Shea Rose on sun 19 sep 99

Hello All:

I happily discovered this group yesterday and have begun to read some of the
discussions. My name is Shea and I live in Denton, Tx. I have taken a
couple of classes and fell instantly in love with this art form. At this
point I am asking for some advise as to how I may continue with ceramics but
on a VERY limited budget. I am extremely naivee regarding ceramics,
therefore I am unaware of how to work around my budget issue. I've
contemplated just hand building and saving the pieces until sometime later
when I could complete the processes (firing, glazing, ....) or perhaps just
painting the unfinsihed piece(s). Thank you in advanced for your suggestions.

Sincerely,
Shea Rose
"Imagination is the eye of the soul." -Joubert (1754-1824)

goatnose on mon 20 sep 99

Shea:IMHO you should decide the direction you want to take, in pottey,
then ask a Potter in your chosen field
if you can watch them work and get answers to questions. There will come
a
time when you might be able to trade a
few chores for some lessons. If you can
persist you can learn a lot about pottey.

elizabeth priddy on mon 20 sep 99

Welcome!

Continue to take classes and stocking back the work
you make until you have enough to sell to make the
money to buy your equipment. Even if you don't want
to sell for a living, selling enough to pay for your
own equipment is good chi. And it makes you produce
in quantity which makes you practice and practice is
how you learn.

If you never make enough work to sell to buy the
equipment, you probably don't need the equipment.
A good kiln is a terrible thing to waste...

Good luck!

---
Elizabeth Priddy

I speak from sincerity and experience, not authority...
email: epriddy@usa.net
website: http://www.angelfire.com/nc/clayworkshop



On Sun, 19 Sep 1999 21:41:09 Shea Rose wrote:
>----------------------------Original message----------------------------
>Hello All:
>
>I happily discovered this group yesterday and have begun to read some of the
>discussions. My name is Shea and I live in Denton, Tx. I have taken a
>couple of classes and fell instantly in love with this art form. At this
>point I am asking for some advise as to how I may continue with ceramics but
>on a VERY limited budget. I am extremely naivee regarding ceramics,
>therefore I am unaware of how to work around my budget issue. I've
>contemplated just hand building and saving the pieces until sometime later
>when I could complete the processes (firing, glazing, ....) or perhaps just
>painting the unfinsihed piece(s). Thank you in advanced for your suggestions.
>
>Sincerely,
>Shea Rose
>"Imagination is the eye of the soul." -Joubert (1754-1824)
>


--== Sent via Deja.com http://www.deja.com/ ==--
Share what you know. Learn what you don't.

Joyce Lee on mon 20 sep 99

> I've
> contemplated just hand building and saving the pieces until sometime later
> when I could complete the processes (firing, glazing, ....) or perhaps just
> painting the unfinsihed piece(s). Thank you in advanced for your suggestion

If I were you, Shea, I'd paint a few pieces IF I just felt I needed that
in order to have some sort of closure to some of my work. But
I'd save most of the pieces until such time as I could find a way to
fire them ... and I'd then actively search for such a way. I know I
don't want to fire other potters' work because it IS their work and I
might destroy it... so I'm unwilling to do so even for unfairly large
sums of money in exchange... but I give in easily and unwaveringly to
those who offer to help clean my studio in exchange. Keep looking and
keep building ... a way will manifest itself.

Joyce
In the Mojave waiting for light so I can ITC shelves and fire up new
kiln... however, may have to order more ITC first ... will know soon.
Enrique and Pablo discouraged my presence as they installed kiln
yesterday...I'd get near; they'd ask in Spanish if I wanted to dance, or
to sing like mariachis, or to run an errand. La cultura way of saying
amscray ... we're busy. Smart guys...and don't be concerned that I was
patronized. Yes, they are sexist...that's okay...I'm not out to change
whole world...just my part of it....AND I wanted my kiln done!
Sometimes you just have to keep your mind on the objective....

June Perry on tue 21 sep 99

Welcome New Kid on the Block:

Check with some local high schools and junior colleges. They often have
pottery classes and your clay/glazes and firing may be included with the cost
of the class. This way you'd have access too all the facilities, bone up on
throwing and other skills etc.
Until you get your own wheel, if you want one eventually, you can do slab
work. Slab work can be more than tiles or boxes. You can check out flea
markets, Good Will and Salvation army stores for suitable round bowl, ovals
trays, etc. suitable for draping clay over or in. You can also use them as
forms for plaster drape molds.
There are a lot of plans around for building kick wheels. Scrounging the
parts (free two by fours from Pallets, etc), buying some used pieces, you can
build one for fifty to a hundred dollars. One of my students was just given
an old kick wheel, so you might get lucky there as well. Just put the word
out about what you're doing and check the newspapers, bulletin boards at
pottery supply stores, etc.
Welcome to Clayart. :-)

Warmest regards,
June

Nina Jones on tue 21 sep 99

Hi, Shea:

Have you completed the classes offered by the school/studio you were
going to? The reason I ask is because a lot of times as long as you
are registered as a student with the school, studio or art center, you
can fire your work there, even work you have done at home. This will
enable you to complete your work and, perhaps, sell it until you have
raised the money you need to purchase a kiln.

I live in Chicago, and it is a much less craft friendly area (I
think) than areas in the Southwest and Southeast portions of the
States, so equipment can be expensive and hard to come by. It's
easier to find a used computer than it is to find a used kiln. Keep
your eyes open and contact all of the pottery supply shops and craft
shops in your area. Try to become familiar with their products (a lot
of shops offer free samples of their clays and sometimes their glazes
too). Just keep asking: Do you know someone selling a used kiln? Is
anyone selling a used wheel? Sometimes you can come by equipment much
cheaper than you think. Of course, be careful. Just like with used
cars, sometimes people are selling equipment because it is on its last
leg. Just keep your eyes and ears open, blessings sometimes come from
the most unexpected sources. Another alternative: are you or anyone
you know handy? Building a kiln or even a wheel or slab roller is not
terribly difficult unless you are technically impaired like I am. But
if you or someone you know likes to tinker around with engines and
building structures and such, the building plans for wheels and kilns
are available from books, pottery magazines and even the archives of
this list.

Find a favorite clay to work with and create things you like to
create -- pinch pots, coil pots, slab pots, figurative or
non-representational sculpture -- begin creating whatever you like to
make, because these things will come from your soul and your heart and
you will find joy in making them, even if these beginnings are not
marketable. When I began working with clay, I was *extremely* poor.
The great thing about clay is that it is cheap, requires no special
care and is very recycable. Everything starts with the clay. Find a
good clay source and begin creating. Just as Joyce Lee and Elizabeth
Priddy have already pointed out, the rest will work itself out. First
find your way with the clay.

>>> Shea Rose 09/19/99 08:41PM >>>
----------------------------Original
message----------------------------
Hello All:

I happily discovered this group yesterday and have begun to read some
of the
discussions. My name is Shea and I live in Denton, Tx. I have taken
a
couple of classes and fell instantly in love with this art form. At
this
point I am asking for some advise as to how I may continue with
ceramics but
on a VERY limited budget. I am extremely naivee regarding ceramics,
therefore I am unaware of how to work around my budget issue. I've
contemplated just hand building and saving the pieces until sometime
later
when I could complete the processes (firing, glazing, ....) or
perhaps just
painting the unfinsihed piece(s). Thank you in advanced for your
suggestions.

Sincerely,
Shea Rose
"Imagination is the eye of the soul." -Joubert (1754-1824)

CINDI ANDERSON on tue 21 sep 99

Shea,
Isn't there a cheap community college near you? You can get an awful
lot of firing done (and learning) in one of those classes. My sister
lives near you and although the classes aren't as cheap as here in
California, they weren't that bad.

Also, my on-line ceramics store will be open soon. You'll be able to
get many things discounted which should help your budget. But of more
immediate concern, I have a section for people with kilns to sign up if
they are willing to rent them either by the piece, shelf, or kiln load
to people like you. We're not open yet, but in a couple months maybe
you'll find someone signed up near where you live.

Have you checked with your local clay suppliers? One near me does a
whole kiln load for $35 which should keep you busy for a long time.

I wouldn't paint them if they haven't even been bisqued unless they'll
be on a shelf very untouched. Unbisqued pieces break VERY easily.
(Spoken from someone who's broken many before they made it to the kiln.)

Good luck,
Cindi

BigCeramicStore.com

Louis H.. Katz on tue 21 sep 99

Hi Shea,
My suggestions would be that you set a goal to buy used or build equipment and
that you interlibrary loan some books. One is Primitive Pottery by Hal
Riegger(spelling of the name is mixed up{fahrblunget}).
Kick wheels are sheap to copy if you have one you can look at. Buy the bearings
in a bearing store.
Electric kilns are often sold cheap. Many slipcasters buy them and never use
them much.
Happy new year,
Louis

Shea Rose wrote:

> ----------------------------Original message----------------------------
> Hello All:
>
> I happily discovered this group yesterday and have begun to read some of the
> discussions. My name is Shea and I live in Denton, Tx. I have taken a
> couple of classes and fell instantly in love with this art form. At this
> point I am asking for some advise as to how I may continue with ceramics but
> on a VERY limited budget. I am extremely naivee regarding ceramics,
> therefore I am unaware of how to work around my budget issue. I've
> contemplated just hand building and saving the pieces until sometime later
> when I could complete the processes (firing, glazing, ....) or perhaps just
> painting the unfinsihed piece(s). Thank you in advanced for your suggestions.
>
> Sincerely,
> Shea Rose
> "Imagination is the eye of the soul." -Joubert (1754-1824)

Rosie Barris on tue 9 nov 99

I've been into pottery for the last 7 years, I just got my first electric
kiln. I'm having problems firing the red glazes. I'm using cone 10 white
stoneware clay. I'm firing at 04. I use all low fire glazes. The red turns
brown or burns out on me. Any suggestions?
Rosie Barris
2936 Amber Lane
Dallas, Texas 75234

Karen Shapiro on tue 9 nov 99

Hi newcomer,

you are firing those reds too high ... the glazes instruct, usually, to ^06;
but if this isn't satisfactory try ^08. They like to fire quickly and not
too hot.

Karen in Sonoma

Nina Jones on wed 10 nov 99

------------------
Hi, Rosie:

What temp are you glaze firing to? Is 04 your bisque temp or your glaze =
temp?
Are you using a commercial low fire glaze? For the brightest reds using =
low
fire commercial reds (Duncan, Mayco, Gare, etc.), you need to fire to =5E06.
Anything over that and you will start to get color burnout. But you are =
grossly
underfiring your =5E10 stoneware clay if this is your firing range.

Hey, you beautiful Clayart people who know so very much more than I do, what=
are
the dangers of this degree of underfiring?

Rosie, are there any lowfire talc claybodies out your way? That would give =
you
a white surface and a firing range more in keeping with your low-fire =
glazes.

If you are mixing your glaze from a recipe, post it so that our glaze =
wizards
can have a look at it and advise you.

Nina D. Jones
Southside Chicago
=40 njones=40winston.com

=3E=3E=3E Rosie Barris =3CMBarris711=40aol.com=3E 11/09/99 11:53AM =3E=3E=3E
----------------------------Original message----------------------------
I've been into pottery for the last 7 years, I just got my first electric
kiln. I'm having problems firing the red glazes. I'm using cone 10 white
stoneware clay. I'm firing at 04. I use all low fire glazes. The red =
turns
brown or burns out on me. Any suggestions?
Rosie Barris
2936 Amber Lane
Dallas, Texas 75234

Valice Raffi on wed 10 nov 99

Rosie,

I fire low fire reds at ^07 & leave the top peep hole open along with
placing a thin shard of clay to keep the lid of the kiln cracked open
slightly.

I also fire only reds in the firing as other glazes often interfere,
producing spots and other problems.

Valice
in Sacramento

Kathie Wheater on mon 4 aug 03

Hi All,
My name is Kathie Wheater and I'm a clay addict. Additionally, I have NO intention of stopping!!! I have been a voyeur here for years and my dearest friend and soul sister Fabienne T Cassman recommended jumping into the pool.
Arty, your'e too ornery to die. I know of these things. My 'trusted' steed plowed a trench with my helmet (me in it) and seperated my right shoulder. I awakened from a comma two days later. Intercranial bleed, counter coup. Two black holes in my brain. You don't miss what you don't remember and when you goof up you have the greatest excuse in the world (Hey, I fell on my head)!!! No one can slight you for that. Two years later, I'm good as ever just tip to the side now and then. Must be the gin! (really I'm NOT a drinker).
I pray for you and especially your family. Studies have shown that group Prayers to whomever you believe do work. Thank you all, Kathie Wheater - Dark Horse Art studio

Ivor and Olive Lewis on wed 9 aug 06

Dear Alan P,

You seem to be a recent contributor to Clayart though I had not noticed =
if you gave yourself an introduction. But I do appreciate your recent =
contributions to discussions.

You obviously have a deep background of technical knowledge that seems =
to be based on industrial experience and formal study. Perhaps you would =
like to give the group a potted biography. I think it is something those =
of us with a more technical bent would appreciate.

Welcome, and best regards,

Ivor Lewis.
Redhill,
South Australia.

Sandi Taylor on sun 24 feb 08

Dear Larry,
How about teaching some of us old timers how to throw dry. I am in my mid
60's, have some arthritis and find that I need to work with soft clay. I
would love to throw thin pots with out using water. Good for you!!!
From one humble potter at Manatee Community College, Bradenton,Fla.
Sandi Taylor

----- Original Message -----
From: "Larry Andre"
To:
Sent: Sunday, February 24, 2008 4:45 AM
Subject: New Kid on the Block


> Hi, I am new to this blog as well as a repeat newbie to ceramics. To
> introduce myself I am Larry, husband, father (4 daughters), grandfather (2
> boys and 3 girls). To say the least I am honored to be able to establish
> new
> friendships as well as learn anew ceramics. Through the years I have had a
> unique working career, I have: worked on a dairy, and had the cow manure
> concession, been a potter, an insurance salesman, a Realtor, a masonry
> contractor (working with clay in a different form), started and run a
> masonry tool manufacturing business, minister (pastor), own a ready mixed
> concrete company, and coming this fall I will become a College instructor
> at
> the local Community College.
>
> After 30 years of absence from ceramics I again became involved because my
> younger brother was injured in an industrial accident that left him
> partially paralyzed in his right arm, couple that along with a friend who
> is
> a drummer for a major music star and his speaking about his desire to have
> ceramic drums.
>
> I went on Craigs List and found a used Shimpo. I spoke of my purchase to
> Magdalene Mills MA Ceramics who did an interview of Michael Frimkess for
> the
> Smithsonian Institution, she spoke of Mike having a kiln that was
> environmentally friendly, that fired in about 1 1/2 hours. Being the
> "great
> man of faith" that I am I immediately doubted her. Along with the kiln she
> said he has multiple sclerosis and throws super thin pots from very hard
> clay with no water. Again being the man of great faith that I am I again
> doubted. She said despite his medical difficulties Mike had become one of
> the premiere potters of the 20th century with work in the Smithsonian. I
> doubted again. All this could not be true. I had to see with my own eyes.
>
> I met Mike on a Friday in mid August 2007 about dusk as with so many
> potters
> he likes to fire at night so he can judge by the color of the flame. I
> arrived and he showed me around the studio then the magic moment arrived
> to
> view the "kiln". I half expected to see the kiln in a white sanitary room
> with mood lighting, but there it was relegated to a humble kiln room along
> side a gigantic traditional gas kiln. The kiln is about 7 cubic feet with
> 3
> 75000 BTU burners from off the shelf. We lit the kiln and settled down in
> lawn chairs. Well we did not sit too long as the firing of large thin
> walled
> pots ( 14 inch tall, 8 inch diameter)and smaller thrown pieces, along with
> hand built pieces up to 1/2 inch thick were completed in 1 hour 17
> minutes.
> Total time reducing was about 5 minutes, no soaking, we just turned the
> kiln
> off and closed the damper. Eight hours later upon opening I expected to
> see
> drab colors, but was amazed to see true blood reds, brilliant yellows,
> oranges and greens that normally come with low fire or China Paint.
>
> That night I was bit by the clay bug again and stated to throw on the
> wheel
> to be given to my brother. I was completely dissatisfied with the results,
> my pots were smallish, heavy and not well proportioned. I persisted for
> several months with no change, then in January Mike offered to teach me
> how
> to throw without water using hard hard clay on one proviso that I would
> listen to him and follow instructions. My first couple attempts were good
> tries but failed, we cut the pots apart (about 15 inch tall) and we
> discussed the wall thickness that was generally less than 1/8 inch, but
> when
> I would attempt to shape the pot not having the experience necessary I
> would
> collapse the pot. By the third attempt I was getting the hang of throwing
> without water and threw out of a 2 pound ball of clay a large vase 14
> inches
> by 8 inches with walls thinner than a credit card. The pot weighs as
> greenware about 1 1/2 pounds dry.
>
> Over the past several weeks I have been reading many blogs from
> individuals
> who through their arrogance claim that throwing without water is the only
> way to throw. If all of the potters out there threw without water there
> would be nothing unique there would be sameness, I have viewed many of the
> web pages of the posters on ClayArt and am quite impressed with the
> quality
> of work and hope someday to have my work attain your quality. Artists are
> a
> very different group, we all march to the beat of a different drummer, and
> what I view as art might not strike another as art. At the chance that I
> might offend some I find Andy Wharhol's work to be an example as something
> I
> would question its value. But others believe it is great. Beauty is in the
> eye of the beholder, and who am I to say that you must throw dry.
>
> One thing I am very excited about is when I threw the large thin post that
> "rush" that comes with success just would not go away, to the point where
> I
> was dreaming about how to overcome my mistakes and become better. The good
> thing is that I was able to transfer my dreams to reality and implement
> what
> I dreamt into my throwing.
>
> The Shimpo wheel is now in the possession of my brother and I have
> recently
> built a wheel with a direct drive motor/gearbox with speed control. My
> lessons in throwing are in a method considered different from the norm,
> and
> I am learning to throw without water or slip. I can honestly say I did not
> believe it could be done because I remember the drag on my fingers when
> the
> clay got dry and the friction that was created just before the pot fell
> and
> was relegated to the pug mill.
>
> I am excited about throwing and ceramics, and I am anxious to learn from
> the
> posters on this blog as I have a lot of catching up to do. As I develop my
> body of work maybe just maybe I can share some of the things I have
> learned
> and we can all become more successful potters. If you have any comments or
> hints for me so I can become more proficient drop me a line as I am
> teachable.
>
> Thanks for reading my blog
>
> Larry Andre
>
> ______________________________________________________________________________
> 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

Larry Andre on sun 24 feb 08

Hi, I am new to this blog as well as a repeat newbie to ceramics. To
introduce myself I am Larry, husband, father (4 daughters), grandfather (2
boys and 3 girls). To say the least I am honored to be able to establish new
friendships as well as learn anew ceramics. Through the years I have had a
unique working career, I have: worked on a dairy, and had the cow manure
concession, been a potter, an insurance salesman, a Realtor, a masonry
contractor (working with clay in a different form), started and run a
masonry tool manufacturing business, minister (pastor), own a ready mixed
concrete company, and coming this fall I will become a College instructor at
the local Community College.

After 30 years of absence from ceramics I again became involved because my
younger brother was injured in an industrial accident that left him
partially paralyzed in his right arm, couple that along with a friend who is
a drummer for a major music star and his speaking about his desire to have
ceramic drums.

I went on Craigs List and found a used Shimpo. I spoke of my purchase to
Magdalene Mills MA Ceramics who did an interview of Michael Frimkess for the
Smithsonian Institution, she spoke of Mike having a kiln that was
environmentally friendly, that fired in about 1 1/2 hours. Being the "great
man of faith" that I am I immediately doubted her. Along with the kiln she
said he has multiple sclerosis and throws super thin pots from very hard
clay with no water. Again being the man of great faith that I am I again
doubted. She said despite his medical difficulties Mike had become one of
the premiere potters of the 20th century with work in the Smithsonian. I
doubted again. All this could not be true. I had to see with my own eyes.

I met Mike on a Friday in mid August 2007 about dusk as with so many potters
he likes to fire at night so he can judge by the color of the flame. I
arrived and he showed me around the studio then the magic moment arrived to
view the "kiln". I half expected to see the kiln in a white sanitary room
with mood lighting, but there it was relegated to a humble kiln room along
side a gigantic traditional gas kiln. The kiln is about 7 cubic feet with 3
75000 BTU burners from off the shelf. We lit the kiln and settled down in
lawn chairs. Well we did not sit too long as the firing of large thin walled
pots ( 14 inch tall, 8 inch diameter)and smaller thrown pieces, along with
hand built pieces up to 1/2 inch thick were completed in 1 hour 17 minutes.
Total time reducing was about 5 minutes, no soaking, we just turned the kiln
off and closed the damper. Eight hours later upon opening I expected to see
drab colors, but was amazed to see true blood reds, brilliant yellows,
oranges and greens that normally come with low fire or China Paint.

That night I was bit by the clay bug again and stated to throw on the wheel
to be given to my brother. I was completely dissatisfied with the results,
my pots were smallish, heavy and not well proportioned. I persisted for
several months with no change, then in January Mike offered to teach me how
to throw without water using hard hard clay on one proviso that I would
listen to him and follow instructions. My first couple attempts were good
tries but failed, we cut the pots apart (about 15 inch tall) and we
discussed the wall thickness that was generally less than 1/8 inch, but when
I would attempt to shape the pot not having the experience necessary I would
collapse the pot. By the third attempt I was getting the hang of throwing
without water and threw out of a 2 pound ball of clay a large vase 14 inches
by 8 inches with walls thinner than a credit card. The pot weighs as
greenware about 1 1/2 pounds dry.

Over the past several weeks I have been reading many blogs from individuals
who through their arrogance claim that throwing without water is the only
way to throw. If all of the potters out there threw without water there
would be nothing unique there would be sameness, I have viewed many of the
web pages of the posters on ClayArt and am quite impressed with the quality
of work and hope someday to have my work attain your quality. Artists are a
very different group, we all march to the beat of a different drummer, and
what I view as art might not strike another as art. At the chance that I
might offend some I find Andy Wharhol's work to be an example as something I
would question its value. But others believe it is great. Beauty is in the
eye of the beholder, and who am I to say that you must throw dry.

One thing I am very excited about is when I threw the large thin post that
"rush" that comes with success just would not go away, to the point where I
was dreaming about how to overcome my mistakes and become better. The good
thing is that I was able to transfer my dreams to reality and implement what
I dreamt into my throwing.

The Shimpo wheel is now in the possession of my brother and I have recently
built a wheel with a direct drive motor/gearbox with speed control. My
lessons in throwing are in a method considered different from the norm, and
I am learning to throw without water or slip. I can honestly say I did not
believe it could be done because I remember the drag on my fingers when the
clay got dry and the friction that was created just before the pot fell and
was relegated to the pug mill.

I am excited about throwing and ceramics, and I am anxious to learn from the
posters on this blog as I have a lot of catching up to do. As I develop my
body of work maybe just maybe I can share some of the things I have learned
and we can all become more successful potters. If you have any comments or
hints for me so I can become more proficient drop me a line as I am teachable.

Thanks for reading my blog

Larry Andre

larry on mon 25 feb 08

I will be happy to share what I have learned. Tonight I watched Michael Fri=
mkess throw two pots, one with 4 lbs of stiff clay using only water to cent=
er the clay, and the other 3 lbs of stiff clay completely without water. Si=
nce he has MS his mobility is limited and the second ball of clay he center=
ed with one hand. Both pots were at minimum 12 inches in height and at the =
widest point at the equator 8 1/2 inches. I was amazed. Hope to hear from y=
ou soon. Larry Andre=0D=0A=0D=0A----------------------------------------=0D=
=0AFrom: Sandi Taylor =0D=0ASent: Sunday, Februa=
ry 24, 2008 11:23 PM=0D=0ATo: CLAYART@LSV.CERAMICS.ORG=0D=0ASubject: Re: Ne=
w Kid on the Block =0D=0A=0D=0ADear Larry,=0D=0AHow about teaching some of =
us old timers how to throw dry. I am in my mid=0D=0A60's, have some arthrit=
is and find that I need to work with soft clay. I=0D=0Awould love to throw =
thin pots with out using water. Good for you!!!=0D=0AFrom one humble potter=
at Manatee Community College, Bradenton,Fla.=0D=0ASandi Taylor=0D=0A=0D=0A=
----- Original Message -----=0D=0AFrom: "Larry Andre" =0D=0ATo: =0D=0ASent:=
Sunday, February 24, 2008 4:45 AM=0D=0ASubject: New Kid on the Block=0D=0A=
=0D=0A> Hi, I am new to this blog as well as a repeat newbie to ceramics. T=
o=0D=0A> introduce myself I am Larry, husband, father (4 daughters), grandf=
ather (2=0D=0A> boys and 3 girls). To say the least I am honored to be able=
to establish=0D=0A> new=0D=0A> friendships as well as learn anew ceramics.=
Through the years I have had a=0D=0A> unique working career, I have: worke=
d on a dairy, and had the cow manure=0D=0A> concession, been a potter, an i=
nsurance salesman, a Realtor, a masonry=0D=0A> contractor (working with cla=
y in a different form), started and run a=0D=0A> masonry tool manufacturing=
business, minister (pastor), own a ready mixed=0D=0A> concrete company, an=
d coming this fall I will become a College instructor=0D=0A> at=0D=0A> the =
local Community College.=0D=0A>=0D=0A> After 30 years of absence from ceram=
ics I again became involved because my=0D=0A> younger brother was injured i=
n an industrial accident that left him=0D=0A> partially paralyzed in his ri=
ght arm, couple that along with a friend who=0D=0A> is=0D=0A> a drummer for=
a major music star and his speaking about his desire to have=0D=0A> cerami=
c drums.=0D=0A>=0D=0A> I went on Craigs List and found a used Shimpo. I spo=
ke of my purchase to=0D=0A> Magdalene Mills MA Ceramics who did an intervie=
w of Michael Frimkess for=0D=0A> the=0D=0A> Smithsonian Institution, she sp=
oke of Mike having a kiln that was=0D=0A> environmentally friendly, that fi=
red in about 1 1/2 hours. Being the=0D=0A> "great=0D=0A> man of faith" that=
I am I immediately doubted her. Along with the kiln she=0D=0A> said he has=
multiple sclerosis and throws super thin pots from very hard=0D=0A> clay w=
ith no water. Again being the man of great faith that I am I again=0D=0A> d=
oubted. She said despite his medical difficulties Mike had become one of=0D=
=0A> the premiere potters of the 20th century with work in the Smithsonian.=
I=0D=0A> doubted again. All this could not be true. I had to see with my o=
wn eyes.=0D=0A>=0D=0A> I met Mike on a Friday in mid August 2007 about dusk=
as with so many=0D=0A> potters=0D=0A> he likes to fire at night so he can =
judge by the color of the flame. I=0D=0A> arrived and he showed me around t=
he studio then the magic moment arrived=0D=0A> to=0D=0A> view the "kiln". I=
half expected to see the kiln in a white sanitary room=0D=0A> with mood li=
ghting, but there it was relegated to a humble kiln room along=0D=0A> side =
a gigantic traditional gas kiln. The kiln is about 7 cubic feet with=0D=0A>=
3=0D=0A> 75000 BTU burners from off the shelf. We lit the kiln and settled=
down in=0D=0A> lawn chairs. Well we did not sit too long as the firing of =
large thin=0D=0A> walled=0D=0A> pots ( 14 inch tall, 8 inch diameter)and sm=
aller thrown pieces, along with=0D=0A> hand built pieces up to 1/2 inch thi=
ck were completed in 1 hour 17=0D=0A> minutes.=0D=0A> Total time reducing w=
as about 5 minutes, no soaking, we just turned the=0D=0A> kiln=0D=0A> off a=
nd closed the damper. Eight hours later upon opening I expected to=0D=0A> s=
ee=0D=0A> drab colors, but was amazed to see true blood reds, brilliant yel=
lows,=0D=0A> oranges and greens that normally come with low fire or China P=
aint.=0D=0A>=0D=0A> That night I was bit by the clay bug again and stated t=
o throw on the=0D=0A> wheel=0D=0A> to be given to my brother. I was complet=
ely dissatisfied with the results,=0D=0A> my pots were smallish, heavy and =
not well proportioned. I persisted for=0D=0A> several months with no change=
, then in January Mike offered to teach me=0D=0A> how=0D=0A> to throw witho=
ut water using hard hard clay on one proviso that I would=0D=0A> listen to =
him and follow instructions. My first couple attempts were good=0D=0A> trie=
s but failed, we cut the pots apart (about 15 inch tall) and we=0D=0A> disc=
ussed the wall thickness that was generally less than 1/8 inch, but=0D=0A> =
when=0D=0A> I would attempt to shape the pot not having the experience nece=
ssary I=0D=0A> would=0D=0A> collapse the pot. By the third attempt I was ge=
tting the hang of throwing=0D=0A> without water and threw out of a 2 pound =
ball of clay a large vase 14=0D=0A> inches=0D=0A> by 8 inches with walls th=
inner than a credit card. The pot weighs as=0D=0A> greenware about 1 1/2 po=
unds dry.=0D=0A>=0D=0A> Over the past several weeks I have been reading man=
y blogs from=0D=0A> individuals=0D=0A> who through their arrogance claim th=
at throwing without water is the only=0D=0A> way to throw. If all of the po=
tters out there threw without water there=0D=0A> would be nothing unique th=
ere would be sameness, I have viewed many of the=0D=0A> web pages of the po=
sters on ClayArt and am quite impressed with the=0D=0A> quality=0D=0A> of w=
ork and hope someday to have my work attain your quality. Artists are=0D=0A=
> a=0D=0A> very different group, we all march to the beat of a different dr=
ummer, and=0D=0A> what I view as art might not strike another as art. At th=
e chance that I=0D=0A> might offend some I find Andy Wharhol's work to be a=
n example as something=0D=0A> I=0D=0A> would question its value. But others=
believe it is great. Beauty is in the=0D=0A> eye of the beholder, and who =
am I to say that you must throw dry.=0D=0A>=0D=0A> One thing I am very exci=
ted about is when I threw the large thin post that=0D=0A> "rush" that comes=
with success just would not go away, to the point where=0D=0A> I=0D=0A> wa=
s dreaming about how to overcome my mistakes and become better. The good=0D=
=0A> thing is that I was able to transfer my dreams to reality and implemen=
t=0D=0A> what=0D=0A> I dreamt into my throwing.=0D=0A>=0D=0A> The Shimpo wh=
eel is now in the possession of my brother and I have=0D=0A> recently=0D=0A=
> built a wheel with a direct drive motor/gearbox with speed control. My=0D=
=0A> lessons in throwing are in a method considered different from the norm=
,=0D=0A> and=0D=0A> I am learning to throw without water or slip. I can hon=
estly say I did not=0D=0A> believe it could be done because I remember the =
drag on my fingers when=0D=0A> the=0D=0A> clay got dry and the friction tha=
t was created just before the pot fell=0D=0A> and=0D=0A> was relegated to t=
he pug mill.=0D=0A>=0D=0A> I am excited about throwing and ceramics, and I =
am anxious to learn from=0D=0A> the=0D=0A> posters on this blog as I have a=
lot of catching up to do. As I develop my=0D=0A> body of work maybe just m=
aybe I can share some of the things I have=0D=0A> learned=0D=0A> and we can=
all become more successful potters. If you have any comments or=0D=0A> hin=
ts for me so I can become more proficient drop me a line as I am=0D=0A> tea=
chable.=0D=0A>=0D=0A> Thanks for reading my blog=0D=0A>=0D=0A> Larry Andre=
=0D=0A>=0D=0A> ____________________________________________________________=
__________________=0D=0A> Clayart members may send postings to: clayart@l=
sv.ceramics.org=0D=0A>=0D=0A> You may look at the archives for the list, po=
st messages, change your=0D=0A> subscription settings or unsubscribe/leave =
the list here:=0D=0A> http://www.acers.org/cic/clayart/=0D=0A>=0D=0A> Moder=
ator of the list is Mel Jacobson who may be reached at=0D=0A> melpots2@visi=
.com=0D=0A=0D=0A___________________________________________________________=
___________________=0D=0AClayart members may send postings to: clayart@ls=
v.ceramics.org=0D=0A=0D=0AYou may look at the archives for the list, post m=
essages, change your=0D=0Asubscription settings or unsubscribe/leave the li=
st here: http://www.acers.org/cic/clayart/=0D=0A=0D=0AModerator of the lis=
t is Mel Jacobson who may be reached at melpots2@visi.com=0D=0A=0D=0A

Logan Johnson on wed 27 feb 08

Hi Larry ,
If you're not carefull all this talk might get you a gig demonstrating dry throwing at nceca in the Clayart room ! I know I'm dyin' to watch ! :oD
Shoot ! I have no shame . I'd be willing to talk to the artista people to see if we could borrow a wheel for the demo. Heck I'd even bring the drop cloth for the floor !
Maybe you could even split the cost of a booth with someone that makes trimming tools.
Just a thought.
C-Ya @ nceca !
Logan


larry wrote:
I will be happy to share what I have learned. Tonight I watched Michael Frimkess throw two pots, one with 4 lbs of stiff clay using only water to center the clay, and the other 3 lbs of stiff clay completely without water. Since he has MS his mobility is limited and the second ball of clay he centered with one hand. Both pots were at minimum 12 inches in height and at the widest point at the equator 8 1/2 inches. I was amazed. Hope to hear from you soon. Larry Andre

----------------------------------------
From: Sandi Taylor
Sent: Sunday, February 24, 2008 11:23 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: New Kid on the Block

Dear Larry,
How about teaching some of us old timers how to throw dry. I am in my mid
60's, have some arthritis and find that I need to work with soft clay. I
would love to throw thin pots with out using water. Good for you!!!
From one humble potter at Manatee Community College, Bradenton,Fla.
Sandi Taylor

----- Original Message -----
From: "Larry Andre"
To:
Sent: Sunday, February 24, 2008 4:45 AM
Subject: New Kid on the Block

> Hi, I am new to this blog as well as a repeat newbie to ceramics. To
> introduce myself I am Larry, husband, father (4 daughters), grandfather (2
> boys and 3 girls). To say the least I am honored to be able to establish
> new
> friendships as well as learn anew ceramics. Through the years I have had a
> unique working career, I have: worked on a dairy, and had the cow manure
> concession, been a potter, an insurance salesman, a Realtor, a masonry
> contractor (working with clay in a different form), started and run a
> masonry tool manufacturing business, minister (pastor), own a ready mixed
> concrete company, and coming this fall I will become a College instructor
> at
> the local Community College.
>
> After 30 years of absence from ceramics I again became involved because my
> younger brother was injured in an industrial accident that left him
> partially paralyzed in his right arm, couple that along with a friend who
> is
> a drummer for a major music star and his speaking about his desire to have
> ceramic drums.
>
> I went on Craigs List and found a used Shimpo. I spoke of my purchase to
> Magdalene Mills MA Ceramics who did an interview of Michael Frimkess for
> the
> Smithsonian Institution, she spoke of Mike having a kiln that was
> environmentally friendly, that fired in about 1 1/2 hours. Being the
> "great
> man of faith" that I am I immediately doubted her. Along with the kiln she
> said he has multiple sclerosis and throws super thin pots from very hard
> clay with no water. Again being the man of great faith that I am I again
> doubted. She said despite his medical difficulties Mike had become one of
> the premiere potters of the 20th century with work in the Smithsonian. I
> doubted again. All this could not be true. I had to see with my own eyes.
>
> I met Mike on a Friday in mid August 2007 about dusk as with so many
> potters
> he likes to fire at night so he can judge by the color of the flame. I
> arrived and he showed me around the studio then the magic moment arrived
> to
> view the "kiln". I half expected to see the kiln in a white sanitary room
> with mood lighting, but there it was relegated to a humble kiln room along
> side a gigantic traditional gas kiln. The kiln is about 7 cubic feet with
> 3
> 75000 BTU burners from off the shelf. We lit the kiln and settled down in
> lawn chairs. Well we did not sit too long as the firing of large thin
> walled
> pots ( 14 inch tall, 8 inch diameter)and smaller thrown pieces, along with
> hand built pieces up to 1/2 inch thick were completed in 1 hour 17
> minutes.
> Total time reducing was about 5 minutes, no soaking, we just turned the
> kiln
> off and closed the damper. Eight hours later upon opening I expected to
> see
> drab colors, but was amazed to see true blood reds, brilliant yellows,
> oranges and greens that normally come with low fire or China Paint.
>
> That night I was bit by the clay bug again and stated to throw on the
> wheel
> to be given to my brother. I was completely dissatisfied with the results,
> my pots were smallish, heavy and not well proportioned. I persisted for
> several months with no change, then in January Mike offered to teach me
> how
> to throw without water using hard hard clay on one proviso that I would
> listen to him and follow instructions. My first couple attempts were good
> tries but failed, we cut the pots apart (about 15 inch tall) and we
> discussed the wall thickness that was generally less than 1/8 inch, but
> when
> I would attempt to shape the pot not having the experience necessary I
> would
> collapse the pot. By the third attempt I was getting the hang of throwing
> without water and threw out of a 2 pound ball of clay a large vase 14
> inches
> by 8 inches with walls thinner than a credit card. The pot weighs as
> greenware about 1 1/2 pounds dry.
>
> Over the past several weeks I have been reading many blogs from
> individuals
> who through their arrogance claim that throwing without water is the only
> way to throw. If all of the potters out there threw without water there
> would be nothing unique there would be sameness, I have viewed many of the
> web pages of the posters on ClayArt and am quite impressed with the
> quality
> of work and hope someday to have my work attain your quality. Artists are
> a
> very different group, we all march to the beat of a different drummer, and
> what I view as art might not strike another as art. At the chance that I
> might offend some I find Andy Wharhol's work to be an example as something
> I
> would question its value. But others believe it is great. Beauty is in the
> eye of the beholder, and who am I to say that you must throw dry.
>
> One thing I am very excited about is when I threw the large thin post that
> "rush" that comes with success just would not go away, to the point where
> I
> was dreaming about how to overcome my mistakes and become better. The good
> thing is that I was able to transfer my dreams to reality and implement
> what
> I dreamt into my throwing.
>
> The Shimpo wheel is now in the possession of my brother and I have
> recently
> built a wheel with a direct drive motor/gearbox with speed control. My
> lessons in throwing are in a method considered different from the norm,
> and
> I am learning to throw without water or slip. I can honestly say I did not
> believe it could be done because I remember the drag on my fingers when
> the
> clay got dry and the friction that was created just before the pot fell
> and
> was relegated to the pug mill.
>
> I am excited about throwing and ceramics, and I am anxious to learn from
> the
> posters on this blog as I have a lot of catching up to do. As I develop my
> body of work maybe just maybe I can share some of the things I have
> learned
> and we can all become more successful potters. If you have any comments or
> hints for me so I can become more proficient drop me a line as I am
> teachable.
>
> Thanks for reading my blog
>
> Larry Andre
>
> ______________________________________________________________________________
> 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

______________________________________________________________________________
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



______________________________________________________________________________
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



Logan Johnson
Yakima Valley Pottery & Supply
719 w. Nob Hill blvd.
Yakima Wa. 98902
(509) 469-6966
www.yakimavalleypottery.net

---------------------------------
Looking for last minute shopping deals? Find them fast with Yahoo! Search.

gayle bair on wed 27 feb 08

It would be very nice for those of us that are visual learners to
see an demonstration .... perhaps on utube.
I have not found these posted descriptions very helpful.
Gayle Bair
Tucson AZ
Bainbridge Island WA
gayle@claybair.com
www.claybair.com




On Feb 25, 2008, at 12:46 AM, larry wrote:

> I will be happy to share what I have learned. Tonight I watched
> Michael Frimkess throw two pots, one with 4 lbs of stiff clay using
> only water to center the clay, and the other 3 lbs of stiff clay
> completely without water. Since he has MS his mobility is limited
> and the second ball of clay he centered with one hand. Both pots
> were at minimum 12 inches in height and at the widest point at the
> equator 8 1/2 inches. I was amazed. Hope to hear from you soon.
> Larry Andre
>>

Ivor and Olive Lewis on thu 28 feb 08

Dear Gayle Bair,

<an demonstration .... perhaps on utube. I have not found these posted =
descriptions very helpful. >>

I suggest your try to get hold of a copy of the Ceramics Monthly =
article by James Fox. Reference is...James Fox, "Dry throwing" Ceramics =
Monthly, vol 21, No 8. October 1973. pp 22-26. (Worth buying the CM =
archival DVD of CD for this alone)

These instructions are straight forward and easy to follow. Just make =
sure you have a smooth grog free clay. My suggestion would be to screen =
some of your wheel basin slops and use that instead of plain water. It =
is a much better lubricant and resists the capillary forces that pull =
plain water into your clay making it softer as time goes on. It might =
also be suggested that clay bodies that contain a very high ratio of =
clay minerals to non clay minerals can be thrown higher and thinner than =
those with high proportions of fluxes, sand and grog.

I seem to recall showing Avril Farley how to throw using this technique =
when she visited Oz three or four years ago.

Best regards,

Ivor Lewis.
Redhill,
South Australia.

Eleanora Eden on sun 9 mar 08

You obviously have lots to share. I am curious also about the kiln firing that
you talked about. What temperature was he going to? More details about
the kiln?

Thanks,

Eleanora




> The kiln is about 7 cubic feet with 3
>75000 BTU burners from off the shelf. We lit the kiln and settled down in
>lawn chairs. Well we did not sit too long as the firing of large thin walled
>pots ( 14 inch tall, 8 inch diameter)and smaller thrown pieces, along with
>hand built pieces up to 1/2 inch thick were completed in 1 hour 17 minutes.
>Total time reducing was about 5 minutes, no soaking, we just turned the kiln
>off and closed the damper. Eight hours later upon opening I expected to see
>drab colors, but was amazed to see true blood reds, brilliant yellows,
>oranges and greens that normally come with low fire or China Paint.





>By the third attempt I was getting the hang of throwing
>without water and threw out of a 2 pound ball of clay a large vase 14 inches
>by 8 inches with walls thinner than a credit card. The pot weighs as
>greenware about 1 1/2 pounds dry.

--
Bellows Falls Vermont
www.eleanoraeden.com

larry on sun 9 mar 08

Hi Eleanora, I have watched the kiln five times, and will be loading the ki=
ln today for Mike. We will fire this evening around dusk and our final temp=
erature will be cone 10-11. The design of the kiln is what makes it go so f=
ast, along with the insulating bricks used for the construction. The walls =
are only one brick thick (4") and the arch is one brick with a mixture of c=
ement and vermiculite on top for support. The design of the sub-chamber an=
d the flue are the keys along with the positioning of the three burners (75=
,000 BTU each). We have recently found out that preheating the kiln slows i=
t down so the burners are wide open from the beginning. We reduce for about=
5-8 minutes around cone 9 then oxidize until cone 10-11 then shut the damp=
er and close off the burner ports. There is no soaking as that is done whil=
e the kiln is cooling apparently. We do not open the door until a minimum o=
f 8 hours. Currently, Mike and I are in the process of patenting the proces=
s and have recently ordered several thousand Insulating Brick to manufactur=
e additional kilns. The first will be going to the local Colleges and High =
Schools that have Ceramics programs. The total cost of firing the kiln for =
the hour and one half is less than $5.00 for the natural gas in the Los Ang=
eles area. Hope this answers any questions if you would like to talk you ca=
n get my phone number from my website www.masonrytoolsonline.com Thanks, =
Larry=0D=0A=0D=0A----------------------------------------=0D=0AFrom: Eleano=
ra Eden =0D=0ASent: Sunday, March 09, 2008 10:44 AM=0D=
=0ATo: CLAYART@LSV.CERAMICS.ORG=0D=0ASubject: Re: New Kid on the Block =0D=
=0A=0D=0AYou obviously have lots to share. I am curious also about the kil=
n firing that=0D=0Ayou talked about. What temperature was he going to? Mo=
re details about=0D=0Athe kiln?=0D=0A=0D=0AThanks,=0D=0A=0D=0AEleanora=0D=
=0A=0D=0A> The kiln is about 7 cubic feet with 3=0D=0A>75000 BTU burners fr=
om off the shelf. We lit the kiln and settled down in=0D=0A>lawn chairs. We=
ll we did not sit too long as the firing of large thin walled=0D=0A>pots ( =
14 inch tall, 8 inch diameter)and smaller thrown pieces, along with=0D=0A>h=
and built pieces up to 1/2 inch thick were completed in 1 hour 17 minutes.=
=0D=0A>Total time reducing was about 5 minutes, no soaking, we just turned =
the kiln=0D=0A>off and closed the damper. Eight hours later upon opening I =
expected to see=0D=0A>drab colors, but was amazed to see true blood reds, b=
rilliant yellows,=0D=0A>oranges and greens that normally come with low fire=
or China Paint.=0D=0A=0D=0A>By the third attempt I was getting the hang of=
throwing=0D=0A>without water and threw out of a 2 pound ball of clay a lar=
ge vase 14 inches=0D=0A>by 8 inches with walls thinner than a credit card. =
The pot weighs as=0D=0A>greenware about 1 1/2 pounds dry.=0D=0A=0D=0A--=0D=
=0ABellows Falls Vermont=0D=0Awww.eleanoraeden.com=0D=0A=0D=0A_____________=
_________________________________________________________________=0D=0AClay=
art members may send postings to: clayart@lsv.ceramics.org=0D=0A=0D=0AYou=
may look at the archives for the list, post messages, change your=0D=0Asub=
scription settings or unsubscribe/leave the list here: http://www.acers.or=
g/cic/clayart/=0D=0A=0D=0AModerator of the list is Mel Jacobson who may be =
reached at melpots2@visi.com=0D=0A=0D=0A

larry on wed 12 mar 08

Hi Judy I do not know about others but the way Mike Frimkess is te=
aching me is totally without water not even slip. Since the clay is so dry =
it does not drag on your hands like wet clay does. I recently made a 15 inc=
h tall pot with a 2 lb ball of clay that has walls thinner than a credit ca=
rd. Thrown without water. Larry =0D=0A=0D=0A---------=
-------------------------------=0D=0AFrom: Judy Smith OM>=0D=0ASent: Wednesday, March 12, 2008 7:05 PM=0D=0ATo: CLAYART@LSV.CERAM=
ICS.ORG=0D=0ASubject: Re: New Kid on the block =0D=0A=0D=0AThis throwing wi=
thout water intrigues me. Are you kidding about putting=0D=0Apeanut butter=
on your hands? I tried going to myclaytube.com and I couldn't=0D=0Afind t=
he site. Is this a typo are you just teasing us? I am very gullible.=0D=
=0ACan you tell me more about throwing without water?=0D=0A=0D=0AThanks,=0D=
=0AJudy Smith=0D=0ANashville, TN=0D=0A=0D=0A-----Original Message-----=0D=
=0AFrom: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of David Woof=
=0D=0ASent: Tuesday, March 11, 2008 8:40 PM=0D=0ATo: CLAYART@LSV.CERAMICS.O=
RG=0D=0ASubject: FW: New Kid on the block=0D=0A=0D=0AKid, yer lettin out al=
l our secrets!!! damn! an I ain't happy so I'll just=0D=0Atell the rest!!!=
I threw out the water years ago, use a bit of peanut=0D=0Abutter(organic)=
on my hands to get the dry clay moving. Using dry clay saves=0D=0Aeven mor=
e time because one does not need shelf drying time. The handbuilt=0D=0Acoil=
s are a bit harder to form initially but yious can ghet the hang of it=0D=
=0Afast if you watch my video on "myclaytube.com on." So about firing: wh=
y=0D=0Adidn't you tell the good folks on Clayart about not needing to turn =
the=0D=0Aburners on at all? way out up here we just keep passing around a =
plate of=0D=0Aorganic herb cookies until the flames just seen to shoot and =
leap out of=0D=0Aeverywhere. And Kid, no drab colors.....ever!David=0D=0AW=
oofClarkdale,Arizona928-649-5927=0D=0A=0D=0ANeed to know the score, the lat=
est news, or you need your HotmailR-get your=0D=0A"fix". Check it out.=0D=
=0A_________________________________________________________________=0D=0AS=
hed those extra pounds with MSN and The Biggest Loser!=0D=0Ahttp://biggestl=
oser.msn.com/=0D=0A________________________________________________________=
____________________=0D=0A__=0D=0AClayart members may send postings to: c=
layart@lsv.ceramics.org=0D=0A=0D=0AYou may look at the archives for the lis=
t, post messages, change your=0D=0Asubscription settings or unsubscribe/lea=
ve the list here:=0D=0Ahttp://www.acers.org/cic/clayart/=0D=0A=0D=0AModerat=
or of the list is Mel Jacobson who may be reached at=0D=0Amelpots2@visi.com=
=0D=0A=0D=0A_______________________________________________________________=
_______________=0D=0AClayart members may send postings to: clayart@lsv.ce=
ramics.org=0D=0A=0D=0AYou may look at the archives for the list, post messa=
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ere: http://www.acers.org/cic/clayart/=0D=0A=0D=0AModerator of the list is=
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Judy Smith on wed 12 mar 08

This throwing without water intrigues me. Are you kidding about putting
peanut butter on your hands? I tried going to myclaytube.com and I couldn't
find the site. Is this a typo are you just teasing us? I am very gullible.
Can you tell me more about throwing without water?

Thanks,
Judy Smith
Nashville, TN

-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of David Woof
Sent: Tuesday, March 11, 2008 8:40 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: FW: New Kid on the block

Kid, yer lettin out all our secrets!!! damn! an I ain't happy so I'll just
tell the rest!!! I threw out the water years ago, use a bit of peanut
butter(organic) on my hands to get the dry clay moving. Using dry clay saves
even more time because one does not need shelf drying time. The handbuilt
coils are a bit harder to form initially but yious can ghet the hang of it
fast if you watch my video on "myclaytube.com on." So about firing: why
didn't you tell the good folks on Clayart about not needing to turn the
burners on at all? way out up here we just keep passing around a plate of
organic herb cookies until the flames just seen to shoot and leap out of
everywhere. And Kid, no drab colors.....ever!David
WoofClarkdale,Arizona928-649-5927

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Ivor and Olive Lewis on fri 14 mar 08

Dear Judy and Larry=20

<teaching me is totally without water not even slip. Since the clay is so =
dry it does not drag on your hands like wet clay does.>> =20

I am wondering if the best questions are being asked about this dry =
throwing method. As I have previously written, the method is described =
in the literature so it will be widely known.

But I would like to hold over any discussion until the conference is =
over and we have we get the major thinkers back into the fold.

Best regards,

Ivor Lewis.
Redhill,
South Australia.