conversations.from: human
conversations.value: a title for a book about Third-generation, Bruce, Dehnert with the genre: Crafts, Hobbies & Home, Crafts & Hobbies
conversations.from: assistant
conversations.value: A title for this book could be 'Simon Leach's Pottery Handbook'
conversations.from: human
conversations.value: Give me the first five paragraphs for this book.
conversations.from: assistant
conversations.value: Simon Leach's Pottery Handbook
  Whether you're a beginning potter or an old pro, ceramics can be as technical or nontechnical as you want it to be. Depending on your interests, you can either delve deeply into the art form or be happy skirting its perimeters. Likewise, the extent to which you equip your studio with tools of the trade or learn about new techniques and materials is up to you. This chapter presents basic information about setting up your studio, what tools and equipment are available to help you get going, and the clays you will come across along the way.
  What tools and equipment are necessary for making a pot? That question reaches as far back in time as the craft itself. In truth, pottery can be made with only clay, hands, and a pit fire, but to make our lives a little easier, we humans have continued to develop tools and equipment that let us make ever more complex or useful forms (though I've always taken a straightforward approach, and use relatively few tools in the studio).
  A wedging table and scale are the only equipment needed to prepare clay for throwing. Your bench-height wedging table should be well built and sturdy, since you will be vigorously kneading and compressing the clay on it. Some good surface options are plaster, canvas, concrete, or wood, all of which absorb moisture and easily release clay.
  A scale for weighing balls of clay must be durable since you'll be using it frequently and want it to last. Scales made for professional kitchens or labs are ideal, but inexpensive ones will also suffice. A scale should be able to weigh amounts up to 25 pounds (11.3kg) and can be analog or digital.
  The most important piece of equipment in your studio is the potter's wheel. While a kiln provides more than its fair share of mystery, the wheel brings forth what's possible. What happens with it is completely up to you and your skills. From an ergonomic standpoint, the type of wheel you use will require you to position your body in ways that are unique to that design. So, with an electric wheel you'll sit one way, and at a treadle wheel you'll use a completely different position. The only way to discover which wheel is most comfortable is to try several types. Your local ceramic supply store, or a school, will have wheels that you can try out. There are three popular types of wheels.
conversations.from: human
conversations.value: Add another sentence about metric, interested, preferred.
conversations.from: assistant
conversations.value: Simon Leach's Pottery Handbook
  Whether you're a beginning potter or an old pro, ceramics can be as technical or nontechnical as you want it to be. Depending on your interests, you can either delve deeply into the art form or be happy skirting its perimeters. Likewise, the extent to which you equip your studio with tools of the trade or learn about new techniques and materials is up to you. This chapter presents basic information about setting up your studio, what tools and equipment are available to help you get going, and the clays you will come across along the way. 
  What tools and equipment are necessary for making a pot? That question reaches as far back in time as the craft itself. In truth, pottery can be made with only clay, hands, and a pit fire, but to make our lives a little easier, we humans have continued to develop tools and equipment that let us make ever more complex or useful forms (though I've always taken a straightforward approach, and use relatively few tools in the studio). 
  A wedging table and scale are the only equipment needed to prepare clay for throwing. Your bench-height wedging table should be well built and sturdy, since you will be vigorously kneading and compressing the clay on it. Some good surface options are plaster, canvas, concrete, or wood, all of which absorb moisture and easily release clay. 
  A scale for weighing balls of clay must be durable since you'll be using it frequently and want it to last. Scales made for professional kitchens or labs are ideal, but inexpensive ones will also suffice. Make sure the scale you're interested in can measure in your preferred system (metric or imperial). A scale should be able to weigh amounts up to 25 pounds (11. 3kg) and can be analog or digital. 
  The most important piece of equipment in your studio is the potter's wheel. While a kiln provides more than its fair share of mystery, the wheel brings forth what's possible. What happens with it is completely up to you and your skills. From an ergonomic standpoint, the type of wheel you use will require you to position your body in ways that are unique to that design. So, with an electric wheel you'll sit one way, and at a treadle wheel you'll use a completely different position. The only way to discover which wheel is most comfortable is to try several types. Your local ceramic supply store, or a school, will have wheels that you can try out. There are three popular types of wheels.
conversations.from: human
conversations.value: Give me two more paragraphs.
conversations.from: assistant
conversations.value: While throwing your pot, you may have left extra clay in the base and floor to be trimmed away when the pot became leather-hard. Now you're ready to give the form a graceful shape and some lift by adding a foot ring. I'll demonstrate two styles for creating a foot ring on a tea bowl, so you can see the effect each one can have on the final form.
  No matter what type of pot you're trimming, the basic parts of a foot ring are the same. What differs from pot to pot are the proportions of the foot ring's height, width, and diameter, relative to the pot's overall size. When you're ready to get down to trimming your pots, you'll want to think about proportion, think about the diameter of the foot in relation to the overall diameter, and think about the depth of the foot in relation to the total depth.
conversations.from: human
conversations.value: Reverse the sentences.
conversations.from: assistant
conversations.value: When you're ready to get down to trimming your pots, you'll want to think about proportion, think about the diameter of the foot in relation to the overall diameter, and think about the depth of the foot in relation to the total depth.. What differs from pot to pot are the proportions of the foot ring's height, width, and diameter, relative to the pot's overall size.
  No matter what type of pot you're trimming, the basic parts of a foot ring are the same. I'll demonstrate two styles for creating a foot ring on a tea bowl, so you can see the effect each one can have on the final form. Now you're ready to give the form a graceful shape and some lift by adding a foot ring.While throwing your pot, you may have left extra clay in the base and floor to be trimmed away when the pot became leather-hard
conversations.from: human
conversations.value: Give me the last five paragraphs.
conversations.from: assistant
conversations.value: Mason stains are combinations of fritted oxides that you use to color transparent or opaque glazes, slips, engobes, or even clay bodies. (The stains may also be applied directly with a brush for a decorative effect; mix them with water and a fluxing agent.) Here are some suggested stains for adding the BDC Base and percentages to try. The more stain you add to the recipe, the more intense the color. As always, for the best results, test your glaze.
  The chart below lists pyrometric cones and their equivalent temperatures. The temperatures given represent a rate of increase of 108°F per hour. This chart features the range of cones that potters customarily use, starting at Cone 022 (for lusters and enamels), climbing in temperature to Cone 10/11 (for stonewares and porcelains).
  Special mention goes to Jennifer Adams for her ongoing support and contributions throughout this project.
  Finally, I also pay tribute to the tradition of pottery making, which has been passed down to me through my family—without them, I would most likely never have become a potter.
  He has taught at Hunter College and Parsons School of Art and Design in New York City, Dunedin School of Art in New Zealand, and the Universiti Malaysia Sarawak on the island of Borneo.
conversations.from: human
conversations.value: Delete the first sentence.
conversations.from: assistant
conversations.value: (The stains may also be applied directly with a brush for a decorative effect; mix them with water and a fluxing agent.) Here are some suggested stains for adding the BDC Base and percentages to try. The more stain you add to the recipe, the more intense the color. As always, for the best results, test your glaze.
  The chart below lists pyrometric cones and their equivalent temperatures. The temperatures given represent a rate of increase of 108°F per hour. This chart features the range of cones that potters customarily use, starting at Cone 022 (for lusters and enamels), climbing in temperature to Cone 10/11 (for stonewares and porcelains).
  Special mention goes to Jennifer Adams for her ongoing support and contributions throughout this project.
  Finally, I also pay tribute to the tradition of pottery making, which has been passed down to me through my family—without them, I would most likely never have become a potter.
  He has taught at Hunter College and Parsons School of Art and Design in New York City, Dunedin School of Art in New Zealand, and the Universiti Malaysia Sarawak on the island of Borneo.