(no subject)

updated fri 8 feb 08

SusanRaku@aol.com on thu 21 mar 96

me where I can find T-frit and FP3006 so that I can test
some raku formulas that require these?

lauras@epix.net on sun 7 apr 96

-------------------------------------
Name: Freedman
E-mail: lauras@epix.net
Date: 04/07/96
Time: 08:49:20

This message was sent by Chameleon
-------------------------------------
Happy Holiday. I purchased a dust mask from A.R.T. last year and it
doesn't seem to be keeping a good seal around my face. It's too late
to return it. It is a hard plastic one with changeable felt looking
filters. It cost between 30-40 $$ and I don't want to toss it. Does
anyone have any creative ideas on how to fix it. I can feel the air
going through on the top and bottom. I spoke to A.R.T. and they can only
recommend the paint mask, no fix it. I don't have good ventilation in my
basement studio at this moment so feel the mask very necessary.
Lauras@epix.net

Lyngkx@aol.com on fri 12 apr 96

I'm wondering if slipping pencils into the peepholes of my electric kiln to
reduce a cone 6 firing would do any damage to the electric elements?

Lynn Fredrickson
Fredonia, Wisconsin, USA
lyngkx@aol.com

Lgeese@aol.com on sat 13 apr 96

Electric Kiln -
A recent post talked of firing to Cone 010. I was thinking of making a
saggar, bisque firing it, and then using it in a Cone 6 glaze firing...bad
idea? Am I asking for a mess? An explosion? I'm not sure I understand why I
can't do this...or can I?

On a separate note...

1X Firing -
A post a couple of weeks ago put me at ease with this by basically suggesting
to fire up to temp (Cone 6 or so) by going very slowly. Bisque and then
beyond - so to speak. Is this too simple? Again, am I risking a huge
mess/explosion?

I guess I'd be more inclined to "go for it" with these methods if I wasn't so
darn afraid of ruining the inside of my electric kiln.

Also, I enjoyed reading all the great ideas from everyone regarding the
"kidstuff" for John's class. I saved them all myself for future reference.
We have a "downtown school" (its somewhat experimental in curriculum and
format). They're considering doing some clay classes. Perhaps I could get
in on that a some point...you never know.

AND, I'm now feeling quite amiss for not ever learning to tap to center...so
I'll be working on that... :)

Thanks for your suggestions in advance!

Lisa in Des Moines - Gotta go trim!
Lgeese@aol.com

Dave Eitel on mon 15 apr 96

>----------------------------Original message----------------------------
>I'm wondering if slipping pencils into the peepholes of my electric kiln to
>reduce a cone 6 firing would do any damage to the electric elements?
>
>Lynn Fredrickson
>Fredonia, Wisconsin, USA
>lyngkx@aol.com

I don't do that sort of thing, but my impression is that anything you put
into your kiln which would burn enough to give reduction would probably
ultimately damage your elements. Sorry I never got back to you about your
last post from me. I deal a lot with Paoli clay near Madison for
materials, and tools, etc from mail order places such as Axner or
Continental Clay in the twin Cities. Got to run. Lets get together some
time with some of the other potters around.

Later...Dave


Dave Eitel
Cedar Creek Pottery
Cedarburg, WI
daveitel@execpc.com

lauras@epix.net on mon 15 apr 96

-------------------------------------
Name: Freedman
E-mail: lauras@epix.net
Date: 04/15/96
Time: 09:44:35

This message was sent by Chameleon
-------------------------------------
I will be spending a week in a tiny place in Maine called Grand Lakes.
It's not too far from Calais on the map if an inch is 10 miles. Borders
parts of Canada. Are there any potters, studios or galleries that you
know of in that area? I think this will be a lo-o-o-ng fishing week.
TIA for any info. Lauras@epix.net

DIRTYBIRD5@aol.com on tue 16 apr 96

dress for the imported blackware www site that
was posted from PA a week or two ago? I perused it a little bit, but have
just gotten a new modem and would like to go back for a closer look.
Beautiful stuff.

Julie Moore
Manassas, VA
.....still looking for a used pugmill

James Twerdahl on wed 17 apr 96

Mayco Colors, a manufacturer of ceramic glazes and molds for the ceramic
hobby (slip casting) market is looking for sculptors who can design
functional and decorative pieces which can be made into master molds for
casting greenware. Experience in mold making is not necessary, but
sculptors must understand how to design so that well detailed pieces can
be drawn from molds. Preference is for full-time employees to locate and
work in Columbus, Ohio, but free lance sculptors will also be
considered. Competitive salay based on experience; full benefits. If
interested, please send a resume and salary history/expectations to Kevin
at Mayco Colors, 4077 Weaver Court South, Hilliard, Ohio 43026. Or fax to
614-876-9904. You may e-mail interest to Mayco1951@aol.com or reply to
this message.

We are also interested in hiring staff artists to decorate samples both
in ceramic glazes and acrylic stains for advertisements and shows, and to
assist in determining subject matter for sculptors. Send resumes and
salary history to Nancy at the Mayco address above.

Keith Chervenak on fri 3 may 96

Hi All,
I read the post of Lori's a few days back and wanted to reply
immediately but stopped myself from doing so until I did a little research.
I work in the Division of Infectious Disease at University Hospitals of
Cleveland and Case Western Reserve University. I spend my time researching
various infectious diseases, one of them being HIV. Here at this
institution we are one of eleven Centers for Aids Research in the United
States which is funded by the National Institutes of Health. With these
resources at hand I wanted to get first hand opinions from those around me
who have expertise in this field. I described the situation in this post
to 5 physician/ reseachers, 4 who are trained infectious disease specialist
with one being internationally recognized in the study of HIV.
Additionally I consulted a virologist. The result of my query was
basically the same in each case, it is unlikely that HIV would be
transmitted this way BUT the bottom line is that we "Do not know". The
experiment to prove or disprove transmission via clay has not been done and
that of course would provide the definitive answer. There are very few
experiments conducted to determine HIV transmission through inanimate
objects, as this is not the major route of infection, but this cannot be
misconstrued to mean that it could never happen. Since this is unknown
territory the burden of decision will rest with each individual as to how
they will handle this situation should they ever be faced with it. I
commend the infected student for making his/her instructor aware of the
fact. This shows courage and responsibility and will go a long way toward
educating others about this terrible disease.

To comment on a few other posts replying on this subject:

Each of us has a different immune system response to the infectious agents
with which we come into contact. Some of us get the flu and some do not.
Because you have worked with someone who is infected and have not become
infected yourself (have you been tested?) does not mean that I would not
become infected in the same situation because my body functions differently
than yours.

The post from the National Education Handbook is a very general guideline
and was probably written with the grade 1-12 teacher in mind, I am not
sure. I find it giving a false sense of security for those of us in clay.
It appears to be based on the most casual of contacts with an infected
person and I know from my experiences that my hands have bled while
throwing a pot with heavy grog. A bleeding wound is not casual contact.
Whenever I see words like "usually","cannot", and "never" I immediately ask
how can you be sure, where is the data to support this claim. That is the
scientist in me. None of the physicians I asked would make such an
absolute claim about transmission,"It is unlikely" is as far as they were
willing to go.(Yes, liability,I know) But the bottom line is still that we
do not know all there is to know about the transmission of this disease.

I know that everyone wants to hear a definitive yes or no answer on this
topic but unfortunately one does not exist. At best we say that it is
unlikely and the absolute answer is that we do not know. You can decide
what risk you are willing to take, just as you do each time you drive your
car, step into a plane, etc.. I hope that this puts the subject into better
perspective and perhaps we each have a little more knowledge with which to
make our decisions.

Keith

Schapansky on tue 7 may 96

I have tried the application of stain on a bisqued pot only once....a
fellow student did it a lot. We both fired to cone 6 in an electric kiln.
But I think that even had we not fired it again after the stain application
it wouldn't have rubbed off, since the way we applied it was to apply it
with the damp sponge or brush as I said, let the stain dry and then wash off
with a clean wet sponge every bit of stain that would wash off. All that
remained was what had settled in crevices or into the rough texture of the
clay. The clay we where using was not a super smooth clay (like I'm not
sure what it would do on procelain)...but not heavily grogged either. Hope
this explanation helps.
Become sand beneath your feet,
Until next we meet...

Dave Kuilema on wed 22 may 96

Hi clayart,
Does anyone have any advice for making wall sconce? I don't
usually do these, but have a special request. I plan to make a large thrown
bowl, cut it in half and back it up with a slab. But, how can I wire it
with a sideways lying lightbulb and socket? How can it be hung from the
wall. Commercially made sconces have the whole thing hanging on the
electrical brass fitting, somehow. This needs to be safe- of course- and
not present a fire hazard. Any help would be appreciated.
Thanks,
Mary Kuilema

Kenneth A. Moore on mon 3 jun 96

Thanks to all for your very positive comments about my son's poem. It gave
me goosebumps and I thought many of you would appreciate it.

I did a two day show this weekend and passed out hundreds of my "Everything
you ever wanted to know about pottery..." brochure. People were very
interested and handing them one gave me a chance to initiate a short
conversation about how my work was all handmade, thrown or built from a wad
of clay, etc. A couple of other potters also picked one up and will be
making copies to distribute. All in all, very well accepted.

I also wanted to thank whoever it was that gave out the information on
credit card merchant accounts. I've opened one and it works great. Never
thought I'd be able to work that out.

Your guys are a wealth of valuable information.

Julie
Manassas, VA
....still looking for a used pugmill....

Howard & Judy Brager on mon 10 jun 96

Yesterday I received a call asking me if I knew of any potters who would be
interested in participating in the Yakima Folklife Festival, July 13-14th in
Yakima, Washington.
It sounds like a good place to show and sell, but they haven't attracted any
potters as of this late date. I was surprised that the organizer wasn't
aware that the college in Yakima has a good pottery department, but I
couldn't remember the name of the instructor. If the instructor or any
Yakima potters are out there, please call Loren at 509-697-9223.

Usual disclaimer: I'm not part of the festival...don't even live there.
Judy (hjbrager@oneworld.owt.com)

Judith Enright on thu 20 jun 96

A couple of weeks back I saw a post re coop (?) space available at a
converted school building in MtVw, CA. If the space is still
available, would the post-er please contact me privately via e-mail or
phone with space dimensions, etc., etc.?

TIA --

Judith Enright @ Black Leopard Clayware
-- Home/Studio: (408) 947-1723

KEMPB on sat 29 jun 96

I am trying to contact an Australian potter by the name of Greg Wain.
Can anyone help me with his e-mail or snail mail address or perhaps direct
me as to where I could make further enquiries.
Thanks
Brian Kemp. Singapore
kemob@nievax.nie.ac.sg

KEMPB on thu 4 jul 96

Hi all you absent minded potters,
I guess you have all had the e
of being able to viualise a book and certain relevant chapters yet you
can't for the life of you remember the title or author. In the case of the
particular book I am chasing, I have it all written down somewhere....but I
don't know where. I have torn the place apart but no luck.
So in desparation am appealing for you help.
The book is on photographic processs as they apply to arts and crafts.
How to put images onto a whole range of surfaces. The particular
process I need involves sensitising a surface - clay, paper canvas etc.
and using a photo positive to expose it under sunlight or UV light.
Racing around in my skull is the name Nancy Kohler but I could be miles
off the mark. It doesn't set any bells ringing on our library computer.
I came across this book in a library in Australia about 10-15 years ago so
perhaps someone out there has come across it can can steer me in the
right direction.
Thanks in anticipation
Brian Kemp.Singapore
kempb@nievax.nie.ac.sg

Marcia Selsor on sun 14 jul 96

Just back from my workshop in Seville and a four-week class in Agost,
Spain. I've been off clayart for two months. Took my class to the
Alhambra in Granada for the full impact of tile design. Plan to put a
fountain in my garden starting tomorrow. If I haven't answered people
it is because I was gone. Last time I didn't sign off, the mail overloaded
my account on campus. My homepage and home address are:
http://www.imt.net/~mjbmls/
Marcia Selsor in Montana

Jan on thu 18 jul 96

I will be in Plano, Dallas, from the Aug 9 - 18 and I wonder if
anyone knows of any ceramics galleries, places I could visit ?

Since I am coming all the way from Malaysia,( the other side of the
wolrd) I would like to visit as many of these places to learn more
about this art.

Thank you for helping..


Jan

Jan on tue 30 jul 96

Can Anyone tell me what happens when I mix 3 commercial art glazes
fire at ^6, all self antiquing - colours are dark brown, orangy
honey, and wood grain one on top of the other by randomly spilling
them on and giving them big brush strokes while all the glaze is
still wet...?

This was done to a tall 3" earthenware bisqued vase. Thanks...

(did I go overboard by doing this experiment?) Firing tomorrow...


Jan

thick haze in Kuala Lumpur, no rain for weeks, polluted air...where
is the rain?

Kenneth A. Moore on sun 4 aug 96

Anyone out there have a wholesale brochure that they present to potential
retailers and would be willing to share with me snail-mail? I've got a
couple of possible markets, but don't know how to go about making up the
brochure or presenting myself.

Thanks,
Julie Moore
Dirty Bird Pottery
Manassas, VA
kenmoore@pop.erols.com
.....still looking for a used pugmill....I'll pay shipping

Donald P. Chitwood/Jane Peterson on tue 6 aug 96

Julie,

Find a graphic artist who would be willing to trade for pots. (This
strategy works especially well around Christmas time when people need
gifts). Also, graphic design degree college students need projects for
thesis work and such and will often work at for a low or even no fee.

Good luck.


Jane

>----------------------------Original message----------------------------
>Anyone out there have a wholesale brochure that they present to potential
>retailers and would be willing to share with me snail-mail? I've got a
>couple of possible markets, but don't know how to go about making up the
>brochure or presenting myself.
>
>Thanks,
>Julie Moore
>Dirty Bird Pottery
>Manassas, VA
>kenmoore@pop.erols.com
>....still looking for a used pugmill....I'll pay shipping

the clay studio on tue 6 aug 96

Hello clay artists


One of our students is making a trip to China and Tibet Sept. 1st and
woould like to visit some folk potters and textile studios. below is a list
of the cities they plan to visit.

China.....
Kunming,Dali, Lyang, Chengdu, Xian, Guilin, Guangzhou.

Tibet.....
Lhasa

Does anyone know of any sites where she may visit some studios or a source
for information.

Matt and (Student Helen)

Thomas J Biesanz on wed 7 aug 96

I am looking for help locating a source of fiberglass wick, 1/8 inch
braided. My old supplier went out of business. I would appreciate any leads
for a bulk spool. Send to tbiesanz@luminet.net. Thanks.
Thomas Biesanz
Rivertown Potters
Winona Minnesota

Chan Hoe Yih on mon 12 aug 96

Hello!

Just need a little help here. Does anyone out there has any information or
can recommend any books/ articles on the history of ciment fondu used in
sculptures?
Thanks.

Anne

Dustin K. Martin on tue 13 aug 96

I AM LOOKING FOR RECIPES FOR SLIPS TO BE USED IN SALT FIRINGS. ANY HELP
WOULD BE GREATLY APPRECIATED!!!!

Eric Lindgren on fri 16 aug 96

>----------------------------Original message----------------------------
>Having read the posting about using a paintbrush
>to sieve glaze I gave it a try.
>Works even better than the marbles,then I put the
>marbles in the sieve and whirled them around
>with the paintbrush----this works the
> best of all.
>Elbow driven ballmill!Took me less
> than 20 minutes to sieve 25 liters of newly
>mixed glaze.
>Toni M

After electric stirring a glaze, I pour it into the sieve (80 mesh) from
over two feet above the sieve in a steady stream. I find that the glaze
pretty well goes right through and only once in a while do I have to jiggle
the sieve.

I avoid materials that tend to settle or clump, like for instance cornish
stone. My mixer is a 1.5 hp motor with a washing machine impeller (black
plastic disc with 6 radiating ridges) on a long shaft - wall mounted on a
track and counterweighted with a pulley and weights.

Eric Lindgren
lindgren@muskoka.com

____________________

KEMPB on mon 19 aug 96

Hi,
I am a BA student doing an honours year. The topic I have chosen
is Photographic Images on Ceramics.
One of the processes I want to reproduce, involves the use of KPR
(Kodak Photo Resist) or KOR (Kodak Ortho Resist). This was written
about in Studio Potter book way back in 1978. We have written to
Eastman Kodak in Rochester, Singapore, Malaysia and Australia and
have been unable to locate these material which apparently are no longer
in production.
Does anyone have any suggestions for alternatives to sensitize the
surface of pots for the subsequent transfer of a photographic image which
will be fired. Or does anyone have a secret supply that they would be
willing to part with. It is my understanding that KPR and KOR was
originally used for manufacturing computer circuit boards. What do they
use today and would it be applicapable for photographs on pots ????
As part of the historical background I would like information on ceramic
artists who have been involved with photographic images on ceramics
( either directly or by other methods e.g. decals) and particularly anyone
who is currently engaged in these techniques

Thanks in anticipation
Dee Chia Singapore
..

Talbott on sun 25 aug 96

I am looking for a good used pug-mill--(Venco-4") especially--let me know
if you know the whereabouts of one--Marshall

Lori Wilkinson on tue 27 aug 96

There is still room for anyone wishing to attend the Steven Hill workshop
presented by
The Pecos Valley Potters Guild in Roswell, New Mexico Sept. 27 - 29. On
Fri., the 27th
there will be a slide presentation that is free and open to the public. At
the workshop, on
the 28th and 29th, Steven will throw, assemble and decorate several pieces,
including
pitchers, teapots, bowls and platters. He will also cover philosophy,
technical information
and even the business of making a living (art fairs, galleries and studio
sales).

The cost of this workshop is $50. If you are interested in attending,
please call Aria Finch
at (505)622-06902.

Lori Wilkinson Roswell New Mexico

Teruhiko Hagiwara on thu 29 aug 96

Lynne (pranton@aol.com) asked the correct substitution of CoCO3 (cobalt
carbonate) for CoO (cobalt oxide). i made an estimate as follows:
the molecular weight of CoO is 75 (59 for Co and 16 for O).
the molecular weight for CoCO3 is 119 (59 for Co, 12 for C, and 16x3 for O).
so, one has to use about 1.6 times (119/75=1.59) heavier amount of CoCO3 for
CoO. terry hagiwara

Virginia Scotchie on fri 6 sep 96

Thanks for all the information on uranium oxide. I definitely dont want
this stuff in my studio which is frequented by my three children. I have
made arrangements with the radiation saftey department at my university to
pick it up but... heres the problem. If this poison really sell for $126
per 5 grams and I have 15 pounds of it it doesnt take a math whiz to figure
out that I could be giving/throwing away a lot of money. Someone suggested
Aldrich or Sigma chemicals may be interesed in purchasing it, does anyone
have an address or phone number? It is important for me to know that I am
not breaking the Law. Thanks

Loren Scherbak on sun 8 sep 96

Sorry about the previous message. I am just trying to get hold of The
Potter's Shop -- Branfman's e-mail address if anyone has it on hand.
Thanks, my e-mail address is: scherbak@nmaa.org

p.s. just trying to get a book called "The Charm of Dark Red Pottery
Teapots" published by Yilin Press. Does anyone know how I could get a
copy of this??

Ken Moore on thu 19 sep 96

I'd be interested in hearing from anyone who has fired Standard 112 to
^9/10. I realize it's supposed to fire at ^4-6(?), but seems to me someone
told me it would go much higher and I love the spotting in this clay.



Julie Moore
Dirty Bird Pottery
Manassas, VA
kenmoore@pop.erols.com
.....still looking for a used pugmill....I'll pay shipping

Ken Moore on thu 26 sep 96

Is anyone familiar with Ratcliffe pugmills?

Julie Moore
Dirty Bird Pottery
Manassas, VA
kenmoore@pop.erols.com
.....still looking for a used pugmill....I'll pay shipping

Joshua A Powell on sun 29 sep 96

I would be most interested in viewing any web sites containing pieces for
sale. I would also be interested if you would like to send a brochure. I
subscribed to this list thinking it was for ceramics,(as in molded ceramics
you paint with acrylic). "Ceramics" is what I searched for, but I think
that's another story alltogether...:-< Since I subscribed a week ago
though, I have become intrigued with this artform, but it seems as though it
would be too expensive to get into. Any information would be very useful to
me.

Thank you very much,
Melissa J.Powell
(517)983-4286
8600 O'Rourke Rd.
Vanderbilt, MI 49795
jmpowell@freeway.net


------------------------------------------------------------
Joshua A Powell
jmpowell@freeway.net

Dan Wilson on thu 24 oct 96

"My Struggle"

Began with my education really. My name is Dan wilson. I was born in 49 and
raised in the Pacific Northwest. I did not travel until I was17. I always
thought of myself as an artist and I guess I am. I graduated from Western
Washington State College (Now a University) in 1978 with a Liberal Arts
degree. I concentrated on Ceramics because the medium appealed to me but
spent alot of time with painting because of the history and the ideas .
Down to the basement for the clay. Up to the third floor for the other.
Down-Up. Down-Up. I did not question this process until I became aware of
that Art vs. Craft thing. I mean I didn't take it seriously. The notion
that art could not be pottery and that pottery could not be art seemed
foolish to me until I started meeting resistence at both ends to my work
which at that time was process oriented and heavily influenced by Dada and
Fluxus/Conceptualism. I eventually worked alone in a room full of animus in
the basement. And without credibility upstairs. Now, I am an analytic
personality. I also tend to remain aloof in social situations (taking
personal notes) and do not share easily my feelings with others. These
qualities do not lend themselves to careers which demand gregariousness. As
a consequence, I drifted for many years. From job to job. All the while
working on one man shows that no one ever saw. Except me. A bunch of ideas
which when viewed separately have no meaning but when viewed from a
distance; and here I speak of time, coalesce into a body of work with
meaning and direction. I'm proud to say I like my work and though I'll not
be influential and will not contribute to the public history of the medium,
I'm satisfied and comfortable with the thought that I did it in the name of
art and I didn't do it for the money. Now, it crossed my mind recently, as
I finished painting that 60 foot rope safety red and began trimming bowls
that I don't know enough. I mean I don't know as much about pottery as I do
about painting. I don't know the history as well; don't know the ideas. It
also occured to me that maybe my work would be better if I did. It seemed a
shame to me that I could know so little about the history. Thats why I came
on line. Thats why I came to Clayart. Asking questions. Thats why I
sometimes get hysterical, cause times passing and I don't know enough.

mayonaise.......Sig Heil!<(sp?)

Vince Pitelka on fri 25 oct 96

Thats why I came to Clayart. Asking questions. Thats why I
>sometimes get hysterical, cause times passing and I don't know enough.
>mayonaise

To The Artist Formerly Known as Dan Wilson -
Yes, I read the whole thing. And you're a hell of a lot better off than all
the apathetic fools out there in the world completely complacent in their
ignorance: get up, go to work, wait for lunch, wait for quitting time, go
home, drink a six-pack, watch TV, go to bed, get up, go to work, etc., etc.
No wonder the country's in trouble. We need more people hysterical because
time is passing and they don/t know enough.

And please do post any and all art issues to the list.
- Vince

Vince Pitelka - vpitelka@Dekalb.Net
Phone - home 615/597-5376, work 615/597-6801
Appalachian Center for Crafts, Smithville TN 37166

Brian Maxwell on sat 26 oct 96

Here's something you might try. Call (1-800-452-4862 ) for Laguna Cla
Company, and ask about Brushing Media. You can get similar consistancy
as is available with Duncan glazes. You can also try adding varying
amounts of Macaloid and CMC.

Guenter Haltmayer on mon 28 oct 96

Kalkspatz is a German potters group. We have about 400 members,
most of them professional potters, taechers, or therapists. Our
URL is http://www.cs.tu-berlin.de/~marsu/kalkspatz/ We do not
have very much information in English language at the moment, but
ther are our littlw potters dictionary German/english and in the
subdirectory /1300 you can see a preview of our video "Salted
1300 degrees Celsius" about an old salt-stoneware pottery in
Eastern germany with english text. More will follow. You can read
there also about vacancies in German and European potteries and
within a few weeks our guide for potters travelling around the
globe. Any mail please to my address:
Kalkspatz.guenter@t-online.de

Roeder on wed 6 nov 96

Is there any problem with storing bone dry greenware, or
glazed-but-not-yet-fired ware in an unheated garage when temperatures fall
below freezing? Can damage result from residual moisture in the clay/glaze
freezing?

I know what happens when moist clay or wet glaze batches freeze....

If the clay and glaze can withstand freezing without harm, is there any
precaution to take when firing the "frozen" ware?

I'm falling over stuff in my tiny studio. It sure would be nice to just
move some of it out into the garage, until it gets fired. I just don't want
to chance damaging my inventory.

Thanks,

Candice Roeder
Freezing in Michigan

Elca Branman on fri 8 nov 96

I would not do it..sometimes after a dampperiod, water vapor is left in
bisqued ware and if it freezes, you will experience cracks, not visible
until after glaze fired..
Branman Potters elcab1@juno.com
in Stone Ridge ,N.Y.
in the Hudson Valley

Carol Surzinski on tue 12 nov 96

I hope some of you will give me some advice on purchasing a kiln.

I want to get a small kiln no more than 32" in height on the inside, that is
fully automatic, and that will fire more than just ceramics. The way I
understand it that kilns can fire more than one type of clay that it all has
to do with the temperature and the type cones used.

Around here I have only seen kilns that fire ceramics or porcelain but I'm
interested in other types of clay as well. Is there such a kiln that is
versitile to being used for various types of clays? If so what brand is it
and approximately what is the retail price for such in the size I'm needing?
I figure it would be at about $800-$1000 or am I off on the price?

Any comments or suggestions would be appreciated. Thank you.

Linda Arbuckle on thu 14 nov 96

Karl,

I did come in in the middle of the discussion. ... In response to your
thoughtful response and questions...

A graphic designer I knew told me that I should take my grad school money,
and instead rent a studio and work. I don't think I would have accomplished
as much in the time allotted, altho it might actually have been cheaper.
About spending the money on travel... again, looking isn't the same as
doing. Travel IS good, but you have to do it, make it, take risks, fail at
it, then think about it and make it again. Having a peer group for feedback
in the process is invaluable. And I think one learns large amounts from
watching other people, as immersed in the process, solve different problems
than yours. It's amazing to see how work grows in a couple of years. In
hindsight, the germ of the MFA work is often in the early works, but from
the perspective of the early works, I don't think I could have predicted the
direction it would take.

The MFA is a Masters of Fine Arts. A Masters in Art Education is a teaching
degree. The MFA is about visual research. The student must both define the
problem and work through a solution. Sounds easier than it is to do. The MFA
is about learning how to learn in studio, the work is an artifact of the
process. A good MFA experience colors the way an artist solves problems, in
and out of studio, and is a tool for life.

The rationale in having MFA's teach is that you have to have had the
experience and be a working artist to be able to help younger artists also
grow and mature. In theory, MFA's understand how the process works in a 2 or
3 year time frame (short!). Many places have employed people who had the
terminal degree in studio art , the MFA, or commensurate experience. In
these days of bean-counting and numerical accountability, upper
administration is more nervous about the "commmensurate experience", and
also finds a strong pool of practicing artists who do have the MFA to choose
from.

I think going to grad school for an MFA as a teaching credential is barking
up the wrong tree. Teaching is not the dog, it's the tail .

One woman's opinion....


Linda
_______________________________________________
Linda Arbuckle E-mail: ARBUCK@nervm.nerdc.ufl.edu
Associate Professor, Graduate Co-Ordinator
Univeristy of Florida
Department of Art P.O. Box 115801
Gainesville, FL 32611-5801 Ceramics: (352) 392-0228

Ken Moore on wed 20 nov 96

Can someone help me figure out how to change the following glaze from a ^6
to ^9/10 while altering its character as little as possible?

Pharsalia

Soda Spar 30
Spodumene 12
Ball Clay 10
Red Clay 20
Dolomite 18
Gers. Bor 10

Thanks for your help.

Julie Moore
Dirty Bird Pottery
Manassas, VA
kenmoore@pop.erols.com
.....still looking for a used pugmill....I'll pay shipping

Kathy Turner on wed 20 nov 96

I'm a potter who is teaching high school art this year as a 1-year
substitute teacher. Several of my juniors and seniors are compiling
portfolios of their work in hopes of gaining admission to good art schools.
The students and I would appreciate advice on what to include in their
portfolios, as well as general suggestions about the application process
and what reviewers are looking for.

Thanks.

Kathy Turner Sterngold
Muncy, PA

Jean Lehman on wed 27 nov 96

A friend of mine wants to take a clay workshop in Florida in mid-December
(thats THIS December!). She has seen ads for the Jepson workshops and was
thinking of taking one. I recall discussion of his videos, but don't
remember anyone mentioning his workshops. Does anyone know about them -- or
have suggestions of other workshops in Florida or other southern warm
state???

Thanks. We appreciate the feedback.

Jean Lehman, in Lancaster, PA
j_lehman@acad.FandM.EDU (that's an _underscore_ not a hyphen)

Brooks Burgess on tue 3 dec 96

Hello to Barbara and the CLAYART discussion group,
This is my first reply to CLAYART so I hope that I'm writing to the
correct address. I own a Skutt 1023 with a regular kiln sitter/timer. At a
college where I teach I use a Skutt 1023 with the kiln controller. I prefer
the sitter myself with the logic being that the more "bells and whistles"
the more there is to tear up.The controller version comes with a warning
that the controller being an electronic device shouldn't be exposed to
heat/dust/moisture.(Heat and dust pretty much desribes my studio.) I also
like being able to turn up swithes at my own rate rather than from a menu of
ramps and hold times but I primarily use my electric kiln to bisque fire .I
suppose that if you trust the controller and you glaze fire in your electric
kiln you might like the controller but I just prefer the old technology
sitter. I might add that Ive never had trouble with either one and Ive heard
horror stories about both.


Brooks Burgess

Ken Moore on tue 3 dec 96

Can anyone tell me why the glaze on the inside of my goblets is so much more
beautiful than the same glaze on the outside of the same goblet?

Julie Moore
Dirty Bird Pottery
Manassas, VA
kenmoore@pop.erols.com

Tom Gray on tue 3 dec 96

Ken Moore wrote:
>
> ----------------------------Original message----------------------------
> Can anyone tell me why the glaze on the inside of my goblets is so much more
> beautiful than the same glaze on the outside of the same goblet?
>
> Julie Moore
> Dirty Bird Pottery
> Manassas, VA
> kenmoore@pop.erols.com


Julie-What is the glaze, how is it being fired, temp., size of kiln,
if you reduce-when, etc.?
Later-
Tom Gray
Seagrove, NC
http://www.cclay.com

Bob Hanlin on wed 4 dec 96

Julie:
It's because the glaze on the inside of my casseroles is more beautiful than
the outside. It's a rule you better not break it! Really I think it's the
atmosphere some 'gurus' have told me I can get a similar effect firing in a
saggar.


>----------------------------Original message----------------------------
>Can anyone tell me why the glaze on the inside of my goblets is so much more
>beautiful than the same glaze on the outside of the same goblet?
>
>Julie Moore
>Dirty Bird Pottery
>Manassas, VA
>kenmoore@pop.erols.com
>
>
Bob Hanlin
3504 N. Tulsa
Oklahoma City, OK 73112

e-mail bhanlin@ionet.net

Ken Moore on wed 4 dec 96

At 10:54 PM 12/3/96 EST, you wrote:
>----------------------------Original message----------------------------
>Ken Moore wrote:
>>
>> ----------------------------Original message----------------------------
>> Can anyone tell me why the glaze on the inside of my goblets is so much more
>> beautiful than the same glaze on the outside of the same goblet?
>>
>> Julie Moore
>> Dirty Bird Pottery
>> Manassas, VA
>> kenmoore@pop.erols.com
>
>
>Julie-What is the glaze, how is it being fired, temp., size of kiln,
>if you reduce-when, etc.?
>Later-
>Tom Gray
>Seagrove, NC
>http://www.cclay.com
>

Tom,

The glaze is the Oatmeal that was posted on this list. I'm firing in my 10
c.f. Aim updraft to ^9 and reducing at about 1000 degrees. The glaze inside
is slightly shinier and has a lot more depth and interest. The outside is
more matte with very little variation.

Julie Moore
Dirty Bird Pottery
Manassas, VA
kenmoore@pop.erols.com

David McBeth on wed 4 dec 96

>Ken Moore wrote:

> Can anyone tell me why the glaze on the inside of my goblets is so much more
> beautiful than the same glaze on the outside of the same goblet?
>

I would guess that you glaze the insides of the goblets first. The bisque
is drier and in soaking up more water leaves a thicker glaze
application/covering on the insides. When you glaze the outsides the
damper bisque will not hold the same thick coat of glaze as thee inside
did.

David McBeth, MFA
Associate Professor of Art
330C Gooch Hall
Division of Fine and Performing Arts
University of Tennessee at Martin
Martin, TN 38238

901-587-7416 office
901-587-7415 fax
901-587-5724 home
http://fmc.utm.edu/~dmcbeth/dmcbeth.htm

Robert Sinclair on sat 14 dec 96

>I was wondering if anyone knew if you can use a high fire wire
>for an armature for say, arms on a sculpture, using water-based
>clay naturally. Does it fire ok???

Mary,

I remove all my armatures before firing, so I cannot address
the endurance of high fire wire. Have you tried firing a piece of
the wire to see what happens? Are the arms of your sculptures
thick enough for padding around the wire to allow for shrinking
during drying and firing?

-- Bob

bob@touch.wustl.edu
Washington University
St. Louis, MO

grenclay on fri 3 jan 97

JOB VACANCY

Small, recently established pottery located in Grenada, West Indies
(the Spice Island of the Caribbean) seeks Production Manager. Pottery
produces Ram Pressed dinnerware and wheelthrown items from local terra
cotta clay body. Responsibilities include: continuing development of
clay body, glazes, design, maintaining kilns, teaching wheel throwing.
Position available March 1997. Freebies: one bedroom furnished
apartment, use of pickup truck, airline ticket. One year commitment
required. Good position for recent graduate or older potter looking for
something different. Beginning salary: more than sufficient to live on
island, will grow as pottery grows.
Contact: Grenada Clayworks, Ltd.
Phone/fax (809)444-2341
Evening phone (809)440-4727
e-mail: grenclay@caribsurf.com

Laurie and Dan Hennig on thu 9 jan 97

Can anyone out there give some advice on the following glaze recipe:

Neph. Sey - 56.0
Barium Carb. - 41.9
Kentucky Ball Clay - 1.4
Lithium Carb. - 0.7
Copper Carbonate - 3.0

I have used this glaze on the same clay body for years. (Sandstone Buff
from Quyle kilns in Murphys, CA.) Currently I am experiencing bubbling and
blisters. I am firing at the same temperature, but in the cooler parts of
the kiln it seems to work better. However, I've never had this problem
before. This glaze always used to settle out and take about 20 minutes to
stir up. Now it mixes easily and I feel one of the ingredients is not the
same consistency as before. Is anyone else having trouble with any of the
above ingredients?

Dano

Linda Arbuckle on mon 13 jan 97

>Dear Clayarters,
>
>I have a recipe for a ^6 oxidation glaze called "Floating Red" containing
>the following:
>
>Gerstley Borate 55
>Talc 15
>Flint 30
> ----
> 100
>add: RIO 15
>
>This recipe has no source of alumina, and the Zakin analysis says it "...
>does not match the parameters of a glaze because it is too low or too high
>in silica, alumina or flux." Yet, I have a pot that was supposedly glazed
>with this glaze that is a beautiful, dark red semi-matte surface with
>beautiful mottling. Can one of you "glaze gurus" tell me what's happening
>here?
>
>Thanks in advance,
>
>Greg

Boron (B2O3) functions as both a flux and a viscosity agent. In glaze
calculations, it ends up in the same column as alumina (Al2O3). All the
glaze calc programs look at averages, and report back based on those. There
are a number of glazes that work well but are outside the averages and
report strange readings from computer expert help software. For instance,
most majolica glaze have too much calcium for a lowfire glaze.

If you want to read more, Daniel Rhodes' book Clay and Glazes for the Potter
is a resource for trying to figure out how glazes materials work. The Hamer
book A Potters Dictionary is also a good resource.

Linda
Linda Arbuckle
Associate Professor, Graduate Coordinator
University of Florida, Box 115801
Gainesville, FL 32611-5801
e-mail: arbuck@nervm.nerdc.ufl.edu

Jonathan Kaplan on wed 15 jan 97

Many kilns now using forced air have very short stacks that just go to the
>top of the arch or so...reference some of the commercial gas downdraft
>kilns as these are not dependant on the natural pull from a tall chimney.

I neglected to add to this that these short stacks should indeed vent into
an exhaust stack from the building to the outside. A collection box,
allowing air intake to both cool the exhaust as well as add turbulence is
usefull at the junction of the short kiln stack and the exhasut stack.

Jonathan



Jonathan Kaplan
Ceramic Design Group Ltd./Production Services
PO Box 775112
Steamboat Springs CO 80477

jonathan@csn.net
(970) 879-9139*voice and fax
http://www.craftweb.com/org/jkaplan/cdg.shtml

Ron Roy on thu 16 jan 97

>----------------------------Original message----------------------------
>>Dear Clayarters,
>>
>>I have a recipe for a ^6 oxidation glaze called "Floating Red" containing
>>the following:
>>
>>Gerstley Borate 55
>>Talc 15
>>Flint 30
>> ----
>> 100
>>add: RIO 15
>>
>>This recipe has no source of alumina, and the Zakin analysis says it "...
>>does not match the parameters of a glaze because it is too low or too high
>>in silica, alumina or flux." Yet, I have a pot that was supposedly glazed
>>with this glaze that is a beautiful, dark red semi-matte surface with
>>beautiful mottling. Can one of you "glaze gurus" tell me what's happening
>>here?

>Boron (B2O3) functions as both a flux and a viscosity agent.

Just in case this is misunderstood I should add here - B2O3 is a runner -
lowers viscosity - it is closely grouped with sodium, potassium and
lithium. Thats the strange part about this glaze - I think perhaps this is
not the glaze on the pot or it is very thinly applied.

Wish I had the time to do a few experiments - I would really like to find
out what is going on here.

Ron Roy
Toronto, Canada
Evenings, call 416 439 2621
Fax, 416 438 7849

Hluch - Kevin A. on mon 20 jan 97

It seems someone posted a message concerning a potters group in Stuttgart,
Germany...I saved that message but have found I've lost it. Can someone
e-mail me directly with that person's address. Or if that person who sent
the message is lurking in the background, would you please contact me?

Thank you.

Kevin A. Hluch
102 E. 8th St.
Frederick, MD 21701
USA

news on thu 23 jan 97

Newsgroups: bit.listserv.clayart
Path: usenet
From: pottery@ald.net
Subject: PRICE REDUCED Paragon Kiln for sale
X-Newsreader: AWebNews
Sender: usenet@kraken.aldhfn.org (Fool)
Organization: Auldhaefen Online Services
Message-ID:
Date: Thu, 23 Jan 1997 01:33:54 GMT

Akron, Ohio
Paragon A28B elec. kiln, interior 27x28, rated cone 8, sitter, timer,
eight half-shelves. Need to remove from present storage location. Price
reduced from $800 to $650. Call soon, 330-733-3384, Debra or Adam Ocepek.

pottery@ald.net

--

Tracy Wilson on thu 23 jan 97

Howdy all...
Would the person who emailed me a couple of weeks ago about my bluebird
440 and its maintenance schedule please contact me again. I've been trying
to find the post to no avail. I'll gladly share info with you.
Thanks,
Tracy
_______________________________________
Tracy Wilson
Saltbox Pottery
RR3 Box 749, Rte. 1
Woolwich, Maine 04579
phone:207-443-5586
fax:207-443-6544-0
email: cape1764@gwi.net
Web: http://www.gwi.net/~cape1764/
______________________________________

George VanOstrand on sat 1 feb 97

I notice The coating ITC is getting very good press on clayart. Has anyone
used it for coating on shelves. I fire with wood and soon with soda and
wonder how it would work. Do glaze drips come off easily?
George VanOstrand
gvanostr@julian.uwo.ca
London, Ontario

Tracy Wilson on wed 5 feb 97

ATTENTION...ATTENTION... For any of you that have my old address
(cape1764@gwi.net), it is no longer. The provider says they'll forward any
mail for a while but you never know. In case any one is interested... The
new info is below. I missed a couple of days of CLAYART during the
transfer and I'm miserable. Clayart is great! Thanks you guys.
_______________________________________
Tracy Wilson
Saltbox Pottery
RR3 Box 749, Rte. 1
Woolwich, Maine 04579
phone:207-443-5586
fax:207-443-6544-0
email: saltbox@ime.net
Web: http://www.ime.net/~dwilson/
______________________________________

L.Louise Lashambe on thu 20 feb 97

sunscribe to clayart L.Louise Lashambe

Judith Enright on tue 25 mar 97

Can anybody tell me anything about Gare kilns? I've have never heard
of them. All tips welcome!

-- Judith Enright @ Black Leopard Clayware & Pottery.

Clayton Bailey on sat 12 apr 97

Sorry for the incorrect listing of my web page. Please check it at:

http://www.roadtripamerica.com/people/bailey.htm

Thanks, Clayton Bailey

Katherine S. Urban on tue 3 jun 97

Please note address change:
urbanart@internet1.net
Love,
Kaye

KATHLEEN hill on thu 31 jul 97

I am wondering if I can use styrofoam supports inside a clay sculpture
and fire the piece with the styrofoam inside? (Electric kiln ^06-^04) I
am building a kind of hollow arch form and have some chunks of styrofoam
bracing inside as I build. I'm not sure I will be able to get them all
out!! (Kind of " boat in the basement" sort of thing). I am going to
have to cut it to fit it in the kiln and hope I'll be able to fish
pieces out then if I have to. Anyone have any experience with this or
suggestions for alternative materials for support?

Kathy

Katy Sheridan on sun 5 oct 97

From: Bob Pulley
Subject: Thixotropic Clay, Oh My.

----------------------------Original message----------------------------
I've been potting for over 25 years and have mixed my own clay most of the
time and have never had this experience before. A batch of stoneware is
thixotropic, it is weird, weird, weird.
Something in the water?
Killer bacteria?
A mismeasurement?
What do you think?

Robert Pulley
bpulley@hsonline.net
----------------------------------------------------------------------------
----Robert, in discussing thixotrophy (I don't to this everyday) with a
ceramic engineer friend of mine in Georgia once, he told me that some
deposits just have this quality about them and that the kaolin company folks
test different batches to be sure that this quality is not present in the
new deposits. I would doubt that you have made any errors in calculation but
that you have gotten a clay ingredient from a mine whose people were not so
careful to avoid certain deposits. I haven't a clue what causes it but I've
seen some clay with it! And you're right it IS wierd!

Katy Sheridan
Studio One
365 45th Street
Oakland, CA

Russel Fouts on wed 8 oct 97

Wendy,

>> I took a class at Anderson Ranch from Jim Lawton and having only one
week to make and fire all our pieces we bisqued wet pieces. He left the
kiln lid open till the very end of the firing ( last 50 degrees), and we
only lost one piece out of the whole firing. Some were put in the right
off the wheel. <<

Can you elaborate? too what temp and how fast.

Russel (with a show less than a week away.............)

------------------------
Russel Fouts
"Mes Potes et Mes Pots" Christmas sale 29-30 Nov.
Brussels, Belgium
+32 2 223 02 75

Weather: Partly sunny with the light and colors of Northern Renaisance
paintings.

Try to spot me on the IWCAT 97 Home Page
http://www.japan-net.or.jp/~iwcat/
------------------------

First Name: Thomas Last Name: Judge on fri 23 oct 98

Howdy, I am seeking help with a firebox oxygen circulation problem. The
firebox was built without a sub-floor mouse-hole system and firing creates a
heavy coal build-up on the floor.If I wish to avoid using a grate, is
rebuilding the floor my best option?

Anji Henderson on fri 23 jul 99

Wanted.... Help!!!

I have a problem. I am applying to this studio and there are a bunch of
questions. This one gets me "Richard Zakin says , "ceramics is about loss."
What is he talking about??" I have read some of his books and I don't
remember anything about that. Well, I have looked in the library for the
books again, and I have also looked in some local book stores. They seem to
be out of the book or in the library's case they cant find them. I think he
means that the loss is letting go of your work. Does anybody know for sure??

Stunjan@aol.com on fri 3 sep 99

Thank you to all potters who responded to my Cups for the Cure call for pots.
I am so excited about this project and want to just say thanks and just in
case anyone else is interested I will repeat what I wrote the more cups I
get, the more money will be sent to the Breast Cancer Research Fund. It also
looks like in addition to Oct. 23 as the date I'll be holding the event at
the Winter Park Farmers Market, our local MD Anderson organization want to
have our event and another hospital also. So now I'm worried that I'll run
out of cups and have people who'd like to have them. Just in case you didn't
read the first posting of this, I am a new survivor of breast cancer and a
potter. After my chemotherapy ending and I was able to return to my studio,
I decided to devote a portion of the work I did until October, breast cancer
awareness month, to raising money for breast cancer research. I'm calliing
my project, Cups For The Cure. I will give all money collected from the sale
of my cups to The Breast Cancer Research Fund. Then I thought why limit this
to my pots? Why not anyone in the ceramic community? What do you think ? I
will not be able to return any pots
and I am sure there will not be any anyway. After the events I will write in
this site all about it and how much money we were able to make. I will also
try to respond to each of you when I receive your pots. Thank you wonderful,
generous hearts. Jan My address: Jan Omans,
1565 Forest Ave.
Winter Park, Fl.
32789

Larry Hinshaw on fri 14 jul 00

HAVE A BURNING DESIRE TO LOCATE AND BUY A PETERPUGGER PM-100. CAN MAKE
ARRANGEMENTS TO RETRIEVE FROM ABOUT ANY LOCATION.

ALSO ANY ADVICE THAT MIGHT COME ALONG REGARDING PREPARATION OF CLAY DUG FROM
THE GROUND WOULD BE APPRECIATED. LOOKING TO MAKE HAND FORMED TERRA COTTA
POTTERY.

LARRY HINSHAW 970-948-0711 ANYTIME

Khaimraj Seepersad on sat 15 jul 00

Greetings to All ,

Larry ,

I just got back from the east coast , with some interesting , palest
blue clay intermixed with pallid ochre colours. Originally from the
high tide mark , it's a clay , with massive amounts of what was
- 50 mesh sand and finer .
It was soaked in sea water , and hit with sea blast . The winds on
the eastern coast are constant and with a force . Kites fly
vertically .

I crumbled it while wet to a Channa / Chick Pea / Garbonzo bean
size . Dried fully and then added 6 times it's volume in water .
Left to soak , the mix fell apart into a soft sludge , that I mixed into
a very thin slip , with the sand quickly dropping out of solution .

The idea here was to use the water twofold -
[ 1 ] Wash out the sea water
[ 2 ] Allow the clay to separate from the sand , without having to
sieve .

I settled for 20 minutes and then poured off the watery slip .
Then I added an equal volume of water to the watery slip .
20 minutes of settling yielded a slip able to pour through a -325
mesh . Leaving behind a very fine sand .

The clay was flocculated with vinegar [ 5 % acetic acid ] added
as capfuls . One hour later , I poured off the clear water .
The thick slip left was poured onto a plaster bat , with a 1 inch
depression .
The clay being reclaimed is like bentonite , and I use it for making
heavily grogged bodies . It's able to plasticise , 80 % of a feldspar
if needed .
This is used for hand building .

I normally , use half 55 US gallon barrels to do this . With the slip
being poured onto a tightly woven cloth , loosely , stretched over a
wooden box [ old bee hive brood box ] . This clay is too plastic to
hang in bags and drip dry , it must be surface dried in the hot sun.

When fired it is a pallid orange , because of all the grog . As a pure
clay [ it must be squeezed paper thin to do this , or will blow up very
easily ] it is a deep red .
I deliberately use this deposit , because of the ease of cleaning .
Generally , I look for sandy clay deposits , because of ease of
cleaning .
Hope this helps ,
Khaimraj






-----Original Message-----
From: Larry Hinshaw
To: CLAYART@LSV.CERAMICS.ORG
Date: 14 July 2000 16:45
Subject: (no subject)


>HAVE A BURNING DESIRE TO LOCATE AND BUY A PETERPUGGER PM-100. CAN MAKE
>ARRANGEMENTS TO RETRIEVE FROM ABOUT ANY LOCATION.
>
> ALSO ANY ADVICE THAT MIGHT COME ALONG REGARDING PREPARATION OF CLAY DUG
FROM
>THE GROUND WOULD BE APPRECIATED. LOOKING TO MAKE HAND FORMED TERRA COTTA
>POTTERY.
>
>LARRY HINSHAW 970-948-0711 ANYTIME
>
>___________________________________________________________________________
___
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>

Bruce Porth on tue 25 jul 00

Generous souls, I am a new to the craft of pottery having been introduced
through a friend kind enough to also allow some occasional space in his kiln.
I am looking for glaze recipes for copperred (gerstley and non-gerstley) and
tenmoku (reduction) that I can use as a starting point for experimentation.
Cone 10 to 11, porcelain clay body.

Thanks,
Bruce

L. P. Skeen on tue 25 jul 00

> Generous souls, I am a new to the craft of pottery having been introduced
> through a friend kind enough to also allow some occasional space in his
kiln.
> I am looking for glaze recipes for copperred (gerstley and non-gerstley)
and
> tenmoku (reduction) that I can use as a starting point for
experimentation.
> Cone 10 to 11, porcelain clay body.
>
> Thanks,
> Bruce


Hello Bruce,

At this point in the past, you might have gotten a reply that said, "Go
check the archives, or go check the glazebase." Since we have recently
switched over to a new system, I'm not sure if the glazebase still exists.
I hope someone else will know. :) I think there are archives available from
May 1 when the switch to the new system occurred, but not sure if they are
available before that time. We shall have to ask the Mayor..... o
meeeeeeeeellllllllllll?

L

Joe Wotka on mon 11 sep 00

terra cotta gnomes/repair and glaze substitute

>From my aunt I received two 24 inch yard scuptures of gnomes which date
from Germany in the 1920s. I presume they are terra cotta castings, as
they are damaged, revealing an armature of metal rod and rough concrete
like material, around which the figure was cast. Resting on a concrete
base, there is little left of the glaze colors. Some repairs over the
years and painting with some latex will have to be removed. I was going

to use Durham's water putty to fill holes and cracks, and perhaps in a
rubber casting of hands or feet. Any suggestions for materials which
might duplicate the original glaze? Thanks very much. Joe Wotka

Joe Wotka on wed 13 sep 00

I appreciate very much your kind response. I have had several suggestions. As to
material used, I am of course guessing at terra cotta, given the color (dull ivory)
and the fact the gnomes are hollow and show remnants of a glaze on the surface.
They are highly detailed in human like form. I cannot tell if the armature extends
throughout the interior, as it only shows were there is major damage. I didn't
think concrete could be molded so thin and delicately.
Joe Wotka

ferenc jakab wrote:

> ----- Original Message -----
> From: "Joe Wotka"
> To:
> > from Germany in the 1920s. I presume they are terra cotta castings, as
> > they are damaged, revealing an armature of metal rod and rough concrete
>
> Joe,
> They are extremely unlikely to be terracotta if they have an armature inside
> them. The figure would have broken up during the drying phase let alone the
> firing. They are probably concrete and painted. Alternately if they are
> terracotta then the armature and concrete may have been used to repair and
> hold the figure to-gether. Either way you can't re-fire them.
> Feri.
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.

ferenc jakab on wed 13 sep 00

----- Original Message -----
From: "Joe Wotka"
To:
> from Germany in the 1920s. I presume they are terra cotta castings, as
> they are damaged, revealing an armature of metal rod and rough concrete

Joe,
They are extremely unlikely to be terracotta if they have an armature inside
them. The figure would have broken up during the drying phase let alone the
firing. They are probably concrete and painted. Alternately if they are
terracotta then the armature and concrete may have been used to repair and
hold the figure to-gether. Either way you can't re-fire them.
Feri.

Claynkaren@AOL.COM on sat 14 oct 00

I am attempting to find a supplier of accesories. I'm looking for rubber
gaskets for cannisters and metal bands/etc for boxes, etc. Any ideas?

foltz on sat 6 jan 01

I am trying to figure out where to e-mail to ask my questions.
Hopefully this is the place.

1. I just got a used Duncan DK 820-2 kiln for x-mas. It appears that
something has been done to only allow its use based on the timer and not
on cones. Could something have been done? I'm not familiar with how
things should look and the lady who owned it never used it and it sat in
her barn for 8 years. She obviously is not going to know. HELP!!!

2. If the above aformentioned is true, how long should I fire
stoneware to bisque? After glazing, how long should I fire?

Back to number 1 question, I put a cone in and then proceeded to push
the kiln sitter button in but it won't stay in. This leads me to
believe something is missing or bypassed.

I would appreciate any advice any one can offer.

Thanks,

Vickie

Will Wilson on mon 2 apr 01

We will be visiting the Prescott and Bullhead City Az. area the week of April
22. Are there any potteries/gift shops to visit? Are there any ceramic supply
stores in these areas. Are there any shows in this timeline? We might be
interested in relocating. You may contact me off line at
threadhead@rkymtnhi.com.
Thanks Will Wilson

Jean Cappadonna Nichols on sun 8 jul 01

Hi Brian,
Hey, thanks for the kudos! I appreciate your taking the time to write and
tell me.
As for the workshop...I only have one workshop to my credit and that was at
Ole Miss where I did a demo showing how to use paper clay. I have since
switched over to Nan Smith's sculpture clay. Although I am frequently asked
to do workshops, I always decline because I'm not really sure what I would
do! My pieces are complex to say the least, and don't really lend themselves
to a workshop atmosphere, so regretfully, I'll have to also decline your
request, but am really flattered that you asked.
Now it's my turn to ask a question? How do you produce digital sculpture?
Presumably, this is CAD which allows you to visualize three -dimensionally?
Great tool.
Glad you are crossing over into clay-you'll love it. If I can be of help to
you, feel free to contact me and I'll do my best to answer questions for you!

Thanks again,
Jean

PS. Don't know if you would be interested, but there is a wonderful group of
clay people on line at CLAYART@LSVCERAMICS.ORG. There are many
questions/answers, resolved by people who range from beginner to old pro.
Might be worth your while to check it out.

Heather Botelle on tue 10 jul 01

I accidentally deleted the cone 6 glaze test results that were just sent to
the list. Could the sender please resend a copy of the email to me privately?

Thank you,
Heather
Laureley@aol.com

Robert Izzi on thu 13 dec 01

Firing with drain oil : You do not start the firing with drain oil but start
with lighter grades of petrolium products such as ( karosene, paint thinner,
diesel, and stove oils, etc.) then when the the temp. is high enough you then
intro the drain oil which then
burns much cleaner . This will also keep the neighbors from calling the eco.
police.
I have never tried this myself but a friend does. When I was trying to decide
what type of fuel to use in my new kiln I was exploring all possibilities,
oil seem to be to much of a hassel so I have decided on propane. While
attending a workshop at Archie Bray they have an oil fired burner system that
is a drip system of 4 burners, as the kiln gets to a high enough temperature
(I don't know what that is) valves are turned on allowing the oil to drip
onto hot bricks where it ignites and the firing continues using oil as
fuel.


patching cracks in bisque and greenware :

50% elmers glue
50% sodium silicate
epk mix until consistency of mayonise

bob i

Karin Hurt on tue 19 feb 02

Appalachian Center for Crafts

Karin
Laughing Bear Pottery
Arizona

GORMO1@AOL.COM on fri 8 mar 02

need a ride to K.C. next week i live in blacksburg va. a few miles off i 81
can helpwith gas,driving to and back email at gormo1@aol.com
jim gorman

Imbolchottie@AOL.COM on sun 24 mar 02

I'm looking at clayart archives and it's the best dman reading I've seen so
far surfing the web w/ my new computer.

Student at Cal State LA - academic burn out senior year - took a ceramics
class and now my life makes sense. Everything drawing I every made, paint I
mixed, model I constructed was laying the ground work for ceramics - it's
almost a religious experiment!!!

I don't know if this will get through, I'm a bone head when it comes to
electronics, and this is a new toy for me, but everyone in your circle has
made my day. PLZ give them my best, and gratitude, I can't wait to get back
into the studio this week - you folks have 'mused me' along.

Personally I see the evils of blue glaze neck to neck w/ the evils of the
Dewey decimal system!!!

Jeff Tsai on tue 14 may 02

I've been reading through the posts for fixing bisque cracks, and I had a
couple responses, not to suggestions on fixing the piece, but to responses
of
other kinds.

Janet wrote:

"Just a word of advice on how to make friends and influence people,
especially teachers.

Having asked your instructor for advice and were told to throw it out
and start again, it is diplomatic [...] to do what you were told. Why ask,
if
you are going to do your own thing anyway? If you start today you have at
least a week to get a similar teapot made. Even if it is not fired, you will
at least have a pot which
shows you take pot making, the integrity of your work and your teacher
seriously. You will certainly loose points for (a) ignoring their
advice (b) presenting an imperfect pot (c) being contrary. Depending
on your teacher/s, the critique could be much more nerve-wracking and
horrible if they become voluble about the "rules" you are breaking by
presenting a patched pot, which you were told to abandon. At the very
least, you will also loose credibility for being so precious about one
single pot."

I am not, as Janet puts it, "a miserable old fart." I very clearly define
myself as a pretentious, upstart of a youth, so I don't really agree with
Janet. However, a visiting professor once told me, and a room of peers, "you
know, Me, Richard (my teacher) and Joanne (my other teacher), have been
doing
this for a long time. We know things that will work and things that just
will
never work. I just can't stand it when I take the time to give out my advice
and people totally ignore me." He said something like that...not exactly
quoted.

He was talking about a student who was informed by four different
instructors
that had, cumulatively, over 120 years of ceramics experience, that building
a two story tall crucifixtion cross out of clay, as a singular piece, would
not work. That it would break somewhere, somehow during either the forming
or
the firing. He didn't listen and at the end of the semester, when his crit
came and all he had were many many shards, the four professors walked into
his studio, and one approached him and said, "Told you so." and the four
walked out.

Lovely story, moral: listen to your teachers. BUt I don't fully agree. Oh, I
listen to my teachers most of the time, I respect them and know that 100% of
the time they suggest the easiest and best route according to their
knowledge, but I also recognize they are human, that they don't know
everything about everything, and that other people will have suggestions
too,
and I hope that they also realize this. Look at the variety of responses
this
question has recieved on Clayart alone in 24 hours. If She chooses to follow
one path and ignore the others, is she showing disrespect to those people?
We
ask questions of our teachers to get good suggestions, not commandments. She
can be diplomatic without doing exactly what the teacher tells her to do.
She
could say:

"Hi teach, I know you said to throw it away, but I was thinking, this is a
good learning experience. one day I might make a really time consuming piece
and it might break I I'll need to fix it, so I figure I might as well start
learning how to do that with this piece. I also really like this piece, so I
know you said throw it away, but I think I wanna learn how to fix it. Could
you help me do that, tell me where to start?"

in the mean time, as I suggested, she could throw another one too, just in
case the fixing doesn't take. I understand respecting one's teachers is
important, but what teachers think is right is not ALWAYS what is best for a
student as well.

And only a quick response to Earl, who wrote:

"Your instructor was right. But if you ask enough people, someone is bound
to
tell you how you can waste your time."

Waste your time? Well, yes, in this case, maybe, but I think learning to fix
a problem is a good use of time. Sure, it may not be equitable in this case,
but what if she needs to fix something down the line that took 100 hours to
make and has a small but annoying crack? Most people...not everyone, knows
how to throw something away and start again, (although I realize this isn't
always an easy thing for some people to learn). But throwing something away
doesn't teach us anything new technically, but learning about how to use
patch attach, paper clay, or sodium and ground bisque clays (a few of the
suggestions) could provide her with experience for future problems.

God I got preachy today...must be all the beer.

-jeff

Jeff Tsai on wed 10 jul 02

Tamara,

a 4-6 hour bisque is a bit fast especially if you've never fired one in a gas
kiln before. Just be safe and go slower. Nothing has ever blown up from being
fired too slowly.

I don't know if you have a pyrometer, but if you do, i think, generally, it's
best to go no faster than 250 degrees F an hour until you pass
quartz...around 1063 degrees F. After that, you can probably fire the kiln as
fast as your burners will heat it up and be fine.

The speed of firing also depends on the thickness and kind of work you do. If
you make large sculpture (say over a foot in size) that is a little thicker
(like an inch in areas) then you'll want to go a little slower. if you only
make thinly thrown ware, you could probably go faster, reaching temperature
in the 4-6 hours suggested by whatever manual you read. You might also fire
slower if you have work with a lot of attachments and altering to thrown work.

Larger kilns (like a 60 cubic foot kiln vs. a 30 cubic foot vs. a 15 cubic
foot) will fire slower just cause of the time it takes to heat up larger
volumes of in space.

Candling isn't necessary all the time, but again, it's safer than not. If you
have the kiln hooked up properly, I don't think you'll have to worry about
something going wrong overnight. Test the kiln. one day when you first come
in in the morning, set the kiln to candle(with or without work in the kiln)
and leave it on all day until you leave. If the kiln does everything you want
it to do during the day and doesn't suddenly jump to 1000 degrees, then there
isn't much reason to expect that if you did it over night that the kiln would
do anything different.

if it really worries you, you could heat the work and candle it one
day...turn the kiln off that night and restart and fire it the next day (the
work won't reabsorb so much moisture from the air to reverse the affects of
candling). I don't candle my kilns when I'm bisquing my burnished thrown work
cause there are no attachments and they are thin and totally dry...and it
works fine. I do candle thicker work and things that are more sculptural
even if they seem dry. that may be my superstitious though.

-jeff

Psfarish@AOL.COM on wed 26 feb 03

I have inherited a kiln, which has no operating information of any kind with=
=20
it.=A0 Can you tell me where I can locate a manual, or otherwise find=20
instruction for the setup and use ot it?=A0 It has several names and numbers=
=20
affixed to it: Jenkin, model number D-118, on the sticker on the bottom.=A0=20=
The=20
metal plate has "Sitter Kiln", with the model number MFR-T; manufactured by=20
W. P. Dawson Inc. in Fullerton CA.

I hope you can help.

Frances Farish

Anne Scotti on mon 7 apr 03

Hello all, I am brand new to this list but have a question. I own a Thomas
Stuart Kick Wheel. I want an electric wheel. Any opinions on the motorized
version of the TS Kick Wheel?? The motor costs about $285 new with
accessories. I need to know if it works well and about the speed??????

brian and lena haviland on mon 14 apr 03

HI ELEANOR SORRY YOUR HAVING TROUBLE WITH THE OCEAN GREEN HERE IS HOW I AM MULTIPLYING MY RECIPE:AS FOLLOWS


(EPK)=162.GR
(FELD G200)=759.GR
(GB)NOT A SUB-=600.GR
(NEPH SYE)=660.GR
(SILICA)=540.GR
----ADD-----
(R I O)=54.GR
(LIGHT RUT.)=84.GR
(COP CARB.)=135.GR

IN ORDER TO GET ENOUGH GLAZE TO DIP MY BIG BOWLS I ALWAYS MULTIPLY x30 TO FILL A FIVE GALLON PICKLE BUCKET.THE ONLY PROBLEM I HAVE HAD WAS THE APPLICATION OF THIS GLAZE ON THE STONEWARE I USE.STANDARD CLAY 306 AND 112 SPECKELED. IT ALWAYS PINNHOLED NO MATTER WHAT I DID .DIFFERENT BISQ ^ 04-05 MADE NO DIFFERENCE. THE CUP I HAVE ON THE MUG EXCHANGE IS A MID-FIRE PORCELAIN CLAY ALSO STANDARD CLAY CO. #239. I HOPE THIS HELPS YOU OUT SORRY IF I CAUSED YOU OR ANYONE ELSE ANY WASTED TIME..IM NEW AT THIS SO MY METHODS MAYBE A MADNESS FOR SOMETIME.OH YES I ALWAYS MIX THE GLAZE WITH LESS WATER SO THE DIP IS NICE AND THICK.THE CUP WAS ALSO RIM DIPPED IN A COLONIAL WHITE...JUST THE RIM MIND YOU..IF YOU WANT TO TALK IN PERSON YOU CAN CALL ME AT WORK ## GREEN TOKAI CO LTD 1-877-77TOKAI EXT-579.I WILL TRY TO HELP AS MUCH AS A NEWBIE CAN.

BRIAN HAVILAND
--

On Mon, 14 Apr 2003 12:31:17
Martin A. Arkowitz wrote:



____________________________________________________________
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Louise Jenks on wed 14 may 03

Does anyone have a list of who will be in the Cambridge Pottery Festival this
June?
Louise




Louise Jenks
Turtle Clayworks
Cincinnati OH USA
www.turtleclayworks.com

Merry Outlaw on wed 28 may 03

CERAMICS IN AMERICA is an important new annual journal published by
the Chipstone Foundation and the University Press of New England. It emphasizes
studies on all aspects of ceramics used in America from the period of
European contact to the present.
The New Discoveries column in the journal offers an exciting
opportunity for individuals to present recently identified or rediscovered objects,
sites, people, and/or documents relating to historic ceramics in America.
Beginning with the 2004 issue, we would like to showcase each year one studio potter
who is influenced in some way by historic pottery.
If interested, please submit a brief description of the potter and
products, the connection to historic ceramics, and up to five color images of the
work for consideration. If your suggestion is selected, a 500-word essay
prepared in accordance with the Chicago Manual of Style will be required, for
which an honorarium will be provided after publication. Articles for the 2004
journal are due early fall 2003. Please forward ideas for consideration
to Merry A. Outlaw, New Discoveries Editor, at: xkv8rs@aol.com

Tabitha866@AOL.COM on tue 29 jul 03

Hi! My grandfather just bought a kiln and a whole bunch of other stuff for
me to do ceramics. I have no idea where to even begin. If anybody can
recommend any books, videos or anything else that might help me to get started, I
would soooooo appreciate it.

thanks,
Tabitha

Jan L. Peterson on wed 30 jul 03

I bet! Gramps must think you have too much time on your hands. Will you be
doing pottery, or molding ceramics? What kind of kiln do you have? How old/new?
That might have some to do with the books you need to look for. The rest can
tell ya, Jan

JaydetheWriter@AOL.COM on thu 21 aug 03

In a message dated 8/20/2003 9:42:01 AM US Mountain Standard Time,=20
clayart@yahoogroups.com writes:

> Can books pique your interest in crusty bear butts where
> such interests would have seemed bestial before?
>=20

LMAO!!!=A0=20

Shay
Surprise, AZ=20

HOC Studio on thu 6 nov 03

i am looking for a gas kiln for my long island studio. is there anybody out
there selling one? please contact me at claylady128@aol.com

Fadra Hepner on fri 7 nov 03

Hello everyone!!
I have written asking this question before but figured it was worth a shot again. I have just finished student teaching at a wonderful high school with a ceramics program. Wishing not to bash our local clay supplier (no matter how much they need to be brought back to Earth) we will leave them unnamed, but I'll get back to them.
The problem is this: What appears to be talc in a preformulated white earthenware is settling out of reclaimed clay. It simply won't stay in suspension! It is even found at the bottom of fresh throwing water 15 minutes after settling. This separation of white "chunks" is causing the clay to be disturbingly short. The best method of dealing with this so far has been to slice reclaimed clay into pieces and hand pick out the chunks before pugging it with fresh clay.
(The clay supplier has made NO attempts to help find a realistic solution to this problem, suggesting that it was acoustic ceiling tile falling into the clay, that the students should slice and wedge the clay hundreds of times to homogenize it, and to completely pulverize the clay before reclaiming it) All of these are simply silly!
So, if anyone has a realistic solution or suggestion, please let me know. I will still see the teacher of the clay program before moving far away.
Thanks!!!
Fadra Hepner,
lover of clay and teaching


____________________________________________________________
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This offer applies to U.S. Residents Only

John Rodgers on fri 7 nov 03

Short of replacing the supplier, replacing the clay, or both, try this.

This is my method.....

Dry the scraps thoroughly. Spread out on a plastic sheet and cush with
the end of a 2X4 or something similar by tamping it up and down on the
dry clay. When done pour the crushed clay into 5 gallon plastic buckets
up to the halfway mark. Cover with water and allow to sit for a week.
With a heavy duty paint mixer in a heavy duty electric drill, beat the
wet clay into a slip, adding water if necessary. Consistency should be
like heavy cream. Pour it through a wire strainer --- I just bough one
at Bed, Bath and Beyond.....works great. This gets out the bigger pieces
of junk. Using those short knee-high stocking thingy's ladies like to
wear as a screen, pour the slip though them. and let it run inot a clean
bucket. You will have by then removed virtually any trash from the clay.
Let the clay slip sit for a day or so, and any water that separates out,
scoop it up or sop it up with a sponge. Then pour some out on a plaster
wedging table. The plaster will draw out the water until the clay is of
a consistency which you can handle. Wedge it up or pug it, which ever,
and take it back to the wheel.

This is a time consuming process, but it is the only way I know to
successfully and satisfactorily remove junk from clay.

In larger operations I have see slip mixer tanks used to recover the
dried crushed clay, and the slip produced was, after screening, drained
into large plaster bowls to allow both absorption and evaporation to
remove water.

Regards,

John Rodgers
Chelsea, AL

Fadra Hepner wrote:

>Hello everyone!!
>I have written asking this question before but figured it was worth a shot again. I have just finished student teaching at a wonderful high school with a ceramics program. Wishing not to bash our local clay supplier (no matter how much they need to be brought back to Earth) we will leave them unnamed, but I'll get back to them.
> The problem is this: What appears to be talc in a preformulated white earthenware is settling out of reclaimed clay. It simply won't stay in suspension! It is even found at the bottom of fresh throwing water 15 minutes after settling. This separation of white "chunks" is causing the clay to be disturbingly short. The best method of dealing with this so far has been to slice reclaimed clay into pieces and hand pick out the chunks before pugging it with fresh clay.
> (The clay supplier has made NO attempts to help find a realistic solution to this problem, suggesting that it was acoustic ceiling tile falling into the clay, that the students should slice and wedge the clay hundreds of times to homogenize it, and to completely pulverize the clay before reclaiming it) All of these are simply silly!
> So, if anyone has a realistic solution or suggestion, please let me know. I will still see the teacher of the clay program before moving far away.
>Thanks!!!
>Fadra Hepner,
> lover of clay and teaching
>
>
>____________________________________________________________
>FREE ADHD DVD or CD-Rom (your choice) - click here!
>http://ad.doubleclick.net/clk;6413623;3807821;f?http://mocda2.com/1/c/563632/131726/311392/311392
>AOL users go here: http://ad.doubleclick.net/clk;6413623;3807821;f?http://mocda2.com/1/c/563632/131726/311392/311392
>This offer applies to U.S. Residents Only
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
>
>
>

HOC Studio on sat 22 nov 03

i am desperately looking for advice on a gas kiln. i'd like to know what the
cost of building a kiln versus purchasing a kiln.if i build one., am i better
off with a flat top or a catenary arch such as the brookfield kiln. if i
decide to purchase one, i'd like some recommendations. i have inquired about geil
kilns and bailey kilns.can anyone offer any advice?
randy blume

Donald G. Goldsobel on tue 25 nov 03

Randy,

I built one and I bought one. The one I built was a good kiln for little
money and it was good for as long as I used it. Sold it for more than it
cost to build and I never got a complaint from the buyer. It was fiber. The
best advice I have is to find a used downdraft at a fair cost. I can build a
kiln and get a good result, but I can buy a used professionally built kiln
for just a bit more. The kiln I have was built to order as an
updraft/downdraft. I bisque updraft and fire glaze downdraft. Great kiln.
Insulating brick, 2 inch angle iron frame and stainless steel sheet metal
skin.


Good luck

Donald

LynnHiker@AOL.COM on mon 8 dec 03

I am new to this site and new to computing. I would like to sign up for
postings and I have questions about pottery, glazes, etc.
Lynn Florance

Helen Bates on tue 9 dec 03

On Mon, 8 Dec 2003 17:00:12 EST, LynnHiker@AOL.COM wrote:

>I am new to this site and new to computing. I would like to sign up for
>postings and I have questions about pottery, glazes, etc.
>Lynn Florance
>
>______________________________________________________________________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.

Hi Lynn,

You should put a subject in all your posts.
Many people won't look at a post without a subject line.
"New to Clayart" is one suggestion.

If you haven't already done so, you can sign up at the Clayart
"Your Subscriptions page. There is a link here:
.

Read the choices and selections, and try them out. I myself use a digest
format with no HTML. HTML allows you to click links to individual articles,
but the file is longer. Regular (not digest) means you will get all the
posts separately, which on some days may be as many as 100 or more. And so
on.

One thing to remember if you choose to receive a digest of the mail, when
you reply, the entire digest may be copied to your reply, depending on your
own mail reader software's settings (they can be changed by you.)

Sending the entire text of a digest is a big "NONO", so copy just the
briefest part you need to make sense of your reply, and then select and
delete the rest.

I hope you enjoy Clayart. It is a family, and has its kindnesses and its
squabbles, so read it a while and get comfortable with it, then start in
asking your questions.

Also, there are archives, which are most accessible from the Clayart list's
own web pages, but there is also http://www.potters.org, which sorts posts
into topics. You should try your best to find discussions on your subject
in advance of asking your questions.

Welcome, and good luck!

Helen


===========================================================
Helen Bates - mailto:nell@cogeco.ca, nelbanell@yahoo.com
Web - http://www.geocities.com/nelbanell/
PMI Online - http://www.potterymaking.org/pmionline.html
Clayarters' Urls - http://amsterlaw.com/clayart.html
Surfing Posts - http://amsterlaw.com/nell.html
===========================================================

daniel on wed 17 mar 04

Hi Tia,

As it happens I just got back from New Mexico where I spent a little time
looking at some Indian Pueblo pottery and spoke with a couple of San
Ildefonso potters, albeit briefly. I also acquired two books which you may
find interesting. One is about Margaret Tafoya, of the Santa Clara pueblo.
The book is "Margaret Tafoya, A Tewa Potter's Heritage and Legacy" and its
by Mary Ellen and Laurence Blair. It says it covers the pueblo peoples,
Margaret's life, her pottery techniques and her family. I have not yet read
it but it looks very interesting. The other work is about the Mexican
village of Mata Ortiz and the pottery of Juan Quezada and his circle there.
Its called "The Miracle of Mata Ortiz, Juan Quezada and the Potters of
Northern Chihuahua" by Walter P. Parks. I have only dipped into it but it is
also fascinating.

Good luck with the research.
Thanx
D

TNighteagle@AOL.COM on wed 17 mar 04

My name is Tia Night Eagle. I am currently doing an independent study on
Cultural Study in Ceramic Arts. I wish to cover 3 American Native Nations and
Jomon Japanese Ceramic low firing techniques and am looking for resources for my
study.
Would you be able to help me on my way with any information? Book names?
Any information would help.
Sincerely,
Tia Night Eagle
Tnighteagle@aol.com

Bobbruch1@AOL.COM on wed 5 may 04

On Monday, May 3, 2004, at 08:20=A0 PM, clennell wrote:
> I think that it is not because people refuse=20
to acquire skills and knowledge that they=20
make crap - I think you have it or you don't!=20
Some people could go to residencies,=20
workshops, MFA programmes,=20
study Insight till they are blue
in the face and still make crap.

Does this imply that people who don't=20
acquire their skills via residencies etc=20
don't "make crap" ....... ?

//////"I think you have it or you don't! "

I'll bet that there are many people
on this list who have more pride in their
work today than they did 5/10/20 years ago.
Unless you mean by "having it" - a willingness
to work and work and work and work at it,=20
I really wonder about that statement.

Bob Bruch

Wes Rolley on wed 5 may 04

At 08:09 AM 5/5/04 -0400, you wrote:

>Unless you mean by "having it" - a willingness
>to work and work and work and work at it,
>I really wonder about that statement.

I hesitate to speak for Tony, but I think that he meant a lot more than a=20
restatement of some work ethic. The ability to really see, feel,=20
understand what one is a characteristic that many practitioners do not=20
have. Even at the highest level, there are differences. As Picasso said=20
about painting, "In the end, there is only Matisse."


"I find I have a great lot to learn =96 or unlearn. I seem to know far too=
=20
much and this knowledge obscures the really significant facts, but I am=20
getting on." -- Charles Rennie Mackintosh

Wesley C. Rolley
17211 Quail Court
Morgan Hill, CA 95037
(408)778-3024

DEBBYGrant@AOL.COM on sun 12 sep 04

What is the best method to mend a crack in bisqued sculpture? Would it be
paper clay?
if so, I have lost the recipe for same and would appreciate someone sending
it to me. I'm also having trouble getting into the archives which would
probably answer all my questions.
Incidentally, my clay body is stoneware. Thanks in advance for your input.

Debby Grant in NH

Antoinette Badenhorst on mon 13 sep 04

Debby, I used to make a "filler" for cracks. I grinded some of my bisque
and mixed that in with some soft clay (paper clay.....don't have a
recipe, but just paper and clay) To that I added some sugar (to harden
the clay and make it stick once its dry) and some flux (it can be a low
firing glaze). I found that just paper clay is not efficient.
Hope you get those cracks mended.

Antoinette Badenhorst
105 Westwood Circle
Saltillo MS
38866
662 869 1651
www.clayandcanvas.com


-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of
DEBBYGrant@AOL.COM
Sent: Sunday, September 12, 2004 10:16 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: (no subject)

What is the best method to mend a crack in bisqued sculpture? Would it
be
paper clay?
if so, I have lost the recipe for same and would appreciate someone
sending
it to me. I'm also having trouble getting into the archives which would
probably answer all my questions.
Incidentally, my clay body is stoneware. Thanks in advance for your
input.

Debby Grant in NH

________________________________________________________________________
______
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VeenaRaghavan@CS.COM on sun 28 nov 04

Hi Mel and all,

I need a little help here. I need to change my e-mail address, but can see no
option for doing so in the instructions. Does this mean I have to unsubscribe
the old address and take out a new subscription with the new address, or is
there some way I can just make the change in my current subscription.

I would like to take the opportunity to inform anyone who has me in their
address book that I have been forced into the present and have had to upgrade my
version of compuserve, thus the address change, which is now:

VeenaRaghavan@cs.com

I hope everyone had a very Happy Thanksgiving and to our friends outside the
States, I hope you are well, even without the stuffed turkey!

Thanks in advance for any help.

Veena

Ivor and Olive Lewis on mon 29 nov 04

Thanks Veena,
Done that.
I think you will have to unsub scribe and resubscribe.
Best regards,
Ivor.

Susan Fox-Hirschmann on wed 4 may 05

The CRAFT HUT is , in my opinion, the best canopy made for outdoor shows:
It has reinforced zippers, front door, good stability (with weights), and you
can get it with a sky light. I have used mine
for 19 years and other than replacing one carry bag, it has weathered all
kinds of storms.
It was designed and is manufactured by former artists so they understand our
needs.
You can also get it to adapt to 10-x10 or 8x10 or 6x10 (their Ann Arbor
adaptation!)---and I have the connectors for each, as I also use it inside without
the canopy top ....using the poles to affix my halogen lights....so in that
respect it is double duty.

I pulled up their website and the link is
http://www.crafthut.com/
and I see where they have been taken over by new owners. It is my hope that
they continue to manufacture as good a canopy as Craft Hut has in the past.
Best of Luck!
Susan
Annandale, VA

Jane Murray-Smith on wed 4 may 05

Costco ...they often have the basic white one for a good price
----- Original Message -----
From: "linda elfert"
To:
Sent: Wednesday, May 04, 2005 5:18 PM
Subject: (no subject)


> Does anyone have a good source for a 10x10 free standing canopy type
> four wall tent to use for outdoor shows?
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>

linda elfert on wed 4 may 05

Does anyone have a good source for a 10x10 free standing canopy type
four wall tent to use for outdoor shows?

Fred Yokel on thu 5 may 05

Linda,

I just bought the one from Costco. Only $200 with 4 sides.
But I only do 2 shows a year, so I don't need the real strong type.
It can also double as a light stand to enhance your wares.

Fred


>Does anyone have a good source for a 10x10 free standing canopy type
>four wall tent to use for outdoor shows?
>
- - - - - - - - - - - - - - - - - - - - - -
Fred Yokel Jestures (TM)
408-433-4720 www.fredyokel.com
Hey, I'm just claying around!
- - - - - - - - - - - - - - - - - - - - - -

primalmommy on tue 5 jul 05

Well, I was going to get drunk, insult you all and quit clayart, but
it's been "done", and I so hate to be unoriginal...

And I do so have to stay sober and watch my typing, because mel is
poised to exact his revenge at the first sign of a typo...

Mel has promised to have dinner chez the Savinos in January, when he
comes to do a workshop at the 577 foundation. I have a plan... we'll
fill him with good food (high or low carb, guest's choice) -- then I'll
challenge him to a game of scrabble. If he wins, he's in the
primal-jam-of-the-month club for a year (last week I put up 44 pints,
sour cherry, red currant and strawberry)... If I win, he invites me to
hay creek next summer so can meet his leech and see if I can help build
something. Not only can I out-shoot, out-spit, out-rope and out-ride
most folks, I'm hell on scrabble. Start making my bunk now, mel.

Hope you all are having a nicer summer than the tone on clayart would
indicate ;0) Some lady is suing NASA for blowing up a comet and ruining
her astrological horoscope.. maybe somehow the stars have been knocked
into a crabbier formation.

Lili, I loved the treatise on tropical rage... having traveled years ago
from the cool pallid logic/architecture/etiquette of Munich to the
torrid, passionate versions in southern Italy, I would attest that
certain passions seem magnified by heat and the presence of the sea.
Well, of course, Antonio may have skewed my research a bit ;0)

Back from a lovely 4th of July at the lake, sitting on the deck with my
old Brent A making Elizabeth Priddy's teabowls while my almost-90-year
old farm grandma read me the directions aloud... and threw her hands in
the air with an exasperated "awpsh!" every time one wobbled its thin
walled way into oblivion. By sunday, though, she was happier with my
progress -- more lined up on the bench, and very few in the scrap pile.
How entertaining (and challenging) to be given an assignment! I love to
be back in the "I really suck at this" stage of a project. It is too
easy to keep doing the thing we're best at and not choose the struggle.

Next week I'll be in Tennessee but I barely have time to think about it.
Tomorrow my littlest one turns 7, an affair requiring a picnic tent in
the yard, fresh flowers, balloons, and half a dozen giggly first grade
girls with pretty dresses and missing teeth. Herself is a diminutive
thing, (just hit 40 pounds and graduated from her "baby" carseat) but
she was big enough to go "tubing" this weekend -- a somewhat bizarre
ritual whereby a kid is dragged behind a boat at the end of a rope,
riding waves on a canvas-covered inner tube and giggling madly.

Then I have to pack my eldest off to scout camp, his first big
away-from-home-without-family experience... (not sure I am ready...) and
meanwhile I have private students showing up every day to throw, an
experience which I am very much enjoying. There is time to focus on each
person's progress and interests, and I can mop later, whenever I get
around to it!

Kiln sitting: My bigger kiln has both a timer shutoff and a kiln sitter.
I feel no real need to stand and stare at it, though I do keep track of
when it should be finished and peek in on it. I kind of know what color
should be glowing out from under the lid crack at what stage. Now, the
little used 5-switch kiln I bought for glaze tests I keep a closer eye
on. Going back to flip switches keeps me in contact, anyway, and I carry
a nursery monitor with me when the kiln sitter is ready to pop, so when
it shuts off I can go out and restart it to slow cool. I asked the Axner
guy (Arnold Howard? Howard Arnold?) at NCECA if I could rig a long
pyrometer cord to keep track of temps from a remote location and he said
no, that it would lose accuracy, but he had a great suggestion: buy a
cheap "nannycam" on ebay and rig it up so I can watch. I plan to. I am
still not sure whether it's kosher to keep the thermocouple inside the
kiln for the whole firing, though. Opinions?

Lee: some folks always seem to bristle at your
here's-how-we-do-it-in-Japan posts. It reminds me of the bumper stickers
I saw on farmer's trucks and Texans' SUVs that said, "I don't give a
damn HOW you do it in New York City". Maybe the problem is an
insularity, an ethnocentrism or lack of exposure to other cultures --
surely all those things happen here. But it's also possible that some
folks object -- not to the information, but to the implication
(unstated, mostly) that one way is "less" and the other "more". Folks
get tired of New Yorkers (& Californians, & other cosmopolitans) trying
to "enlighten" them, offering sophistication and "cull-chuh" to the poor
bumpkins who don't know any better.

Sure, some cultures have a greater focus on this thing or that. The
great chefs of Paris and the diners who seek them out offer some serious
artistry and intentionality to the simple process of nourishing
ourselves. For many, French cuisine is considered state-of-the-art.
French influence has changed the way gourmet is done in the US,
especially among the wealthy class and in famous, exclusive urban
restaurants.

But I know a 300 pound "quadroon" woman in N'Orleans who can do things
with okra and crawdads that would make you break a sweat. Southern
cooking, with hushpuppies and fritters and pig-pickin's, is a greasy
orgy of pure dee-light. The ladies around here who bake competition pies
for the fair don't care how they do it in Paris, either.

So I don't think clayarters are ignorant of the Japan's thumbprint on
what we do. I don't think they are even especially unreceptive to
information, and I for one have enjoyed some of the interesting view -
vicariously -- from where you are. I do think some folks resent the
one-sidedness of the conversation, at times.

A brief story: when the missionaries moved among the Native Americans of
the west coast, preaching the Bible and determined to save the heathen
savages from eternal damnation, they were welcomed to the council fires
-- at first. After a while, the natives found them awfully rude...
because, after telling their stories of Adam and Eve, Noah and the Ark,
Jesus rising from the tomb, etc... those missionaries wouldn't ask the
natives for THEIR stories, or give them a chance to tell about Yellow
Eyes the coyote, the Earth-Diving turtle or Trickster Raven. Any more
than the New Yorkers are asking the Texans how THEY do things.


OK, much to do before the gigglers show up, so I am off like the bride's
pajamas..

Yours
Kelly in Ohio.... thinking if it's this hot here, it's gonna be a steam
bath in Tennessee, and LV must be hotter than the hinges of hell...

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Lee Love on thu 7 jul 05

On 2005/07/06 13:45:37, primalmommy@mail2ohio.com wrote:

> one-sidedness of the conversation, at times.


I do typically jump in when someone makes an absolute
statement that is contrary to my life experiences. :^)

.What was really wonderful at the turn of the 19th
century, in both East and West was the coming together of cultures.
At that time, many Japanese artists traveled to America and Europe to
study art, especially oil painting. Folks in the West came here to
Japan and were inspired by things like pottery and wood block prints.
Did you know, Hamada's teacher Hazan, was inspired to make the work he
did because of seeing European art ceramics at the World Exposition? I
think he had work in the 1890 Exposition. We went to Ashikaga to a
museum of Takada Keiko's painting. He was in the World Expo at the
turn of the century.

Did you know that Leach saw his first reproduction of Van
Gogh in Japan? Yanagi's Shirakaba group ordered reproductions of Van
Gogh's work from Germany. I am afraid this kind of cross
fertilization is less common today, even though it is much easier to
achieve.

I remember having a conversation with my late Zen teacher,
heck, about 20 years ago.

I heard a fine program on KQED*

Belief -- Forum discusses systems of belief: what are they, who has them
and why? Guests: Peter Friedman, writer and director of "Mana," a new
documentary about different beliefs around the world; Roger Manley,
writer and director of "Mana;" Dr. Michael Shermer, and Dr. Bruce
Lipton, cellular biologist and author of "The Biology of Belief." Host:
with Michael Krasny

You can hear it here:

http://www.kqed.org/programs/program-landing.jsp?progID=RD19

What was nice was to hear Roger Manley explain that belief is not
limited to religion, politics or philosophy. Every mental exercise
we go through is endued with belief. It is difficult to understand
that our culture's paradigm is simply a framework of belief. Like my
late teacher used to say, "The fish does not know it swims in the sea."

Lipton's book is exciting. I had to order it right
away. He is explaining how biology is breaking out of its mechanistic
belief in genetics. We are realizing that our cells are not slaves to
our genetic material, but rather, even at the cellular level, life is
informed by its environment. Changed my biology major during my
sophomore year. I had walked by a lab room many times, where the
students were doing experiments on turtles. They cut a square out of
the chest plate of the turtles shell. They then strapped th turtle
down to a board and attached electrodes to the exposed heart. One
day, I stopped and asked the Professor if he thought it was ethical to
treat living creatures like these turtles the way they were. He told
me that they were just animals and did not feel paint. Obviously, this
man never had a dog in his childhood or else he could never believe that
animals "didn't feel pain." That was my last semester of biology
classes. I did not want to be trained to be insensitive to the
suffering of animals, so I changed my major and continued my search
for meaning.

But, I could go back and study biology, from a perspective
Lipton is taking.

--
Lee In Mashiko, Japan

Lee Love on thu 7 jul 05

Sorry, that last one shot off before I finished editing. Please
ignore the hanging repeat sentence about my teacher. Some times I jot
notes in my replies and either add to them or delete them when I finish
writing. I forgot this time.


--
Lee In Mashiko, Japan

Clayhannie@AOL.COM on wed 19 oct 05

The Fine Line Creative Arts Center St Charles, IL,=A0 presents
> Nationally recognized artist Delores Fortuna for a two day workshop on
> Nov. 4th and Nov 5th.=A0 It will cover throwing, altering, slideshow and
> decorating techniques. Delores has shown her work throughout the
> United States and has been included in numerous NCECA exhibitions
> Friday eve. Nov. 4, 6-9 pm
> Saturday Nov. 5, 9 am-4 pm=A0 $100
> For more information and to register, contact TFL at 6N158 Crane Rd.
> St. Charles, IL (about 1 hour west of Chicago)=A0 630-584-9443=A0 or visit
> the website: finelineca.org

JQAMiller@AOL.COM on sun 30 oct 05

To anyone who may be interested, Anglelico Pozo will be giving a
demonstration of her tile work and signing her recently published Lark book on tile making
and installing at The Orange Art Center in Pepper Pike, Ohio (an eastern
suburb of Cleveland) on Sunday, November 11. To sign up for this 2 hour demo call
the center at 216-831-5130. Two weeks ago we had a full weekend workshop with
Diana Pancioli on creative ways to use the extruder. She gave us her all and
it was a fantastic learning experience.
Jackie Miller
jackieamiller@gmail.com

Ann Testa on tue 13 feb 07

I am in the process of making some pieces for a show featuring
"work in the garden". I can think of birdbaths, bird houses, fountains,
planters, & lanterns. What can I make that would be less expensive to
sell & easy to make? I know that this less expensive things will sell best
at this show.

Ann Testa
_www.clayartgallery.com_ (http://www.clayartgallery.com)

Snail Scott on tue 13 feb 07

At 08:47 PM 2/13/2007 EST, you wrote:
>I am in the process of making some pieces for a show featuring
>"work in the garden". I can think of birdbaths, bird houses, fountains,
>planters, & lanterns. What can I make that would be less expensive to
>sell & easy to make? I know that this less expensive things will sell best
>at this show...


Why only consider functional ware? is
that really a requirement of this show?
When I first started selling sculpture,
and it was cheap, EVERYONE wanted to put
it in their garden. Some still do, but it
costs more now... ;)

Seriously, have you seen some of the chintzy
so-called 'decorative' crap the garden
centers sell - twisted bits of refrigeration
tubing with a few colored beads, etc?

Animal shapes (plausible and inaginary) are
popular, and abstract forms with bright
contrasty (i.e. not green) colors to tide a
garden through the non-flowering seasons
while looking 'sophisticated'.

Have you seen (or seen pictures of) Dale
Chihuly's various 'Glass in the Garden'
shows around the world? Fantasical pseudo-
floral forms, some stealthy and some quite
outrageous - the color alone is a joy, and
the forms beg to be placed next to plants.

Don't be doin' no fake Chihulies, now, we
don't need none o' that! But think how they
work in a garden setting, more symbiotic
than just a plopped-down lawn ornament. And
they wouldn't have to be big and elaborate
to be appealing.

-Snail

Janine Roubik on tue 13 feb 07

Hi,
A couple of ladies who were students at my studio were making toad or frog "houses". Basically they were a tallish bowl, trimmed so it had no foot, with a u shape cut from the lip. Flip it over and a toad could crawl underneath if it wanted to. I guess they sold a bunch of 'em.
I think toads and frogs eat the "bad" bugs in the garden.
No word on if they ever got any tenants, or how much rent they charged ; )
Janine

Ann Testa wrote: I am in the process of making some pieces for a show featuring
"work in the garden". I can think of birdbaths, bird houses, fountains,
planters, & lanterns. What can I make that would be less expensive to
sell & easy to make? I know that this less expensive things will sell best
at this show.

Ann Testa
_www.clayartgallery.com_ (http://www.clayartgallery.com)

______________________________________________________________________________
Send postings to clayart@lsv.ceramics.org

You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/

Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.

tinkerbellesarah on wed 14 feb 07

Slug traps. I don't remember the design, though there are a variety of
suggestions on the internet, I know a guy who used to make them. You
bait them with beer, so it's a hoot to talk about and then sell some
of the more expensive stuff, too.

=3D)s
sitka where the slugs are 6 inches long

Sylvia Rios on sat 17 feb 07

Hi Ann,
Faces: I've seen some really fun faces (separate eyes, noses, mouths...etc.) for mounting onto tree truncks.
Mushroom stakes.
Toad and frog hidouts. (There reallly use them, too.)
Bowls for bird baths and birdfeeder trays that are mounted on a 4x4 that the buyer provides.
Key keeping rocks.
Small sculpture for planters.
...???
Have fun,
Sylvia


Ann Testa wrote:
I am in the process of making some pieces for a show featuring
"work in the garden". I can think of birdbaths, bird houses, fountains,
planters, & lanterns. What can I make that would be less expensive to
sell & easy to make? I know that this less expensive things will sell best
at this show.

Ann Testa
_www.clayartgallery.com_ (http://www.clayartgallery.com)

______________________________________________________________________________
Send postings to clayart@lsv.ceramics.org

You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/

Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.



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John Connolly on wed 25 apr 07

"John,
I too waited until I was 2-1/2 to say "please pass the salt" or some
other unremarkable whole sentence ("may I have a cherry?") though I'm
told I chattered some before that and held off speaking because I had
a vocal older brother and couldn't get a word in edgewise. I like to
think that there really wasn't anything I wanted to say."

Kathy:

I apologize for the "no subject" business. I have Yahoo e-mail so I use the digest from the Clayart group on Yahoo. There is no easy way to respond to message in that format.

I can look at an object for only a moment and give as thorough a description of it as I have vocabulary. Drawing it would be discouraging. I will try it though; I'll try any exercise that will improve my visual acuity. Strangely, I'm a very good photographer, so there is nothing wrong with my visual perception. The one place that it comes together for me is gestural sculpture. I seem to have the same ability to render a movement as I did to capture a movement in sport photography.

I spend a great deal of time looking at ceramic objects on-line attempting to understand and translate the form to a usable language for myself.

Thanks for your comments,





John Connolly in Ensenada, Baja California, Mexico


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Irene Gulla on thu 7 feb 08

I have a metal raku kiln that I have to give away as I am moving in the
spring. If you can take it away its yours. I live on Cape Cod, Ma.The size is
approx 3ft by 3ft.



**************Biggest Grammy Award surprises of all time on AOL Music.
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