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updated mon 20 aug 12

 

WACKY on thu 20 nov 97


Hi frens,

I am recently crazy over blue glazes.
I wonder if anyone of you have a favourite blue glaze
for Cone 7 firing to share.

Anxiously waiting for your responses!!!!!!!!!

yen
aka wacky
n7506512d@acad21.ntu.edu.sg

Linda Stauffer on wed 21 jan 98

What is the NCECA assignment book?

Sarah Picciotto on fri 19 jun 98

------------------
Hello All-

I am trying to find a residential-type throwing workshop from 2-4
weeks to attend in either July or August. In other words, I am
trying to find a live/eat/throw together sort of program that is
aimed at international participants.

I would prefer Mexico, but other countries are certainly possible.

If anyone has either attended such a workshop and would recommend
it, or has information about something like this, please let me know.

Thanks a lot-

Sarah Picciotto

I'm not sure how this works, so in case you need my direct email
address, it's sarahp=40ican.net

Cynthia Gehr on fri 25 sep 98

Does anyone out there have a (fail safe) glaze formula for a clear satin for
cone 6. I would like to do some testing and would be happy to post my
results.

Patrice Murtha on fri 13 nov 98

I am new to pottery, just started doing it about 3 years ago (and also new
to this group). I have a couple of technical problems that I hope the group
might be able to help me solve. I have been practicing making platters
and plates this last year and have been firing them in a salt kiln at
school to ^6. I find I lose a lot to warpage-- is there anything that can
be done? As near as I can tell they are not warped when I put them into
the kiln. I use wadding and try to make the wadding as even as possible
all around the foot. The second problem is that my platters seem to
collect evey bit of junk that flies around in the kiln. It all collects
in the bottom of the platter or plate or for that matter any wide form.
Does anyone have any suggestions on what to do? It can be very
discouraging. Thanks for any help.

Barbara Stanton on thu 7 jan 99

Does anyone know anything about recycling clay using an old bread mixer?
I'm also interested in a soldner clay mixer (any size) plus used pottery
equipment. I can be reached at gmpubs@adnc.com.

Thanks!
Dawn Galbo

jray on tue 9 mar 99

Im wondering if any potters out there have any blue prints or ideas on
how to build a wooden Japanesse kick wheel? if so, please contact me
a.s.a.p. because my ceramics class wants to try their luck at building a
functional tribute to pottery.

Thanks alot,

Jesse M. Raymond
LaSalle High School
South Bend, IN

Julie Bouche. on fri 26 mar 99

To: CLAYART@LSV.UKY.EDU
Message-Id: <8825673F.005D9DB1.00@ojd.state.or.us
>
Date: Thu, 25 Mar 1999 09:29:36 -0700
Subject: Help for us insecure "newbies" at NCECA-Denver
Mime-Version: 1.0
Content-type: text/plain; charset=US-ASCII


I have been reading the response to Sylvia's post with great interest.
While I'm not especially old or ugly or fat (okay, fine, so I'm 42, wear
glasses, and could stand to drop 30 pounds!), I am new to clay (three
years, part-time) and very new to Clayart (1 month). I'd love to go to
Denver in 2000 -- am tentatively planning on it, actually -- but have
feared I would feel a little ( a lot!) intimidated by all those "real,"
talented, and knowledgeble potters while I am just a rank beginner. Also,
like Sylvia and many others who've posted replies to her, I don't know any
of you except by disembodied messages on the list. (Are you all really as
nice and human as you sound?)

So I have a suggestion: When I went to my first Mensa convention many,
many years ago, those of us there for the first time received lapel buttons
proclaiming: "MY FIRST TIME!" This alerted other Mensans to a) be gentle
with us (if any of you have ever been to a Mensa Convention, you'll know
what I mean); b) introduce themselves and start conversations; and c)
introduce us to the so-called "Big Names" (every group has them) that they
were acquainted with but whom we had only heard of. Rather than hiding
from and with our "newness," we made it a joke, an ice-beaker. It was
great!

So, what do ya'll think? I'd be willing to coordinate having the buttons
made and getting them to Denver prior to the convention if The Powers That
Be think its a good idea (and are willing to pay for it).

Julie Ann Bouche'
in soggy Oregon, where the daffodils and the cherries are blooming in spite
of the interminable gray weather.

P.S. to Joyce Lee, whom I've never met but love anyway just from her
silly/human/thought-provoking posts: If you ever threaten to sign off of
Clayart again, I will personally travel down to the Mojave and kick your
butt!

Ron Sencer on wed 12 may 99

wanted used deairing pugmill
call Susan at 212-925-8144 days

David Coggins on wed 9 jun 99

Hi to all ,

I am a new subscriber to clayart. My name is Dave Coggins, and I run a
business in South East Queensland, Australia, repairing and rebuilding
kilns, kiln controllers, pyrometers, wheels, etc. I have a web page at
http://web.one.net.au/~dercoggins which has some information about kilns. My
background is in the electronics and electrical area, and I have been
involved with kilns for about 15 years. My wife Elaine has been a potter for
more years than she cares to remember, and a lot of it has rubbed off onto
me. I will be watching the exchange of information about kilns and firing
with interest, and I hope that I can have some useful input in regard to
kiln problems.

Regards


Dave

Billie Schwab on sat 12 jun 99

For Sale: One Flourish Archtop Trimline Canopy. Never used. Please mail
privately for details. Will entertain all offers. Must sell.

Victor Levin on fri 16 jul 99

can anyone tellme the dates of the Ann Arbor Craft Sale? Thank you.

School Services of Canada

"The Best in Educational Audio/Visual Media"

176 Albany Ave.
Toronto, On M5R 3C6

Phone 416 588-0716

Judy on sun 8 aug 99

Is there an archive of the first letters to this list so that a newbie could
read through the list chronologically?

thanks
judy

David W McDonald on thu 19 aug 99

"Laguna Clays Bloating at cone 10; anyone else?"

Dear Clayart readers,
Anyone who is experiencing bloating using cone 10 claybodies from
Laguna Clay Company, please take note. I have lost A LOTof work due to
pieces coming out of the kiln bloated for the past 2 months. I know 5
others at this time who have been experiencing the same. I would like to
know if anyone else out there has been getting these results, or knows of
someone who has. Please respond, either through Clayart, or to me
personally, e-mail, phone call, or US mail.
If it turns out that there are more of us than I've already heard
from, and if there's interest, I'll provide more info on this later. For
now though, I'm concerned to get the word out that if you're experiencing
bloating with Laguna cone 10 clays, you're not alone. I first brought
this up on clayart on June 14th, 1999.

David McDonald Tel. 520-778-7854 e-mail:
claydog@juno.com
Limberlost Pottery
721 First Street
Prescott, AZ 86301


___________________________________________________________________
Get the Internet just the way you want it.
Free software, free e-mail, and free Internet access for a month!
Try Juno Web: http://dl.www.juno.com/dynoget/tagj.

judy motzkin on tue 16 nov 99


About getting the clay out of the bucket. Somebody said a
4" loop and I thought of the tool used to remove the oil
filter from your car. It is a steel loop, 4-5" in
diameter on a handle. It would work, i think. check it
out. Let us know.


=====
www.motzkin.com
__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com

judy motzkin on tue 30 nov 99

Hello friends,

Crafts at the Castle is this week.
I hope ya'll will come by and see me.

I am busily packing up work and finishing assemblages.
Firing the last kiln was like playing my musical
instrument, good results too.
There is jewelry and some new prints to show you.

Thursday Dec 2 12-9pm
Friday Dec 3 12-9
Saturday Dec 4 10-6
Sunday Dec 5 10-5

See you there.

Best,
Judy
www.motzkin.com


=====
www.motzkin.com
__________________________________________________
Do You Yahoo!?
Thousands of Stores. Millions of Products. All in one place.
Yahoo! Shopping: http://shopping.yahoo.com

terryh on sat 11 dec 99

------------------
Nikom,
i read your post (Re: Fun with beer bottles, ashes, =26 clay) w/ great =
interest.
For i have been working (well,
trying) on =22Beerbottle Celadon=22 glaze in the last semester. I've been =
interested
in creating some crackle
celadon (kanmoku-seiji), and found a recipe in the book =22Glaze=22 by Prof.=
Onishi.
His recipe is : Glass about
40=25, Spar about 60=25. A great recipe, isn't it? Unlike other glazes in =
his book,
this one is rather precise
(grin). Others are listed like, for instance, Spar 20-40=25, Silica =
15-35=25,
.....Anyway, this was the starting
point.

A few years ago, i tried to get crackle celadon by replacing K-spar with =
Na-spar
as Na-spar has
larger expansion coefficient (i tried this earlier on Shino and had some
success). Some success, but not
crackled enough. (maybe, claybody wasn't right, .....all other wrong =
reasons.)
Anyway, I took a hit-or-miss
approach and missed.

So, when I saw Onishi's recipe, i tried this time w/ GLASS, and also
w/playground sand, too. Well, with this
recipe, the glaze made nice crackles but ran like river. And, just like my =
Shino
test, without clay, it was hard
to stir once it settles in the glaze bucket. So clay EPK was added. At =
present,
my recipe goes like,
Glass 40=3B Na-spar 60=3B EPK 20. Still likes to run.

Yes, it is glossy. Crackles. Very nice crackles. And color. Transparent. =
And, it
inherits the color of beer bottles. With Heineken, the glaze is green=3B w/ =
Harvey
Bristol Cream-Sherry bottle, it is blue=3B w/ Foster (and bet Budweiser, =
too) it
is light brown. (I wonder what Remy-Martin will do. Singha (sp?) would be
green.) All of them are very nice. All cone 10 high-fired, in reduction =
firing.

This is not quite Celadon yet (as I would like to achieve). Neither I have =
tried
on porcelain yet. Next step, use
plain/pane glass and w/ Fe2O3. Also, play w/ EPK and Spar to change the =
surface.
Have to find a way to
influence crackle size/texture. Definitely, one of projects next semester. =
So,
I'm very very curious how you do
=22dulling=22 the surface. I would like to see the picture, too. (I'm =
planning to
shoot the picture during this holidays.)

I enjoyed this Beerbottel Celadon idea. Was fun. Yes, I had to consume beer =
and
wine, dilligently, for
the sake of ART. (GRIN). And, all cranky noise from ball-mill while =
beerbottles
were being powderized.
Thanks to my fellow students who endured the noise in the studio. But, it =
was
worthwhile. (They agree.)

terry
terry hagiwara
terryh=40pdq.net
http://www.geocities.com/SoHo/Cafe/3755

Victor Levin on thu 16 dec 99

A friend is going to Miami soon and would like to know if there are any
ceramic studios to drop in on, especially tile makers. thanks for any
addresses.

Victor Levin
176 Albany Ave
Toronto, ON M5R 3C6
416 588-0716
ssc@echo-on.net

Renee Speenburgh on wed 5 jan 00

I am looking for a good low fire clear glaze recipe that I can make that
does not use lead. Currently the studio where I teach uses a commercial
clear glaze (LG10) which is very expensive. Thanks.

Baltimore Clayworks on thu 13 jan 00

**** ATTENTION ALL!! *******
We have changed our email address - it is now
baltimoreclayworks@earthlink.net
Please make a note of it!!
Thanks,
Leigh Taylor Mickelson @ Baltimore Clayworks

P.S. Please join us for the opening of "Sublime Servers: A Celebration of
Theatrical Possibilities for the Table," a national invitational exhibition
curated by noted Philadelphia art enthusiast Gail M. Brown. The opening
reception is this Saturday, January 15, from 6-8pm. The show will then
travel to New York's Greenwich House Pottery in April and the James A
Michener Art Museum, located in Doyelstown, PA, in June.

Veronica Honthaas on wed 19 jan 00

Here is the list of clayarters' web cites. There are a lot more cites out
there but these were the folks that responded to my query. Veronica


http://members.home.net/bpotter/art/art.html
http://www.pclink.com/melpots
www.linfield.edu/~nlou
http://coyote.accessnv.com/bruec
http://www.panworld.net/~rmace/
http//www.thepotterswheel.net
http://www.mypots.com
http://www.reallifeart.com
http://creativeclay.tripod.com/home.html
http://holdreadstudios.hypermart.net
mailto:francoise.bazard@beaux-arts.com
http://bazardceram.fr.st
http://le-village.ifrance.com/bazardceram/
http://www.multimania.com/fbazard
http://www.cpmg.com/anagama
http://www.silverhawk.com/ex99/cohn
http://www.dhpot.demon.co.uk

Don & Isao Morrill on fri 28 jan 00

At , Ceramic Arts Discussion List wrote:
>At 15:08 1/27/00 EST, you wrote:
>>----------------------------Original message----------------------------
>>
>>> Hi,
>>> In my work I usually have LOTS of leftover pieces of slabbed clay. I
>>>like to
>>>save these pieces for another day/project but always find that when I am
ready
>>>to use them(even sometimes only after a few days) they are too dry to work
>>>with.
>>>I do end up spraying them to soften but I heard of something called a damp
>>>box.
>>>Anyone know of such a beast? And of course the cheapest way to make one?
>>>Thanks
>>>in advance.
>>> Diane in Conn.
>>
>>Hi, Diane,
>>There are commercially produced damp boxes that are listed in clay/glaze
>>supply catalogs, but they are very pricey.
>>
>>I have seen old refrigerators and freezers used for the same purpose in art
>>schools and art centers. As long as the seals are in good shape, they work
>>well. I recycled a dishwasher into my studio to serve as a dampbox and
>>have cut plasterboard to fit on the roll-out shelf wheels.
>>
>>I would think that for a small amount of clay leftovers, you could even use
>>a picnic cooler. You really just want to maintain the moisture in a
>>tightly sealed container.
>>
>>Good luck,
>>Jeanette Harris
>> Old refrigerators work just fine and cost almost
nothing. sometimes it is necessary to add a wet sponge in a bowl for
additional moisture. I have two 'friges always in use. Isao $ Don M.

Don & Isao Sanami Morrill
e-Mail:


Ruth Ballou on wed 5 apr 00


Ian Currie (from Australia) has asked me to let Clayart know that he's
planning a visit to the US in September. As many of you know, Ian is
the author of Stoneware Glazes: A Systematic
Approach
. He'll be staying for about a month and will be
available for workshops exploring his approach to the study of glazes.
Ian gives a fantastic workshop that opens the door to an understanding
of glazes.Both beginners and experienced potters have found his
approach to be enormously useful in developing, expanding and
maintaining a glaze palette.


I'll be helping with some of the logistics of scheduling, so anyone
interested in hosting a workshop may either contact me, or contact Ian
directly at ianc@flexi.net.au


Ruth Ballou

rballou@bellatlantic.net

Edouard Bastarache on tue 18 apr 00

------------------
Hello all,

here is a thought by new clayarter Smart that i find very
interesting. I translated it for clayarters withoutsufficient
knowledge of french

=22L'aluminium est tr=E8s dangereux, la preuve la plan=E8te en
est couverte et c'est la seule que nous connaissions avec
toutes les formes de vies dont nous faisons partie...
Y-a-t-il des plan=E8tes habit=E9es sans Aluminium ?
Il faut aller y voir tout de suite=22.(Smart)



Aluminium is very dangerous, the proof is out planet is
covered by it and it is the only that we know of with so
many forms of life and we are part of it
Are there habited planets without aluminium? If so,
It is necessary to go visit them immediately. (Edouard)



Edouard Bastarache
Dans / In =22La Belle Province=22
edouardb=40sorel-tracy.qc.ca
http://www.sorel-tracy.qc.ca/=7Eedouardb/

Linda Ziesmer on mon 15 may 00


-----Original Message-----
From: mel jacobson [mailto:melpots2@pclink.com]
Sent: Saturday, May 13, 2000 5:00 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Fwd: Need for strainer in teapots?


>From: CCPottery@aol.com
>Date: Fri, 12 May 2000 17:33:37 EDT
>Subject: Need for strainer in teapots?
>To: clayart@LSV.CERAMICS.ORG
>X-Mailer: AOL 5.0 for Windows sub 105
>
>This message was originally submitted by CCPottery@AOL.COM to the CLAYART
>list
>at LSV.CERAMICS.ORG. If you simply forward it back to the list, using a
>mail
>command that generates "Resent-" fields (ask your local user support or
>consult
>the documentation of your mail program if in doubt), it will be
>distributed and
>the explanations you are now reading will be removed automatically. If
>on the
>other hand you edit the contributions you receive into a digest, you will
>have
>to remove this paragraph manually. Finally, you should be able to
>contact the
>author of this message by using the normal "reply" function of
>your mail
>program.
>
>----------------- Message requiring your approval (21 lines)
>------------------
>To all teapot makers -
>
> As one of the truly weird people who not only drink hot tea all day
> long,
>but also use loose tea, I would like to say that there is no need for a
built
>in strainer.
>
> First and most importantly - they do not really work. Any one who
uses
>loose tea also uses some kind of strainer when brewing or pouring. The idea
>of a teapot with a built in one is cute but does not serve any reliable
>purpose.
>
> Second - as a lazy person - I find it just adds to the difficulty of
>cleaning the pot and getting out all of the loose tea.
>
> If you choose to leave it in as an exercise in dexterity, go for it.
But
>all of my good functional teapots do not have one. And, I do love GOOD
>functional tea pots so please worry more about those dripping spouts and
good
>balance when pouring!
>
>Chris Campbell - in North Carolina - on my second mug of Irish Breakfast
tea
>and the caffeine is kicking in !!


CLAYART MAIL FROM MEL
MELPOTS2@PCLINK.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.

Dwiggins, Sandra (NCI) on mon 15 may 00


Dear Linda---
Thank you very much for this answer. I personally love all the great
shapes that tea balls come in, and find that these do extremely well in
keeping the loose tea in my pot. I gave up the strainer thing long ago, and
have never had any returns from the teapots I have sold.
Sandy

> -----Original Message-----
> From: Linda Ziesmer [SMTP:lziesmer@MCARE.MED.UMICH.EDU]
> Sent: Monday, May 15, 2000 9:20 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject:
>
> -----Original Message-----
> From: mel jacobson [mailto:melpots2@pclink.com]
> Sent: Saturday, May 13, 2000 5:00 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Fwd: Need for strainer in teapots?
>
>
> >From: CCPottery@aol.com
> >Date: Fri, 12 May 2000 17:33:37 EDT
> >Subject: Need for strainer in teapots?
> >To: clayart@LSV.CERAMICS.ORG
> >X-Mailer: AOL 5.0 for Windows sub 105
> >
> >This message was originally submitted by CCPottery@AOL.COM to the
> CLAYART
> >list
> >at LSV.CERAMICS.ORG. If you simply forward it back to the list, using
> a
> >mail
> >command that generates "Resent-" fields (ask your local user support or
> >consult
> >the documentation of your mail program if in doubt), it will be
> >distributed and
> >the explanations you are now reading will be removed automatically. If
> >on the
> >other hand you edit the contributions you receive into a digest, you
> will
> >have
> >to remove this paragraph manually. Finally, you should be able to
> >contact the
> >author of this message by using the normal "reply" function of
> >your mail
> >program.
> >
> >----------------- Message requiring your approval (21 lines)
> >------------------
> >To all teapot makers -
> >
> > As one of the truly weird people who not only drink hot tea all day
> > long,
> >but also use loose tea, I would like to say that there is no need for a
> built
> >in strainer.
> >
> > First and most importantly - they do not really work. Any one who
> uses
> >loose tea also uses some kind of strainer when brewing or pouring. The
> idea
> >of a teapot with a built in one is cute but does not serve any reliable
> >purpose.
> >
> > Second - as a lazy person - I find it just adds to the difficulty of
> >cleaning the pot and getting out all of the loose tea.
> >
> > If you choose to leave it in as an exercise in dexterity, go for it.
> But
> >all of my good functional teapots do not have one. And, I do love GOOD
> >functional tea pots so please worry more about those dripping spouts and
> good
> >balance when pouring!
> >
> >Chris Campbell - in North Carolina - on my second mug of Irish Breakfast
> tea
> >and the caffeine is kicking in !!
>
>
> CLAYART MAIL FROM MEL
> MELPOTS2@PCLINK.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.
>
> __________________________________________________________________________
> ____
> 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.

Diane Mead on thu 18 may 00


I have the solution to the "handmade" issue. Extremely simple.
Brain waves of the maker are to be measured. If the waves are
consistently deemed "creative" while the maker is involved in the
process, then the result is considered "handmade." If there is a lull in this
creative thinking process (even a blip), then it is not.

Of course this is sardonic humor, at it's lamest. Sorry. Couldn't help it.







Jonathan, like you, I also didn't want to get sucked into
>this again, but, doggone it, you've got me. I just have
>to comment on your assertion that that your slipcast
>pottery is as "handmade" as it gets (quote below).
>
>I'll tell you what's not handmade about it.
>You designed and made the molds. So, the molds are
>handmade. But that's where it ends. A piece you cast
>on Thursday will be the same as one you cast on
>Monday, even if you "touch" every piece. The piece you
>cast 3 weeks from yesterday will still be the same.
>That's kind of the whole point of making a mold, isn't it?
>If one of your workers, rather than you personally, pours
>the mold, guess what, it will still be the same.
>
>Contrast that to a potter throwing on a potter's wheel.
>The first couple of pieces of the day will probably be
>a little small, or large, or wide, until the potter "gets the
>feel" of what he's doing. If he stayed up too late the night
>before drinking Jack Daniels, the pots might even be a
>bit wobbly. If another person is hired to throw, the pieces
>will be different, even if they are the same size and shape.
>Also, unlike a slip-pourer, the hired potter will have had to
>work through years of training and practice just to qualify
>for the job.
>
>The potter is always subtlety but constantly "designing" his
>pot. Even if he is attempting to produce a standard line of ware,
>the work will be continually evolving. Your design work ended
>the moment you made your mold. It's dead. The throwing
>potter's design is living and changing and being refined.
>
>If you are making a handmade product, it should be no
>problem to make a custom piece for someone. If a customer
>asks me for a mug "like this one, except a half inch taller",
>I'll say, "No problem, if you don't mind waiting a few weeks.
>It will be $15, the same price as the one we're looking at."
>Will you make a new mold, cast a cup in it, and sell it for
>$15? I think not. The only way you can justify the time
>required to make a mold is to make and sell lots of the
>same thing. It would be like asking Ford to make me a new
>Explorer, except I want it 2 inches wider and an inch shorter.
>
>Here's a music analogy:
>Is Karaoke live music?
>I say no. The song will be the same length every time, it
>will have the same tempo, the guitar lead will always be the
>same. Just like your cast piece will always have the same
>dimensions.
>Even if the singer "designed" the accompaniment tape,
>played the instruments, and recorded the tape, it's still not
>live, or "handmade" music, because it is the same every
>time. Just as you can vary the decoration on a piece of cast
>pottery, the singer can vary what she sings, within the format
>of the tape, but that is just one part of the many elements
>that make a song.
>
>Yes, singing with a tape is "dead" because all the designing
>except the vocal was done in the recording studio. Get a real
>band together and you will have live, or "living" music. If the
>drummer is hyped up, he may play faster than usual. That
>may inspire the keyboardist, and then even the vocalist is
>trying some new things. Of course, if our Jack Daniels drinking
>potter also plays bass in the band, he may slow things down
>because his hands are tired from throwing pots all day.
>And then the next day, his pots may be wobblier still.
>
>This subject is not about money to me. Not at all.
>It's also not about design. It's not about valuing work made
>by one method more than that made by another method.
>It's simply about the definition of a word: "handmade".
>I think the word, like many in our society, has been
>increasingly more liberally defined until it is practically
>meaningless.
>--
>David Hendley
>Maydelle, Texas
>hendley@tyler.net
>http://www.farmpots.com/
>
>
>
>| My work
>| is slip cast from molds that I make from original parts that I make. These
>| forms are then assembled, decorated, and fired. What is not handmade about
>| them? Everything about them is handmade from the original concept,
>| designing and making the models, making the molds, casting the parts, and
>| assembling them, finishing and decorating them. My hands touch each and
>| every part of them in every stage of the process. They are handmade and
>| have entered competative exhibitions of handmade work and have also wond
>| awards. I would be hard pressed not to define them as hand made. The are
>| slip cast from hand made molds and models that are designed and made by
>me.
>| What could be more handmade? The wheel or the slab roller does not define
>| the parameters of handmade.
>
>
>
>
>
>
>
>----- Original Message -----
>From: Jonathan Kaplan
>To:
>Sent: Monday, May 15, 2000 7:38 AM
>Subject: Reviewing the responses to the handmade issue........longishj
>
>
>| I'll not belabor this issue as it is really a battle with no winners or
>| loosers. But I will address some points that some on the list put forward
>| in their responses to mine.
>|
>| >I am sorry to pick up on just one point of your mail, but being a mere
>| >consumer of ceramics, my concern is slightly different to those actually
>| >doing the making. I (rightly or wrongly) see slip casting in the
>| >manufacturing tradition. However, since Leach & Co. reintroduced the
>ideal
>| >of the hand-made tradition as an art form and honest work, this issue is
>| >programmed to continue... eternally. There will always be a "Them" and
>"Us"
>| >and ne'er the twain shall meet.
>|
>| Let us not for one minute only think that the Leach ideal is the only art
>| form and one of honest work. This is eliteism pure and simple, and
>| certainly presents a rather myopic vision. Them and us? I really don't
>| care. I think that laboring in the Leach ideal is a fine and nobel way to
>| work, if it fits your own particular vision of the world. But also let's
>| not prostelitize this as the only way.It certanly doesn't work for
>| everyone.
>|
>| >This will hardly be the only discussion which tends to repeat itself.
>| >Although it obviously annoys you personally, I trust we will be allowed
>to
>| >bicker on? Someone recently asked if had anyone changed their opinion
>about
>| >the other point of view, as a result of what has been said... I presume
>not
>| >among the old die hards.
>|
>| Sure, bicker on as much as you wish. This is an open forum and there is
>| room for all opinions, yours and mine. I don't for one minute assume that
>| anyone will really change their opinion. Its a matter of perspective and
>| experience. I think the issue is more a financial one than anything else
>| and that the real hand made issue is only a veil masquerading as a
>| financial one.
>|
>| >But if the final product is made by assisted technologies, with nothing
>else
>| >done to it but minor finishing and glazing, Then it should not be
>| >represented as handmade, and it should not be entered in competitive
>| >exhibitions of handmade work.
>|
>| This is too broad a statement to be left out there. For instance, my work
>| is slip cast from molds that I make from original parts that I make. These
>| forms are then assembled, decorated, and fired. What is not handmade about
>| them? Everything about them is handmade from the original concept,
>| designing and making the models, making the molds, casting the parts, and
>| assembling them, finishing and decorating them. My hands touch each and
>| every part of them in every stage of the process. They are handmade and
>| have entered competative exhibitions of handmade work and have also wond
>| awards. I would be hard pressed not to define them as hand made. The are
>| slip cast from hand made molds and models that are designed and made by
>me.
>| What could be more handmade? The wheel or the slab roller does not define
>| the parameters of handmade.
>|
>| >My entire point here is that when the artist makes the transition to
>assisted
>| >technolgies, and thus to a cottage-industry semi-mass-production
>operation,
>| >she/he steps out of the role of the one-of-a-kind craftsperson, and that
>is
>| >a very significant step, not to be taken lightly. As you and I both
>agree,
>| >it requires that the artist be completely upfront with the consumer about
>| >the means of production, and that the work be entered in appropriate
>| >exhibition and sales venues.
>|
>| Agreed. If we are not honest with our customers, then we not only deceive
>| ourselves as well as them. But what defines appropriate exhibition and
>| sales venues? Surely we cannot have the sales and exhibition police! But
>if
>| an exhibition clearly states "no cast work, jiggered work, pressed work"
>| and some potter gets in and puts work made with these methods out for
>sale,
>| then that person is in violation of the stated rules of the exhibition.
>But
>| if there is no stipulation then whats the point? ACC states in their
>| prospectus that the work should be made with appropriate tools. This is a
>| broad definition, subject to interpretation, and leaves the decision to be
>| made by the exhibitor. Having exhibited for many years in ACC and Buyer's
>| Market shows, there is this broad range of work represented and the only
>| issues that I remember over these many years was that one year someone had
>| the gall to put out decorated mugs with ' Made in China" stickers on the
>| bottoms!! Yes, that really offended us. But there has never been, IMHO,
>any
>| issues relating to how things are made at these major shows, Not that
>these
>| shows are in and of themselves the standards by which all exhibitions
>| should be judeged, but they are a major barometer of trends in the craft
>| industry. The point is , I think, is that again, its the work that
>matters.
>|
>|
>| >A fine pot has a pesonality and a presence, and in this case it
>| >becomes an inseparble component of the final expression of the piece.
>So,
>| >no matter how exquisite the painting, if the pot is mass-produced, it
>will
>| >suck some of the creative energy out of the painting.
>|
>| Only perhaps. We have exquisitely made plates and platters that are sold
>| to potters and others for decorating. These are mass produced. I have
>never
>| seen them diminish any creative energy whatsoever. They are a well made
>| canvas that enhances the decoration.
>| There are some very fine lines of beautifully produced tableware that are
>| mass produced by major manufacturers that have been designed by artists,
>| architects, potters, etc. To my mind some of the lines produced by Swid,
>| Rosenthal, and others blend beautiful mass produced forms with equally
>| beautiful decoration.
>|
>| >When all is said and done if you put your heart
>| >in the work then the customer will reward you. And if that customer
>thinks
>| >your over priced then let them go to the factories. We all know who's
>| >creating the problem here ( The Promoters ) can't live with them can't
>live
>| >without them. That's the real conundrum, after all a potters life is not
>| >really about money its about freedom, peace of mind, communing with the
>| >earth and its center, being one with your self.
>|
>| Well, this is an issue that is ripe for more discussion. But again, lets
>| not assume for one minute that the only true potters are potter's who
>| believe "a potters life is not really about money its about freedom, peace
>| of mind, communing with the earth and its center, being one with your
>| self." You can be all this and more!! But I would venture that money is a
>| prime concern, financial viability, success, etc. etc. And I also have
>felt
>| for a long time that the real issue here is a financial one, not one of
>| handmade vs. assisted technologies.
>|
>| >I guess my argument is still this. Press, cast, jigger whatever just
>don't
>| >masquerade as a potter.
>|
>| I disagree vehemently! I am as much a potter as anyone else on this list.
>| And are many of my colleagues who use assisted technologies. I have just
>| made a choice to expand my view and not be trapped into a myopia that
>reaks
>| of eliteism.
>|
>| >Another potter in Ontario keeps his press in the garage under a tarp.
>His
>| >press guy works at night.
>|
>| This guy needs a smack! He has a problem with self image and self worth,
>| and is too affected by the opinions of others. I would venture that he
>also
>| many not have a good feeling about the work he produces. My press, jigger,
>| casting equipment are out there for every one to see. I'm not ashamed of
>| anything that we do or make. In fact, there is nothing but pride in this
>| shop among my staff, myself, and our many happy customers.
>|
>| There was one post that postuated that "we need to return the issues of
>| integrity of the work to the marketplace". And that the only way to do
>| this was to hand make the work. At the expense of good design? At the
>| expense of poorly crafted work? You can only bring your own sense of
>| integrity to the marketplace. Any less will show through immediatley. The
>| post ended by saying that by restoring integrity to the marketplace will
>| help those who are dependant financially on the same marketplace for
>| survival. Huh? What does one have to do with the other? The marketplace is
>| only as "integrity bound" as what you bring to it. You can't worry or
>loose
>| sleep over what anyone else's standards are. Does poor work effect
>everyone
>| elses at a show? Sure does, but it also makes your work look even better
>| and even perhaps more sellable.
>|
>| Finally, I think that one of the essence of this "arguement" so to speak
>is
>| that we view process as the only viable involvement in potterymaking.
>| Process is important, but not at the expense of the other areas of
>| involvement in making pots. Process is part of the big picture, not at the
>| exclusion of everything else.
>|
>| I'm determined not to get sucked into this arguement again. I will agree
>to
>| disagree, and there is no need to put forward my views again. They are out
>| there, along with my work, for all to see. I don't hide anything.
>|
>| Respectfully,
>|
>| Jonathan
>|
>|
>|
>| Jonathan Kaplan
>| Ceramic Design Group LTd/Production Services
>| PO Box 775112
>| Steamboat Springs, CO 80477
>| (970) 879-9139 voice and fax
>| http://www.sni.net/ceramicdesign
>|
>| UPS: 1280 13th St. Unit13
>| Steamboat Springs, CO 80487
>|
>|
>
>______________________________________________________________________________
>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.


Diane Mead

Diane Mead on tue 23 may 00


Dear Mel:
You mentioned to clear the subject headings
or no posting.

Still the protocol?

And I have a query for the esteemed panel:
Please let us know the preferred/infinitely stable
way everyone says to adhere tiles to
(yuck) cinder/concrete block walls.

Thanks for the info.

Diane Mead

Aiko Ichimura on thu 8 jun 00


Hi,

> There should be LOTS in Tokyo. Every town should have one. Hanko are
> required for "signing" documents. When my friend moved to Japan, she was
> required to have one that said Anne Randerson in Japanese. Looked great!
>
> Russel

It is a strange thing that a hanko is more important than your signature in
Japan.
Or a signature without a stamp of hanko does not mean much.

The divorce paper would not be complete without stamp of hanko on it.
So people who are contemplating a divorce would have a divorce paper readily
filled out except the final stamp of hanko.

Now there are so many foreigners in Japan, they may recognize signature
without
hanko officially. Not sure.

Japanese potter use hanko-like stamp on their pots and bowls called "In"
before they are dried.
For example, a Raku teabowl made by a potter of Raku family has an embossed
character
"raku" in a circle in the center of near kodai(foot)(outside of kodai).

Other potters would put their " in" mark on the left side in general.
This ,because their respect to the Raku family.


Aiko Ichimura
NW DC 20036 USA
aikop@erols.com
202-293-3039

David Clark on sat 1 jul 00


Sometime back I had a chance to visit a rather successful pueblo potter,
Nancy Youngblood Lugo on the Santa Clara reservation. It was very exciting
to watch her pit fire some small seed pots. She mentioned, actually she was
very free with her methods and ingredients. One of them caught my attention.
She, or her husband sifts volcanic ash to add to the clay as temper adding
in reducing thermal shock. Anyone out there know where I might find some,
without pirating indian/artists' sites - very bad karma. Any commercial
sources, and I don't live near Mt. Saint Helens - thanks.
________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com

The Clay Studio on mon 3 jul 00


It is shaping up to be a great summer!

This month's exhibition: June 30 - July 22, 2000


Eva Kwong: New Vases
Made At The Clay Studio: Group Exhibition
Featured Shop Artist: Mimi Logothetis


First Friday Reception: July 7, 2000 5-9 pm
Gallery Talk : Sat. July 8, 2000 1pm

Eva Kwong, Juried Solo Artist, presents a series of vases assembled
from wheel thrown parts. True to her interest in the intersection
between pottery and sculpture, Eva's vases juxtapose enclosed forms
with the open form of a vase. Discuss her work with her and enjoy
refreshments at the Gallery Talk on Sat. July 8.
*NOTE* Eva Kwong Workshop July 22&23!

The Clay Studio's Visiting Artists showcase what they Made At The
Clay Studio during their varied residencies this year. Carlomangno
Martinez, Mexico; Sadashi Inuzuka, Japan/US; Luo Xiaoping, China;
Bonnie Kemske, Great Britain; Laszlo Fekete, Hungary; and Antje
Scharfe, Germany.

What's Happening:
There are a variety of classes and workshops being offered this
summer, reply with your snail mail address to get a brochure.
"A weekend with Eva Kwong" July 22&23; "Pinch Pot Weekend" July
22&23; "Pit Firing Weekend" August 12&13; "Throwing: Discovering Your
Style" August 21-25; "Handbuilding: A Personal Approach" August
21-25; "Majolica Weekend" August 26&27; "Kiln Firing Weekend" August
26&27.
The RNC is coming! The RNC is coming! Don't miss the special
celebration welcoming the Republican National Convention to
Philadelphia. "Fox Extra Friday" July 28, 5-9 pm will focus national
attention on Old City and will feature craft demonstrations, street
performances, live music and more! Many of these exciting events will
be held in the parking lot located next to The Clay Studio!
The annual Student Show is coming up, if you have taken a class since
Sept. 1999 at The Clay Studio, you are invited to submit one piece to
the show! Please bring your work to the first floor of the Studio on
Friday July 14 or Saturday July 15, 12-6 pm.


As always, please feel free to write or call with any questions or
comments! Watch for changes to our web site at:
www.theclaystudio.org

Enjoy the summer!

Mikal
mikal@theclaystudio.org
215-925-3453 x 17

Roseanne on fri 7 jul 00


To John Weber Re: kiln chimney materials.

Don't know if this would work but what about the clay chimney liners =
used in brick chimneys?

MICHAEL D. RESNIK on mon 17 jul 00


Janet Resnik is seeking a studio assistant. She has been in business for
25 years on a farm outside of Chapel Hill, N.C. Janet makes a large volume
of functional stoneware featuring impressionistic landscapes. The position
involves helping with all aspects of production exception throwing. Some
of the jobs are: making items on a slab roller, unloading clay, loading
and unloading kilns, and helping with gallery sales occasionally. The job
is about 30 hours weekly (Tuesday through Friday preferred). Salary
depends on skill level. Reply to Resnik@email.unc.edu.

cmm on tue 1 aug 00


=20
=20
=20

POTTING IN PARADISE
You are invited to discover central Mexico with a potter=B4s =
perspective. As the guest of a potter and her family you will enjoy:

a.. working in her studio and learning pottery techniques=20
b.. visiting old world villages where pottery continues to be =
produced as it has been produced for centuries=20
c.. visiting archeological sites with ancient pyramids=20
d.. relaxing in the pool and admiring the towering palm trees.
We will great you at Mexico city=B4s International Airport and drive =
you to our home in Cuernavaca. Known as the city of eternal spring, =
Cuernavaca is a tourist destination located an hour south of Mexico =
city.

Comfortable accomodations include three meals a day, snacks, internet, =
cable t.v. including U.S. chanels and swimming pool.

For more informations on 1, 2 or 3 weeks stay please e-mail me at: =
gina@chauvet.com

Or call me at 011 527 316-0320=20

Visit my web page at: http://chauvet.com/gina

I would really appreciate your=20

Jim &Lisa Blake on wed 9 aug 00


Am wondering if anyone out there has a nice black glaze fora cone 8 firing?

isak on wed 9 aug 00


Dear List,
Can anyone help me with recipes for crystal glazes for Orton Cone 2 as =
well as Cone 5?
TIA
---------------

Try this ones, perhaps you can adjust them,
C/07
Red Lead 80%
BariumCarb 5%
------
C/07
Red Lead 80%
Caolin 14%
------
C/011
Borax 57%
Flint 28.6%
RIO 14.4
------
C/5
Feldspar 50%
BariumCarb 20%
Caolin 10%
Frit#3191 10%
Cobaltoxide 6%
Manganese ox 4
------
C/5
Frit # Ferro 3304 80.5%
Black iron ox 15%
Caolin 4.5%
----------------------------
Good Luck!

All the best

Isak Isaksson
Velamsund
132 36 Saltsjoe-Boo=20
(Sweden)
Phone (+46 8 ) 747 97 21
www.swedcrafts.nu
isak@swedcrafts.nu

----- Ursprungligt meddelande -----=20
Fr=E5n: Cobus Potgieter
Till:
Skickat: den 8 augusti 2000 17:17
=C4mne: Crystal glaze



_________________________________________________________________________=
_____
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.

_________________________________________________________________________=
_____
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.

mgitlis on thu 31 aug 00


Jeff, there's a great book that lays out projects for kids, it's called =
The Great Clay Adventure by Ellen Kong. I had a wonderful teacher who =
taught me the following: keep the groups small, up to 10, set up =
materials, and tools ahead of time so they aren't running around looking =
for stuff while you're trying to teach, even weigh out 1.5- 2lb pieces =
of clay so they don't take more than they can wedge and work with, =
without it drying out. Do a demo, but let the demo evlove into whatever, =
so for example if we are doing pinch pots start one but then add a head =
and tail to make an animal, you get the idea.=20

The kids can usually watch a demo for 5-10 min and the more you set it =
up that way the more they get used to it. Also using engobes on wet work =
and drawing on it keeps them working on the same piece and gives them =
the colors they like, glazing can be very frustrating for young =
children. After a few classes with demos, I usually let them do what =
ever they want to. That lets me see if they've learned some techniques =
I've tried to teach and are comfortable using them and what kinds of =
things they want to make, so I can come up with demos that will help =
them make what they want to make. =20

You may also want to divide the group up by ages, 5-8, and 8-10.=20
Good luck, Jessica

Cleo on thu 31 aug 00


I am curious if anyone has used the Dave Roberts resist slip and glaze =
recipes. I am having trouble with it. Sometimes it sticks sometimes it =
dries and cracks off the pot before you get a chance to do any design =
work in it. The few times I got it to work perfectly I didn't think I =
did anything differently. The process is so fascinating to me most =
people want their glaze to stay put whereas with this process you want =
it to more or less fall off after firing. Any suggestions from people =
who have had continued success would be appreciated.

Newbie to this forum
Cleo

Jim Larkin on sat 2 sep 00


David's post about his son at the lumberyard brought back memories of the d=
ay my son started preschool. After the first day, when we picked him up, I =
asked how everything had gone. With a long, sad face he said "I need to sta=
y home and help you wuk"(his word for work). He immediately became a presch=
ool dropout. I rarely went to the lumberyard or pottery supply without he a=
nd his sister in the truck with me. They always had their own work table an=
d shelf in the studio, along with their own tools. Erin specialized in big =
busomed ladies and Fletch in snakes. They had a shelf of their own in the s=
ales shop, where some customers would stop by just to see what they had out=
new.

Erin now has a degree in sculpture and Fletch is finishing a degree in cer=
amics. Gift giving occasions often involve tools, sometimes new, sometimes =
hand-me-downs of my carpenter father and grandfather. These are the treasur=
ed ones. I grew up working for my dad. He expected me to anticipate him. If=
he was trimming a door or setting a lock, when it was time for the chisel =
he expected me to have it in hand ready for him. As I use those same tools =
today, I can even smell that "Dad" smell,a mixture of sawdust, Camel cigare=
ttes and the sweat of a hard day's work, and feel a pleasure remembering w=
orking together. I trust that love will be continued as I gradually pass th=
ese tools, and hopefully the joy of using them, on to my own children, who =
already use them better than I.
Jim Larkin
Fox Pass Pottery
Hot Springs, Arkansas
71901
501-623-9906
foxpass@aristotle.net

Jim Larkin on thu 7 sep 00


Like many others, I've had a love/hate relationship with rutile blue glazes=
.
The thickness of application is a crucial factor. But here is another varia=
ble that I haven't figured out. Rutile blues almost never pit/pinhole on ou=
r slab-built pieces, whereas it is all too common on thrown pieces. Anybody=
got a theory on that one? The slab pots are usually heavily textured.

Thanks,
Jim
Jim Larkin
Fox Pass Pottery
Hot Springs, Arkansas
71901
501-623-9906
foxpass@aristotle.net

Dave Finkelnburg on sun 17 sep 00


Cleo,
In July each year Michael McDowell has been hosting workshops at his
farm in Ferndale (near Bellingham, WA). This summer Vince Pitelka taught
two one-week workshops, one on hand-building, and one on "ancient clay."
You might want to check on this, if it's not too far in the future for you.
Michael's place is in a wonderful setting, class size is limited to 10
people so there's plenty of room and lots of opportunity for individual
help, and Michael is a wonderful host!
Dave Finkelnburg

-----Original Message-----
From: Cleo
To: CLAYART@LSV.CERAMICS.ORG
Date: Sunday, September 17, 2000 7:08 PM


I would like to know of any workshops in the Pacific Northwest, B.C. or
Alberta. I have searched the archives and found nothing. Anyone with
information on any out this way I would appreciate it.
Thanks
Cleo

____________________________________________________________________________
__
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.

Cleo on sun 17 sep 00


I would like to know of any workshops in the Pacific Northwest, B.C. or =
Alberta. I have searched the archives and found nothing. Anyone with =
information on any out this way I would appreciate it. =20
Thanks
Cleo

Verna Lucas on mon 18 sep 00


Hi everyone:

I am brand new to this line. Today I received 85 messages. Will there =
be that many everyday?

Thanks

Verna

STACEY LYNN KLOPP on tue 19 sep 00


heres my situation: I just finished working the whole summer pitfiring my
work and now that i am consumed with ideas i have nowhere to fire! i had
been firing my work on the shores of Lake Chateaugay in the uppermost part
of NY state where all you needed was a permit to burn (used mostly for the
campfires). Now that I'm back in Southern New Jersey I cant seem to find a
place to open fire. I wish I could fire close by but if i have to travel i
will do so, does anyone out there have any ideas? I'm pretty sure that most
of the area around me is off limits because of the Pinelands Treaty that
protects our local treasure.I'm also trying to find a good terra sig reciepe
in the past disscusions at clayart but theres no listing under the glaze
section. colored commercial terra sig has been doing some strange things on
my pots. I can use any help offered. thanks to all

Stacey klopp in S. Jersey
(is it me or is this an unusually cool end of summer here in jersey?)
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Cindy Strnad on tue 19 sep 00


Stacey,

Call your forest service office for help. They should be able to give you
suggestions. Usually, it's possible to obtain a permit for a personal fire
area which has been prepared to their specifications. Some ideas if you live
in town: a brick enclosed firing "chamber", a 55 gallon drum set in a
suitably non-flammable area, etc. If nothing else works, you can smoke fire
in a deep bar-b-que charcoal grill or a wood heating stove.

Now around here, where the Jasper fire just ate up 85,000 acres a couple of
weeks ago, you're likely to get a citation for smoking a cigarette in a
grassy area. (No, I'm not joking.) But under normal circumstances, I just
take my stuff out to the pit in the back yard and fire away. Of course, one
***never*** leaves the fire unattended. Ever. But your forest service office
will unquestionably mention that little caveat.

Cindy Strnad
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
USA
earthenv@gwtc.net
www.earthenvesselssd.com

Earl Brunner on tue 19 sep 00


Can you get the same or similar results with sawdust in a 55
gal drum?


STACEY LYNN KLOPP wrote:
>
> heres my situation: I just finished working the whole summer pitfiring my
> work and now that i am consumed with ideas i have nowhere to fire! i had
> been firing my work on the shores of Lake Chateaugay in the uppermost part
> of NY state where all you needed was a permit to burn (used mostly for the
> campfires). Now that I'm back in Southern New Jersey I cant seem to find a
> place to open fire. I wish I could fire close by but if i have to travel i
> will do so, does anyone out there have any ideas? I'm pretty sure that most
> of the area around me is off limits because of the Pinelands Treaty that
> protects our local treasure.I'm also trying to find a good terra sig reciepe
> in the past disscusions at clayart but theres no listing under the glaze
> section. colored commercial terra sig has been doing some strange things on
> my pots. I can use any help offered. thanks to all
>
> Stacey klopp in S. Jersey
> (is it me or is this an unusually cool end of summer here in jersey?)
> _________________________________________________________________________
> Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
>
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Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net

c guy on fri 29 sep 00


I am trying to find a spraybooth that I can vent for
spraying glazes. Does anyone know of a supplier/source
of sprayboothes?

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vince pitelka on sat 30 sep 00


> I am trying to find a spraybooth that I can vent for
> spraying glazes. Does anyone know of a supplier/source
> of sprayboothes?

C. Guy -
Commercially-made spraybooths which are powerful enough to do any good are
very expensive. It is far better to make your own. You can either build a
permanent booth, or simply have several hinged arms with canvas or plastic
curtains which swing out from the wall to create an open-front booth. That
way the counter or table can be used for other purposes when the spray booth
is not in use. The size of the booth and the size of the opening are
dependent on the size of wares you need to spray. Keep in mind that the
height of the spray booth must include the maximum height of your wares with
some space to spare, plus the height of a banding wheel upon which to place
the wares while spraying. The larger the spraybooth, and the larger the
opening at the front, the more powerful the fan needed to effectively
exhaust the overspray and fumes (if any are present).

The heart of the spray booth is the exhaust fan. Do not use a squirrel-cage
blower, as the small vanes will get clogged with overspray over time, even
if you have a filter. Use a good quality propeller-style fan (like a
box-fan, only better), or use a snail-shell blower with large paddle-style
vanes. You can find them in the Grainger's catalog. Get one with at least
a 1/4 HP motor.

On the face of the exhaust outlet at the back of the spray-booth, mount a
filter, like an ordinary household furnace filter, so that it is easily
replaced. Furnace filters are cheap, and you will want to replace it
frequently to keep the exhaust suction as high as possible. At the back of
the spraybooth in front of the filter mount a vertical baffle - just a big
piece of plywood, spaced out three or four inches from the surface of the
filter, so that the overspray has to go around either edge of the baffle,
rather than landing directly on the filter. That will assure that the
overspray is dry by the time it hits the filter.

This has been discussed before, and you can probably find good information
in the archives.
Good luck -
- Vince

Vince Pitelka
Home - vpitelka@dekalb.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
http://www.craftcenter.tntech.edu/

ceramic students on mon 2 oct 00


Hi , my name is Emma and I'm a fourth year ceramic design student. I'm =
preparing a thesis on artists dealing with issues of the urban =
environment, and using their work to promote awareness and raise =
concerns about problems of the urban environment.i.e.. waste disposal, =
construction , land use , pollution .I would be very grateful if anyone =
could help me with information with regards to ceramic artists / ceramic =
works dealing with these issues. Thanking you, Emma

Balaun Pottery on wed 11 oct 00


Gee June, this is a great idea. I've been wanting to have a studio show
for some time, but was afraid I wouldn't have enough variety and
quantity. I may just have to hunt down some additional potters in the
Atlanta area and put on a studio show at my house. I hate the festivals
around here as the people who attend seem mostly interested in the
"country craft" stuff. When I have participated in "pottery only" events

I do great. Any Atlanta area potters/ceramists to whom this sounds
tempting? Feel free to email me offline at
balaunpottery@atl.mediaone.net.

Nancy

When you think of the money you have to spend on these fairs, motel
costs,
food costs, transportation, time, etc. you might be better served
getting a
few potters, weavers, jewelers, wood workers, etc. together and put on
your
own show. Combine mailing lists, and use the money to take out ads, do
mailings, etc. It will take time to build it up, but I think it would be

a
worth while endeavor.>

DEBORAH on mon 16 oct 00


Hi fellow potters,

I am new to clayart, but I have been eavesdropping for several weeks =
now.
I have learned more in these several weeks then I did in 4 years of
college. But that was 30 years ago!! So thank you.

But I desperately need your help. 3 years ago I purchase a SNF283
Paragon kiln. Because I have been working fulltime to save my=20
money to pot full time I only used the kiln several times. Out of=20
ignorance I always thought it was suppose to take 20 hours to
get my glazes to melt at cone 6. After going to a show this summer
I found it should only take approx 6 hours!!. I have called and =
corresponded
with Paragon several time to no avail. Can someone please tell
me how I can resolve this situation? I need a kiln that works.
Quit obviously this kiln never has and never will. They sent me
new elements several weeks ago. It worked once and then back to
the same old thing. I know my wattage and voltage it ok because I have=20
spent hundreds of dollars double checking this.

Does anyone have the same Paragon kiln I have that works to a cone 6?
If they advertise that it can be fired to 2300 degrees shouldn't it? =
And
if it doesn't isn't this false advertising?

I want to thank Cindy Strand for all of her help and support she has=20
given me. But I need more help to resolve this problem. So thank
you in advance.

Sorry this is so long. But I am very frustrated.
Deborah Olson

Les Wright on mon 16 oct 00


I'm having difficulty understanding the relationship between the coeffici=
ent
of expansion of the clay body and that of the glaze. The glaze calculatio=
n
program that I use in determining expansion numbers is Insight and the
expansion numbers of oxides and materials used are those provided by Ron =
Roy.


It is my understanding that Ron uses a dilatometer to measure the expansi=
on of
all the clay bodies that Tucker's sells and I have all these figures. Usi=
ng
Insight, I can calculate the attendant glaze expansion. =

Trough reading C.W.Parmelee and a couple of other sources, supposedly gla=
ze
fit (no crazing, but good compression) should fall within 10% to 20% less=

expansion than the clay body with 15% being optimal. I have lowered my
original clear glaze from c.o.e # 445.51 to 295.76 and yet it is still cr=
azes.
Obviously, I will keep lowering the c.o.e until the crazing disappears, I=

don't know any other way of solving the problem. Does it have anything to=
do
with measured vs calculated and are the c.o.e numbers given for oxides an=
d
materials so inexact that mathematical comparison is useless. And yes, I =
know,
test-test-test! =

I have rambled on far too long, in short, I need a great deal of help.

This is the original and adjusted version of the glazes above. I fire fro=
m
about c/6 to c/7 and use Orton standard cones in oxidation. I use Tucker'=
s
MCS, but I have also tested these glazes on Pottery Supply House 910;
Tuckers's Smooth White, Mid Smooth Spec, 650, Mid Porcelain Five. =


Two Recipes: REV C & CR#4 =

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
G-200 FELDSPAR G200. 32.00 16.00%
WOLLASTONITE........ 28.00 14.00% 29.29 14.65%
F12 (FERRO3134)..... 24.00 12.00% 22.78 11.39%
STRONTIUM CARBONATE. 20.00 10.00% 3.45 1.72%
TALC................ 4.00 2.00% 6.51 3.25%
EPK KAOLIN.......... 48.00 24.00% 55.25 27.62%
SILICA.............. 44.00 22.00% 63.20 31.60%
CADYCAL............. 8.14 4.07%
MAGNESIUM CARBONATE. 11.39 5.70%
=3D=3D=3D=3D=3D=3D=3D=3D =3D=3D=3D=3D=3D=3D=
=3D=3D
200.00 200.00

CaO 0.53* 9.30% 0.57* 10.83%
MnO2 0.00 0.00% 0.00 0.01%
MgO 0.07* 0.90% 0.32* 4.37%
K2O 0.07* 1.94% 0.00* 0.13%
Na2O 0.10* 1.90% 0.06* 1.36%
Fe2O3 0.00 0.22% 0.00 0.25%
TIO2 0.00 0.08% 0.00 0.09%
B2O3 0.14 2.98% 0.21 4.99%
AL2O3 0.41 13.14% 0.34 11.74%
SiO2 3.31 61.97% 3.20 64.88%
P2O5 0.00 0.03% 0.00 0.03%
SrO 0.23* 7.54% 0.04* 1.33%

COST/KG 2.52 1.88
Si:Al 8.02 9.40
SiB:Al 8.35 10.02
EXPAN 445.51 295.76



PS: Here is a glaze that appears to be crazless on all the aforementioned=
clay
bodies and its c.o.e is 426.23.
Go Figure! I test for crazing by submersing my glazed tiles into 20*cent.=

Water after heating them in an oven by 50*cent increments with the starte=
d
point of 100*cent. Please explain why and how this can be so.

RED TEM C/6 CANADORE (STEVE)
TA =3D TEM REV A
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
F12 (FERRO3134)..... 12.00 5.08%
TALC................ 36.00 15.25%
SILICA.............. 52.00 22.03%
CADYCAL............. 34.00 14.41%
F-4 FELDSPAR........ 62.00 26.27%
BELL DARK BALL CLAY. 4.00 1.69%
BENTONITE........... 4.00 1.69%
RED IRON OXIDE...... 32.00 13.56%
=3D=3D=3D=3D=3D=3D=3D=3D
236.00

CaO 0.41* 6.89%
MnO2 0.00 0.03%
MgO 0.41* 4.90%
K2O 0.05* 1.34%
Na2O 0.14* 2.58%
Fe2O3 0.30 14.41%
TIO2 0.00 0.03%
B2O3 0.40 8.35%
AL2O3 0.21 6.37%
SiO2 3.06 55.10%
SrO 0.00* 0.01%

COST/KG 1.60
Si:Al 14.70
SiB:Al 16.63
EXPAN 426.23

Notes: =

THIS RECIPE FROM CANADORE ELIMINATES GERST BOR BY SUB CADY CAL. RED IRON =
IS
FORCED PHANTOM.







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Get your own FREE, personal Netscape WebMail account today at http://home=
=2Enetscape.com/webmail

Carolyn Nygren Curran on tue 24 oct 00


EEEEEEEEEEEEEEEEEEEEEEEEK. At the risk of once again receiving accusations
about being a spelling Nazi, I must say that it is ANALYST, not annalist.
I have kept silent for many, many postings, but I just can't stand it any
more. It's analyst. The camel's back was broken with just one too many
straws.
Sorry, but I had to say it. cnc

Bob Hanlin on wed 25 oct 00


Carolyn must get very, very tired. Let it go, it's not about you.

BobH.
----- Original Message -----
From: "Carolyn Nygren Curran"
To:
Sent: Tuesday, October 24, 2000 7:12 PM


> EEEEEEEEEEEEEEEEEEEEEEEEK. At the risk of once again receiving
accusations
> about being a spelling Nazi, I must say that it is ANALYST, not
annalist.
> I have kept silent for many, many postings, but I just can't stand it
any
> more. It's analyst. The camel's back was broken with just one too many
> straws.
> Sorry, but I had to say it. cnc
>
>
____________________________________________________________________________
__
> 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.
>

Alka Dixit on wed 8 nov 00


Hi all,
My name is Alka Phatak. I am originally from India, and a new member of
clayart.I am a Fine art graduate from Sir. J. J school of Art,Bombay India
and am presently doing my Masters in Ceramics from Washington University in
St. Louis.
You can view my work at,
www.artsci.wustl.edu/~adixit/aadixit%20folder/index.html
Also please send me your comments,
Thanks,
Alka
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Alka Dixit on thu 9 nov 00


Hello, Arnold and Robert,

Thanks for replying back. At present I am basically concentrating on wheel
work. I have been trying to relate other arts to ceramics. To be more
precise I have related it more to Indian classical dance. My recent
sculptures have therefore been very rhythmic and delicate.

I plan to concentrate on experimenting with clay and glazes along with my
art work in the near future. After I graduate from Washu, I plan to set up a
studio in Pune, Maharashtra, India. I will be taking classes for the general
public here in India who dont know much about Ceramics. Also hold
exhibitions and sell work to gift stores.

I did build the kiln,(with the help of my professor). It was a great
experience. I hope to get another chance soon.

Good Luck with your kiln!

Alka





Hi Alka,

Welcome to America. I hope you have a great time here.

I went to Amritsar, Punjab, in 1974 and visited for six weeks.

Arnold Howard

_____________________________________________________________
______________________________________________________________
_____________________________________________

Hello Alka,
I read your post on clayart, checked out your sight. I enjoyed the
sculptural work and the veggie pot was neat. Are you concentrating in a
certain area at the moment? Just curious, where are you headed with your
clay career?
So did you build the wood fired kiln, where you gave the workshop?
I am just finishing one. Hopefully within a month it will be fired.
You will prob. get several responses from the list so I'll keep it sort.
Robert Moore
in southern Indiana

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K Farmer on wed 15 nov 00


I have taken ceramics classes where a little of raku
glazing and firing has been included. I would love to
immerse myself in this process and learn more about
firing, glazes, and even building my own kiln. Has
anyone heard of any one or two week workshops in the
U.S. where one could go to learn more about raku?
Thanking you in advance, Kathy Farmer

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Hank Knaepple on thu 16 nov 00


Help, I am looking for a copy of the book:
"The Potters' Alternative", Harry Davis, Chilton,
Pub.
I need a copy of the section on pug mill construction,
but would prefer to purchase the book outright if
possible.
thanks,
Hank in Kentucky
zatheros7@yahoo.com


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Yahoo! Calendar - Get organized for the holidays!
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john britt on sun 10 dec 00


Vince,

I, too, have seen many instances of carbon trapping without soda washes.
The point of my example was to show that carbon trapping could be achieved
without iron. Soda washes only isolate the sodium in the test. Rather
than using neph. syenite as a soda source, which contains many other
compounds including trace amounts of iron.

Certainly you can get carbon trapping with shinos. I believe that is why
Nepheline Syenite is the used over Potash Feldspars (Althought that is not
exclusive). As your know, Neph. Sy. contains large amounts of soda.

Thanks

John Britt

Thanks,

John Britt
Penland Clay Coordinator

Cindy Strnad on mon 18 dec 00


Hi, Joan.

Pieces with large, thin, flat bases will tend to warp if fired on wads
whether or not the corresponding shelf is warped. Pieces with compact
bottoms don't warp, as a general rule, even if fired on warped shelves. This
warping is more pronounced as the pieces get closer to vitrification
(glass-hood). One can get away with doing things in low-fire conditions
which wouldn't work nearly as well in a high-fire load.

Cindy Strnad
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
USA
earthenv@gwtc.net
http://www.earthenvesselssd.com

Hank Murrow on mon 18 dec 00


>Reading the thread about kiln shelves leads me to this
>thought. If you put wadding under your bisque ware
>when you glaze fire it, and the pieces sit on wadding
>on a warped (slightly) shelf, will your work come out
>warped or not? I am thinking not, since the wadding
>serves to keep the pieces from sagging to the shape of
>the shelf. Am I wrong?
>
>Joan in cold windy concrete Brooklyn
>


Dear Joan;

I bet the woodfire folk will weigh in on the side of not warping.

regards, Hank

Joan Walton on mon 18 dec 00


Reading the thread about kiln shelves leads me to this
thought. If you put wadding under your bisque ware
when you glaze fire it, and the pieces sit on wadding
on a warped (slightly) shelf, will your work come out
warped or not? I am thinking not, since the wadding
serves to keep the pieces from sagging to the shape of
the shelf. Am I wrong?

Joan in cold windy concrete Brooklyn

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Tim & Deborah Floden on wed 20 dec 00


Thanks for the recipe Tom, and the info on a by line. I am in Estevan, =
Saskatchewan, Canada!! mighty cold and snowy here these days with not =
much to do, but think of glaze recipes!!

Deborah
Estevan, Saskatchewan!

Frederich, Tim on fri 5 jan 01


This message is for whoever was looking for the Turner Porcelain. Call Matt
Morris at Laguna in Ohio. The number is 800-762-4354. He is making the
porcelain for Tom Turner.

Best regards,

Tim

Martin Kunze on fri 5 jan 01


rent a place in a well-equipped studio! accomodation included! it´s a nice
place in austria/europe, old house but comfortably restored. €
150,-/month plus expenses for material.

get some more information: ceramix@gmx.net




about the studio: i have an electric kiln 330 l and two small wood fired
kilns 500 l , elecric wheel and a machine for preparing clay. im not
especially equipped for casting.

i enjoeyd to work with people together during my study which i finished 5
years ago and tried to prolong this . now i have the possibilities and
invite people to share my attitude...

i do a lot of turning - mainly planters in different sizes fired only at
1000 degrees with wood but i also make stoneware (tea-)pots at 1300 in the
wood kiln.

it´s an old farmers house in the country and was rebuilt 100 years ago and
looks more as house of the mainsquare of a small city. it was restaurated
with love in 1998 and has everything wich makes life comfortable. the house
where the studio is in has still enough space to expand the workshop.

if you have some more questions
martin - ceramix@gmx.net


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Earl Brunner on thu 11 jan 01


Hepa filter that fits. They clog fast, because they stop the stuff
before you breath it. Replacement cartridges aren't to bad.

Larry Gustafson wrote:

> When working with many glaze materials, wearing a mask is recommended. In searching my catalogs for masks, I find several types. What type of mask is recommended?
>
> Thanks for your help.
> Jeani Gustafson
> Ulysses, KS
>
> ______________________________________________________________________________
> 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.


--
Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net

Larry Gustafson on thu 11 jan 01


When working with many glaze materials, wearing a mask is recommended. =
In searching my catalogs for masks, I find several types. What type of =
mask is recommended? =20

Thanks for your help.
Jeani Gustafson
Ulysses, KS

CHRISTOPHE GREENMAN on wed 17 jan 01


If you are already on my list the brochures are out and I will be getting =
one to you ASAP.

The Alabama Clay Conference will be held this Spring at Alabama State =
University on the weekend of February 22-25. Featured will be Susan =
Peterson of Carefree, Arizona noted author of The Craft and The Art of =
Clay; Shoji Hamada, and a recent book on Jun Kaneko. Susan Stephenson, =
Professor of Art (retired), from Eastern Michigan University, and Paula =
Winokur, Professor of Art at Beaver College, Pennsylvania will share their =
work and knowledge of claying. Stephen Rolfe Powell of Kentucky will give =
a curators' talk about the show Millenium Glass: An International Survey =
of Contemporary Glass, Clifton Pearson of Stilman College and Charles =
Smith of Mobile will demonstrate and discuss their clay techniques and =
talk about their work. Related exhibitions and other activities are =
planned in relation to the conference. We will have an exhibit of =
conference participants works and there will be the traditional mug =
exchange. Call Georgine Clark 334.242.4076 x250 or Christopher Greenman, =
Assistant Professor of Art, Alabama State University 334.264.6966 for more =
information.=20



Other information:

Coinciding with the conference will be:

Suface design workshop for fiber artists with Toni Tully of Birmingham. =
Friday and Saturday

and a Wood workshop with Alfred Sharp who makes museum quality one of a =
kind furniture. Friday only.

Professional Development and Craft Marketing with Carol Sedestrom Ross, =
Director of Marketing for George Little Management. Sunday only.

Conference Hotel is:


Ramada Inn-- right down the street very close to ASU
924 Madison
Montgomery

$48/room

Or try your luck at:
Embassy Suites Hotels=20
Downtown Montgomery--- close
334.269.5055
800.362.2779

Days Inn
2625 Zelda Road=20
Montgomery
one exit away--close
334.269.9611



Hope to see many of you here in February


Christopher Greenman
Assistant Professor of Art
Alabama State University
Montgomery, AL

cgreenman3@home.com

Vicki Conley on thu 18 jan 01


Hi I am new to the list. i am going to Kauai in June. does anyone know of
any potters there that I might visit? Also when is that big annual raku bash
on the beach on Ohau?

Ronald Church on mon 5 feb 01


Does anyone out there know how air-dry clays are made? I have a vague
memory of having read that air-dry clay is produced by the addition of
bonemeal to ordinary clay. If so, isn't that a potential health
hazard, what with mad cow disease. I suppose I'm over-reacting, but the
brand I've been using (DAS Terracotta) is European. Anyway, I'd be
curious to learn about the composition of the stuff.
Karen Church

stephen mazza on mon 5 feb 01


Hello everyone,
I'm a new subscriber to this wonderful list and I'll
say what I'm sure has been said 1000 times before -
what a great means of information sharing! kudos to
those responsible for this.

I hope someone can help me with , so here we go!

I graduated 2 years ago with a BA in fine arts/art
history and find myself floundering trying to "make an
artist of myself". I've come to the realization that
more schooling might be neccessary. What I need to
know is what colleges offer the best programs for
ceramics in the U.S. (Florida or Georgia) or Canada
(almost anywhere but preferably in Ontario)?

my other concern is that the program I studied in
before was not geared towards ceramics, and pretty
much everything I know about clay was either taught to
me in art classes when I was 10 years old or self
taught. I'm sure that there are holes in my
understanding of the medium. Does this eliminate a
masters or can I supliment that with a few undergrad
credits?

I've learned much already filtering through the
archives, I hope somebody out there will be able to
help me some more. Thanks

Stephen Mazza



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mudlady@ATT.NET on mon 5 feb 01


To Clayart:

I am trying to sell my #1227 Skutt electric. It is only
4 years old and has been fired approx 30Xs to bisque
cone 06. It is in like new condition and has 10 half
shelves which are in mint condition.It has a kiln sitter
and timer. Dimensions are 28" in dia and 271/2" deep 9.9
cu.ft of space. I am asking $800 complete. Please
contact me at mudlady@worldnet.att.net Thanks

mudlady@ATT.NET on mon 5 feb 01


Hi Clayart,
Should I use a cone 7 in the kiln sitter for a cone 6
glaze firing. Please contact Thanks

Joanne L. Van Bezooyen on tue 6 feb 01


where are you?

mudlady@ATT.NET wrote:

> To Clayart:
>
> I am trying to sell my #1227 Skutt electric. It is only
> 4 years old and has been fired approx 30Xs to bisque
> cone 06. It is in like new condition and has 10 half
> shelves which are in mint condition.It has a kiln sitter
> and timer. Dimensions are 28" in dia and 271/2" deep 9.9
> cu.ft of space. I am asking $800 complete. Please
> contact me at mudlady@worldnet.att.net Thanks
>
> ______________________________________________________________________________
> 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.

--
Joanne L. Van Bezooyen
520-749-1685
Art Gecko Designs
http://www.arteriordesigns.com/noname.html
voice & fax: 520 760-1584
11220 East Via Madre
Tucson, Arizona 85749 USA

Laura Freedman on tue 6 feb 01


Hi, I use ^6 for ^6 firing and my witness cones say I am at ^6 with the tip
of 7 just beginning to limp. My studio mates who use a larger kiln than
mine use ^7 for a ^6 firing. Do you use witness cones? I guess testing is
the answer. Good luck. Laura


>Hi Clayart,
>Should I use a cone 7 in the kiln sitter for a cone 6
>glaze firing. Please contact Thanks
>
>______________________________________________________________________________
>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.

Ann Gattuso on thu 8 feb 01


Does anyone know what pottery tissue is and where it can be purchased?
Thanking you in advance,
Ann

ababi on fri 16 feb 01


Dear friends!
Our local modems
are in rible situation, takes hours to get into sites, and very slow to open
the letters. Yet, I read them, these ones that I like, and delete the others.
This is the way it should be. No body's educator! ( Write this don't write that).

The last-week letters were very annoying: Instead of ceramics, they were dealing
each- in the others, faults:( wWite this, don't write that!)
Yet ClayArt is the best list!

I would like to tell some new ClayArter When you ask about a problem
with a glaze, give us the materials. Yes I know where from you took that 04
ash glaze, I might even tested it but instead of searching again, quick view
at the materials can help a lot.
There is a great thing about such a list, the answer to your question comes
from the inside of your computer not from any arrogant teacher in front of a
whole classroom: You like it thank the person dislike press: delete!
Ababi Sharon
(I am building now a new photo album I think you can enter there without any
secret passwords)
ababi@newmail.net
http://members4.clubphoto.com/ababi306910/
http://www.milkywayceramics.com/cgallery/asharon.htm
http://www.israelceramics.org/index.html


__________________________________________________
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Avis Figueroa on sun 18 feb 01


Hi: Does anybody knows where I can buy metal stands (like the ones for
candle holder, or flower pot holders) that withstands cone 04 firings.
Thank you, Avis
_________________________________________________________________________
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L. P. Skeen on sun 18 feb 01


> Hi: Does anybody knows where I can buy metal stands (like the ones for
> candle holder, or flower pot holders) that withstands cone 04 firings.
> Thank you, Avis

Avis,
Aftosa sells iron stands of the variety you are looking for. Whether they
will withstand firing, I can't say, but they are inexpensive enough that you
should be able to experiment w/ them and find out. Buy one and set it
inside a trashable plate to fire. :)

L

Betty Morgavan on mon 26 feb 01


Mel...

I sent the following post a week or two ago and did not know if it got
posted. I did not see it on clayart, but was not sure if I had just missed
it or it never made it to print. Should I resubmit it???????

Thank you
Betty Morgavan

**************************
I am looking for a glaze formula called Kahana Brown. A work-study
student, here at Central Michigan University, made the glaze several years
ago. Unfortunately the student took the formula with him when he left. We
would like to make the glaze again but do not have the formula to do so.
It is a hi-fire (cone 9-10) waxy matte glaze.

Thanks

Betty Morgavan
betty.m.morgavan@cmich.edu
************************

Miriam Steele on wed 7 mar 01


In re: cone melting & having everything totally over
fired.... Just had this problem...with a Duncan
Kiln.... & quizzed kiln mfgr. Jen-Kens in Lakeland
Fla. about this while purchasing a new kiln last wk.
Their best advice was .... do NOT box in the shelves
around the kiln=setter...which I had been doing....use
some half-shelves to give it some room.... I have not
applicated his advice as yet...but there you are...for
what it's worth.... Have been firing for 30 some
years...learn something new every day.!!!
In response to the person who says one can not make a
living with clay.... I am one that does... Having
retired from out-door Juried Art shows 4 yrs. ago
.....have more business than I can handle...with my
line of hand-built decorative, usefull
stoneware...which I wholesale only to shops in a great
many other states. It takes perserverance &
imagination to obtain the shops...but it can be
done!!!!!!

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Mark Duerr on wed 7 mar 01


Folks,

For what it's worth . . .I have subsribed to 6
different lists relative to a research project I'm doing.
One list that shall remain un named has ceased to communicate
at all. I hung on every word they said for over a year. One
day a big disagreement came up and the e-mails were flying. . .

. . .one day it all stopped. . .that was 2 months
ago. I sent an e-mail finally, thinking that my browser
was busted and finally got someone else to send an e-mail
to the list. . .it was like a grid lock . . .there hasn't been
a serious post on that list for 2 months. . .think about it. . .
it was put pretty simply by one of the members:

"it reminds me of the Farside cartoon where all these
dogs are in a computer room, one dog is leaning over to another
dog and the caption reads. . ."this internet is great!. . .they
don't even know we are just a bunch of dogs". . ."

I'm new to the clayart list. I think it's great that
we can dialogue within our clay world. Up until I subscribed
last week, I was resigned to just love clay and firing. My
favorite part about making pots is the spiritual aspect. Things
in my life are centered, tested and tried. I look at each
stage as a blessing. Pots can be made out of a substance that
also grows great hot peppers and tomatoes. That notion brings
joy to my teaching. Being inside the process brings fulfillment
to all of us. Nit picking is a distraction.

Each of my pieces are special for the flaws I enjoy.
Are we much different from our pots? I enjoy all the e-mails from this
list. . .it makes me feel connected to a huge family that I
lost when I had to quit clay 20 years ago. I discovered it again
with no connection to anything from outside myself and I enjoy
that. The list is like stumbling into your own home after a
very long trip... thanks.

regards,

mark duerr

Karen Lookenott on tue 27 mar 01


Subject: Hump Mold
I am attempting to make a hump mold using a glass bowl. I found that you
can not pour the plaster into the bowl directly because you will have to
break the bowl to get the mold out. Can anyone give me an easy way to make
a hump mold of this bowl and what materials I will need?

wallace myers on sun 1 apr 01


Folks:

would some kind, knowledgeable person give me their opinion on whether =
it would be advisable to use the following glaze on food surfaces, cone =
6 ox. no colorant.

30.0 flint
20.0 Custer feldspar
14.0 talc
31.5 gerst borate
5.0 EPK

Thanks
Wallace

John Hesselberth on sun 1 apr 01


Hello Wallace,

There is nothing in this glaze to be particularly concerned about; however
it will not be very stable. That means it may gradually dissolve away after
a few dishwashing cycles or if it sees heavy duty use in contact with things
like orange juice. The alumina level is too low at 0.172. Also a lot of
the answer to your question depends of which lot of gerstley borate you are
using. I used the 9/97 analysis to arrive at the above opinion. Overall
this is a glaze I would not use on any functional work, not because you are
likely to poison anyone, but rather because it is probably not durable.

I'd highly recommend you not develop a new glaze containing gerstley borate
since it is no longer available. Why not try something like Tony Hansen's
5 20s glaze? You can find it on the digitalfire.com web site.

Regards,

John

Web site: http://www.frogpondpottery.com Email: john@frogpondpottery.com

"The life so short, the craft so long to learn." Chaucer's translation of
Hippocrates, 5th cent. B.C.


> would some kind, knowledgeable person give me their opinion on whether it
> would be advisable to use the following glaze on food surfaces, cone 6 ox. no
> colorant.
>
> 30.0 flint
> 20.0 Custer feldspar
> 14.0 talc
> 31.5 gerst borate
> 5.0 EPK
>
> Thanks
> Wallace

john elder on wed 4 apr 01


Erika, I would check out Utah State at Logan with John Neeley. A great
aesthetic and wood firing
John Elder
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tom huber on wed 4 apr 01


Hi all, a friend of mine has this equipment for sale, She is in Massachusets

FOR SALE: Klopfenstein standing kickwheel, wedging board, 110-volt
low-fire test
kiln, 50# clay, glazes, lustres, tools. $200. Call Sara at 978-664-4184, or
e-mail:
jetlagnein@aol.com.

Tom Huber
Ogunquit River Pottery
Wells, Maine

nadia saad on thu 5 apr 01



Hi every body,


 


I was invited to make raku as a show by night, but in a place that doesn´t affort to much smoke.


Has it any possibility to reduce the smoke?


Thank you very much.



Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.



Burton Isenstein on wed 11 apr 01


I am looking for a slip casting recipe for white earthenware. We
already use a red earthenware casting body that we fire to bisque 04
and glaze 06.
I need a body that works in the same temperature range and is
compatable with commercial underglazes and glazes. I use Darvan as
defloc and would like to do the same. Is 50 OM4/50 talc adequate?
Would Darvan percentage be the same for my redart formula as white
earthenware? Please e mail response directly. Thanks a bunch!

aliakbar heidari on wed 18 apr 01


Dear sir
please send for me some information about the formulation of RESINATE LUSTRE ( OXIDATION LUSTRE FOR TILE) and methods of production it.I will want information about oxidation glaze(lustre glaze) that use metallic resinate(metal component-organic resin-...) and don't use reduction kiln.

I am student of chemical eng. in IRAN.

very thanks.



---------------------------------
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Kusum A Harchandrai on sun 22 apr 01


Hello!

I am looking for a ceramics apprenticeship in the Los Angeles (Santa
Monica/ Venice) area from June until September 2001.

I'm also interested in any teaching related positions for the summer.
Would anyone have any pointers?

Thanks!
Kusum

k.m.whipple@ATT.NET on sat 28 apr 01


Ilene,
I'm watching your posts about zinc with great interest
and sympathy! because I've had the same problem with
zinc oxide lumps, more than once. So far my only
solution has been to buy fresh supplies, in small
quantities, but that's wasteful and annoying. Grrrr!
Good luck, and thanks for sharing your difficulities,
I'm sure there are a few of us out here lurking and
learning.
Kathy
Moth Wings Pottery
Brooker, FL

ILENE MAHLER on sun 29 apr 01


I am going to try and fire the whole bisque to 012 tomorrow and will let
you all know if it works...Ilene on the way to wesleyan Potter to help
set up the Wedding show and redo the gallery...A great day in
Conn...Ilene

k.m.whipple@ATT.NET wrote:
>
> Ilene,
> I'm watching your posts about zinc with great interest
> and sympathy! because I've had the same problem with
> zinc oxide lumps, more than once. So far my only
> solution has been to buy fresh supplies, in small
> quantities, but that's wasteful and annoying. Grrrr!
> Good luck, and thanks for sharing your difficulities,
> I'm sure there are a few of us out here lurking and
> learning.
> Kathy
> Moth Wings Pottery
> Brooker, FL
>
> _______________________________________________________________________=
_______
> 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@pcl=
ink.com.

Miriam Steele on wed 23 may 01


I also had the problems of two kiln-loads of bloated
wares in the final firings.
Went to my supplier...St. Petersburg Clay here in
Fla.....taking along my bloated wares, & half a sack
of clay.....They instantly gave me another 400# of
clay, as at that time I was quite sure the prob was
with the clay.... & told me to throw away the clay I
had..... I didn't....further testing showed it was the
Duncan kiln that is obviously overheating....for a
Cone 6 firing.... Have relegated it to firing
bisque....as I do not have time to do further testing
on it at the present...

__________________________________________________
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william schran on thu 24 may 01


Miriam - You say the Duncan kiln was over heating. How did you know
that? Were you using witness cones to check? Try using witness cones
in your next firings and check the results.
Bill

Hank Murrow on thu 24 may 01


Miriam wrote;

>I also had the problems of two kiln-loads of bloated
>wares in the final firings.
>Went to my supplier...St. Petersburg Clay here in
>Fla.....taking along my bloated wares, & half a sack
>of clay.....They instantly gave me another 400# of
>clay, as at that time I was quite sure the prob was
>with the clay.... & told me to throw away the clay I
>had..... I didn't....further testing showed it was the
>Duncan kiln that is obviously overheating....for a
>Cone 6 firing.... Have relegated it to firing
>bisque....as I do not have time to do further testing
>on it at the present...


Dear Miriam;

If you slow down your bisque in order to completely burn out the
organics in your clay you will have much fewer problems with bloating.
Sometimes the bisque just goes up and down too fast to complete the burnout
of these organic materials and they later cause bloating in the glaze
firing.

Hope this helps, Hank

Isao & Don on sat 2 jun 01


iMPORTANT WORK AFTER 60?
About 85% of all the work accomplished on this poor sick
planet is housework. Surely, that is of great importance.
Are we speaking of work widely applauded? Work which, by
agreement is considered excellent? Gosh,I guess we are speaking of
ART.....whatever that kettle of fish is.......
IMHO: The human body has been unchanged for over
1,000,000 years. Our basic dietary demands consist of roots and berries,
topped-off with dead or slow-moving creatures. Important work? All work for
survival is of greatest important.
Why do simple potters,(Bricklayers,farmers), continue to
confuse themselves by discussing such idiocy as Art?
Perhaps feelings of lack of status in a society verging
on competitive insanity.
Back to your wheels,slabs and,clay. That should keep you
busy and out of mischief for a lifetime. Nearly every great concept was
percieved,(albeit dimly) by the age of 19yrs....all else is development
through a lifetime.
Don M.

Miriam Steele on sun 3 jun 01


In re: Brushes for arthritic hands...
Go to the nearest "Dollar Store"....Buy a pkg. of hair
rollers....with the pink foam
around them!!!!!!....Bring them home remove the
plastic piece to roll your hair on....& slide them on
your brushes!!!!!!
Dirt cheap!!!!!!
Mirijun@webtv.net

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Louis Katz on mon 4 jun 01


Dear Susan Fox-Hirschmann and Clayart,

There are no "big-deals" at NCECA that read
Clayart. For five years I read Clayart and
responded to questions. I no longer do. I do
not now have the time. I decided to cut back
on my volunteering for NCECA after five
years. I am now trying to concentrate on
making it possible for you to register
online. That is my main focus for NCECA this
year. Last year I suggested that a clayart
member run for an NCECA office. No one did.
I tried to get someone to be the liason
between NCECA and Clayart. No one bit. So be
it.

I would suggest that contacting the NCECA
Exhibitions Director regarding exhibitions,
the publications director regarding
publications, the president regarding
anything, might be more productive than just
voicing your concerns in a crowd hoping
something will change. All of these addresses
can be found at http://nceca.net, a site I
maintain for you in my spare time.

Michel Conroy, who works for you in her spare
time as exhibitions director, wrote the
letter below to another Clayart member.

I am not reading Clayart so please feel free
to write to me at Louis@nceca.net concerning
this matter or to Michel mc15@swt.edu .

Louis Katz

*************

Hi. After discussing several possible
exhibition themes for the 2002
NCECA Invitational Exhibition with me, my
co-curator, Raechelle Smith,
Director of the H&R Block Artspace at the
Kansas City Art Institute,
which will host the exhibition, chose "new
materiality" as the focus of
the show. I intentionally left the call for
submissions open to
interpretation in order to allow for a broad
range of responses.

It is not possible to make an object in clay
without the material being
at issue. It affects our expectations,
perceptions and
interpretations. Our discussion of this
theme began with an
understanding that the seminal change Voulkos
et. al brought to ceramic
art turned on materiality, exploiting clay's
expressive potential and
its plastic, responsive nature. We next
asked if ceramic artists are
now working from a somewhat different
paradigm (excuse the buzz word).
Is there a shift taking place in how artists
see the medium and how we
employ the ceramic process? This is an
on-going discussion and as
curators we are committed to seriously
considering all submissions.

I would like to extend an apology to all
NCECA members for the
submissions deadline snafu in the
Newsletter. When Sandy Early in the
home office realized that the May deadline I
originally set would not
allow artists time to get the Newsletter and
respond to the call for
entries, we moved the date back to June 15.
Sandy was pushing to get
the Newsletter out on time and caught the
change in the Newsletter
calendar, but missed it in the article. I
ask for people's
understanding that NCECA is an organization
run by volunteer artists and
2 overworked staff members. This is not an
excuse, we aspire to a
higher standard of service to the field than
this error evidences.

Please feel free to share this note with
Clayart readers.

-Michel


>
>
>
> Date: Fri, 1 Jun 244001 22:13:14 -0400
>
> From: Susan Fox-Hirschmann
>
>
> Subject: Re: NCECA bulletin/comment and
> question
>
> Mine arrived today....June 1st!
>
> Hope some big deals at NCECA are reading
> all these posts and listening. As a
>
> new memeber, I find their deadlines and
> incomprehensible descriptions of
>
> topis for the 2002 conference more
> philosophy than realism! Hey, how about
>
> something we can understand?
>
> Materiality? is that materialism? is it
> about money? What does it all
>
> mean. As a new member, this organization
> really confuses me.

Wendy Rosen on mon 25 jun 01


Dear Karen and all clayart friends,
Yes there still is a Craft Business Institute. It has just spun off
from The Rosen Group into an independent non-profit organization.
We hope to get some support from universities and foundations
to keep the program alive at several locations throughout the
US and Canada each year. Anyone willing to sponsor a CBI at
your school? (Let's see how many raise their hands here ;}
Wendy

Wendy Rosen
The Rosen Group

3000 Chestnut Ave #304
Baltimore, Maryland 21211
410.889-3093 410.243.7089 fax

**********************************************************************
***********
AmericanStyle Magazine Career Services
http://www.americanstyle.com http://www.americancraft.com
http://www.nichemag.com The Buyers Markets of American Craft
Niche Magazine and Awards Programs
Artist Mentor Program
Market Insider Newsletter (FREE)
Emerging Artist
Internships/Scholarships
Craft Business Institute

**********************************************************************
***********

Stephen Grimmer on mon 25 jun 01


Wendy,
We have a Crafts Area Seminar here at SIU-C that brings in lecturers on
professional practices that cross discipline/media lines. We have had a
photographer who specializes in craft work and a gallery owner in the past;
I think the interest would be there. Do you or the CBI travel to schools to
lecture or do workshops?

Best,
Steve

--
Stephen Grimmer
Southern Illinois University at Carbondale


> From: Wendy Rosen
> To: CLAYART@LSV.CERAMICS.ORG
>
> Dear Karen and all clayart friends,
> Yes there still is a Craft Business Institute. It has just spun off
> from The Rosen Group into an independent non-profit organization.
> We hope to get some support from universities and foundations
> to keep the program alive at several locations throughout the
> US and Canada each year. Anyone willing to sponsor a CBI at
> your school? (Let's see how many raise their hands here ;}
> Wendy
>
> Wendy Rosen
> The Rosen Group
>

Elca Branman on sun 1 jul 01


> Of course it matters WHO made the pot. It matters in a different way
from the quality of the pot itself.

All you have to do is take a walk throught the Uffizi gallery in Florence
(oh dear me, heresy!All those yards and yards of saintly paintings!) and
realize that WHO matters a whole lot more than HOW WONDERFUL, in the
world of collecting.

Collectors are different from other people, whether its pots
,matchbooks,or teddy bears that they collect.Its a different standard for
owning: rarity and the possibility of other people's coveting the item
all are as important as aesthetics.

There ARE collecters who simply love pots and they will buy your pot and
my pot , if they love them, more quickly than they will buy a name pot
they might not like as much.

Maybe we should call them something else... ummm.... patrons,lovers
,appreciaters,clayheads ,but they are different from "collectors".

Elca Branman, (real shy about her opinions)
> I also think it is ironic that Lee finds it necessary to mention
> that Hamada
> was a National Living Treasure, implying that the designation makes
> the work more valuable and the price more reasonable.
> This, after arguing all week that pots should be judged only by
> their
> merits.
> I guess WHO made a pot, and their official government status does
> matter.
>
> David Hendley
> Maydelle, Texas
> hendley@tyler.net
> http://www.farmpots.com
>
>
>
>

Elca Branman.. in Sarasota,Florida,USA
elcab1@juno.com

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KateMarlatt@COLLEGECLUB.COM on wed 25 jul 01


My name is Katie Marlatt and I have a question about kiln location. I am
working on restoring a basement and turning it into an art facility.
Space is limited however thus locations for the kiln are limited. We
would like to find a kiln that can be running while people work in the
area around the kiln. Is this possible?

Thanks for your help,

Katie


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The Clay Studio on tue 31 jul 01


>For the first time, The Studio will showcase two of its fine groups
>of artists at once! We are proud to present:
>
>The Clay Studio Student &
>Faculty Exhibitions
>July 27-August 18, 2001
>
>First Friday Opening Reception: August 3, 5-9pm
>
>Both Exhibitions are being held on the First Floor of The Clay Studio
>
>Harrison Gallery: Student Exhibition- The Clay Studio offers classes
>to over 150 students in each of four sessions per year. Some
>students have been with us for years and some are new faces...we
>invite you to see the wonderful work that they have created over the
>last year of sessions.
>
>Arcadia Gallery: Faculty Exhibition- View wonderful work from our
>Administrative Staff, Claymobile Teachers and TCS School Faculty.
>
>
>What's New?
>
>Yvette Cabrera-Vega will be presenting a slide lecture at a
>reception in her honor on August 8, 2001 at 6pm. Please join us in
>welcoming this wonderful artist from Puerto Rico!
>
>Border's Bookstore is hosting a group exhibition by the Associate
>Artists- it's only there until the end of August so don't miss it!
>
>The annual November Exhibition/
>Auction- Le Grand Buffet
>(Collector's Weekend (A Three Day Feast): Nov. 9-11; Benefit Auction
>Gala: Sunday Nov. 11) is shaping up to be another wonderful event!
>Save the dates so you won't miss work by Nancy Carman, Peter Callas,
>Bobby Silverman, Jill Bonovitz, Linda Arbuckle, Joe Bova and many
>more!
>
>**Note** The Clay Studio 1st Floor Gallery is closed on Sundays in
>August and the Second Floor Gallery is closed for the entire month.
>Both galleries are closed from August 18 to September 7, when we
>begin our new season with a solo exhibition by Shapiro Fellowship
>recipient Christyl Boger
>and a group show by our
>Resident Artists.
>--
>The Clay Studio
>139 N. Second St.
>Phila.,Pa 19106
>ph: 215-925-3453
>fax:215-925-7774
>info@theclaystudio.org
http://www.theclaystudio.org
--
The Clay Studio
139 N. Second St.
Phila.,Pa 19106
ph: 215-925-3453
fax:215-925-7774
info@theclaystudio.org
http://www.theclaystudio.org

Trezlie Bayliss on sat 11 aug 01


Hi everyone! This is in response to the posts on
raku. I fire my crackle white to 1850, let it cool
until I hear the cracking and then put the piece in an
old tin bread box filled with shredded newspaper. I
close the lid and then put the top of an oil drum on
top of that and seal the edges with sand keeping the
air out and that black smoke from escaping. 99% of my
pieces are a deep rich black, however I hear a lot of
folks use boot polish or majic marker as well. Hope
this helps.

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Craig Fulladosa on mon 13 aug 01


Any other potters on this list wanting to form a High Desert Potters' Guild?
Somewhere in the Mojave. We could meet and share water for throwing. Drink
cactus coolers from handmade goblets. Eat BBQ lizard and snake on Temmoku
platters. What do ya think?

MisUnruly on wed 15 aug 01


are the numbers in this recipe correct???
looks a little ouf of proportion to me, but I may be missing something...


>
>Antique Green
>
>Kaolin 270
>Flint 160
>Frit 3134 490
>Tin Oxide 80
>Copper Carb. 20
>Red Iron Ox. 20
>
>
>becky schroeder




Julia

>>(((=B0> >>(((=B0> >>(((=B0> >>(((=B0> >>(((=B0> >>(((=
=B0>
----------------------------------------------------------
sometimes on the way to a dream, we get lost, and find a better one.
----------------------------------------------------------
did you ever stop to think... and forget to start again?
----------------------------------------------------------

Seth Barendse on sun 26 aug 01


Art is not something you can be taught to make. Art is what comes from
within. Art is a transfer from an abstract thought or feeling brought to a
definition.
Seth

_________________________________________________________________
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keramik on fri 31 aug 01


Hello everybody at Clayart,

just saying hello, I am new to this list and have received the e-mails =
for just about a week now.
phew, what a lot of reading! very confusing initially.=20
I am in England and have been potting full time for about 2 years =
(electric kiln, cone 8), so still got a hell of a lot to learn. All the =
information greatfully received and soaked up, I must admit, as for =
instance tiles, gas kilns etc are outside my sphere,=20
but brilliant discussions on craft fairs.=20
slightly different situation here in England. Not tried the big craft =
fairs yet as there are a lot of money, but the small ones are atrocious, =
little hand knitted teddy bears etc., refuse to submit to "twee =
crappery", small cats or animals, not my thing really.

thanks everyone, I shall continue reading with interest.=20

Angela
Essex
UK

Richard Jeffery on fri 31 aug 01


Hi Angela
don't tell everyone about the twee crappery, or they will all want some...

Richard
Bournemouth UK
www.TheEleventhHour.co.uk


-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of keramik
Sent: 31 August 2001 12:28
To: CLAYART@LSV.CERAMICS.ORG
Subject:


Hello everybody at Clayart,

just saying hello, I am new to this list and have received the e-mails for
just about a week now.
phew, what a lot of reading! very confusing initially.
I am in England and have been potting full time for about 2 years (electric
kiln, cone 8), so still got a hell of a lot to learn. All the information
greatfully received and soaked up, I must admit, as for instance tiles, gas
kilns etc are outside my sphere,
but brilliant discussions on craft fairs.
slightly different situation here in England. Not tried the big craft fairs
yet as there are a lot of money, but the small ones are atrocious, little
hand knitted teddy bears etc., refuse to submit to "twee crappery", small
cats or animals, not my thing really.

thanks everyone, I shall continue reading with interest.

Angela
Essex
UK

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Lori Bernstein on tue 4 sep 01


I was in a local gift store (here in Port Townsend, Washington) and came
across some lovely ceramic light switch plates. I bought one, hoping that
I could figure out how to make them myself.

A dozen tries later, I'm still struggling with making a plate where the
screw holes and "switch opening" line up properly. I'm also puzzling over
how to recess the back so that the plate fits flush against the wall.

Any suggestions would be appreciated. Thanks!

Cindy Strnad on wed 12 sep 01


Hi, Folks.

I signed back on Clayart because I wanted to be with my friends during this
time. The sunrise this morning, the cool dew and the clear air almost belies
the knowledge that it was a very different USA I woke up to this morning
than that the sun greeted yesterday morning. It's hard to imagine depraved
men plotting such cowardly and evil actions on a morning like this one, or
like yesterday's. It should have been a dark, brooding day on which the sun
refused to rise. All creation should be in mourning today, and yet there's a
squirrel chattering and dropping pinecones on my roof, dew on the grass, and
our newest family member is prancing around wagging her tail, wanting to go
for a walk in the woods. Life is very strange.

I pray for all the people left behind, especially for the children. I pray
the men responsible for yesterday's wickedness will be quickly found and
quickly dealt with. Not for revenge. No human revenge could ever pay for
what was done. God can handle that part of it, I think. None of us is
equipped to dispense true justice. No, rather, they, and those who have
willingly provided them with asylum, must be destroyed in order to prevent
the continuance of their "jihad" against innocent people who never wished
them any harm. This falls far short of justice, but it's the best we can
hope to do.

My love and prayers to those of you intimately affected by yesterday's
atrocities.

Cindy Strnad
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
USA
cindy@earthen-vessels-pottery.com
http://www.earthen-vessels-pottery.com

Marty Morgan on thu 13 sep 01


"There's no such thing as peace! We should go in there and take "them'" out
!" This is what I heard from a young woman when I went to buy my daily
loaf of wonderful bread. John and Alexandra, the bakers, are in their
thirties, parents of a one year old boy. John's response to his angry
customer was to say: "We should do nothing". She said he'd feel differently
if someone killed his son. He replied that he still would not want that
person murdered, put away for life, but not executed. The angry woman left
to go spread more anger in the world, and John and I talked for awhile.
Then a man came in I haven't seen for 15 years, a retired psychiatrist who
used to come for sherry and talk therapy with me in my old pottery shop in
Manchester. Phil, the shrink, told the baker I was preaching love and
peace in the old days and here I was still at it. And I hope to stay at
it. The baker thinks universal love is too much to ask for and has
resulted in the failure of Christianity. He says tolerance is a more
realistic goal and he works with that in mind, putting tolerance in all his
bread and cookies.
I still want to go all the way, so I'm putting love in my pots, and in my
thoughts, and sending it to all of you.

I've been a lurker, but no more. I'm currently working on an Empty
Bowls Dinner to be held next week.Many potters, and their students, from
the north of Boston area have donated beautiful bowls; an artist
friend organised a group at the Senior Center to make bowls; and I invited
people to come to my studio for a bowlmaking party last month. About 45
people showed up over the two days, resulting in 75 bowls! - most of them
made by folks who had never worked with clay before. We had a great time
and I look forward to making this an annual event.
So in the midst of all the horrible news, I find myself in my studio
glazing the bowls everyone made, aware of the spirit of love and community
that went into their making.
Peace, everyone, and thanks to Mapikos for the poem.
Marty Morgan
Gloucester, MA

Jimena Alvarado on sat 22 sep 01


hi clayart

my name is jimena alvarado, 21, from costa rica, and i recently bought a
brent wheel, i'm trying to learn how to throw by myself. does anyone have
any good books on throwinng they'd reccommend?

thanks for everything, a new potter starting out

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j e motzkin on fri 5 oct 01


Your art supply store may have the wax I use... Dorland's
wax medium, used as a medium for oil paints. More
expensive though than the butcher's wax everyone else has
recommended, which works well.
You can also spray acrylic, matte or gloss. Do this
outside or in a spray booth.
Judy
www.motzkin.com


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CMG on mon 8 oct 01


I was wondering for anyone living in the Eureka/Arcata Ca. area if there =
were going to be any workshops I could get involved with while I'm there =
in February/March. I know about Inkpeople but there wasn't anything =
posted in their site for any. I would also like to be involved with any =
group pit firings. I'll miss my pit while I'm out there, will need a =
fix. If there is open studio time to rent I would love the use of a =
wheel too, let's just aim high while I'm asking. I plan on buying a =
second home out there and will bring my wheel and etc. when I move. Any =
information would be great.=20
Thanks
Cleo

Max Sheehan on tue 9 oct 01


How about, "Pschotic Potter," it has a decided
rhythmic, poetic ring to it :-)

As for Tony Blair, as an ex-pat Brit, living in the US
of A, I was proudly surprised. (The man is a rampant
Socialist, not your common or garden,
"Commie-Pinko-Liberal. These words are in miniscule
point size so I don't get into trouble for mentioning
politics.) He has gone up enormously in my
estimation.

Max


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Bill Rubar on mon 15 oct 01


Greetings Subscribers



I am the visiting artist at Cornell University and I have found CU to have a Ceramic Studio but not an accredited program for Ceramics. I believe the University is adequate and equipped to serve the academic community while supporting the community of ceramic potters. I think though an accredited program would better prepare the student majoring in Fine Artand Sculpture. Therefore, I am writing for any insight any of you may have to share on how I would submit a proposal for such a program. Can anyone share this information with me? I am hoping to submit this proposal for accrediting a ceramics program to several members of the School for Art and Architecture and the School for Arts and Science at Cornell . So, any information regarding how to submit a proposal on accrediting a Ceramics program is helpful.

Thanks

Bill



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CMG on thu 18 oct 01


I was reading through the archives and came across a post referring to =
Dave Roberts web site. I did a search and came up with nothing. Anyone =
know the whereabouts??

David Willhite on sun 21 oct 01


Hello fellow potters!

Let's Play 20 Questions! (about your glaze)

The glazes will be posted on:
http://www.geocities.com/davidwillhite/index.html
for everyone to have access to for free!

Please answer the following questions about your favorite clay and the glaze
you use on it the most:

1. What is the name of the glaze?

2. What is the recipe for the glaze?

3. Please list any colorants you use, and the amount to add...

4. Who originally formulated this recipe?

5. If you have testing information, (ie. glaze analysis, computer work-up,
etc.) please list:

6. What is the name of the clay you use this glaze on?

7. Has this glaze been tested for fit on this clay?

8. Where can others purchase this clay (or if home-mixed, what is the
recipie)?

9. Price per ton? Date of price?

10. Do you have the suppliers'phone number? Please list:

11. Do you have their web address? Please list:

12. What cone do you bisque to?

13. What cone do you glaze fire to?

14. What type of glaze is it? (ie. oxidation, reduction, raku, etc)

15. Please list any special glazing or firing notes or comments...

16. How do you apply the glaze?

17. Can you layer it?

18. Does it run, blister, bubble, pinhole or craze, etc?

19. What is your name and email address?

20. Has this glaze been Certified Non-toxic, if so, by who?
(This will be posted with the recipe, saving others the trouble!)

Please send copy of certification to:
David Willhite
570 Kingwood Ave.
Coos Bay, OR 97420


Please check the websight in a couple of days at:
http://www.geocities.com/davidwillhite/index.html
Thank you for your valuable contribution!!!


David Willhite

davidwillhite@hotmail.com

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Rachel Katz on thu 8 nov 01


Hi every one my
E Mail changed to rkatz@show.ca thank you Rachel

Susan Fox-Hirschmann on tue 13 nov 01


Just a reminder:

Potters out there, the most generous people on the earth, don't forget to
donate your cups, bowls and other work: 100% of the money raised will be
donated to breast
cancer research.

Please ship your work ASAP to:

Jan Omans
1565 Forest Ave
Winter Park
Florida 32789


(from susan fox hirschmann--a very interested friend)


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Jim Innes on thu 15 nov 01


Try Susie in the Trident Bar on Bourbon Street or if your tastes are of a
wider nature Old Sam in Heritage Hall. Another Potter

Auckland Studio Potters on thu 15 nov 01


I'm a potter from Auckland New Zealand (nice beaches here by the way, and no
arthritis, pinholing or knickers) heading to New Orleans in early April,
probably by train from the West Coast, wanting any useful contacts en route.
Hope to be in New Orleans for a few days about 10th April. My wife has a
conference there on "Identity Formation". Probably no need for nametags at
that one.
Thanks
Peter Lange
Auckland Studio Potters
PO Box 13 195, Onehunga
Ph: (09) 634 3622, Fax: (09) 634 3626

iandol on fri 23 nov 01


Snip form "Taylor's last rant"=20

<'Eutectics' to most ceramic graduate students is a Mexican rap band.>

Anyone out there willing to "Rap for a couple of minutes on Eutectics". =
Could be music to my ears!!

Ivor Lewis. Redhill, South Australia.

Judith I. Marvin on sun 9 dec 01


Snail - Thanks. Re the Albany slip. I'm firing cone 6 oxidation. Would
love to see your recipes. Meanwhile I'm making tiny test trials with my
treasure.

judithimarvin@hotmail.com

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Cindy Griffis on thu 13 dec 01


Cindi anderson wrote:
>>I have some of the beautifully made boxes that japanese pottery
came in, but I don't know what to do with them. They sit in a box,
hidden away in the storage room.<<


Why not use them for risers to display your work? Or stack them with
openings facing forward to use as an organizer on your desk? They
would also probably hold discs and CDs in a beautiful fashion too.
Can you tell I'm a "container and too geek?"




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Judith I. Marvin on fri 21 dec 01


Last summer my husband came home from an estate sale proudly bearing a tiny
little kiln. It is a Cress C-100 E. The previous owner made doll parts. It
has sat on my studio floor ever since serving no more purpose than to hold a
hot plate and pan of wax. I would like to use it for test tiles but don't
know how. There are no holes for peeping or pyrometer and no controls other
than a dial on the side numbered 1 - 100. It has a hinged door on the
front. Do I just crack it open and glimpse? Won't this take away any sort
of "control" over the tests. Any suggestions welcome. Judith Oh
yes, I tried calling Cress but they are closed for the holidays. TY jm

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Martin A. Arkowitz on sun 23 dec 01


this is a message for cindi anderson.

on dec 20 she wrote about putting some clayart pots on a poster and asked us
tto e-mail her offline, but she gave no e-mail address.

cindi-could you e-mail me you personal e-mail address.

tia.

eleanor arkowitz

<

PBORIAN on wed 2 jan 02


HELLO!
I HAVE BEEN LOOKING IN THE ARCHIVES FOR CONE 9-10 OXIDATION GLAZES AND I WAS
WONDERING IF ANYONE OUT THERE HAS ANY MORE RECIPES IN THIS RANGE THAT ARE
NOT ALREADY POSTED. I AM TEMPORARILY WITHOUT A GAS KILN AND NEED HELP!
ALSO, THERE IS A WEB SITE CALLED GLAZE EXCHANGE, BUT I COULD NOT FIGURE OUT
HOW TO ACCESS THE DATABASE WITH ALL THE RECIPES ON IT. SO IF ANYONE COULD
TELL ME HOW TO DO SO I WOULD APPRECIATE IT. THANKS!
PAUL BORIAN

Hank Murrow on wed 2 jan 02


>HELLO!
>I HAVE BEEN LOOKING IN THE ARCHIVES FOR CONE 9-10 OXIDATION GLAZES AND I WAS
>WONDERING IF ANYONE OUT THERE HAS ANY MORE RECIPES IN THIS RANGE THAT ARE
>NOT ALREADY POSTED. I AM TEMPORARILY WITHOUT A GAS KILN AND NEED HELP!
>ALSO, THERE IS A WEB SITE CALLED GLAZE EXCHANGE, BUT I COULD NOT FIGURE OUT
>HOW TO ACCESS THE DATABASE WITH ALL THE RECIPES ON IT. SO IF ANYONE COULD
>TELL ME HOW TO DO SO I WOULD APPRECIATE IT. THANKS!
>PAUL BORIAN


Paul;

There is a substantial difference between glazes fired to C/10 in
an electric kiln (neutral, really), and those fired in a combustion kiln in
oxidation. You might narrow your request to C/10 electric glazes.

Regards, Hank

howard lee on wed 16 jan 02





I am a newcomer to Clay Art, and would welcome any response to the following.....


I am an art teacher working at secondary level in a school  in Camden, London.


I teach Art at Key stage 3, 4, (G.C.S.E),and 5 (AS & A2), and try to do as much clay work as possible having previously trained as a potter.


Does anyone have any good schemes of work for working with kids and clay (or Art generally?).


 Also if anyone has any resouces to spare , images, postcards of their work, to inspire they would be most welcome.


Thanks


Howard Lee


Art Dept


Parliament Hill School


Highgate Road


London


NW5 1RL



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Richard Jeffery on wed 16 jan 02


Hi Howard

take a look in the Clayart archives - you should find a lot of suggestions
over the past few years.

I guess you'll get some more coming through here any time now...

not sure what level of assessed risk your school is happy with, but I've
been talking to a local school (Dorset, UK) about the potential synergy
across the curriculum in building a simple raku kiln and firing that. it
has an immediacy and sense of theatre that I would think kids would go for.
Lots of Key Skills materials too....

by the way, it might help to translate the Key Stage thingies into ages -
most of the contributors are in the States. we keep having to remind them
to translate stuff for us, so I guess we should do the same for them.

cheers

Richard

Richard Jeffery

Web Design and Photography www.theeleventhweb.co.uk
Bournemouth UK

-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of howard lee
Sent: 16 January 2002 17:38
To: CLAYART@LSV.CERAMICS.ORG
Subject:




I am a newcomer to Clay Art, and would welcome any response to the
following.....

I am an art teacher working at secondary level in a school in Camden,
London.

I teach Art at Key stage 3, 4, (G.C.S.E),and 5 (AS & A2), and try to do as
much clay work as possible having previously trained as a potter.

Does anyone have any good schemes of work for working with kids and clay (or
Art generally?).

Also if anyone has any resouces to spare , images, postcards of their work,
to inspire they would be most welcome.

Thanks

Howard Lee

Art Dept

Parliament Hill School

Highgate Road

London

NW5 1RL



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__ 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.

Brenda Shepard on sun 20 jan 02


Help! I am having a problem with the house clay at my university. I am in the process of making a series of teapots however, there is a problem with the house clay. The clay is stoneware that will break when I use the extruder pressing out the spouts and handles. As soon as I try to shape the extruded spout or handles the clay will crack or seprate in the joints or bends of the clay. The clay isn't too dry or hard. I have used new pug clay and that doesn't help. I have also waited till it matures and I still have the problem. Sense I don't have any input on how the clay is made I am kinda between a rock and hard place at the moment. The professor seems to think the clay is allright but I suspect that he doesn't want to say anything to the pugger becuase he is slighty tempermental about the clay and we don't want to tick him off and he will quit. Not many people want to be a pugger because it's a very hard and dirty job. So I guess my question is what can I do to the clay before I put it into the extruder that will help it from cracking apart? I have 3 teapots to finish putting together. I have decided to start buying Laguna clay in the future. However, how can I finish these teapo

ts in the same clay or maybe I can use another clay? If anybody can help me I would appreciate it greatly!

I don't know the recipe of the clay but, I do know we bisque it at 05 cone and fire the pots in a large updraft gas kiln at a cone 9 or 10. I quit using the clay for Raku because it will get stress cracks before it reaches 1600 degrees. Thanks for any help in Texas.


;)Brenda(:




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Paul Taylor on mon 21 jan 02


Dear Brenda

It sounds like your clay is either too hard or too short.

I am going to presume you know nothing because my problems do not get
solved until I approach them from this point of view . I know that's odd but
you can get the sense of it.

The clay could be too hard going into the extruder relative to its
plasticity . As a student your judgment of the hardness might be off so
don't take that for granted. Try wedging some very soft clay into the lump
and extrude a handle as soft as you can bend the handle and let it harden
enough not to damage the handle but still bend it a little then put it on
the pot. of course when you have your own clay it will be prepared properly
and you will not have any of this. By the way kneeding the clay does help
but make sure its not on a plaster bat as that dries it out which defeats
your objective.

The clay is too short:- This happens when clay has lost its fine
particles or they have gathered to gether when the reclaimed pots dried and
have not wetted down properly and been evenly distributed around the clay -
and sometimes its all just too old and overworked . There sounds like on the
short term there is nothing you can do about this. If you start wedging a
plastic clay into the pugged clay you may change the shrinkage too much and
the handles crack at the join but you could try a little say 25% of a ball
clay. You will have to wet that ball clay down to a slip or at least to the
consistency of whipped cream or you will not get all the particles of the
ball clay wet and it will just be as short as the clay you are using. You
will have to dry it out a bit before wedging and you will have to dry it out
evenly which could take a long time. Or a lot of bother. drying it on
plaster but making sure you keep turning it in on its self to keep it eaven.
then wedging it into your clay again with out spoiling the plasticity.

You do not say how your clay is prepared if you could get some of it
either from the bag if it comes wet or mix up some with water to the collage
recipe if dry again to whipped cream and dry it out you coiled mix a lot of
it then put it in an old pillow case and hang it up to dry out a bit and use
that clay for the handles.

Your collage may be doing all sorts of things with the clay it may be
blunging the clay with reclaim and then filter pressing the clay. This can
be very bad for plasticity if so get some clay before it goes in the filter
press and into the old pillow case to dry.

Is the extruder clean - any clay on the dies will roughen up the surface
of the clay and that encourages the clay to crack.

Is your clay well wedged. if you cut the clay from the pugmill can you
see a marbled spiral. if so wedge the clay and then kneed it again - but not
getting it dryer. none of this is easy.

When you have the dies clean and the clay comes out of the extruder
with out a smooth coat you know your clay is short but if you get a bit of
wet shamie leather or a very fine sponge and just smooth out the surface
before you bend then leave to set that may work.

Is it possible to pull the handles or have you some fancy cross sections
designed you can pull spouts round a stick. but wrapping a slab round a
stick and then giving it a pull come surface finish works as well. If you
have to wrap cling film round so you do not have difficulty getting the
spout off. do not let the spout dry too much or it will grip the stick and
crack

----------------

The real solution is prevention so this does not happen again. I have to
be careful here because there is still some hert feeling around the subject
of collage criticism . But I think your collage by making your life easy
with pugged clay is doing you a dis - service, or is the collage mixing the
clay from dry to it's own recipe and this has to be done by a trained
employee because you will loose all your fingers in the pug mill .
Unfortunately the collage is right and i have a scar down the little finger
of my right hand that proves it . Pugging clay in the factory tired and
arrogant.

But the baby has gone out with the bath water ; you did not post the clay
recipe for us to get a better understanding of your problem because you
either did not think it necessary or you do not know it.

You are going to have to fight a little for your education. Firstly the
tutors hate conflict so you do not have to Assert yourself too much to get a
lot of results from a tutor - persistent politeness will get help for most
problems. Come to think of it why are you asking us. Have your tutors
refused to help? do not know ? or are that unapproachable - better not
answer that question here.

Most tutors are like me , they hate work but want their students to
succeed. This contradiction is one we all live by - so you are going to have
to deal with it. The best way is to acquire an air of curiosity and
enthusiasm. If you tend to hide your enthusiasm under a vale of cynicism -
don't . If you are not enthustic there is something more wrong than I can
help you with.

Tutors love to teach we find the sound of our own voices soothing and and
we love students that hang on our every word . Yet at the same time we want
them independents and not bothering us -- usually both at the same time --
such is humanity.

So here are a few rules for getting on in the place you work in.

Do not take any thing for granted. Check the text books on any thing you
are taught.

When you know something and feel patronized by being told again, grip
your tounge and let the old bugger drone on, because he is a little insecure
and needs your help, so he can supply you eventually with the info you do
need. Regard not being a smart ass as an investment in your knowledge.
Remember that the teacher does not know what you know, but thinks he does
and he will feel moor confident with that illusion intact .

Innocent enthusiasm will go even further in grabbing the attention of your
tutors than a flirt in a skirt but the occasional drink in the pub helps.

And this is the key to the clay. The guy doing the pugging probably
thinks that the tutors are a right shower and are getting paid for nothing
while he does all the work. And to prove it to you he will tell you all
about the clay and the methods he uses to prepare it - Just to show you that
there is nothing to all this teaching lark. If you can help him all the
better. The chances are he will decline the offer so you get the brownie
points with out getting dirty and if he gets to like you he may give you
some of the better clay. So next time you see him a "cheery good morning"
will be a good softer and again remember to look impressed by what ever he
says and do not say any thing negative even if you think he is speaking a
load of drivel .


So get involved with all the processes especially the firings etc even
if there is a technician to do it for you, Because in the kiln there is a
spot where all the best pots get put. The firing is perfect in that spot and
thats where your pots should be, so if you are unpacking and packing kilns
your pots get put in that spot - and why not. The only thing that will blow
that is ! if you put a pot in the kiln with glaze on the bottom, so get some
experience unpacking kilns first so you can see the sort of glazes that drip
and can complain along with the tutors and the technicians about the "bloody
students" this will get you a reputation for diligence care and
reliability, so from then on it will not matter if you have an occasional
accident on the floor of the kiln - the glaze will be blamed not you.

Get To mix up some glazes: beware this is one of the most stressful
thing to do unless you have no imagination. With no imagination the
consequences of getting it wrong will not occur to you and you will not be
so easily distracted by wandering thoughts. If on the other hand you are
imaginative and your internal life is a blaze of thoughts and images, get
very organized and set yourself up so no mistakes can be made.

Always remove your pots to a safe place and put the best ones to
gether in a sort of display . This is like collecting. It will give you a
sense of your work being a whole and you will grow as opposed to being in a
no mans land -- ( no one can mix metaphor like me).

Write back if you want
--
Regards from Paul Taylor

There is no such fury as self interest posing as moral principle.

http://www.anu.ie/westportpottery





> From: Brenda Shepard
> Reply-To: Ceramic Arts Discussion List
> Date: Sun, 20 Jan 2002 14:15:28 -0800
> To: CLAYART@LSV.CERAMICS.ORG
>
> Help! I am having a problem with the house clay at my university. I am in the
> process of making a series of teapots however, there is a problem with the
> house clay. The clay is stoneware that will break when I use the extruder
> pressing out the spouts and handles. As soon as I try to shape the extruded
> spout or handles the clay will crack or seprate in the joints or bends of the
> clay. The clay isn't too dry or hard. I have used new pug clay and that
> doesn't help. I have also waited till it matures and I still have the problem.
> Sense I don't have any input on how the clay is made I am kinda between a rock
> and hard place at the moment. The professor seems to think the clay is
> allright but I suspect that he doesn't want to say anything to the pugger
> becuase he is slighty tempermental about the clay and we don't want to tick
> him off and he will quit. Not many people want to be a pugger because it's a
> very hard and dirty job. So I guess my question is what can I do to the clay
> before I put
> it into the extruder that will help it from cracking apart? I have 3 teapots
> to finish putting together. I have decided to start buying Laguna clay in the
> future. However, how can I finish these teapo
> ts in the same clay or maybe I can use another clay? If anybody can help me I
> would appreciate it greatly!
>
> I don't know the recipe of the clay but, I do know we bisque it at 05 cone and
> fire the pots in a large updraft gas kiln at a cone 9 or 10. I quit using the
> clay for Raku because it will get stress cracks before it reaches 1600
> degrees. Thanks for any help in Texas.
>
>
> ;)Brenda(:
>
>

Miriam Steele on wed 23 jan 02


For those of you with "tennis elbow" or such other
joint problems...may I suggest you check into
"Glucosamine Chondroitin".. a natural herbal
pill...readily available at any drug store...I use
Wal-Mart...best prices...
AND...for the person still looking for clock
parts...may I suggest, once again to him that he check
with his nearest Ceramic Supply House...the ones who
cater to low-fire ceramicists...They ALWAYS have clock
parts there...OR he may email me for the name &
address of the business I use, which deals ONLY in
battery operated clock parts of all descriptions.

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ADAM JARZEMBOWSKI on fri 25 jan 02


If you are just starting out I suggest that you use 2-3 lbs of clay. The
more clay you have makes it harder to center and control. Try to push the
clay as far as you can. This will help you learn the limitation of how much
clay you are using. When you start to feel comfortable throwing with 2-3
lbs you should start adding more clay to your projects.

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howard lee on thu 31 jan 02




Has anyone got any good ideas for successfully joining biscuit fired clay after a few kiln accidents with some kids work!!!



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Susan Parrish on thu 31 jan 02


The recipe that I posted a few days ago will usually work. here it is:
1/3 slip from your clay
1/3 vinegar
1/3 cairo syrup
not necessary to exactly measure thes things

AFter you mix it, let it sit a few days and get pasty, good luck. Susan =
Parrish
----- Original Message -----=20
From: howard lee=20
To: CLAYART@LSV.CERAMICS.ORG=20
Sent: Thursday, January 31, 2002 3:02 AM



Has anyone got any good ideas for successfully joining biscuit fired =
clay after a few kiln accidents with some kids work!!!




-------------------------------------------------------------------------=
-----
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=
_________________________________________________________________________=
_____ 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.

Earl Brunner on thu 31 jan 02


Focus on object thickness, anything over 1/2 an inch thick can be a
problem. If you are blowing things up, it is probably a problem at the
lower heating range, you have to get the water out before it turns to
steam. In thicker things that can be hard to do.

At the art center we have computer programmed kilns, I use this schedule
for bisque.
50 degrees an hour to 190 and hold it for 4 hours,
200 degrees an hour to 900 and hold for 15 minutes
500 degrees an hour to 1750 hold for 15 minutes

Even with a kiln that just has switches, with a little experimentation
you could get similar results. Keep the lid partly open at first
start with the bottom switches and work up.

Once you get safely past the "steam" range you can go faster.

With my gas kiln, I have to keep the door partly open at first, Just
the pilot lights will get it to hot to fast.


howard lee wrote:

>
>
>
> Has anyone got any good ideas for successfully joining biscuit fired
> clay after a few kiln accidents with some kids work!!!
>
>
> -----------------------------------------------------------------------
> Join the world=92s largest e-mail service with MSN Hotmail. Click Here
>
> _______________________________________________________________________=
______
> 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.

--
Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net

Mark Potter on thu 14 feb 02


I would add this: Get the canvas from an art supply store, or canvas awning
supplier, What you want is called COTTON DUCK, the heavier the better,
number 12 at least. Some of the ducks have a double weave, some even have a
triple weave. The more weaves the thicker the canvas. There is a number 14
and it is REAL HEAVY. A yard or two for a wedging table should not cost
much. Some of the ducks from awning companies are also supplied coated with
a vinyl or plastic on one side only. This could be your under-side,
eliminating any worries that clay dust will make its way through the canvas.

Mark Potter
mark.potter@visionage.net

John Stromnes on wed 20 feb 02


Clay folks:

I was reading with interest the recent thread on Cone 10 purple glazes that
discussed the virtues/lack of same of Emily's Purple, containing manganese.
I'd like to develp a purple at stoneware tmperatures. I have this recipe
from an old book, Conrad I think. I have never tried it, because I can't
find the last two ingredients at my suppliers. It contains no manganese.
Question: Are the last two ingredients cadmium and selinium commonly
avaliable as oxides? If so, from where? Would this glaze be food safe and
contain enough silica/alumina to be stable and stay on the pot? Has
anybody tried or had success with it? Most important: Is it actually purple
when fired to Cone 8-10?

Glaze Recipe:
Reduction Purple Mat Cone 8-10
Potash spar 37.1
Flint 27.8
Whiting 18.6
Kaolin 9.3
Zinc O2 3
Selenium 2.1
Cadmium 2.1
------------
100%
I am aware that cadmium, at least, is toxic in its raw state.Does that mean
one should use those costly 'inclusion' stains at the same percentage?
John in Polson

Jennifer F Boyer on wed 20 feb 02


Emily purple doesn't have any manganese in it.
Jennifer

John Stromnes wrote:
>
> Clay folks:
>
> I was reading with interest the recent thread on Cone 10 purple glazes that
> discussed the virtues/lack of same of Emily's Purple, containing manganese.
> I'd like to develp a purple at stoneware tmperatures. I have this recipe
> from an old book, Conrad I think. I have never tried it, because I can't
> find the last two ingredients at my suppliers. It contains no manganese.
> Question: Are the last two ingredients cadmium and selinium commonly
> avaliable as oxides? If so, from where? Would this glaze be food safe and
> contain enough silica/alumina to be stable and stay on the pot? Has
> anybody tried or had success with it? Most important: Is it actually purple
> when fired to Cone 8-10?
>
> Glaze Recipe:
> Reduction Purple Mat Cone 8-10
> Potash spar 37.1
> Flint 27.8
> Whiting 18.6
> Kaolin 9.3
> Zinc O2 3
> Selenium 2.1
> Cadmium 2.1
> ------------
> 100%
> I am aware that cadmium, at least, is toxic in its raw state.Does that mean
> one should use those costly 'inclusion' stains at the same percentage?
> John in Polson
>
> ______________________________________________________________________________
> 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.

--
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Jennifer Boyer mailto:jboyer@adelphia.net
Thistle Hill Pottery
95 Powder Horn Glen Rd
Montpelier, VT 05602 USA
802-223-8926
http://www.thistlehillpottery.com/

Never pass on an email warning without checking out this site
for web hoaxes and junk:
http://urbanlegends.about.com/
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

Morrill on sat 2 mar 02


I seem to sense a fear of status loss on the part of a few =
persons. That,somehow, dirty hands and the supposedly mundane tasks of =
being a potter, will take away from 'producing' Art, rather than =
,art.IMHO, ART, (If there is such an ideation) arises out of the labor, =
itself and into the perception and belief,. of the viewer. In Western =
civilization, I know of nothing considered as ART, divorced from =
day=3Dto-day, living. I have no way of knowing whether objects called =
ART, were traded or sold, except as utilitarian/religious, objects. And, =
religious objects were,(and are) very concrete, meaningful symbols, for =
catching the attention of the Gods: Of Fire,Water and soil.
Certainly, while no potter wishes to eschew the community =
production of claymakers, glazemakers or, machinemakers, as an =
experience of intimacy with the trade, one should have knowledge of the =
tools as a beginning. DonM.

Katheleen Nez on tue 5 mar 02


Hank said: <...and fire several different ways to
find out how it wants to be caressed by the flame...>

Hank, quit takin' like Isak Dienesen - Just Make
Pots...nezbah...by the way, lovely book (American
Shino: The Glaze of A 1000 Faces) my latest favorite acquisition...

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Morrill on fri 22 mar 02


The thrust of marketing may appear to be,to bolster sales.IMHO, The =
real intent is to encourage a low, but constant state of anxiety. This =
inevitably leads to degredation of 'taste', and understanding of =
process. The 'choice' between products is the choice between Tweedledee =
and Tweedledum, and no choice at all.
Perhaps the most one may expect is total revulsion and the =
lest, to sink quietly into a morass of maudlin stickiness.
Don M.

PBORIAN on fri 22 mar 02


Hello,
Does anyone know if there are any standard rules when determining how large
the inside dimensions of a chimney should be? In other words, how wide does
the inside have to be for a 90 cubic foot kiln with two forced air burners
fired with propane, and the burners have 19/64" orifices in them.
And for that matter, can anyone recommend the size of the burner ports
(which would come in the back) and the exit flue? Any feedback would be most
appreciated. Thanks!
Paul

L. P. Skeen on sun 24 mar 02


Follow the directions at the bottom of each and every post..............

L
----- Original Message -----
From: "Cheryl K Hanley"
Sent: Sunday, March 24, 2002 4:14 PM


> Can some tell me how to temporarily get off of Clay art.
> Thank you
> Cheryl
>
>
____________________________________________________________________________
__
> 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.
>

Cheryl K Hanley on sun 24 mar 02


Can some tell me how to temporarily get off of Clay art.
Thank you
Cheryl

Cheryl K Hanley on thu 4 apr 02


NO EMAIL

Ron Hensen on wed 10 apr 02


Somewhere I have heard of a high temp. industrial foil. Do any of you =
know if there is such a thing and if so where I can get it? Thank you =
for any information!

The Clay Studio on thu 2 may 02


The Clay Studio is proud to present:

Exhibition Dates

May 3 - 26, 2002 - Adelaide Paul: 30 Days

May 3 - June 23, 2002 - Looking Back:
Ten Years of the Evelyn Shapiro Foundation Fellowship

Gallery Hours: Tuesday - Sunday 12-6 pm

First Friday Opening Reception
Friday, May 3th from 5-9 pm
Gallery Talks begin at 5:30 pm

Pot Sale
Parking Lot - Great Bargains
Friday, May 3th from 5-9 pm

Adelaide Paul: 30 Days
Resident Artist Solo Exhibition
An installation of 432 Porcelain Urns and Photographs. Urns are for
sale at $100.00 each. Fifty percent of the artist's proceeds will be
donated to the Pennsylvania SPCA.

Looking Back:
Ten Years of the Evelyn Shapiro Foundation Fellowship
Barbara Botting, Kathy Butterly, Christyl Boger, Linda Cordell,
Mitchell Messina, Byung Joo Suh, Hirotsuni Tashima, Kukuli Velarde,
Steve Welch and Matt Wilt

Featured Shop Artist: Alec Karros

---------------------------------------------------------

Of Interest:
- -
There is still time to register for the Baltimore Bus Trip and the
Woodfire Workshop!

Bus Trip to Baltimore Clayworks and Private Collections
Sunday, May 19th, 9am - 7pm
$90 Member, $100 Non-member
Includes brunch, lunch and refreshment

If you have never gone, don't miss this opportunity!

Visit our sister organization in Baltimore! We will be treated to a
tour of the studios of Baltimore Clayworks by Director Debbie Bedwell
and a curator's talk on the special exhibition "Bonsai InSites:
Collaboration Between Tree and Container" by Maryland Institute
College of Art Ceramics Chair, Ron Lang. Among the 16 exhibiting
artists are Paul Dressing (IL), Richard Notkin (MT), Chris Staley
(PA), Yih-Wen Kuo (IL), Ken Vavrek (PA), Paula Winokur (PA) and
Robert Winokur (PA). The exhibition will consist of contemporary
bonsai in unique containers and sculptural settings, alongside the
artists' customary work.

Next we visit three marvelous private collections. Details will be
forthcoming.
- -
There is still room in the Woodfire Workshop May 11, 18, & 22. Please
contact Kathryn Narrow [215-925-3453 x11] if you are interested in
participating.
- -
Please check our website, as many new pages have been added.
http://www.theclaystudio.org
--
The Clay Studio
139 N. Second St.
Phila.,Pa 19106
ph: 215-925-3453
fax:215-925-7774
info@theclaystudio.org
http://www.theclaystudio.org

jodie atherton on wed 15 may 02


hi everyone!

if you haven't been by gem city clayworks to view maire gibbons artwork,
you're missing out! it's incredible~

the following is a description of her upcoming workshop....

Alternative Finishes on Clay:
A workshop by Marie Gibbons
June 1, 2002 ~ Noon to 6pm
Cost is $45 per person
Workshop will be held at Gem City Clayworks
119 Grand Avenue ~ Laramie, WY. 82070 ~ 307.721.6233


Class description:
The workshop will begin with a slide presentation and discussion of Marie
Gibbons' work, inspirations, and cold finish techniques; as well as other
artist examples works finished with alternative means. We will discuss the
benefits, both aesthetic and practical, of using cold finishing techniques
on non-functional clay work.
This one-day workshop will include demonstration and hands on instruction
cold finishing techniques. Finishing mediums will include (but are not
limited to) acrylic paints, wax pigments, color pencils, ink and acrylic
washes, and experimentation with other mediums.

Supply list:
Students should bring to this workshop:
~ 3 to 5 small to medium pieces of textured BISQUED work not intended for
functional use.
~ Rags (for applying and wiping off ink and acrylic washes)
~ A variety of cold finishing mediums will be provided for $5 materials fee
per student.

Hints for successful cold finished pieces:
Texture is a great thing with cold finishes... from carved and incised,
stamped, to rough cracked clay surfaces. Hand-built sculpture, wheel
thrown, tiles, anything goes. The dry brush technique Marie is
demonstrating allows the clay to retain its surface adornments and
imperfections. You might want to bring some pieces that are purely for
practice, finishing off with a piece or two that you would like to complete
using this process.

For more information on Marie Gibbons and her artwork:
www.oooladies.com


if you have any questions, please feel free to email me, or
call gem city clayworks at 721.6233. call to reserve a space for the
workshop. it's on a first come first serve basis.

see you soon!
jodie atherton
whitewater ceramics
please visit my website
www.whitewaterceramics.com

Gary Hess on thu 16 may 02


hello,
i am a ceramic artist looking for studio / work /
teaching opportunities in the field. i have a bfa
from alfred university and a mfa from penn state with
some experience teaching college courses at middlesex
county college, nj, marywood college, pa, and corning
community college in ny. after that i moved to ca and
became a plant manager for heath ceramics inc..
currently i am in vermont managing a ceramics studio,
and i have a personal studio here also. i am looking
for something more profitable financially at this
point, or a better opportunity in my career as a
teacher and artist. i look forward to hearing from
you.
sincerely,
gary hess

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Gail Vandy Bogurt on fri 17 may 02


LOOKING FOR INFO ON RE USE AND RECYCLING:

I'm looking for information on anything related to re use and recycling...
waste oil firing, sawdust firing....burning waste cardboard, paper,or wood
in a kiln fired with another primary fuel. Using ground glass in clays or
tile making..oddball ingredients in glazes like cement etc.

This is my first experience w/ clayart listserv...very helpfuland
interesting responses....overwhelming amount of mail though!


GVB

Tom Buck on mon 27 may 02


Francoise:
Like Bacia, I visited your website
(indalopottery.tripod.com/fenix.html)
and was in despair for you as I read through your trials with this
excuse for a kiln, etc. In No America we take our kiln designers for
granted; and hence we would be appalled by the treatment you have
received in Spain.
From the disastrous firing when you finally reached 1000+ oC
according to the controller, I have to conclude this kiln is barely worth
salvaging, other than use as a bisquing or raku kiln. My immediate
reaction is write it off and start from scratch and build a new oil-fired
kiln.
At this distance my main suggestion is to contact Steve Mills of
Bath Pottery Supplies (or hope he contacts you). I would expect Steve to
be aware of your situation in Spain, and would therefore be in the best
position to provide sensible advice.
til later. Peace. Tom B.

Tom Buck ) -- primary address. "alias"
or secondary address.
tel: 905-389-2339 (westend Lake Ontario, province of Ontario, Canada).
mailing address: 373 East 43rd Street, Hamilton ON L8T 3E1 Canada

Ron Hensen on thu 30 may 02


How do I get rid of chattering when I am trimming and how can I get it =
when I want it?

myersw on mon 17 jun 02


Hi Folks:

I saw a fire engine red cone 6 ox. glaze the other day and the potter =
told me it was a stain but he would not tell me where he got it . Does =
anyone out there know where I can buy it?

Thanks
Wallace

L. P. Skeen on mon 17 jun 02


It's prolly one of those Cerdec encapsulated cadmium stains they came out
with a few years ago. I bought a test package but have yet to use it.

L
----- Original Message -----
From: "myersw"
To:
Sent: Monday, June 17, 2002 3:52 PM


Hi Folks:

I saw a fire engine red cone 6 ox. glaze the other day and the potter told
me it was a stain but he would not tell me where he got it . Does anyone
out there know where I can buy it?

Thanks
Wallace

____________________________________________________________________________
__
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.

barry r. geise on wed 26 jun 02


NO MAIL

David England on thu 11 jul 02


Hi - I'm relatively new to this community, but have enjoyed following
the discussions as well as benefiting from the advise and information
made available. I'm a new "learning" potter, been throwing about 2 years
or so, and am learning the ropes. As I read the posts, I found myself
desiring to make some sort of contribution to this community, partly
because of all the great info and advice I've already gleaned. But my
pottery knowledge and resulting contributions are minimal. However, as
I've read some of the posts, it occurs to me that I do have a skill that
may be of some use to you potters. I do computer graphics for my job,
and can scan and digitally reproduce photos. I could scan photos, and
either email them or return them to the owner on a CD-ROM playable on
any PC computer. I can also produce interactive CD-ROM with images of
your work. Great - but how much will this cost" you say. Knowing how
important cash flow is in a small business (my wife and I run one
ourselves), not many folks may want to tie up money in this. But, what
does any potter have? Pots! So - I would be willing to scan, or create
CD-Roms for any Clayarter, send an invoice with a dollar amount, and
accept payment in pieces of your pottery instead of money (I don't want
your money - just pots). You determine what the service is worth to you,
and pay in pottery accordingly( obviously this is not a money making
venture). You get a service you'd otherwise have to pay for (assuming
you need such service) and I get great examples of you work to learn
from and appreciate. Of course, this may not appeal to anyone or may
strike some as hare-brained, but nothing ventured, nothing gained, as
they say. If you're interested, you can reach me off list at
dengland@eastbayou.org. Well, thanks for your indulgence. Hope to hear
from some of you.

David England

Rikki Gill on thu 25 jul 02


Hi Steve, I am replying to the list, because others may also wonder what is
involved.
The wheels come boxed,and you need to attach the top to the frame, put the
plastic tubing around the wheel drive, motor thingy, place the plastic
housing [2 pc.] around the wheel drive, [ I'm not sure I have the
terminology right] , attach this and that. A more knowledgeable person,
with the perfect tools for the job, might have done it more easily. And
faster. You would certainly get your time down by the second one. But for
someone not skilled in such things, it wasn't too bad. I had help from a
friend who is good at putting things together, but is not a potter. Hope
this helps.
----- Original Message -----
From:
To:
Sent: Thursday, July 25, 2002 5:43 AM


> Hi Riki,
>
> Can you tell me just a little bit more about the setup on the Bailey
wheel. I'm considering setting up a studio with as many as six wheels, but
three hours to set it up seems like a lot. What all did you have to do?
>
> Thanks,
>
> Steve Burtt
> Ocean Springs, Mississippi
>
>

Chris Jones on mon 5 aug 02


Hello,

We have a venco 3.5 inch de-airing pugmill that just doesnt seem to put out clay very fast. I do know it is getting proper power and is only 2 1/2 years old. We bought it used from a local school. When we got it it seemed in great condition aside from the hopper handle being bent severly down. My uneducated assumption is that stiff clay may have been forced into it and that bent the screw. I used a 4 inch model at another pottery and it really pushed out the clay.

Any advice would be greatly appreciated.

Thank you,
Chris Jones

www.jonespottery.net

Earl Brunner on mon 5 aug 02


Can you take it apart? I'm not familiar with the insides of a Venco, but some I know have screens inside. If that is the case, it may require cleaning.

Chris Jones wrote:

> Hello,
>
> We have a venco 3.5 inch de-airing pugmill that just doesnt seem to put out clay very fast. I do know it is getting proper power and is only 2 1/2 years old. We bought it used from a local school. When we got it it seemed in great condition aside from the hopper handle being bent severly down. My uneducated assumption is that stiff clay may have been forced into it and that bent the screw. I used a 4 inch model at another pottery and it really pushed out the clay.
>
> Any advice would be greatly appreciated.
>
> Thank you,
> Chris Jones
>
> www.jonespottery.net
>
> ______________________________________________________________________________
> 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.

--
Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net

Peter Pugger Mfg on thu 8 aug 02


Hello

We have two Peter Pugger pugger-mixers for sale - a PM-50 and a PM-100.

These are two largest pugger-mixers that do not have the de-airing =
option. Complete with two year factory warranty. The PM-100 has never =
been used but has some cosmetic shipping damage. The PM-50 was used for =
about two months.=20

The PM-50 is $3,500 and the PM-100 is $4,350. Retail is $4,120 on PM-50 =
and $4.980 on the PM-100.=20

Please contact Charlotte or myself for information. This is our first =
posting to the Clay Art list - I hope I have done it correctly - if not =
please excuse the intrusion. I'm sure we will receive advice to fine =
tune this posting.

Best regards,

Andrew Warren
Peter Pugger Manufacturing
andrew@peterpugger.com
707.463.1333 phone/fax

Den on sun 11 aug 02


I wish to participate in the Clayart discussions but am unable to access =
the website. Has it changed, or am I not following the correct =
proceedure.
Thanks for your help.

Denny McLaughlin

gordon jones on sun 11 aug 02


den,gordon from earthbound arts
i was able to get started by going through the www.potters.org site and it
led me in without a problem.


>From: Den
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Date: Sun, 11 Aug 2002 12:49:56 -0500
>
>I wish to participate in the Clayart discussions but am unable to access
>the website. Has it changed, or am I not following the correct proceedure.
>Thanks for your help.
>
>Denny McLaughlin
>
>______________________________________________________________________________
>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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barbara arner on mon 12 aug 02


Hello to all -
I am a young potter/artist (25) and I was wondering if there was any specific direction people take with their pottery? Is it best to do commissions, galleries, craft shows, teach, apprentice, have your own studio, go to school, learn on your own? Is there an ideal situation? Any advice would be of value. Thanks so much. As I'm sure you are all more experienced than I.
I must say, the last time I wrote to this group was about a year ago when I was first firing my kiln and asking for help. Since then I have had many successful firings and it was so beneficial to receive your input. Thanks.
-Barbara

Linda R. Hughes on wed 4 sep 02


Hi all,
Sorry about the link not working, it has been on my "favorite" list for =
a while. The site belongs to Frank Gaydos, he has added the frit chart. =
I tried this one and it worked for me: =
http://home.earthlink.net/%7Efgaydos/index.html.=20
Once you access this one you will be able to access the Frit Chart. =
Sorry. Linda
Linda R. Hughes
mamahug@attbi.com

Evan Clifford on wed 18 sep 02


Can a claybody be mixed like a glaze or must a pugmill be used...
Thanks in advance.

-Evan

Tony Ferguson on wed 18 sep 02


Evan,

Yes. You can mix clay to a slippy state and then spread it out on a variety
of surfaces to setup and then wedge. Mix as thick a slip as your hand mixer
will allow. Start wet and add your mix.


Tony

Thank you.

Tony Ferguson
Stoneware, Porcelain, Raku
www.aquariusartgallery.com
218-727-6339
315 N. Lake Ave
Apt 312
Duluth, MN 55806


----- Original Message -----
From: "Evan Clifford"
To:
Sent: Wednesday, September 18, 2002 2:29 PM


> Can a claybody be mixed like a glaze or must a pugmill be used...
> Thanks in advance.
>
> -Evan
>
>
____________________________________________________________________________
__
> 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.
>
>

Andi Bauer on mon 23 sep 02


Since when is the human body pornography??
Andi in San Diego

> Art is
>no excuse for pornography.
>Marilynn






Andi Bauer
619-543-3758

email: mailto:acody@ucsd.edu

William Lucius on fri 27 sep 02


Archaeologists use the term conoidal to describe such vessels (common in the
prehistoric Plains Woodland Tradition of Eastern Colorado). Still a bit
stilted for my tastes, so why not conoids?



William A. Lucius, Board President
Institute for Archaeological Ceramic Research
845 Hartford Drive
Boulder, CO 80305
iacr@msn.com


_________________________________________________________________
Join the world’s largest e-mail service with MSN Hotmail.
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Lily Krakowski on tue 8 oct 02


Artists statements are just that. STATEMENTS.
What matters to me, Vince, is not their why and wherefore, but the whole bit
about LANGUAGE, which already has come up several times in the brief time
(two months?) I have been back on CLAYART.

Plenty of potters are, as I think Janet said, dyslexic. From what I know of
the world, some may be on heavy medications for depression, schizophrenia,
and other problems. Others may have damaged language skills from CP
neurological disorders, and deafness.

What clay offers is a world of silent communication. A world in which
those who, for whatever reason, have less language than most are treated as
equals. I have a niece who is deaf, and I have been a refugee and seen
brilliant brilliant educated people silenced by their inability to
communicate in the local lingo. ( I add here that the beauty of religious
services in Hebrew, or in Latin is/was that no one was really deprived of
understanding the service by being a stranger in a strange land.)

For all I care, any verbaly skilled, language blessed person can write a
whole Megilah about her work. How she was influenced by a little puppy, how
he spent three years in a Buddhist monastery, how she never understood clay
till she got a PhD in geology, how he wants to capture the mystery of
cobwebs....

What matters to me, enormously, is that a potter who has clay as her main
language is barred or handicapped when there is a show or similar where a
statement is asked for. THIS IS WHAT BUGS THE BOOTS OFF ME!!!!!

It does not matter to me, that one can read the statement after seeing the
pots, before seeing it, or when taking a break in the middle of examining a
show. What I am so deeply concerned about is that someone might be deprived
of an opportunity glib, verbal people like me have.

I value, I cherish the silence of clay. I value, I cherish that we talk to
each other and the world in the same language whether we "speak" 2500 year
old Peruvian --was it already Ke'chua?-- or 3000 year old Chinese, or
medieval Portuguese, or modern Japanese or English or Flemish. And I do not
like when assaults --and I see them as such-- are made on that muddy
language by demands for words.

I know there is something oxy-moronic in my request, but I would appreciate
it, and I think we all would benefit, if some of you who know what I am
talking about, some of you silent, shy lurkers, would communicate with
Clayart and tell us YOUR view.

Or, at the risk of seeming arrogant, write me, and I will tally the answers,
not comment, nor discuss,nor reveal, and just pass the count on to Clayart.

And. Speaking of communication. When I returned to Clayart I was enrolled
as Lily. Which makes no never mind. But my name really is as I sign it.
Not a diminutive, just


Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389

Be of good courage....

Tom's E-mail on wed 9 oct 02


Ralph,
When you and others criticize any supplier(s), I believe that supplier has a
right to respond. There have been many suppliers that have responded in kind
to criticism posted on this list. I remember a long response from L & L
kilns about a year ago. Frankly I was so impressed, I looked long and hard
at their company and subsequently purchased a kiln from them. By the way it
is a wonderful kiln and the people hard to beat.
Tom Sawyer
tsawyer@cfl.rr.com

Ralph Williams on wed 9 oct 02


QUOTE FROM: Gayle Bair: So laguna... I know you are out there. You told me
the last time I called you were concerned with people complaing on-line...
First, If some of you dont mind, I'd like to use a few quotes from the
clayart archives to illustrate my point. I apologize for any misquotes and I
do promise that I indeed have a point. BTW, Thanks to all of the fine folks
that archive us. Great job!!
Secondly, I would like to thank Mel for not silencing me. I think that this
venue is great for us to vent and discuss, and he does a fine job making
sure we have an outlet.
Many people think I am a mean ogre out to "get" Howard. I am not, but
Vince is right, I do have respect issues with him.
QUOTE FROM:Axner co.:"While we are sensitive to the non-commercial nature of
clayart, we have some important info to share"
Hey, I find it difficult to respect someone who cant post without some
kind of self advertising attached. If you like it, I suggest a catalog or
maybe a clay mag. There are plenty of good ones. Many will let you know when
a new product comes out. This is the proper venue for this kind of thing.
While you are at it, you might want to check out his catalog. He cant wait
to tell the world how he has copied this and that from other suppliers. I
have other reasons, but none of them are personal. I think he's a nice guy.
I guess I thought you had to be a little more than that to be respected as a
supplier. I think it's OK to be ignorant, but not as a supplier, and never
when safety is an issue.
QUOTE FROM:








_________________________________________________________________
Chat with friends online, try MSN Messenger: http://messenger.msn.com

Ralph Williams on wed 9 oct 02


QUOTE FROM: Gayle Bair: So laguna... I know you are out there. You told me
the last time I called you were concerned with people complaing on-line...
First, If some of you dont mind, I'd like to use a few quotes from the
clayart archives to illustrate my point. I apologize for any misquotes and I
do promise that I indeed have a point. BTW, Thanks to all of the fine folks
that archive us. Great job!!
Secondly, I would like to thank Mel for not silencing me. I think that this
venue is great for us to vent and discuss, and he does a fine job making
sure we have an outlet.
Many people think I am a mean ogre out to "get" Howard. I am not, but
Vince is right, I do have respect issues with him.
QUOTE FROM:Axner co.:"While we are sensitive to the non-commercial nature of
clayart, we have some important info to share"
Hey, I find it difficult to respect someone who cant post without some
kind of self advertising attached. If you like it, I suggest a catalog or
maybe a clay mag. There are plenty of good ones. Many will let you know when
a new product comes out. This is the proper venue for this kind of thing.
While you are at it, you might want to check out his catalog. He cant wait
to tell the world how he has copied this and that from other suppliers. I
have other reasons, but none of them are personal. I think he's a nice guy.
I guess I thought you had to be a little more than that to be respected as a
supplier. I think it's OK to be ignorant, but not as a supplier, and never
when safety is an issue.
QUOTE FROM:








_________________________________________________________________
Join the world’s largest e-mail service with MSN Hotmail.
http://www.hotmail.com

Ralph Williams on wed 9 oct 02


Sorry for the two unfinished e-mails, please disregard.
Ralph






_________________________________________________________________
MSN Photos is the easiest way to share and print your photos:
http://photos.msn.com/support/worldwide.aspx

Marni Turkel on sat 12 oct 02


Jennifer F Boyer asked about glaze tongs:

I have a URL for glaze tongs that I copied from Clayart awhile back.
It is http://www.ceraco.com/dippingtong.htm. I haven't tried them.

A few months ago I did have some tongs made for me. The ones now
available at the ceramic supply store just aren't the right shape for
most of what I glaze. So I made some drawings of what I wanted and
took it to a metal worker who has been helpful in the past. I now
have 3 pairs of stainless steel tongs, each with different distances
between the pins and where the angle is. They are not mirror images
from one side to the other so are more versatile in fitting shapes.
He charged me $60 for 3 pairs. I still have to put something on the
handles to make them more comfortable, and one set of them needs to
be bent so the handles are not so far apart when being gripped. There
is a lot of customizing that can be done to make tongs work better
and be more comfortable for you.

Marni

--

Marni Turkel
Stony Point Ceramic Design
2080 Llano Rd 1B
Santa Rosa, CA 95407

Phone: 707-579-5567
Fax: 707-579-1116
http://www.marniturkel.com

Tom and Jean Latka www.ceramicsite.com on mon 4 nov 02


I need help about a problem I am having with wax resist. I =
traditionally use Aftosa's brand and the majority of the time when I run =
the oxide over the dried wax resist, small beads of oxide stick to the =
wax. Other times, the oxide flows flawlessly, leaving no residue on the =
wax. I have studied the variables: drying time and thickness of the wax =
application and cannot find a consistent reason why sometimes the wax =
works and other times it does not. Aftosa was clueless when I asked for =
any help. Do anyone have any ideas about this? =20
Cheers,

When responding please include our names Tom or Jean in SUBJECT LINE




Tom Latka
229 Midway
Pueblo, Co. 81004
719-543-0720
tlatka2002@yahoo.com
http://www.ceramicsite.com

Diane Mead on fri 8 nov 02


I have the KILN BOOK --Olsen
and a ton of information on pit firing from
various sources. Anyone want to
post on any new wonderful
"primitive" fire ideas for us?
Thanks.
Diane Mead

Dupre Mr Marcy M on tue 26 nov 02


====================//snip//====================
Hey people,
How much electricity does it take/cost to run a ball mill 20 hrs? I
thought this was supposed to be free! Mike Gordon
====================//snip//====================

Mike,

Nothing--absolutely NOTHING in this life is "free!" There are things and
experiences that do not cost very much, as well as things and experiences
that are exorbitantly expensive.

"A man who carries a cat by the tail gets a lesson he can learn in no other
fashion." --Mark Twain

The bottles of brilliant blue glass that come pre-formed into someone else's
idea of beauty and function are not the right size, shape, and configuration
for your purposes. Therefore, you are faced with several prospects: 1)
forget about it, 2) put the bottles in a hole in the ocean and wait for them
to erode into a powder your great-grandchildren can use, 3) you invite all
your friends over for a "powder-pounding party," that will cost you several
pizzas and a case of beer, 4) fashion an industrial-strength mortar and
pestle yourself, and lose about 24 pounds while you work the glass into a
fine powder, 5) take the bottles to where a new pavement is being rolled and
slip them under the steam roller, or 6) beat the bottles into small shards,
put the shards into a ball mill, and run the mill for a while.

It is all a question of how much time, energy, and effort you wish to expend
for something purported to be "free."

If ever you have sat on a sun-baked porch in summer and hand-cranked ice
cream, you'll know the value of your labor and how sweet the fruits thereof.

Here endeth the philosophy lesson. Enjoy your bottles. (And please tell me
where I can get some! :o))

Tig

Kat Valenzuela on tue 26 nov 02


You wrote:

From: ranmcc
Subject: Replacing strontium with whiting
Can you successfully replace strontium in a glaze with whiting?
Randy
South Carolina

Randy:

Strontium and Whiting are completely different chemically specking.
Strontium is of course 70.20 SrO (stontium) and 29.80 Co2 (Carbonate) (some
have replaced strontium with Barium)
Whiting however is 56.10 CaO (calcium) and 43.0 LOI. (lost on ignition)

They are not similar at all.
Kat

clive tucker on wed 27 nov 02


Clive Tucker has a new email address so delete the old one out of your =
address book. Clive205@telus.net is the new one.(zoolink was the old =
one).
website is still http://www.clivetuckerpottery.com=20
happy Solstice.
Clive

rakufool on thu 28 nov 02


So Vince, or whoever:
I throw tall, (24 inch) narrow footed, classicly shaped vessels out
of two seperatly thrown pieces. (about 11 lbs. per section) I then
join them with slip, pull up, throw, and finish the rim, then dry
slowly, then raku fire them. I do it this way because my throwing
skills are not as yet such that I can throw these in one swell foop
(hehe).

When I first began this practice , most of them broke at the joint
due to thermal shock and poor craftmanship. As my skill improved,
there was less breakage. When I began adding sodium silicate to the
slip, there was even less. Now it works "most" of the time. Say
75%. Not good enough, and I know of potters who pull this off
regularly.

My question is, would sodium silicate or vinegar be recomended as a
slip addition in an effort achieve the strongest possible joint, or
something else? Or nothing?


I previously asked:
. Either vinegar or Sodium Silicate in slip, for
>> > joining clay, acts as a dufloculant, so that there is "more
clay" in the
>> > slip than if a defloc was not used. Hence stronger joints. Is
that it?
>> > Anybody? But some one suggested to me that Sodium Silicate has
its
>> > own "adhesive" properties in clay slip, and might provide an
even stronger
>> > joint. Is this so?
>>

Vince responded thusly:
>>
Leland -
>> Actually, they work for completely opposite reasons. Sodium
silicate is a
>> deflocculant, while vinegar is a flocculant. Sodium silicate
allows a
>> slurry with far less water, while vinegar makes the particles
attract
>> one-another more aggressively, making a slip with better adhesive
>> properties.
>> - Vince
>>
Thank you kindly, and happy Thanks Giving!
Regards,
______________________________________________________________________
______Leland Hall
Before The Wheel Enterprises
La Pine, Oregon, USA
b4thewheel@bendnet.com __
>>
>_____________________________________________________________________
_________
>

vince pitelka on thu 28 nov 02


> My question is, would sodium silicate or vinegar be recomended as a
> slip addition in an effort achieve the strongest possible joint, or
> something else? Or nothing?

Leland (I am assuming that this is still Leland, but you didn't sign your
post, so it is hard to tell.)

Vinegar, yes, sodium silicate, no. You don't want to add anything that
makes the joint different from the rest of the pot. Assuming that the two
sections are leather hard when you are joining them, and assuming that you
score very well with a Kemper toothed rib, apply a fairly thick slurry of
your claybody mixed with vinegar, work the joint together well, you should
have no problem, and the joints should NEVER come apart. One other thing,
the joining edge of one piece should have a groove, and the joining edge of
the other piece should come to a sharp edge that fits the grove. With all
the surfaces scored and slurried very well, once the pieces are joined well,
you should be able to work over the surfaces with a stiff curved rib and
seal and blend the surfaces very thoroughly.

Every semester I do large coil pots with my intro students. Invariably,
some of their pots crack where they resumed coiling on top of a portion that
had reached leather hard. I tell them to score and slurry thoroughly before
they add the first coil to the leather hard portion, but sometimes they are
a little careless. Mine never crack or separate.

It is the same in this case. As long as both of the sections are soft or
medium leather hard, finished to create a socket fit, and as long as you
score thoroughly and apply plenty of slurry, work the two pieces together,
blend the joints very well, and then cover with plastic overnight to let the
moisture equalize before you let the pot dry, you shouldn't have any
problem.
Best wishes -
- Vince

Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://iweb.tntech.edu/wpitelka/

ccpottery@BELLSOUTH.NET on mon 2 dec 02


Kim said -

I went backwards with my work. I started making tiny items with fired on decals and went for fast volume dollars. At least that's what I thought. I'm ashamed of and continually apologize to people i know for my recent work. And honestly, the work I've been apologizing for took a great deal of time. (to look at the kind of things I do, if you want to,i'm at www.kimmariefinepottery.com )

Anyway, I think I'm caving in. I couldn't meet a financial commitment this
month and I can't deal with living like this. How do some of you cope when
a main goal couldn't be achieved?

And also, when you purchase a handmade piece of work, what enters into
your perception of the piece that determines if you feel the piece has the
value that the price tag states?

Kim and all ......

First of all, remember that this has been a very tough year in the Crafts Business. Most artists and galleries will tell you it has been hard work just staying even. Maybe there are some gifted folks who have beaten the curve, but most everyone I talk to has had to work like crazy to stay afloat. So, give yourself a pat on the back for hanging in.

Next, we all go nuts and start down paths that seem to make no sense in the short run. You went a little astray ... but not backwards. I am from the creative school that believes there are no wrong moves if you learn from it and move on.

I got into this corner myself ... I was making 'stuff' ... people liked it and it sold but I was not proud of it. I did not realize at the time how mentally and creatively draining this was. When I finally did, I stopped doing it and assessed what I really wanted to be doing.

This is the perfect time of year to be reflecting and setting new goals. Take some time alone if you can ... go to a museum, a good craft gallery, or just a quiet corner of your local library. Cut yourself some slack ... forget about this so called 'main goal' ...you are doing the best you can. Think about what you would love to create if money were no object. What is on your wish list? What work have you made that truly pleased you? If you follow your heart your work will feed you instead of starve you.

As to the price question ...When you are creating objects with pride it shows in the final product. People do not care a bit how long it takes you to make something. If time were a pricing criteria, cross stitching would bring in thousands of dollars. No one cares about your time. They care about how it looks, how if feels and what purchasing it says about them. Hearing the artist apologize for how crappy it is does not add to the sales experience.

Chris Campbell - in North Carolina - in with the legions of artists who have done that and been there ... no t-shirt though.

Allison on mon 9 dec 02


This is a test.
--
Allison M. Ruuska=A0 =A0 =A0 =A0
Web Developer

The American Ceramic Society
735 Ceramic Place
Westerville, OH 43081
Phone: 614-794-5839
Fax: =A0 614-794-5882
http://www.ceramics.org

Dupre Mr Marcy M on wed 11 dec 02


---------------------snip---------------------------
Date: Mon, 9 Dec 2002 22:23:41 -0700
From: Kat Valenzuela
Subject: Thanks and glaze thumb tong thingamajigs

Does anybody has or know where you can get a glazing tool you
place onto the ends of your finger or thumb and it has a hook on
the end of it and you can hold onto plates and such while dipping
into glaze?

Like finger tongs?

Kat in the Hat
kat@digitalfire.com
---------------------snip---------------------------

Kat,

This is going to sound really far-fetched, but try a martial arts shop =
or
mail-order catalog. There is a fighting device called a "Dragon's =
Claw,"
extended steel claws used for really nasty fighting, that may do what =
you
want. =20

Other than that, if you know a welder or have the skills yourself, make =
some
extensions on a pair of pliers or vise-grips.

You can also make a frame for dipping or pouring plates, then touch up =
the
areas where the frame touches. Make the frame from a bent coat hanger,
shaped to fit your plates, then either clean it and keep it, or throw =
it
away when you are done.

Best to you,

Tig

Mr. Marcy M. "Tig" Dupr=E9
Military Simulations Analyst
MAGTF Staff Training Program
Quantico, VA 22134

Comm (703) 784-1255/1228
DSN 278-1255/1228
e-mail: dupremm@mstp.quantico.usmc.mil
SIPR e-mail: dupremm@mstp.quantico.usmc.smil.mil

John Niehaus on fri 20 dec 02


GREETINGS, CLAYFOLK!

I HAVE BEEN AN AMATEUR POTTER FOR ABOUT TEN YEARS. HAVING BEEN DISSATISFIED WITH THE QUALITY/DESIGN OF OF WHEELS CURRENTLY AVAILABLE, I AM IN THE PROCESS OF BUILDING THE PROTOTYPE OF A NEW WHEEL THAT I HAVE DESIGNED. I INTEND TO MARKET THIS PRODUCT AND OTHER STUDIO EQUIPMENT IN THE NEAR FUTURE. I HAVE AN EXTENSIVE ENGINEERING AND MANUFACTURING BACKGROUND, SO I ASSURE YOU THIS WILL BE A TOP NOTCH PRODUCT.

I NEED YOUR HELP TO INSURE THAT THIS WHEEL IS THE BEST POSSIBLE ANSWER TO THE NEEDS OF SERIOUS CLAY ARTISTS. PLEASE LET ME KNOW WHAT YOU LIKE OR DISLIKE ABOUT WHEELS YOU HAVE USED. MOST IMPORTANTLY, WHAT FEATURES WOULD YOU LIKE TO SEE THAT ARE NOT PRESENTLY AVAILABLE? ANY HELP WILL BE MUCH APPRECIATED.

I WISH YOU ALL HAPPY AND SAFE HOLIDAYS! PEACE.

Bar-Shamai on sun 22 dec 02


hello Lisa,

I live in a town next to Tel Aviv which is not near Kibbutz Shoval.
I do pottery using an electric Kiln and some raku.

Thanks for your answer
shalom (that's a hebrew greeting which means peace)
varda

bnsaijim on tue 31 dec 02


Von,

Sorry if this reaches the list twice. My first attempt
seemed to bomb out so I've re-written my reply.

4 Routes of Exposure to Bad Pookey... Inhalation, Dermal,
Ingestion, Injection

>Also, I was reading posts that said that chrome could be
absorbed thru =
the skin.

Generally Chrome compounds are not absorbed by the skin but
depending on structure can cause dermatitis, skin ulcers,
sensitization... opening a path through intact skin for
further entry.

>I am curious about what chemicals can go thru the skin? I
=
called the poison center some years ago and was informed
that chemicals =
do not go thru skin, only sores or wounds in the skin. Were
these people =
uninformed?

Many. I.e., organophosphates and chlorinated hydrocarbons
(pesticides), cyanides, amino and aromatic nitro compounds,
mercury, tetraethyl lead... A good starting point would be
if the chemical has an ACGIH Skin notation...

Poison Control staffing and expertise requiremetns are
determined by the state entity running it. Chemicals DO go
through intact skin. Ask them abobut DMSO- Dimethyl
Sulfoxide.

Here's a pic of what skin "looks" like...

http://www.wfubmc.edu/besthealth/imagepage/8912.htm

Multiple layers. Absorption through intact skin can occur
to a lesser extent through the epidermis, hair fllicles,
sweat glands... More so through the keratin layer the
epidermal layers and then passing through the
epidermal/dermal membrane. From there it's an easy hop
through the vascular membranes into the blood, then on to
target organs... Damage to the skin just makes it easier...

>If stuff goes thru skin, how can I put my hands in bleach?

Bleach is a moderately strong oxidizer. You may note your
hands feel slippery- that is the oil from your skin.
Afterwards your hands are dried out. Repeated exposure may
cause chapping and cracking...

Water does =
not go thru my skin, so how could anything else go thru it?

Otherwise you'd become a human water baloon when you
showered... ;^) The cell membrane is composed of lipids
(fats/oils) and is therefore relatively impermeable to
water. Things that are lipid soluble or can "fool" a cell
membrane into being transported through can make it.

Just =
wondering, I'm perplexed on this one. Also concerned as I
see students =
getting glaze on their hands. Should we all be wearing
surgical gloves? =
Do chemicals go thru gloves? Inquiring minds want to know..

This practice , if not foolish, is irresponsible. Assuming
the glazes are at least non-toxic, they should be educated
to the potential properties of the materials they may
someday work with. Bad habits that will affect them later
on are being formed.

Gloves must be APPROPRIATE. Latex exam gloves are generally
okay for water soluble solutions- but may not be 100%. Also,
latex is a sensitizer and can cause, among other problems,
dermatitis. If a glove gums up, splits, or there are
obvious signs of exposure- change materials.

I can help if there are specific questions... I'm a much
better industrial hygienist than a potter!

Jim Stone, CIH, CSP, MOUSE
TX

Harry Asnien on thu 2 jan 03


HI,
I'm looking for a used relatively cheap Brent Model C wheel. If you
are selling one or know of someone who is looking to sell sell one please
email me at longboarder1234@hotmail.com.
Thanks

_________________________________________________________________
Add photos to your e-mail with MSN 8. Get 2 months FREE*.
http://join.msn.com/?page=features/featuredemail

kanittha@CHULA.COM on mon 6 jan 03


Dear;

Now I'm studying chemical engineering major in polymer at Chulalongkorn University. My thesis studied about silicone for medical application. I have some questions to ask you :

1. What is factor that makes different properties in each RTV silicone type?
( properties such as ; toughness, strength, hardness)
2. From my result, tensile strength increases as a function of curing agent concentration, after that, tensile strength will drop when curing agent is more added. Does it means effect of excess curing agent concentration? Can you give me for suggestion ?

3. How can I determine service-life of my silicone application?

4. How does effect of silicone oil on crosslinking modifier?

I'm looking forword to hearing your suggestion ....
Sincerely yours,
Kanittha

joan woodward on mon 20 jan 03


Hi All,

I'm off to Mexico in a few days, starting with a week in Cuernavaca, then 2 weeks in the Yucatan, and a final several days in the Lake Chulapa area. A friend here told me that there is a Japanese pottery school in or near Cuernavaca, but he didn't know any specifics. Anyone know where that might be? And any other not-to-be-missed places? Thanks.

Almost ready to go, though winter has been wonderfully easy to tolerate this year.

Joan in Grand Junction



---------------------------------
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Denise Johnson on mon 10 feb 03


This may be a silly question but, can a plaster mold be used to cast
plaster? My husband, a builder, says nope, it'll stick. I, on the other
hand, am not so sure. Clay shrinks when cast which helps the removal,
plaster doesn't so I assume I'll need some type of release.





_________________________________________________________________
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Harrington on mon 10 feb 03


Yes! I do it all the time, but the mold has to be chipped off the
plaster casting and gets destroyed in the process. That's why they are
called waste molds. You just need to line the mold with a release agent
before you pour in the plaster. I use something called water-glass, or
sodium silicate which you can buy in a bottle at the ceramic supply
store. Thin it 1:1 with water, and don't get it in your eyes. Also, it
helps a lot if you make your first coat of the mold a different color,
such as blue, with food dye. That way when you are chipping off the mold
you will know where the mold ends and the casting begins. If you
accidentally chip the casting, repair it with wet plaster right away
because it will stick better than if you wait until the casting is
totally dried.

Lisa

Denise Johnson wrote:
>
> This may be a silly question but, can a plaster mold be used to cast
> plaster? My husband, a builder, says nope, it'll stick. I, on the other
> hand, am not so sure. Clay shrinks when cast which helps the removal,
> plaster doesn't so I assume I'll need some type of release.
>
> _________________________________________________________________
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> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
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>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.

Dai Scott on mon 10 feb 03


Denise - just the other day there was a thread on plaster and mold soap.
Yes, you can cast plaster to plaster, using a "release" such as mold soap.
Check the archives, or ask your local pottery supply house about mold soap.
Dai in Armstrong, BC
----- Original Message -----
From: "Denise Johnson"
To:
Sent: Monday, February 10, 2003 6:36 AM
Subject: [CLAYART]


> This may be a silly question but, can a plaster mold be used to cast
> plaster? My husband, a builder, says nope, it'll stick. I, on the other
> hand, am not so sure. Clay shrinks when cast which helps the removal,
> plaster doesn't so I assume I'll need some type of release.

Rahul Kumar on tue 4 mar 03


I am not getting any mails on CLAYART for the last one month....on
trying to register again it says that i am already listed...!

HELP.......!!!!!!!!!!!!!!!

Eleanor on fri 7 mar 03


Francine and Lisa,

I don't use plastic bats any more as I didn't like the way pots
released--or rather, didn't release from them, but I didn't have
centering trouble. My bats--and I believe I bought them at the same
place in NJ--have a smooth side and a textured side. I threw on the
textured side and it seemed to hold the clay in place very well--too
well.

Plaster bats are much better even though they are breakable. I'm
using Hydrobats now but they are pricey for a classroom situation.

You can use ordinary plaster from the hardware store and cast bats in
pie tins which come in diameters up to 10 inches. The bats are
attached to the wheelhead with plugs of clay or "glued" on with a
little thick slip. Plaster is cheap; I believe the type used in
Hydrobats is also available, called hydrocal (?); it's more expensive.

The students need to be taught not to scrape any of the plaster so
that bits mix with the clay but that can be done. There is never a
problem centering and the pots release more easily.

This is not "cutting edge" stuff; I learned how to pot many many
years ago at the Brooklyn Museum; all the bats were plaster and the
kickwheels didn't even have bat pins.

I hope Ceramic Supply will give you a refund. I've dealt with them
and they seem to be nice.

Eleanor Kohler
(icy) Centerport, NY
--

KimbaandGlenn@NETSCAPE.NET on sat 8 mar 03


how do I post a message to Cone6 discussion area?

Glenn Lefley Canmore, Alberta

kimbaandglenn@netscape.net

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Gail Van de Bogurt on sun 9 mar 03


SPECIAL ONE-DAY VISITING CLAY ARTIST WORKSHOP
AT US VIRGIN ISLANDS ECO CAMPGROUND RESORT "MAHO BAY CAMPS"
NEXT SATURDAY: MARCH 15

Nationally known ceramic artist WOODY HUGHES to present one- day
demonstration/workshop for Maho Bay Camps' Recycled Art Center.
Learn about Woody's handbuilding techniques utilizing wheel
thrown and altered components to create functional forms. His work is fun,
fantastic and imaginative.
He has many years of experience teaching in the NY City area ,
nationally and abroad as well as producing and selling his work to
galleries and at wholesale trade shows.
The Maho Bay Art Center is delighted to offer this special opportunity for
St John artists , craftspeople, students and those just beginning in clay
to meet this exceptional artist.
COST? ONLY $35.00 FOR ENTIRE DAY STUDENT RATE $25.00
WHERE? MAHO BAY CAMPS DINING AREA: NEW ART GALLERY DECK
WHEN? REGISTRATION 9 AM WORKSHOP BEGINS 9:30 AM
SCHEDULE: (1/2 DAY: AM $15.00 or PM $20.00)
8:00-9:30 AM REGISTRATION (BREAKFAST IS SERVED IN RESTAURANT 7:00- 9:30)
9:30 AM LECTURE/DEMO THROWING ON POTTERS WHEEL
12:00-1:30 PM LUNCH, SWIM BREAK (BRING SANDWICH OR BUY IN STORE OR BEACH
SHACK)
1:30 - 5:00 PM ASSEMBLING FORMS
5:30 PM DINNER BREAK (DINNER IS SERVED IN RESTAURANT 5:30 - 7:30 PM)
7:30 -8:15 PM SLIDE SHOW OF WOODY'S WORK (free and open to all. Donations
to St John Artists Association Welcome!)

TO REGISTER PLEASE CONTACT MAHO BAY ACTIVITIES DESK 776-6226 EXT 212
ALL MAJOR CREDIT CARDS ACCEPTED
OR RESERVE BY VERBAL CONFIRMATION AND PAY BY CASH OR CHECK ON DAY OF WORKSHOP
(Acitiities Desk hours: 8AM-12PM and 3-7PM
FOR MORE INFORMATION: GINGER KREOFSKY DIRECTOR MAHO BAY ART CENTER
776-6226 EXT 248
rac@maho.org
GAIL VAN DE BOGURT: MAHO CLAY STUDIO ARTIST IN RESIDENCE 779-4550
innisfree@islands.vi

Diane Mead on thu 20 mar 03


This time someone
put the electric kiln on high
--pretty full of some glaze tests--
thought they put it on lo (yes I WILL
invest in a computer kiln sitter...)
the glazes fired really fast, (again
I did not catch it until it finished since
we were firing multiple kilns....)

Do you guys think these glaze tests were
compromised? They look great---
RSVP off line if you can--I won't get to the
archive til late late Sunday
Thanks
diane in GA--it finally quit rainin

Barbara McCray on sat 29 mar 03


Hi,
I am leaving Key Largo, FL and have 10 - 5 gallon buckets of glaze =
ingredients (all bought within the last 2 years and kept closed) that =
need new home. Will sell all for $75. Anyone interested contact me =
off list. Thanks Barbara

Stuart Fisher on sun 30 mar 03


My wife has a Sno Industries kiln, built around 1980. Does anyone know
where I could get a manual? I tried finding Sno Industries online and
had no luck - are they still around?

Thank you very much.


-Stuart Fisher
s.fisher.1@alumni.nyu.edu

hannah clare on thu 3 apr 03


Hello, am new to ceramics. am first year part time BA(HONS)ceramics. I was
wondering where the best place to look for cheep cheep second hand kilns
would be, if such a place exists! any help or advice that can be passed on
to the new girl will be welcomed, am very enthusiastic!



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rebecca aROA rouas on tue 8 apr 03


I am a Student of Hannah Brehmer, a inquierer of yours, and I was
wondering about moroccan style pottery and the techniques used to paint
the designs, the formulas for their bright colored glazes and any history
or knowledge about moroccan ceramics. I didn't find anything in the
archives and would appreciate any comments. thanks Jojo Rouas

Lily Krakowski on mon 14 apr 03


Dear Mel: I am so devoted to you I tend to agree and applaud even when I
ain't got no clue what you are saying.

As far as I knew "drop shipping" means that a bunch of orders from the same
source are sent to one address only, and that each ultimate purchaser picks
up her own stuff. A millenium ago, in Greenwich Village we did that with
bags of spar etc. And I know some food-coops do that even now.

But what is involved in the "drop shipping" you speak of? Why would that be
conducive to bad merchandise? Does the "drop" mean there is some warranty
between manufacturer and ultimate recipient that is broken?

Help!




Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389

Be of good courage....

Martin A. Arkowitz on mon 14 apr 03


------original messages-------


I also tried Mark Burleson's Ocean Green and it came out yukky. But worse, it
slid off the

vertical surfaces and made a puddle on the kiln shelves, and crawled badly on
horizontal surfaces.

Did you have any similar
problems?-------------------------------------------------


yes, yes, the same happened to me. i got the idea for using this glaze from
someone who used it on a mug that was on the stay at home mug exchange site. i
will now contact him off list and ask him what gives. did he really use this
glaze? and tell him that at least 2 clayarters have this problem. and what did
he do that give him such a good result? what tricks and suggestions does he
have to help with this problem.

eleanor arkowitz

=?iso-8859-1?q?Annapoorna=20Sitaram?= on sun 20 apr 03


HelloWe are setting up a studio and we were wondering if we can make a pugmill (as here in India we have the opportunity of getting it done to our specifications.There are no ready made pugmills available.) Is it possible to download any detail drawing and instructions on how a pugmill works so that I can show it to the person who is going to make it for us.We have learned a lot about the art and science of ceramics from all of you .Thanks a lot.Annapoorna Sitaram.
Catch all the cricket action. Download Yahoo! Score tracker

Brian Haviland on wed 23 apr 03


GOOD DAY ALL !!!!


I am just finishing up a new raku kiln and i am
building new torches for it. I have to buy the orfices for the torches and
they are sold with a btu rate stamped on them. What is the formula for
determining my orfice size. Inside dimentions of the kiln are 24" wide x
24" deep x 30" tall. It is fiber lined and i put a 3" vent hole in the top.
The torches (two) of them will be set at a flat angle accross from each
other to create a vortex effect inside kiln (good heat movement around work
i hope).I am regulating gas psi. at around 5-7 lbs. I have an old brick
raku kiln i bought with burner included but it is half the size of the one
i built and it works great. Reaches 1800 deg.in 15-20 min. without a
problem. I also want to know if reduction in the kiln itself will make
much(if any )difference before i put my pieces in the reduction cans with
saw dust and paper. I figure when i remove work from kiln to go to can that
all the reduction i did in kiln will be gone in those few seconds... Is
that right ?????

Thanks folks,,Brian Haviland ---- In Indiana where I've
already had the mower out twice =>( WHEW !!!!! spring :>)

Hendrix, Taylor J. on tue 29 apr 03


Howdy all,

I have been doing some reading in an area of pottery that I am very
interested in perusing and was hoping that some of you planter potters
could help me out.

Here is what I have read so far:

Ceramics for gardens & landscapes / Karin Hessenberg
The complete potter: Pots for plants and gardens / John Huggins

I am interested in doing some more reading on the subject. I have
really enjoyed Karin's book. Huggins' book has had some very good
technical information, but no information for further study. If anyone
has titles to suggest, I would be grateful. I can make a search for
books, but many are dross. I am interested in seeing what is being
done, who is doing it, and some basics on how--much like Hessenberg's
book.

I am also thinking about terracotta bodies (I think that is the best for
large outdoor planters) for throwing and would love to hear what the
experts have to say on what to look for when finding/formulating such a
body. I don't think Armadillo's low fire is going to do it for me.

Have done my troll through the archives with little help (It did lead me
to Ceramics for gardens...).

BTW, Svend Bayer's stoneware, love it!

Taylor, in Waco

dayton grant on thu 1 may 03



i consider myself a serious thrower and i cant throw clockwise because during my learning period i didnt practice it that way and i wish i could because i notice that some of the muscles have become unevenly specialized in my right and left hands ... i can operate a handsaw with either hand ,i can use a shovel equally on both sides ...these are things that take considerable time and effort so just for the sake of efficiency its just common sense to learn how to do these things with either hand as the lead ...so it probably depends if you will be doing your throwing seriously ..... if not then you dont need to practice both ways, but if youre going to be appying considerable pressure for extended periods of time i think its definitely worthwhile to practice both ways especially at the beginning of your wheel training so .......of course the wheels should go both ways if its not any extra cost ...... };^)


    dayton



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Laura Nichols on sun 4 may 03


Could someone please give me some guidance on what to charge others to fire
pots in my kilns? I go to 04 on the bisque then they use my glazes and I
fire to cone 6 gas reduction. Thank you for your help - Laura




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Anne Scotti on sat 17 may 03


Hello

I am currently interested in buying an electric potters wheel.
I use a Brent C at a studio and love it.
But I see Creative Industy has a wheel 1/2 HP for a lot less money.
Does anyone have a CI wheel and if so how does it work?????

Anne

Mike Henry on wed 6 aug 03


Hi,

I’m a potter/sculptor trying to find other(s) interested in sharing a
studio. It could either be an existing studio or going out and finding
adequate space. I’m in the Southern California area. I can relocate anywhere
from the Ventura area to San Diego. I’m keeping this short, so as not to
bother, those who this wouldn’t apply to. If interested, please contact me
offline and we can discuss details. Email is: highfire@gs-llc.com

Thank you…

Clyda Crafton on wed 6 aug 03


Hello to the group. I just recently joined your mailing list for two
reasons. I'm dying to start clay work again. It's been almost 20 yrs. It
was my passion in college, my professor said I had gone into production with
everything I did(mostly hand building). But life gets in the way of your
passion! Now, after 10+ yrs of corporate work, 6 yrs as a full-time mom to
two kids and a recent unwanted divorce behind me, I'm back to the corporate
world. But this time I'm excited! May be I can get to know people with the
same love for clay that I miss. May be what I do for a job could benefit
you. Or may be just getting to read about your lives will benefit me.

I've been reading some of your comments about marketing and may be I can
help some of you. I realize that the art you produce may not fit the need
for every florist's use or even a gift shop, you'll need to decide that for
yourself. But if you think you may have something that would fit this
market, I can offer you WEB exposure to this market. It's an annual fee,
nothing more! There are three levels of ads. Dollars range from $150-$300
per year, plus we will be offering web page and web site programs. We just
getting started with this, I've been working for months putting the
directory together and it will be an endless job! Our national launch will
be in November, with ads in trade magazines, direct mail to our members and
other florists across the country.

My name is Clyda Crafton and I'm the Coordinator of Development for
FGMarket(that's floral and gift market), which is an internet resource
directory for the gift and floral retailer. We are a division of Flower
Shop Network with over 4000 member florists. If you feel this would be of
interest to you, please e-mail me @:


ccrafton@fgmarket.com or call me at

Flower Shop Network #800-858-9925


Thank You

Clyda Crafton
Coordinator of Development for FGMarket.com

Lily Krakowski on sun 10 aug 03


Dr Arbuckle:

As someone with long-standing anxieties about the Academic-Crafts Complex, I
welcome the discussion your post invites.

I haven’t perceived “higher-education bashing” on CLAYART. “Higher
education” is a vague and, often arrogant, term for “advanced schooling.”
Many have expressed doubts about the value of advanced schooling.

When a farmer takes a handful of grass, rubs it and says: “Too wet for
bailing” it has taken years of diligent learning to acquire that “higher
education” . When a twenty-year old city dweller reads books and says
that when grass has dried to X % of moisture it is ready for bailing, but
does not know Timothy from Redtop, that is “advanced-schooling.”

You write “Higher education in art isn't perfect, but it offers many
positive aspects that are important to advancing artistic growth in a way
not available in other places.” And “In the end, it's not the piece of
paper, but the experience you've had that has enabled you to grow and to
learn how to continue that growth in your own studio in the future.”

Nothing provides anything in the identical way as something else. It would
be insulting to parse that for you. My concern is NOT about aspects leading
to artistic growth, but what exactly is meant by “artistic” and what exactly
is meant by “growth”.

I never believed potters are “artists” and I am not sure what you mean by
“growth.” To me, we are craftsmen — and if, after a lifetime of hard work
and deep thinking, others consider us artists that is wonderful. We remain
craftsmen. We are complimented by the honorific “artist” just great chefs,
or hairdressers are.

As to growth! I giggle when someone admires a child and says “My! How
she’s grown!” Children grow. Childhood is a time of growth. Period.
Unless something is dreadfully, terrifyingly wrong, a child grows. Unless
something is dreadfully, terrifyingly wrong, one’s intellectual being grows
and develops; as one practices one’s craft one grows and develops as a
craftsman.

This takes place in the person. Who one is, where one is, what one does,
what one is going through affects the process. Edith Wharton could not have
written “Oh, Pioneers!” and Willa Cather could not have written “The House
of Mirth” and neither one could have written Louisa May Alcott’s “Hospital
Sketches”. But neither place nor circumstances are responsible for, nor
create a piece of work, nor the growth of the person.

Graduate school offers a specific time and place. It presents focused
exposure to “new” --too often biased--ideas, and, if one is lucky, deep
conversation with people one admires and respects. For some people it is an
essential requirement for a particular career.

But, as Ivor Lewis pointed out, it costs a lot. (College costs in this
country have risen faster than medical costs!) Is it really the best way to
spend it? Would a two-year grand-tour to visit revered potters around the
world and talking to them be a worse investment? Would putting that money
in the bank for good MEDICAL insurance and starting one’s own studio be
worse? Would spending that time in the Peace Corps, with Habitat, in a
monastery, at a Yeshiva, lead to less growth?

And a question that gnaws my heart: kids nowadays get out of college
profoundly in debt. Grad school vastlyh increases that debt. That means
motherhood is postponed. Which, for a sufficiency of women means
sterility. Is it worth it?

You mention students whose work has gone into good shows and “been curated
into good venues” I am happy for them, and happy for you if, as their
teacher, you take pride. But not every one does. The degree [double
meaning intended] to which the Academy has taken over the Fine Arts is
extraordinarily troubling. For those of us who believe in higher education,
perfecting oneself, and so on, Academic credentials as passport of
professional acceptance are neither good news, nor progress. But a scary
trend towards intellectual standardization—a topic for another time.

And I sign
Sincerely,
and most respectfully




















Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389

Be of good courage....

The Sherman's on tue 12 aug 03


You need to look at your specific situation to decide. I have my studio in
my basement. Very limited space. I have chosen not to mix my own glazes at
this time. I buy cone 5 Moroccan Sand dry glazes from Laguna (I refuse to
pay to ship water!). However, I make them my own by not always using them
as recommended. I mix them thinner and dip or pour over my pieces. I fire
to cone 6, rather than 5 and use a controlled cooling on my Skutt. This
make some of the glazes more fluid and others more matt. Test tiles propped
to 45 degrees on kiln furniture gives me a basic idea as to what the glazes
will do. I also use a fair amout of Mason stained slips under the glazes
and overlap glazes to get more interesting results. Will I mix my own
glazes if I get more room to store chemicals and equipment? Not sure... I
have the books, including "Mastering Cone 6" and have mixed glazes in the
past. Pre-mixed are convenient, easily available, and can be cost efficient
if you stay away from the colors that require lots of oxides to produce.

My $0.02

Marcey Sherman
Zephyr Pottery
Out on Long Island where my dehumidifier is running 24/7 and still the
basement is moist!


from Jacob- snips
"Just looking for advice here...

It is my final goal to do my own glaze formulation, as it's
more descriptive of who I am (I work as a chemist). I am
however, unsure as to what to do for now...should I begin
by purchasing glazes from amaco or spectrum and develop my
own glazes along side with a test kiln...or should I just
jump right in and work with glazes from books, etc...then
modify these glazes to what I want.

Thanks in advance for any advice."

Dea on thu 25 sep 03


Hi, I'm Deana, I just found your group. I've taken lots of time with clay in
the past and would like to bring that back as one of my focuses. I'm also
trained as an art therapist and have worked with clay in classes i teach and
in the therapy. In the past i've always gone to the library and scrounged
for whatever non reference pottery books i could find. Now I would like to
buy one or two to have with me, but I want to be selective at the same time.
Reference books for me. I'd love your suggestions. I'm both a beginner, as
its been awhile, and I'm not. And I'd use it for myself and the ones I work
with. Thank you, Deana

elark1@VERIZON.NET on tue 30 sep 03


hi-i bought a w5 lb bag of paper clay which i use occassionaly. today when i
went to grab a piece of paper clay i noticed lots of black mold growing all
over and in the clay. i would like to know if there is any way i can prevent
the growth of this black smelly stuff and also if this stuff is bad for my
health. and now that is all over the clay can i stop it from growing.
will it affect the use of the paper clay. would love to hearr from clayarters
about this smelly, yucky problem.
eleanor arkowitz
in hanover n.h wherre the temperrature is starting to drop and with it the
leaves from the trees.

mlkrakowski@citlink.net on tue 21 oct 03


So many hearts are broken when a girl gives a boy her phone number?and
he never calls. And he does not call because her 1 looked like a 7 or
the 4 like a 9?and she did not tell him what she was listed under.

As many hearts are broken because newbies do not grasp that the clay
body under the glaze is a prime (I often think THE prime) consideration
in how a glaze looks or fits.

For a glaze to fit properly it must interact properly with the body.
With apologies to Ivor?I know some of my similes grate on his nerves
as think of the way you interlace your fingers. In essence the clay
and the glaze and body interlace the same way, if the glaze is to fit.

That means that what one thinks of as ?shrug-offable? differences
in a clay body MAY NOT BE. Thinks salt. Recipe calls for vegetables
and meat and salt and pepper. (Kelly, cover your ears.) But you are
in a hurry so you use canned vegetables?contain salt-- and you add
some soup cubes?and that adds salt?and some leftover stock, and you
add the salt called for in the recipe. Inedible. You added tiny,
almost imperceptible, bits of salt?and produced a salt-lick.

Same here.

A Frans Wildenhain clay body recipe: (c.1951)

Jordan 50
Kentucky Ball Clay 20
Flint 10
North American Fire Clay 10
Black Bird 5
Bentonite 10

Another:
Jordan 1 part
Dalton 1 part
XX Saggar .5part
Neph Sy .25 part

Nothing wrong with that....Jordan, Dalton, NAFC are gone. Neph Sy
probably has changed in composition, and XX also may have, due to
different mine layers.

As I wrote a while back, the people who produce clay bodies mix
something that has the basic properties of whatever they call the body.
Lettuce say that there is a body called A*GILE. (Edouard, ca c'est
pour toi)

A*GILE started out as a c4-8 buff body with 5% fine grog. It used
Jordan and Dalton and a bit of Fetzer. When Fetzer disappeared,
another red earthenware clay was used. The Dalton left, but Perrine
did fine. Then that disappeared, till finally, not that long ago,
Jordan left. Meanwhile experts like Ron and Jon tested, and puttered,
and cursed, and kicked their teddy bears, to find A BODY THAT WOULD
WORK LIKE A*GILE but with available ingredients.

Analysis sheets on clays will tell you that there are differences that
can make a difference. T7 Kaolin has 1.76 titanium, and Grolleg only
..03. XX Saggar has 56.76 % Silica, and T7 only 44.72. I am NOT going
to go on forever, just trying to explain that's why today?s A* GILE
is not like that of 20 years ago, and that one might as well accept it,
and resign oneself to either puttering with a glaze that does not work
right, try a slip interface, OR simply move on to another glaze in the
same family.

This is one of my pet ?solutions?. Even if one does not know glaze
calculation, it is not that difficult to find several glazes in the
same family. I could fill a file drawer with recipes that call for
calcium, a bit of magnesium, boron, zinc...It often is easier to test a
batch of these to get an effect rather than tinkering with a glaze that
does not work....

Darlene Rare Earth Pottery on wed 29 oct 03


What is the sub for borax frite MOK G-3? there is a lovely glaze that I =
would like to try at =
http://www.barra.se/stoneware/glasyrer/recept/brown/cr729.htm

While you are there take a look at his other glazes. This a great =
site.

Have a sunshine day

darlene

Clifton D. Cardin on fri 7 nov 03


Hello list,
In response to Marianne Lombardo of Canada and her question about mold
sticking.
I realize my answer might be a couple of years late, but I thought they
might help someone else making molds.
After having made molds for over 24 years there are a few pitfalls and
suggestions I might be able to add.

1. Always check and see if your plaster is good. Run your hand through
the dry plaster and check for little nodules (lumps) of plaster. This
indicates old plaster and now matter what you do the mold will be soft
and brittle. If the plaster is very fine and "dusty" it is usually new
and suitable for mold making. If you have old plaster and you strain it
with a kitchen flour sifter, you will get the lumps out, but it will set
too quickly and be incredibly soft mold. Use new plaster, especially when
making one-off molds. These lumps are caused by the dry plaster absorbing
moisture from the air and the plaster is simply too old. It will absorb
this moisture through the bag the plaster is in.

2. The best separating compound I have found is a soap used by the oil
field industry to coat the threads on the water pipes they store outside.
The exact stuff we use is "JC-82, Potable water, Pipe Joint Lubricant" It
comes real thick and we thin it with water to the consistency of cream
and then use that as a separating compound. Another alternative is "green
soap" which comes from the medical supply field. A suitable soap is Ivory
liquid dishwashing soap, (white in color.) but since I have the JC-82 I
don't use anything else.

3. The trick to soaping is don't use vaseline first. Vaseline will seal
the piece and then the soap will not soak in and work. Let the soap soak
in until it begins to gel, then brush or blow it off. Allow a while to
dry then polish with soft towel. The shiny finish that results gives the
best separating effect and best detail. If the piece you are working with
is made of plaster, try soaking the piece itself in a tub of soap. This
will eliminate air from trying to rise out of the plaster piece and into
the mold you are trying to make. This happens when the wet plaster is on
top of the dry (air filled) plaster original.

4. Mix Ivory soap with water, about 1 oz Ivory with about 1/3 gallon
water. Put some of this mixture into a spray/misting bottle. When you
have mixed your plaster and are about to pour the plaster onto the item,
mist the piece lightly with this mixture. This water surface will break
the air bubbles in the liquid plaster and give better mold detail.

5. Mix the plaster 1 1/4 parts plaster to 1 part water by weight. In
other words, 1 oz water needs 1 1/4 ounce plaster. Always add plaster to
water. Mix throroughly. The reason most people allow the plaster to set
before pouring is to let the air bubbles rise to the surface. Not a bad
suggestion but will make you at risk of the plaster being too thick and
having excessive air bubbles and lack of detail. When pouring the plaster
pour in a steady stream to avoid adding air and to allow the air bubbles
to break as the plaster exits over the edge of the bucket.

6. The plaster will go through a heating cycle. Like anything that gets
hot it expands from the heating process. Wait until the plaster has
completely cooled. (Has a cold clammy feeling.) and then remove.
Compressed air blown between the piece and the plaster is the best
method.

7. Never use shellac or any other surface sealer. It will come off the
original and stick to the new mold. Within weeks it will being peeling
out and ruin your new mold. I've never used Murphy's Oil Soap, but will
try it next time I am working.

8. Generally, oil based separators, like Vaseline or butter or cooking
oil will react adversely to the water based plaster. (Remember water and
oil don't mix.) And that reaction is why we don't use those items.
Childrens play clay, (four sticks four colors) makes a good clay for
the corner of those boxes where the plaster might leak out. I prefer to
glue the piece with Elmers glue into the bottom of a plastic (Tupperware)
box and pour the plaster into that.
If you wish to make many molds, make you a set of mold boards out of
an old leaf of a table. Cut it into quarters and use clamps to hold the
lips together.

Clifton Cardin, Owner
Lone Star/Countryside Molds.


________________________________________________________________
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Judy Musicant on mon 10 nov 03


Hello potters,

A few days ago, primalmommy posted a note asking for alternatives in the =
case of a teaching studio that uses fans for drying student ware (so =
they can cover them with plastic before they leave), and the problem she =
seemed to be having with the resulting dust (no kidding!). I took =
classes in 7 or 8 studios in NYC and New Jersey in my earlier days. Not =
one of them used any special method for drying student ware so they =
could be firm enough to cover with plastic by the end of class. I found =
that if I covered my pots loosely, leaving just a small open space =
between shelf and bat with pot, my pots were generally leather hard when =
I returned the next week to trim. No dust, no problem.

Judy Musicant
Mountainview Pottery

Judith S. Labovitz on mon 10 nov 03


we have 24 students at our guild, and also use this method....it
works. Sometimes putting a sheet of newspaper on the tops of the pots
before covering with plastic helps keep the rims from distorting....

sure, there are occasionally pots that get too dry, or stay too
moist.....but by and large our students find this method useful.


judy in mid michigan


At 05:57 PM 11/10/03 -0500, you wrote:
>Hello potters,
>
>A few days ago, primalmommy posted a note asking for alternatives in the
>case of a teaching studio that uses fans for drying student ware (so they
>can cover them with plastic before they leave), and the problem she seemed
>to be having with the resulting dust (no kidding!). I took classes in 7
>or 8 studios in NYC and New Jersey in my earlier days. Not one of them
>used any special method for drying student ware so they could be firm
>enough to cover with plastic by the end of class. I found that if I
>covered my pots loosely, leaving just a small open space between shelf and
>bat with pot, my pots were generally leather hard when I returned the next
>week to trim. No dust, no problem.
>
>Judy Musicant
>Mountainview Pottery
>
>______________________________________________________________________________
>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.

Lyn Stoffels on wed 12 nov 03


Hi,
I have a base glaze recipe that is composed of Gerstley Borate, Kaolin and
Silica. I accidently used china clay instead of EPK kaolin. Should this make
and difference?
Thanks,
Lynn

_________________________________________________________________
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william schran on thu 13 nov 03


Lynn asked:>I have a base glaze recipe that is composed of Gerstley
Borate, Kaolin and
Silica. I accidently used china clay instead of EPK kaolin<

I used and still use this glaze on occasion. Have used all types of
kaolin/china clay and have never seen any difference between them.
Bill

Fredrick Paget on tue 18 nov 03


Yesterday a letter came into Clayart that was very difficult to
understand . I could see that the writer was struggling with limited
English so I wrote her to send her question in her native tongue
which is Brazilian Portuguese of which I have a certain amount of
understanding. With the help of AltaVista babelfish (translater
website) I have translated it as best I can. I still don't know what
she is talking about and wish Karl Platt was still with us as I think
he might help her. Anyone else want to take a stab at it? I can send
a copy of the Excel spreadsheet attachment she sent me to anyone who
wants to have it.
=46red




>Date: Tue, 18 Nov 2003 15:19:40 -0200
>From: RubiaM&M
>To: Fredrick Paget
>Subject: Re: Clayart
>ola
>Eu fa=E7o o ceramica e estudo esmaltes noBrasil.
>uso o matrix e fiquei curiosa para saber mais informa=E7oes sobre o
>calculo do fator de fluxo, enviei um e-mail para Lawrence Ewing que
>me encaminhou para clayarte, na pagina onde eu poderia encontrar a
>informa=E7ao sobre como fazer o calculo.
>Eu percebi que pode ter um engano em como fazer o calculo.
>Eu n=E3o tenho o texto original do autor,
>mas se multiplico cada das quantidades molares por seu fator de
>fluxo para calcular F =3D 100 * Y/(X+Y)
>o valor que eu encontro =E9 muito mais proximo do valor encontrado por Matr=
ix
>
>Hello,I make ceramics and study glazes in Brasil. I use Matrix and
>was curious to know more information on how tocalculate the flow
>factor. I sent an email to Lawrence Ewing who directed me to
>Clayart, the mailing list ,where I could find information about how
>to do the calculation. I perceived that he can have a mistake in how
>to do the calculation. I do not have the original text of the
>author, but if I multiply each of the molar amounts for its factor
>of flow to calculate F =3D 100*Y/(X+Y) the value that I find I am much
>larger than the value found for Matrix
>
>Calculo feito com Matrix
>Calculo feito com a orienta=E7ao encontrada em ClayArt
>Calculation done with orientation
>Callculation done with Matrix
>seen in Clayart
>Uk Potash feldspar =3D 50 %
>Uk Potash feldspar =3D 50 %
> whiting =3D 20%
>whiting =3D 20%
> silica =3D 20%
>silica =3D 20%
> EPK Kaolin =3D 10%
>EPK Kaolin =3D 10
>
>KNO =3D0.306
>KNO =3D 0.306
>CaO =3D 0.694
>CaO =3D 0.694
>Al2O3 =3D 0.448
> Al2O3 =3D 0.448
>SiO2 =3D 3.337
>SiO2 =3D 3.337
>TiO2 =3D 0.002
>TiO2 =3D 0.002
>
>
>Lengersdorff Flux Factor =3D 32,3
>Lengersdorff Flux Factor =3D26,43
>Deg C=BA =3D 1258
> Deg C=BA =3D 1258
>
>Rubia calculo e duvida ( Rubia calculates and doubts:)
>Lengersdorff Flux Factor =3D31,34
>
>eu gostaria de saber, qual a maneira certa de fazer este calculo?
>segue em anexo, uma arquivo do excell demostrando a minha duvida.
>grata por sua gentileza.
>>rubia moraes
>>I would like to know, which is the right way to make
>>thiscalculation? I am sending in the attachment, an archive of
>>Excel demonstrating my doubts. grateful for your gentility,
>>Rubia Moraes
>
>Fredrick Paget escreveu:
>
>>Afixe por favor a pergunta outra vez no portugues. Nos estamos
>>tendo demasiado problema que compreendemos o ingles que voce se
>>usou. Um de nos traduza-lo-a assim que voce pode comencar uma
>>reposta a sua pergunta.
>>Fred
>>
>> Fredrick Paget wrote: Another time please ask the question in
>>Portuguese. We are having too much of a problem understanding the
>>English that you used. One of us will translate it so that you can
>>get a reply to your question.
>> Fred
>


--
From Fred Paget, Marin County, California, USA
fredrick@well.com

Fredrick Paget on wed 19 nov 03


You should contact Karl Platt. Email : Karl Platt
He speaks good Portuguese. I think he lives in Santa Catarina.

Voc=EA deve contatar Karl Platt. Email: Karl Platt < kplatt@glass.com >
fala o portugu=EAs bom. Eu penso do ele vivo em Santa Catarina.

=46red
--
From Fred Paget, Marin County, California, USA
fredrick@well.com

Ron Hensen on wed 19 nov 03


To anyone in the Denver/Boulder area we are having a pottery sale this =
weekend! This is a group of nine who are students of mine or have been =
in the past. E-mail me if you want times and directions. =
mtnpottery@comcast.net

RubiaM&M on wed 19 nov 03


grateful fred for its gentility.
I would like to know if they who can say me why I calculate it is
different using matrix and he formulates it in clay art. which of the
two joined is the correct one?
rúbia moraes
(grata fred por sua gentileza.
eu gostaria de saber se alguem pode me dizer por que o calculo é
diferente usando matrix e a formula encontrada em clay art.
qual das duas é a correta?
rúbia moraes)

Fredrick Paget escreveu:

> Yesterday a letter came into Clayart that was very difficult to
> understand . I could see that the writer was struggling with limited
> English so I wrote her to send her question in her native tongue
> which is Brazilian Portuguese of which I have a certain amount of
> understanding. With the help of AltaVista babelfish (translater
> website) I have translated it as best I can. I still don't know what
> she is talking about and wish Karl Platt was still with us as I think
> he might help her. Anyone else want to take a stab at it? I can send
> a copy of the Excel spreadsheet attachment she sent me to anyone who
> wants to have it.
> Fred
>
>
>
>
>> Date: Tue, 18 Nov 2003 15:19:40 -0200
>> From: RubiaM&M
>> To: Fredrick Paget
>> Subject: Re: Clayart
>> ola
>> Eu faço o ceramica e estudo esmaltes noBrasil.
>> uso o matrix e fiquei curiosa para saber mais informaçoes sobre o
>> calculo do fator de fluxo, enviei um e-mail para Lawrence Ewing que
>> me encaminhou para clayarte, na pagina onde eu poderia encontrar a
>> informaçao sobre como fazer o calculo.
>> Eu percebi que pode ter um engano em como fazer o calculo.
>> Eu não tenho o texto original do autor,
>> mas se multiplico cada das quantidades molares por seu fator de
>> fluxo para calcular F = 100 * Y/(X+Y)
>> o valor que eu encontro é muito mais proximo do valor encontrado por
>> Matrix
>>
>> Hello,I make ceramics and study glazes in Brasil. I use Matrix and
>> was curious to know more information on how tocalculate the flow
>> factor. I sent an email to Lawrence Ewing who directed me to
>> Clayart, the mailing list ,where I could find information about how
>> to do the calculation. I perceived that he can have a mistake in how
>> to do the calculation. I do not have the original text of the
>> author, but if I multiply each of the molar amounts for its factor
>> of flow to calculate F = 100*Y/(X+Y) the value that I find I am much
>> larger than the value found for Matrix
>>
>> Calculo feito com Matrix
>> Calculo feito com a orientaçao encontrada em ClayArt
>> Calculation done with orientation
>> Callculation done with Matrix
>> seen in Clayart
>> Uk Potash feldspar = 50 %
>> Uk Potash feldspar = 50 %
>> whiting = 20%
>> whiting = 20%
>> silica = 20%
>> silica = 20%
>> EPK Kaolin = 10%
>> EPK Kaolin = 10
>>
>> KNO =0.306
>> KNO = 0.306
>> CaO = 0.694
>> CaO = 0.694
>> Al2O3 = 0.448
>> Al2O3 = 0.448
>> SiO2 = 3.337
>> SiO2 = 3.337
>> TiO2 = 0.002
>> TiO2 = 0.002
>>
>>
>> Lengersdorff Flux Factor = 32,3
>> Lengersdorff Flux Factor =26,43
>> Deg Cº = 1258
>> Deg Cº = 1258
>>
>> Rubia calculo e duvida ( Rubia calculates and doubts:)
>> Lengersdorff Flux Factor =31,34
>>
>> eu gostaria de saber, qual a maneira certa de fazer este calculo?
>> segue em anexo, uma arquivo do excell demostrando a minha duvida.
>> grata por sua gentileza.
>>
>>> rubia moraes
>>> I would like to know, which is the right way to make
>>> thiscalculation? I am sending in the attachment, an archive of
>>> Excel demonstrating my doubts. grateful for your gentility,
>>> Rubia Moraes
>>
>>
>> Fredrick Paget escreveu:
>>
>>> Afixe por favor a pergunta outra vez no portugues. Nos estamos
>>> tendo demasiado problema que compreendemos o ingles que voce se
>>> usou. Um de nos traduza-lo-a assim que voce pode comencar uma
>>> reposta a sua pergunta.
>>> Fred
>>>
>>> Fredrick Paget wrote: Another time please ask the question in
>>> Portuguese. We are having too much of a problem understanding the
>>> English that you used. One of us will translate it so that you can
>>> get a reply to your question.
>>> Fred
>>
>>
>
>
> --
> From Fred Paget, Marin County, California, USA
> fredrick@well.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.
>
> Esta mensagem foi verificada pelo E-mail Protegido Terra.
> Scan engine: VirusScan / Atualizado em 14/11/2003 / Versão: 1.4.1
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>
>
>

Paul Raymond on thu 20 nov 03


Ron,

I'll give that a try. I'm going to fire again soon with a longer soak at the end to see how that works but my eBay scale was acting up on me. I had to keep adjusting the tare knob after weighing only 2 ingredients. I had a bad feeling about that.

Paul

RubiaM&M on thu 20 nov 03


thanks.
I contact karl platt.
rubia moraes

Fredrick Paget escreveu:

> You should contact Karl Platt. Email : Karl Platt
> He speaks good Portuguese. I think he lives in Santa Catarina.
>
> Você deve contatar Karl Platt. Email: Karl Platt < kplatt@glass.com >
> fala o português bom. Eu penso do ele vivo em Santa Catarina.
>
> Fred
> --
> From Fred Paget, Marin County, California, USA
> fredrick@well.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.
>
> Esta mensagem foi verificada pelo E-mail Protegido Terra.
> Scan engine: VirusScan / Atualizado em 19/11/2003 / Versão: 1.4.1
> Proteja o seu e-mail Terra: http://www.emailprotegido.terra.com.br/
>
>
>

Eowyn Burke on sat 22 nov 03


Hello all!

I just moved to the Big Bear area- in the San
Bernadino Mountains and am looking for a place to
work- internship/apprenticeship in the area (LA and
northern San Diego county would work as well). Does
anyone have any ideas/ know of anyone who would be
interested? Email me at eowynb@yahoo.com.

Thank you!!
Eowyn Burke

__________________________________
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Marcia Selsor on sat 29 nov 03


Dear Clayart family,
I just looked at the Clayart site on ACers while at the library. We have little
access to the internet here. I hope to be able to rejoin the group when we get
to Italy.
Just wanted to say hello. My time at The Clay Studio in Philly was way too
short. I am packing for Italy now. My article about last year's workshop in
Italy is in PMI for Dec/Jan. I saw it briefly at Linda Blossom's where we fired
her kiln. I noticed a mistake regarding the use of white slip over terra cotta.
We used that to enhance the color of glaze which was to be applied on the next
firing. My issue has not yet caught up with me. I am excited to read the edited
version. Hope everyone is having a nice holiday Turkey (for US folks). Saw a
post from Janet K in UK. I hope to visit her while across the pond.
Best wishes to everyone. I look forward to reading clayart again. Thanks to
Bacia for the good wishes.
Happy holidays to everyone.
Marcia selsor
http://home.bresnan.net/~m.selsor/Tuscany2004.html

logan johnson on sat 29 nov 03


Hi Marcia!
TAKE ME WITH YOU!!!!! I'm sure I can squeeze into my rolling backpack it's carry on size ;o} please let me / us know how the trip goes. Italy has been an obsession of mine for years now! I'm SOOOOOOOO envious!!!!! Have a safe trip!

Marcia Selsor wrote:
Dear Clayart family,
I just looked at the Clayart site on ACers while at the library. We have little
access to the internet here. I hope to be able to rejoin the group when we get
to Italy.
Just wanted to say hello. My time at The Clay Studio in Philly was way too
short. I am packing for Italy now. My article about last year's workshop in
Italy is in PMI for Dec/Jan. I saw it briefly at Linda Blossom's where we fired
her kiln. I noticed a mistake regarding the use of white slip over terra cotta.
We used that to enhance the color of glaze which was to be applied on the next
firing. My issue has not yet caught up with me. I am excited to read the edited
version. Hope everyone is having a nice holiday Turkey (for US folks). Saw a
post from Janet K in UK. I hope to visit her while across the pond.
Best wishes to everyone. I look forward to reading clayart again. Thanks to
Bacia for the good wishes.
Happy holidays to everyone.
Marcia selsor
http://home.bresnan.net/~m.selsor/Tuscany2004.html

______________________________________________________________________________
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.

Logan Johnson
Audeo Studios
"Carpe Argilla!!"


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Llewellyn Kouba on sun 30 nov 03


Messag
X-Sender: llewellyn@mail.assumptionabbey.com
X-Mailer: QUALCOMM Windows Eudora Version 5.1
Date: Sun, 30 Nov 2003 18:20:59 -0700
To: Clayart
From: Llewellyn Kouba
Subject: Re: CAR KILN LEAKS AROUND SEALS
In-Reply-To:
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed
Message-ID: <72E48A170184@assumptionabbey.com>

Paul,

Use Kaowool. It is an insulation material and won't crack or peel and you
can stuff in enough of this material to fill the gap and in a better way
than any putty material ever would be.
Hope this helps.
Llewellyn


At 12:45 PM 11/30/2003 -0500, you wrote:
>Hello,
>the seal on one side of my car kiln as a few leaks in it, and i found out
>that the one part of the kiln where i can not get copper reds is right near
>the biggest leak, so there must be a correlation. I think the leak started
>because i had to do some maintenance on the car it's self after the firest
>firing, and things got moved around just enough to cause the leak.
>The only simple idea i can think of is to try to plaster some Greenpatch on
>the seal -- i need to build some areas up about 1/4" to fill gaps. But i
>would think this will eventually spall off. Does anyone have any other ideas
>on how to fill the cracks in the seal between the car and the kiln? thanks,
>Paul B
>Falmouth,Ky
>
>______________________________________________________________________________
>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.

mudslingers@ATT.NET on fri 12 dec 03


i wrote:
> Here is an effective way to grow your mailing list:
> At your next art/craft fair, have a raffle.
> I make up a sign that says something like
> "Win a FREE GIFT from Mudslingers Pottery...

l.p.skeen wrote:
>The problem with this method is that these folks are not buyers; they're
>wanting something for nothing, and you end up sending out $$ on postage and
>printing cards for people who aren't necessarily interested in anything they
>have to pay for. :(

lp,

i can appreciate your point, but i have to say that this has been hugely
successful for me at my home shows (remember, success is relative!-- and
selling 120+ pots in a 4 hr time period is good for me!). i have to admit
that i have not done the raffle thing at every show. but one of the shows i
do it in is a local area art show that's been around for many, many years and
is a proven show. there are new attendees every year so it doesn't get stale;
it's close to home so the customer base is local for me as well. and the
people who come to the show are people interested in art. it's a big show, so
the people who see the little notice about the free gift are already looking
at my pottery.

so you see, it is almost a hand picked customer base!

lauren
(wow #4 post of the day! i'm on a roll!)
--
Mudslingers Pottery, Lauren Bellero
http://mudslingers.home.att.net
39 Leroy Place, Red Bank, NJ 07701
732.747.4853

Russel Fouts on tue 16 dec 03


Earl,

>> Dell computers are not all made overseas. All of our desktops are made
right here in Texas. In fact, I believe that we are the only major
computer manufacturer that still manufactures computers in the US--I
believe that the other major manufacturers even have their desktops
manufactured in Asia. Much of the value of a computer comes back to the US,
even on computers sold outside of the US--Intel and Microsoft are probably
the two largest suppliers, in dollar terms, on any box. Also, the real
shift is to Asia, not Mexico--Nafta isn't really the relevant issue. <<

I don't think any computer can be entirely made in the US. Maybe assembled,
yes. But you only have to open the machine up and have a look at the tops
of the chips. You'll get a geography lesson on Asia and South America.

Nothing against Dell. I Like Dells. All our desktops at the day job are
Dell. I'm writing this on my third Dell (The second one is at Enzo's).
Great PCs, good price, terrific business model. Michael got it right from
the beginning.


--- Earl Brunner wrote:
>
> Care to comment?
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On
> Behalf Of
> LindaBlossom
> Sent: Monday, December 01, 2003 9:20 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: Axner response to "Frema or Axner"
>
> Glad to hear this. I was disappointed to hear that
> Dell computers are
> all
> made overseas. I don't want to be protectionist
> but I am getting irate
> about all of our offshore companies that take the
> jobs and the taxes and
> expect us to support them as well as the loopholes
> in Nafta that make
> competition impossible. Three cheers for Howard
> for this.
>
> Linda
> Ithaca, NY
>

-----------------------------




Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75

Http://www.mypots.com
Home of "The Potters Portal"
Over 2300 Pottery Related Links!
Updated frequently

My work can also be seen on:
The World Crafts Council International Site: http://www.wccwis.gr
The World Crafts Council Belgium Site: http://wcc-bf.org (English Pages)
EasyCraft: http://www.easycraft.org

"To announce that there must be no criticism of the president, or that
we are to stand by the president, right or wrong, is not only
unpatriotic and servile, but is morally treasonable to the American
public." --U.S. President (and Nobel Peace Prize winner) Theodore
Roosevelt.

Lois Ruben Aronow on tue 16 dec 03


> >> Dell computers are not all made overseas. All of our desktops are =
made
>right here in Texas. In fact, I believe that we are the only major
>computer manufacturer that still manufactures computers in the US--I
>believe that the other major manufacturers even have their desktops
>manufactured in Asia.=20

My Dell desktop came with a big "made in indonesia" stamped on it. =20
They are also notorious for off-shoring both their tech and customer
service. =20

************
Lois Ruben Aronow

www.loisaronow.com
Modern Porcelain and Tableware

The Tattoo is back!

Earl Brunner on tue 16 dec 03


I think if you open ANY computer case and read the parts inside it will
be very multi-national. I think what my son was saying was that they
assemble the desktop models in Texas. When you order from Dell, you can
customize your machine, they finish putting it together at that time.
I've installed a number of hard drives over the last couple of years and
NONE of them where made in the U.S.

Dell certainly isn't any worse than any other major computer company in
that regard, just curious why they are being singled out?

-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Lois Ruben
Aronow
Sent: Tuesday, December 16, 2003 3:13 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject:

> >> Dell computers are not all made overseas. All of our desktops are
made
>right here in Texas. In fact, I believe that we are the only major
>computer manufacturer that still manufactures computers in the US--I
>believe that the other major manufacturers even have their desktops
>manufactured in Asia.

My Dell desktop came with a big "made in indonesia" stamped on it.
They are also notorious for off-shoring both their tech and customer
service.

************
Lois Ruben Aronow

www.loisaronow.com
Modern Porcelain and Tableware

The Tattoo is back!

Lois Ruben Aronow on tue 16 dec 03


On Tue, 16 Dec 2003 07:26:13 -0800, you wrote:

>I think if you open ANY computer case and read the parts inside it will
>be very multi-national. I think what my son was saying was that they
>assemble the desktop models in Texas. When you order from Dell, you can
>customize your machine, they finish putting it together at that time.
>I've installed a number of hard drives over the last couple of years and
>NONE of them where made in the U.S.
>
>Dell certainly isn't any worse than any other major computer company in
>that regard, just curious why they are being singled out?
>
No - on the cardboard box my computer came in it said "Made in
Indonesia". =20

They are not being singled out - i was just responding to the thought
of Dell computers being "totally" made in the USA, which they are not.
I thought this thread was about off-shoring of labor. Sorry.

I own 2 dell computers and have no problems with either of them. And
the nice people in Bangalore India help me when I do. ;-)

************
Lois Ruben Aronow

www.loisaronow.com
Modern Porcelain and Tableware

The Tattoo is back!

daniel on wed 24 dec 03


Hi All,

What follows is a post I've been tossing around my head for a few days. Its
time it got out for walk. Be aware its a little long.

I have been watching the posts on art vs craft, being choked up over pots
and have been tossing this stuff over in my mind. David McBeth's post also
interested me. Consider this a response in part to that request, from a
person who does make some functional ware. But this also attempts to touch
on a number of the points raised or hinted at by the other threads. I have
been interested in the place of art in human existence for some time. This
is perhaps the first attempt to present to any group of people I've never
met, what I think. I'm pretty new to this list but I like it. You can be a
rambunctuous bunch at times but its fun, informative and for some curious
reason genuinely encouraging. Also, note I am a part time potter and full
time geek. Am I an artist ? on good days maybe, a craftsman ? ditto. Mostly
I get muddy and have a lot of fun doing it.

First let me say that "art will save the soul of man". I believe this
statement is the basis of the value of art.

The art vs craft argument is somewhat difficult for me to follow as I'm not
art critically trained. I look at the issue this way. Calling it art is no
excuse for shoddy work or for not doing any work. Being an artist,
craftsman, or artist craftsman is hard, really hard. The beautiful simple
stroke of a master's brush is immediately discernible from that of the
hamfisted efforts I myself make for example. That is not to say that art
must be neatly rounded at the edges, nor that one cannot make "rough" art
that is not of value or well executed, or that one must have a high level of
polish in a piece. (I know this may get arguments and much will come from my
use of words in one way rather than another. Language is a difficult medium.
In some ways clay is simpler.) It is possible to see in pieces that look
"rough" that they are executed by a craftsman of considerable skill, if this
is the case.

In respect of finish much may be said but in the end much comes down to
taste and one's own aesthetic. One can look at a piece and realise that
the "finish" it has is that of a rough slab that has been woodfired rather
than that of a French-polished table. Both are finished pieces of high
quality. Back to the point.

What is the value of hand-made over machine made ? why does anyone care ?

David McBeth asked this question or something akin to it in his post.
This is my response.

I do use some hand-made mugs and some hand made plates. I would like to use
more but I have yet to make some I like. Each piece of hand-made work
contains in my view some of the maker. For many, this means a person who at
the time the piece is made is doing what they love and what they care
about deeply. The piece is in some ways an example of the best of that
person. When a piece is made carelessly it is reflected in it. Just as water
impresses itself on the land in a river, so the soul of a potter is
impressed on the clay through the hands. Thus when one drinks from a
hand-made mug one drinks from a vessel imprinted with the loving hand. I
believe that for this reason that children should be exposed to such things
as much as possible too. I do not consider that the possibility that a child
might break a beautiful pot by carelessness or accident is reason to subject
them to lower quality massed produce items. They will learn due care for
things worth the care. The massed produced item is not made purely from
love. It is often made from the pressure of profit. It is desperately thin.
It is light weight. It is perfect. Where is the warmth of a little weight
and the humanity of a little irregularity - where is the mark of ourselves ?
Gone, almost all gone.

In hand-made work we try with each to reach perfection however we define
that. And for each of us it is different. This seems to be the definition of
fine craftsmanship - the skill acquired over time to achieve the
unachieveable. But in the end it is the failure to achieve the machine made
perfect circle or the industrial mirror finish that gives the piece the one
thing we really crave - life!

An interesting observation was made to me about emotional content in pieces
of one potter over another, the other day. Both are very very good potters.
The observation was that one potter's work had greater emotional content
than the other's. It is worth remembering this dual aspect in work. A
fantastic technical feat with a pot may not appeal to the soul as strongly
as the simple everyday beauty of a less prodigious piece.

There was a thread on getting choked up over a pot and many responded with
similar things. Much it seems may lead a person to weep when the emotional
impact of something is great. I remember seeing sunset colours around
Canberra one evening, beautiful turquoise greens. I'd never seen it like
that and never have again. Fantastic. I have been stunned when throwing on
rare occassions when the clay achieves a form that is just right. You're
struggling with a piece, a form you've struggled with before, perhaps many
times, and then suddenly there it is. Wonderful. We know so little about
ourselves and what we are capable of. Suddenly after years of training one
is given a glimpse of the possibilities. Why would one not cry ? Other
direct connections to pieces such as that described by the originator of
that thread show us things that we can only over time come to understand.
Many such things are deeply personal and would not touch everyone the same
way. But we must I feel develop an ever greater sense of beauty, a sense of
emotional content in art, in our soul. By this I mean that one must develop
a sensitivity to this as one must develop other faculties. As potters we
develop aspects of this over time. Some start with a greater capacity,
others struggle with it. We are, afterall, human.

When one sees art the soul responds. It is possible to look at a piece and
its beauty speaks directly to you. Such experiences I believe educate the
soul. One of the great problems of mass production is the deadening of the
sense of beauty, the sense of the real and the artificial. Such things in
modern life are under constant assault. There have been complaints on this
list about customers not wishing to pay so much for a pot. Assuming the pot
is well made and price is not exhorbitant one may say this. People have had
their understanding of the value of the handmade destroyed by mass
production, in some measure. I see that there is a need to promote the hand
made to customers as far greater than the mass produced. All the senses will
benefit. Was it Chanel who said that "a thing must not only be useful but it
should be beautiful" ? I misquote no doubt and perhaps misattribute but the
point itself is valid.

I believe that art in its highest form raises humanity. Just as television
in its terrible insidious background way confuses the real and the imagined
and depletes the imagination and much more besides, so the beautiful
handmade bowl used everyday enriches the soul and the sense of life.

Thanx for reading.

Merry Christmas.

D

elark1@VERIZON.NET on wed 31 dec 03


happy new year to clayart!
i am off to phoenix, arizona for a few days beginning jan.6 and i am hoping
that i will have some spare time. i would like to put my free time to good
use. is there any special pottery related things for me to see within the city?
any good galleries or museums?
thanks,
eleanor arkowitz in new hampshire

L. P. Skeen on wed 31 dec 03


Eleanor, our very own Mishy Lowe lives either in Phoenix or Tucson, I can't
remember which. You can email her at mishlowe@amug.org
L
----- Original Message -----
From:

> i am off to phoenix, arizona for a few days beginning jan.6

will hershey on wed 31 dec 03


Eleanor - You should absolutely check out the Ceramic Research Center
at ASU in Tempe. It's free.
There are also some nice galleries in old town Scottsdale, on Marshall
Street - Gallery Materia, for one
always has some great ceramic work.

BTW, I lived in Peterborough NH for about 1 year - it's a great area.

Have fun,

Will

On Wednesday, December 31, 2003, at 10:49 AM, elark1@VERIZON.NET wrote:

> happy new year to clayart!
> i am off to phoenix, arizona for a few days beginning jan.6 and i am
> hoping
> that i will have some spare time. i would like to put my free time to
> good
> use. is there any special pottery related things for me to see within
> the city?
> any good galleries or museums?
> thanks,
> eleanor arkowitz in new hampshire
>
> _______________________________________________________________________
> _______
> 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.
>

Jeff Weiland on mon 12 jan 04


I not exactly sure what you are shooting for but one of my favorite =
children's books is "The Art Lesson" by Tomie dePaola. It is a great =
read for both young and old alike. The ISBN number is 0698115724 and =
is published by Putnam Books. It deals with drawing and painting =
specifically but the creative energy applies to all media and =
disciplines. I am guessing that it is written on about a second grade =
level. Hope that helps with your search.

Jeff Weiland
409 Blaine Street
Knightstown, Indiana 46148
765-345-202

Russel Fouts on fri 16 jan 04


>> I still get marks on my face! I never do glaze mixing right before I go
grocery shopping! <<

Comments about lines on faces reminded me of Enzo with his CPAP. Then I
thought,"hey! maybe I could use in the studio as a respirator!"

Russel, practicing dangerous free association in rainy Belgium. ;-)



Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75

Http://www.mypots.com
Home of "The Potters Portal"
Over 2300 Pottery Related Links!
Updated frequently

My work can also be seen on:
The World Crafts Council International Site: http://www.wccwis.gr
The World Crafts Council Belgium Site: http://wcc-bf.org (English Pages)
EasyCraft: http://www.easycraft.org

"To announce that there must be no criticism of the president, or that
we are to stand by the president, right or wrong, is not only
unpatriotic and servile, but is morally treasonable to the American
public." --U.S. President (and Nobel Peace Prize winner) Theodore
Roosevelt.

Norman Aufrichtig on tue 20 jan 04


i sent an earlier message, but it wasn't posted on the list for some =
reason, just as well, as i gave the wrong model number for the printer.
i just bought a Lexmark X1150. it prints copies scans and even works as =
a
fax.. the ink is outrageously expensive but i like to refill my =
cartages. i
checked with the people i buy my ink from and they sell ink for this
machine. the printer costs $89.00 it works great, how easy it will be to
refill, well, i will know soon enough.
norman in taos where it snowed today

mlkrakowski@citlink.net on sat 24 jan 04


Message from Barbara Cowles:

"... I thought you might want to be informed. Lili Wildenhain died
January 9, 2004 at St.John's Home in Rochester [NY]. She would have
been 85 years old on January 15th.

Her son...is planning a luncheon in her memory February 7 in
Rochester... I will give you more information as soon as I get it."

Lili, not a potter herself, was the widow of Frans Wildenhain.



Lili Krakowski

Joyce Lee on mon 26 jan 04


ok
----- Original Message -----
From: "mlkrakowski@citlink.net"
To:
Sent: Saturday, January 24, 2004 10:03 AM


> Message from Barbara Cowles:
>
> "... I thought you might want to be informed. Lili Wildenhain died
> January 9, 2004 at St.John's Home in Rochester [NY]. She would have
> been 85 years old on January 15th.
>
> Her son...is planning a luncheon in her memory February 7 in
> Rochester... I will give you more information as soon as I get it."
>
> Lili, not a potter herself, was the widow of Frans Wildenhain.
>
>
>
> Lili Krakowski
>
>
____________________________________________________________________________
__
> 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.

ronnie beezer on mon 26 jan 04


I just bought some green glaze and after firing it, it looks completely different than the color chip in the catalog, I don't like it at all and I would like to know if I can add some green mason stain to the remaining batch of glaze to change the color.
I also need some help on the best way to fire a very tall and large piece that will not fit vertically in my kiln. If I remove the bottom shelf I will have 1/4" of clearance to the lid. Is it possible to fire it standing on the bottom of the kiln or leaning and supporting it somehow, or am I better off placing it on stilts laying down on a shelf. Are the chances of it warping greater if it's placed on stilts or leaning it?
Ronnie


---------------------------------
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william schran on tue 27 jan 04


Ronnie wrote:>I just bought some green glaze and after firing it, it
looks completely different than the color chip in the catalog, I
don't like it at all..... I also need some help on the best way to
fire a very tall and large piece that will not fit vertically in my
kiln. If I remove the bottom shelf I will have 1/4" of clearance to
the lid. Is it possible to fire it standing on the bottom of the kiln
or leaning and supporting it somehow, or am I better off placing it
on stilts laying down on a shelf.<

We'll need some more information about the glaze - what it is
(glossy/mat, opqaue/transparent), what cone it's supposed to be fired
to, what cone you fired it to (witness cone on the kiln shelf - if
you fired by kiln sitter or pyrometer you may never have reached
proper firing temperature), how you applied the glaze, what kind of
clay you used.

Regarding firing the tall work - next time better planning - yes, you
can fire on the floor of the kiln, though I recommend against it. I
you go for it, make sure you coat the floor with kiln wash or a dry
layer of alumina. As for laying side ways and firing on stilts -
depends on firing temperature and if you don't mind the stilt marks.

Bill

Clyde Edward Cooper on tue 27 jan 04


Dear Reader;
=20
I have been looking for a recipe for a cone 10 glaze called Rousseau's
Madness, which is appears to be a flat green/olive green with brown
splotches in lines and/or circles, the circles sometime appear with a
Hallow affect. =20
=20
Ed Cooper
AS/400 Programmer/Analyst
Hitch Enterprises, Inc
309 Northridge Circle
Guymon, OK 73942
Phone: (580) 338-8575 Ext. 363



=20
=20

Mel Jacobson on wed 4 feb 04


The message cannot be represented in 7-bit ASCII encoding and has been sent as a binary attachment.

Mildred Herot on thu 5 feb 04


Dear Lili: The amount of messages one receives each day is quite
overwhelming and the delete button gets quite a workout. I must admit that
I never delete your comments until I have read them in their entirety.
You're quite a lady. Mildred Herot
----- Original Message -----
From: "lili krakowski"
To:
Sent: Thursday, February 05, 2004 6:49 PM
Subject: Re: Leach, Hamada tradition


If tradition is the river, then fame, fad, fashion are the ducks that swim
on it.

Leach was a fabulous self promoter, and he took Hamada along in his train.
Leach was lucky to have sponsors like the Elmhirsts, and to belong to just
the right caste in a very very class-conscious society. His book hit the
stores and the schools (here, anyway) at just then right time when not only
were the Brits our best friends (as they still are) but moved to the same
cultural music. At the time there was no book like it.

It was a strange time because here (and I know this from having been there!)
veterans of WWII, people who has suffered immensely at the hands of the
Japanese were studying and imitating Japanese pottery. I still do not know
what to make of it all. And I have thought on it for over 50 years.

Because--oh yes--the $ was riding high and the GI Bill did a lot for one in
Japan as well as in England many on the GI bill went to study in Japan, and
GB, and on their own plunged into that tradition.

Meanwhile the US tradition and the British were supplemented by Hitler
refugees-- not only the Abers, who were not in clay, but the Natzlers,
Marguerite--and later Frans-- Wildenhain, and in GB, Lucie Rie and Hans
Coper--not to mention Ruth Duckworth.
They were however quiet folk, and unlike Leach not in the right social
milieu.

NONE OF THIS MINI-RANT IS ADDRESSED TO HOW I FEEL ABOUT THEIR WORK. This is
a social observation that has to do only with fame, fortune and tradition.

But the traditions that were in place, the British, American. Scandinavian,
Dutch, French, German, Italian, Japanese inter al went on, with all these
ducks riding on them. And so many Americans--Voulkos, Soldner-- have been
the ducklings--

I think the tradition of the Arts & Crafts Movement and its Continental and
US equivalents have become dilluted. The specific values that a craftsman
was an intellectual who lived the simplest life style so that he could look
real workmen in the eye, and have a beer with them at night, is gone. More
"blue collar" folk today can afford a Jacuzzi than potters can!

I think the tradition of the Leach and Hamada time has gone. In part
because the economy has changed, the environmental problems have changed.
The technology has changed. I think the Rie and Coper and WIldenhain and
Natzler tradition continue but they too have changed.

It has been pointed out, though I don't remember by whom, that we all are
dropped at birth into the river of history. Same with tradition. It lives
on IN US and so Mel's fortunate students get the influences he was shaped by
as lived and expressed by Mel.
That is why the Talmud so often says: Rabbi So-and-So says in the name of
his Master, Rabbi X--- because we all should acknowledge the Masters whose
voice continues through us.

I think the clay river flows on. I have no idea where its course will take
it. I wish all the ducks and ducklings well.

Quack, quack, quack. Lili




Be of good courage

____________________________________________________________________________
__
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.

Llewellyn Kouba on fri 6 feb 04


Messag : <5.1.0.14.0.20040206105116.01d8bbd0@mail.assumptionabbey.com>
X-Sender: llewellyn@mail.assumptionabbey.com
X-Mailer: QUALCOMM Windows Eudora Version 5.1
Date: Fri, 06 Feb 2004 10:56:16 -0700
To: CLAYART
From: Llewellyn Kouba
Subject: Nice glaze but tends to run
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed
Message-ID: <95627ACE6679@assumptionabbey.com>

Readers:

I have been using this glaze for some time. I forget its source or the name
but tends to run.
I believe someone earlier told me to use calcined Kaolin so I might give
that a try and see if it will stabilize better? For my cone
(9-10)reduc. Goes to subtle purples and cremes. Especially nice for
porcelain. any hints as to how to stop a nice glaze from the runs :-(

Fieldspar (potash) 50.0
Kaolin E\PK 20.0
Dolomite 16.0
Whiting 8.0
Wollastonite 6.0
Tin oxide 5.0
Bone Ash 8.0
Red Iron Oxide 1.0
Rutile 1.5

Llewellyn
Abbey Pottery

wayneinkeywest on mon 9 feb 04


Henri:
Please e-mail me off-list the code on that thyristor.
I have sources for out of date product, and may be able to find a
replacement.
Wayne Seidl

----- Original Message -----
From: "1debock" <1debock@FREEMAIL.NL>
To:
Sent: Sunday, February 08, 2004 6:42 PM


> Hello, I am a dutch theatre engineer who really wants to be a
potter,
> I'm trying to build a shop.I have a propaine fired kiln and a 1972
> Podmore wheel which unfortunatly has gone dead.I took out the
motor and
> speed control to have a woble in the axes fixed. After I had put
the motor
> back in, the electronics shortcuited.It turned out that the
> diodes in the rectifier bridge where broken. A colleage of mine
> repaired that, I hate the handling of tiny electronical components
my
> hands are too big.The motor still didn't work.
snip

1debock on mon 9 feb 04


Hello, I am a dutch theatre engineer who really wants to be a potter,
I'm trying to build a shop.I have a propaine fired kiln and a 1972
Podmore wheel which unfortunatly has gone dead.I took out the motor and
speed control to have a woble in the axes fixed. After I had put the motor
back in, the electronics shortcuited.It turned out that the
diodes in the rectifier bridge where broken. A colleage of mine
repaired that, I hate the handling of tiny electronical components my
hands are too big.The motor still didn't work.We figured out that the
thyristor must be broken also. A thyristor with the same 30 year old code I
could find on the internet, but I had to buy 10 so that would cost about
300$.I replaced the thyristor with one that was approx. similar in voltage
and caracteristics. Then the nightmare began.The motor switched on and when
I pushed down the speed control it stutters and backfires.I called a guy
from an electronic company which sometimes works for our theatre,he had a
look at it and invited me to bring the motor and speedcontrol to him at his
home where he has an elecronic workshop. I arrived at 20:00 pm Klaas-Pieter
thought he could fix it in about half an hour.He tested the electronical
components on the circuitboard with his scope. At 0:00 pm he had to admit
defeat to the old Podmore.I left him somewhat frustrated, as I open my
cardoor he yells that when I didn't get the board fixed, I had to bring it
back and he would make a drawing of the board and mail it to an electronics
forum on the internet.Klaas-Pieter's theory is that a slight difference in
caracteristics of the new thyristor changed the caracteristics of
current and voltage on several components.The triac, the capacitor and the
zener diode have a part in firing the thyristor which in its turn
regulates the current to the 220 V DC motor.The triac I had replaced
and put back because it didn't effect the stuttering and the backfiring.
Klaas Pieter discovered that the capacitor I had replaced,just to be save
didn't have the same caracteristics as the old
one(1972 capacitor colour code is n't easy to read) The zener I had
replaced but Klaas-Pieter doubts that the zener I got from the shop is
a good translation from the old zener code.So next week I am going to
replace that one and hope that does the trick for I'd rather be
practising throwing pots.So little time so much to do.Suggestions on
the subject are most welkom. Greetings, Henri de Bock

1debock@freemail.nl

dan@LESLIECERAMICS.COM on wed 11 feb 04


This email address does not exist. Please check your spelling. If you would
like to reach Leslie Ceramic Supply Co., Inc., we can be reached by phone at
(510) 524-7363.

Thank you.

Peggy on thu 19 feb 04


Hello,

I have searched through the entire archives and cannot find a recipes for a bright glossy yellow. This seems to be a common question going through the archives, can anyone help me out here. I am looking for a recipes for cone 6 oxidation.

thanks
Peggy


---------------------------------
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Yahoo! SiteBuilder - Free web site building tool. Try it!

Donna Hoff-Grambau on sun 22 feb 04


I am in the final stages of putting a studio together - painting the
walls and the cement floor. Is there a type of paint for the walls in
the section that houses the kilns that is better than latex??? Any
recommendations for painting the cement floor?



"Too often we underestimate the power of a touch, a smile, a kind word,
a listening ear, an honest compliment, or the smallest act of caring,
all of which have the potential to turn a life around." --Leo Buscaglia

Donna Hoff-Grambau
Two Rivers Paper & Pottery

John Rodgers on sun 22 feb 04


I use hardyboard (concrete backer board) on the walls up to four feet
from the floor. No paint. Just concrete gray.

I would suggest for the floors, using a self leveling epoxy paint. It's
pricey, but will be with you for a while, and will give you a good
surface for dust control..

Regards,

John Rodgers
Chelsea, AL

Donna Hoff-Grambau wrote:

>I am in the final stages of putting a studio together - painting the
>walls and the cement floor. Is there a type of paint for the walls in
>the section that houses the kilns that is better than latex??? Any
>recommendations for painting the cement floor?
>
>
>
>"Too often we underestimate the power of a touch, a smile, a kind word,
>a listening ear, an honest compliment, or the smallest act of caring,
>all of which have the potential to turn a life around." --Leo Buscaglia
>
> Donna Hoff-Grambau
>Two Rivers Paper & Pottery
>
>______________________________________________________________________________
>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.
>
>
>

Nancy Udell on tue 24 feb 04


Date: Sun, 22 Feb 2004 12:33:00 -0800
> From: logan johnson
> Subject: Re: Taking the plunge
>

I had been struggling with this for a
long time when I finally just said to heck with it & sure enough when I
stopped trying SO hard to find it There it was starting to show up in
my
work! At least according to people who have been around me from the
begining
of my ceramics life. Best of luck with your work! Hope I said something
that
helped! L.J.

Logan, thanks. I didn't email you at the time, but did also look at
your site when you launched it earlier this winter. I love the fact
that your husband made it for you. I love seeing men promoting women
potters. And the site it great. Is he available to fix mine?. :~> I
know what you mean about "the heck with it" and have taken that view up
til now. It's the idea of starting to sell work that has me "panicked"
in that department.. Someone else wrote and said that people tell her
that they like her booth because they will always find something
different there. I wonder whether store owners will feel the same, but
all I can do is try. Also not sure how I'll feel about making the same
thing again (if asked - I should be so lucky) so, time will tell.

Cheers,

nancy

Jennifer Rehkopf on thu 4 mar 04


I just set up a studio in my basement, and am worried about pouring clay water down the drain for fear of plugging up the pipes. Can I dispose of the clay in my yard, or will that be harmful? I do not have well water, and have a small yard. Also, what is the best way to separate the slip from the water? I tried a coffee filter, but the clay was too heavy, and just broke the paper. Any suggestions for me? Oh, I work with a porcelain body if that makes any difference. Thanks!

Jennifer Rehkopf
Wyncote, PA



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Lowell Barron on thu 1 apr 04


Hi, I am wondering if there are any potters in the Nelson, BC area on
Clayart. We are visiting April 14 - 28 and I will be in Pottery withdrawal
and would like to find a "fix". A workshop would be great but just visiting
a studio would be nice.

Nelson is a really neat place with a lot of creative people and I am sure
there are potters around that area if I can just find them.

Thanks as always, Lowell

Aaron Norris on wed 7 apr 04


I am looking for any information relating to a Korean kick wheel. Ideally I
would like any information that would help me build one (i.e. dimensions,
materials). Or if nothing else, where I could buy one?I've searched on the
net for info, but all I could come up with was a picture of one. Thanks.

-Aaron J. Norris

_________________________________________________________________
Check out MSN PC Safety & Security to help ensure your PC is protected and
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Stephani Stephenson on fri 30 apr 04


Hello CLAYARTERS
sticking my hands and fingers outside of the studio to type the
following
invitation , which I am posting on behalf of Ellen Nadeau at Hidden
Valley Artist Retreat

though the raku workshop is 2 days MAy 1 and 15
Ellen has indicated that visitors , as well as students , are welcome
to visit on May 15th.
Though please contact her for specifics
and RSVP to the following email address : retreat@artfolio.com
or visit the HIdden Valley site at http://www.artfolio.com

Ellen wrote:

I want to invite you to attend my Raku Workshop May 15th. The workshop
is one of several events we are doing in the next few months as our
Open House to invite all of you to get acquainted with the Hidden
Valley Artist Retreat! On May 15th we will be firing Raku pottery and
have a group of potters coming to fire their ware and we have a big
picnic and gallery exhibit planned for 6PM!

While you're here, take a tour of our studios, our beautiful gardens,
and sit under the shade of a big oak tree or take a dip in the pool!

If you would like more specifics about the workshop and would like to
attend as a student, just let me know!
If you would like to RSVP that you will join us for awhile on either
day, then just e-mail me back.
at retreat@artfolio.com

Looking forward to seeing some of you at Hidden Valley Artist Retreat!

Warm regards!
Ellen Nadeau




Stephani Stephenson
steph@revivaltileworks.com
http://www.revivaltileworks.com
ph/fax 760-730-9141

Jon Whitney on fri 21 may 04


Hello
I am looking for some used venturi style burners to fire a 53 cuft. downdraft. I want to build in late summer and do not want to pay for new burners. Any leads would be swell
Jon whitney (313)574-6880 or barb.ruble@comcast.net

Susan Fox-Hirschmann on thu 10 jun 04


Clear Silicon works a lot better for gold leaf I think. I have also used
(horror of horror) a hot glue gun but think the former is a better choice. I am
surprised that tacky glue, which is what i think you used? is still tacky
after a few days?
Does anyone remember if Curtis Benzle in his article in the Feb issue of
Ceramics Monthly, mentioned the glue medium he uses for gold leaf?
Susan
Annandale, VA

Susan Fox Hirschmann
Art Pottery
please visit http://www.silverhawk.com/ex99/hirschmann

Vera Romoda on thu 10 jun 04


I need some help for applying real gold leaf (23 karat) on ceramics. I =
understand that I need some sizing ( glue sort of thing),. I tried the =
glue for the Dutch (composite, fake)gold, than applied the gold =
leaf....Than it is still sticky after a month Help
Vera

Vera Romoda on fri 11 jun 04


A friend of mine moving to Vienna (Austria) from Toronto Canada .She =
does not speak German,but does pottery, Anybody knows somebody there who =
pots and speak English to? Vera

Wes Rolley on tue 29 jun 04


In a recent posting it was suggested that Voulkos - Arneson - Price and
Mason were modern masters of ceramic art. I have recently seen three of
them on exhibit in San Francisco.

Last Friday, I visited the San Francisco Museum of Modern Art. I had gone
because they have just installed 8 recently acquired works of Frank Stella
that I wanted to see. However, my wife and I always walk through the area
devoted to the permanent collection, since it is always changing.

In the permanent exhibition area there were 5 large ceramic works, three by
Arneson, one Voulkos and 1 by Mason. This is an unusually large and
welcome representation of ceramic sculpture, in that the only other
sculpture on display were several Matisse bronzes, Brancusci's 'White
Negress", a small welded steel work by Julio Gonzales and Duchamp's (R.
Mutt's) famous Urinal. However, I am not sure that the ceramic world was
well served by the selection.

For all of it's size, the Mason work was formally weak in comparison to the
smaller Gonzales welded metal piece. Similarly the Voulkos piece was not
his best in that the energy obviously required to create it was not there
in the final form. Almost any one of the "stacks" that can be viewed at
http://www.voulkos.com would have been a better choice.

Of the Arneson's, one stood out, a large self-image with bandana and long
braided hair.

I think that Lee Love was right about time providing the distance required
for judging. It might be useful to play a mind game. Most have at least
seen pictures of the large army of earthenware soldiers unearthed in China
near the tomb of Emperor Qin Shihuangdi. Imagine that we are in an equally
distant time and someone discovered the collected works of Robert
Arneson. How might they consider the artist and his time, divorced from
the personal narrative that is (I feel) necessary for an understanding of
what Arneson has done?

I would like to challenge some museum to present a chronological exhibit of
Arneson's work and to allow the viewer to read the narrative of his
life. No one would be allowed to purchase the exhibition catalog until
leaving the exhibit.

"...I strongly believe that craftsmanship is important only to the extent
that it supports the spiritual content of the work. Form, emphasized by
surface quality must, above all, remain a very human expression. And the
quality of a piece, at the end, depends on the human emotion it expresses
or inspires." - Harrison Macintosh

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

Nancy Udell on mon 16 aug 04


Hi Eleanor, A you firing porcelain? A trick I learned from someone on
clayart that works really well: Dust the shelves with Alumina Hydrate
(like you would flour a breadboard). Pots will not stick and it washes
right off after the firing. Might try putting some (a teaspoon per half
cup) alumina hydrate in the wax too.

Cheers,
Nancy

Date: Sun, 15 Aug 2004 15:35:08 -0400
From: Eleanor
Subject: kiln shelf problem

Dear Clayart,

This topic has been done to death in the Archives but I can't find a
reference to my particular problem. I'm puzzled; I hope you can help.

I'm glaze firing in a Skutt 1027KM at ^6.

When I remove some of the fired pots, a tiny, thin sliver from the
footring breaks off and sticks to the shelf.

Russel Fouts on fri 27 aug 04


Snail,

>> Talk to your model while working... having your face completely covered
can be freaky, and induce claustrophobia in people who never though they
would feel it. Talking and keeping ontact seems to help. Give them a
play-by-play desctiption of whay you're doing; it makes the process seem
less infinite. <<

And try to avoid words like OOPS! ;-)

Russel (Who shudders at the thought of having his face completely covered
with plaster!)



Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75

Http://www.mypots.com
Home of "The Potters Portal"
Over 3000 Pottery Related Links!
Updated frequently

My work can also be seen on:
The World Crafts Council Belgium Site http://wcc-bf.org:
Members English Pages: http://wcc-bf.org/artistes/ukrussel_fouts.htm
EasyCraft: http://www.easycraft.org

"To announce that there must be no criticism of the president, or that
we are to stand by the president, right or wrong, is not only
unpatriotic and servile, but is morally treasonable to the American
public." --U.S. President (and Nobel Peace Prize winner) Theodore
Roosevelt.

Bob Hamm on fri 27 aug 04


Hi,

This is just a quick note to let you know I have a new email address.

Please delete my old address HYPERLINK
"mailto:bobhamm@look.ca"bobhamm@look.ca from your system
and replace it with HYPERLINK
"mailto:bobhamm@telus.net"bobhamm@telus.net

My painting web pages can be viewed at HYPERLINK
"http://www.bobhamm-art.com"www.bobhamm-art.com
My pottery web pages can be viewed at HYPERLINK
"http://www.bobhamm-art.com/pottery"www.bobhamm-art.com/pottery

Best regards

Bob Hamm

---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (http://www.grisoft.com).
Version: 6.0.744 / Virus Database: 496 - Release Date: 8/24/2004

Llewellyn Kouba on mon 4 oct 04


Messag?
+: <5.1.0.14.0.20041004182500.021246a8@mail.assumptionabbey.com>
X-Sender: llewellyn@mail.assumptionabbey.com
X-Mailer: QUALCOMM Windows Eudora Version 5.1
Date: Mon, 04 Oct 2004 18:27:20 -0600
To: CLAYART
From: Llewellyn Kouba
Subject: Search for cone 5-8 mid-range Porc. body
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed
Message-ID: <730D9666859@assumptionabbey.com>

Does anyone have a good say cone 5-8 Porcelain (as pure Kaolin as possible)
body they would like to share. I am currently doing experiments with the
Polar Porcelain which I like very much but would just as soon have a body
that is comparable that I can mix up here. Thanks

Llewellyn Kouba
Abbey Pottery

jeremy Kaiser on fri 8 oct 04


Hey everybody, i tried to send a link earlier of my work from the uwf student show earlier this year, but the it didn't go through, so i'm going to try it this way

here is the link to my yahoo photo album

http://pg.photos.yahoo.com/ph/the_crazy_potter/album?.dir=/ff11&.src=ph&.tok=phheV3BBcfAs.W6i




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Stephani Stephenson on sun 10 oct 04


Tomorrow is a big day in the studio
the first load of clay arrives
for the big paver project
Jon Pacini and Laguna have really
come through, helping me get out of the starting gates with a custom
clay body
colorants in the clay, this has been an adventure already and
we won't start the bulk of the work till tomorrow.
also on the truck is a used/new (new for me) mixer, courtesy
of a friend in LA who sold it to me for just what he paid for it
so I will also be mixing small batches of clay
cook's choice of the day!
Pretty soon the studio will look
like the easter bunny's workshop, with
multicolor tiles
spread out on every available surface
and probably some not so available too

If you want to know what a tilemaker's anxiety dream looks like
it was the one I had a couple of nights ago
where I went to Kansas
(after looking up Soldner mixers on the internet and seeing that they
are now made in Kansas)
As soon as I arrived, a house fell out of the sky
landed on two people near me , but not me
so I busied myself with helping them and calling 911
(they were very courteous by the way and kept wanting to make small talk
even thought the house was laying on them..
one of them just wanted me to pet them, like a cat.....those Kansans )
I proceeded to where the mixers were made
there was a tour going on
I decided to test a mixer by getting into the mixer
the cement barrel began spinning around very fast
(also there didn't seem to be a blade, , OK so dream mixers are
different)
it started to go off center a bit, and a great speed
I remember thinking
hmm, this must be one of the ones with the belt drive instead of the
chain drive...
so I lifted the lid, before the thing went into orbit,
hopped out , we flipped it over
(flipping over hundreds of pounds, very easy in a dream)
and made a few adjustments....like tightening a fan belt
just another day in the life......
(i guess good maintenance is the key, hee hee)


Stephani Stephenson
steph@revivaltileworks.com
http://www.revivaltileworks.com

mel jacobson on sun 10 oct 04


delete clayart bjerkan@fcs.net

mel jacobson/minnetonka/minnesota/usa
http://www.pclink.com/melpots
http://www.rid-a-tick.com

Ben on wed 27 oct 04


Dennis wrote: =20
Gary and Vince,=20
I have actually used Portland cement as a high fire glaze on the=20
outside of pots. It looks a bit like and ash glaze.=20
Dennis Tobin
Average Portland Cement:(lime and cement resources of Missouri 1907)
Silica 21.8%
Alumina 7.1%
Ferric Oxide(Fe2O3) 3.1%
Lime(CaO) 62.3%
Magnesia(MgO) 1.9%
Sulphur 1.3%
Alkalis 1.1%

Curious what they're referring to as alkalis in this case (Solubles?). =
I don't think much has changed in portland formulation. With insight =
this gives a unity formula of:=20
=20
CaO 0.96* 64.76 69.00
MgO 0.04* 1.98 2.93
Al2O3 0.06 7.38 4.33
SiO2 0.31 22.66 22.54
Fe2O3 0.02 3.22 1.20
Si:Al: 5.21

(or so...)

Ron Roy on sun 31 oct 04


Alkalies would be KNaO and Li2O - although some may be soluble I would
guess they would be combined.

This material is more like whiting than a glaze - if it is used as a glaze
it will be highly unstable - more like something that would combine with
clay and flux the skin - something like what happens in a salt or soda
firing.

RR

>Dennis wrote:
>Gary and Vince,
>I have actually used Portland cement as a high fire glaze on the
>outside of pots. It looks a bit like and ash glaze.
>Dennis Tobin
>Average Portland Cement:(lime and cement resources of Missouri 1907)
>Silica 21.8%
>Alumina 7.1%
>Ferric Oxide(Fe2O3) 3.1%
>Lime(CaO) 62.3%
>Magnesia(MgO) 1.9%
>Sulphur 1.3%
>Alkalis 1.1%
>
>Curious what they're referring to as alkalis in this case (Solubles?). I
>don't think much has changed in portland formulation. With insight this
>gives a unity formula of:
>
> CaO 0.96* 64.76 69.00
> MgO 0.04* 1.98 2.93
> Al2O3 0.06 7.38 4.33
> SiO2 0.31 22.66 22.54
> Fe2O3 0.02 3.22 1.20
>Si:Al: 5.21
>
>(or so...)

Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513

S. Morris on fri 12 nov 04


hi to all clayarters....
I was hoping you all could help me in researching some
residency programs... I've got an BFA in ceramics, and
am currently in a post bachelors program at ISU, and
as application deadlines for next fall are approaching
I was hoping to get a few new places on my list to
apply to this year... I'm willing to move anywhere so
suggest away!

thanks,
Steph Morris,
girl from the mountains, in IL



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billie schwab on fri 19 nov 04


will be posting "pottery making supplies" for sale on ebay, this weekend,
using the exact phrase quoted along with the supply.
tia,
billie schwab

Russel Fouts on fri 19 nov 04


mel jacobson wrote:

Don't forget:
- Pansy Potters (pass me my 3/4 length throwing gloves and tiara, please)
- Proud to be Potters
- Is It My Christmas Sale Already Potters
- Diva Potters

Ru

> it is a great venue.
>
> there is such a variety, and it reminds me every day
> that there are:
>
> glaze potters
> clay potters
> firing potters
> wood potters
> salt potters
> gas potters
> electric potters
> decorative potters
> simple potters
> dumb potters
> smart potters
> left wing potters
> conservative potters
> silly potters
> crazy potters
> production potters
> home potters
> hobby potters
> serious potters
> part time potters
> very serious potters
> know it all potters
> zen potters
> sorta zen potters
> christian potters
> jewish potters
> muslim potters
> beautiful potters
> funny looking potters
> geek potters
> technical potters
> and:
> they all post to clayart
> and, most of them think the only
> way to make pots is their way.
> as it should be
> From:
> Minnetonka, Minnesota, U.S.A.
> web site: my.pclink.com/~melpots
> or try: http://www.pclink.com/melpots
> new/ http://www.rid-a-tick.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.
>
>




Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75

Http://www.mypots.com
Home of "The Potters Portal"
Over 3000 Pottery Related Links!
Updated frequently

My work can also be seen on:
The World Crafts Council Belgium Site http://wcc-bf.org:
Members English Pages: http://wcc-bf.org/artistes/ukrussel_fouts.htm
EasyCraft: http://www.easycraft.org

"To announce that there must be no criticism of the president, or that
we are to stand by the president, right or wrong, is not only
unpatriotic and servile, but is morally treasonable to the American
public." --U.S. President (and Nobel Peace Prize winner) Theodore
Roosevelt.

Jennifer Laws on thu 9 dec 04


I came upon your email address on an online search for Ron =
Meyers...wondered if you had any contact info for him (email is =
preferred), as I would love to find out how I can purchase a small cup/ =
tea bowl with a goat on it---I have a friend who loves his work, and his =
goats, for she is a Capricorn! Thanks for any help you may offer.

Jennifer Laws

Jon Brinley on tue 28 dec 04


Hello Folks in Claytown,

Been away for awhile sorting this and that. Back into=20
mischief once again. Had the good fortune over Thanksgiving
holidays to visit a relative I hadn't seen in awhile. She let me=20
carry 5 Paragon Kilns home. Getting out of the business and=20
wanted to let them go to someone who could use them(how
did she know). Well I spent time over Christmas disassembling
them(sorry Arnold). I have plans to make a gas kiln out of the=20
bricks.
Did I mention I already have 5 from a neighbor who works at a local
private school(One I will keep as a back up).

Now my question is: With all the different types of kilns around,
are there any with a gable type top/ceiling. I ask this because,
I need to do something with the lids and bottoms. Since they are
already slabs, why not incorporate them into the kiln. I could use=20
them in the walls, but thought the ceiling would be a better place.


Any thoughts would be appreciated.

Jon in Midland

Spiral Studio on thu 13 jan 05


I am building a high temperature kiln. A friend said I should look into
using Diesel Fuel to fire the kiln. Is there any reason I shouln't do this?

_________________________________________________________________
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Hank Murrow on thu 13 jan 05


On Jan 13, 2005, at 3:29 PM, Spiral Studio wrote:

> I am building a high temperature kiln. A friend said I should look
> into
> using Diesel Fuel to fire the kiln. Is there any reason I shouln't do
> this?

Dear Spiral;

No reason to eschew oil as a fuel. I studied natural draft oil burners
during my MFA period, and found that the secret of natural draft oil
burning was to create a low pressure area at the 'burner' so that the
vaporisation could take place at a lower temperature. Fired a 12 cuft
kiln to C/10+ in ten hours on 5 gallons of stove oil, which is lighter
than diesel.

Cheers, Hank
www.murrow.biz/hank

Russel Fouts on sat 15 jan 05


>> I am building a high temperature kiln. A friend said I should look
into using Diesel Fuel to fire the kiln. Is there any reason I shouln't do
this? <<

We fired with waste oil when I was in school in the late 70's. NICE. Dennis
Parks, the master of waste oil firing rates it really highly.

It might not be such a good idea to use automobile sump oil now adays
because some of the additives can be pretty nasty.

Now I hear they use left over donut oil, I hear it smells delicious!

Dennis's book is back in print again and I think available from Axners or
other places on the web, maybe even Steve Branfman has it at the Potter's
Shop (bet he does). Dennis also wrote a nice article for Studio Potter
about it about that time too.

If you happen to be in Nevada, you can visit him in Tuscarora(SP),
population about 12, if you can find it ;-)

Go for it!

Russel

-----------------------------



Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75

Http://www.mypots.com
Home of "The Potters Portal"
Over 3000 Pottery Related Links!
Updated frequently

My work can also be seen on:
The World Crafts Council Belgium Site http://wcc-bf.org:
Members English Pages: http://wcc-bf.org/artistes/ukrussel_fouts.htm
EasyCraft: http://www.easycraft.org

"To announce that there must be no criticism of the president, or that
we are to stand by the president, right or wrong, is not only
unpatriotic and servile, but is morally treasonable to the American
public." --U.S. President (and Nobel Peace Prize winner) Theodore
Roosevelt.

Randall on mon 31 jan 05


>Hi Randall,
>
>Welcome to Clayart,
>Wish I had the time to hunt for info that might be useful to you, but here's
>the best I can do right now.

Thank you Diane!

>Are you a member of The Friends of Terra Corra (I assume you are since FOTC
>"headquarters" is in NYC)?? Susan Tunick might be able to supply some data

No, though I do have a book of hers and have known of the web site
for a couple of years I guess, I had wanted to contact her long ago
but amazingly she has NO email, and even now 2 years later she still
doesn't if you can imagine. It looks like the site has just sat idle
for the last couple of years, nothing new added nothing changed so I
never joined or anything.
I don't live near NYC, I left that *ell hole some 25 years ago and glad I did!


>
>Also there is, or at least was (I can't find anything on the net more recent
>than a couple years ago) a non-profit, also based in NYC, called Restore,
>run by Jan C.K. Anderson, which runs training workshops in architectural
>restoration issues. Here's an article that gives some idea of what they're

Great thank you I'll look at that, both I had not seen.

>
>The two main outfits doing architectural terra cotta today (mostly
>restoration & reproduction work, but some new) are Boston Valley Terra Cotta
>in Orchard Park New York, and Gladding Mcbean


I know of Gladding as I have Susan's books "Terra cotta skyline" and
"Gladding Mcbean" and have seen references to it in another book I
have which has a photo of a hotel with a huge rooftop cornice with
lion heads, one of the lion heads was depicted in the book and it was
massive- like a washing machine in size. There was a story too that
one of those fell to the sidewalk not long after the hotel was built!

>
>As for working with self-hardening clay, I worked with it once and don't
>plan to again.

That's what I thought, nice idea but short on what people really want
in a product

The 300# terra cotta lion I have is pictured here along with it's history

http://www.lostnewyorkcity.com/forums/index.php?showtopic=117

It is actually a buff yellow terra cotta with the red being a matt
underglaze, I understood that the red clay had a higher shrinkage
rate than the others and that was why they did this, though maybe
strength was another issue

Another cornice lion I made a mold of is here

http://www.lostnewyorkcity.com/sculpturephotos/Plate-30-s.html
It was a rooftop parapet wall piece as well, about 150 pounds

Going bigger, a panel in red terra cotta that had a crack across the
date which was filled with red cement on the inside- that meant it
apparently cracked during firing maybe shrinking and it "tore" in the
center while being flat in the kiln, it had a 1/2" gap that was
obviously a distortion shrinkage crack. This was about 3' by 4' and
6" deep

One of the designs I want to try pressing clay is this one, fairly
simple, few undercuts, that color clay would be nice to find and you
can see it's a darker color where the top corner was broken

http://www.lostnewyorkcity.com/sculpturephotos/Plate-69-s.html

Same deal with this one

http://www.lostnewyorkcity.com/sculpturephotos/Plate-76-s.html
The top left corner was broken, but inside the break it was clear
some foreign material had been there like a pebble or clinker or air
bubble, a small semi-circular and rounded "scratch" shows in the break

Here is another one I plan to mold along with a photo of the back of
it, this is typical and as you can see the walls are quite thick, the
clay is a grey color and a little bit of glaze dripping can be seen
on the top left of the back of the cornice of it, it has a matt white
glaze and had been painted blue and then green over the years on the
building it came from, some of the green oil paint stained the piece
a little and remover wouldn't get it all out


Randall
Webdirector of "Randall's Lost New York City"
A historical photo essay of lost buildings from NYC's architectural history
http://www.lostnewyorkcity.com/

bonnie staffel on sat 12 feb 05


If you want a black signature, try black Mason Stain with added CMC to
harden it to the pot. You also have to give the oxide or stain with gum
time to dry before applying the wax.

Regards,

Bonnie Staffel
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
Charter Member Potters Council

michael on tue 1 mar 05


Hi Mildred,



All the Michelangelo is, is an Olympic S1823H w/ a Bartlett 3K instead of
a V6-CF, Basically you could probably find an Olympic S1823HE (W/ the V6-CF
for cheaper if not at east the same. I know there are many comparable
kilns, and suppliers on eBay right now selling these kilns. Might want to
check there:
http://search.ebay.com/ceramic-kiln_W0QQsofocusZbsQQsbrftogZ1QQcatrefZC6QQfr
omZR10QQsacatZ-1QQcatrefZC6QQftrtZ1QQftrvZ1QQsadisZ200QQfsopZ1QQfsooZ1 Hope
this helps.



Michael





Of the Earth Pottery & Supply

313 Buchner Ct.

Waukesha, WI 53186

1.866.510.0090 (Toll-Free)

www.potterydeals.com

~~

Gallery ~~



-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Mildred Herot
Sent: Tuesday, March 01, 2005 10:15 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Kiln purchase



The time has come for me to buy a new kiln and my choice has narrowed
down to an L&L or a Michaelangelo. I like the L&L's and have had two of
them (one used) and now have a Skutt (also purchased used) which I really
don't like too much. MY problem with the L&L is that one seems too small
and one seems too large and I know absolutely nothing about the
Michaelangelo. If anyone has some input regarding this kiln, I would be
most appreciative......Mildred Herot



____________________________________________________________________________
__

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.

Russel Fouts on mon 28 mar 05


Edo,

>> "You're in Canada now son, it's a local call". <<

I always heard that about West "God's own country" Virginia. ;-)

Russel



Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75

Http://www.mypots.com
Home of "The Potters Portal"
Over 3000 Pottery Related Links!
Updated frequently

My work can also be seen on:
The World Crafts Council Belgium Site http://wcc-bf.org:
Members English Pages: http://wcc-bf.org/artistes/ukrussel_fouts.htm
EasyCraft: http://www.easycraft.org

"To announce that there must be no criticism of the president, or that
we are to stand by the president, right or wrong, is not only
unpatriotic and servile, but is morally treasonable to the American
public." --U.S. President (and Nobel Peace Prize winner) Theodore
Roosevelt.

L. P. Skeen on tue 12 apr 05


um...Gail, when I clicked, I got baby shower pix.

L
----- Original Message -----
From: "Gail Phillips"
> http://www.shutterfly.com/view/pictures.jsp?aid=67b0de21b3538608c459

Gail Phillips on tue 12 apr 05


Finally -

my pics from NCECA. Please don't hesitate to tell me who you are if I missed identifying you.

http://www.shutterfly.com/view/pictures.jsp?aid=67b0de21b3538608c459

- Gail Phillips, Indy

Mike Martino on wed 13 apr 05


Hello All,
I found a shino article in Tojiro No.11(8/1997) about artist Hayashi
Masataro, and how he fires down to get color in his work. I thought this was
interesting and supports what Hank has found firing his shinos. For anyone
interested, I've posted pics of the firing graph and color samples, as well
as a couple of finished pieces to:

http://claycraft.blogspot.com/

It's very nice work.


Enjoy,

Mike


^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
mike martino
in taku, japan

muchimi@potteryofjapan.com
www.potteryofjapan.com

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Russel Fouts on sun 24 apr 05


Jorge,

>> Is there a program that calculates the Currie Grid, I mean make the
Seger formula for the 35 glazes, just by entering the C corner?? I ve been
working with it ,and am very impressed with an <<

Ta daaaaa!

http://ian.currie.to/original/calculation_page.htm

Russel


Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75

Http://www.mypots.com
Home of "The Potters Portal"
Over 3000 Pottery Related Links!
Updated frequently

My work can also be seen on:
The World Crafts Council Belgium Site http://wcc-bf.org:
Members English Pages: http://wcc-bf.org/artistes/ukrussel_fouts.htm
EasyCraft: http://www.easycraft.org

"To announce that there must be no criticism of the president, or that
we are to stand by the president, right or wrong, is not only
unpatriotic and servile, but is morally treasonable to the American
public." --U.S. President (and Nobel Peace Prize winner) Theodore
Roosevelt.

linda elfert on thu 28 apr 05


Is clayart operating? No mail since friday!

Joyce Byrum-Crosby on mon 2 may 05


Hello fellow clay -artists! I have been a lurker for some time now, but =
have decided to break out of this safety net, and introduce myself. I =
am yet another Joyce - but for simplistic sake, will go by jbc. I live =
in Summerville, SC, not far from Charleston, SC, yes it's definitely the =
"low-country" & the deep south.. I have had my love affair with clay =
for over 20 years, but always only part-time, having worked as an RN for =
about 30 years. So not a novice, but also "not a die-hard, struggling =
clay artist trying to make a living". Anyway, I have learned a lot just =
llurking & absorbing these last 6 mos. or so, and want to thank all of =
you for your contributions. I wasn't able to go to NCECA this year, =
but feel like I got a second-hand view because of clayart. Actually, I =
am looking for a nice, cream yellow matt oxidation glaze that will =
work well on white stoneware( mostly use Highwater clays Desert Buff or =
Buncumbe white)- preferably, one fairly versatile, as I may need to do =
some brushing onto a sculptural piece. Any suggestions will be well =
received. Hello, Lilly. Glad to know you're still kickin". Because of =
you I have been making glazes for what about 10 yrs now, I do some =
experimenting and lots of test-test-testing. Would love to hear from =
you. email - bcpottery@knology.net "D' you realize whatt it means =
to take a lump of mud and make what you will out of it? Ffrr! You =
turns the wheel and the mud whirls round, as if it were possessed" =
taken from Zorba the Greek.

roxanne hunnicutt on mon 23 may 05


"I suggest leaving the vent on throughout the cooling. Turn it off when you
unload the kiln.
Sincerely, Arnold Howard, Paragon Industries, L.P., Mesquite, Texas...."

Mr. Howard,

Why would one leave the vent on during cooling? Isn't slow cooling almost
always preferable. When is fast cooling helpful?

And can you send me to some directions for firing down, or really slow
cooling and tell me what that would be helpful for? It is helpful for
crystals, isn't it?]

Thanks for any help!

Roxanne in OR

mel jacobson on fri 8 jul 05


delete clayart helenvgentry@yahoo.com
from mel/minnetonka.mn.usa
website: http://www.pclink.com/melpots

Dewese Milstead on sun 17 jul 05


I am relatively new to raku and just built a kiln. It has been fired twice and both times everything turned black. A nice black kindof like a leopard, but not what I was hoping for. What am I doing wrong? I fired to cone 5. Did I not get to temp or did I leave them too long after I opened the kiln. Please help.
Dewese Milstead

Jeff Guin on sun 17 jul 05


Dear Dewese,
I am no raku guru but I did a heck of a lot of it when I was at Bemidji
State. The college had a tin garbage can lined with fiber and a hole in the
top of the lid. I would just use glaze recipes I found in Ceramics Monthly
or other magazines. I'd mix them up glob them on my pots and start the fire.
It was always a fast fire, about 30 minutes, I recall. Believe it or not I
never used cones. I would fire until I could see the glaze on the pot had
settled down. You could see the pot glowiing by peeking into the hole in the
top of the lid. At that point I would shut the kiln down, transfer the
glowing piece into another tin garbage can filled with dead leaves or straw
or sometimes sawdust from the wood shop. I'd tightly cover the can and wait,
time depending on the glaze I was using. Then I'd immerse the piece in a can
of water to stop the process. When it was cool the piece always looked black
but then I used a scrub-type sponge to scrub all the soot off of the piece
to reveal all the flashings and cracks etc... in the glaze. Been a long
time, but thats how I did it. Hope this was a little help to you.
Good luck. Jeff Guin



mudhead99@hotmail.com




>From: Dewese Milstead
>Reply-To: Clayart
>To: CLAYART@LSV.CERAMICS.ORG
>Date: Sun, 17 Jul 2005 13:23:21 +0000
>
>I am relatively new to raku and just built a kiln. It has been fired twice
>and both times everything turned black. A nice black kindof like a
>leopard, but not what I was hoping for. What am I doing wrong? I fired to
>cone 5. Did I not get to temp or did I leave them too long after I opened
>the kiln. Please help.
>Dewese Milstead
>
>______________________________________________________________________________
>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.

_________________________________________________________________
On the road to retirement? Check out MSN Life Events for advice on how to
get there! http://lifeevents.msn.com/category.aspx?cid=Retirement

William & Susan Schran User on sun 17 jul 05


On 7/17/05 9:23 AM, "Dewese Milstead" wrote:

> I am relatively new to raku and just built a kiln. It has been fired twi=
ce
> and both times everything turned black. A nice black kindof like a leopa=
rd,
> but not what I was hoping for. What am I doing wrong? I fired to cone 5=
. Did
> I not get to temp or did I leave them too long after I opened the kiln.

I believe some more information from you would be helpful in answering your
questions.
Please respond with more information: About your kiln - how is it
constructed? What are you fuel firing with? What kind of burner?
Are you trying to do raku firing - removing work from the kiln, then
post-firing reduction?
Is there any glaze on your pots? If so, what glaze(s) are you using? Are yo=
u
getting a yellow flame from your burner and smoke coming from the kiln?
Typical raku is a low temperature firing process, cone 08 =AD 04. Why are you
firing to cone 5? How do you know you are firing to cone 5? Do you mean con=
e
05?
What are you hoping for?
If you can tell us exactly what you are doing, then perhaps help will be on
the way.


--=20
William "Bill" Schran
Fredericksburg, Virginia

Mike Gordon on thu 21 jul 05


Kathy wrote,

I can't think of a savvier group who might know anything about cats and
plants.


Kathy,
I have had cats for years, rodent control, both inside and out. Cats
are very particular about what they eat, dogs will eat most anything
that is in front of them. Once in a while cats will eat grass to puke
up some hair ball, or cause it tastes good, dogs will do the same. But
after reading your very interesting list of dangerous plants for cats
to eat, I couldn't remember any of my cats , 35yrs worth, ever eating
anything that caused them to be sick. I laugh at my 14 lb. orange &
white cat, I put out his cat kibble and he stalks around it like it was
poison, before he eats. He always ends up with his head pointing in the
same direction while he eats, too. Mike Gordon

Russel Fouts on wed 27 jul 05


Tony

>> Congrats to Richard Selfridge and Steve Irvine for your
acceptance into The Joyful Teacup Show (International Chawan
Exhibition) sponsored by the Japanese Embassy in Belgium. The show
will travel through out Europe for 4 months. <<

Do you know anything more about this? The Japanese embassy isn't far
from my house (Brussels is a really compact city, nothing is far).

Is it this?

Sat.10 Sep- Mar.2006.
Symposium: International Chawan Symposium and Exposition
By Het Laatste Husi vzw, Karamisch Studie Centrum. Hellgat Chapel(Niel)

If so, it's not in Brussels, it's a little place on the way to Antwerp.

It seems to be in connection with the Japanese Embassy (at least they
have a link to it from their site)

Do you know if anyone is coming over to accompany their pots?

Thanks in advance.

Russel


Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75

Http://www.mypots.com
Home of "The Potters Portal"
Over 3000 Pottery Related Links!
Updated frequently

My work can also be seen on:
The World Crafts Council Belgium Site http://wcc-bf.org:
Members English Pages: http://wcc-bf.org/artistes/ukrussel_fouts.htm
EasyCraft: http://www.easycraft.org

"To announce that there must be no criticism of the president, or that
we are to stand by the president, right or wrong, is not only
unpatriotic and servile, but is morally treasonable to the American
public." --U.S. President (and Nobel Peace Prize winner) Theodore
Roosevelt.

Mike Gordon on wed 3 aug 05


Kathi wrote

If they want to be a place kicker they spend hours everyday
kicking a football until they can split those goal posts with
confidence. The same devotion is necessary to become a good potter.
There are no short cuts. Just practice, practice, practice.

When I was teaching I had most of the school's athletes in my classes,
99% were hard workers, some were lazy. They bitched about not being
very good throwers while they sat on their butts doing nothing. I asked
how often they went to practice? Everyday was their response. How often
do you work in here, I asked? The answer and point of topic was
obvious. You work every day, period. It's called muscle memory. Mike
Gordon

Mike Gordon on thu 4 aug 05


The scale is *fairly* large. Steve, depending on each persons own sense
of scale in their own work, it would help if you put your scale in
inches or feet so we can create a visual in our minds. With that said I
can't imagine how you are going to save time & effort creating ( cast
structural and support elements to which hand-built elements will be
added/attached.
support elements to which hand-built elements will be added/attached.
Construction can take days to months, ) Unless you are trying to do the
cast thing just for the learning experience, which I applaud, I think I
would stick to coil & slab and try to work out the problems that way.
What kind of sculpture clay are you using? Mike Gordon

Julie Moore on fri 12 aug 05


I've taken a few workshops with Kevin including one where we built the wood
kiln at Touchstone. He is an amazing person, a fabulous potter and a
nurturing teacher. I'd like to encourage any of you who are able, to take
his workshop. You'll definitely get your money's worth and will likely give
you a whole different outlook on life in general!

Julie

Dirty Bird Pottery

www.dirtybirdpottery.com

Richard Mahaffey on tue 16 aug 05


Hello,
An exhibit of woodfired ceramics is open at the Gallery at TCC in
Tacoma. The reception is this Friday from 4:00 to 7:00 pm. The
Gallery is on the main campus of Tacoma Community College near the
South 12th St entrance. The show features the work of Matt Allison,
Jenny Andersen, Lee Love, Ken Lundemo, Rick Mahaffey, Reid Ozaki, Jina
Park, Beverley Saito, Steve Sauer, Rebecca Smart, and Al Tennant.

> http://tacomacc.edu/tccmap.shtm

The Gallery phone number is: 253.460.4306

Rick Mahaffey

Rick Bonomo on wed 17 aug 05


Mike,

I too was quite captivated by some glazes in the July issue of ClayTimes

It's the ones by Marty Fielding and Carol Cercone, pages 21-23

Especially this one: Click here for image: =
http://www.ricks-bricks.com/images/martyfielding.jpg

I too tried to e-mail Marty...............zero

If anyone knows the recipes.....

contact Rick Bonomo

agita@shol.com



Date: Tue, 16 Aug 2005 11:07:38 -0700=20
From: Mike Gordon =20
Subject: glaze touch=20

In the July Aug. issue of Clay times, page 46, upper left of page there=20
is a vase by Wendy Braun with " scherzer red glaze " on it. Is anyone=20
familiar with this glaze and know the recipe? She fires to both C/ 10=20
and C6 ox. but doesn't say which one this is. Her glazes are beautiful=20
and so are the forms. I e-mailed her about this glaze and to compliment=20
her on her work but didn't get a response. Maybe she doesn't give out=20
her glaze recipe's and I fully understand, but it sounded like it might=20
be a well known one in other neighborhoods. The glazes look like they=20
would be nice and buttery too. Mike Gordon=20

Vince Pitelka on thu 25 aug 05


Have you done a websearch to find out what galleries sell their work? That
would be the place to start. I have no idea what they are worth. Raku is
not as hot as it was at one time, so the best thing migh be to just hold on
to these pieces and wait for the value to go back up. It will. But you
really need to find someone who knows the value of their work.
Good luck -
- Vince

----- Original Message -----
From:
To:
Sent: Thursday, August 25, 2005 11:46 AM


> Hi,
>
> I found your e-mail address on a search on the web for Steven Kemeneffy
> Raku pieces. My folks have a couple of his pieces and are trying to see
> what the potential value is, if they try and sell them.
>
> Any help you give us would be appreciated.
>
> Sincerely,
>
> Scott Polakow
> spolakow@att.net
>
> ______________________________________________________________________________
> 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.
>

spolakow@ATT.NET on thu 25 aug 05


Hi,

I found your e-mail address on a search on the web for Steven Kemeneffy Raku pieces. My folks have a couple of his pieces and are trying to see what the potential value is, if they try and sell them.

Any help you give us would be appreciated.

Sincerely,

Scott Polakow
spolakow@att.net

Gail Coverman on wed 7 sep 05


When I try to send a command to listsrv@lsv.ceramics.org I repeatedly get a "failure" notice.

Any suggestions?
Thanks.
Gail
geeceenotes@yahoo.com


Gail

Kristin Demoskoff on fri 9 sep 05






Hi Everyone.


I am new to this site so I would like to start off by saying hi. Second I am interested in finding a kiln. I am located in the Kooteneys, I am wanting to spend at the most $400. If anyone out there has one please contact me at demoskoff@hotmail.com Hope to hear from you soon.

Kristin Demoskoff


 


Free yourself from those irritating pop-up ads with MSN Premium: Join now and get the first two months FREE*

Louis Katz on fri 23 sep 05


Clayers,
WE got home this evening. The storm headed north and will do much harm
up there. It is busy doing damage to people and property. Ham radio got
very organized for this storm, I listened to some of the preparations
today while I drove home and other preparations yesterday as we bugged
out of town.
If anything like this comes your way, leave early. Plan ahead, get
hurricane boards cut or whatever your particular form of preparation
requires. Full tanks of gas. There was a shortage today on my return
trip and I had to buy premium as the reugalr was all gone.,
Hope you are all well and that the Clayers by the TX Louisiana border
have evacuated.
Louis

Mississippi and Louisiana Potters Information Page
http://falcon.tamucc.edu/wiki/Katz/LAMIPotters

Louis Katz on mon 3 oct 05


http://www.irsauctions.com/index_lots.asp?pg=details&id=8249&j=2094520&

Interenet auction of closed ceramic plant


Louis
http://LouisKatz.net .

Jim Willett on mon 3 oct 05


Very interesting. Does this mean since Lifetime Brands purchased everything
but the manufacturing facility all Pfaltzgraf will now bear the words "Made
in China"?

Just curious,
Jim Willett
Out of the Fire Studio
Edmonton
http://www.outofthefirestudio.com

-----Original Message-----

http://www.irsauctions.com/index_lots.asp?pg=details&id=8249&j=2094520&

Interenet auction of closed ceramic plant


Louis
http://LouisKatz.net .

____________________________________________________________________________
__
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/

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Barbara Arner on thu 13 oct 05


--
Barbara Arner
330 Bay Lane
Mantoloking, New Jersey
08738
USA

908 447 2826
bfa1231@comcast.net

-------------- Original message --------------

> That you absolutly had to make a living making pottery?
>
> I posted yesturday about my starting out, and realized that what I was really
> looking for were stories from you about how you got started? How did you know
> pottery was for you? What was it like for you getting set up and starting life
> as a ceramisist? Would you do anything differently if you could start again?
> Anything you would do again exactly as you did it before?
>
> Thank you in advance for your wisdom and stories!
>
> ~Liza
>
> ______________________________________________________________________________
> 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.

Bonnie Staffel on sat 22 oct 05


I have always felt that your name on your pottery was the best way to be
remembered. Milks Pottery would always be remembered, first because
your name is unusual IMHO and I also feel most everyone thinks of
pottery as hand made whatever in clay. Revelstone Pottery sounds more
like a production factory IMHO as well. Customers really do adopt their
potter and like the personal name to go with it. If they know your
name, then you are easy to find in the phone directory. I also have a
thing about scratching your name on the bottom of a pot. Very
unreadable most of the time. I get numerous requests to see if I could
identify such a signature, especially if I don't recognize the technique
used. Likewise, if only a stamp is used, down the road in history, who
made it? Just want to be "arty" who can recognize a scribble scratched
in the clay on the bottom?

Been there, done that - the voice of experience!!!!!

Bonnie Staffel

http://webpages.charter.net/bstaffel/

Ruth Ballou on tue 1 nov 05


I have some used fire brick in the US that someone wants to buy. Any
suggestions as to a reasonable price to put on them?

Thanks,

Ruth Ballou

mel jacobson on thu 17 nov 05


delete clayart kasia@chorus.net
from mel/minnetonka.mn.usa
website: http://www.pclink.com/melpots

Joshua Sayre on wed 30 nov 05


Hi

My name is Valerie Sayre
I'm looking for a puzzle mug the ones you try to find out how to drink out
of,
or a frog mug not a picture of a frog on a mug
but the old frog mugs (nightingale mugs)
three in one you drink from
Can you help me out
Do you know anyone who makes either of theses
I would like to purchase them for my husband for Christmas
I have searched the web and only found one puzzle mug
and mug heaven

Thanks for any help you can give me
Valerie Sayre

joshua.sayre@hotmail.com

2038 Harts Mill Road
Mineral VA 23117

_________________________________________________________________
Don’t just search. Find. Check out the new MSN Search!
http://search.msn.click-url.com/go/onm00200636ave/direct/01/

Bonnie Staffel on mon 19 dec 05


John Cross wrote:

"Re: slump/hump -- but then ... ?

"Sorry, I don't remember how this thread started out but I did have a
good idea (a borrowed one) for slump molds. At a Don Reitz workshop I
saw 'The Don' making some very large slab wall pieces and to get a
curved disc shape he just used an old car tire on it's side with a piece
of canvas over it. The tread edge of the tire provides plenty of support
while the side walls give evenly under the weight of the clay. Since
there is an infinite size range of tires I'm sure that one would meet
your needs and you could probably get them for free at any tire store.
I would think radials would work the best."

John, I think there was an addition of thumb tacks around the perimeter
of the cloth stuck into the tire to keep the cloth in place. I also
attended one of Don Reitz workshops when he was in Atlanta a number of
years ago. Never forgot the suggestion, but have not used it. This
workshop was given after he recovered from a serious illness which may
have been caused by the use of the Manganese clay he was famous for
creating.

Warm regards,

Bonnie Staffel



http://webpages.charter.net/bstaffel/
DVD Throwing with Coils and Slabs
DVD Beginning Processes
Charter Member Potters Council

Linda Ferzoco on tue 27 dec 05


Thanks for the feedback Mike. I may end up with both too.

Sorry to hear about those healthcare costs. It's all madness. I'm retired and paying for the same coverage I had when I worked but next year, when I'm 65, that ends and then I'll face the Medicare madness. Oy.

Good luck,
Linda

Mike Gordon wrote: Linda wrote.. I haven't bought my kiln yet and am struggling with
whether to get electric or gas. I'd appreciate any input folks have on
this score. Because I'm sooooo short, it will have to be a
front-loading kiln, which will make the electric more expensive, but
it's the long-term costs for me and the environment that I'm most
concerned with.

Also, with gas, I could do cone 6 or 10, oxidation or reduction, right?

Hi Linda,
You can do C/6 or C/ 10 with either an electric or a gas kiln, they
will both fire that high. But it is more difficult to fire reduction in
an electric kiln. A gas kiln can do either, I have a gas fired updraft
and fire oxidation, and light reduction all the time. Gas kiln's come
in all sizes so it shouldn't be too hard to find one that suits you
best. I prefer a gas over electric but I have both so it isn't a
problem. But If I had to choose one over the other I'd go with gas. But
thats just my preference. Mike Gordon. Walnut Creek, Ca.
Just turned 65 a few days ago and found out that my health coverage
cost just tripled!!

______________________________________________________________________________
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.

Mike Gordon on tue 27 dec 05


Linda wrote.. I haven't bought my kiln yet and am struggling with
whether to get electric or gas. I'd appreciate any input folks have on
this score. Because I'm sooooo short, it will have to be a
front-loading kiln, which will make the electric more expensive, but
it's the long-term costs for me and the environment that I'm most
concerned with.

Also, with gas, I could do cone 6 or 10, oxidation or reduction, right?

Hi Linda,
You can do C/6 or C/ 10 with either an electric or a gas kiln, they
will both fire that high. But it is more difficult to fire reduction in
an electric kiln. A gas kiln can do either, I have a gas fired updraft
and fire oxidation, and light reduction all the time. Gas kiln's come
in all sizes so it shouldn't be too hard to find one that suits you
best. I prefer a gas over electric but I have both so it isn't a
problem. But If I had to choose one over the other I'd go with gas. But
thats just my preference. Mike Gordon. Walnut Creek, Ca.
Just turned 65 a few days ago and found out that my health coverage
cost just tripled!!

Joe and Lisa Troncale on tue 27 dec 05


If you have a choice, go gas. You will never get reduction firing with
electric. Most people have electric because they can't have gas.
Joe Troncale
----- Original Message -----
From: "Mike Gordon"
To:
Sent: Tuesday, December 27, 2005 4:59 PM


> Linda wrote.. I haven't bought my kiln yet and am struggling with
> whether to get electric or gas. I'd appreciate any input folks have on
> this score. Because I'm sooooo short, it will have to be a
> front-loading kiln, which will make the electric more expensive, but
> it's the long-term costs for me and the environment that I'm most
> concerned with.
>
> Also, with gas, I could do cone 6 or 10, oxidation or reduction, right?
>
> Hi Linda,
> You can do C/6 or C/ 10 with either an electric or a gas kiln, they
> will both fire that high. But it is more difficult to fire reduction in
> an electric kiln. A gas kiln can do either, I have a gas fired updraft
> and fire oxidation, and light reduction all the time. Gas kiln's come
> in all sizes so it shouldn't be too hard to find one that suits you
> best. I prefer a gas over electric but I have both so it isn't a
> problem. But If I had to choose one over the other I'd go with gas. But
> thats just my preference. Mike Gordon. Walnut Creek, Ca.
> Just turned 65 a few days ago and found out that my health coverage
> cost just tripled!!
>
> ______________________________________________________________________________
> 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.
>
>
> --
> No virus found in this incoming message.
> Checked by AVG Free Edition.
> Version: 7.1.371 / Virus Database: 267.14.7/214 - Release Date: 12/23/2005
>
>

Linda Ferzoco on wed 28 dec 05


Apologies to the list. I could swear that I addressed that only to Mike. I ought to swear less and pay more attention to what I'm doing!

Linda

Linda Ferzoco wrote: Thanks for the feedback Mike. I may end up with both too.

Kathryn & Stuart Fields on wed 11 jan 06


Looking for ^5/6 ox glazes on the net I came across this list of recipies
at http://www.nv.cc.va.us/home/wschran/cone5glazes.htm. However, there are
no pictures, let alone comments. Has anyone tried any of their recipies?
I'll try checking them out with Insight 5, etc, but would appreciate hearing
any comments or experients.
Kathy Fields
P. O. Box 1585 / 8075 Seibenthal
Inyokern, CA 93527
(760) 377-4478 ph
(760) 408-9747 publication cell
(760) 608-1299 tech cell
www.experimentalhelo.com
eh@iwvisp.com

William & Susan Schran User on thu 12 jan 06


On 1/11/06 10:27 PM, "Kathryn & Stuart Fields" wrote:

> Looking for ^5/6 ox glazes on the net I came across this list of recipies
> at http://www.nv.cc.va.us/home/wschran/cone5glazes.htm. However, there are
> no pictures, let alone comments. Has anyone tried any of their recipies?

Kathy - That web link is mine and is actually an older link to my web page
where I teach. I've asked the techie folks to take down that page - guess
I'll have to ask again.
The glazes were used in my studio classes several years back, some were
changed, some remained until last fall when we switched to ^10 reduction.
I'll be happy to post descriptions, firing schedule, etc. either to you or
to this forum.
After I get past the start of this semester, I'll be updating that web site
and including other glaze recipes - which I will include more information


-- William "Bill" Schran
Fredericksburg, Virginia
wschran@cox.net
wschran@nvcc.edu

gemma reddington on mon 16 jan 06


My partners off work and doesnt have much to do, he loves porcelain so i
brought him a kiln for christmas but were finding very hard to find info on
how to make porcelain figures?

What is porcelain made out of and where can you buy it ?

Is there any good books on how to make porcelain

and whats the best place to buy paints and material ?


Any help would be great

thank you gemma (gemredding@hotmail.com)

Steve Slatin on mon 16 jan 06


Gemma --

Porcelain is a white clay capable of being fired to translucence without
melting. This, in its turn, generally requires low iron and titanium content
and mixing a light colored stoneware clay with kaolin and pegamite.
Mixing your own is difficult and requires a study of the science and
some trial-and-error. There are only small benefits from it (because
the kaolin in the clay tends to be somewhat expensive, it costs almost
as much to mix up as to buy it ready-to-use).

The sensible thing to do is to buy porcelain pre-made. Any ceramics
supply house will have a variety of porcelains available -- if your
partner wants to experiment that's great, but have him pick the
cone he wants to fire to first and then experiment with a variety of
what'll work at that temp. Another good option is to find someone local
who works with porcelain and visit them, chat, and pick his/her brain
about porcelain. It may be that what's available locally includes one
or two particularly good options.

People who throw big stuff may use 100 lbs of clay in a day, but
that's the exception. People doing figures and other-than-giant
sculpture will find a bag of clay -- 25 lbs -- goes quite a long way.
No need to take up clay-mixing to get a good porcelain, and no need
to limit oneself to a clay from across the globe that has to be shipped
at high cost.

Just my 2 groschen. -- Steve Slatin

gemma reddington wrote:
My partners off work and doesnt have much to do, he loves porcelain so i
brought him a kiln for christmas but were finding very hard to find info on
how to make porcelain figures?

What is porcelain made out of and where can you buy it ?

Is there any good books on how to make porcelain

and whats the best place to buy paints and material ?


Any help would be great

thank you gemma (gemredding@hotmail.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.




Steve Slatin --

Le réalité et toi, vous ne vous entendez pas, n'est-ce pas?

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gemma reddington on mon 30 jan 06


Hello everyone , me and my husband have brought a kiln out of the local
paper , then i went to the local pottery supplies and brought some duncans
paints etc and some cones.


Last night i put the kiln on for out first test , with some pieces that were
fired and all i did was underglaze them.

As i havent really got a clue we started at 8.40pm i turned the klin to
number one (its sliver and red hobbycraft kiln in the shape of a british
fifty pence).

Then at 9.40pm i turned it to number two

Then at 10.40 i turned it to full

In the kiln i used a bell research 6 mini bar positioned correctly

I stayed up until three and kepted looking through the spy hole , but by
this time i was so tired i went to bed , about 7.15 am in the morning i went
to have a look and the cone still had not bent and i was so hot i turned it
off because i wasnt sure how long it takes or if i was doing it right.


Please help ????

If anyone knows i just want a rough guide on the firing times ? how many
hours? its states on the kiln its model LT-3K kiln-sitter


THANK YOU X

Paul Griffiths on tue 31 jan 06


http://www.potters.org/subject84269.htm
=20
just searching the web, and came across this site about clay art / =
potters - just out of curiosity, you have this message :
=20
Kruzewski on tue 19 apr 05

As a fan of Billy Connolly's "World Tour of Scotland" - as well as a fan =
of Scotland itself - I heard him talk about the deep fried Mars Bar and, =
out of curiosity, always meant to try these on our yearly visits to my =
Brother and Sister-in-law in Lossiemouth - but somehow we never quite =
managed it. Then our local chip shop (here in deepest Wales) put them on =
the menu along with deep fried Snickers bars.=20

They are, as you say, awesome! They sound weird and very unhealthy (and =
are often used as an example of an unhealthy diet by those who wish to =
point fingers) but for a once in a while treat they are definitely worth =
sampling.=20

In response to earlier talk of the ingredients of Haggis - well I'm a =
vegetarian but honestly don't care what anyone else eats as long as they =
don't force me to eat it or make an issue over the whys and wherefores. =
The ingredients of haggis are no more unpleasant than what's "hidden" in =
a lot of fast foods - nor, for that matter, in some of the great =
delicacies. I was listening to a Radio 4 food program yesterday and they =
were talking about hams from Palma - I forget the name of the ham that =
is even better than Palma ham, but it is cured inside a sheep's stomach =
suspended in a string net. Comment was made that "if only people =
knew....".=20

We hosted a Polish priest once who had never eaten prawns, shrimps and =
the like and thought they looked absolutely revolting - like maggots - =
and refused to touch them. Makes you think.=20

All this is wildly off topic I know. Just wondering, who first thought =
of battering and deep frying a mars bar - and why?.....=20

Jacqui=20

North Wales - hungry now.=20
=20
Any ideas where Jacqui lives in Wales - im curious to find out more =
about the deep fried mars bars!
Thanks
Paul.
=20
________________________________________________________________
Paul Griffiths,=20
Cwmni Da, Cae Llenor, L=F4n Parc, Caernarfon, Gwynedd. LL55 2HH
01286 685300 ff=F4n / 01286 685301 ffacs / paul@cwmnida.co.uk=20
=20

Dan Rhode on thu 9 feb 06


A free presentation will be given by Mark Hewitt in Sanford NC, Tuesday =
February 21st at 7:30pm.

The event will take place at the Sanford Civic Center and is being hosted =
by Central Carolina Community College.

Doors open at 7pm. There will be a CCCC Sculpture Curriculum student and =
local ceramic artist show in the Civic Center lobby before the presentation=
. =20

This presentation is in conjuntion with the current exhibit at the North =
Carolina Museum of Art in Raleigh NC titled "The Potter's Eye: Art and =
Tradition in North Carolina Pottery"

The Civic Center is located at 1801 Nash Street, Sanford NC. For a map to =
the civic center, go to:

http://www.cccc.edu/Resources/PDFs/Maps/Lee_County_Campuses.pdf

For more information, visit the CCCC web site at www.cccc.edu or call Dan =
Rhode, Lead Instructor of the Pottery and Sculpture Program at 919-742-4156=
or email at drhode@cccc.edu


Dan Rhode
Lead Instructor
Central Carolina Community College
Pottery and Sculpture Program
drhode@cccc.edu
919-742-4156

candy murguia on thu 16 feb 06


A good freind and I are building a catenary gas fired cone 6-10 kiln. Since
I don't have access to natural gass where i am, i have to rely on propaine
tanks. Does anyone fire to cone 10 using propaine and aprximatly how much
fuel does that take?

Also we are deciding on the general plans for the kiln, since this is our
first we dont know much. Still trying to decide whetehr castable refractory
would be eisier and cheeper, or just to go with firebrick. Also looking into
general designs. We think we want to kiln to be about 6-8 cu, ft on the
interior.
Any ideas, or suggestions from those who have built a kiln would be most
appreciated.

Thanks
Candy

ps. sorry about my spelling trying to type with a baby in my arms.

_________________________________________________________________
On the road to retirement? Check out MSN Life Events for advice on how to
get there! http://lifeevents.msn.com/category.aspx?cid=Retirement

gemma reddington on sun 5 mar 06


hello everyone ,

I wrote a message earlier about porcelain and how to reduce the shrink , the
reason i wanted to reduce it was because my dad made me a horse out of stone
cas t which is a hard form of plaster , i wanted to make six of these horses
the same size out of porcelain but im finding it hard with the porcelain
shrinking.

I took a latex mould which seems fine ,but have you any ideas on how i can
increase the size of the horse first before putting the latex on?

i tired dipping it in candle wax first but it seems to lose all its
features?

Either way i would like to reduce the shrink of try and increase the size so
that when it shrinks its roughy the same size as the plaster one ?

Any ideas would be great

Thank you gemma gemredding@hotmail.com

gemma reddington on sun 5 mar 06


hello there,


Im working with porcelain and because im new with pottery i brought ready
made porcelain which was called a cheese and came in a form of a log of firm
wet porcelain i also brought a bucket of liquid porcelain but find both type
to shrink so much when there fired.

Is there any tips you know of to reduce the the shrinkage , like adding a
substance or firing it a different way as everything seems to shrink about
25 percent or more ???


Please help my email address is gemredding@hotmail.com

William & Susan Schran User on mon 6 mar 06


On 3/5/06 5:48 PM, "gemma reddington" wrote:

> Either way i would like to reduce the shrink of try and increase the size so
> that when it shrinks its roughy the same size as the plaster one ?

I would suggest doing a shrinkage test of the clay you plan to use.
Make a small flat tile and mark in centimeters. Fire the tile, then compare
to a ruler to see how much it shrank - that's how much larger you need to
make the original.

If you want to make multiple sculptures, then I'd suggest building a wire
armature and building the original with plastelene, a non-water based
modeling clay that sculptors use. This clay will not dry, so you can spend
as much time as you need to re-create the horse larger than the original.
You will then make a cast of this that you can use to make multiples.

I would suggest you not use porcelain, but use a low fire terra cotta or a
low fire white sculpture clay. The terra cotta can be painted with a white
slip. These clays will not shrink so much and you will have less problems
with drying and cracking of the clay.

You need to do research about the process.
An inexpensive book on the process:
"Modeling and Sculpting Animals" by Edouard Lanter
Will be a good starting place.


Good Luck,


-- William "Bill" Schran
Fredericksburg, Virginia
wschran@cox.net
wschran@nvcc.edu

Nanci Mansfield on sun 14 may 06


I saw a posting that mentioned moisture weeping from the bottom of cups. Before I get too far selling I thought I should check mine. Sure enough, they all leave little damp rings after sitting several hours with water in them. I think I recall that the answer was to fire higher. I use highwater's pheonix clay which is supposed to mature at cone 7, going up to 10. All my glazes are for cone 6 ox. I can go to cone 7 without dire glaze problems but any higher even boils Pinnell's weathered bronze. There are not a lot of cone 8 glazes,it seems, and I have an upcoming show (my first) which doesn't give me much time to change horses, so to speak. Can anyone help guide me to cone 8 glazes or tell me how to raise the temperature range of my cone 6 glazes without terrible affecting color or surface?, several of my glazes are versions of Ron and John's. Please help!
Nanci


---------------------------------
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Joel Hendrix on sun 4 jun 06


Howdy y'all:

Okay I have done my part and opened a clayart posting only address (this
one). You can still get in touch with me at my y!, charter, and hotmail
accounts.

Right, now to business. I finally took some quick and dirty pics of the
latest pit. I'm pretty sure it got hot, hot, hot because the red flashing
is from the copper wire I put on the pots. These pots have either Watkin's
terra sig on them or some ferric chloride sprayed or brushed. I really had
room for more pieces but I wanted to make sure that others placed all their
pots.

I know that some of you suggested stacking the wood differently than I
usually do, but this firing has convinced me that I am getting some nice hot
pit temperatures. After the sawdust bottom, pots, then twigs, I started
laying down small dimentional lumber from crates. This is oak, I then
placed solid cut oak wood and finally some more long oak and other trash
wood I had cluttering up the yard. Once we knew the top wood was alight I
added anothe layer of wood. This I believe gave us a nice bed of coals to
do their thing to all the pots. Some excellent pots came out of the pit.

http://www.flickr.com/photos/wirerabbit
Peace out
--
Taylor, in Rockport TX
http://wirerabbit.blogspot.com
http://wirerabbitpots.blogspot.com

http://clayartmugshots.blogspot.com

Bob Cope on mon 3 jul 06


Substituting TiO2 for Rutile=ADshivering?

Hello, I=92m using MC6G=92s Variegated Slate Blue,
and in an attempt to solve some minor pinholing,
I substituted 6% TiO2 for the 6% rutile.
The color was great, but the resulting fired
cylinders had shivering on the rims. Before the
substitution I had had pinholing but there
was never any shivering.
Could this single substitution cause shivering?
All other variables were controlled to the
extent possible. Thanks for any help!

Bob Cope
Madisonville, TX =20

John and Judy Hesselberth on tue 4 jul 06


On Jul 3, 2006, at 9:41 AM, Bob Cope wrote:

> I substituted 6% TiO2 for the 6% rutile.
> The color was great, but the resulting fired
> cylinders had shivering on the rims. Before the
> substitution I had had pinholing but there
> was never any shivering.
> Could this single substitution cause shivering?

Hi Bob,

I doubt that substitution made the difference. That glaze does have
one of the lower COEs of any in the book--although not so low that
shivering would be encountered with any regularity. I lean more
toward suspecting thickness of glaze application and/or rate of
cooling on a clay body that is at one end of the COE spectrum for
cone 6 clay bodies.

Also you might check on whether this was a new lot of clay--lot
numbers are usually printed on the box. We have seen occasional
instances of cone 6 bodies getting contaminated with cristobalite--I
have yet to hear of any good reason for having any cristobalite in a
cone 6 body, but it sometimes shows up. And when it does dunting and/
or shivering can become serious problems.

Regards,

John

Linda - Pacifica on tue 1 aug 06


I've got photos of one of Vince's workshops up on my blog:

http://web.mac.com/ltferzoco/iWeb/LTF%20Site/Blog/Blog.html

We had a terrific time with a roaring fire and made some not half bad pots too! Guess who made the best ones? Duh!

Michael McDowell's place is huge and well equiped and we enjoyed the workshop and the locale.

Great times at a great workshop.

Linda Ferzoco
back in Pacifica, California

Linda - Pacifica on fri 11 aug 06


Here is the webiste for the Artist Pension Trust. It's worth keeping
this bookmarked.

http://www.artistpensiontrust.org/

Cheers, Linda Ferzoco
On Aug 10, 2006, at 6:41 PM, marianne kuiper milks wrote:

http://biz.yahoo.com/special/allbiz080906_article4.html

David Woof on sat 12 aug 06


Marilou



David
_________________________________
_________________________________
David Woof Studio
Clarkdale, Arizona
Ph. 928-821-3747 Fax. 866-881-3461
________________________________
________________________________
peering over the edge, reverently taking an irreverent look at everything.

mel jacobson on thu 12 oct 06


delete clayart takinitslo@mchsi.com

from: mel/minnetonka.mn.usa
website: http://www.visi.com/~melpots/

Clayart page link: http://www.visi.com/~melpots/clayart.html

Mike Gordon on sat 14 oct 06


Edouard wrote

However, since only 44 of the women gave birth prematurely, Xue says
further research is needed to firm up the statistical significance.
"The messages are really very conflicting because fish is both a
benefit and a potential source of hazard," says Xue. Until the risks
become clearer, she recommends taking fish oil supplements instead.

Wild Pacific salmon is still safe & it contains omega-3 fatty acids, I
would never eat farm bred fish, though. I've heard one can of tuna a
week is ok also. But checking with your dr. about fish intake is
smart.Mike Gordon

Sandi Nelson on sat 4 nov 06


Hello everyone! Just a little background...I've been a "pothead" now =
for a
couple of years (handbuilt), but have just recently (May, 2006) set up =
my
own little studio at home with an L&L Liberty Belle (very small electric
kiln) and even more recently (September) a new wheel. (I have only been
throwing for about 6 months.) I am just beginning to throw and =
handbuild
pieces that I actually want to give as gifts or keep...after mostly =
sending
items to the attic to hide. I have had 18 firings in the small kiln, =
which
holds about 12 pieces if I'm lucky. Thus far, I am using all =
commerically
mixed glazes in the ^4-6 range and all ^6 clays. After trying to vent
manually, we finally broke down and purchased a Vent-sure venting system
because we could tell there was a lack of oxygen from all of the purple
colors showing up. First firing after installation last week was a
disaster...everything, with the exception of a couple of pieces was =
burnt to
a crisp...the glazes blistered, cratered, and then flaked off (Spectrums
Textures Kiwi, Cascade, Moonscape)...and I think they're still "pinging =
and
popping!" The witness cones showed that our ^6 firing was really a ^7 =
or
greater. We had mistakenly set the vent slot on the new Vent Sure =
almost
totally closed.

This morning I opened the kiln, after of course readjusting the venting
system and my ^04 witness cone (which was the target was bent over and =
just
barely touching the shelf. FINALLY, my questions: the diagram in the =
book
shows that the target cone should be draped over but not touching the =
shelf,
so does this mean I overfired again? Unfortunately, I didn't have an 03 =
or
05 cone in there. I really need to do a glaze firing tomorrow, so I'm
thinking if I want a ^6 firing, I should set the control for a ^5.5. =
The
vent slot on the Vent Sure is 90% open now.Will my ^6 clays still mature
properly? I do have witness cones 5,6&7.=20

We are reading John's and Ron's book, which is helping us begin to
understand glaze and clay "fitting" much better...but we (husband and I)
have a lo-o-o-n-g way to go. Who would have ever thought "just playing"
with clay would have opened this whole new world to us! =20

Thanks for any suggestions/recommendations...and for the wealth of info =
all
of you folks offer...it is appreciated and enjoyed!

Sandi in North Carolina

=20

Paul Flickinger on mon 6 nov 06


Regarding Raku kilns. I have built a half dozen or so like this one.
They are lifted off by a counter weight and pulley system. I put the
kiln on a brick base and bring the flame in under the shelves to a
target brick slightly past the center. Works fine. You can even the
kiln out with the damper. Reducing the ware on the kiln shelf takes a
lot of reduction material. Too much thermal mass. Hard on the kiln
shelves, too.

Pam Cresswell on tue 14 nov 06


So sorry to everyone on clayart, I meant to forward my last post to someone
off list, and my hands just did not do what I meant for them to do. So,
please disregard the post entitled:
RE: [CLAYART] studio, kiln and house for sale

Pam

John M. Connolly on fri 1 dec 06


Lili, Here in Mexico all the corn is used directly for food so there is
no corn starch or corn syrup. I just tried making spooz with honey (or
as it is called here, miel de abea). I'm not yet sure how it worked.

June Gouran on mon 8 jan 07


Yes, now I remember...Tungston ! My Feb birthday shall be filled with =
"never to be mishandled (pun) " Bison tools from my adoring offspring. I =
shall bless you with an order soon and you shall be richer for a moment! =
June Haddox

John Connolly on mon 8 jan 07


"Makes me think about the near convulsion I had when I heard a native
Ozarkian pronounce La Jolla (Lah HOH-ya) as Lah JAH lah."

It's even more puzzling when you consider that there is no such word as "jolla" in Spanish. I don't know if there is any official explanation for the discrepancy, but conventional wisdom is that "jolla" is a corruption of "joya" or jewel in Spanish.





John Connolly in Ensenada, Baja California, Mexico

__________________________________________________
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Russel Fouts on fri 26 jan 07


>> I would suggest that you are a prime candidate for the foam in a
bag method of shipping.
Couple of folks posted links about this last week or so. Really easy
to use, pretty pricy for most potters, but I think your work would be
protected best with this method of packing. <<

The product is called Instapak Quick from Sealed Air.

They have a new product called Instapak Quick RT which works at room
temperature and doesn't require the ($200!) heater.

The bags are more expensive but are cheaper than buying the bags and
heater of the earlier system.

Unfortunately, they won't ba available to us in Europe until after March. ;-(

Russel



Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75

Http://www.mypots.com
Home of "The Potters Portal"
Over 3000 Pottery Related Links!
Updated frequently

"The enumeration in the Constitution of certain rights
shall not be construed to deny or disparage others
retained by the people"

9th Amendment to the Constitution of the United States of America

Julie Moore on tue 13 feb 07


I have posted photos of the teapot I'd like help identifying on Flickr.
Please check it out at
http://www.flickr.com/photos/11331320@N00/389208338/in/pool-clayart_pics/

And

http://www.flickr.com/photos/11331320@N00/389208340/in/pool-clayart_pics/



Hope you can help.

Thanks,

Julie Moore

(Mudslinger55)

Dayton Grant on wed 28 mar 07


I read the posts that felt my throwing was 'too slow',well that was for the
'slow' people,and I never bragged about the video on the 'internet', its
crap, and I did it just for a 'video test' everyone that I sent the video to
'knows' that I did that slowly for 'demonstrations' sake , why dont you ask
'each-other' and find out 'who' I sent the video to, and go to the pot that
I threw to the music of 'Guns&Roses SweetChildO'Mine', I beleive thats a
12"x12" (at least) thrown "without water" in "2minutes", you guys are really
being 'difficult' about this and so now I 'must' make sure the 'truth' gets
out,
brace yourselves, and get some sunglasses, Im about to shed some 'light' on
the subject.
Dayton J. Grant, Master Potter

_________________________________________________________________
It’s tax season, make sure to follow these few simple tips
http://articles.moneycentral.msn.com/Taxes/PreparationTips/PreparationTips.aspx?icid=HMMartagline

Randall Moody on wed 28 mar 07


Did you really just sign your post with "Master Potter"?

On 3/28/07, Dayton Grant wrote:
>
> I read the posts that felt my throwing was 'too slow',well that was for
> the
> 'slow' people,and I never bragged about the video on the 'internet', its
> crap, and I did it just for a 'video test' everyone that I sent the video
> to
> 'knows' that I did that slowly for 'demonstrations' sake , why dont you
> ask
> 'each-other' and find out 'who' I sent the video to, and go to the pot
> that
> I threw to the music of 'Guns&Roses SweetChildO'Mine', I beleive thats a
> 12"x12" (at least) thrown "without water" in "2minutes", you guys are
> really
> being 'difficult' about this and so now I 'must' make sure the 'truth'
> gets
> out,
> brace yourselves, and get some sunglasses, Im about to shed some 'light'
> on
> the subject.
> Dayton J. Grant, Master Potter
>
> _________________________________________________________________
> It's tax season, make sure to follow these few simple tips
>
> http://articles.moneycentral.msn.com/Taxes/PreparationTips/PreparationTips.aspx?icid=HMMartagline
>
>
> ______________________________________________________________________________
> 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.
>

Clematis Graham on mon 2 apr 07


Could you please let me know how much you are asking for your giffin grip? I had one at one time and sold it, now I'm sorry tht I did. My daughter lives in Forest Park Ga. Thanks send me the info to my work email which I am on now Thanks.
________________________________________________________________________
AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com.

kristy alcala on mon 2 apr 07


Hi! Thanks for the email.

I am selling my Giffin Grip for $100. And that of course includes all the
accessories.

Let me know if you have any more questions!

--Kristy


On 4/2/07, Clematis Graham wrote:
>
> Could you please let me know how much you are asking for your giffin grip?
> I had one at one time and sold it, now I'm sorry tht I did. My daughter
> lives in Forest Park Ga. Thanks send me the info to my work email which I am
> on now Thanks.
> ________________________________________________________________________
> AOL now offers free email to everyone. Find out more about what's free
> from AOL at AOL.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.
>

Earl Brunner on sun 15 apr 07


I have messed and messed with the settings on yahoo. Nothing seems to work.
Digest seems to get through.



-----Original Message-----

From: Ack Repro Mail [mailto:labellenell@YAHOO.CA]

Sent: Sunday, April 15, 2007 10:25 AM

Subject: Re: yahoo accounts/no clayart



On Sun, 15 Apr 2007 23:20:49 +0900, Lee Love wrote:



>On 4/15/07, mel jacobson wrote:

>

>> it could be true for gmail and hotmail.

>> they do spam filter very vigoursly.

>> and, i cannot fix that.

>

>ClayArt makes the trip to Gmail.

>

Yahoo Mail has some Spam settings that can be changed by the account holder.

It would be worth people's while checking these out once in a while.



Cheers,



Helen



--

Helen Bates

Belleville, Ontario, Canada

Clayarters' URLs: http://amsterlaw.com/clayart/

John Connolly on tue 24 apr 07


" I do most things visually. My husband does things verbally (the
sexual sterotype is the opposite by the way and probably comes from how
much freedom to roam a child had when they were very young). We can both
find our way to unknown places but we do it in an entirely different
manner."

Donna, I find it interesting (regarding the interview mentioned earlier) that I was also slow to talk (age 2-1/2), but am not a visual thinker or, at least, I do not see pictures. My greatest difficulty working with clay is my linear/verbal orientation. I can't draw worth a damn and I cannot "see" the object I want to build. I can describe it, but that's not the same.





John Connolly in Ensenada, Baja California, Mexico


---------------------------------
Ahhh...imagining that irresistible "new car" smell?
Check outnew cars at Yahoo! Autos.

Kathy Forer on wed 25 apr 07


On Apr 24, 2007, at 10:45 PM, John Connolly wrote:

> Donna, I find it interesting (regarding the interview mentioned
> earlier) that I was also slow to talk (age 2-1/2), but am not a
> visual thinker or, at least, I do not see pictures. My greatest
> difficulty working with clay is my linear/verbal orientation. I
> can't draw worth a damn and I cannot "see" the object I want to
> build. I can describe it, but that's not the same.

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.

I think in images off and on, not always but frequently, depending
what else I've been doing. If I'm making some one thing and working
very hard, I can easily visualize all other things. But if I'm
writing a lot or thinking in concepts or computerese, I tend to get
non-verbal and non-visual as well. Hook me up to a pod somewhere!

My clearest and most reliable memories are either spatial or kinetic.
I can almost always recall layouts of apartments and where a building
was located. Also what it's like to move through a space. When I
think of a specific place, I can't really see it until I'm able to
tie some action to it.

Some people have extraordinarily vivid memories. Almost photographic.
Visual, kinetic, verbal, can recall places, events, passages in books
read at age 13. I'm continually amazed by one dear friend.

I'm always surprised when driving with another friend (male) that he
gets as easily lost as he does. He's very bright but no spatial sense
at all. Yet he can do higher mathematics. I guess it's all conceptual.

I'm (still) reading "On Intelligence" by Jeff Hawkins. It talks of
how the cerebellum retrieves memories in a feedback and feed-forward
mechanism. Most interesting!

An art history teacher once criticized me for not having a very good
visual memory. Drawing is the number one fine tuner of graphic visual
memory, so I'd do ten drawing from memory before going to sleep at
night. It actually helped, but like any exercise, needs and bears
repeating. Another exercise is to look at something then look away
and recreate it. I'll often get the overall shape but skip details,
not a very good parlor game contestant. ("Look for ten seconds, then
describe the items on the tray")

Hey, how about that instead of "Survivor" -- "Parlor Games"? Deadly
boring or possibly curiously refreshing?

Kathy Forer, in fluorescence near Wall Street

Hank Murrow on wed 25 apr 07


On Apr 25, 2007, at 3:57 PM, Kathy Forer wrote:

> On Apr 24, 2007, at 10:45 PM, John Connolly wrote:
>
>> Donna, I find it interesting (regarding the interview mentioned
>> earlier) that I was also slow to talk (age 2-1/2), but am not a
>> visual thinker or, at least, I do not see pictures. My greatest
>> difficulty working with clay is my linear/verbal orientation. I
>> can't draw worth a damn and I cannot "see" the object I want to
>> build. I can describe it, but that's not the same.
>
> 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.
>
> I think in images off and on, not always but frequently, depending
> what else I've been doing. If I'm making some one thing and working
> very hard, I can easily visualize all other things. But if I'm
> writing a lot or thinking in concepts or computerese, I tend to get
> non-verbal and non-visual as well. Hook me up to a pod somewhere!
>
> My clearest and most reliable memories are either spatial or kinetic.
> I can almost always recall layouts of apartments and where a building
> was located. Also what it's like to move through a space. When I
> think of a specific place, I can't really see it until I'm able to
> tie some action to it.
>
> Some people have extraordinarily vivid memories. Almost photographic.
> Visual, kinetic, verbal, can recall places, events, passages in books
> read at age 13. I'm continually amazed by one dear friend.

Dear Kathy;

Oliver Sachs wrote about one young girl who had learned to sign
straightaway in order to communicate with her deaf parents, who went
to a play with him. Returning home, she proceeded to recount where
the actors were on the stage, what direction they were facing, and
their exact words........... whole trains of dialogue! Sachs saw that
American Sign offered an almost architectural way of experiencing
events, and he began to learn it in order to...."restructure my
brain". This in his seventies!
>
> I'm always surprised when driving with another friend (male) that he
> gets as easily lost as he does. He's very bright but no spatial sense
> at all. Yet he can do higher mathematics. I guess it's all conceptual.

I only got lost in one city.......... Colmar, in France and built on
a radial plan. Paris was easy.
>
> I'm (still) reading "On Intelligence" by Jeff Hawkins. It talks of
> how the cerebellum retrieves memories in a feedback and feed-forward
> mechanism. Most interesting!
>
> An art history teacher once criticized me for not having a very good
> visual memory. Drawing is the number one fine tuner of graphic visual
> memory, so I'd do ten drawing from memory before going to sleep at
> night. It actually helped, but like any exercise, needs and bears
> repeating. Another exercise is to look at something then look away
> and recreate it. I'll often get the overall shape but skip details,
> not a very good parlor game contestant. ("Look for ten seconds, then
> describe the items on the tray")
>
> Hey, how about that instead of "Survivor" -- "Parlor Games"? Deadly
> boring or possibly curiously refreshing?

'Pictionary' works that way.

Cheers, Hank in Eugene
www.murrow.biz/hank

Kathy Forer on thu 26 apr 07


On Apr 25, 2007, at 8:59 PM, Hank Murrow wrote:

> Oliver Sachs wrote about one young girl who had learned to sign
> straightaway in order to communicate with her deaf parents, who went
> to a play with him. Returning home, she proceeded to recount where
> the actors were on the stage, what direction they were facing, and
> their exact words........... whole trains of dialogue! Sachs saw that
> American Sign offered an almost architectural way of experiencing
> events, and he began to learn it in order to...."restructure my
> brain". This in his seventies!

Dear Hank

Is Sachs saying that it wasn't a unique talent but conditioning
through language?

> I only got lost in one city.......... Colmar, in France and built on
> a radial plan. Paris was easy.

I can easily get lost trying to find shortcuts and alternative routes
in large unknown places like countryside or counties. A map helps me
less then than simple experience, learning how roads cross and meet.
I once got hopelessly lost in Paris, but I think it was more a state
of mind.

> 'Pictionary' works that way.

I've always objected to the slide identification emphasis in many
academic art history classes. It seems logical that the exercise
should be the opposite of what it is now. Instead of "identify this
painting" or "identify and describe this building," it could be
"Describe the Parthenon." The "answer" could be either a drawing or a
verbal description. It's an exercise that would complement the rule-
based slide quiz. "Describe and identify California sculptor of large
ceramic caricatures."

The problem is that without a canonically accepted and unique name or
title like "The Parthenon" or let's say, Manet's "Olympia," it makes
the teacher's job more difficult: "describe the artwork of a
reclining Victorine Meurent" or "describe painting by Realist-
Impressionist painter of prostitute in repose" or perhaps "describe
painting that caused a scandalous uproar at the 1865 Paris Salon."
Not difficult to come up with questions until endless volumes of
"untitled" or "Red Painting XI," then it might get more problematic.
Easier again with performance art: "Identify and describe performance
art with garbage trucks."

Kathy in NY
www.kathyforer.com

Hank Murrow on thu 26 apr 07


On Apr 26, 2007, at 12:31 AM, Kathy Forer wrote:

> On Apr 25, 2007, at 8:59 PM, Hank Murrow wrote:
>
>> Oliver Sachs wrote about one young girl who had learned to sign
>> straightaway in order to communicate with her deaf parents, who went
>> to a play with him. Returning home, she proceeded to recount where
>> the actors were on the stage, what direction they were facing, and
>> their exact words........... whole trains of dialogue! Sachs saw that
>> American Sign offered an almost architectural way of experiencing
>> events, and he began to learn it in order to...."restructure my
>> brain". This in his seventies!
>
> Dear Hank
>
> Is Sachs saying that it wasn't a unique talent but conditioning
> through language?

Dear Kathy;

What Sachs said is that whether or not the subject had special
skills, American Sign conferred those skills, and he backed it up by
getting a tutor and beginning to learn the language. He postulated
that the active movement of the arms and hands created a richer
patterning than mere speech, and this patterning could be apprehended
by anyone(whether deaf or not), and he wanted the richer 'vocabulary'.

Another story in his book, "Seeing Voices", told of interviewing an
aged deaf woman in Martha's Vineyard(nearly all who live there sign
because of a large population of deaf persons) and the woman fell
asleep during the interview. Sachs decided to just wait for her to
wake up, and he was startled to see her hands begin to move over the
quilt, and begin to sign. She was 'Dreaming' ! In Sign...........

Cheers, Hank
www.murrow.biz/hank

Anne Webb on thu 10 may 07


I am on the mailing list for the Bywater Art Market in New Orleans. This wa=
s sent via that list. Passing it along your way in case any of you are inte=
rested. Cheers! AnneHello Clay Friends!!As most of you have heard the New O=
rleans NCECA has been indefinitely postponed. Because of this unique situa=
tion some of us in the clay community have decided to take the matter into =
our own clay covered hands. The First Annual International New Orleans Wee=
kend of Clay has been scheduled for Friday, February 29 - Sunday March 2 of=
2008. The LT Governors Office of Cultural Economy is negotiating space fo=
r the conference and many of the shows are still scheduled and proceeding. =
A meeting has been scheduled for 1 pm on Sunday May 20 at the Contempor=
ary Arts Center, 900 Camp St. New Orleans, LA 70130, 504.528.3805. The mee=
ting will be held in what was formally the Cafe. We will meet about the na=
ture, naming, and content of the conference, so please bring your ideas and=
dreams. Please feel free to email me with any questions and suggestio=
ns. If there is anyone who should be included in this email list, please l=
et me know, and I will add them. I look to forward to seeing you th=
ere. All My BestChristopher Scott Brumfieldwww.christopherscottbrumfield.co=
m=20
_________________________________________________________________
Add some color. Personalize your inbox with your favorite colors.
www.windowslive-hotmail.com/learnmore/personalize.html?locale=3Den-us&ocid=
=3DTXT_TAGLM_HMWL_reten_addcolor_0507=

Paul Flickinger on tue 5 jun 07


Post to list serve, please.


If you live in the midwest or care to travel, DO NO MISS-Matt Long
Soda Fired Porcelain Workshop, July 14 and 15, Kalamazoo Institute of
Arts, Kalamazoo MI.
Matt is becoming one of the countries most sought after workshop
presenters. If you attend you will see why. Matt holds nothing back
as he demonstrates his throwing and altering of forms and signature
heavy slip applications, as well as hand building techniques. You
will get enough information from this workshop to keep you busy for
years to come. Registration fee- $120. for info 269-349-7775, ext 3182

Carol David on mon 11 jun 07


Wow - Isabel's got manners! My faith in humanity is a bit restored.

Vince Pitelka on sun 24 jun 07


I seem to have lost a block of messages. I never saw the one that Joyce
posted in response to my request for more info from ACerS, but I get the
drift of it from messages on Clayart today, and from several off-list
messages I got from Clayart friends. Joyce, as you know, I think the
world of you, and I've known you for quite a long time. I could never
harbor any resentment towards you, and I always respect you for speaking
out on something you strongly believe.

But let's clarify our relationship to ACerS. Of course I am grateful to
ACerS for hosting the Clayart server. I even said so in that message.=20
But why do you think they host it? Some of the recent posts seem to impl=
y
that it is just a grand gesture of altruism, and of course that is pure
BS. They host it is because that is the kind of thing they are suppose t=
o
be doing. They are a large and complex organization working to promote
ceramic science and ceramic art through excellent publications and other
activities. I know that they are a for-profit business, but every
for-profit business with an educational mission engages in some activitie=
s
that do not realized direct profits, and there are always good reasons wh=
y
they do it. It's not just a matter of generosity to the masses. They ge=
t
a great deal of good publicity and visibility by hosting the Clayart
server. They gather a great deal of useful information from Clayart, and
the list helps them to keep on top of the pulse of American studio
ceramics, which is incredibly important for a business that publishes two
of the major studio ceramics magazines. Of course we owe them our thanks=
,
but they also owe us their thanks and their respect for all the work that
WE do to make Clayart the vital and viable forum that it is. We do not
owe them any sort of blind obedience and respect. They have to earn it.

Clayart is obviously very important to somewhere between 2500 and 3500
members who are seriously involved in clay, plus untold numbers that
monitor Clayart at potters.org or other sites. If something happens and
Clayart goes off line, it is pretty much a matter of common sense for the
technicians at ACerS to get us back online as quickly as they possibly
can, and then to let us know exactly what happened. To do otherwise is
disrespectful towards the Clayart membership. The way Clayart has been
handled by ACerS over the past three or four weeks seems pretty damn
sloppy to me, and I would like to know why the list went off line several
times in the last month and why it took so long to get it back online thi=
s
time. It's a reasonable request. Craig Martell said that it had
something to do with some hackers in Brazil who managed to screw up the
system, but I am curious as to why such a large and visible organization
as ACerS does not have protection against such attacks.

So, I'll keep asking, and if an explanation is not forthcoming on Clayart
I'll contact the folks at ACerS directly and then let you know what they
say.
- Vince

Vince Pitelka
Appalachian Center for Craft
Tennessee Technological University
vpitelka@dtccom.net
http://iweb.tntech.edu/wpitelka/

Stuart Bidon on mon 25 jun 07


Yes, because the "top of the pulse of american studio ceramics" wants
to know about cone 6 spearamint glazes and clay whistle workshops.

Vince, I'm know clayart is important to you and a lot of other people
but, seriously, for you to assume that this mail list is the lifeblood
of American Ceramics is something approaching delusional.

Do you honestly believe that Ceramics Monthly refers to Clayart for
article ideas? I count eight technical journals and two dedicated to
the arts. Look at the ACerS meeting schedule. Peruse that and tell us
that Clayart is integral to their mission.

Much like the very materials we use in our studios, materials
available to us only because of their industrial use, I have to
believe that a mail list that gets a hundred posts on a heavy day is
not exactly a high priority for them.

Twenty bucks says this whole list runs on some creaky old server that
frazzes out everytime someone bumps the rack. I'd thank my clayart
stars that some intern hasn't pulled the box to make room for some
extra cabling.



> So, I'll keep asking, and if an explanation is not forthcoming on Clayart
> I'll contact the folks at ACerS directly and then let you know what they
> say.
> - Vince
>
> Vince Pitelka
> Appalachian Center for Craft
> Tennessee Technological University
> vpitelka@dtccom.net
> http://iweb.tntech.edu/wpitelka/
>
> ______________________________________________________________________________
> 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.
>

Stuart Bidon on mon 25 jun 07


Vince-

I'd like to carefully seperate these two arguements. I'm not
denigrating Clayart nor am I currently interested in debating its
significance. This is obviously a devoted and passionate community of
potters and artists. The spearamint glazes and clay whistles in the
context of "the pulse of american clay" made a pretty easy target.
Actually, the recent threads about donations and tax law have been
pretty interesting as well as the thread about best vacuums.

I am, though, curious about all this information that ACerS is
harvesting from the list. Is there a giant repository of all the "Do
you have a peachy Shino?" threads? Man, if this database they have
were available and searchable it would effectively put an end to all
the complaints about the difficulty searching the Clayart archives.

I'd be more likely to believe your hypothesis that ACerS is somehow
using all the information from Clayart if there were some specific
outlet directly credited to the list. An article, a journal, a
digest, anything that said "From the files of clayart"; produced by
ACerS ; and subtitled "the pulse of American Ceramics". But nothing
like that exists.

If ACerS really wanted to gather information from Clayart, they'd
migrate the whole thing over to a much more functional (and
searchable) threaded board format. I mean, look at the conferences
these guys hold, look at the job postings: they are nothing if not
thorough and resourceful.

Also, I don't think saying that clayart is not the pulse of American
Ceramics is a slam on clayart. This board is a great place to
exchange a lot of information, chat with like-minded people and post
openings in classes and workshops. For the hundred or so people who
post here regularly, it might be the pulse for their ceramics but, for
all of American Ceramics? I don't think so.

And to the mighty ACerS data-bots, harvesting our precious
conversations about beach sand and Mel's diving superstars, I say:
Welcome Overlords!





On 6/25/07, Vince Pitelka wrote:
> Stuart Bidon wrote:
> > Vince, I know clayart is important to you and a lot of other people
> > but, seriously, for you to assume that this mail list is the lifeblood
> > of American Ceramics is something approaching delusional.
> > Do you honestly believe that Ceramics Monthly refers to Clayart for
> > article ideas? I count eight technical journals and two dedicated to
> > the arts. Look at the ACerS meeting schedule. Peruse that and tell us
> > that Clayart is integral to their mission.
>
> Stuart -
> I think my message stated pretty clearly that that monitoring Clayart
> would help ACerS keep up with the pulse of American ceramics. Of course
> they are monitoring the list, and of course they are paying attention and
> using the information harvested from Clayart. To assume otherwise
> discredits their resourcefulness and thoroughness, not to mention
> discrediting the significance of this discussion list.
> - Vince
>
> Vince Pitelka
> Appalachian Center for Craft
> Tennessee Technological University
> vpitelka@dtccom.net
> http://iweb.tntech.edu/wpitelka/
>
> ______________________________________________________________________________
> 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.
>

Vince Pitelka on mon 25 jun 07


Stuart Bidon wrote:
> Vince, I know clayart is important to you and a lot of other people
> but, seriously, for you to assume that this mail list is the lifeblood
> of American Ceramics is something approaching delusional.
> Do you honestly believe that Ceramics Monthly refers to Clayart for
> article ideas? I count eight technical journals and two dedicated to
> the arts. Look at the ACerS meeting schedule. Peruse that and tell us
> that Clayart is integral to their mission.

Stuart -
I think my message stated pretty clearly that that monitoring Clayart
would help ACerS keep up with the pulse of American ceramics. Of course
they are monitoring the list, and of course they are paying attention and
using the information harvested from Clayart. To assume otherwise
discredits their resourcefulness and thoroughness, not to mention
discrediting the significance of this discussion list.
- Vince

Vince Pitelka
Appalachian Center for Craft
Tennessee Technological University
vpitelka@dtccom.net
http://iweb.tntech.edu/wpitelka/

David Woof on wed 4 jul 07


Hi Deborah,
From time to time it would be good to "till" the clay into the sand so that
you don't create a clay cap that resists penetration of oxygen and water
into the soil. This is how landfills are capped and your trees will not be
happy with the subsequent dry sand beneath.



David
_________________________________
_________________________________
David Woof Studio
Clarkdale, Arizona
Ph. 928-821-3747
________________________________
________________________________
peering over the edge, reverently taking an irreverent look at everything.

_________________________________________________________________
http://liveearth.msn.com

John Fulwood on thu 2 aug 07


Duff,

I have used a combo of sodiun silicate and the buttons Hank described. The only difference being that I attach a small coil of clay onto the back of the button and pass the wire through that. You can build the framwork out of heavy galv. fence panels. Just bend the shape you want and hang the fiber inside. Marc Ward sells a good high temp stainless wire that works great and will last for years.

Good luck,

John

-----Original Message-----
>From: Duff bogen
>Sent: Aug 2, 2007 3:36 PM
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: "gluing" ceramic fibre
>
>Hank et al.
> Has anyone- crazier than me- tried gluing fiber with a refactory slip. I've seen store bought ceramic cement used to glue modules to existing kiln interiors. I'm curious if it would work good enough (one of my paradigms- there's an opera about him- Boris Goodenough..nyuk nyuk)
> Duff
>
>Hank Murrow wrote:
> On Jun 27, 2007, at 6:21 PM, pdp1@EARTHLINK.NET wrote:
>
>> Hi Eric,
>>
>>
>> Just make an equivelent faster out of some appropriate ^ Clay...
>>
>> Make some 'buttons' ( or little 'Pan-Cakes' ) in effect, of the
>> diameter you
>> feel is suitable, , with small holes in them for Wire to pass
>> through...fired to whatever Cone makes sense.
>>
>> Use scrap Ni-Chrome Wire passing through the holes in these, to
>> secure the
>> fiber to the Walls...passing the wire through the Walls if need be,
>> via
>> dedicated slender holes...
>
>And the holes can be 'filled' with pop rivets(stainless, of course)
>to secure the wire and seal the hole.
>
>Cheers, Hank
>www.murrow.biz/hank
>
>______________________________________________________________________________
>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.
>
>
>
>---------------------------------
>Boardwalk for $500? In 2007? Ha!
>Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.
>
>______________________________________________________________________________
>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.


John Fulwood
Kissimmee River Pottery
One 8th St. #11
Frenchtown, NJ. 08825
http://www.kissimmeeriverpottery.com

KATHI LESUEUR on mon 27 aug 07


> Date: Thu, 23 Aug 2007 20:16:36 -0700
> From: Overall's
> Subject: aging moms
>
> If I asked for a poll of clayarters who were faced with the
> decision to take
> their mom in from hospital when her remaining days on earth looked
> to be
> less than a couple of years; I wonder what that poll would say?.....
>
> It's down to her here or nursing home. She's too 'high
> maintenance' for
> personal care homes".>>


I've been a hospice volunteer for years. I also took care of both
aging parents until they died in their homes. So, maybe I can be of
help. You say that she is high maintenance. Is she terminal, as in
you don't expect her to live another six months to a year. If that's
the case you should inquire about hospice. People wait far too long
to call hospice. If a doctor believes she won't live more than six
months (or a year depending on insurance), she is eligible for
hospice care and if she hasn't died within that time frame it can be
renewed at least once. That can mean anything from a nurse coming in
once a week to a home health aide on duty 24 hours a day. It depends
on your need and her's. Volunteers like me come in for short periods
of time (usually up to four hours) to allow you to take care errands
or just give you a break. With my father we had round the clock care
because my mother only weighed 75 pounds and couldn't help him if he
fell. I've helped people from just one time so that family members
could attend an outing to three afternoons a week so a caregiver
could get some sleep. Everyone at the agency is bonded and well
trained. There are some hospice residences but I'd avoid them if
possible. It's not that they don't do a good job, just that home is
preferable.

If she isn't ready for hospice but you want to try keeping her in
your home the same agency can provide home health aides. Often
insurance will pay for them because it's cheaper than a nursing home.
You might want to give that a try.

I assume when you refer to personal care homes you mean assisted
living. You are correct that she needs to be basically independent to
qualify.

I'd personally consider nursing home as a last resort. I've been to
all of them in my area at one time or another and I know the ones
which are best here. Visit all of them. Pop in without an appointment
to get the best idea of the quality. Visit more than once at
different times. If you know someone who is a home health care nurse
ask their opinion. and, if you decide that a nursing home is the way
to go, don't feel guilty. Everyone's case is different. No choice is
right or the best. Accept every bit of help that anyone offers. They
mean it when they offer and you'll need it.

Good luck,
Kathi










>
>

Mike Gordon on wed 26 sep 07


Angela wrote....

I have a video created at Anderson Ranch by Bruce Riggs
in 2000. The title is
"Peter Volkos Builds an Ice Bucket" .
Do you know where I could get one? It would be a joy to see, Mike
Gordon

Stuart & Kathryn Fields on mon 22 oct 07


I HAVE NEVER SENT OUT A MASS E-MAIL BEFORE BUT THIS ONE STRUCK HOME. In
Kern County California it is illegal to change a kitchen faucet without a
county issued permit. Futher the County building department forced me into
a $300 inspection that was clearly stated on the approved plans as not being
useful. I've heard people say it is time to dump the tea in the harbor
again. I hope that there is an alternative to get the various governments
out of our knickers. But as long as we have people wanting the "Free Corn"?







THIS IS TRULY THOUGHT PROVOKING.....

TAKE THE TIME TO READ IT....AND SEND IT ON TO THOSE THAT YOU THINK ARE WORTH
SENDING TO AS I HAVE DONE.....



There was a Chemistry professor in a large college that had some Exchange
students in the class. One day while the class was in the lab the Prof
noticed one young man (exchange student) who kept rubbing his back And
stretching as if his back hurt.



The professor asked the young man what was the matter. The student told
him he had a bullet lodged in his back. He had been shot while fighting
communists in his native country who were trying to overthrow his country's
government and install a new communist government.



In the midst of his story he looked at the professor and asked a strange
question. He asked, ' Do you know how to catch wild pigs?'



The professor thought it was a joke and asked for the punch line. The young
man said this was no joke.'You catch wild pigs by finding a suitable place
in the woods and putting corn on the ground. The pigs find it and begin to
come everyday to eat the free corn. When they are used to coming every
day, you put a fence down one side of the place where they are used to
coming. When they get used to the fence, they begin to eat the corn again
and you put up another side of the fence. They get used to that and start to
eat again. You continue until you have all four sides of the fence up with a
gate in The last side. The pigs, who are used to the free corn, start to
come through the gate to eat, you slam the gate on them and catch the whole
herd.



Suddenly the wild pigs have lost their freedom. They run around and around
inside the fence, but they are caught. Soon they go back to eating the
free corn. They are so used to it that they have forgotten how To forage
in the woods for themselves, so they accept their captivity.



The young man then told the professor that is exactly what he sees
happening to America The government keeps pushing us toward
Communism/Socialism and keeps spreading the free corn out in the form of
programs such as supplemental income, tax credit for unearned income,
tobacco subsidies, dairy subsidies, payments not to plant crops (CRP),
welfare, medicine, drugs, etc. while we continually lose our freedoms- just
a little at a time.



One should always remember 'There is no such thing as a free Lunch!' Also,
'You can never hire someone to provide a service for you cheaper than you
can do it yourself.



Also, if you see that all of this wonderful government 'help' is a problem
confronting the future of democracy in America , you might want to send
this on to your friends. If you think the free ride is essential to your
way of life then you will probably delete this email, but God help you when
the gate slams shut





Stuart & Kathryn Fields, Publishers

Experimental Helo magazine

P. O. Box 1585

Inyokern, CA 93527

(760) 377-4478

408-9747 publication cell

608-1299 technical cell

www.experimentalhelo.com

Larry Kruzan on wed 7 nov 07


Hi All,



My wife and I will be attending a quilting class in Janesville, WI next
week. I wonder if there are any potteries/potters that would welcome a
visit while we are there? I know this is a busy time for all of us and
promise not to hang around too long.



Thanks,

Larry Kruzan

Lost Creek Pottery

www.lostcreekpottery.com

Joseph Herbert on sat 10 nov 07


Lili Krakowski wrote: I know that schists are a rock formation, but do not
know if one needs to be sure to use that...

Lili, A Schist is a rock type, Metamorphic, coarse grained (usually). So,
at some point in the past a pre-existing rock was exposed to heat, pressure,
and active fluids. Over a period of time, the combination caused minerals
to dissolve and re-form in a different chemical/crystalline combination.
One of the possible re-combinations is Talc. Others are Amphibole,
Tremolite... Often a schist is mono-mineralic, mostly one mineral. They tend
to show texture that reflects the bending of the layers that make up the
rock after all that heat and pressure. The crystals of the minerals that
make up the schist tend to grow in preferred directions in response to the
pressure regime during crystal growth.

To be accurate, the term "formation" is usually used to describe a
recognizable group of rocks that extend over some geographic area, greater
or lesser. The Morrison formation is famous for containing dinosaur bones
and it extends through much of the mountain west, Colorado, Wyoming, etc.
It is composed of several layers of mudstones of Jurassic age deposited by a
river of that time. It is relatively thick and often distinctively colored.
It can weather to bad-lands type topography leaving multicolored barren
hills. It is called "Morrison" because someone described it in the area
around Morrison, Colorado. The name was then extended to include all rocks
of that age with the same rock character that are seen or assumed to have
been deposited at the same time.

IN any event, using talc as supplied by ceramic materials suppliers should
produce the same results as Cardew's talc schist. The source of the talc
from the supplier is undoubtedly just that, from a schist.

Joe

Joseph Herbert
Technical Writer
Irving, Texas
214-725-8305 (Cell)
No virus found in this outgoing message.
Checked by AVG Free Edition.
Version: 7.5.503 / Virus Database: 269.15.28/1122 - Release Date: 11/10/2007
10:41 AM

CHASE SC on thu 22 nov 07


The archives are down, and I haven't received a digest tonight...so I was
just checking to see if maybe everyone quit emailing getting ready for
turkey tomorrow.

Chase

Jud Beall on wed 12 dec 07


Has anyone ever purchase the Raku kiln from Good Kiln / Sugar Creek
Industries?

=20

Thoughts? Have one on order, but can still cancel if I hear negative
feedback.

Bill Merrill on wed 12 dec 07


For those potters that are doing cone 9-10 stoneware here is a very good
"liner" glaze for your interiors. This glaze is very nice on the
exterior of pots also. If you leave out the flint in the glaze you get
an orange to white mat glaze. Color depends on thickness and clay body.
This is a glaze Ken Ferguson used on a lot of his large jars and
pitchers while at the Bray Foundation in the late '50's.

=20

Fustes liner 9/10 reduction stoneware

=20

34.7 Custer feldspar

19.6 Dolomite

3.1 Whiting

23.6 EPK

18.9 flint

=20

I usually cut the EPK back to 18.6 and add 5 calcined kaolin(Glomax)
because of the higher raw content.

=20

Bill

=20

billm@pcadmin.ctc.edu

=20

Neil on thu 13 dec 07


My name is Neil Stanley and I live in southern Ontario Canada. This =
winter I hope to complete the construction of a 38 cu/ft sprung arch =
kiln (IFB). I am considering going with a liquid propane burner ( =
MK-1-SS) due to my location and climate. I have talked to people in the =
potters guild I belong to and no one knows of anyone who uses such a =
burner. They are all vapour or natural gas. One person said he thought =
you did not have as much control with them. Could you give me any =
insight or direct me to any information on there use

Bill Merrill on fri 14 dec 07


Forced air burners usually have very large orfices on the burner. On a
40 cubic foot AD Alpine kiln there are 2 forced air burners. The
pressure is in water column inches. Each burner has a small pipe
crossing the burner and each one has 3 holes at least 1/4" wide. This
kiln is fired on propane. One time I talked with the techs there (many
years ago) Maybe I can find those sizes. If you call A.R.T. company
and ask for the person who builds or designs those systems, they will
probably give you the answer. The person who helped me was "Ziggy" but
he is probably retired.=20

If you use venture burners and fire with propane the orfice size would
be from a 50-59 drill size and that would require you to use 2 pounds of
pressure on the whole burner system if the burners are linked together.
I use Pyronics 80Et type medium pressure burners. It seems you are
getting so much varied information that we are probable confusing the
issue for you.=20

Bill Merrill billm@pcadmin.ctc.edu


-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Hank Murrow
Sent: Friday, December 14, 2007 1:40 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject:=20

On Dec 14, 2007, at 8:54 AM, heidi haugen wrote:
>
> am having some issues getting the proper orifices for my burners. i
> can get the right fitting but not the right capacity (hole size)
>
> i thought that i was to order #17 but when they arrived, the openings
> are waaay huge. i must be confused about something and a looking
> for some advice.

#17 is a pretty big orifice for propane, Heidi. Somewhere between
7/64" and 5/32". Normal for natural gas, IMO.
>
> what i have is a 70 cu ft kiln
> 4 venturi burners
> lp propane(500 gallon tank)
> i live at approx 3600 ft above sea
> level
> i should need about 225,000-250,000
> btus per burner to fire the kiln
> i've got 11wci max pressure

11" water column is a nice quiet pressure to use with propane. I
imagine you will need to ask the burner company what orifice size
would be apropos for that pressure and BTU need.

Cheers, Hank

________________________________________________________________________
______
Clayart members may send postings to: clayart@lsv.ceramics.org

You may look at the archives for the list, post messages, or change your
subscription settings here: http://www.acers.org/cic/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots2@visi.com

heidi haugen on fri 14 dec 07


hello all. i'm so happy to be back on clayart after a year
hiatus...for some reason my server would not let the messages through
but alas...for some reason this week it worked.

after 8 years of being a part of this list, it was rough to not get
my daily fix.

i've been building an ifb sprung arch car kiln and am down to the
very end and
am having some issues getting the proper orifices for my burners. i
can get the right fitting but not the right capacity (hole size)

i thought that i was to order #17 but when they arrived, the openings
are waaay huge. i must be confused about something and a looking
for some advice.

what i have is a 70 cu ft kiln
4 venturi burners
lp propane(500 gallon tank)
i live at approx 3600 ft above sea level
i should need about 225,000-250,000 btus per burner to fire the kiln
i've got 11wci max pressure

can someone tell me the proper language to use....i believe that i
ordered a #17 drill size orifice...it's bigger than the current
natural gas orifice that is on the burners and i believe
that it is supposed to be much smaller.

building this kiln has been quite an adventure and i'm soo thrilled
to be nearly finished. kurt wild has been an exceptional mentor
along with mel and others. i'm alone out here in the sticks
and not too many folks around here to call on for help. once i'm up
and running i'd be happy to field any questions from people
considering building a kiln and the process i went through
to get it done.

thanks in advance.
heidi haugen

Hank Murrow on fri 14 dec 07


On Dec 14, 2007, at 8:54 AM, heidi haugen wrote:
>
> am having some issues getting the proper orifices for my burners. i
> can get the right fitting but not the right capacity (hole size)
>
> i thought that i was to order #17 but when they arrived, the openings
> are waaay huge. i must be confused about something and a looking
> for some advice.

#17 is a pretty big orifice for propane, Heidi. Somewhere between
7/64" and 5/32". Normal for natural gas, IMO.
>
> what i have is a 70 cu ft kiln
> 4 venturi burners
> lp propane(500 gallon tank)
> i live at approx 3600 ft above sea
> level
> i should need about 225,000-250,000
> btus per burner to fire the kiln
> i've got 11wci max pressure

11" water column is a nice quiet pressure to use with propane. I
imagine you will need to ask the burner company what orifice size
would be apropos for that pressure and BTU need.

Cheers, Hank

Ron Roy on sat 15 dec 07


Hi Bill,

Interesting - is it glossy? - the alumina is at the upper limit for a cone
10 glaze.

I'll bet it will matte up if slow cooled.

RR

>For those potters that are doing cone 9-10 stoneware here is a very good
>"liner" glaze for your interiors. This glaze is very nice on the
>exterior of pots also. If you leave out the flint in the glaze you get
>an orange to white mat glaze. Color depends on thickness and clay body.
>This is a glaze Ken Ferguson used on a lot of his large jars and
>pitchers while at the Bray Foundation in the late '50's.
>
>
>
>Fustes liner 9/10 reduction stoneware

>34.7 Custer feldspar
>
>19.6 Dolomite
>
>3.1 Whiting
>
>23.6 EPK
>
>18.9 flint
>
>
>
>I usually cut the EPK back to 18.6 and add 5 calcined kaolin(Glomax)
>because of the higher raw content.
>
>
>
>Bill

Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0

Bill Merrill on sun 16 dec 07


Ron,

This is a smooth lustrous satin, that cleans up extremely well. I slow
cool my kiln and it doesn't go matt. If you leave out the flint it
produces a white to orange mat glaze. It is quite beautiful on an iron
body stoneware, with or without the flint. The glaze when mixed without
the flint likes strong reduction and a slow cool.

Bill

-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Ron Roy
Sent: Saturday, December 15, 2007 5:40 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject:=20

Hi Bill,

Interesting - is it glossy? - the alumina is at the upper limit for a
cone
10 glaze.

I'll bet it will matte up if slow cooled.

RR

>For those potters that are doing cone 9-10 stoneware here is a very
good
>"liner" glaze for your interiors. This glaze is very nice on the
>exterior of pots also. If you leave out the flint in the glaze you get
>an orange to white mat glaze. Color depends on thickness and clay
body.
>This is a glaze Ken Ferguson used on a lot of his large jars and
>pitchers while at the Bray Foundation in the late '50's.
>
>
>
>Fustes liner 9/10 reduction stoneware

>34.7 Custer feldspar
>
>19.6 Dolomite
>
>3.1 Whiting
>
>23.6 EPK
>
>18.9 flint
>
>
>
>I usually cut the EPK back to 18.6 and add 5 calcined kaolin(Glomax)
>because of the higher raw content.
>
>
>
>Bill

Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0

________________________________________________________________________
______
Clayart members may send postings to: clayart@lsv.ceramics.org

You may look at the archives for the list, post messages, or change your
subscription settings here: http://www.acers.org/cic/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots2@visi.com

James and Sherron Bowen on sun 16 dec 07


If you leave out the flint you then you have a variant of Mel's favorite
Rhodes 32 Matte.
JB


----- Original Message -----
From: "Bill Merrill"
To:
Sent: Sunday, December 16, 2007 2:09 PM


Ron,

This is a smooth lustrous satin, that cleans up extremely well. I slow
cool my kiln and it doesn't go matt. If you leave out the flint it
produces a white to orange mat glaze. It is quite beautiful on an iron
body stoneware, with or without the flint. The glaze when mixed without
the flint likes strong reduction and a slow cool.

Bill

-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Ron Roy
Sent: Saturday, December 15, 2007 5:40 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject:

Hi Bill,

Interesting - is it glossy? - the alumina is at the upper limit for a
cone
10 glaze.

I'll bet it will matte up if slow cooled.

RR

>For those potters that are doing cone 9-10 stoneware here is a very
good
>"liner" glaze for your interiors. This glaze is very nice on the
>exterior of pots also. If you leave out the flint in the glaze you get
>an orange to white mat glaze. Color depends on thickness and clay
body.
>This is a glaze Ken Ferguson used on a lot of his large jars and
>pitchers while at the Bray Foundation in the late '50's.
>
>
>
>Fustes liner 9/10 reduction stoneware

>34.7 Custer feldspar
>
>19.6 Dolomite
>
>3.1 Whiting
>
>23.6 EPK
>
>18.9 flint
>
>
>
>I usually cut the EPK back to 18.6 and add 5 calcined kaolin(Glomax)
>because of the higher raw content.
>
>
>
>Bill

Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0

________________________________________________________________________
______
Clayart members may send postings to: clayart@lsv.ceramics.org

You may look at the archives for the list, post messages, or change your
subscription settings here: http://www.acers.org/cic/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots2@visi.com

______________________________________________________________________________
Clayart members may send postings to: clayart@lsv.ceramics.org

You may look at the archives for the list, post messages, or change your
subscription settings here: http://www.acers.org/cic/clayart/

Moderator of the list is Mel Jacobson who may be reached at
melpots2@visi.com

Ron Roy on wed 19 dec 07


Hi Bill,

Thanks for this - I did not know you were already slow cooling - does that
mean it's more glossy when fast cooled?

RR

>Ron,
>
>This is a smooth lustrous satin, that cleans up extremely well. I slow
>cool my kiln and it doesn't go matt. If you leave out the flint it
>produces a white to orange mat glaze. It is quite beautiful on an iron
>body stoneware, with or without the flint. The glaze when mixed without
>the flint likes strong reduction and a slow cool.
>
>Bill
>
>-----Original Message-----
>From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Ron Roy
>Sent: Saturday, December 15, 2007 5:40 PM
>To: CLAYART@LSV.CERAMICS.ORG
>Subject:
>
>Hi Bill,
>
>Interesting - is it glossy? - the alumina is at the upper limit for a
>cone
>10 glaze.
>
>I'll bet it will matte up if slow cooled.
>
>RR
>
>>For those potters that are doing cone 9-10 stoneware here is a very
>good
>>"liner" glaze for your interiors. This glaze is very nice on the
>>exterior of pots also. If you leave out the flint in the glaze you get
>>an orange to white mat glaze. Color depends on thickness and clay
>body.
>>This is a glaze Ken Ferguson used on a lot of his large jars and
>>pitchers while at the Bray Foundation in the late '50's.
>>
>>
>>
>>Fustes liner 9/10 reduction stoneware
>
>>34.7 Custer feldspar
>>
>>19.6 Dolomite
>>
>>3.1 Whiting
>>
>>23.6 EPK
>>
>>18.9 flint
>>
>>
>>
>>I usually cut the EPK back to 18.6 and add 5 calcined kaolin(Glomax)
>>because of the higher raw content.
>>
>>
>>
>>Bill
>
>Ron Roy
>RR#4
>15084 Little Lake Road
>Brighton, Ontario
>Canada
>K0K 1H0
>
>________________________________________________________________________
>______
>Clayart members may send postings to: clayart@lsv.ceramics.org
>
>You may look at the archives for the list, post messages, or change your
>subscription settings here: http://www.acers.org/cic/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots2@visi.com
>
>______________________________________________________________________________
>Clayart members may send postings to: clayart@lsv.ceramics.org
>
>You may look at the archives for the list, post messages, or change your
>subscription settings here: http://www.acers.org/cic/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at melpots2@visi.com

Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0

val on tue 1 jan 08


Happy New Year Everyone,
=20
I am working with earthenware so firings are 03
up.....what should I fire at to make my dishes
dishwasher or oven safe?
Thanks
Val
=20
Val Mann ww
VHYPERLINK
"mailto:val@tlaz.comww.yesterdayschild.ca"al@tlaz.com
wHYPERLINK
"mailto:wwal@tlaz.comww.yesterdayschild.ca"ww.yesterday
schild.ca
London,Ont.Canada
=20
=20
=20

No virus found in this outgoing message.
Checked by AVG Free Edition.=20
Version: 7.5.516 / Virus Database: 269.17.13/1205 -
Release Date: 31/12/2007 3:32 PM
=20

Tom Sawyer on tue 19 feb 08


I have two questions; one local and the other general.



The general question that I would like suggestions on is a problem that I am
having firing large slabs. I wish to make a set of slabs about 20 x 25
inches in size. I've been using paper clay and get them dried without much
warping but when I fire them [lying flat], I get an inordinate amount of
cracking; when fired upright they slump. Does anyone have any suggestions.
Thanks.



Question 2 is for anyone in the Orlando area that is looking for somewhere
to fire. I have 3 kilns, one gas/electric, one electric good size and a test
fire kiln; I would like to see if I could make arrangements for someone to
"maintain/repair the kilns as needed with the caveat of free firings [within
reason]. My age 74 makes it increasingly difficult to do the maintenance.



Thomas Sawyer

John Connolly on fri 28 mar 08


I'm truely sorry to hear of your cardiac event, but happy that you seem to be getting beyond it. I want to thank for sharing your symptoms. Before my first heart attack, I did not know that you could experience angina in the throat. Until your post, I did not know you could experience angina in your teeth and gums. I thought it was neuralgia. I'm off for a checkup.

John Connolly in Ensenada, Baja California, Mexico



John Connolly in Ensenada, Baja California, Mexico


---------------------------------
Looking for last minute shopping deals? Find them fast with Yahoo! Search.

John Rodgers on mon 28 apr 08


John,

Glad to be of help. We need to know about ourselves.

John

John Connolly wrote:
> I'm truely sorry to hear of your cardiac event, but happy that you seem to be getting beyond it. I want to thank for sharing your symptoms. Before my first heart attack, I did not know that you could experience angina in the throat. Until your post, I did not know you could experience angina in your teeth and gums. I thought it was neuralgia. I'm off for a checkup.
>
> John Connolly in Ensenada, Baja California, Mexico
>
>
>
> John Connolly in Ensenada, Baja California, Mexico
>
>
> ---------------------------------
> Looking for last minute shopping deals? Find them fast with Yahoo! Search.
>
> ______________________________________________________________________________
> Clayart members may send postings to: clayart@lsv.ceramics.org
>
> You may look at the archives for the list, post messages, change your
> subscription settings or unsubscribe/leave the list here: http://www.acers.org/cic/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots2@visi.com
>
>
>

jean szostek on wed 21 may 08


------=_NextPart_001_0035_01C8BB7D.5FF46F20
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

Hi everybody,=20

im again in seventh heaven, for several weeks i was feeling like =
robinson crusoe
now im back in the happy world of fine people that overloads us again =
with interesting tips, recipes etc......
we can't thanks enough the people that made this possible Mel, Steve en =
Charlie Harper

jean a potter from belgium
------=_NextPart_001_0035_01C8BB7D.5FF46F20
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable



charset=3Diso-8859-1">




Hi everybody,

 

im again in seventh heaven, for =
several=20
weeks i was feeling like robinson crusoe

now im back in the happy world =
of fine=20
people that overloads us again with interesting tips, recipes=20
etc......

we can't thanks enough the =
people that=20
made this possible Mel, Steve en Charlie Harper

 

jean a potter from=20
belgium


------=_NextPart_001_0035_01C8BB7D.5FF46F20--

Rogier Donker on wed 21 may 08


--Apple-Mail-1--984574342
Content-Transfer-Encoding: 7bit
Content-Type: text/plain;
charset=US-ASCII;
format=flowed

Phew! What a job you guys did! Thank you thank you!!
Rogier

P.S. See us on the web at http://www.donkerstudio.org



--Apple-Mail-1--984574342
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-khtml-line-break: after-white-space; ">Phew! What a job you guys did! =
Thank you thank you!!
style=3D"border-collapse: separate; border-spacing: 0px 0px; color: =
rgb(0, 0, 0); font-family: Lucida Grande; font-size: 12px; font-style: =
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0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; =
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normal; letter-spacing: normal; line-height: normal; text-align: auto; =
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style=3D"font-family: Times; font-size: 14px; ">class=3D"Apple-style-span" style=3D"font-family: Times; font-size: 14px; =
">font-size: 14px; ">Rogier
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style=3D"font-family: Times; font-size: 14px; ">class=3D"Apple-style-span" style=3D"font-family: Times; font-size: 14px; =
">font-size: 14px; ">P.S. See us on the web at href=3D"http://www.donkerstudio.org">http://www.donkerstudio.org>

class=3D"Apple-interchange-newline"> =

=

--Apple-Mail-1--984574342--

Christine Campbell on sat 24 may 08


Ingebord wrote ..

> Thanks, you have a lot of common sense.
I think I will try your method and offer
cash discounts.

If you don't want to lose your card privileges
you had better read the fine print on your
contract. You are usually not allowed to offer
a discount for cash.


Bob wrote -

> What we don't know is that they were also planning
on getting the two large platters for $800.
So they decide ah maybe lateror next year.

Exactly! Or, they were going to buy six but only have
enough cash for one ... or they just walk past a place
that does not take cards and buy somewhere else.


Another thing that has not been thought of is the
growing number of people who are using Debit Cards
instead of checks or cash.
You need a way to serve them or you will be losing
both the cash and credit people.


Chris Campbell - in North Carolina


--
Chris Campbell Pottery LLC
9417 Koupela Drive
Raleigh NC 27615-2233

Designs in Colored Porcelain

1-800-652-1008
Fax : 919-676-2062
website: www.ccpottery.com
wholesale : www.wholesalecrafts.com

Jeff Gieringer on sat 24 may 08


Chris,

You're right, I have never checked and I don't do it. I just add the 5%
to my pots and they can pay however they want. I just make 5% more on my
cash sales. I see the cash discount offer a lot in other types of business
and assumed it must be OK. But we all know what assuming gets you. Good
advice.

Jeff



----- Original Message -----
From: "Christine Campbell"
To:
Sent: Saturday, May 24, 2008 12:57 PM


> Ingebord wrote ..
>
>> Thanks, you have a lot of common sense.
> I think I will try your method and offer
> cash discounts.
>
> If you don't want to lose your card privileges
> you had better read the fine print on your
> contract. You are usually not allowed to offer
> a discount for cash.
>
>
> Bob wrote -
>
>> What we don't know is that they were also planning
> on getting the two large platters for $800.
> So they decide ah maybe lateror next year.
>
> Exactly! Or, they were going to buy six but only have
> enough cash for one ... or they just walk past a place
> that does not take cards and buy somewhere else.
>
>
> Another thing that has not been thought of is the
> growing number of people who are using Debit Cards
> instead of checks or cash.
> You need a way to serve them or you will be losing
> both the cash and credit people.
>
>
> Chris Campbell - in North Carolina
>
>
> --
> Chris Campbell Pottery LLC
> 9417 Koupela Drive
> Raleigh NC 27615-2233
>
> Designs in Colored Porcelain
>
> 1-800-652-1008
> Fax : 919-676-2062
> website: www.ccpottery.com
> wholesale : www.wholesalecrafts.com
>

Ellie Blair on sun 25 may 08


--_e3bfc089-2fa5-48ad-b1b4-74c53d5640fc_
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable


I was wanting to know if anyone knows what happened to the website Great P=
ottery.com? Any info would be appreciated.

Ellie Blair
Blair Pottery
Lawrence, Kansas 66047=

--_e3bfc089-2fa5-48ad-b1b4-74c53d5640fc_
Content-Type: text/html; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable






I  was wanting to know if anyone knows what happened to the website Gr=
eat Pottery.com?  Any info would be appreciated.

Ellie Blair>Blair Pottery
Lawrence, Kansas 66047
=

--_e3bfc089-2fa5-48ad-b1b4-74c53d5640fc_--

Marvin Kitshaw on sun 29 jun 08


Hi=20
http://www.youtube.com/watch?v=3DsV7Q_QmiJpk
=20
Enjoy and let me know what you think.
Thanks
=20
MarvMarvin Kitshaw Check out the blog.http://muddyfingerspottery.spaces.liv=
e.comMuddy Fingers PotteryThe Old Coop BuildingsHookergate LaneHookergateTy=
ne & Wear EnglandNE39 2AG =20
_________________________________________________________________
Great deals on almost anything at eBay.co.uk. Search, bid, find and win on =
eBay today!
http://clk.atdmt.com/UKM/go/msnnkmgl0010000004ukm/direct/01/=

mel jacobson on fri 18 jul 08


--=====================_36726718==_
Content-Type: text/plain; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable


Dear Mel,
=20
On Tuesday =96 Don Goodrich forwarded some issues and concerns from ClayArt=
subscribers. Could you please provide the entire subscriber list through=
ClayArt with the following response?
=20
Dear ClayArt Subscribers,
=20
It was brought to our attention on Tuesday, from Don Goodrich, a few=
issues/concerns that some members of ClayArt are currently experiencing. =
We would like to address those concerns and keep all ClayArt Members=
informed.
=20
1) Where is the ClayArt Link? The ClayArt link lives on the secondary=
navigation bar of the Potters Council home page, and has been there for the=
last year. =96 www.potterscouncil.org It=
was determined that the ClayArt link would live within Potters Council. =
ClayArt and Potters Council have been closely linked in the past and serve=
a similar purpose in bringing the community of potters together. Potters=
Council continues to be a main tool in promoting new subscribers to ClayArt=
by informing new members and renewing members about it. =20
=20
[]

=20
a. We will request that ACerS place a separate ClayArt Link within their=
Navigation =93Publications & Resources=94 and/or in the Art Division=
section.
2) Why are the Archives not available for public viewing? In the past,=
there have been many issues with SPAM and showing email addresses. Based=
on Mel Jacobson (moderator of ClayArt), it was requested that the system be=
set-up not to be open to the public. This recent request was provided to=
Mel, and he currently would like to keep =93as is=94 for awhile and=
continue to monitor the issue. Please see archives for email from Mel -=
=3D&S=3D&X=3D1D2C3721E0F321A1DB&Y=3Dcdorr%40ceramics.org&P=3D53731>http://ls=
v.ceramics.org/scripts/wa.exe?A2=3Dind0807C&L=3DCLAYART&T=3D0&F=3D&S=3D&X=3D=
1D2C3721E0F321A1DB&Y=3Dcdorr%40ceramics.org&P=3D53731=20
3) Having Technical Issues? =96 If a subscriber encounters a technical=
issue when using the list serve it needs to be sent to the moderator first.=
The moderator will address the issue and fix if possible. If the=
moderator cannot fix the issue, he will then contact the IT department at=
ACerS for additional help. Please do not assume that someone else has=
relayed the issue. When reporting issues, please be sure to be detailed in=
your explanation. This is extremely helpful when solving issues.
=20
=20
Sincerely,
=20
Carolyn S. Dorr
Potters Council
600 North Cleveland Avenue, Suite 210
Westerville, OH 43082
=20
Phone: 614-794-5824
Fax: 614-794-5884
e-mail: cdorr@ceramics.org=20
=20
Sign-up for a Potters Council Workshop Today! Indianapolis, IN - SURFACE,=
FORM & SUBSTANCE
www.potterscouncil.or=
g/surfaceformandsubstance =20
=20

No virus found in this incoming message.
Checked by AVG - http://www.avg.com=20
Version: 8.0.138 / Virus Database: 270.5.1/1560 - Release Date: 7/18/2008=
6:47 AM





--=====================_36726718==_
Content-Type: text/plain; charset="us-ascii"

from minnetonka:
website http://www.visi.com/~melpots/
clayart site:
http://www.visi.com/~melpots/clayart.html
--=====================_36726718==_--

Carla Lombardi on fri 18 jul 08


Hi:
This is the first time I am writing to CLAYART.
I have just returned from a workshop given by John Britt at his studio in North Carolina on how to fire Copper Reds, Shinos, and Celadons. John is a great and giving teacher. His approach to the chemistry of glazing and firing is pragmatic and easy to understand. He has demistified for me all those procedures for getting those elusive Copper Reds, Smoky Shinos and yummy Celadons. It was a great workshop and can't wait to fire my own kiln.
Thanks John.
Carla Lombardi

-------------- Original message --------------
From: CLAYART automatic digest system

Bob Johnson on sun 20 jul 08


Carla: Please tell us what you learned!

Bob Johnson

-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Carla Lombardi
Sent: Thursday, July 17, 2008 5:13 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject:

Hi:
This is the first time I am writing to CLAYART.
I have just returned from a workshop given by John Britt at his studio in
North Carolina on how to fire Copper Reds, Shinos, and Celadons. John is a
great and giving teacher. His approach to the chemistry of glazing and
firing is pragmatic and easy to understand. He has demistified for me all
those procedures for getting those elusive Copper Reds, Smoky Shinos and
yummy Celadons. It was a great workshop and can't wait to fire my own kiln.
Thanks John.
Carla Lombardi

-------------- Original message --------------
From: CLAYART automatic digest system

No virus found in this incoming message.
Checked by AVG - http://www.avg.com
Version: 8.0.138 / Virus Database: 270.5.0/1558 - Release Date: 7/17/2008
9:56 AM

Tom Sawyer on mon 4 aug 08


In the past year, I've started to read the contents of Clayart more
irregularly than in the past and I may have missed a discussion concerning
the website "Flickr". In the event that it hasn't been discussed, it is too
good to ignore. This is a Wikipedia like concept but for pictures and is
growing RAPIDLY. The web address is http://www.flickr.com/photos/tags/sky/.
This would be a great place to store photos of potters works; please take a
look and type in pottery or pottery glazes in the search box. While the
listing are presently huge for pottery, there is no reason that they
couldn't be. Clayart members could tag their photographs with the tag
"Clayart" for immediate viewing. This has enormous potential for the group
and includes all forms of art in addition. If you go to the homepage it
gives a listing of the number of photographs etc. If the moderators believe
this is as good as I do, there could be periodic postings listing this
website for new users. I copied the following from the Homepage while
writing this post:



4,047 uploads in the last minute .

558,832 things tagged with
urban .

3.2 million things geotagged this month .



I just heard a lecture about this website yesterday & I'll need to get off
my duff and upload some pics.



Tom Sawyer

Hank Murrow on mon 4 aug 08


On Aug 4, 2008, at 6:15 AM, Tom Sawyer wrote:

> In the past year, I've started to read the contents of Clayart more
> irregularly than in the past and I may have missed a discussion
> concerning
> the website "Flickr". In the event that it hasn't been discussed,
> it is too
> good to ignore. This is a Wikipedia like concept but for pictures
> and is
> growing RAPIDLY. The web address is http://www.flickr.com/photos/
> tags/sky/.
> This would be a great place to store photos of potters works;
> please take a
> look and type in pottery or pottery glazes in the search box. While
> the
> listing are presently huge for pottery, there is no reason that they
> couldn't be. Clayart members could tag their photographs with the tag
> "Clayart" for immediate viewing.

Dear Tom;

There is a site maintained by Lee Love of the Claycraft listserve
which can be found here: http://www.flickr.com/photos/claycraft/

One can view the photos and their captions, and there is a box to
check for leaving comments.

Cheers, Hank

Taylor Hendrix on mon 4 aug 08


Tom, always good to be reminded. Most of my pictures are tagged
"saggar" or "pit fire". I'll have to add "clayart" to the really good
looking pots...when I make some.


--
Taylor, in Rockport TX
wirerabbit1 on Skype (-0500 UTC)
http://wirerabbit.blogspot.com
http://wirerabbitpots.blogspot.com
http://www.flickr.com/photos/wirerabbit/

Lee Love on tue 5 aug 08


On 8/4/08, Tom Sawyer wrote:
> In the past year, I've started to read the contents of Clayart more
> irregularly than in the past and I may have missed a discussion concerning
> the website "Flickr". In the event that it hasn't been discussed, it is too
> good to ignore. This is a Wikipedia like concept but for pictures and is
> growing RAPIDLY. The web address is http://www.flickr.com/photos/tags/sky/.

Hank mentioned the Claycraft link:

http://www.flickr.com/photos/claycraft/

But it is also easy to link up with blogs like blogger:

http://claycraft.blogspot.com/

The other nice thing is that you can simply email your photos as an
attachment. The title of the email is the title of the entry and the
text in the body appears below the photo.
--
Lee Love in Minneapolis
http://mashikopots.blogspot.com/
http://claycraft.blogspot.com/

"Let the beauty we love be what we do.
There are hundreds of ways to kneel and kiss the ground." --Rumi

James F on wed 22 oct 08


Dayton...

You are an absolute trip! I enjoy your posts and your videos.

Your videos inspired me to try to emulate your dry throwing. I centered up=
a chunk of relatively stiff clay without too much trouble. Opening the cl=
ay was a bit of work=2C but I did it in stages rather than all at once as w=
ith soft clay. Raising the walls was interesting. At first=2C absolutely =
nothing was happening other than me peeling strips of clay from the lump. =
I also learned very quickly that wrist position is very important if one wi=
shes to avoid serious stress. For me=2C it seemed that the wrists must be =
cocked somewhat inward.

The walls grew very=2C very slowly at first. It seemed like I was only gai=
ning about 1/4" per pull=2C and "pull" was not really an apt description. =
It was more of a push from below than a pull from above. Suddenly=2C the c=
lay seemed to wake up=2C and started cooperating. Amazingly=2C with only a=
finger or two on each hand=2C the walls started to grow without serious ef=
fort. I got the cylinder up about 12 or 14"=2C but then ran out of time. U=
nfortunately=2C when I returned to the project the next day the clay had we=
akened it's bond to the batt=2C and the second pull broke it loose.

So=2C Dayton=2C a few questions for now=2C many more likely to follow:

How do you get a good bond between the hard clay and the batt?

Are the experiences I described typical=2C or am I doing something wrong?

How do you avoid peeling clay from the lump while trying to pull?

Is there a trick to getting the clay to "wake up" and start moving?


Be well.

...James

> Date: Wed=2C 22 Oct 2008 13:17:58 -0700
> From: daytongrant@YAHOO.COM
> To: CLAYART@LSV.CERAMICS.ORG
>=20
> I learned how to make and use the sticks from Michael Frimkess=2C who say=
s he learned about the sticks from:
>=20
> David Rawnsley (who is also a British Filmmaker) and
>=20
> Shoji Hamada (who visited him and traded some tools)
>=20
> as well as others=2C
>=20
> and so Mr. Frimkess=2C I believe=2C has consolidated several 'Old World' =
ceramic traditions like:
>=20
> hard clay
>=20
> the use of sticks
>=20
> hump throwing
>=20
> fast firing
>=20
> and a few others=2C
> into a new 'Fine Miniatures' aesthetic=2C its my favorite study.
>=20
> I made the stix out of 'Ash' which is a local hardwood=2C
>=20
> you have to make them out of something at least as hard as a 'hard' wood=
=2C because all clay is abrasive and you want the tool to hold its shape fo=
r as long as possible before having to be periodically 'reshaped'=2C even s=
tainless steel shapes may need to be freshened up eventually.
>=20
> for the sake of the environment =2CI have considered making sets of stick=
s out of other things like metal or porcelain.
>=20
> there are several basic kinds of throwing sticks=2C including:
>=20
> the 'straight finger' (various sizes)
>=20
> the 'curved finger' (from slightly curved to very curved)
>=20
> the 'flat round rib' on a stick (various woods=2C metals and sizes)
>=20
> as well as others=2C
> and you can just make you own specialty templates and profiles once you g=
et good at using the basic shapes
>=20
> I'm going to start on a whole series of 'Miniature Stick Throwing' videos=
=2C because it seems like not alot of people have seen that before=2C so I =
could have my own little pottery channel 'niche'...
>=20
> if anyone has any questions specifically about
> Stick Throwing=2C or Throwing Hard Clay Miniatures=2Cplease let me know=
=2C
> and Ill post a 'video answer' on
> PotterySchoolDotCom @ Youtube
>=20
> Thanx Dayton

_________________________________________________________________
Stay organized with simple drag and drop from Windows Live Hotmail.
http://windowslive.com/Explore/hotmail?ocid=3DTXT_TAGLM_WL_hotmail_102008=

Mike Gordon on wed 22 oct 08


Years ago I did a commission piece similar to this
one.....http://taccola.blogspot.com/2008/09/il-duce-in-round.html

The difference was hat I threw mine on the wheel, roughing it out with
a plastic template, then altering the mouth on each side, one side the
mouth was closed, he other side the mouth was open. When the piece was
turned on electric wheel, the silhouette, against a black background
looked like the faces were talking to each other. You had to look at
the black background on each side to see it. You couldn't see it if you
looked at the actual piece. Mike Gordon

Dayton Grant on wed 22 oct 08


I learned how to make and use the sticks from Michael Frimkess, who says he learned about the sticks from:

David Rawnsley (who is also a British Filmmaker) and

Shoji Hamada (who visited him and traded some tools)

as well as others,

and so Mr. Frimkess, I believe, has consolidated several 'Old World' ceramic traditions like:

hard clay

the use of sticks

hump throwing

fast firing

and a few others,
into a new 'Fine Miniatures' aesthetic, its my favorite study.

I made the stix out of 'Ash' which is a local hardwood,

you have to make them out of something at least as hard as a 'hard' wood, because all clay is abrasive and you want the tool to hold its shape for as long as possible before having to be periodically 'reshaped', even stainless steel shapes may need to be freshened up eventually.

for the sake of the environment ,I have considered making sets of sticks out of other things like metal or porcelain.

there are several basic kinds of throwing sticks, including:

the 'straight finger' (various sizes)

the 'curved finger' (from slightly curved to very curved)

the 'flat round rib' on a stick (various woods, metals and sizes)

as well as others,
and you can just make you own specialty templates and profiles once you get good at using the basic shapes

I'm going to start on a whole series of 'Miniature Stick Throwing' videos, because it seems like not alot of people have seen that before, so I could have my own little pottery channel 'niche'...

if anyone has any questions specifically about
Stick Throwing, or Throwing Hard Clay Miniatures,please let me know,
and Ill post a 'video answer' on
PotterySchoolDotCom @ Youtube

Thanx Dayton

Ellie Blair on mon 3 nov 08


I fire cone 10 porcelain with crystalline. I have been having a problem wi=
th my clay forming pimple like bubbles under the glaze. Does anyone out th=
ere have any idea what I may be doing wrong. Thanks

Ellie Blair
Blair Pottery
Lawrence=2C Kansas 66047=

William & Susan Schran User on tue 4 nov 08


On 11/3/08 5:21 PM, "Ellary Blair" wrote:

> I fire cone 10 porcelain with crystalline. I have been having a problem with
> my clay forming pimple like bubbles under the glaze. Does anyone out there
> have any idea what I may be doing wrong. Thanks

Hi Ellie,

Has anything changed?
New clay? New batch of clay?
Could be contaminants in the clay.
Change bisque firings? Using witness cones?
May need to run your bisque hotter and slower with hold at end.

Post back with more info.

Bill

--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com

Steve Mills on tue 4 nov 08


Dear Ellie,

Sounds like you have some gassing which is not fully cleared during the bisque firing.

My first reaction is to vent your bisque firing more thoroughly - I have a small (2inch to 1 inch taper) hole in the lid of my kiln which I leave uncovered throughout the firing, I don't have a positive kiln venting system.
My second is to slow down your glaze firing to continue the process in the early stages of that firing.

Steve
Bath
UK


--- On Mon, 11/3/08, Ellie Blair wrote:
From: Ellie Blair
Subject:
To: CLAYART@LSV.CERAMICS.ORG
Date: Monday, November 3, 2008, 10:21 PM

I fire cone 10 porcelain with crystalline. I have been having a problem with my
clay forming pimple like bubbles under the glaze. Does anyone out there have
any idea what I may be doing wrong. Thanks

Ellie Blair
Blair Pottery
Lawrence, Kansas 66047

Larry Kruzan on wed 5 nov 08


Also check your thermocouple - I had a issue like this and after a test with
cones (I know, I know) I found that I was over-firing about a half a cone -
enough for sensitive glazes.


Larry Kruzan
Lost Creek Pottery
www.lostcreekpottery.com



-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of William & Susan
Schran User
Sent: Tuesday, November 04, 2008 6:07 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: [CLAYART]

On 11/3/08 5:21 PM, "Ellary Blair" wrote:

> I fire cone 10 porcelain with crystalline. I have been having a problem
with
> my clay forming pimple like bubbles under the glaze. Does anyone out
there
> have any idea what I may be doing wrong. Thanks

Hi Ellie,

Has anything changed?
New clay? New batch of clay?
Could be contaminants in the clay.
Change bisque firings? Using witness cones?
May need to run your bisque hotter and slower with hold at end.

Post back with more info.

Bill

--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com





E-mail message checked by Spyware Doctor (6.0.0.386)
Database version: 5.11050
http://www.pctools.com/en/spyware-doctor-antivirus/

Ron Roy on wed 12 nov 08


Hi Ellie,

The first obvious sign that you are over firing a clay is called blebbing -
small blisters all over the ware.

Speak to you clay maker and let us know what they say.

Just make sure you are firing with cones to be sure you are not over firing it.

RR

>I fire cone 10 porcelain with crystalline. I have been having a problem
>with my clay forming pimple like bubbles under the glaze. Does anyone out
>there have any idea what I may be doing wrong. Thanks
>
>Ellie Blair
>Blair Pottery
>Lawrence, Kansas 66047

Ron Roy
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0

Ellie Blair on thu 13 nov 08


I got a two foot square soft light box to photograph my crystalline pottery=
. I thought this was suppose the light so you would end up with less hot s=
pots. I must not be doing it right because I am getting noticeable hot spo=
ts. There were no directions so I don't know for sure how far away they sh=
ould be. There are two small halogen lights one for each side. If anyone =
has a suggestion or idea I could sure use it.

Thanks=2C

Ellie Blair
Blair Pottery
Lawrence=2C Kansas 66047

Arnold Howard on thu 13 nov 08


From: "Ellie Blair"
I must not be doing it right because I am getting noticeable
hot spots.
--------------
You might be placing the lights too close to the diffusion
material. That will cause hot spots.

Sincerely,

Arnold Howard
Paragon Industries, L.P., Mesquite, Texas USA
ahoward@paragonweb.com / www.paragonweb.com

Marvin Kitshaw on fri 14 nov 08


=20
Help! I cant post=2C or is there anthing Im doing wrong to stop my posts fr=
om being published?
Marv=20
_________________________________________________________________
Win =A31000 John Lewis shopping sprees with BigSnapSearch.com
http://clk.atdmt.com/UKM/go/117442309/direct/01/=

Tony Ferguson on fri 14 nov 08


Arnold is exactly correct on distance of light from material creating hot spots. You may also need to block out those hot spots between your light and your pottery so they are not so noticeable or distracting.

Rothco 111 is very good diffusion paper if you should decide to use paper. Make sure your diffusion material is 12 or more inches from the light source at least. I remember experimenting with different papers--and scorching them, so please be careful.

Tony Ferguson

Arnold Howard wrote: From: "Ellie Blair"
I must not be doing it right because I am getting noticeable
hot spots.
--------------
You might be placing the lights too close to the diffusion
material. That will cause hot spots.

Sincerely,

Arnold Howard
Paragon Industries, L.P., Mesquite, Texas USA
ahoward@paragonweb.com / www.paragonweb.com



Take Care,



Tony Ferguson
Artist...Clay, Web, Photo, Video

...where the sky meets the lake...

http://www.tonyferguson.net

Sally Frehn on sat 15 nov 08


I have an electric kiln for sale. I have been trying to post it, however=
, I
have been unsuccessful. It keeps stating to fill in the subject field an=
d I do
that all of the time. Any suggestions?
Sally

Carl Finch on sat 15 nov 08


At 07:57 AM 11/15/2008, Sally Frehn wrote:
>I have an electric kiln for sale. I have been trying to post it, however, I
>have been unsuccessful. It keeps stating to fill in the subject
>field and I do
>that all of the time.

By "it" do you mean IMP? ("It keeps stating...")

For as you can see, your Subject came through to Clayart blank!

I googled your email program: "Internet Messaging Program (IMP) 3.2.6"
and one of the first "hits" discusses something about missing subject fields.
It's all Greek to me, but you might look into that.

--Carl
in Medford, Oregon,
Reasonably content with Eudora all these years

Chaeli Sullivan on fri 28 nov 08


Hello !!!
Has anyone done business with a company called Rockland Colloid Corp?=A0=20
I'm trying to fire photographic images into clay (so far not very successfu=
lly) and they=A0list a product which appears to be "ideal".
But i've never heard of the company and wonder if y'all have?
Thanks
Chae=0A=0A=0A

szostek jean on mon 1 dec 08


Hi everyone,



Is there somebody home can tell me what color the ashes of white rice gives?
The ashes they use in Japan for the Kodo.



Thanks very mutch jean

mel jacobson on thu 30 jul 09


delete clayart info@ceramicdesigngroup.net

from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
new book: http://www.21stcenturykilns.com

David Woof on wed 5 aug 09


Bruce=3D2C I like your last paragraph best. And I'm respectful your opin=
io=3D
n though I can't get behind it. =3D20
It appears now that those who attempted to drive the newbies away to their =
=3D
own "dummy" site are themselves now going away to Twitter harmlessly about =
=3D
Galleries closing=3D2C the death of Clayart and hopes that Face book will s=
av=3D
e them as they schmooze a few new cyber friends to buy their clunky copies =
=3D
of long dead masters. I know I just spit upwind but had to get that out of=
=3D
my craw.
=3D20
Not that I am dissing Blogging=3D2C Twittering=3D2C Facebook=3D2C U tube an=
d what=3D
ever else is already coming down the pipe. Time and use will prove the v=
=3D
alue of each.
=3D20
I like the flexibility I find with Clayart as it exists. I get the Yahoo =
=3D
delivery because it is one e-mail and opens in Blocks of up to 25 numbered =
=3D
and grouped posts. The delete key is my well worn tool. Threads I may ha=
=3D
ve only a passing interest in are there to select a single read when I see =
=3D
someone's post whose opinion I respect.
=3D20
When someone directs me to an alternate site to view pictures or blog in de=
=3D
pth=3D2C I go if interest and time allow.
=3D20
I don't have to waste valuable time going each of many sites to see if ther=
=3D
e are any new posts re ground hog raku=3D2C or low fire glaze experiments t=
ha=3D
t are attempting to use only yard dirt and wood ash. The way Clayart is I =
=3D
can skim thru everything in a matter of minutes=3D2C chose what I wish to g=
iv=3D
e attention to and get on with my life's work. Clay art is not my life=3D2=
C =3D
it is a very valuable ongoing educational tool=3D2C and I have cherished fr=
ie=3D
nds=3D2C associates and colleagues I've met on this forum that I may not ha=
ve=3D
come in contact otherwise.
=3D20
I believe that many of these alternate cyber venues isolate one from the la=
=3D
rger Clayart population and changing Clayart to this or these would be an e=
=3D
pic human tragedy.

=3D20

David Woof=3D20
=3D20

________________________________________________________________________
1a. Clayart
Posted by: "Bruce Girrell" bigirrell@MICROLINETC.COM=3D20
Date: Tue Aug 4=3D2C 2009 4:03 pm ((PDT))

I meant to reply to this when I first saw it=3D2C but I let it slip in an o=
ns=3D
laught of new jokes and "decline and fall" posts.

It distresses me also that I can't post a photo of a pot or that I have to =
=3D
write a lot of words to describe something when a simple image would do the=
=3D
job much better.

There are definitely ways to have a discussion in the vein of Clayart=3D2C =
al=3D
lowing the posting of photos=3D2C web links=3D2C documents=3D2C and other g=
oodies=3D
. In addition=3D2C these discussion groups=3D2C usually called "bulletin bo=
ards=3D
" are threaded. That is=3D2C all posts with the same topic are grouped toge=
th=3D
er and arranged (typically) chronologically. In that way=3D2C if you are no=
t =3D
interested in the "decline and fall" posts=3D2C you simply don't read that =
th=3D
read and you never see the posts made by others who are following the threa=
=3D
d. Likewise=3D2C if you _are_ interested in some thread=3D2C when you click=
on =3D
it=3D2C you get only the responses to that thread and you don't have to wad=
e =3D
through other irrelevant postings to find the ones you want. Once you becom=
=3D
e accustomed to a threaded discussion=3D2C you wonder why anyone in their r=
ig=3D
ht mind would tolerate an email distribution list.

Bulletin boards also allow a subdivision of topics into broad classes calle=
=3D
d "forums". In the case of Clayart=3D2C we would probably have a raku forum=
=3D
=3D2C a high fire forum=3D2C maybe a technical forum=3D2C maybe a workshop/=
confer=3D
ence forum=3D2C and yes=3D2C even a joke forum. Those of you who dislike se=
eing=3D
the jokes would never again have to be bothered=3D2C simply by avoiding th=
e =3D
joke forum.

One of the most popular bulletin board programs=3D2C phpBB=3D2C is FREE. No=
$10=3D
00/per year license fee to pay anyone.

Here's the downside: These features=3D2C especially photos=3D2C take bandwi=
dth.=3D
That is=3D2C in order for the bulletin board to provide these nifty featur=
es=3D
=3D2C the host computer has to send you a lot of data. Many potters live in=
r=3D
ural areas and don't have access to broadband connections. Others are simpl=
=3D
y cheap (What? A _cheap_ potter???) or of modest means and won't or can't l=
=3D
et go of their dial-up connection. Pottery is not the vocation to choose if=
=3D
you want to become fabulously wealthy.

On a dial-up line=3D2C the response time for someone navigating a bulletin =
bo=3D
ard can be considerably slowed due to the extra information being sent. To =
=3D
some degree=3D2C that can be mitigated by relegating the real bandwidth hog=
s =3D
- the photos - to a separate forum. Those with low speed connections would =
=3D
avoid that forum unless they were particularly interested in something=3D2C=
a=3D
t which point they would simply bite the bullet and wait for the pictures t=
=3D
o load. Most bulletin boards allow you to impose size limitations on attach=
=3D
ments as well to help control this problem.

Some bulletin boards don't actually host photos or attachments=3D2C but pro=
vi=3D
de a direct link to image hosting sites that make it appear as if the BB ha=
=3D
s a copy of the photo. This makes them very resistant to viruses or other n=
=3D
asties that some people try to slip through as images or attachments. I par=
=3D
ticipate in several bulletin boards. One of them actually hosts photos=3D2C=
t=3D
he others link to image hosting sites. I have never gotten a virus or nasty=
=3D
from any of them.

I truly=3D2C truly wish that Clayart would migrate to a threaded bulletin b=
oa=3D
rd. But it hasn't. Until it does=3D2C I am happy to sit here typing out my =
me=3D
ssages and thankful that there are others out there to answer my questions=
=3D
=3D2C engage in conversation=3D2C share joys and tragedies and everything e=
lse =3D
that Clayart gives us.

Bruce Girrell
*returns soap box to its hiding place*
=3D20
=3D20





_________________________________________________________________
Get back to school stuff for them and cashback for you.
http://www.bing.com/cashback?form=3D3DMSHYCB&publ=3D3DWLHMTAG&crea=3D3DTEXT=
_MSHYC=3D
B_BackToSchool_Cashback_BTSCashback_1x1=3D

Bonnie Staffel on sun 16 aug 09


Dear Lili and all,

When I visited Leach's studio back in the 80's, his wife Janet, agreed =3D
to
meet with me for a little talk about their work and studio. The =3D
memorable
statement made by Janet was, "Bernard was a pompous ass." Told to me by
Janet as we sat in a workroom at their studio.=3D20

She was quite crippled with arthritis at the time, but did come down =3D
from
their second story apartment on the grounds since I told the person in =3D
the
sales room that this was a long planned pilgrimage from the US. She also
said that her pain disappeared when she worked on the wheel. There were =3D
not
many of Leach's pots in the sales room, but since Janet was still =3D
working, I
purchased some of her small items that I could carry back in my =3D
suitcase.

I also happened to attend the lecture where he put down the potters of =3D
the
US as having no roots; his first speech at the Toledo Museum. I managed =3D
to
get his autograph in his book that was quite dog-eared and worn from so =3D
much
research. He sure did rile up the clay world as we knew it then.

Bonnie Staffel

http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD=3DA0 Throwing with Coils and Slabs
DVD=3DA0 Introduction to Wheel Work
Charter Member Potters Council

Bonnie Staffel on sun 16 aug 09


Hi Lili,

Forgot to add something about Marguerite Wildenhain that I had =3D
experienced.
Back when the ACC had regional groups there was a conference in =3D
Wisconsin
that I attended. During the walk around looking at all the pots. MW was
there talking to other conferees and I heard mentioned several times =3D
that
she did not allow her photograph to be taken. Well, my little lightning =3D
rod
lit up and I was determined to take her photo. So I have a memorable one =
=3D
of
her speaking to someone. As a result, I researched her work and methods =3D
but
was not drawn to her as an artist. Seemed to miss the mark of the hand, =3D
IMO.
Harvey Littleton was the head of the Midwest council and was my early
teacher at the Toledo Museum in 1950. I had purchased one of his very =3D
early
pots and I could kick myself for getting rid of it during a cleanout of
stuff.=3D20

Bonnie Staffel

http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD=3DA0 Throwing with Coils and Slabs
DVD=3DA0 Introduction to Wheel Work
Charter Member Potters Council

Bill Merrill on sat 19 sep 09


It's interesting reading about not being artists...being artists. I
tell everyone who walks thru the door into the studio classroom that
they are artist as soon as they come into my classes. I want to make
the students feel they are there to learn and not rules, for rules
aren't any good unless they serve you. No, I not talking safety rules,
some form of civility, etc, I talking about giving people the freedom to
try something. They don't need permission to try that. When students
come into my classes I don't know if they can see, don't have skill etc.
It's my job to help develop their skills, how to see etc. At first we
must be more positive as teachers and then help our students grow and
not be devastated by overly destructive critiques. I have two critique
styles. It is a sandwich idea....constructive, positive, constructive
or positive ,constructive, positive. Some people think of constructive
in a negative way. Of course that isn't what I mean. I remind my
students that we can't judge a work of art because of a flaw, if we did
wouldn't have great art and artists like Van Gogh etc. Vincent Van Gogh
said " if you hear a voice within you saying, "you are not a painter"'
then by all means paint, boy, and that voice will be silenced". So,
potters, clay artists, people working with clay etc, just go to work and
love what you make. Robert Henri said " a work of art is the trace of a
magnificent struggle". Keep making pots, the best are still in you.

=3D20

"Art is an outsider, a gypsy over the face of the earth." Robert Henri

Linda Mccaleb on wed 23 sep 09


=3DA0 Hello Clay Artists,=3D0A=3DA0 I was wondering, I have a very small st=
udio t=3D
hat I share with my husband that=3DA0hunts, so there are trophy heads on th=
e =3D
walls. There are=3DA0also 2 gun cases against the wall and the spare bedroo=
m =3D
that it is in has a closet full of hunting stuff. With 2 wheels, 3 sets of =
=3D
shelves,=3DA0boxes of clay and =3DA0boxes of tools on the floor. I have lit=
tle =3D
space. I inherited a 2 foot by 2 foot plaster wedging bat that is 4 inches =
=3D
thick and heavy, too heavy for my poor back to move around. I also was cons=
=3D
idering a slab roller, but with no wall space, I don't know what to do with=
=3D
these things. Does anyone have a brilliant idea for me? Oh yeah I have a f=
=3D
ish tank taking up one wall, it is a 55 gallon tank. I want to sell the tan=
=3D
k. That will give me=3DA0 about 2 feet by 5 feet of floor space with the wa=
ll=3D
space behind it.=3D0A=3DA0 I can stack clay and other stuff under the slab=
rol=3D
ler. Also, does anyone know how to get a good used one?=3D0A=3DA0 I know it=
is =3D
probably impossible, but=3DA0maybe with this many brains working on it, som=
eo=3D
ne will come up with an idea.=3D0A=3DA0 Thank you in advance for your time =
and =3D
trouble,=3D0A=3DA0 Linda=3D0A=3D0A=3D0A=3D0A

Lorraine Pierce on thu 24 sep 09


HI Linda, I too have found 'wheeled storage' invaluable as have so many
others. . The heavy tall wire commercial racks I bought at Sams club are
worth their weight in gold; I am using three, side by side in one corner,
pulling out one at a time for double sided access. Two more make a storage
wall separating work areas. They have many uses, are 48"wide, 18"deep or so=
,
and as tall as the doors. They are strong, and very sturdy; draped with
plastic one can become a damp room or drying cupboard as well as a storage
area.

You did not mention whether you are a young bride and groom newly adjusting
to marriage and space sharing, or empty-nesters in a retirement cottage
having downscaled from the family home. This 'spare bedroom-studio-hunting
lodge' must be on the first floor if it is where you plan to teach. Is ther=
e
a door leading from this area to another room or shed where the freezer for
game is kept, perhaps washing machines or other appliances? My heavy 'big
bag' storage in Florida was kept in water tight large garbage pails outside
in the claymaking yard, eventually with an overhead plastic roof. You did
not mention your kiln or water supply and the location, nor if you can work
outside as in Florida or California. If it were me I would give the man of
my dreams the livingroom for his hunting lodge, guns and trophies if it
meant I could have a working studio of my own...let us know. Lori Pierce in
Orange Park Fl. . .

On Wed, Sep 23, 2009 at 9:19 AM, Linda Mccaleb wro=
te:

> Hello Clay Artists,
> I was wondering, I have a very small studio that I share with my husban=
d
> that hunts, so there are trophy heads on the walls. There are also 2 gun
> cases against the wall and the spare bedroom that it is in has a closet f=
ull
> of hunting stuff. With 2 wheels, 3 sets of shelves, boxes of clay and bo=
xes
> of tools on the floor. I have little space. I inherited a 2 foot by 2 foo=
t
> plaster wedging bat that is 4 inches thick and heavy, too heavy for my po=
or
> back to move around. I also was considering a slab roller, but with no wa=
ll
> space, I don't know what to do with these things. Does anyone have a
> brilliant idea for me? Oh yeah I have a fish tank taking up one wall, it =
is
> a 55 gallon tank. I want to sell the tank. That will give me about 2 fee=
t
> by 5 feet of floor space with the wall space behind it.
> I can stack clay and other stuff under the slab roller. Also, does anyo=
ne
> know how to get a good used one?
> I know it is probably impossible, but maybe with this many brains worki=
ng
> on it, someone will come up with an idea.
> Thank you in advance for your time and trouble,
> Linda
>
>
>
>
>

Lorraine Pierce on thu 24 sep 09


Hi Linda, thank you for all the information...it is easier now to understan=
d
your posts and needs. I think you are not alone in your growth as an
individual, a woman with a strong interest in pottery but with family cares
now wishing more for herself since the children have grown, and life is
changing.

I paid about $65 or so at Sam's Club in 2001 for the rack. Home Depot and
Lowes also has them. Do not buy the flimsy copies sold at other
stores...these will carry 600 pounds each and come with strong casters.
There are also a variety of sizes and tables as well

As you know, if the making is not an issue, there are many storage units on=
e
can build for the cost of the lumber, blood, sweat and tears! All custom.

The carpeted floors? Out they go. Buy a roll of vinyl flooring and teach
your students to clean up after themselves. (do not cement it down) If you
meet family resistance just lay a large piece over the carpet...no more
vacuuming.


n Thu, Sep 24, 2009 at 4:45 PM, Linda Mccaleb wrot=
e:

> Dear Lorraine,
> How much are the racks? The ones I have are not so nice.
> I would love to give him his own room, but this is the house we raised
> our kids in. It's a three bedroom ranch. The room was actually his to beg=
in
> with, I invaded it with my stuff.
> Since we have lived in this house since 1990, we have accumulated a lot
> of stuff. He says we need a lot of living room furniture because of the
> kids, and when they come home, there will be seating. So our living room =
is
> wall to wall furniture. No room for his heads and gun cases wich he built=
.
> One of them belong to one of our sons. He has to pick up his stuff or we
> will have to get rid of it, he also has a custom made entertainment cente=
r,
> it's in the shed.
> Our other spare bedroom is being used by one of our daughters. She los=
e
> everything in a nasty divorse, so she is trying to get back on her feet.
> My studio has 2 wheels, 3 shelving units, one is rickety and one is sma=
ll
> one is ok. Some one sugguested using the celing to hang rails that I can =
put
> ware boards on it. I think it is a great idea, but my husband will be doi=
ng
> the work, I'm disabled and can't do it. I have my oxides and mason stains=
in
> a box, a box full of hand building stuff that is used in the dining room =
on
> the table. The clay is on the floor stacked up, I have several
> stacks,because I have 4 differant kinds of clay.(something for the studen=
ts
> to schoose from). I have my glazes in the garage and my kilns are in ther=
e
> too. My water is carried into the bed room in one gallon buckets. I don't
> need much water in there, it is just for throwing and cleaning.
> One of my problem is I have carpet in the room. It dosn't bother me
> because I don't throw messy. My students on the other hand probably will.=
My
> back won't let me vacuum the room all at once, so I have to do that in
> stages. Do you have any suguestions for the mess the students will make?
> Plastic on the floor?
> Sorry I ramble on
> Thank you,
> Linda
>
> ------------------------------
> *From:* Lorraine Pierce
> *To:* Linda Mccaleb
> *Cc:* Clayart@lsv.ceramics.org
> *Sent:* Thursday, September 24, 2009 2:47:10 PM
> *Subject:* Re:
>
> HI Linda, I too have found 'wheeled storage' invaluable as have so many
> others. . The heavy tall wire commercial racks I bought at Sams club are
> worth their weight in gold; I am using three, side by side in one corner,
> pulling out one at a time for double sided access. Two more make a storag=
e
> wall separating work areas. They have many uses, are 48"wide, 18"deep or =
so,
> and as tall as the doors. They are strong, and very sturdy; draped with
> plastic one can become a damp room or drying cupboard as well as a storag=
e
> area.
>
> You did not mention whether you are a young bride and groom newly adjusti=
ng
> to marriage and space sharing, or empty-nesters in a retirement cottage
> having downscaled from the family home. This 'spare bedroom-studio-huntin=
g
> lodge' must be on the first floor if it is where you plan to teach. Is th=
ere
> a door leading from this area to another room or shed where the freezer f=
or
> game is kept, perhaps washing machines or other appliances? My heavy 'big
> bag' storage in Florida was kept in water tight large garbage pails outsi=
de
> in the claymaking yard, eventually with an overhead plastic roof. You did
> not mention your kiln or water supply and the location, nor if you can wo=
rk
> outside as in Florida or California. If it were me I would give the man o=
f
> my dreams the livingroom for his hunting lodge, guns and trophies if it
> meant I could have a working studio of my own...let us know. Lori Pierce =
in
> Orange Park Fl. . .
>
> On Wed, Sep 23, 2009 at 9:19 AM, Linda Mccaleb w=
rote:
>
>> Hello Clay Artists,
>> I was wondering, I have a very small studio that I share with my husba=
nd
>> that hunts, so there are trophy heads on the walls. There are also 2 gun
>> cases against the wall and the spare bedroom that it is in has a closet =
full
>> of hunting stuff. With 2 wheels, 3 sets of shelves, boxes of clay and b=
oxes
>> of tools on the floor. I have little space. I inherited a 2 foot by 2 fo=
ot
>> plaster wedging bat that is 4 inches thick and heavy, too heavy for my p=
oor
>> back to move around. I also was considering a slab roller, but with no w=
all
>> space, I don't know what to do with these things. Does anyone have a
>> brilliant idea for me? Oh yeah I have a fish tank taking up one wall, it=
is
>> a 55 gallon tank. I want to sell the tank. That will give me about 2 fe=
et
>> by 5 feet of floor space with the wall space behind it.
>> I can stack clay and other stuff under the slab roller. Also, does
>> anyone know how to get a good used one?
>> I know it is probably impossible, but maybe with this many brains
>> working on it, someone will come up with an idea.
>> Thank you in advance for your time and trouble,
>> Linda
>>
>>
>>
>>
>>
>
>

Lorraine Pierce on thu 24 sep 09


On Thu, Sep 24, 2009 at 3:47 PM, Lorraine Pierce w=
rote:

> HI Linda, I too have found 'wheeled storage' invaluable as have so many
> others. . The heavy tall wire commercial racks I bought at Sams club are
> worth their weight in gold; I am using three, side by side in one corner,
> pulling out one at a time for double sided access. Two more make a storag=
e
> wall separating work areas. They have many uses, are 48"wide, 18"deep or =
so,
> and as tall as the doors. They are strong, and very sturdy; draped with
> plastic one can become a damp room or drying cupboard as well as a storag=
e
> area.
>
> You did not mention whether you are a young bride and groom newly adjusti=
ng
> to marriage and space sharing, or empty-nesters in a retirement cottage
> having downscaled from the family home. This 'spare bedroom-studio-huntin=
g
> lodge' must be on the first floor if it is where you plan to teach. Is th=
ere
> a door leading from this area to another room or shed where the freezer f=
or
> game is kept, perhaps washing machines or other appliances? My heavy 'big
> bag' storage in Florida was kept in water tight large garbage pails outsi=
de
> in the claymaking yard, eventually with an overhead plastic roof. You did
> not mention your kiln or water supply and the location, nor if you can wo=
rk
> outside as in Florida or California. If it were me I would give the man o=
f
> my dreams the livingroom for his hunting lodge, guns and trophies if it
> meant I could have a working studio of my own...let us know. Lori Pierce =
in
> Orange Park Fl. . .
>
> On Wed, Sep 23, 2009 at 9:19 AM, Linda Mccaleb w=
rote:
>
>> Hello Clay Artists,
>> I was wondering, I have a very small studio that I share with my husba=
nd
>> that hunts, so there are trophy heads on the walls. There are also 2 gun
>> cases against the wall and the spare bedroom that it is in has a closet =
full
>> of hunting stuff. With 2 wheels, 3 sets of shelves, boxes of clay and b=
oxes
>> of tools on the floor. I have little space. I inherited a 2 foot by 2 fo=
ot
>> plaster wedging bat that is 4 inches thick and heavy, too heavy for my p=
oor
>> back to move around. I also was considering a slab roller, but with no w=
all
>> space, I don't know what to do with these things. Does anyone have a
>> brilliant idea for me? Oh yeah I have a fish tank taking up one wall, it=
is
>> a 55 gallon tank. I want to sell the tank. That will give me about 2 fe=
et
>> by 5 feet of floor space with the wall space behind it.
>> I can stack clay and other stuff under the slab roller. Also, does
>> anyone know how to get a good used one?
>> I know it is probably impossible, but maybe with this many brains
>> working on it, someone will come up with an idea.
>> Thank you in advance for your time and trouble,
>> Linda
>>
>>
>>
>>
>>
>

Linda Mccaleb on fri 25 sep 09


=3DA0 Dear John Rogers,=3D0A=3DA0 There is always hand building, sculpting,=
thing=3D
s that you can do sitting down. Maybe this is the chance to do some of that=
=3D
if you haven't done it for a while.=3D0A=3DA0=3DA0 I just want to get that=
out t=3D
here.'=3D0A=3DA0=3DA0 Well wishes,=3D0A=3DA0=3DA0 Linda=3D0A=3D0A=3D0A

Kelly Savino on fri 25 sep 09


Just lost round two of the Battle of College Kilns. Mediocrity is so deeply=
entrenched where I teach, that even a request to DONATE a kiln that would =
fire to ^6 (doing all the wiring myself) is met with the wordy, bureaucrati=
c version of "Don't raise the bar, it will make us look bad."

I am assured by the manufacturer that the wheezing, badly maintained kilns =
^5 in the studio were really meant to bisque, even in a pristine condition.=
.. and that ^02 is all I should expect of them, even after I have replaced =
elements, thermocouples and installed relay upgrade kits...but my immediate=
boss (my conduit to the department head and approval) is a defeatist. "You=
'll never get the $600 to upgrade one of the kilns... and if you did, they =
will never get around to it. We've waited 2 years just to get bulliten boar=
ds..."

It perhaps is not a coincidence that his printmaking program and my ceramic=
s program share the same dwindling supply budget and he's not especially in=
spired to go fight for my slice of the pie.

And after all logic on my part was exhausted (ie: it will cost $800 just in=
element replacements to continue as we are, even if I keep replacing them =
on my own time) it came down to an admission on his part: he can't go to HI=
S boss and point out that the kilns are not the right equipment for this pr=
ogram, without having to explain why it was all fine when they were purchas=
e and have worked for the 4 previous years before I got here. The truth is =
that neither my boss nor the other ceramics instructor (who never replaced =
an element, considered firings complete when the ERR 1 message appeared, ha=
d students brush on commercial lead based glazes and was still sending them=
home underfired) had a clue. Rather than admit four years of incompetence,=
my boss is just going to sit on my observations. Sigh. (i need this job i =
need this job i need this job)

So. I have stepped into a dying ceramics program that I am told is inches f=
rom the chopping block, and charged with the task of producing student work=
that will convince the other fine art faculty that ceramics is "real art" =
like the overwhelmingly 2D media most of them teach (including my boss, see=
above.) I have a semester or maybe two to do this, which doesn't faze me -=
- I'm a good teacher with a lot of energy, a good eye and the ability to ch=
annel Diana Pancioli when required.

I have no budget, really, but the studio is crammed with several years accu=
mulation of stuff that the current part timer doesn't need/use/understand.

The big challenge is... it's a stoneware program, with ^6-10 stoneware, ^6 =
glazes, and a mandate to produce at least some functional thrown pieces... =
and produce work (& glazes) with art gallery appeal.

So after spending a few minutes in private pounding my forehead on the kiln=
room wall, I found my female version of cojones and decided that if this w=
as an obstacle course, then I was going to get jumping.

This semester's class is very small, and all guys. Raku is a no brainer. I =
will bring in my raku kiln, propane tanks and weed burner and set up in the=
parking lot, on the "easier to get forgiveness than permission" program. I=
have made a large saggar, we'll produce some terra sigillata and maybe do =
naked raku, blackened ware, maybe horsehair or feathers. Thrown vase forms =
and handbuilt boxes and whistles. So there's that.

There's an ancient trash can full of terra cotta recycle in the back corner=
. If I can quickly come up with some user friendly majolica options (there'=
s a truckload of mason stains there) we can do majolica in the existing kil=
ns.

The stoneware sculptural pieces they have already made don't have to fire t=
o temp, and I can mix up some lichen glazes or other low-firable options.

We can also do sgraffito, paper resists, stencilling, maybe even screenprin=
ting on clay... that ought to catch the attention of the 2D folks.

With the small class size, too, I fully intend to bring functional stonewar=
e home and glaze fire it in my own kilns. With 10 private students my kiln =
turnaround is pretty fast, and they won't be throwing giant casseroles as b=
rand new beginners.

Any ideas I am overlooking? These students deserve the best experience poss=
ible... I hit 'em with powerpoints frequently and for our first project the=
y liked big coiled the African beer jugs and granary jars, which meshed nic=
ely with the CD/extruder die from Diana P for large coiled projects. Maybe =
it's a guy thing but they all wanted to have the biggest one, lol. From her=
e, though, I'm busy revising the syllabus to reflect our equipment issues.

Advice welcome, as always.

Yours
Kelly in Ohio
(Where I have never in my life been so immersed in clay every day of the we=
ek. Private students and my own work in my studio, two classes at the guild=
, and Ceramics One 10-5 saturday at the college.. plus lab hours during the=
week. I am loading kilns in three venues, mixing glazes for three "program=
s", and spend my limited time off pugging and repairing in my own space. It=
's a whole new life... I hang my studio towels on the line and every clothe=
spin has somebody's name on it, lol... I admit I am weary of being dirty (I=
also paint offices on the side) and fantasize about going somewhere fancy =
in a cocktail dress with nail polish, but with all this throwing my arms lo=
ok like Popeye's so it couldn't be sleeveless...)






http://www.primalpotter.com (website)
http://primalmommy.wordpress.com (blog)
http://www.primalpotter.etsy.com (store)

Mary Starosta on fri 25 sep 09


Yes, One thought Kelly,
Fire MC6G Glazes like Licorice, sky blue, field mouse brown and maybe play
with waterfall brown. All can fire well between cone 5-6 just slow cool an=
d
you will have good results 1900F-1400F try 125 per hour or even 120 per
hour.

Those old kilns should handle that temp just fine and slab build hand
build,etc functional pieces.

You CAN DO THIS! My thought are with you!

Just a thought.
Mary Starosta
Colorado Potter
http://marystarosta.wordpress.com/

On Fri, Sep 25, 2009 at 8:39 AM, Kelly Savino
wrote:

> Just lost round two of the Battle of College Kilns. Mediocrity is so deep=
ly
> entrenched where I teach, that even a request to DONATE a kiln that would
> fire to ^6 (doing all the wiring myself) is met with the wordy, bureaucra=
tic
> version of "Don't raise the bar, it will make us look bad."
>
> I am assured by the manufacturer that the wheezing, badly maintained kiln=
s
> ^5 in the studio were really meant to bisque, even in a pristine
> condition... and that ^02 is all I should expect of them, even after I ha=
ve
> replaced elements, thermocouples and installed relay upgrade kits...but m=
y
> immediate boss (my conduit to the department head and approval) is a
> defeatist. "You'll never get the $600 to upgrade one of the kilns... and =
if
> you did, they will never get around to it. We've waited 2 years just to g=
et
> bulliten boards..."
>
> It perhaps is not a coincidence that his printmaking program and my
> ceramics program share the same dwindling supply budget and he's not
> especially inspired to go fight for my slice of the pie.
>
> And after all logic on my part was exhausted (ie: it will cost $800 just =
in
> element replacements to continue as we are, even if I keep replacing them=
on
> my own time) it came down to an admission on his part: he can't go to HIS
> boss and point out that the kilns are not the right equipment for this
> program, without having to explain why it was all fine when they were
> purchase and have worked for the 4 previous years before I got here. The
> truth is that neither my boss nor the other ceramics instructor (who neve=
r
> replaced an element, considered firings complete when the ERR 1 message
> appeared, had students brush on commercial lead based glazes and was stil=
l
> sending them home underfired) had a clue. Rather than admit four years of
> incompetence, my boss is just going to sit on my observations. Sigh. (i n=
eed
> this job i need this job i need this job)
>
> So. I have stepped into a dying ceramics program that I am told is inches
> from the chopping block, and charged with the task of producing student w=
ork
> that will convince the other fine art faculty that ceramics is "real art"
> like the overwhelmingly 2D media most of them teach (including my boss, s=
ee
> above.) I have a semester or maybe two to do this, which doesn't faze me =
--
> I'm a good teacher with a lot of energy, a good eye and the ability to
> channel Diana Pancioli when required.
>
> I have no budget, really, but the studio is crammed with several years
> accumulation of stuff that the current part timer doesn't
> need/use/understand.
>
> The big challenge is... it's a stoneware program, with ^6-10 stoneware, ^=
6
> glazes, and a mandate to produce at least some functional thrown pieces..=
.
> and produce work (& glazes) with art gallery appeal.
>
> So after spending a few minutes in private pounding my forehead on the ki=
ln
> room wall, I found my female version of cojones and decided that if this =
was
> an obstacle course, then I was going to get jumping.
>
> This semester's class is very small, and all guys. Raku is a no brainer. =
I
> will bring in my raku kiln, propane tanks and weed burner and set up in t=
he
> parking lot, on the "easier to get forgiveness than permission" program. =
I
> have made a large saggar, we'll produce some terra sigillata and maybe do
> naked raku, blackened ware, maybe horsehair or feathers. Thrown vase form=
s
> and handbuilt boxes and whistles. So there's that.
>
> There's an ancient trash can full of terra cotta recycle in the back
> corner. If I can quickly come up with some user friendly majolica options
> (there's a truckload of mason stains there) we can do majolica in the
> existing kilns.
>
> The stoneware sculptural pieces they have already made don't have to fire
> to temp, and I can mix up some lichen glazes or other low-firable options=
.
>
> We can also do sgraffito, paper resists, stencilling, maybe even
> screenprinting on clay... that ought to catch the attention of the 2D fol=
ks.
>
> With the small class size, too, I fully intend to bring functional
> stoneware home and glaze fire it in my own kilns. With 10 private student=
s
> my kiln turnaround is pretty fast, and they won't be throwing giant
> casseroles as brand new beginners.
>
> Any ideas I am overlooking? These students deserve the best experience
> possible... I hit 'em with powerpoints frequently and for our first proje=
ct
> they liked big coiled the African beer jugs and granary jars, which meshe=
d
> nicely with the CD/extruder die from Diana P for large coiled projects.
> Maybe it's a guy thing but they all wanted to have the biggest one, lol.
> From here, though, I'm busy revising the syllabus to reflect our equipmen=
t
> issues.
>
> Advice welcome, as always.
>
> Yours
> Kelly in Ohio
> (Where I have never in my life been so immersed in clay every day of the
> week. Private students and my own work in my studio, two classes at the
> guild, and Ceramics One 10-5 saturday at the college.. plus lab hours dur=
ing
> the week. I am loading kilns in three venues, mixing glazes for three
> "programs", and spend my limited time off pugging and repairing in my own
> space. It's a whole new life... I hang my studio towels on the line and
> every clothespin has somebody's name on it, lol... I admit I am weary of
> being dirty (I also paint offices on the side) and fantasize about going
> somewhere fancy in a cocktail dress with nail polish, but with all this
> throwing my arms look like Popeye's so it couldn't be sleeveless...)
>
>
>
>
>
>
> http://www.primalpotter.com (website)
> http://primalmommy.wordpress.com (blog)
> http://www.primalpotter.etsy.com (store)
>

William & Susan Schran User on fri 25 sep 09


On 9/25/09 10:39 AM, "Kelly Savino" wrote:

> This semester's class is very small, and all guys. Raku is a no brainer. =
I
> will bring in my raku kiln, propane tanks and weed burner and set up in t=
he
> parking lot, on the "easier to get forgiveness than permission" program. =
I
> have made a large saggar, we'll produce some terra sigillata and maybe do
> naked raku, blackened ware, maybe horsehair or feathers. Thrown vase form=
s and
> handbuilt boxes and whistles. So there's that.
>
> There's an ancient trash can full of terra cotta recycle in the back corn=
er.
> If I can quickly come up with some user friendly majolica options (there'=
s a
> truckload of mason stains there) we can do majolica in the existing kilns=
.
>
> The stoneware sculptural pieces they have already made don't have to fire=
to
> temp, and I can mix up some lichen glazes or other low-firable options.
>
> We can also do sgraffito, paper resists, stencilling, maybe even
> screenprinting on clay... that ought to catch the attention of the 2D fol=
ks.
>
> With the small class size, too, I fully intend to bring functional stonew=
are
> home and glaze fire it in my own kilns. With 10 private students my kiln
> turnaround is pretty fast, and they won't be throwing giant casseroles as
> brand new beginners.

The only approach you can take is making lemon aide out of the lemons.

I think the idea of going low fire,majolica, terra sig, exciting colored an=
d
crusty surfaces, etc is simply what you've gotta do with the kilns you have=
.

And the first thing you've gotta realize is this ain't coming down a level,
exciting things are being done down in lowfire land.

I did this for several years for the same reason - the kilns the school had
weren't made for mid/high fire.

I think you also should get into sculptural work with your students. If the=
y
can make a coil pot, they can make a coil bust or any other part of the
body, or animals or anything - and sculpture at low fire just makes more
sense in so many ways.

I understand your frustrations - been there, done that - took me years of
battling though administrators and others saying "it can't be done" or
"there's no money for that".

Also, as I've written privately, be sure to pursue grants, local, state and
federal especially in the current climate of support for community colleges=
.
Se if your college ahs some type of educational foundation where you could
establish an account that interested folks can make donations. This is the
ONLY way my ceramics program survives!
Wanna know why? - The Fine Art program budget last year was $4800 - that's
for the entire program - guess what it is this year? 500 fricking dollars.
Our previous Provost handed this down as he walked out the door to another
job. I just turned away shaking my head never saying a word to him...

Bill

--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com

Randall Moody on fri 25 sep 09


Any ideas I am overlooking? These students deserve the best experience
> possible... I hit 'em with powerpoints frequently and for our first proje=
ct
> they liked big coiled the African beer jugs and granary jars, which meshe=
d
> nicely with the CD/extruder die from Diana P for large coiled projects.
> Maybe it's a guy thing but they all wanted to have the biggest one, lol.
> From here, though, I'm busy revising the syllabus to reflect our equipmen=
t
> issues.
>
> Advice welcome, as always.
>
> Yours
> Kelly in Ohio
>

At my old university we had a kiln named "Phoenix" that was an old electric
kiln converted to gas.Maybe about 12 cu ft. It fired to ^10 reduction, but
it was smallish compared to the other kilns. You had to watch it since it
was a very fast kiln. You may look into finding a defunct electric that you
can convert cheaply.

--
Randall in Atlanta

Lee Love on fri 25 sep 09


I have been having great results at cone 03 with Linda Arbuckle's
majolica and cone 03 amber and turq glazes, along with Pete Pinnell's
terra sig. The work is oven/microwave safe, and harder than
porcelain. It rings so well I am thinking about making bells with
it. All of Linda's recipes are on her handouts web page. The
transparent glazes look great on a red body with a white slip over it.

Frankly, I never understood why folks are doing cone 6 instead of
earthenware.

--
Lee Love, Minneapolis
"The tea ceremony bowl is the ceramic equivalent of a sonnet: a
small-scale, seemingly constricted form that challenges the artist to
go beyond mere technical virtuosity and find an approach that both
satisfies and transcends the conventions." -- Rob Sliberman
full essay: http://togeika.multiply.com/journal/item/273/

Lee Love on fri 25 sep 09


Snapshots of my 03 experiments. Can't find my favorite terra sig yunomi.

http://picasaweb.google.com/togeika/20090925#

--
Lee Love, Minneapolis
"The tea ceremony bowl is the ceramic equivalent of a sonnet: a
small-scale, seemingly constricted form that challenges the artist to
go beyond mere technical virtuosity and find an approach that both
satisfies and transcends the conventions." -- Rob Sliberman
full essay: http://togeika.multiply.com/journal/item/273/

Bonnie Staffel on sat 26 sep 09


Hi fellow Clayarters:

>Just my opinion, but the last thing I would put in an overly

crowded space would be a slab roller. Slab rollers are eclipsed

only by exercise bicycles and treadmills as the least-used, most

space-hogging equipment. Unless, of course, one is a professional

potter with a high percentage of slab-made work. Once you

have the skill, you can make quickly make slabs by "throwing"

clay on a work table and finishing with a good rolling pin.

=3D20

Hi all, David you must still be a young strong virile youngster with =3D
lots
of muscles However, one day you will find that you have aged and may =3D
have
to change the way you work. I have gone through many different kinds of
equipment in my 60 years of potting to suit my needs at the time and
thankful for that equipment that helps me still work.

=3D20

I also have a very small studio in our basement planned abut the size of =
=3D
a
small one-car garage to hold my limited number of pieces of equipment. I
have two wheels, one of which I keep a damp doughnut of clay ready for =3D
my
oiled Masonite bats, the other is used mainly for trimming, and =3D
decorating
with the Giffin Grip always on it ready for use. I also have an electric
non-deairing extruding pug mill which I hope will stay working, so do =3D
not
have to knead my clay any more. It is about 40 years old. In another =3D
corner
is the slab roller which has multiple uses but the basic use is to roll =3D
the
slabs to follow my method of throwing with slabs and coils. Both the =3D
slab
roller and the extruding pug mill provide me with the means to throw =3D
pots
larger than off the hump. That equipment has followed me to several =3D
sites
where I have set up a studio, many of which were even smaller than the =3D
one I
have now. I put my buckets on planter roller platforms which are very =3D
cheap
at Home Depot. These go under the slab roller and the large work table. =3D
I
also have two wire racks purchased from a bakery going out of business. =3D
I
don't roll them any more.=3D20

=3D20

I like to work in cycles. When I have enough dry green ware pots to fill =
=3D
the
kiln, my daughter takes them up to the garage and loads the kiln for me. =
=3D
I
manage the firing part and use witness cones although I have a computer
controller as well as a Kiln setter with a timer. These are used as =3D
backups.
Then she brings the bisque downstairs and I have buckets of glazes and I
then use the large table and the wire racks to put the decorated pots =3D
on.
Another trip to the garage where they stay after firing. I then =3D
distribute
my work to several galleries in the area. The system works well, even =3D
though
I feel crowded at times. You do what you gotta do and make do as well =3D
with
what you have.=3D20

=3D20

I am very fortunate to have a family who supports my efforts in clay now
that I am getting ancient . .=3D20

=3D20

Bonnie

=3D20

http://webpages.charter.net/bstaffel/

http://vasefinder.com/bstaffelgallery1.html

DVD Throwing with Coils and Slabs

DVD Introduction to Wheel Work

Charter Member Potters Council

=3D20

=3D20

http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
DVD Throwing with Coils and Slabs
DVD Introduction to Wheel Work
Charter Member Potters Council


=3D20

steve graber on sun 27 sep 09


this is where i insert my sales pitch that with surface embelishments you m=
=3D
ight skip the glazes altogether?=3DA0 obviously you can roll on texture and=
g=3D
et wild results, but also carved surfaces and simple iron oxide stains migh=
=3D
t also meet your required "art" output?=3DA0 =3D0A=3D0Ai've been messing wi=
th com=3D
bined weaving with texture pots, and have a few pots in process that are te=
=3D
xtured, full of holes, and i'll fill them up by weaving or inserting pine n=
=3D
eedles throughout the pots.=3DA0 pine needle porcupine pots!=3DA0 =3D0A=3D0=
Athe old=3D
timers did low fire, so you're "high tech-low fire kiln" would have made t=
=3D
he old timers proud!=3DA0 =3D0A=3DA0Steve Graber, Graber's Pottery, Inc=3D0=
AClaremo=3D
nt, California USA=3D0AThe Steve Tool - for awesome texture on pots! =3D0Aw=
ww.g=3D
raberspottery.com steve@graberspottery.com =3D0A=3D0A=3D0AOn Laguna Clay's =
websit=3D
e=3D0Ahttp://www.lagunaclay.com/blogs/ =3D0A=3D0A=3D0A=3D0A=3D0A___________=
____________=3D
_________=3D0AFrom: Kelly Savino =3D0ATo: Clay=
art@=3D
LSV.CERAMICS.ORG=3D0ASent: Friday, September 25, 2009 7:39:43 AM=3D0ASubjec=
t: =3D
=3D0A=3D0AJust lost round two of the Battle of College Kilns. Mediocrity is=
so =3D
deeply entrenched where I teach, that even a request to DONATE a kiln that =
=3D
would fire to ^6 (doing all the wiring myself) is met with the wordy, burea=
=3D
ucratic version of "Don't raise the bar, it will make us look bad."=3D0A=3D=
0AI =3D
am assured by the manufacturer that the wheezing, badly maintained kilns ^5=
=3D
in the studio were really meant to bisque, even in a pristine condition...=
=3D
and that ^02 is all I should expect of them, even after I have replaced el=
=3D
ements, thermocouples and installed relay upgrade kits...but my immediate b=
=3D
oss (my conduit to the department head and approval) is a defeatist. "You'l=
=3D
l never get the $600 to upgrade one of the kilns... and if you did, they wi=
=3D
ll never get around to it. We've waited 2 years just to get bulliten boards=
=3D
..."=3D0A=3D0AIt perhaps is not a coincidence that his printmaking program =
and =3D
my ceramics program share the same dwindling supply budget and he's not esp=
=3D
ecially inspired to go fight for my slice of the pie.=3D0A=3D0AAnd after al=
l lo=3D
gic on my part was exhausted (ie: it will cost $800 just in element replace=
=3D
ments to continue as we are, even if I keep replacing them on my own time) =
=3D
it came down to an admission on his part: he can't go to HIS boss and point=
=3D
out that the kilns are not the right equipment for this program, without h=
=3D
aving to explain why it was all fine when they were purchase and have worke=
=3D
d for the 4 previous years before I got here. The truth is that neither my =
=3D
boss nor the other ceramics instructor (who never replaced an element, cons=
=3D
idered firings complete when the ERR 1 message appeared, had students brush=
=3D
on commercial lead based glazes and was still sending them home underfired=
=3D
) had a clue. Rather than admit four years of incompetence, my boss is just=
=3D
going to sit on my observations. Sigh. (i need this job i need this job i =
=3D
need this job)=3D0A=3D0ASo. I have stepped into a dying ceramics program th=
at I=3D
am told is inches from the chopping block, and charged with the task of pr=
=3D
oducing student work that will convince the other fine art faculty that cer=
=3D
amics is "real art" like the overwhelmingly 2D media most of them teach (in=
=3D
cluding my boss, see above.) I have a semester or maybe two to do this, whi=
=3D
ch doesn't faze me -- I'm a good teacher with a lot of energy, a good eye a=
=3D
nd the ability to channel Diana Pancioli when required.=3D0A=3D0AI have no =
budg=3D
et, really, but the studio is crammed with several years accumulation of st=
=3D
uff that the current part timer doesn't need/use/understand.=3D0A=3D0AThe b=
ig c=3D
hallenge is... it's a stoneware program, with ^6-10 stoneware, ^6 glazes, a=
=3D
nd a mandate to produce at least some functional thrown pieces... and produ=
=3D
ce work (& glazes) with art gallery appeal.=3D0A=3D0ASo after spending a fe=
w mi=3D
nutes in private pounding my forehead on the kiln room wall, I found my fem=
=3D
ale version of cojones and decided that if this was an obstacle course, the=
=3D
n I was going to get jumping.=3D0A=3D0AThis semester's class is very small,=
and=3D
all guys. Raku is a no brainer. I will bring in my raku kiln, propane tank=
=3D
s and weed burner and set up in the parking lot, on the "easier to get forg=
=3D
iveness than permission" program. I have made a large saggar, we'll produce=
=3D
some terra sigillata and maybe do naked raku, blackened ware, maybe horseh=
=3D
air or feathers. Thrown vase forms and handbuilt boxes and whistles. So the=
=3D
re's that.=3D0A=3D0AThere's an ancient trash can full of terra cotta recycl=
e in=3D
the back corner. If I can quickly come up with some user friendly majolica=
=3D
options (there's a truckload of mason stains there) we can do majolica in =
=3D
the existing kilns.=3D0A=3D0AThe stoneware sculptural pieces they have alre=
ady =3D
made don't have to fire to temp, and I can mix up some lichen glazes or oth=
=3D
er low-firable options.=3D0A=3D0AWe can also do sgraffito, paper resists, s=
tenc=3D
illing, maybe even screenprinting on clay... that ought to catch the attent=
=3D
ion of the 2D folks.=3D0A=3D0AWith the small class size, too, I fully inten=
d to=3D
bring functional stoneware home and glaze fire it in my own kilns. With 10=
=3D
private students my kiln turnaround is pretty fast, and they won't be thro=
=3D
wing giant casseroles as brand new beginners.=3D0A=3D0AAny ideas I am overl=
ooki=3D
ng? These students deserve the best experience possible... I hit 'em with p=
=3D
owerpoints frequently and for our first project they liked big coiled the A=
=3D
frican beer jugs and granary jars, which meshed nicely with the CD/extruder=
=3D
die from Diana P for large coiled projects. Maybe it's a guy thing but the=
=3D
y all wanted to have the biggest one, lol. From here, though, I'm busy revi=
=3D
sing the syllabus to reflect our equipment issues.=3D0A=3D0AAdvice welcome,=
as =3D
always.=3D0A=3D0AYours=3D0AKelly in Ohio=3D0A(Where I have never in my life=
been so=3D
immersed in clay every day of the week. Private students and my own work i=
=3D
n my studio, two classes at the guild, and Ceramics One 10-5 saturday at th=
=3D
e college.. plus lab hours during the week. I am loading kilns in three ven=
=3D
ues, mixing glazes for three "programs", and spend my limited time off pugg=
=3D
ing and repairing in my own space. It's a whole new life... I hang my studi=
=3D
o towels on the line and every clothespin has somebody's name on it, lol...=
=3D
I admit I am weary of being dirty (I also paint offices on the side) and f=
=3D
antasize about going somewhere fancy in a cocktail dress with nail polish, =
=3D
but with all this throwing my arms look like Popeye's so it couldn't be sle=
=3D
eveless...)=3D0A=3D0A=3D0A=3D0A=3D0A=3D0A=3D0Ahttp://www.primalpotter.com (=
website)=3D0Ahtt=3D
p://primalmommy.wordpress.com (blog)=3D0Ahttp://www.primalpotter.etsy.com (=
st=3D
ore)=3D0A=3D0A=3D0A=3D0A

Ellie Blair on sun 27 sep 09


Hi everyone . I finally made it back to clayart. All I could do is read i=
=3D
t from Yahoo. Couldn't sumbit responses. I think I have it fixed. There h=
=3D
as been very interesting talk going on as usual. I wanted to let everyone =
=3D
know that my website has been down for awhile. I have a new site and I hop=
=3D
e you will checck it out. It is'nt fancy but I hope to make some changes. =
=3D
the address is www.blairpottery.org. Have a look at the crystalline and let=
=3D
me know what some of you think.

Ellie Blair
Blair Pottery
Lawrence=3D2C Kansas 66047

=3D

William & Susan Schran User on sun 27 sep 09


On 9/27/09 1:26 PM, "Ellary Blair" wrote:

> Hi everyone . I finally made it back to clayart. All I could do is read=
it
> from Yahoo. Couldn't sumbit responses. I think I have it fixed. There h=
as
> been very interesting talk going on as usual. I wanted to let everyone k=
now
> that my website has been down for awhile. I have a new site and I hope y=
ou
> will checck it out. It is'nt fancy but I hope to make some changes. the
> address is www.blairpottery.org. Have a look at the crystalline and let m=
e
> know what some of you think.

Hi Ellie,
Good to have you back!
Glad to know you are well and continue to explore crystalline glazes.

Your web site is a satisfactory, efficient, clean site.

It would be nice if your gallery images had the capability of expanding to =
a
larger image. I don't know if your web building program has that ability or
not.

I would also suggest that you may want to consider having all the
backgrounds in your images be the same to keep some consistency to the look
of the site.

I would like to see a page where to talk about the process of crystalline
glazes. When folks understand how much goes into it, they will have a bette=
r
appreciation of what you do.

Bill

--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com

Donna Ward on sun 27 sep 09


Sorry
www.meandmrc.com


Donna Ward
meandmrc@earthlink.net

Loren JOnes on sun 25 oct 09


Hello Clayarters, I, through a series of mergers and acquisitions, have gat=
hered 50 or so lbs.
of Albany slip. i wonder if any of you would mind sharing with me some stel=
lar glazes made
with this rare material. Thanks for any help, Loren
http://www.lojoclayworks.com

ELAINE CARROLL on wed 28 oct 09


I vote purple because when I'm old, I'll wear more purple, and now I'm old.=
=3D
=3DA0 Besides I love purple. Elaine

Edouard Bastarache on thu 29 oct 09


Official infornation on Vermiculite from Health Canada,
this site is bilingual like Kebekers,,,


http://recherche-search.gc.ca/s_r?t3mpl1t34d=3D3D2&s5t34d=3D3Dhealth&l7c1l3=
=3D3D=3D
fra&S_08D4T.1ct57n=3D3Dsearch&S_08D4T.s3rv5c3=3D3Dadvanced&S_m5m3typ3.sp3c5=
f5=3D
3r=3D3DINDEX&S_m5m3typ3.t3xt6p3r1t7r=3D3DOR&S_m5m3typ3.v1l93=3D3Dhtml%2Fxht=
ml&S=3D
_F8LLT2XT=3D3Dvermiculite&S_S20RCH.l1ng91g3=3D3Deng&S_COLLECTION.field=3D3D=
FULL=3D
TEXT&S_C6LL2CT46N=3D3D&S_d1t3fr7m.f53ld=3D3Ddocumentdate&S_d1t3fr7m.d1t36p3=
r1=3D
t7r=3D3Dgt&S_d1t3fr7m.v1l93=3D3D&S_d1t3t7.f53ld=3D3Ddocumentdate&S_d1t3t7.d=
1t36=3D
p3r1t7r=3D3Dlt&S_d1t3t7.v1l93=3D3D&S_S20RCH.d7csP3rP1g3=3D3D10&submit=3D3DC=
herche=3D
r

Gis,

Edouard Bastarache=3D20
Spertesperantisto=3D20

Sorel-Tracy
Quebec

http://edouardbastarache.blogspot.com/
http://www.flickr.com/photos/30058682@N00/
http://albertpaintings.blogspot.com/
http://cerampeintures.blogspot.com/
My Books/Mes Livres
http://substitutions.blogspot.com/

Kanika Sircar on fri 4 dec 09


Clayart members in the Washington DC area might be interested in =3D
visiting the sale listed below; please note the location:

Glen Echo Potters
22nd Annual Holiday Sale
Saturday December 5, 2009 9 am - 6 pm
Sunday December 6, 2009 10 am - 4 pm

At: The Lab School of Washington, 4759 Reservoir Rd: at the split of =3D
Reservoir Rd and Macarthur Blvd., NW, Washington, DC

Bill Merrill on fri 18 dec 09


I thought the handmade issue was dead. It is getting to be such a moot =3D
point. How about cutting this issue off Clayart. We all get it and =3D
have our own opinions about what we feel is hand made. If a pot is =3D
truely hand made, walk to a clay site, dig the clay , mix it by hand , =3D
remove the twigs and small pebbles, add water to it without the use of a =
=3D
plastic buckets, air dry it to a working consistancy, use only your =3D
fingers to form the pot, no needle tools or ribs to shape it, just your =3D
hands. Dry it and fire it using cow manure and wood (walk to get the =3D
manure) start the fire by friction, using no matches, fire it, now that =3D
may be a truely hand made pot. =3D20

Jeff Gieringer on sat 19 dec 09


Bill,

Best post of the week. Mel called the issue DEAD a week ago, but apparently
some of our "more educated" members didn't learn to read in the process. M=
y
suggestion is that they look around for a real life and get on with it. I
don't mind, as Mel say's, "hitting my delete key", but this subject is
getting damn old. It's like a group of little five year olds, each wanting
to get the last word in.

Jeff Gieringer
Berea, Kentucky



----- Original Message -----
From: "Bill Merrill"
To:
Sent: Saturday, December 19, 2009 1:30 AM


I thought the handmade issue was dead. It is getting to be such a moot
point. How about cutting this issue off Clayart. We all get it and have
our own opinions about what we feel is hand made. If a pot is truely hand
made, walk to a clay site, dig the clay , mix it by hand , remove the twigs
and small pebbles, add water to it without the use of a plastic buckets, ai=
r
dry it to a working consistancy, use only your fingers to form the pot, no
needle tools or ribs to shape it, just your hands. Dry it and fire it usin=
g
cow manure and wood (walk to get the manure) start the fire by friction,
using no matches, fire it, now that may be a truely hand made pot.

Snail Scott on sat 19 dec 09


On Dec 19, 2009, at 12:30 AM, Bill Merrill wrote:
> I thought the handmade issue was dead...

I know Mel tried to cut it off, and it has gotten a
bit circular in spite of some people's attempts
to broaden the discussion. Still, there are
apparently quite a few people who want to
debate this issue, which is assuredly close
to the core mission of Clayart. I'd rather see
it die a natural death when its time comes
rather than be euthanized. Everyone who
doesn't care can skip those posts in the
meantime.

-Snail

Edouard Bastarache on sat 19 dec 09


Bill,
anyome who prefers "handmade" can use his
finger to hit the delete button,
thats what I have been doing for a few weeks.
I do not go to the gym, I have been hitting the
button to get my daily exercise.
I save money that way.

You arre plenty right !!!

Now, back to Esperanto

Gis,

Edouard Bastarache
Spertesperantisto

Sorel-Tracy
Quebec

http://edouardbastarache.blogspot.com/
http://www.flickr.com/photos/30058682@N00/
http://cerampeintures.blogspot.com/
http://albertpaintings.blogspot.com/

Anne Doyle on sun 14 feb 10


Hi Logan=3D2C=3D20

=3D20

How much for the caps?

Thanx for doing this=3D2C=3D20

=3D20

Anne Doyle

Saint-Sauveur=3D2C QC


http://www.endcancer.ca/site/TR/Events/Montreal2010?px=3D3D3206162&pg=3D3D=
pers=3D
onal&fr_id=3D3D1400

http://www.endcancer.ca/site/TR/Events/Montreal2010?px=3D3D3223482&pg=3D3D=
pers=3D
onal&fr_id=3D3D1400

=3D20

"I expect to pass through life but once.
If therefore=3D2C there be any kindness i can show=3D2C=3D20
or any good thing i can do to any fellow being=3D2C=3D20
let me do it now=3D2C and not defer or neglect it=3D2C=3D20
as i shall not pass this way again." William Penn

=3D20
_________________________________________________________________

Hank Taylor on tue 23 feb 10


Jackson Gray wrote:
> This (below) came to my web-based email account today. Is anyone
> familiar with it? Is it worth the cost? Is it any better than etsy?
>
> Thanks,
> Jackson Gray
> www.jackpots-pottery.com

Jackson Gray,

I would do some serious checking of this companies reputation. Even
though the BB of Southland rates it A
status. the rating is only good as of sept. of last year yet the company
has been in operation since 1/1/01 . WHY??

the BBB is not a government agency and apparently any dope could
establish one. best check with the Att. General of California to check thes=
e
folks out. It may be a legit offer, but as Steve said I second the
motion, don't get involved with them until you do some third party checking
on both the BBB of southland and of the
http://www.intostores.com/sellers.php.

This report was the found with just a few keystrokes and could also be =
a
fraud. just be sure to check it out GOOD.

"RELIABILITY REPORT FOR THE BETTER BUSINESS BUREAU OF THE SOUTHLAND, INC.
315 North La Cadena
Colton, California 92324

Principle Contact: Mr. William Grant Mitchell, President
Last Years Earnings: Approximately $245,000

NATURE OF BUSINESS:
This Company allegedly operates a non-profit organization that purports to
assist consumers with resolving complaints with other companies.

FILE EXPERIENCE:
I rate this company of having an unsatisfactory rating based on a pattern o=
f
complaints that cause me concern.

Complaints generally allege that the company uses high-pressure sales
tactics on local businesses to secure memberships generally ranging from
$335 on up. Complaints also allege that the company selectively rates
businesses on their ability to pay it's membership fees, as well as
disseminating inaccurate and unsubstantiated so called "Reliability
Reports". The Orange County District Attorney's Office and the Orange Count=
y
Register recently made an inquiry into the company's business practices. I
urge the citizens of the State of California to exercise extreme caution
when dealing with this organization or paying any membership fees.

The above are my opinions of The Better Business Bureau of the Southland,
Inc. Please exercise your own independent judgment when viewing the above
commentary. Have any comments? Please email me.

Carl
Los Angeles, California
U.S.A. "

Hope this helps you and anyone else that may get a offer like you did.

Gotta throw now,

Hank Taylor
Woodshed Pottery

In GOD we Trust

Edouard Bastarache on tue 30 mar 10


QUERY CLAYART

rakukaren@YAHOO.COM on mon 24 may 10


http://sites.google.com/site/qfwjmmmx/ehdzbbi

Bill Merrill on sat 19 jun 10


Eric,

=3D20

Japanese potters of the past have mixed clay by putting the ingredients
in a cone shape, using their hands opening up the pile into a doughnut
shape and slowly adding water and using your foot start the mixing.
Keep one foot on the outside of the ring and keep sliding your foot from
the top of the crater into the center. Keep repeating and you can mix
clay fairly Fast. I have my students mix their first batch of clay this
way before using a clay mixer.

=3D20

Another great way to mix clay is to make a slurry and pour it out on a
sheet. Let it air dry .you will be able to peel up sections of the pour
and rotate it when it is stiffer. I have done this with the sheet on
concrete so a little moisture id absorbed by the concrete. When it is
similar to the way you want it, wedge it for storage or for use.
Wetting all the particles of clay make for a very good clay. The thing
to remember is when you add water to clay it is held between the
particles ,so the more plastic the clay, the more particles, therefore
more shrinkage. In the past filter presses were used to make clay. It
was a process the produced superior clay (if the body was good) because
of the wetting effect.

=3D20

Bill

=3D20

Bill Merrill on mon 21 jun 10


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ZS4gSW4gdGhlIHBhc3QgZmlsdGVyIHByZXNzZXMgd2VyZSB1c2VkIHRvIG1ha2UgY2xheS4gIEl=
0
DQp3YXMgYSBwcm9jZXNzIHRoZSBwcm9kdWNlZCBzdXBlcmlvciBjbGF5IChpZiB0aGUgYm9keSB=
3
YXMgZ29vZCkgYmVjYXVzZQ0Kb2YgdGhlIHdldHRpbmcgZWZmZWN0Lg0KDQoNCg0KQmlsbA0KDQo=
N
Cg0KIA0KDQo=3D

Eric Hansen on mon 21 jun 10


Bill - you know what? I forgot all about mixing clay by foot!!! I even have
photos ofd the process in my notebooks. I mixed about 150 lbs last month
with shoulder muscle alone I could probably at least quadruple the output
using foot. More clay than I really need for teabowl production.

I hvae not been able to lure anyone into my discussion of single-component
clay bodies. Rhodes said if you have a local clay that is good, use that. I
haven't found one yet however, bags of clay available locally like red art,
gold art (cedar heights bond clay, not the 200 mesh), hawthorn, Foundry
Hill, and XX Sagger have all been used by various potters straight up.

Seasoned with a bit of K spar to soak up the free silica, a bit of grog,
maybe home cooked, a little 100 mesh silica sand for the posibillity that
the pot might end up in salt, soda, or wood fire
h a n s e n

On Sat, Jun 19, 2010 at 4:20 PM, Bill Merrill wrote:

> Eric,
>
>
>
> Japanese potters of the past have mixed clay by putting the ingredients
> in a cone shape, using their hands opening up the pile into a doughnut
> shape and slowly adding water and using your foot start the mixing.
> Keep one foot on the outside of the ring and keep sliding your foot from
> the top of the crater into the center. Keep repeating and you can mix
> clay fairly Fast. I have my students mix their first batch of clay this
> way before using a clay mixer.
>
>
>
> Another great way to mix clay is to make a slurry and pour it out on a
> sheet. Let it air dry .you will be able to peel up sections of the pour
> and rotate it when it is stiffer. I have done this with the sheet on
> concrete so a little moisture id absorbed by the concrete. When it is
> similar to the way you want it, wedge it for storage or for use.
> Wetting all the particles of clay make for a very good clay. The thing
> to remember is when you add water to clay it is held between the
> particles ,so the more plastic the clay, the more particles, therefore
> more shrinkage. In the past filter presses were used to make clay. It
> was a process the produced superior clay (if the body was good) because
> of the wetting effect.
>
>
>
> Bill
>
>
>

Lee Love on mon 21 jun 10


Our foot wedging was a bit different. We would make a cone and push
the clay down with your heel, starting on the outside and working
toward the middle. Once you have it stepped down, more is put in the
middle and you start going around the outside edge again. Our
mounds would get so high, we would hold onto the overhead wareracks so
we wouldn't fall down. You'd get an aerobic workout, similar to a
stair machine. You'd be soaking wet. After a couple times, the
young guys (early twenties) would take pity on me and do all the foot
wedging and I would just be the guy who laid the clay down.
-
Lee, a Mashiko potter in Minneapolis
http://mingeisota.blogspot.com/

=3D93Observe the wonders as they occur around you. Don't claim them. Feel
the artistry moving through and be silent.=3D94 --Rumi

Eric Hansen on tue 22 jun 10


I got a larger mixing pan 24" x 36" for $11 as well as a 50 lb. bag of
Sakrete Play Sand for $3. I am going to run a little test and see how many
too-small fines are in it. All seems to go well but starting out with dry
reclaim which I blunge & slop from the slop bucket at the wheel - kind of
like the starter when you make sourdough bread - that is producing the
better clay than the 100% tests of each: Gold Art bond, Roseville, Kentucky
Stone, Hawthorn bond, and XX Sagger. The reclaim has a lot of Campbell's
clay and a bit of Standard, also previous attempts from trying to do
something with local clay.

On Mon, Jun 21, 2010 at 5:29 PM, Lee Love wrote:

> Our foot wedging was a bit different. We would make a cone and push
> the clay down with your heel, starting on the outside and working
> toward the middle. Once you have it stepped down, more is put in the
> middle and you start going around the outside edge again. Our
> mounds would get so high, we would hold onto the overhead wareracks so
> we wouldn't fall down. You'd get an aerobic workout, similar to a
> stair machine. You'd be soaking wet. After a couple times, the
> young guys (early twenties) would take pity on me and do all the foot
> wedging and I would just be the guy who laid the clay down.
> -
> Lee, a Mashiko potter in Minneapolis
> http://mingeisota.blogspot.com/
>
> =3D93Observe the wonders as they occur around you. Don't claim them. Feel
> the artistry moving through and be silent.=3D94 --Rumi
>

June on fri 23 jul 10


I just posted a bunch of photos of pots that were unloaded from the pallet =
kilns maiden firing yesterday. There are some others on yesterday blog post=
as well.

http://www.shambhalapottery.blogspot.com

Regards,
June
http://www.shambhalapottery.com
http://groups.yahoo.com/group/sodasaltfiring/
http://saltandsodafiring.ning.com/

Bill Merrill on sun 15 aug 10


I think we all need to remember a quote that was on Dave Shaners studio
door..."Ceramic art is not an idle pastime" The quote if I remember
correctly was by Paul Gauguin. I just the door again and have seen it
many, many times, it brings Dave spirit back every time I see it.

=3D20

Dave was a consummate potter, working incessantly with the mud whether
it was in his garden on his wheel. All of you are interested in
success has to learn to view failure as healthy. The thing that we all
must know by now is that there is no such thing as "Fast Food Ceramics".

Victoria E. Hamilton on sun 15 aug 10


Bill -

Gauguin was a master, as was our beloved Dave Shaner.

Failure. As human beings, I believe that our relationship to failure is
quite weak. It's "bad" to fail. Even worse to fail publicly. I've learne=
d
to view failure as an opportunity to learn something I needed to learn.

I sometimes "fail" when doing a demo for my students. There's a gasp, even
a chuckle from the peanut gallery. I hope what this gives my students is
something like "Oh, I do that. She's more like me than I imagined. If she
can succeed, so can I."

Something to shoot for.

Thanks.

Vicki Hamilton
Seattle, WA....hotter than "blue blazes" today - 98 degrees F, or so on my
back porch!

-----Original Message-----
From: Clayart [mailto:Clayart@LSV.CERAMICS.ORG] On Behalf Of Bill Merrill
Sent: Sunday, August 15, 2010 2:41 PM
To: Clayart@LSV.CERAMICS.ORG
Subject:

I think we all need to remember a quote that was on Dave Shaners studio
door..."Ceramic art is not an idle pastime" The quote if I remember
correctly was by Paul Gauguin. I just the door again and have seen it
many, many times, it brings Dave spirit back every time I see it.



Dave was a consummate potter, working incessantly with the mud whether it
was in his garden on his wheel. All of you are interested in success has
to learn to view failure as healthy. The thing that we all must know by no=
w
is that there is no such thing as "Fast Food Ceramics".

Randy McCall on mon 16 aug 10


What has happened to Alisa C and all the testing she was doing? Her work w=
=3D
as always interesting and important.
=3D20


Randy

=3D

Eric Hansen on tue 17 aug 10


It's all archived online - public and available - just a second and
I'll get the URL'S

http://www.alisapots.dk/glaze.htm

http://www.flickr.com/photos/glazes/sets/

http://cone6pots.ning.com/forum/topics/sources-of-glaze-recipes

http://cone6pots.ning.com/page/the-sankey-glaze-database

that should get you started-
- h a n s e n


On Mon, Aug 16, 2010 at 7:57 AM, Randy McCall wrote:
> What has happened to Alisa C and all the testing she was doing? =3DA0Her =
wo=3D
rk was always interesting and important.
>
>
>
> Randy
>
>



--=3D20
Eric Alan Hansen
Stonehouse Studio Pottery
Alexandria, Virginia
americanpotter.blogspot.com
thesuddenschool.blogspot.com
hansencookbook.blogspot.com
"To me, human life in all its forms, individual and aggregate, is a
perpetual wonder: the flora of the earth and sea is full of beauty and
of mystery which seeks science to understand; the fauna of land and
ocean is not less wonderful; the world which holds them both, and the
great universe that folds it in on everyside, are still more
wonderful, complex, and attractive to the contemplating mind." -
Theodore Parker, minister, transcendentalist, abolitionist (1810-1860)

Verna on sun 22 aug 10


Can you please give me the address to go to so that I can post a question o=
f
CLAYART??

Thanks for your help

Edouard Bastarache on thu 2 sep 10


QUERY CLAYART

Larry Kruzan on fri 3 sep 10


Clayart can be a query.

-----Original Message-----
From: Clayart [mailto:Clayart@LSV.CERAMICS.ORG] On Behalf Of Edouard
Bastarache
Sent: Thursday, September 02, 2010 9:50 AM
To: Clayart@LSV.CERAMICS.ORG
Subject:

QUERY CLAYART





=3D=3D=3D=3D=3D=3D=3D
Email scanned by PC Tools - No viruses or spyware found.
(Email Guard: 7.0.0.18, Virus/Spyware Database: 6.15790)
http://www.pctools.com/
=3D=3D=3D=3D=3D=3D=3D

MEUNIER LEE on sat 4 sep 10


Please note that messages concerning=3DA0 instructions to the List=3D0Aare =
NOT =3D
sent to Clayart.=3DA0 They'll go nowhere except to the list=3D0Aof that day=
's p=3D
osts.=3DA0 Read your monthly reminders from Mel to=3D0Afind the correct add=
ress=3D
please.=3D0A=3D0AThank you.=3D0A=3D0AJoyce=3D0A=3D0A=3D0A=3D0A=3D0A_______=
__________________=3D
_______=3D0AFrom: Larry Kruzan =3D0ATo: Clayart@L=
SV.C=3D
ERAMICS.ORG=3D0ASent: Fri, September 3, 2010 7:33:06 PM=3D0ASubject: =3D0A=
=3D0AClay=3D
art can be a query.=3D0A=3D0A-----Original Message-----=3D0AFrom: Clayart [=
mailto=3D
:Clayart@LSV.CERAMICS.ORG] On Behalf Of Edouard=3D0ABastarache=3D0ASent: Th=
ursd=3D
ay, September 02, 2010 9:50 AM=3D0ATo: Clayart@LSV.CERAMICS.ORG=3D0ASubject=
:=3D0A=3D
=3D0AQUERY CLAYART=3D0A=3D0A=3D0A=3D0A=3D0A=3D0A=3D3D=3D3D=3D3D=3D3D=3D3D=
=3D3D=3D3D=3D0AEmail scanned by =3D
PC Tools - No viruses or spyware found.=3D0A(Email Guard: 7.0.0.18, Virus/S=
py=3D
ware Database: 6.15790)=3D0Ahttp://www.pctools.com/=3D0A=3D3D=3D3D=3D3D=3D3=
D=3D3D=3D3D=3D3D=3D
=3D0A

BEBE ALEXANDER on sun 19 sep 10


http://gocupeje.tripod.com/korano.html The innertet is a gold einm
=3D

phil rogers on fri 28 jan 11


I wonder if I could ask you all to vote in this on-line competition. It rea=
=3D
lly does only take a few seconds and your vote would be really appreciated.=
=3D
Lobbying for votes is entirely welcomed by the organisers indeed the text =
=3D
below is pasted from their own instructions.
Obviously, only vote if you feel able to support my work. Many thanks.

I am entered for the craft&design SELECTED AWARDS.
please vote for me by visiting
www.craftmaker.co.uk/philrogers
it only takes a few seconds.

Sincere thanks=3DA0 for your support

Phil Rogers,
2 Woolston lane,
WISTANSTOW,
Shropshire. SY7 8DH
Tel.=3DA0 01588 672 678

www.philrogerspottery.com=3D0A=3D0A=3D0A

phil rogers on thu 14 apr 11


I thought it might be of interest to some clayarters that, together with Ir=
=3D
ish potter Marcus O'Mahoney, I will be conducting a making and wood firing =
=3D
workshop at Marcus's pottery near Lismore, Co.Waterford in Ireland from Jun=
=3D
e 4th till 19th.

We will be making pots and then firing them in a three chamber wood kiln th=
=3D
at incorporates an Anagama chamber and a salt glaze chamber. Numbers are li=
=3D
mited to 8 and there is very comfortable residential accommodation at the p=
=3D
ottery. Glencairn pottery is set amidst beautiful countryside and I, for on=
=3D
e, am looking forward to the event. There will be demonstrations from mysel=
=3D
f and Marcus plus films and talks. Each participant will be able to fire a =
=3D
goodly number of pieces and be involved big time in the 24 hour firing of t=
=3D
he kiln.

If you are interested in joining us for what promises to be a terrific, lea=
=3D
rning and fun experience please contact Marcus on +353 (0) 58 56694 or moce=
=3D
ramics@eircom.net. You can get a feel for Glencairn Pottery at www.marcusom=
=3D
ahony.com

Phil Rogers
Phil Rogers,
2 Woolston lane,
WISTANSTOW,
Shropshire. SY7 8DH
Tel.=3DA0 01588 672 678

www.philrogerspottery.com

Rlucas on tue 3 may 11


Hi, I am no longer getting my daily mailings. Can you check this for me?

Verna

rlucas@centurytel.net

Tony Ferguson on sun 26 jun 11


how-do-you-do http://www.margheritaboniver.it/indexwww10.php?jtprofileID=3D=
3D=3D
3az=3DD1=3D9E

Anthony Ferguson on mon 27 jun 11


Just to let everyone know, I've recently had my first virus that has
hijacked some of the emails in my address book and send out links to about
60 people. I've changed my password, scanned, etc. Please be cautious and
if you opened it and went to the site, please check your computer just in
case with more than one type of virus scanner. Each seems to find differen=
=3D
t
things.

my apologies,

Tony

*DO NOT CLICK ON THIS LINK BELOW. THIS IS FROM THE MESSAGE THE VIRUS SENT
OUT.*
On Sun, Jun 26, 2011 at 10:53 AM, Tony Ferguson wrote:

> how-do-you-do
> http://www.margheritaboniver.it/indexwww10.php?jtprofileID=3D3D3az=3DD1=
=3D9E
>



--=3D20

Cheers,

Tony

__________________________
Tony Ferguson, MA Visual Arts
Artist/Educator
http://www.tonyferguson.net
http://www.fergyphoto.com
Workshops, Training & Online Education

david henion on sun 24 jul 11


http://bergla-buam.de/images/aqual.html

mel jacobson on tue 26 jul 11


delete clayart rghizi@netvision.net.il

from: minnetonka, mn
website: http://www.visi.com/~melpots/
clayart link: http://www.visi.com/~melpots/clayart.html
new book: http://www.21stcenturykilns.com
alternate: melpots7575@gmail.com

Lee on thu 22 sep 11


On Thu, Sep 22, 2011 at 1:26 PM, Mike Gordon wrote:

> Mel wrote........
>
> (and ask yourself why all toilets are made in mexico? why has
> the CERAMICS industry shifted to other countries. COST.)
>
> Very true! There are fewer repercussions for pollution infractions in
> other countries. It's not just the ceramics industry either. I think I
> have one of those Mexican toilets in my bathroom!! Mike Gordon
>

We really don't account for all the costs of production. If we did, local
would make a lot more sense.


--=3D20
--
Lee Love in Minneapolis
http://mingeisota.blogspot.com/

"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97tha=
t is, "T=3D
he land
of eternal youth is behind the house, a beautiful land fluent within
itself." -- John O'Donohue

Mike Gordon on thu 22 sep 11


Mel wrote........

(and ask yourself why all toilets are made in mexico? why has
the CERAMICS industry shifted to other countries. COST.)

Very true! There are fewer repercussions for pollution infractions in
other countries. It's not just the ceramics industry either. I think I
have one of those Mexican toilets in my bathroom!! Mike Gordon

Linda Stauffer on sun 2 oct 11


For many years I worked in the basement of our home. People must have been =
s=3D
hort when the house was built. Always had to be careful not to bang my head=
o=3D
n a floor joist or a heating duct. In the spring I had a small stream runni=
n=3D
g across the floor and our cat decided her kittens would be safe from the k=
i=3D
ds by moving them to the bottom of the electric kiln. In 95 we moved to a m=
o=3D
re rural house formerly owned by a cabinet maker. Had a huge building that =
I=3D
split with my husband. He got the front of the building for his tools and =
a=3D
ntique car and I got the back for my studio. I had my own entrance on the s=
i=3D
de which marked the division of the building. As the years went by we both =
a=3D
ccumulated more stuff, snow blowers, pressure washer, tractor, etc. and spa=
c=3D
e was at a premium. In 03 I decided it was time to move out into my own bui=
l=3D
ding. I had a 25x30 pole building erected. I planned every outlet and light=
a=3D
nd mapped where everything would be. The building has 12" of insulation in =
t=3D
he walls and ceiling. I use an 1898 parlor stove I picked up in West Barnst=
a=3D
ble, MA to heat the studio when I am in it and e-heat panels (4) to keep it=
a=3D
t 60 during the week. They work great and are very efficient. I have an L&L=
=3D
Jd230 electric kiln and a smaller kiln in the studio and a 60 cu ft wood f=
i=3D
red kiln in back of the studio.=3D20

Now that I am retired from teaching art I have only to cross the driveway t=
o=3D
go to work.
Photos at website in signature.

Linda P. Stauffer


Linda P. Stauffer
=3D

ivor and olive lewis on sun 6 nov 11


Dear Dina Barnese,

You tell us

"I'm going to venture into making bottles, mainly for olive oil. A friend
of mine does wood turning and has made some beautiful stoppers to go with
them. I haven't made a bottle before... made my first prototype today in tw=
o
parts." then ask "I'm looking for any advice from experienced bottle makers=
,
especially how best to fashion the neck opening to prevent dripping."

The late Alan Peascod studied spouts and learned much about their design
from Iranian and Egyptian potters. I recall from the workshop I attended in
the early nineteen eighties that he favoured the "Ibis Bill" form for its
ability to serve very small quantities in a precise manner. Illustrations o=
f
these are hard to find but there is a silhouette in Robert Fournier's text,
"Illustrated Dictionary of Pottery Form". ISBN 0-442-26112-8. See Page 214.
This is an extreme example but oil or scent would be delivered down an open
gully through a hole in the bottle neck.

It would make an interesting exercise to compare the behaviour of water to
that of oil using common or popular and experimental conduits.

There are articles in early PMI magazines under the heading of Pouring to
Perfection. you might find some of the concepts described there to be
useful.

Sincerely,

Ivor Lewis,
REDHILL,
South Australia

vual70@YAHOO.COM on mon 28 nov 11


http://catherineorchard.com/ndxz-studio/site/sample/shop5.html

Harley Lady on tue 29 nov 11


Hi Vince=3D2C thanks for your prompt response. And how appropriate that yo=
u =3D
be the first one to reply because seeing your work is what inspired me to t=
=3D
ry the techniques. In fact=3D2C my husband just helped me make the slicer y=
ou=3D
designed (he kept insisting the wire couldn't possibly be strong enough!).=
=3D
I knew there was no precise answer because even as a beginner I understan=
=3D
d there are many variables=3D2C but your response is very helpful as a star=
ti=3D
ng point. I'll post results when I get further along with this. I do questi=
=3D
on my sanity--whenever I take on something new=3D2C I always seem to tackle=
t=3D
he difficult stuff first! But=3D2C considering I'm working now without a te=
ac=3D
her and I don't know anyone personally who has worked with neriage/nerikomi=
=3D
=3D2C I think I'm doing OK. The internet and books go a long way to help! T=
ha=3D
nks again for your response and for inspiring me! =3D20

--- In clayart@yahoogroups.com=3D2C Vince Pitelka wrote:
>=3D20
> Hi Sheila -
> Unfortunately=3D2C there's no easy answer and you won't know until you tr=
y =3D
it
> with your particular clays. All of my patterned clay murrini blocks are
> made from porcelain clay or B-mix=3D2C and I laminate onto stoneware clay=
. =3D
In
> my experience=3D2C if the laminated clay shrinks ever so slightly more th=
an=3D
the
> base clay=3D2C you will get very small surface cracks in the laminated. I=
f =3D
you
> are making a functional piece=3D2C that would be a serious problem. If th=
e
> laminated clay shrinks at the same rate or ever so slightly less than the
> base clay=3D2C it should work fine. This has been a very hard thing for =
me=3D
to
> predict or resolve=3D2C and it is one of the reasons I have moved away fr=
om
> colored clays in my work.
> - Vince
>=3D20
> Vince Pitelka
> Appalachian Center for Craft
> Tennessee Tech University
> vpitelka@...
> http://iweb.tntech.edu/wpitel


=3D

bill lee on sat 3 dec 11


=3D0A Hey clay folks, sorry to toot my own horn, but this is the=
f=3D
irst exhibition that I have been invited to participate in, at least for a =
=3D
long time. They don't have every one online, just a few.

=3D0A =3D0A =3D0A December 3, 2011 - January 2=
9, 201=3D
2=3D0A '50 States Fire Up: American Clay Invitational' - Exhibit=
o=3D
f=3DA0a diverse array of works of clay from 50 states

Bill Lee, Clay Artist=3D20
111 Lynnview Dr
Knoxville, TN 37918
(865) 230 6587
www.billleeclay.com=3D20
www.southernhighlandguild.org/billlee=3DA0workshops available

BHannis on wed 7 dec 11


Hi

Lately I've been having major problems viewing my top set of cones in
my HF 24 Alpine updraft kiln, does anyone have any tricks to overcome
this problem.

Thanks

Bryan Hannis
Just Earth Pottery
Valemount, BC
Canada

William & Susan Schran User on thu 8 dec 11


On 12/8/11 2:46 AM, "BHannis" wrote:

> Lately I've been having major problems viewing my top set of cones in
> my HF 24 Alpine updraft kiln, does anyone have any tricks to overcome
> this problem.

Though often hard to do, if you are able to position the cones so that ther=
e
are no pots behind the cones, lines in the brick work will often create
enough contrast to see them.

Shining a very strong LED light on the cones has also helped.

Bill
--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com

Liz Gowen 1 on thu 8 dec 11


I find if I stand back so the flame doesn't lick your lips and blow hard I
can briefly see the cones enough to make a determination of its bend....Liz
Gowen

-----Original Message-----
From: Clayart [mailto:Clayart@LSV.CERAMICS.ORG] On Behalf Of BHannis
Sent: Thursday, December 08, 2011 2:46 AM
To: Clayart@LSV.CERAMICS.ORG
Subject:

Hi

Lately I've been having major problems viewing my top set of cones in my HF
24 Alpine updraft kiln, does anyone have any tricks to overcome this
problem.

Thanks

Bryan Hannis
Just Earth Pottery
Valemount, BC
Canada

Steve Mills on thu 8 dec 11


I have a piece of polythene tube. I suck one end in my mouth, take a deep b=
r=3D
eath of COLD air, point the tube at the spy, and blow onto the cones. It c=
o=3D
ols them just enough to make them visible.=3D20
The poly tube's flexibility lets you look through the spy and blow at the =
s=3D
ame time.

Steve M



Sent from my iPod

On 8 Dec 2011, at 07:46, BHannis wrote:

> Hi
>=3D20
> Lately I've been having major problems viewing my top set of cones in
> my HF 24 Alpine updraft kiln, does anyone have any tricks to overcome
> this problem.
>=3D20
> Thanks
>=3D20
> Bryan Hannis
> Just Earth Pottery
> Valemount, BC
> Canada

Lee on thu 8 dec 11


Can you describe what is making it difficult to see them?


On Thu, Dec 8, 2011 at 1:46 AM, BHannis wrote:
> Hi
>
> Lately I've been having major problems viewing my top set of cones in
> my HF 24 Alpine updraft kiln, does anyone have any tricks to overcome
> this problem.
>
> Thanks
>
> Bryan Hannis
> Just Earth Pottery
> Valemount, BC
> Canada



--=3D20
--
=3DA0Lee Love in Minneapolis
http://mingeisota.blogspot.com/

=3DA0"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D9=
7that is, =3D
"The
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue

Edouard Bastarache on thu 22 dec 11


=3D20

Joyeux No=3DEBl et Bonne Ann=3DE9e

Merry Xmas and Happy New Year

Feliz Navidad y Feliz A=3DF1o Nuevo

Felices Pascuas y Feliz A=3DF1o Nuevo

Buon Natale e nuovo anno felice

Frohe Weihnachten und gl=3DFCckliches neues Jahr

Vrolijke Kerstmis en Gelukkig Nieuwjaar

Goja Kristnasko kaj Bona Jaro




-------------------------------------------------------------------------=
=3D
-------

Victoria E. Hamilton on thu 22 dec 11


Merci

Thank you=3D20

Grazie

Gracias

Danke

Mahalo

Obrigado

Tak


-----Original Message-----
From: Clayart [mailto:Clayart@LSV.CERAMICS.ORG] On Behalf Of Edouard
Bastarache
Sent: Thursday, December 22, 2011 1:33 PM
To: Clayart@LSV.CERAMICS.ORG
Subject:=3D20

=3D20

Joyeux No=3DEBl et Bonne Ann=3DE9e

Merry Xmas and Happy New Year

Feliz Navidad y Feliz A=3DF1o Nuevo

Felices Pascuas y Feliz A=3DF1o Nuevo

Buon Natale e nuovo anno felice

Frohe Weihnachten und gl=3DFCckliches neues Jahr

Vrolijke Kerstmis en Gelukkig Nieuwjaar

Goja Kristnasko kaj Bona Jaro




-------------------------------------------------------------------------=
=3D
---
----

Elisabeth Maurland on thu 22 dec 11


God Jul og Godt Nytt=3DE5r!

Elisabeth


On Dec 22, 2011, at 3:33 PM, Edouard Bastarache wrote:

>=3D20
>=3D20
> Joyeux No=3DEBl et Bonne Ann=3DE9e
>=3D20
> Merry Xmas and Happy New Year
>=3D20
> Feliz Navidad y Feliz A=3DF1o Nuevo
>=3D20
> Felices Pascuas y Feliz A=3DF1o Nuevo
>=3D20
> Buon Natale e nuovo anno felice
>=3D20
> Frohe Weihnachten und gl=3DFCckliches neues Jahr
>=3D20
> Vrolijke Kerstmis en Gelukkig Nieuwjaar
>=3D20
> Goja Kristnasko kaj Bona Jaro
>=3D20
>=3D20
>=3D20
>=3D20
> =3D
--------------------------------------------------------------------------=
=3D
------

MEUNIER LEE on fri 23 dec 11


And may I add.... in the spirit of children everywhere..... no disrespect=
=3D
=3D0Aintended.......=3D0A=3DA0=3D0AErrymay istmasChay andhay Appyhay Ewnay =
Earyay=3D
=3D0A=3DA0=3D0AA good day to all.=3D0A=3DA0=3D0AJoyce=3D0AEryvay Appyhay=3D=
0A=3D0A=3D0A________=3D
________________________=3D0AFrom: Elisabeth Maurland AU=3D
RLAND.COM>=3D0ATo: Clayart@LSV.CERAMICS.ORG =3D0ASent: Thursday, December 2=
2, 2=3D
011 2:09 PM=3D0ASubject: =3D0A=3D0AGod Jul og Godt Nytt=3DE5r!=3D0A=3D0AEli=
sabeth=3D0A=3D0A=3D
=3D0AOn Dec 22, 2011, at 3:33 PM, Edouard Bastarache wrote:=3D0A=3D0A> =3D0=
A> =3D0A> =3D
Joyeux No=3DEBl et Bonne Ann=3DE9e=3D0A> =3D0A> Merry Xmas and Happy New Ye=
ar=3D0A> =3D
=3D0A> Feliz Navidad y Feliz A=3DF1o Nuevo=3D0A> =3D0A> Felices Pascuas y F=
eliz A=3D
=3DF1o Nuevo=3D0A> =3D0A> Buon Natale e nuovo anno felice=3D0A> =3D0A> Froh=
e Weihnach=3D
ten und gl=3DFCckliches neues Jahr=3D0A> =3D0A> Vrolijke Kerstmis en Gelukk=
ig Nie=3D
uwjaar=3D0A> =3D0A> Goja Kristnasko kaj Bona Jaro=3D0A> =3D0A> =3D0A> =3D0A=
> =3D0A> -----=3D
---------------------------------------------------------------------------

Mike on fri 23 dec 11


=E3f=A1=E3f=AA=E3f=BC=E3'=AF=E3f=AA=E3'=B9=E3fz=E3'=B9!
Merii Kurisumasu!

=E8?=AF=E3=81"=E3=81 =E5=B9=B4=E3''=E5=90'=E3=81"=E4=B8<=E3=81*=E3=81"=EF=
=BC=81
Yoi otoshi o mukai kudasai!
Have a Happy New Year!


Peace to all,

Mike

Mike
in Taku, Japan

http://karatsupots.com
http://karatsupots.blogspot.com

Workshop in Taku 2012: The Simple Teabowl, May 12 - 18

http://karatsupots.com/workshop2012/2012home.html

http://workshopintaku2012.blogspot.com/


(2011/12/23 6:33), Edouard Bastarache wrote:
>
>
> Joyeux No=C3=ABl et Bonne Ann=C3=A9e
>
> Merry Xmas and Happy New Year
>
> Feliz Navidad y Feliz A=C3=B1o Nuevo
>
> Felices Pascuas y Feliz A=C3=B1o Nuevo
>
> Buon Natale e nuovo anno felice
>
> Frohe Weihnachten und gl=C3=BCckliches neues Jahr
>
> Vrolijke Kerstmis en Gelukkig Nieuwjaar
>
> Goja Kristnasko kaj Bona Jaro
>
>
>
>
> -------------------------------------------------------------------------=
-------
>

Chic Lotz on mon 9 jan 12


I've written a dozen humorous rhyming poems that summarize various
aspects of glaze chemistry for teachers and students. A new email
group for the Glaze Poem of the Month starts in January.... so send me
an email if you would like to be included.

Chic L otz
www.PotteryPoet.com
www.GlazeBasics.com

Bill Merrill on mon 16 jan 12


As I mentioned in a previous email , my clay body has 8 ingredients in
it. The particle sizes vary, but so does the mesh size vary in the
milling process. This helps with tiles in particular from warping or
cracking. I also use boards to flip tiles when drying and I wax the
outside of the tiles so the interior dries before the outside of the
tile. I'm talking about tiles over 20 inches square. =3D20

If you want extremely hard green ware, add 1 cup of Additive A per
hundred pounds of clay. This also helps with any cracking you may
encounter, especially with highly plastic clay bodies.

gary navarre on thu 9 feb 12


So I was just about done loading the front setting in th=3D

Hey Folks,=3D0A=3D0A=3DA0So I was just about done loading the front setting=
in th=3D
e last video. Now comes the challenge of getting the last shelf of pots on =
=3D
top so I can brick up the door. This firing I bricked the door =3D0Awith on=
e =3D
thickness of 4.5" hard brick like most of the chamber wall and =3D0Afilled =
in=3D
with 4.5" of IFB scraps ...=3D0A=3D0A=3D0Ahttp://www.youtube.com/watch?v=
=3D3Dd1UJD=3D
-7bsTg=3DA0=3DA0=3DA0=3DA0=3DA0=3DA0=3DA0 =3D0A=3D0A=3D0A=3DA0 As before I =
used the Pignose to wa=3D
rm the chamber to about 1000F before starting to switch the fire to the hob=
=3D
s ...=3D0A=3D0Ahttp://www.youtube.com/watch?v=3D3DqpczIgGogoY=3DA0=3DA0=3DA=
0=3DA0=3DA0 =3D0A=3D
=3D0A=3DA0I noticed something about using the knee high active damper in th=
e st=3D
ack I thought was holding heat in when in fact having the damper in kept th=
=3D
e stack cool and slowed the draft.so, in addition to adding leftover door b=
=3D
rick to take the stack to about 17', I closed off the damper slot and set t=
=3D
he chimney cap to about 1/2 open. and concentrated on stoking. Some time af=
=3D
ter the kiln got to 2000 I slid the cap to about 1/3 open and didn't mess w=
=3D
ith it until I slid it closed to shut her down ...=3D0A=3D0Ahttp://www.yout=
ube.=3D
com/watch?v=3D3DhwgpcIJDlmw=3DA0=3DA0=3DA0=3DA0=3DA0 =3D0A=3D0A=3DA0The tot=
al firing time was=3D
about 64 hours and peeking revealed some runny glazes up front and what se=
=3D
ems to be no cracking in the Continental ^12 porcelain I put right in the m=
=3D
ain blast of flame. (I don't get paid to say that.)=3DA0 The results we wil=
l =3D
see soon so stay tuned and keep potting eh.=3D0A=3D0A=3D0AGary Navarre=3D0A=
Navarre =3D
Pottery=3D0ANavarre Enterprises=3D0ANorway, Michigan, USA=3D0Ahttp://www.Na=
varreP=3D
ottery.etsy.com=3D0Ahttp://www.youtube.com/GindaUP=3D0Ahttp://public.fotki.=
com/=3D
GindaUP/=3D0A

Rimas VisGirda on sat 18 feb 12


I have a Skutt 1027 and a notch smaller AMACO Excel. I use both the Ramp-Ho=
=3D
ld and the Preprogramed modes.=3D0AI use Ramp-Hold for large plates and sla=
bs=3D
to slow the kiln past quartz inversion.=3D0AAlso Ramp-Hold for bisques, fo=
r =3D
a slow speed to 180F, hold for 2hrs, then kick it as fast as it will go (I =
=3D
use 900F/hr).=3D0AEverything else goes in Preprogramed FAST.=3D0A-Rimas=3D0=
A=3D0A=3D
=3D0ADate:=3DA0 =3DA0 Thu, 16 Feb 2012 21:44:14 -0600=3D0AFrom:=3DA0 =3DA0 =
DJ Brewer jbrewer88@COMCAST.NET>=3D0ASubject: preprogrammed mode or user set mode?=3D=
0A=3D
=3D0AJust out of curiosity -- for those who have computerized kilns -- who=
=3D0A=3D
uses the preprogrammed cone mode, and who uses the user specified mode?=3D0=
A=3D
=3D0AI've been doing my own scheduled ramps and not using the preprogrammed=
=3D
=3D0Amode at all.=3DA0 However, today I'm going to try out the Skutt's=3D0A=
prepro=3D
grammed mode to cone 6.=3D0A=3D0AI just wanted to get some feedback from th=
ose =3D
with computerized electric=3D0Akilns how they are using the features offere=
d.=3D
=3D0A=3D0Athanks=3D0ADJ

Karin Givon on tue 28 feb 12


" Subject: Re: A good pot
From: randall.moody@GMAIL.COM
Date: February 27, 2012 2:30:57 PM PST
To: Clayart@LSV.CERAMICS.ORG
Reply-To: randall.moody@GMAIL.COM

But if we allow the "it is a good pot because I like it" subjectivity
into
the criteria don't we run the risk of every beginner pot to be a "good
pot"? After all, the beginner who made it likes it.

--
Randall in Atlanta
http://wrandallmoody.com"

Yes , Randall, and if they get to keep one to look at, after making
2, or 10, or 20, they will begin to "see" the change, the
improvement ....not the easiest thing for a potter to learn. But
essential.
You just can't keep all the 2 inch thick dog dishes or the totally
out-of-center plus thick and ugly pots. That's what teachers are for,
to help learn a certain level of discernment.
My 2 centavos, solamente,
Karin Givon

imahler@COMCAST.NET on thu 5 apr 12


best time ever great roomates and clay room great trades and LOGAN WAS A GR=
ACIOUS HOST FROM THE AREA AND good food with great people to share it with =
,,, i LOST ALL MY CARDS FROM PEOPLE.... COULD roxanne hunnicut please e-mai=
l me and also bill schran..will go into the studio Sun..as between class je=
t lag and passover thats the first day to really work on the ideas from the=
conference...Ilene from Conn....no more redeyeyes for me no sleep.........

Rimas VisGirda on sun 15 apr 12


Someone wrote:

"I totally agree with James. Additionally I would add that if stuff is
pretty damp I use a preheat of 1 hour at 200F and then a couple of
hours at 280F.

While 280F is significantly above the boiling point of water, it seems
to be low enough that pots don't explode, but significantly decreases
the pre-heat time needed for thicker pieces (e.g. Casseroles or large
canisters etc). In addition I would fire as much as possible upside
down, as bases usually have a problem drying on kiln shelves."

This, to me, makes no sense whatsoever, sorry... there are only two tempera=
tures where clay can explode. Clay has two types of H2O Physical (water of =
plasticity) and Chemical (Al2SiO3-xH2O or similar). All the physical H2O ne=
eds to be out of the clay by 212F, if it's not the H2O changes phase to a g=
as (steam) which has much more potential energy thereby "blows" the clay ap=
art... Past 212F it doesn't matter a whit how fast or slow or hold or not h=
old... So why screw around, just go as fast as you can... The next H2O prob=
lem can occur when the chemical water is driven off, that's what makes the =
clay into bisque. And that happens over a range of temperature, correct me =
if I'm wrong (I'm too lazy to look it up), which is from around 850-1100F. =
That's why if you use the glass or mirror trick at say 400F you don't get a=
ny condensation but if you try the trick at 900-1000 you WILL get condensat=
ion... The only time I have had things blow at red heat is in a fuel
kiln if the work is very thick (about 2 inches in my case) AND I turn up t=
he heat at that temperature... IMHO in an electric kiln and a fuel kiln tha=
t is experiencing a linear rise in temperature, there is an equilibrium est=
ablished that allows the released Chemical H2O to migrate out of the clay i=
n an orderly manner. Whereas turning up the temperature at the chemical mig=
ration spectrum can upset the equilibrium and if the piece is overly thick =
can convert a large enough amount of H2O to change phase and "blow."

In my experience, the fastest most efficient way to dry work is with air, n=
ot heat alone. Heating in a kiln (or oven) doesn't generate much air moveme=
nt. Have you not noticed that things dry much quicker on a windy day vs a j=
ust sunny day, say as laundry -or drying your work outside? My method of fa=
st drying is to use a fan with a heating element and also lift the work off=
the table. If I have a bunch of work to dry, I elevate a fluorescent light=
grill; for just a piece or two I use (AMACO) triangles to elevate the piec=
e(s). In both cases I blow warm air at the work. Teaching short classes (an=
d not wanting to do steam bisques) I have draped plastic over the edge of a=
work table to the floor on all 4 sides; elevated fluorescent light grill; =
cut a hole the size of my heater fan at the bottom of the plastic sheet on =
the short end of the table. The students can put wet work on the grille and=
the next morning it is dry and ready bisque and/or perform dry
decorating techniques... I have also seen heat lamps used effectively in d=
rying... -Rimas

Robert Harris on sun 15 apr 12


"This, to me, makes no sense whatsoever, sorry... there are only two
temperatures where clay can explode. Clay has two types of H2O
Physical (water of plasticity) and Chemical (Al2SiO3-xH2O or
similar)."

I wrote that. Empirically it works.

My hypothesis about what is happening is that the core of the pots
(where it is dampest) never gets to 212 or, it does not get there fast
enough to create enough pressure to explode the pots. Exploding pots
is obviously a function of both time and pressure (and not actually
heat - although heat in this case is the cause of pressure).

As individual water molecules escape as vapour they are actually going
to reduce the energy in the remaining ware more than that expected
from specific heat capacity - due to latent heat capacity.

I've only done this with thrown work which by it's nature is not
especially thick.

Empirically, I can hold as long as I want at 280F, but if I go to 400
or so, I get explosions. And while I agree about air and fans, in
North Florida in the humid, humid summer pots are never going to get
bone dry (or at least not within a reasonable time frame - even with
fans blowing on them).

My electric kiln cannot be sealed up I always have a 1/8" gap between
the lid and kiln.

Robert

On Sun, Apr 15, 2012 at 1:30 PM, Rimas VisGirda wrote:
> Someone wrote:
>
> "I totally agree with James. Additionally I would add that if stuff is
> pretty damp I use a preheat of 1 hour at 200F and then a couple of
> hours at 280F.
>
> While 280F is significantly above the boiling point of water, it seems
> to be low enough that pots don't explode, but significantly decreases
> the pre-heat time needed for thicker pieces (e.g. Casseroles or large
> canisters etc). In addition I would fire as much as possible upside
> down, as bases usually have a problem drying on kiln shelves."
>
> This, to me, makes no sense whatsoever, sorry... there are only two tempe=
=3D
ratures where clay can explode. Clay has two types of H2O Physical (water o=
=3D
f plasticity) and Chemical (Al2SiO3-xH2O or similar). All the physical H2O =
=3D
needs to be out of the clay by 212F, if it's not the H2O changes phase to a=
=3D
gas (steam) which has much more potential energy thereby "blows" the clay =
=3D
apart... Past 212F it doesn't matter a whit how fast or slow or hold or not=
=3D
hold... So why screw around, just go as fast as you can... The next H2O pr=
=3D
oblem can occur when the chemical water is driven off, that's what makes th=
=3D
e clay into bisque. And that happens over a range of temperature, correct m=
=3D
e if I'm wrong (I'm too lazy to look it up), which is from around 850-1100F=
=3D
. That's why if you use the glass or mirror trick at say 400F you don't get=
=3D
any condensation but if you try the trick at 900-1000 you WILL get condens=
=3D
ation... The only time I have had things blow at red heat is in a fuel
> =3DA0kiln if the work is very thick (about 2 inches in my case) AND I tur=
n =3D
up the heat at that temperature... IMHO in an electric kiln and a fuel kiln=
=3D
that is experiencing a linear rise in temperature, there is an equilibrium=
=3D
established that allows the released Chemical H2O to migrate out of the cl=
=3D
ay in an orderly manner. Whereas turning up the temperature at the chemical=
=3D
migration spectrum can upset the equilibrium and if the piece is overly th=
=3D
ick can convert a large enough amount of H2O to change phase and "blow."
>
> In my experience, the fastest most efficient way to dry work is with air,=
=3D
not heat alone. Heating in a kiln (or oven) doesn't generate much air move=
=3D
ment. Have you not noticed that things dry much quicker on a windy day vs a=
=3D
just sunny day, say as laundry -or drying your work outside? My method of =
=3D
fast drying is to use a fan with a heating element and also lift the work o=
=3D
ff the table. If I have a bunch of work to dry, I elevate a fluorescent lig=
=3D
ht grill; for just a piece or two I use (AMACO) triangles to elevate the pi=
=3D
ece(s). In both cases I blow warm air at the work. Teaching short classes (=
=3D
and not wanting to do steam bisques) I have draped plastic over the edge of=
=3D
a work table to the floor on all 4 sides; elevated fluorescent light grill=
=3D
; cut a hole the size of my heater fan at the bottom of the plastic sheet o=
=3D
n the short end of the table. The students can put wet work on the grille a=
=3D
nd the next morning it is dry and ready bisque and/or perform dry
> =3DA0decorating techniques... I have also seen heat lamps used effectivel=
y =3D
in drying... -Rimas
>



--=3D20
----------------------------------------------------------

David Woof on thu 17 may 12


hi Ben=3D2C=3D20
as Steve says=3D3B an open body of coarse refractories will stand up to rep=
ea=3D
ted firings and thermal shock. Note Ivor's recent caution re silica conten=
=3D
t in fire clays etc....
=3D20
There was/is "sagger clay" on the market. I have a half used bag sitting in=
=3D
storage. I used it 20 or so years ago in a recipe to ram form kiln posts f=
=3D
or salt firing. I Mixed a 30-30-30: low iron fire clay-sagger clay-and fine=
=3D
to coarse grog mixture.
=3D20
This same recipe would work for saggers and as some have already said in th=
=3D
is thread=3D2C any ceramic container including flower pots will work depend=
in=3D
g on desired service and temp fired to.=3D20
=3D20
I make stout walled saggers of uniform size in sets so that the beveled bot=
=3D
tom of one fits snuggly into the lid gallery of the one below so I can stac=
=3D
k them=3D2C using only one lid for the top sagger.=3D20
=3D20
I use my "Woof Z-Mix" body for saggers which throws well=3D2C delicate to m=
ed=3D
/large ware=3D2C and is bullet proof from raku to cone 13 plus.=3D20
=3D20
But before I share it I want to refine a cone 6 version because as is=3D2C =
it=3D
tests a 2.2 absorption at cone six and a cup develops a damp foot after si=
=3D
tting filled with water for 24 hrs.=3D20
=3D20
One can spend a bunch of time making the "best sagger" for the "best kiln' =
=3D
using pots thrown on the "best wheel" with the "best clay" and you still ha=
=3D
ve to learn how to get the results you desire=3D2C or learn to appreciate a=
c=3D
hallenging aesthetic.=3D20
So jump in and be conscious and present. Try stuff=3D2C lots of stuff on lo=
ts=3D
of pots=3D2C fired often.=3D20
=3D20
Best wishes for your sagger adventure=3D2C =3D20
=3D20
Last year I suggested that a student sagger fire adding her stale dated pai=
=3D
n meds to other organic debris......She was thrilled! beautiful colors in a=
=3D
bundance!!! (Or was it some long forgotten electric cool-aid? Ha.)
=3D20
David Woof
__________________________________________________=3D20
2a. Re: Building Saggars Posted by: "Steve Mills" original.mudslinger@GMAIL=
=3D
.COM =3D20
Date: Tue May 15=3D2C 2012 7:36 pm ((PDT))=3D20
=3D20
Ben=3D2C In my experience Saggars are made using pretty coarse refractory m=
at=3D
erials which by their nature are better able to withstand thermal shock. Th=
=3D
is rule seems to apply regardless of the temperature range they might be su=
=3D
bjected to.=3D20
=3D20
Steve M=3D20
=3D20
Steve MillsBathUKwww.mudslinger.me.ukSent from my iPod On 15 May 2012=3D2C =
at=3D
18:50=3D2C=3D20
=3D20
Ben Morrison wrote:> All=3D2C>> What type of clay bod=
y =3D
seems to work the best for building saggars for low fire saggar firing with=
=3D
combustibles? Has anyone experimented with this much?>> In Pioneer pottery=
=3D
he recommends using highly refractory materials=3D2C even zircon sand. How=
ev=3D
er his saggars were for a much different purpose=3D2C so I wonder if those =
ty=3D
pe of traditional saggars are the best for low fire=3D2C saggar firing with=
c=3D
ombustibles.>> Thanks=3D2C>> Ben =
=3D

J Lee on fri 1 jun 12


wow this is crazy you should look into this http://www.thanews.net/biz/?rea=
d=3D4920255

logan johnson on sat 2 jun 12


you should definitely give this a look http://www.spacnews.net/biz/?employm=
ent=3D9329306

Victoria E. Hamilton on sat 2 jun 12


Really? I don't think this is from Joyce Lee. Anybody else get this?

Vicki Hamilton
Seattle

-----Original Message-----
From: Clayart [mailto:Clayart@LSV.CERAMICS.ORG] On Behalf Of J Lee
Sent: Saturday, June 02, 2012 5:21 PM
To: Clayart@LSV.CERAMICS.ORG
Subject:

you should definitely check this out
http://www.thanews.net/biz/?page=3D4547179

J Lee on sat 2 jun 12


you should definitely check this out http://www.thanews.net/biz/?page=3D454=
7179

Linda Mccaleb on sat 9 jun 12


http://www.lifesupport.cl/wp-content/themes/LifeSupport/bkrlgf.html?jj=3Dnf=
f.jjk&jj=3Dnj.jknk&kk=3Dagcr

fran johnson on wed 13 jun 12


this is crazy you should check the out http://www.business15bunews.net/work=
/?employment=3D9958996

Rimas VisGirda on sun 17 jun 12


http://www.doktorwinter.net/wp-content/themes/inove/rogsfv.html?scj=3Dmms.j=
cns&nsn=3Dnj.ssnl&nij=3Dyuuh

Edouard Bastarache on wed 4 jul 12


Since so many Americans wished me a happy
Quebec Day on the 24th of June, I wish all
Americans a happy Independence Day,,,
"An happy,,," would not work, I believe.
Hehehe

Plejkore,

Edouard Bastarache
Spertesperantisto

Sorel-Tracy
Quebec

http://www.flickr.com/photos/30058682@N00/
http://edouardbastarache.blogspot.com/
http://smart2000.pagesperso-orange.fr/bloggs_edouard.htm
http://www.facebook.com/edouard.bastarache

Ben Morrison on wed 4 jul 12


You could always try, most Americans are drunk today, an an my just slip by=
unnoticed. Belated Happy Quebec Day Edouard.

-Ben



________________________________
From: Edouard Bastarache
To: Clayart@LSV.CERAMICS.ORG
Sent: Wednesday, July 4, 2012 9:15 AM
Subject:

Since so many Americans wished me a happy
Quebec Day on the 24th of June, I wish all
Americans a happy Independence Day,,,
"An happy,,," would not work, I believe.
Hehehe

Plejkore,

Edouard Bastarache
Spertesperantisto

Sorel-Tracy
Quebec

http://www.flickr.com/photos/30058682@N00/
http://edouardbastarache.blogspot.com/
http://smart2000.pagesperso-orange.fr/bloggs_edouard.htm
http://www.facebook.com/edouard.bastarache

BHannis on mon 30 jul 12


Hi

Many years ago I posted how I pack up for fairs;
I drill 3" holes in foam rubber mattress's that are 4" thick, then
cut mattress into squares to fit plastic bread tray[ 36"x30"], these
are stackable, use a 5x5 drill pattern, each tray holds between 25 to
30 mug size pots. Takes seconds to pack and unpack. Mel posted this
idea on his web page once, maybe he still has it, it was also in CM years a=
go.

Bryan Hannis

Lee on mon 30 jul 12


On Mon, Jul 30, 2012 at 12:16 PM, BHannis wrote:

> are stackable, use a 5x5 drill pattern, each tray holds between 25 to
> 30 mug size pots.

Jean found me a couple of red pidgen-hole cases that were originally
designed to hold Xmas ornaments. I use them for mugs and yunomi.
I have used these cases to show samples to people.

I also put different wine and other bottle dividers in my 18 gal.
stackable Rubbermaid containers. Stacking is important. Reduces
space you need to store the containers at the fair. I use them
when I take pots to the Tea Bowl Festival in S. Korea Too. I also
switched from a soft sided suitcase to a hard shell one. Tea bowl
wooden boxes actually save you packing weight.


--=3D20
--
Lee Love in Minneapolis
http://mingeisota.blogspot.com/

"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D97tha=
t is, "T=3D
he
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue

Joseph Herbert on thu 9 aug 12


http://elec-namoun.com/client.php?ypokib=3D277&arazjpaha=3D71

jcu on sat 11 aug 12


test

Dina Barnese on sun 19 aug 12


I have a glaze that gives me problems. It is Georgie's Mustard Wood Ash
cone 6 glaze. The stuff grows the most horrid mold when it sits for any
length of time. It smells awful and the mold is downright scary. I have to
skim the mold off the top each time I use the product before I screen it.
This is the only glaze I've ever seen this happen with and it has happened
in two separate batches.

So with that lengthy backstory, I have a simple question: How can I prevent
mold from growing in this glaze? Would a couple of drops of bleach work or
would it have a negative effect on the outcome?

Thanks!
Dina Barnese
Zizziba Studio
Flagstaff, Arizona

www.zizziba.com

Steve Mills on sun 19 aug 12


I would use a commercial Bactericide similar to the ones used by Brush-on g=
l=3D
aze manufacturers. They use CMC which is an organic compound from the food =
i=3D
ndustry which can go "Off" very quickly if not treated.=3D20

Steve M


Steve Mills
Bath
UK
www.mudslinger.me.uk
Sent from my iPod


On 19 Aug 2012, at 14:59, Dina Barnese wrote:

> I have a glaze that gives me problems. It is Georgie's Mustard Wood Ash
> cone 6 glaze. The stuff grows the most horrid mold when it sits for any
> length of time. It smells awful and the mold is downright scary. I have t=
o=3D

> skim the mold off the top each time I use the product before I screen it.
> This is the only glaze I've ever seen this happen with and it has happene=
d=3D

> in two separate batches.
>=3D20
> So with that lengthy backstory, I have a simple question: How can I preve=
n=3D
t
> mold from growing in this glaze? Would a couple of drops of bleach work o=
r=3D

> would it have a negative effect on the outcome?
>=3D20
> Thanks!
> Dina Barnese
> Zizziba Studio
> Flagstaff, Arizona
>=3D20
> www.zizziba.com

William & Susan Schran User on sun 19 aug 12


On 8/19/12 9:59 AM, "Dina Barnese" wrote:

>So with that lengthy backstory, I have a simple question: How can I
>prevent
>mold from growing in this glaze? Would a couple of drops of bleach work or
>would it have a negative effect on the outcome?

Few drops of bleach should help.
Bill--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com