firing can take a little longer as the elements wear out over time.  so the cone ,which you place HORIZONTALLY across the two little arms, will determine the time and temperature of your firing.  the arms hold up the cone and the rod end of the "claw" of the sitter sits over the cone resting on it.   SINCE THE INVENTION OF CONE BARS MANY PEOPLE USE THEM IN THE SITTER.  bars are of a uniform size end to end.  cones are tapered and some people have trouble putting them onto the arms and getting the claw rod in the middle of the cone.
when the cone gets hot enough for a long enough time, it will melt.  that means it sinks down and allows the rod end of the claw to sink as well.  the other end of the claw, the part outside the kiln, is really the claw looking end and it is holding a weight that will be released by the rising of the claw.  the weight will snap down and activate a round electrical shut off button that is located on the outside of the sitter.   (if you find you cannot start your kiln at any time, check that the claw is holding the weight and the button is close to the kiln, not sticking out.) 
i hope this is enough to help you read the manual and that will explain your particular kiln.  
the most important thing you need to learn is that it is CRITICALLY IMPORTANT that you understand the cone numbers of your clay and glazes.  look at a CONE CHART and read the numbers and the temperatures carefully.   there are some essential facts that are commonly glossed over when experienced potters are talking to each other.   
09 08 07 06 05 04 03 02 01 AND THEN CONE 1 2 3 4 5 6 7 8 9 10 ETC.  are each a little hotter running from left to right.  check the chart!  and check your clay.  write the cone # on the bag of clay so you  DO NOT make the mistake of thinking that cone 6 is the same as cone 06.  that is a completely different temperature and if you use cone 06 clay and use a #6 cone in your sitter, you will probably melt everything and ruin the kiln.
see the recent post by benzine for what can happen.
hope you bothered to read this long post and understand it.
 
 

"So the pool.." aaah, got exited there for a few seconds! Hulk was a swimmer (still hittin' the pool two or three times a week) back in th'day.
Ahem, I'm with you Pres; water, and cleaner water, then cloth rag/towel when dry hand is necessary. I do use the cute little round sponge, however, the Hulk size sponge gets a lot more use, for cleaning hands, wheel, tools, bats, etc., and pieces cut from Hulk size sponge (search "grout sponge") see more use on pots (thanks Bill VG for purpose cut shape idea). The towel comes in handy when something needs dry right now - typically hands or  bat, most else can take its time drying up.
From there, I'm pouring off the clear water and settling the clay for reclaim. The clay-y clothes, rags, apron, etc. get two soak and rinse cycles before laundry, also with you there Pres.
I use paper towels to clean my bike, blot water drops off my glasses after soap and water wash, then re-use them to wipe up bird crap.
That's Jack, admiring brand new wheel (last Fall).
Years in the trades almost cured me o'wipin'me hands on trouser legs ...almost.

Good question (for any/every thing).
Forty-three years ago, starting post-secondary at the local Junior Collage, hand building was a pre-req for Wheel I - I wanted to try throwing, finally got a round tuit (my Mom had one; now it's in a drawer here somewhere...) ...and, fate, at the same local Junior Collage.
Last day of the semester is next week. We found me a lightly used wheel; it's in the garage, and being used more now. We also found a heavily used kiln, which may be ready to fire about the time there's enough stuff to fill't'up.
The woman selling the kiln was planning to go to something smaller, as the back acts up on account o' the heavy shelves, etc. (methink she also deserves a nice new one with electronic contortion). She said she was introduced to clay thirty-eight years ago, "...and it changed my life."
lol, yeah.
I'm really enjoying it!
Why? 
It's more than finding something to be absorbed in and passionate about. It's more than replacing work (sshh, don't tell'm I fquit sometime between tomorrow and this time next year, shush!). It's more than the peace and joy of doing, more than producing functional and beautiful (err, less ugly?) things. 
...don't know what exactly the "more" is; perhaps it doesn't matter.