copyright

updated tue 8 jan 02

John Jensen on tue 23 mar 99

At 09:04 AM 3/23/99 EST, you wrote:
>----------------------------Original message----------------------------
>Hi Susan - A beginner's question here - when you copyright a piece of
>pottery, what are you protecting against? I'm a graphic designer and

Copyright seeks to protect your pot as a work of art...so you would have
some recourse if someone were to copy your work outright. You can't get
protection for an idea...such as the "idea" of the mug or bowl or bowl with
handle. In fact any piece of art is protected by copyright just by the act
of creating it. The advantage of registering your copyright gives you the
right to claim court costs in the even that your suit were to win in court.
John Jensen, mudbug@toad.net
Mudbug Pottery
Annapolis, Md.

I.Lewis on sun 30 may 99

To: Subscribers clayart=40lsv.uky.edu

From: Ivor Lewis ivorredhill=40yaho.com.au

Saturday, 29 May 1999

Subject: Copyright. You may not get what you think you should have=21

Well, this week seems to have been a good one for inverse advertisement of a
certain haulage contractor. I wonder how much that exposure is worth? Seems =
to
boil down to reading the fine print on all contracts and packing well.

Copyright is a can of worms unless you research Federal and International
Conventions and define all the terms. An Article of mine has just been =
published
by Metal, Stone and Glass (pub in Aus) about intellectual ownership. There =
are
three options for protection of intellectual property in Australia and I =
cannot
see this varying elsewhere because our government seems pt copy what is done
elsewhere and follows the International Conventions. They are Patent, Design
Registration and copyright.

Patent is about invention of process, product, commodity or improvement and =
the
issuing of a licence to exclusive rights of use for a fixed period of time. =
You
pay for the licence

Design registration is another type of licensing and is about the form of an
object. In Australia you have to provide pictures and diagrams of the =
article
you wish to protect. An article has to be registered before it can be put on
display. Prior display, say in a competition or juried show would invalidate=
any
application for future protection if you made something which was well =
received
by jurors and showed itself to have enormous commercial value. If you think
you=92re that good, register your design before sending your slides away. If=
you
have not protected your work, once the cats out of the bag it=92s a fair go =
all
round when it comes to exploitation. You pay for the licence.

Copyright, I quote from Enc. Brit. Vol III, p139.

=22the body of law relating to the recognition of rights to control, or =
rights to
benefit from, the communication of works of authorship to others=22

It gives rights to make copies or give performances of original works. As
someone said in their posting, you have to ask permission and possibly pay =
for
the privilege. In the nature of fair trading (in Oz) a single copy can be =
made
of an article from a magazine or journal for the purpose of study, and in =
the
case of book, volume or folio, ten percent may be copied on a single =
occasion,
for study purposes. If the work of an author is reproduced for profit =
without
permission then I presume an offence has been committed. In Australia =
copyright
is free.

There are time limitations on all of these statutes and no doubt local
variations in different countries. It pays to check with the citizens advice
bureau, arts or craft council, craft guild or State Legislature offices for =
full
details. Make no assumptions about your rights and if you want to fight your=
own
case, be sure to have very deep pockets. Caveat Emptor, caveat quisque

Best regaards to All

Ivor Lewis, in a part of Oz which has had a whole inch of rain in the past =
week,
enough to settle the dust.

Linda Fletcher on fri 31 mar 00

Did the "gentleman" that bought the "Sneeze box" actually make a mold of
Anita's original work ? If this is the case, he is definately in violation
of the law. Buying a piece of art does not give the person the right to
reproduce that work. Example: If you purchase a painting, you cannot legally
make prints from it unless the artist also has sold you the copyright. If
Anita's work is being reproduced she should talk to a lawyer. At the very
least put a little fear into the heart of this ripoff artist!
----- Original Message -----
From: Automatic digest processor
To: Recipients of CLAYART digests
Sent: Thursday, March 30, 2000 12:02 AM
Subject: CLAYART Digest - 28 Mar 2000 to 29 Mar 2000 (#2000-90)


> There are 115 messages totalling 5337 lines in this issue.
>
> Topics of the day:
>
> 1. RAKU: Copper Matt Techniques (3)
> 2. Bailey slab roller is sold
> 3. teapot question (6)
> 4. where did bisque come from? (10)
> 5. NCECA Impressions Continued
> 6. Square Plates and Slumping molds
> 7. Pugmill advice? (4)
> 8. non-functional teapots (4)
> 9. tell me about your work
> 10. Prices, prices, prices
> 11. pricing, mugs, etc(long) (2)
> 12. Joe Molinaro Nomination
> 13. Asheville Bound
> 14. Mixing Plaster (4)
> 15. Electric kiln problem: Kiln sitter contacts
> 16. CLAYART Digest - 26 Mar 2000 to 27 Mar 2000 (#2000-88)
> 17. Prices, mug prices
> 18. MacKenzie / Shimaoka-sensei (2)
> 19. looking for line drawings of pottery (2)
> 20. Clayart Archives - can't find
> 21. Glaze Stability Charts
> 22. copyright was:pricing, mugs, etc(long)
> 23. about clayart and thanks to those...
> 24. Looking for a 'primoridal' glaze
> 25. Wood Kiln
> 26. No censorship
> 27. NCECA (3)
> 28. Gerstley Borate
> 29. slab roller for sale (2)
> 30. Jeck
> 31. Sharing ceramic information (3)
> 32. Educating the public
> 33. Thanks for NCECA reports
> 34. warming teapot question
> 35. Thanks for taking on Clayart
> 36. Tile Artists?
> 37. Reflexions; clayfolks, clayart, NCECA
> 38. Tool doctor workshop
> 39. School kiln shelf tip
> 40. My mug?
> 41. Diana Panciloi
> 42. Monastery of Craftsmen
> 43. feldspar and wood ash
> 44. Purchase of designs -- royalties
> 45. BFA, MFA, "Putting in the Time"
> 46. Need Cone 6 oxid. clear matt glaze (2)
> 47. Shino session notes from NCECA
> 48. Orifice Nuts
> 49. substitutes for barium
> 50. Spodumene
> 51. books
> 52. copper mat
> 53. crazing
> 54. Thank you all
> 55. cone six glaze quest (long)
> 56. What is clayart
> 57. Crazing Cesspools?
> 58. potters shop
> 59. Non-functional teapots
> 60. Copying designs. Question Court ruling
> 61. Orifice nuts
> 62. non - functional teapots
> 63. NCECA Student Mug sell and beauty in the eye of the beholder
> 64. NCECA Reflections
> 65. Ishiguro Munimaro:info?
> 66. Website for building/hosting websites
> 67. Larry Bush Workshop / Apr. 6 & 7
> 68. about hump molds (?)
> 69. backgrounds for photography/ Peacock/Emerald glaze
> 70. food safety
> 71. Glaze Request
> 72. Summer Jobs
> 73. Functional or Non-Functional?
> 74. NCECA thoughts
> 75. NCECA 2000 - Mel et al
> 76. NCECA Thoughts
> 77. Lost and Found
> 78. Looking to buy a good ^10 kiln
> 79. Element in bottom of kiln
> 80. brushwork on glaze
> 81. Prices, mug prices
>
> ----------------------------------------------------------------------
>
> Date: Wed, 29 Mar 2000 16:49:45 EST
> From: KYancey
> Subject: Re: RAKU: Copper Matt Techniques
>
> ----------------------------Original message----------------------------
> Yes, thank you Susan, I mean to say cone 011. Sorry... Ken
>
> Susan Goldstein wrote:
>
> > ----------------------------Original message----------------------------
> > In a message dated 03/27/2000 3:06:51 PM Eastern Standard Time,
> > kyancey1@tampabay.rr.com writes:
> >
> > << raku pottery. So far I've been
> > using Mark's Copper Matt from the Branfman Book. Frit 3110 10%, Copper
> > carb 90%, Iron Oxide 5%. I fire in a fiber lined oil drum in oxidation
> > to cone 11. >>
> >
> > I never heard of firing raku to cone 11. Is this a mistake?
> >
> > Susan
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:49:53 EST
> From: Carol Jackaway
> Subject: Bailey slab roller is sold
>
> ----------------------------Original message----------------------------
> The Bailey slab roller is sold. Thank you all for your interest.
> Carol Jackaway
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:50:01 EST
> From: "Louis H.. Katz"
> Subject: Re: teapot question
>
> ----------------------------Original message----------------------------
> Hi Bacia,
> All Clay is cracked and everytime you change its temperature the cracks
grow.
> The more evenly you bring your pot through the change in temperature the
less
> the growth is. This is why we cool our kilns slow.
> Ah Leon rinses both the outside and inside of his Yi Xing teapots before
use.
> Louis
>
> Murray & Bacia Edelman wrote:
>
> > ----------------------------Original message----------------------------
> >
> > Hello, friends.
> > Short question: In giving instructions to a purchaser of a functional
> > teapot, and if I want to print a note re rinsing teapot first with warm
> > tapwater and then pouring in the boiling water, do I instruct new owner
to
> > do this the first time or two only, or every time the teapot will be
used.
> > If you have an answer, I would be most grateful. If you wish to read
on,
> > fine too. It gets wordy.
>
> --------------------------------------------------------------------------
--
> > ---------
> > I have been making teapots for years and years. In the past,thrown in
> > porcelain and highly functional, high-fire reduced. Later handbuilt
with
> > table-stands and cups, very non-functional and even the spouts were
solid
> > clay, lids part of design and affixed. Low-fired and layered
underglazes.
> > I quit those about 5 yrs. ago.
> > And I had no chance to enter the recent discussion re both types.
> > Now I make two types of teapots: mainly electric-fired and partly
> > hand-built with thrown bases and lids. The others are loose, mostly
> > hand-built, but quite functional and fired as guests in wood kilns.
> > My question is about placing instructions on the inside in a note to new
> > owner.
> > At NCECA, I saw a very nice John Glick teapot on exhibit. As there were
no
> > signs not to touch, I typically looked inside. There was a note telling
> > the new owner to rinse first with hot tap water and then pour in the
> > boiling water.
> > I never did this with my own functional ones.
> > BUT, I recently ruined a wood-fired one, by pouring water straight from
a
> > boiled kettle into it, and it was a successful one to look at. All
> > hand-built and time-consuming. The crack which occurred made a
sickening
> > NOISE. The spout poured beautifully!!
> > I spoke with Randy Becker, friend and high school teacher who invites me
> > now to place pieces in any of his kilns, salt or wood with salt, and who
> > had fired it. He is sure it was the clay body, which was not meant to
go
> > to c/11, which the teapot reached, never mind even c/10 which
Continental
> > Clay expects it to withstand ("high fire c/7 to c/10 white stoneware" is
> > how it is listed in catalog.)
> > I have just sold the last functional teapot still in my hands, still to
be
> > picked up.
> > It will remain in my town, Madison, as it is a wedding gift to one of
the
> > poets from the rest of them in a poetry-writing group here. It was
fired
> > at c/6 in electric, and all those have been o.k. except for two. The
> > spouts are narrow and hand-built and the problem with those two: poured
> > like, well, Peyronie's disease :-}}} or a garden watering can or water
came
> > out from under the lid at the same time. Only two out of dozens failed
to
> > pour right and I yielded the hammer.
> >
> > But I want to put a note in this newly purchased teapot and need help
> > about what to say re the pre-warming. I wish I could bother John Glick
> > with a phone call, but he knows me not and my Clayart gang is helpful
and
> > wonderful.
> > Thanks, people. Bacia
> > (trying out several other high-fire clay bodies for teapots when I have
time)
> >
> > Bacia Edelman Madison, Wisconsin
> > http://www.mypots.com/bacia.htm
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:50:13 EST
> From: Fabienne Cassman
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> Hello Eloise,
>
> according to Hamer&Hamer's Potter's Dictionary, the term BISCUIT
originated
> in the 17th c. in France when tin glazing was introduced; it necessitated
> an extra firing.
>
> Anyone can explain why "tin"? TIA
>
> Cheers,
>
> Faye
>
> --
> Pottery Toolbox http://clay.justnet.com
> Virtual Gallery http://clay.justnet.com/cgallery/
>
> Yes, I have learned from my mistakes...
> I can reproduce them exactly.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:50:21 EST
> From: Joyce Lee
> Subject: NCECA Impressions Continued
>
> ----------------------------Original message----------------------------
> Bad form, probably, but I dashed in and out of several panel
> discussions. I couldn't totally absorb these wonderful interactions
> because I was so eager to move on to the next riveting
> demo/presentation/exhibit. The ones on English Bone China and another on
> Sacred Ceramic Arts of Africa intrigued me the most.......I'm not even
> sure why. The simultaneous demos by Paul Dresang, Amara Geffen and
> Doug Jeck bound me in such a spell that I remained for two hours and
> returned again the next day for their followup. The video taping of the
> demos, which was shown on very large screens on either side of the stage
> and focused on the hands at work, was absolutely superior! The only
> other such I've seen was at NCECA Las Vegas. This process has come a
> very long way since then. In between I visited the extruder exhibit
> room, mug rooms, and contemplated which extruder to order as I browsed
> the exhibitor room....with periodic trips to Floor 22 for hugs, smiles
> and teasing in the Clayart room (How come antiquated ladies with crooked
> toes are so readily teased, anyway? Kindly done, of course; these are
> clayarters, after all) .....and next door to the Axner Hospitality Room
> to peruse their books and get a front, soft seat for Nils Lou's throwing
> demo ... an underglaze demo....and one on paperclay......all done
> extremely well. Drat! I missed Mel's ITC presentation for Axner after
> clearing my decks just to attend.....the time was changed and I JUST
> missed it!! Reportedly, it went very well, indeed, even without me, with
> a crowded room and much expressed interest. What did I buy, you've
> asked? The Potter's Workbook.....not the advanced, and not because I
> couldn't handle it...but because the first one is the better one by far,
> which sometimes happens; as we all know, the sequel often doesn't
> compare with the original. I ordered the Bailey 9" power
> extruder............but was really tempted by Scott Creek's biggest
> extruder. If I hadn't been honor bound to #1 Support Person to buy an
> extruder THIS TRIP, get it over with, and then quit yammerin' about it,
> I'm not sure just how the scales would have tipped. I'd researched the
> Bailey ad nauseum and know I'll love it.......but that Scott Creek was
> tempting, too.
>
> People???? Ahhhhh.....Liz the Willowy and Dannon the Serene were exactly
> as I'd pictured them. Doug Gray was a total surprise AND from my
> original wooded Appalachian mountains....born only 60 miles from my
> childhood home...but decades apart, of course. It was fantastic to
> finally meet Bacia and I loved her roomie, Marta, also; Mel was just as
> he seems on Clayart. Most definitely, what you see is what you get
> plus.....warm, bright, clever, fun...easily switches from serious to
> humorous....intellectual to comedic. Ron Roy's quick wit and warm smile
> were a surprise...not sure why...younger than I'd expected, too, or is
> it that I'm just that much older? Ran into Robin Hopper who was
> extremely warm and gracious. Jim Bowen who shared his experiences in my
> exact part of the Mojave. Sitting with John Hesselberth (and positioned
> just in front of my lovely author/friend Diana Pancioli whose extruder
> book sold out first day, I heard) for Emerging Artists presentation was
> an unexpected treat. One of the joys of Clayart is looking at the badge,
> recognizing the name and feeling immediately comfortable.....no small
> talk, nor bull**** necessary. New buds: Jeri Palmer, Linda Blossom,
> Terry from Nottingham England, Paul Lewing (much younger than I'd
> imagined and charming), Cheryl, Bonnie, all the Alaskans, the aussies
> and New Zealanders, one lady from Wales with whom Karen Fisher, June
> from B.C. and I wound up in a Sports Bar because somebody insisted on
> STEAK (need red meat now) on Saturday night in the big city....we had no
> reservation and were told we wouldn't need one in this other
> "restaurant" just 2 blocks over (NOT; about 6 long blocks up and over)
> ....soon discovered why; well, this is a tale all by itself......with 3
> tvs blaring and everybody else yelling madly in my ear....no choice
> language I hadn't heard working in a high school; just never so close to
> my person) loved the company, food was good, experience was most
> un-desert-like.......
>
> Joyce
> In the Mojave anxious to get started in the studio but unable to stop
> admiring and patting the embarrassment of riches added to my Clayart
> collection in Denver.......
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:50:50 EST
> From: Rosanne Cleveland-King
> Subject: Square Plates and Slumping molds
>
> ----------------------------Original message----------------------------
> I have been fruitlessly searching the archives for the information on how
to
> make and finish square plates using the BullsEye slumping molds. Can
> someone please enlighten me?
> Thank you,
> Rosanne Cleveland-King
>
>
>
>
>
> Vintage Person; Aged to Perfection over 50 years!
> Well worth the wait!
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:50:59 EST
> From: Marshall Talbott
> Subject: Re: Pugmill advice?
>
> ----------------------------Original message----------------------------
> We have a Venco 4" deairing pugmill that is absolutely terrific.. we can
get
> a constant vacuum of about 99kPa... It really saves the wrists..
>
> We also make our own claybodies.. Our clay is vastly superiour to any of
> that premixed stuff that we tried in the days of old....
>
> Marshall
> http://www.potteryinfo.com
>
> >From: Jeri Palmer
> >Reply-To: Ceramic Arts Discussion List
> >To: CLAYART@LSV.UKY.EDU
> >Subject: Pugmill advice?
> >Date: Tue, 28 Mar 2000 13:18:37 EST
> >
> >----------------------------Original message----------------------------
> >Howdy folks. I am in the market for a pugmill. I am impressed with the
> >small shimpo and I have looked at the smallest Bluebird. I am curious
> >about
> >other potters experiences with these or any other models. I work in ^10
> >porcelain and my wrists are not happy. I know a pugmill would change my
> >life. Any comments would be appreciated. TIA Jeri in Hastings, MN
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:51:08 EST
> From: Murray & Bacia Edelman
> Subject: Re: non-functional teapots
>
> ----------------------------Original message----------------------------
> Vince, oh Vince: Where were you when I had to defend myself and write
> statements during the bunch of years that my teapots were parts of a
> composition and definitely not utilitarian, a better word for me than
> functional? I really loved what you wrote and have enjoyed the exchange
> between you and Ray.
> Vince wrote:
> On the contrary, the decision to ignore utilitarian function is perfectly
> natural and normal in the case of a sculptural work which references the
> teapot form, while the decision to go to the extra effort to make the work
> functional in a utilitarian sense is a little bizarre, unless one sets out
> from the start to make utilitarian teapots or to comment on the actuality
of
> utilitarian function.
> end quote
> -------------------------
> I have not entered the fray before for lack of security about what I might
> say and for lack of time. But I am glad the conversation goes on and I
> read every entry with the Subject: teapots.
>
> For some strange reason, even my lichen-glazed teapots are becoming
usable.
> It is just where my thinking pushes me, and I obtain tremendous pleasure
> when people, whom I know personally, buy the usable though still
> "sculptural" teapots I had placed in a nearby gallery.
>
> Bacia
> P.S. The teapot is a great challenge to go either way or do a combination
> study
>
>
>
>
>
> Bacia Edelman Madison, Wisconsin
> http://www.mypots.com/bacia.htm
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:51:16 EST
> From: mel jacobson
> Subject: tell me about your work
>
> ----------------------------Original message----------------------------
> I have found over the years that asking the question, `tell me about
> your work` is most effective.
>
> People will then give you a short description of what they do.
>
> Asking if you are functional or abstract is far to tight a comment.
>
> `I function quit nicely, thank you.`
>
> But, as a mature male potter, I have found asking others about
> their work is a great opener, it gives young people and new potters
> a chance to speak and not expect just to listen.
>
> Mel/MN
>
> minnetonka, minnesota, u.s.a
> http://www.pclink.com/melpots (website)
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:51:33 EST
> From: Bobbi Bassett
> Subject: Re: Prices, prices, prices
>
> ----------------------------Original message----------------------------
> Hi Fellow Clayarters,
>
> I think all of you who have tried to make the point that there are all
kinds
> of mugs...... all quality of mugs..... are right on. I have read the
comments
> remembering the mugs I made when I first started in this business (in the
> dark ages). My $5 mugs sold fast and why not when I was underselling every
> other potter at the show. I was too much of a novice to realize it, but
> another potter caringly clued me in.
>
> Since then I have sold mugs in all price ranges...... Now my regular
> functional mugs run from $16-20........ quote mugs $25-27 and mugs in my
> signature work, sculpted grape vines and leaves $45-49. Each mug at each
> price range has a customer. No two customers tastes or pocketbooks are
alike.
> And, no one questions the prices. My customers seem to feel they get what
> they pay for.... and come back for more.
>
> Just my two cents worth.
> Bobbi in PA where it's trying hard to rain again.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:51:43 EST
> From: "Dwiggins, Sandra (NCI)"
> Subject: Re: pricing, mugs, etc(long)
>
> ----------------------------Original message----------------------------
> Probably it would be if she copyrighted the pieces and made sure that it
was
> obvious on each piece. The problem is, that even if she did that, if the
boxes
> that the guys were making were significantly different looking, even if
they had
> the tissues coming out of the mouth, then she wouldn't have a case.
Copyright
> is just that, the exact copy or a considerable amount of copying of a
book, a
> song, a poem, etc. is what the law is protecting against. This is a
major
> legal issue---"intellectual property"---and it would be highly unlikely
that
> your friend would pay a lawyer to take these guys to court----or for that
matter
> it would be highly unlikely that any potter would take a copycat to court.
> Might be interesting case for small claims though. The potter would have
to
> prove that he/she lost considerable income/name recognition/whatever from
the
> copycat-ing. And would need to be very exact in what he/she is asking for
when
> the case is presented.
>
> Sandy
>
> -----Original Message-----
> From: Diane G. Echlin [SMTP:dechlin@connix.com]
> Sent: Tuesday, March 28, 2000 1:12 PM
> To: CLAYART@LSV.UKY.EDU
> Subject: Re: pricing, mugs, etc(long)
>
> ----------------------------Original message----------------------------
> > So the next time you have a great idea. One that you've developed for a
year.
> > One that people flock to your booth for. Be aware that the likelihood
that it
> > will end up in Wal-mart in several months is a real possibility. A line
at
> > your booth for a certain item is a sure sign that you've created a
design
> > worth ripping off.
>
> A potter in my hometown, Anita Griffith, is facing just this problem. She
has
> been making "sneeze boxes" that disguise your tissue box, and the tissue
issues
> from yes, you guessed it, the mouth. Well, a few years ago she sold a
couple
> pieces to some gentlemen at a show somewhere down south, and at the same
show th
> following year, her sneeze boxes were being sold by those very men who had
made
> molds and were slip-casting the boxes. Disgusting. I can't help but
think that
> something that specific must be covered buy copyright.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:52:12 EST
> From: "Louis H.. Katz"
> Subject: Joe Molinaro Nomination
>
> ----------------------------Original message----------------------------
> Dear Clayart,
>
> I would like to nominate Joe for NCECA Honors and Fellows for his
> service to the World Ceramics Community. I would like to do this with
> the entire Clayart community. With this honor comes NCECA membership for
> life. There is no doubt in my mind that his massive contribution to
> clay in general and its spill over into NCECA merits this award.
>
> Achieving this may be a bit difficult, but we do have Clayart members,
> former and present on the board. Jim Connel, Elaine Henry, and Ted
> Vogel. To help me with this nomination I am asking that ALL Clayart
> members email me at:
> nominatejoe@nceca.net
> nominatejoe@nceca.net
>
> Your message should say: I nominate Joe Molinaro as an NCECA Fellow.
> Please include your name, and country. I will print out your nomination
> and forward the stack to the board of directors. I am aiming for 100%
> response from clayart members. Please respond today to:
> nominatejoe@nceca.net
>
>
> Louis
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:03 EST
> From: Al Schlimm
> Subject: Re: Asheville Bound
>
> ----------------------------Original message----------------------------
> Thanks Tracy. That would be much appreciated. Here's the address:
>
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> Al Schlimm
> 3785 Plum Spring Lane, Ellicott City, MD 21042
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>
>
>
> ----- Original Message -----
> From: "Tracy Dotson"
> To:
> Sent: Tuesday, March 28, 2000 1:25 PM
> Subject: Re: Asheville Bound
>
>
> > ----------------------------Original message----------------------------
> > Al..The Spring tour is the 6 &7 of May. If you can send me an address I
> can
> > snail mail a map of the craft studios in this area.
> >
> > The Pottery
> > Tracy Dotson
> > PO Box 14
> > Penland NC 28765
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:18 EST
> From: Richard Gilbert
> Subject: Re: Mixing Plaster
>
> ----------------------------Original message----------------------------
> Elaine,
> Have you considered wood instead of plaster? Plaster is harder to clean if
> you are wedging different colors of clay. Plaster also tends to dry your
> clay out too quickly and make it short.
> An untreated wood surface requires no replacement.
> Richard Gilbert
> Cherryville, NC
>
>
> Elaine Beaufait wrote:
>
> > ----------------------------Original message----------------------------
> > This is my first communication on this list. After reading all the great
> > responses to other questions I feel confident someone can help me out
> > here. I am looking to create a wedging table. The size of the structure
> > is 28 x 32 x 2.5. This is an old counter that I am having the sides
> > added to. My question is how to mix the plaster. Anything I need to be
> > aware of. I believe someone said it is tricky but I forgot who said it
> > and just what did they mean??
> >
> > Thanks
> > Elaine Beaufait
> > Hudson, NY
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:28 EST
> From: David Woodin
> Subject: Re: Electric kiln problem: Kiln sitter contacts
>
> ----------------------------Original message----------------------------
> The kiln sitter was suppose to be a high limit safety to prevent the kiln
> from overfiring. The sitter contacts would last longer if the sitter was
> used as a safety and not to terminate each firing. In other words use
> witness cones and shut the kiln off manually or let the computor shut the
> kiln off.
> David
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:35 EST
> From: David Woodin
> Subject: Re: Pugmill advice?
>
> ----------------------------Original message----------------------------
> I would look at the Peter Pugger which has a much larger hopper and
opening
> than the Shimpo or Bluebird and the clay can be mixed for as long as
needed
> before pugging.
> David
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:41 EST
> From: Helen Bates
> Subject: Re: CLAYART Digest - 26 Mar 2000 to 27 Mar 2000 (#2000-88)
>
> ----------------------------Original message----------------------------
> Dear Lee Love,
>
> Thanks very much. The pots were nice to see, and the article was
> informative. I'm someone who likes both well-made and well-designed
> useful items, and many things that are made with other ideas in mind
> than conventional "use". Sometimes these things, such as the Peta Hall
> mini teapot and mug I got at the "One of a Kind" show last fall in
> Toronto are more "whimsical" than "beautiful", but I love them anyway.
>
> Some useful items I have (mugs, mostly, and bowls) are both fine art
> "beautiful" and useful art "beautiful".
>
> One thing about the "fine art" type of beautiful is an element of
> seeming or actual fragility in it. The "useful" beautiful at least
> -seems- more durable, and, as the article implies, "healthy", or, safe,
> to use.
>
> Concept art is something I like to look at, though only occasionally to
> own. The one piece I bought is not pottery but sculpture from recycled
> objects and material, by Judith Kreps Hawkins. She almost always
> includes altered books in her pieces, and thread. Sometimes the book's
> text is highlighted as part of the theme, sometimes not. I saw a new
> piece of hers in our local co-operative gallery in Belleville, Ontario,
> and it had dead honey bees all over the outside of the cover of the
> small book. (I presume they died a natural death, as most bees in
> northern climates don't survive the winter, except for a central core, I
> think...) Anyway, the piece was interesting for the form, the addition
> of silvery curly threads between the pages, the things brought to mind
> by the parts and the whole of the piece.
>
> Yours,
>
> Helen
>
> > ------------------------------
> >
> > Date: Mon, 27 Mar 2000 15:02:08 EST
> > From: Lee Love
> > Subject: Re: Warren MacKenzie
>
> > (...) (...)
> >
> > http://www1.ocn.ne.jp/~ikiru/mphotos.jpg
> >
> > Also, it is impossible to understand MacKenzie's prices without
> > examining the greater philosophy they are influenced by. Here is
> > something on Mingei by Soetsu Yanagi that might help. I'll write more
> > about it later.
> >
> > http://www1.ocn.ne.jp/~ikiru/mingei.html
> >
> > --
> > Lee Love
> > 2858-2-2 , Nanai
> > Mashiko-machi
> > Tochigi-ken
> > 321-4106
> > JAPAN
> >
> > Ikiru@kami.com
> >
> > ------------------------------
>
> --
>
> =========================================================
> Helen Bates
> mailto:nell@reach.net
> =========================================================
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:49 EST
> From: Bobbi Bassett
> Subject: Re: Prices, mug prices
>
> ----------------------------Original message----------------------------
> In a message dated 03/27/2000 3:01:53 PM Eastern Standard Time,
> JIMV062@aol.com writes:
>
> > ----------------------------Original message----------------------------
> > Patrick..it has been my experience that potters will pay a lot more
for a
> > coffee mug than anyone else.!!!!!!!!. Makes you wonder.. does the rest
of
> > the world know something we don't.. or do we know something that we are
not
> > telling..?
> I'm not Patrick, but I feel a need to reply. Obviously we know something
the
> rest of the world doesn't. WE POTTERS know the artistry, the
craftsmanship,
> the mechanics, the time and long hours, the sweat, the worry, AND THE LOVE
> that is put into a hand thrown or shaped clay vessel. Don't you feel sorry
> for the rest of the world? It's our little secret.
>
> Bobbi in PA where it's finally beginning to rain again
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:56 EST
> From: HD
> Subject: Re: MacKenzie / Shimaoka-sensei
>
> ----------------------------Original message----------------------------
> Excellent assessment John.
> Doing well here in Tokyo at my first exhibition selling goblets etc that
> take me 4 1/2 hours each to make...selling for $35
> Yes, I'm not giving up my day job
> Dan considine
> At 01:22 PM 03/28/2000 -0500, you wrote:
> >----------------------------Original message----------------------------
> >------------------
> >(clip)
> >Lets say these two potters are equal in all respects, both can throw as
> >well, and as quickly. Now what happens after say a month when both have
> >made
> >1000 mugs or whatever. Warren MacKenzie will no doubt manage to sell all
> >his
> >mugs at say $10 each but what happens to Shimaoka 1000 mugs. They are
> >priced
> >at $500 each, and I doubt if many have sold, and the following month he
> >makes another 1000 mugs. WHERE DOES HE KEEP THEM UNTIL HE FINDS A MARKET
IF
> >EVER??? Also Warren MacKenzie has earned $10,000 (less costs) with his
> >months mugs but how much has the other guy made in that month.?
> >In other words I think sales need to keep up with our production to a
> >certain extent.
> >(snip)
> >
> >Hi Jean. I have been terribly busy and am catching up on a huge stack of
> >unread CLAYART Digests.... so this might have been mentioned by
> >now.................
> >
> >Your point above is probably pretty valid if it were more a direct
> >comparison of two potters, BOTH here in the USA, producing at the high
end
> >and the low end of the pricing scheme. Mel talks about that concept a
> >lot...... the well-known "gallery potter" who can't have a backyard
studio
> >sale but whose work is priced for thousands of dollars in the major
> >galleries. But he/she only sells a couple of pieces a year....while the
> >back yard sales potter is outselling him/her! All too true.
> >
> >However..... comparing Shimaoka-sensei's situation in Japan to
MacKenzie's
> >here in the USA might be a bit of apples to oranges .
> >
> >Shimaoka-sensei has NO problem in selling everything his studio produces,
> >and the high price is not particularrly an issue that retards any sales.
> >In fact, like many "prestigious" things..... the high price point is an
> >asset. It helps give the work an air of exclusivity...... and makes the
> >work a good investment. A lot of "market position" factor is involved as
a
> >Living National Treasure in Japan, and he is under a lot of pressure to
> >maintain very high prices.
> >
> >The market for all pottery in Japan is QUITE different from that here in
> >the US. Hard to truly appreciate until you've been there and see what
goes
> >on. VAST amounts of pottery is produced .... and it is readily
purchased.
> >Pricing is on a completely different scale. When I was there visiting,
> >Shimaoka-sensei was just opening a kiln and it was all sold before the
> >doors were out. Simple yunomi (with signed box) were about $800 (US) in
> >1996. Many vases in the 12-15 inch high range fetched about
$25,000-35,000
> >(US) and more.
> >
> >I had the pleasure of visiting the Pucker Gallery on Newbury St. in
Boston
> >the last time Shimaoka-sensei was there having a show. MacKenzie also
had
> >a small exhibition in one of the Pucker's smaller upstairs galleries
> >ocurring at the same time. Both shows were pretty much sold out a couple
> >hours after the doors opened. Mac's at his typical low
> >prices.......Shimaoka-sensei at his high ones (but lower than in Japan).
> >
> >Shimaoka-sensei mentions in his introduction to a book on MacKenzie his
> >fondness for Mac's adherence to the inexpensive prices typical of the
folk
> >potter. There is a wistfullness in his comments. I think sensei is just
a
> >tad envious of Mac's ABILITY to keep his prices low. Shimaoka-sensei is
a
> >bit of a "prisoner" of his culture and his success. He MUST maintain
very
> >high prices...... to keep the proper professional respect, to protect the
> >huge investments of all his customers, and to maintain the proper high
> >status for the "office" of Living National Treasure for the government.
So
> >while Shimaoka-sensei is certainly very well off........... he is trapped
> >by the very system that makes him so successful, and has paid a price of
> >freedom for that success. Tradition is powerful, even if you are an
> >internationally recognized ceramic artist ..... not a village mingei
> >potter.
> >
> >Mac pretty much sells all his stuff. So does Shimaoka-sensei. Both are
> >top-of-the-field potters.....just in two different cultures with vastly
> >different appreciations for the arts. MacKenzie is reasonably well off
in
> >American middle class-dom from a combination of his university retirement
> >plus his pot sales. Shimaoka-sensei is a multi-millionare from his
> >governmental L.N.T. subsidy and his pottery sales.
> >
> >So in the example you gave, MacKenzie grossed $10,000.......... but
> >Shimaoka-sensei grossed $500,000. (Shimaoka-sensei's expenses WERE far
> >higher than Mac's!) And that sort of (unfortunately) is a bit of a
> >barometer on the difference in the cultural appreciation of pottery
making
> >between the USA and Japan .
> >
> >One thing is for sure here......................both of 'em make darn
nice
> >pots! Hopefully they both will be around for quite a few years yet,
> >blessing the world with even more great pieces.
> >
> >
> >Best,
> >
> >............................john
> >
> >John Baymore
> >River Bend Pottery
> >22 Riverbend Way
> >Wilton, NH 03086 USA
> >
> >603-654-2752 (s)
> >800-900-1110 (s)
> >
> >JBaymore@compuserve.com
> >John.Baymore@GSD-CO.com
> >
> >"Earth, Water, and Fire Noborigama Woodfiring Workshop August 18-27,
> >2000"
>
> Daniel P. Considine, Ph.D.
> Waseda University
>
> 102 Century Mansion
> 4-23-11 Irumagawa
> Sayama City, Japan, 350-1305
>
> Ph/Fax (81) 0429 54 2401
> Cell (keitai) 0908 105 8750
>
> I started with nothing
> and I still have most of it left.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:54:04 EST
> From: Helen Bates
> Subject: Re: looking for line drawings of pottery
>
> ----------------------------Original message----------------------------
> Donald;
>
> This reminded me of a book my daughter found in a second-hand store and
> gave me recently:
>
> "The Penguin Dictionary of Archaeology"
> by Warwick Bray and David Trump, copyright 1970.
>
> (My copy is a 1995 reprint).
>
> There are numerous illustrations of prehistoric pots, all line drawings,
> quite small format (one to two inches square), with details of the
> patterns of decoration as well as the shape of the pot. The articles
> are brief, but there is usually a sentence or two about the pot
> illustrating the culture or style the piece illustrates.
>
> Maybe this will help.
>
> Helen
>
> > Date: Mon, 27 Mar 2000 15:16:21 EST
> > From: Donald Burroughs
> > Subject: Re: looking for line drawings of pottery
> >
> > ----------------------------Original message----------------------------
> > ------------------
> > To all fellow members... I am looking for line drawings of pottery. The
type
> > of drawing is detailed, in black and white, and is often associated with
> > written description, eg. Dictionarys and technical books pre-dating
photograp
> > as the means of representation. Any suggestions?
> >
> >
> > Thanks to all for your help
> >
> > Donald Burroughs
>
> --
>
>
> =========================================================
> Helen Bates
> mailto:nell@reach.net
> =========================================================
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:54:25 EST
> From: Edward Cowell
> Subject: Clayart Archives - can't find
>
> Editor's note: Use the archives at:
> http://lsv.uky.edu/archives/clayart.html You will have better luck! Mary
>
> ----------------------------Original message----------------------------
> Having a problem getting info from Clayart Archives. When I open up
> "Clayart - Searching the Archives" and click on "Reference.com", I get
the
> message "File not Found". Where do I go from here?
>
> Laurie Cowell,
> Waterloo, Ontario, Canada
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:55:22 EST
> From: John Hesselberth
> Subject: Glaze Stability Charts
>
> ----------------------------Original message----------------------------
> As a followup to the NCECA discussion on this subject, I have posted the
> charts I used as a pdf file ( you need the free Adobe Acrobat Reader
> program). If you want a copy just go to:
>
> ftp://ftp.frogpondpottery.com/GlazeStabilityCharts.pdf
>
> and a copy will automatically be downloaded to your hard disk.
>
>
> John Hesselberth
> Frog Pond Pottery
> P.O. Box 88
> Pocopson, PA 19366 USA
> EMail: john@frogpondpottery.com web site: http://www.frogpondpottery.com
>
> The only things in life that are certain are death and taxes; however
> only taxes come once a year. Anonymous
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:55:47 EST
> From: Kathi LeSueur
> Subject: Re: copyright was:pricing, mugs, etc(long)
>
> ----------------------------Original message----------------------------
>
> In a message dated 3/28/00 1:25:48 PM, teres@flash.net writes:
>
> << This was a "trademark" decision right? Copyright is different and I
can't
> tell by the various comments which we are talking about. >>
>
> This was not a trademark decision. It was a copy right decision. The
clothing
> in question had very distinctive applied designs (fruit, etc). Anyone
> familiar with the line would recognize it any where it was sold. The only
> difference in the Wal-mart line was that the label inside was from another
> manufactuer.
>
> Design was specifically mentioned in the decision. It appears you can copy
a
> design as long as you don't copy the trademark along with it. So you could
> copy every distinctive feature of a Nike shoe but the trademarked "swoosh"
> and be just fine according to the decision.
>
> This is an expecially bad decision for any craftsperson. I can think of a
few
> garment makers who can expect to see their designs copied and sold in
> Wal-mart in the near future. The "artist" doing really one of a kind work
> MIGHT be safer. But I wouldn't bet on it. It's open season on our
creativity.
>
> Kathi LeSueur
> Ann Arbor, MI
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:55:53 EST
> From: Aiko Ichimura
> Subject: Re: MacKenzie / Shimaoka-sensei
>
> ----------------------------Original message----------------------------
> Hi all,
>
> I appreciated John Baymore's comment about MacKenzie/Shimaoka comparison
> very much. I grew up near Mashiko where Shimaoka lives and am familiar
> with the general situation as far as the pottery goes.
>
> I have felt many times that the price of pottery in the US are rather
> reasonable
> or very affordable. As I have mentioned before I mistook the price of tea
> cup in a Mashiko
> pottery shop: I thought the tea bowl was 350 yen( about $3.00) but it was
> actually 350,0000.00 yen
> ($30,000.00). I was quickly pointed out by my sister-in-law. No wonder!.
It
> was by Hamada.
>
>
> I was reading a book about pottery in Japanese and it explained that
> the peculiar thing about the Japanese pottery. If the pot or bowl does not
> have a wooden box
> with the potter's signature(Hakogaki) on the box the value of the pot or
> bowl is reduced considerably
> even it's proven the authenticity of the maker. So the author of the book
> hinted that if
> you want to own , say a Hamada piece, you might ask an antique dealer to
> look
> for a Hamada and you don't care if there is no box and hakogaki . You
might
> be able to
> own a Hamada very reasonably. This may no longer be true( the book was
> written many years ago.
> Hamada was still alive then.
>
> The author also visited the Hamada studio in Mashiko and made a NHK TV
> documentary
> about Hamada and his work. He was told by Hamada that he helps to make
> hundreds of
> pots and bowls but he picks out a few pieces out of kiln that he was
happy
> of the result and put
> his signature and re-fire them as his pieces. The rest are sold as
ordinary
> pieces with
> affordable prices with no Hamada signature. The author pointed out that if
> you have good
> eyes, probably you could pick Hamada pieces with affordable prices if you
> don't mind
> for not having his signature.
>
> Shimada was Hamada's student and he very struggled to develop his own
style
> for many years. Shimada commented in a book that Hamada encouraged him to
> break from the Hamada style pottery and find his own. I am so proud of
> Mashiko
> potters. I've heard so many stories about Hamada while I was growing up.
>
> I am so envious of Lee Love who is working in Mashiko and enjoying
> the life of potter/farmer(aspect of).
>
> If you ever visit Japan, include Mashiko and the Hamada house in the list
of
> must-visit places.
>
>
>
> Aiko Ichimura
> NW DC 20036 USA
> aikop@erols.com
> ----- Original Message -----
> From: John Baymore
> To:
> Sent: Tuesday, March 28, 2000 1:22 PM
> Subject: MacKenzie / Shimaoka-sensei
>
>
> ----------------------------Original message----------------------------
> ------------------
> (clip)
> Lets say these two potters are equal in all respects, both can throw as
> well, and as quickly. Now what happens after say a month when both have
> made
> 1000 mugs or whatever. Warren MacKenzie will no doubt manage to sell all
> his
> mugs at say $10 each but what happens to Shimaoka 1000 mugs. They are
> priced
> at $500 each, and I doubt if many have sold, and the following month he
> makes another 1000 mugs. WHERE DOES HE KEEP THEM UNTIL HE FINDS A MARKET
IF
> EVER??? Also Warren MacKenzie has earned $10,000 (less costs) with his
> months mugs but how much has the other guy made in that month.?
> In other words I think sales need to keep up with our production to a
> certain extent.
> (snip)
>
> Hi Jean. I have been terribly busy and am catching up on a huge stack of
> unread CLAYART Digests.... so this might have been mentioned by
> now.................
>
> Your point above is probably pretty valid if it were more a direct
> comparison of two potters, BOTH here in the USA, producing at the high end
> and the low end of the pricing scheme. Mel talks about that concept a
> lot...... the well-known "gallery potter" who can't have a backyard studio
> sale but whose work is priced for thousands of dollars in the major
> galleries. But he/she only sells a couple of pieces a year....while the
> back yard sales potter is outselling him/her! All too true.
>
> However..... comparing Shimaoka-sensei's situation in Japan to MacKenzie's
> here in the USA might be a bit of apples to oranges .
>
> Shimaoka-sensei has NO problem in selling everything his studio produces,
> and the high price is not particularrly an issue that retards any sales.
> In fact, like many "prestigious" things..... the high price point is an
> asset. It helps give the work an air of exclusivity...... and makes the
> work a good investment. A lot of "market position" factor is involved as
a
> Living National Treasure in Japan, and he is under a lot of pressure to
> maintain very high prices.
>
> The market for all pottery in Japan is QUITE different from that here in
> the US. Hard to truly appreciate until you've been there and see what
goes
> on. VAST amounts of pottery is produced .... and it is readily purchased.
> Pricing is on a completely different scale. When I was there visiting,
> Shimaoka-sensei was just opening a kiln and it was all sold before the
> doors were out. Simple yunomi (with signed box) were about $800 (US) in
> 1996. Many vases in the 12-15 inch high range fetched about
$25,000-35,000
> (US) and more.
>
> I had the pleasure of visiting the Pucker Gallery on Newbury St. in Boston
> the last time Shimaoka-sensei was there having a show. MacKenzie also had
> a small exhibition in one of the Pucker's smaller upstairs galleries
> ocurring at the same time. Both shows were pretty much sold out a couple
> hours after the doors opened. Mac's at his typical low
> prices.......Shimaoka-sensei at his high ones (but lower than in Japan).
>
> Shimaoka-sensei mentions in his introduction to a book on MacKenzie his
> fondness for Mac's adherence to the inexpensive prices typical of the folk
> potter. There is a wistfullness in his comments. I think sensei is just
a
> tad envious of Mac's ABILITY to keep his prices low. Shimaoka-sensei is a
> bit of a "prisoner" of his culture and his success. He MUST maintain very
> high prices...... to keep the proper professional respect, to protect the
> huge investments of all his customers, and to maintain the proper high
> status for the "office" of Living National Treasure for the government.
So
> while Shimaoka-sensei is certainly very well off........... he is trapped
> by the very system that makes him so successful, and has paid a price of
> freedom for that success. Tradition is powerful, even if you are an
> internationally recognized ceramic artist ..... not a village mingei
> potter.
>
> Mac pretty much sells all his stuff. So does Shimaoka-sensei. Both are
> top-of-the-field potters.....just in two different cultures with vastly
> different appreciations for the arts. MacKenzie is reasonably well off in
> American middle class-dom from a combination of his university retirement
> plus his pot sales. Shimaoka-sensei is a multi-millionare from his
> governmental L.N.T. subsidy and his pottery sales.
>
> So in the example you gave, MacKenzie grossed $10,000.......... but
> Shimaoka-sensei grossed $500,000. (Shimaoka-sensei's expenses WERE far
> higher than Mac's!) And that sort of (unfortunately) is a bit of a
> barometer on the difference in the cultural appreciation of pottery making
> between the USA and Japan .
>
> One thing is for sure here......................both of 'em make darn nice
> pots! Hopefully they both will be around for quite a few years yet,
> blessing the world with even more great pieces.
>
>
> Best,
>
> ............................john
>
> John Baymore
> River Bend Pottery
> 22 Riverbend Way
> Wilton, NH 03086 USA
>
> 603-654-2752 (s)
> 800-900-1110 (s)
>
> JBaymore@compuserve.com
> John.Baymore@GSD-CO.com
>
> "Earth, Water, and Fire Noborigama Woodfiring Workshop August 18-27,
> 2000"
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:55:59 EST
> From: Sharon31
> Subject: Re: non-functional teapots
>
> ----------------------------Original message----------------------------
>
> >-----Is there a difference between functional and utilitarian?
And...what
> is it?
> > Sandy
> Hi!
> This is the point I tried to find. On the other hand: Is there a
difference
> between unfunctional and unutilitarian? Are they only words, I think that
> the functional and unfunctional, are terms of art. The last one,
> unutilitarian is "useless". This sharp and not fair describing of an
> unfunctional piece,As I understood from Zakin's book.This meaning, opened
> for me, the limits I had about how and what I should do!
> Ababi
> sharon@shoval.org.il
> http://www.israelceramics.org/main.asp?what=gallery.htm
> http://clay.justnet.com/cgallery/asharon.htm
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:56:12 EST
> From: Helen Bates
> Subject: Re: about clayart and thanks to those...
>
> ----------------------------Original message----------------------------
> Centa,
>
> I've been a member of Clayart for just a few months, and a learner in
> pottery off and on for 35 years, but only recently in any amount of
> concentration... As I posted recently, I am an "amateur", but, I love
> clay (and glass) object that I happen to consider either beautiful or in
> some other way delightful, no matter how perverse my perception may be
> to others!
>
> My main reason for this reply is to encourage you to post answers to
> others' questions if you have something to say, something to show,
> information you have found that may be of help, or of interest. The
> professionals will be the ones who teach us here, but they too have
> areas of lack that sometimes another can fill, for whatever reason (lack
> of time, individual differences in opportunities to gather information,
> etc.)
>
> Helen
>
> > -------------------
> >
> > Date: Mon, 27 Mar 2000 15:19:01 EST
> > From: centa
> > Subject: about clayart and thanks to those...
>
>
>
> > (...) (...) my son asked me this morning as he was looking over my
> > shoulder at me reading Clayart answers to my questions, "do You ever
> > answer anyone's questions"? "Not yet" was my response. Anyway, I think
> > it is a good idea to check in to the mission, and define the
> > audience/participants of this list to keep it growing and accessible to
> > all who are interested in the exchange of technical knowledge, ideas,
> > and all that can be shared through this mode of communication, no matter
> > what stage they are in the process.
> >
> > thanks,
> > Centa
>
>
> --------------
> --
>
> =========================================================
> Helen Bates
> mailto:nell@reach.net
> =========================================================
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:56:26 EST
> From: rickmahaffey
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> Eloise,
>
> In some older English books I have seen what we in the US call Bisque
> referred to as Biscuit as in Biscuit fire. Some clays have the
> appearance of a hard biscuit when they have been through a bisque
> firing. I seem to recall that Dr. Herbert Sanders would use that term
> on occasion when I was in his class at San Jose State Univ. back before
> the turn on the century. :)
>
> Rick Mahaffey
> Tacoma Washington, USA
>
> Eloise VanderBilt wrote:
> >
> > ----------------------------Original message----------------------------
> > For ten years I have been using the word bisque and for ten years I have
> > wondered when and from where the word came into the pottery world. I
assume
> > from the spelling it is from France but no pottery book I've read
explains
> > it. I eat soft BISCUITS and honey, I eat hard cookies called BISCUITS.
> > Neither sound like the bisquing process. Some one with a more
comprehensive
> > dictionary than I have access to may be able to help me.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:56:35 EST
> From: "S. Delaney"
> Subject: Re: Looking for a 'primoridal' glaze
>
> ----------------------------Original message----------------------------
> I like the effect I get from using a natural sponge to apply several
> different earth toned stains on bisque. They were then put in an electric
> kiln for the 'glaze' firing, but without any glaze. I got a book on faux
> finishing techniques for paint & adapted them for staining bisque. It it
> looks too dry for you with just the stain, warm the piece up, apply some
> paste wax & buff.
>
> I've also gotten very 'just dug up out of the earth' looks from ^04 course
> red clay soda fired without any glaze or stain.
>
> ----- Original Message -----
> From: Llewellyn Kouba
> To:
> Sent: Tuesday, March 28, 2000 12:27 PM
> Subject: Looking for a 'primoridal' glaze
>
>
> > ----------------------------Original message----------------------------
> > Dear Readers,
> >
> > I am currently working on a very large plate to be entered in a juried
> show
> > if I get it done on time. Does anyone have a glaze formula that might
> look
> > like ancient rocks or very dry and primoridal? The current article in
CM
> > (An Ecological Aesthetic) is a prime example of a glaze type that I am
> > searching for. Of course I don't have a lot of time for study and glaze
> > testing and cone 04 is not my usual firing but I might be willing to
try.
> I
> > have used stain like approaches before but like this very nondescript
> thing
> > and would certainly support this current project - Does anyone have a
> cone
> > 04 bone Matt glaze?
> >
> > 'Primordial river'
> > Llewellyn Kouba
> > ABBEY POTTERY
> > http://www.assumptionabbey.com/Pottery
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:56:42 EST
> From: Aiko Ichimura
> Subject: Re: Wood Kiln
>
> ----------------------------Original message----------------------------
> Hi Michael,
>
> I don't know how much it can help you but it might be of your interest to
> visit the below URLs:
>
> http://www.biwa.or.jp/~shiho/voulkos_fir.html
> http://www.biwa.or.jp/~shiho/frame/index.html
>
> The first one explains about anagama and its firing in English.
> The second one shows Mr. Shiho Kanzaki's , a Shigaraki potter, works.
> There are other pages in this site that are very interesting.
>
> My friend in Japan told me that Mr. Kanzaki is well known and accomplished
> yakishime( no glaze) potter. Enjoy.
>
> Aiko Ichimura
> NW DC 20036 USA
> aikop@erols.com
> ----- Original Message -----
> From: Michael C Hill
> To:
> Sent: Tuesday, March 28, 2000 1:25 PM
> Subject: Wood Kiln
>
>
> > ----------------------------Original message----------------------------
> >
> > I am seeking some advice.
> > I teach ceramics at the University of South Dakota. I have been a studio
> > potter for over 25 years, but all of my firing experience has been with
> gas
> > kilns. Recently my students built a wood kiln, a cantenery arch with the
> > firebox on the right, about 30 cu feet of loading space. We are getting
> > ready to fire it, armed with the best intentions and all the reading we
> can
> > cram. I was wondering if anyone had some ideas on a firing schedule, or
> any
> > experience with a kiln like this. I was hoping to get to Denver and pick
> > some brains but my back had other ideas.
> > Thanks in advance
> >
> > Michael hill
> > University of South Dakota
> > Mhill@usd.edu
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:57:04 EST
> From: Jim Brooks
> Subject: Re: No censorship
>
> ----------------------------Original message----------------------------
> Mel..i am sure that you believe what you say...When i see your name on
an
> item..i tend to believe what you say.... but, i don't think what you
said
> is correct in this case.--about censorship. I have sent several
responses
> that never did get posted.!!. Guess someone didn't like what i said.. But,
> that is censorship......(wonder if this will make it..). Jim in Dallas..
> no axe to grind.. "just the facts"..
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:57:29 EST
> From: Susan Goldstein
> Subject: Re: RAKU: Copper Matt Techniques
>
> ----------------------------Original message----------------------------
> When you say flash the pot I am assuming you mean to uncover it and let it
> flame up. How long do you keep it this way before recovering?
>
> Susan
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:57:35 EST
> From: Paul Lewing
> Subject: Re: NCECA
>
> ----------------------------Original message----------------------------
> > rickmahaffey wrote:
> > >
> > > ----------------------------Original
message----------------------------
> > > Hello Clayarters,
> > >
> > > Just returned from NCECA where my students and I had a good time.
One
> > > of my students asked why the first question out of most peoples mouth
> > > was: "Do you do functional or sculptural work?" She wanted to know
why
> > > this was important upon first meeting someone. I could not say why
> > > this was asked so many people.
> > >
> > > Any thoughts?
>
> Rick, I think it's their age. Being an OLD guy, the question I get is
> not about my work, but "Do you teach or are you a studio artist?" I
> look old enough to be a college teacher, but they probably don't. Just
> and attempt to pigeonhole people and make it easier to start a
> conversation.
> Paul Lewing, Seattle,
> finally getting over the NCECA sleep deprivation.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:57:42 EST
> From: Nichola Darwin
> Subject: Gerstley Borate
>
> ----------------------------Original message----------------------------
> ------------------
> Hello Eveyone=21
> I am an English amatuer potter and have been following the discourse on =
> CLAYART
> avidly for sometime now, but I would like to ask one question.
>
> What is Gerstley Borate? And is it available in England or is there an
> alternative? (O.K. Two qoestions=21)
>
> Thankyou=21
> nichola=40ndarwin.freeserve.co.uk
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:57:48 EST
> From: Frank Bosco
> Subject: Re: slab roller for sale
>
> ----------------------------Original message----------------------------
> Is the slab roller still available, and if so could you please re-describe
> the specifics e.g. size and model number. You are within my pick-up range.
> frank bosco
> fbacarts@aol.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:57:55 EST
> From: Aiko Ichimura
> Subject: Re: pricing, mugs, etc(long)
>
> ----------------------------Original message----------------------------
> Hi,
>
> I've been always wondering about the prices(inexpensiveness) of American
> pottery.
> I am not a rich woman but when I find beautiful pottery, I want them so
> badly like
> some woman wanting diamonds. I would rather own closetful of wonderfull
> pots and bowls
> that give me such deep happiness day and night than a 5 carat diamond
ring.
>
> Lucky me I found an American potter near by whose works gives me such
> joy and pleasure that I can stare at them all day if I don't have to work.
>
> His works are shown at the Smithsonian and an art gallery near my house.
> His works are reasonable compared to the prices of Japanese pottery.
> His tea cups starts from $50.00 and large vase goes up to $5000.00.
> He told me that he shows in Japan also and sells out each time with higher
> prices but in DC he does not sell out and his gallery takes 50%
commission.
>
> My potter friend looked at his work and was astounded by the beauty and
> quality
> of this American potter's works. He told me that it fetches much higher
> prices
> in Japan.
>
> I don't know for sure the reasons of our(Japanese) culture to appreciate
> pottery
> so much so that a pot can be a national treasure and a potter a National
> Living treasure.
>
>
> Aiko Ichimura
> NW DC 20036 USA
> aikop@erols.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:58:05 EST
> From: Dannon Rhudy
> Subject: Re: Jeck
>
> ----------------------------Original message----------------------------
> At 01:11 PM 3/28/00 EST, you wrote:
> >----------------------------Original message----------------------------
> >Okay
> >now that everyone is trickling back from nceca can someone give me the
> >scoop on the doug Jeck
> >demonstration.
> -----------------------------------------------
>
> It was interesting to see the demonstration. I didn't see
> all of it. There were three presenting at one time, as is
> usual. Doug Jeck's portion was to make a head for a figure -
> he did not have time to do the whole figure in the time
> there was. So he took a pair of old knit pajamas or maybe
> it was long underwear, stuffed it with paper to make a base
> figure for the head, strapped it to a chair. Attached,
> sort of, a turntable to the
> part where shoulders meet neck, and built the neck and head
> on that. He's a very funny man, and makes a lot of understated
> jokes - it was interesting. I didn't see the finished peice,
> though, so I don't know how it turned out. But that is hardly
> the point of this kind of demonstration. He coil builds,
> by the way.
>
> regards,
>
> Dannon Rhudy
> potter@koyote.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:58:12 EST
> From: Wade Blocker
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
>
>
> ----------
> > From: Eloise VanderBilt
> > To: CLAYART@LSV.UKY.EDU
> > Subject: where did bisque come from?
> > Date: Tuesday, March 28, 2000 11:27 AM
> >
> > ----------------------------Original message----------------------------
> > For ten years I have been using the word bisque and for ten years I have
> > wondered when and from where the word came into the pottery world. I
> assume
> > from the spelling it is from France but no pottery book I've read
> explains
> > it. I eat soft BISCUITS and honey, I eat hard cookies called BISCUITS.
> > Neither sound like the bisquing process. Some one with a more
> comprehensive
> > dictionary than I have access to may be able to help me.
>
>
> Eloise,
>
> The word biscuit comes from French and Latin. -bis twice+coctus,past
> participle of coquere to cook. Webster's gives one meaning of the word to
> refer to unglazed pottery after the first firing.
> In the US and France"bisque" is preferred.
> According to the Oxford English dictionary "the regular form in England
> from 16th to l8th Century was bisket,as still pronounced;the current
> biscuit is a senseless adoption of the modern French spelling without the
> French pronunciation." In pottery the name given to porcelain and other
> pottery-ware after having undergone the first firing,and before being
> glazed,painted or otherwise embellished.
> The word of course refers to hard dry flat bread originally and
> also a very light tan color.
> Mia in ABQ
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:58:39 EST
> From: Frank Gaydos
> Subject: Re: slab roller for sale
>
> ----------------------------Original message----------------------------
> Carol,
> Sorry you had to change professions. Sounds like you are getting back on
> your feet. Great!
>
> I'm doing better with new cardiac medicine and feel great also.
> Frank
> ----- Original Message -----
> From: "Carol Jackaway"
> To:
> Sent: Tuesday, March 28, 2000 1:32 PM
> Subject: slab roller for sale
>
>
> > ----------------------------Original message----------------------------
> > Sorry everyone for not mentioning where I am located. I am right outside
> > Phila, Penna in Delaware county. right off the blue route (476) and 95.
> > ********Just to let everyone know, I have started painting again, but
> instead
> > of painting on clay I am painting on material. My grandfather used to
> paint
> > on silk before the depression. So I am transferring my love of color
and
> > nature and combining it with all natural, soaps, bath salts and hand
> painted
> > pillows and just having fun and selling. My lungs are clear and I am
> feeling
> > better then I have in months. Thanks for all the well
> > wishes,*****************
> > Carol Jackaway
> > Finding life after clay!!
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:58:46 EST
> From: Mert & Holly Kilpatrick
> Subject: Re: Sharing ceramic information
>
> ----------------------------Original message----------------------------
> Sibylle,
> I was very interested in your reply. I lived in Germany a couple years
> (years ago, military), and I also hear about Germany due to another
interest
> of mine, which is German Shepherd dogs.
>
> I hope you will have the time to add your point of view. We have members
> from many English speaking countries, but not too many from European
> countries, and I think it would be wonderful to have more different
> perspectives. I love all the non-American contributions. And when, for
> example, I use a glaze posted by Ababy in Israel (Butterscotch Matt came
> out really nice on tiles last weekend!) I get twice as much enjoyment out
of
> it, thinking how amazing this sharing is. Not to mention how impressed
> friends and family are with everything I have learned, and I can casually
> say, "Oh, yes, that's from so-and-so in New Zealand."
>
> > Another point of view (perhaps it is very german): I'm a self-taught
> person,
> > never had been at an art school, just read some books and bought my
wheel,
> > doing some courses for the basic technics and having fun with throwing,
> glazing
> > etc. now for about 4 years. And I have a kind of feeling to profite from
> other
> > peoples training, working, trying-out, means the work others have done
and
> I
> > myself can't give very much because I'm effectively not as skilled as
most
> of
> > you are. Everything I know about pottery are very common things to you.
> And I
> > don't want to be that sponge you mentionned, janet, but at the moment I
> can't
> > be much more, I fear and so you're right it takes courage to write all
> this.
> > But you gave me that little push I needed . Clayart for me is really a
> sort of
> > new pottery world and I enjoy it very much.
> >
> Many of the members are various stages of beginners (me included), so you
> are probably more skilled than many, especially in the areas you have
> focussed on. But no matter what your skill level, you have your own
unique
> perspective based on your experiences, and it is very interesting to learn
> what seems different in other cultures - and what seems the same. Where
> others can help me see a new picture, and where we can all share a common
> feeling across different cultures.
>
> I was interested to read that you are self-taught. I have an impression
> that in Germany there is much emphasis on formal training, certification,
> apprenticeships, etc. Is it common for potters there to be self-taught?
>
> Holly
> Pennsylvania, USA
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:59:03 EST
> From: Veena Raghavan <75124.2520@compuserve.com>
> Subject: Educating the public
>
> ----------------------------Original message----------------------------
> Message text written by Ceramic Arts Discussion List
> >I am presently working with a group of local potters to establish an
> annual
> clay festival. A major component would be public education. We are
> considering the different ways that we can communicate the variety of
> knowledge and physical training required to produce a well made pot.
> While
> it will not be possible to impart the detailed understanding we as potters
> possess, I hope we can at least leave them with a fuller appreciation of
> what goes into the making of pottery.
>
> Maybe its time to actively educate the public and make education a part of
> our marketing plan.
> <
>
> Hi Bob,
> I think what you are planning to do is a great idea. It is so true
> that the public needs to be educated on what handmade pottery is all
about,
> what goes into making even the smallest item, and the pleasure that is
> derived from using or looking at a piece of pottery that has been made by
a
> skilled potter.
> I have found that most of the buying public in the U.S. has
> absolutely no knowledge about pottery. This is not so true in Europe and
> Asia, perhaps because there is a centuries-old pottery tradition. So many
> people cannot appreciate the difference between a handmade pot and one
that
> is mass produced. I even find a difference in the teaching and practice of
> pottery between New York, other places in the U.S. and Europe. In New York
> the emphasis is on perfection (perfection meaning everything should looked
> even and polished), whereas the potters I have seen from other parts of
the
> U.S. and in Europe (this was true in India too, when I was there), lay
> emphasis on the fact that every piece should have character--that the
> potter should leave his/her mark on the piece, and they do not mean that
> stamp on signature!
> So, actually, perhaps it is not only the public that needs to be
> educated!
> I wish you and your group success with the annual festival and
your
> education plan. I hope you will share your ideas on educating with
Clayart,
> so that perhaps other groups in other areas, and even individual potters,
> can use some of these ideas to educate their audiences, students, and
> customers. If we all do a little in this area, perhaps it will have a
> ripple affect.
> All the best.
> Veena
>
> Veena Raghavan
> 75124.2520@compuserve.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:01:55 EST
> From: Veena Raghavan <75124.2520@compuserve.com>
> Subject: Thanks for NCECA reports
>
> ----------------------------Original message----------------------------
> Dear NCECA recently returned Clayarters,
> I would like to thank everyone who has posted or is going to post
> about their experiences on NCECA. Apart from the fact, that you make me
> green with envy, it is so interesting to hear about it. A Clayart friend
> has told me I should really try to make it next year, and I would
certainly
> like to try. Reading your posts makes me even more eager to do so. It
would
> be such fun to meet so many of the "names" that have personalities but no
> faces.
> And, Mel, I have an advance description of you, warm and cuddly!
> Thank you all.
>
> Enjoy experimenting and trying out all those new idea.
>
> All the best.
>
> Veena
>
> Veena Raghavan
> 75124.2520@compuserve.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:02:04 EST
> From: Veena Raghavan <75124.2520@compuserve.com>
> Subject: warming teapot question
>
> ----------------------------Original message----------------------------
> Message text written by Ceramic Arts Discussion List
> >Short question: In giving instructions to a purchaser of a functional
> teapot, and if I want to print a note re rinsing teapot first with warm
> tapwater and then pouring in the boiling water, do I instruct new owner to
> do this the first time or two only, or every time the teapot will be used.
> If you have an answer, I would be most grateful. If you wish to read on,
> fine too. It gets wordy.
> <
>
> Hi Bacia,
> In answer to your question, but from a different viewpoint, not
> protecting the integrity of the teapot but rather the quality of the
brewed
> tea, in India and England, one is always told to prewarm the teapot before
> brewing the tea. So, even if the pot can stand the heat of the water
> straight out of the kettle, it should be warmed before pouring water over
> the leaves, because it will make better tea.
> Hope this helps.
> Veena
>
> Veena Raghavan
> 75124.2520@compuserve.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:02:12 EST
> From: Veena Raghavan <75124.2520@compuserve.com>
> Subject: Thanks for taking on Clayart
>
> ----------------------------Original message----------------------------
> Message text written by Ceramic Arts Discussion List
> >the home of clayart is going to change,
> the moderator is going to change, but what does not
> change is what clayart is.
> <
>
> Mel,
> I think it is really good of you to take on moderating Clayart.
Joe
> and Richard are bound to be missed. They have done such a great job and
> given us such a wonderful forum where we can learn, exchange idea, express
> opinions, and help others who need information. For me personally, it has
> given me new faith in humankind, as I have been in a situaiton where I was
> beginning to wonder whether there was any giving left in the art world.
> With you at the helm, I hope that Clayart will continue to have
the
> same character and freedom of expression--that it will always be a place
we
> can find knowledge, support and friends. So, even though you will probably
> make changes that you feel are necessary for you to run it efficiently (a
> clear subject line is great), I am sure you will not change its
character,
> as I am sure it means as much to you as it does to many of us.
> Good luck (and don't listen to Russel), that lowercase helps me to
> pick out your posts right away!
>
> Veena
>
> Veena Raghavan
> 75124.2520@compuserve.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:02:43 EST
> From: "Joanne L. Van Bezooyen"
> Subject: Re: Mixing Plaster
>
> ----------------------------Original message----------------------------
> How much does a pound of water weigh?
>
> John Rodgers wrote:
>
> > ----------------------------Original message----------------------------
> > You would be safe to mix at a ratio of 1.5 to 1, ie 1.5 lbs plaster to
1 lb
> > of water. If you use USG #1 Pottery plaster that ratio will give you a
> > density of about 72, which is plenty good for a wedging table.
> >
> > John Rodgers
> > In Alabama where a cold front just passed through cooling everything
off.
> >
> > Elaine Beaufait wrote:
> >
> > > ----------------------------Original
message----------------------------
> > > This is my first communication on this list. After reading all the
great
> > > responses to other questions I feel confident someone can help me out
> > > here. I am looking to create a wedging table. The size of the
structure
> > > is 28 x 32 x 2.5. This is an old counter that I am having the sides
> > > added to. My question is how to mix the plaster. Anything I need to be
> > > aware of. I believe someone said it is tricky but I forgot who said it
> > > and just what did they mean??
> > >
> > > Thanks
> > > Elaine Beaufait
> > > Hudson, NY
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:02:53 EST
> From: dolly traicoff
> Subject: Tile Artists?
>
> ----------------------------Original message----------------------------
> This is my first message to all of you. Are there any tile makers out
> there? Would love to hear from you.
> Dolly
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:03:45 EST
> From: Liz Gowen
> Subject: Reflexions; clayfolks, clayart, NCECA
>
> ----------------------------Original message----------------------------
> ------------------
> Going to the clayart room, being greeted by Mel, as one greets a guest
=
> into
> their home.
>
> Getting to see all that great equipment one sees only in the
magazines,
> talking
> to the reps.Getting suggestions to fix up the stuff you have, and
plans =
> for
> new.
>
> Going to the clayart room when feeling lonely, chatting with folks, =
> putting
> faces
> with names that you have chatted with on clayart for over a year. =
> Getting
> offers
> of help with my glaze, clay and kiln quest. Viewing samples of the
work =
> of
> the
> group. Talking with the sages, you know who you are, about ideas, =
> problems
> solutions.....
>
> Having dinner with my clayart neighbors from New Zealand and Canada, =
> WOW=21
>
> Sitting in the lobby striking up a conversation with the person next
to =
> you
> time
> and again, of all ages.
>
> To paraphrase one of these people ,Thalmus Johnson, you come to NCECA
> for the people, it is all about the people.
>
> The common thread is the love of clay. A great experience, and without
> clayart
> to make me feel I belonged I might have missed it. Thank you.
>
> Liz Gowen New Jersey USA elgowen=40jersey.net
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:03:59 EST
> From: Liz Gowen
> Subject: Tool doctor workshop
>
> ----------------------------Original message----------------------------
> -------------------
> If someone that was able to attend the tool doctor workshop would be so
kind=
> as
> to touch on some of the highlights, examples, I would appreciate it. It
was =
> one
> of the workshops I wanted to attend, but I had to leave the conference =
> early.
> Thanks
> Liz Gowen
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:04:05 EST
> From: Erika Benson
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> My dictionary tells me, eventually, that bisque comes from Medieval
> Latin "biscoctus" - which meant twice-cooked bread. Could also refer to
> the color of the bisqued ware -
> Erika
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:04:36 EST
> From: DeLana Hornbeck
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> Hi Eloise,
> The story I have heard over the years is, that bisque means ,in French,
> cookie which resembles the feeling and porosity of the clay when it has
> been first fired.........hardened and still absorbant so it can recieve
the
> glaze.
>
> DeLana
> delh@enter.net
>
>
>
> ----- Original Message -----
> From: Eloise VanderBilt
> To:
> Sent: Tuesday, March 28, 2000 12:27 PM
> Subject: where did bisque come from?
>
>
> > ----------------------------Original message----------------------------
> > For ten years I have been using the word bisque and for ten years I have
> > wondered when and from where the word came into the pottery world. I
> assume
> > from the spelling it is from France but no pottery book I've read
explains
> > it. I eat soft BISCUITS and honey, I eat hard cookies called BISCUITS.
> > Neither sound like the bisquing process. Some one with a more
> comprehensive
> > dictionary than I have access to may be able to help me.
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:04:47 EST
> From: Richard Ramirez
> Subject: Re: School kiln shelf tip
>
> ----------------------------Original message----------------------------
> Pete,
> One of my student's assignment early in the year is having them do a
> 6"x6" slab tile (impress found objects). Tiles that are not picked up by
the
> students are used for that same situation you described, saving the kiln
> shelves. Funny, how things work out in real life situations. Richard
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:51:58 EST
> From: Kurt Wild
> Subject: My mug?
>
> ----------------------------Original message----------------------------
> Since I had to leave NCECA early I missed seeing who got my mug in the
> Clayart exchange. I'm curious to know who you are so please email me
> off list. Thanks!
> --
>
> Kurt Wild
> 1000 E. Cascade Ave.
> River Falls, WI 54022
> Phone: 715-425-5715
> email: kurt.l.wild@uwrf.edu
> web site: http://wwwpp.uwrf.edu/~kw77/
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:52:48 EST
> From: clennell
> Subject: Diana Panciloi
>
> ----------------------------Original message----------------------------
> Dear Diana: Please contact me off list re your jaw crusher and kick
wheel.
> cheers,
> tony
>
> Tony and Sheila Clennell
> Sour Cherry Pottery
> 4545 King St.
> Beamsville, On.
> Canada L0R 1B1
>
> http://www.sourcherrypottery.com
>
> 905-563-9382
> fax 905-563-9383
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:52:54 EST
> From: "Marie E.v.B. Gibbons"
> Subject: Re: NCECA
>
> ----------------------------Original message----------------------------
> I am curious to know from the NCECA goers about shows you may have seen
off
> site, did you do the bus tour, did you get around on your own a bit, there
> were sooo many shows in town, both functional and non functional, some
great
> installations, just sooo much to see. Would love to hear what people got
to
> see, and what the reactions were.
>
> Marie Gibbons
> www.oooladies.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:53:27 EST
> From: Janet Kaiser
> Subject: Re: teapot question
>
> ----------------------------Original message----------------------------
> Bacia,
>
> Here in the adopted home of tea -- the British Isles -- heating the pot is
> part of the ritual when making tea.
>
> We pour some very hot water out of the kettle before it reaches boiling
> point into the pot and swill it around to pre-warm the whole tea pot. We
> throw that water out once the pot is well warmed/hot, then we add the tea
(a
> spoon/tea bag per person plus one for the pot) then pour on the boiling
> water. Stand for three to four minutes, then pour. This brewing time is
> important. Any less, and the amount of tannin is disproportionately high.
> That is also why lidded hot water pots are/were sold with a teapot. The
> hostess can then add water to the cup of tea for those who wanted it
> "weaker".
>
> Pot warming is not just a custom. If you do not warm up the pot first, it
> cools the tea infusion down too much. The tea does not "brew" properly and
> tastes different... Well that is the theory! In a country where houses can
> be freezing cold, it also means at least the tea is hot and not luke warm
> right from the start!
>
> You must warm the pot each and every time you make a pot of tea.
>
> Some people never wash out teapots, but rely on cleaning them with
Steradent
> (denture cleaner) once or twice a year. This also gets rid of the built-up
> gunk around and down the spout which you cannot see. This non-washing of
> teapots comes from the days when tea was made in silver-plated teapots.
The
> base metal was lined with a tin or pewter alloy so if that was scratched
and
> scrapped off, you were likely to be consuming large quantities of lead in
> your daily cuppa!
>
> If water comes out of the lid when pouring, you may be pouring too fast at
> too acute an angle. But if not, it is usually because a vacuum forms.
> Sometimes this happens if the spout is too narrow to pour tea out whilst
> letting air in at the same time...
>
> Especially if there is no air hole. A good teapot always has a small air
> hole in the lid. Either through the knob or in the lid surface. Lids for
> teapots should also have some device to stop them falling off when pouring
> until the pot is empty. This can sometimes be quite an acute angle.
Nothing
> worse than a lid falling off into a cup! Spoils the tea party.
>
> Being such a "British institution" I suggest adding the words of the
> immortal Isabella Beeton for your teapots:
>
> Mrs. Beeton's Book of Household Management
> Ward, Lock and Co., London 1861
> Page 1476, Recipe No. 3481. TEA, TO MAKE
>
> "In order to make good tea it is necessary that the water should be quite
> boiling, but it must on no account be water that has boiled for some time,
> or been previously boiled, cooled, and then re-boiled. It is a good plan
to
> empty the kettle and refill it with fresh cold water, and make the tea the
> moment it reaches boiling point. Soft water makes the best tea, and
boiling
> softens the water, but after it has boiled for some time it again becomes
> hard. When water is very hard a tiny pinch of carbonate of soda may be put
> into the teapot with the tea, but it must be used very sparingly,
otherwise
> it may impart a very unpleasant taste to the beverage. Tea is better made
in
> an earthen than a metal pot. One good teaspoon of tea will be found
> sufficient for two small cups, if made with boiling water and allowed to
> stand 3 or 4 minutes: longer than this it should never be allowed to
stand.
> The delicate flavour of the tea may be preserved and injurious effects
> avoided by pouring the tea, after it has stood 3 or 4 minutes, into a
clean
> teapot which has been previously heated."
>
>
> Janet Kaiser
> The Chapel of Art, Criccieth LL52 0EA, GB-Wales
> Home of The International Potters Path
> TEL: (01766) 523570
> WEB: http://www.the-coa.org.uk
> EMAIL: postbox@the-coa.org.uk
> ----- Original Message -----
> From: Murray & Bacia Edelman
> To:
> Sent: 28 March 2000 19:14
> Subject: teapot question
>
>
> > ----------------------------Original message----------------------------
> >
> > Hello, friends.
> > Short question: In giving instructions to a purchaser of a functional
> > teapot, and if I want to print a note re rinsing teapot first with warm
> > tapwater and then pouring in the boiling water, do I instruct new owner
to
> > do this the first time or two only, or every time the teapot will be
used.
> > If you have an answer, I would be most grateful. If you wish to read
on,
> > fine too. It gets wordy.
>
> --------------------------------------------------------------------------
> --
> > ---------
> > I have been making teapots for years and years. In the past,thrown in
> > porcelain and highly functional, high-fire reduced. Later handbuilt
with
> > table-stands and cups, very non-functional and even the spouts were
solid
> > clay, lids part of design and affixed. Low-fired and layered
underglazes.
> > I quit those about 5 yrs. ago.
> > And I had no chance to enter the recent discussion re both types.
> > Now I make two types of teapots: mainly electric-fired and partly
> > hand-built with thrown bases and lids. The others are loose, mostly
> > hand-built, but quite functional and fired as guests in wood kilns.
> > My question is about placing instructions on the inside in a note to new
> > owner.
> > At NCECA, I saw a very nice John Glick teapot on exhibit. As there were
> no
> > signs not to touch, I typically looked inside. There was a note telling
> > the new owner to rinse first with hot tap water and then pour in the
> > boiling water.
> > I never did this with my own functional ones.
> > BUT, I recently ruined a wood-fired one, by pouring water straight from
a
> > boiled kettle into it, and it was a successful one to look at. All
> > hand-built and time-consuming. The crack which occurred made a
sickening
> > NOISE. The spout poured beautifully!!
> > I spoke with Randy Becker, friend and high school teacher who invites me
> > now to place pieces in any of his kilns, salt or wood with salt, and who
> > had fired it. He is sure it was the clay body, which was not meant to
go
> > to c/11, which the teapot reached, never mind even c/10 which
Continental
> > Clay expects it to withstand ("high fire c/7 to c/10 white stoneware" is
> > how it is listed in catalog.)
> > I have just sold the last functional teapot still in my hands, still to
be
> > picked up.
> > It will remain in my town, Madison, as it is a wedding gift to one of
the
> > poets from the rest of them in a poetry-writing group here. It was
fired
> > at c/6 in electric, and all those have been o.k. except for two. The
> > spouts are narrow and hand-built and the problem with those two: poured
> > like, well, Peyronie's disease :-}}} or a garden watering can or water
> came
> > out from under the lid at the same time. Only two out of dozens failed
to
> > pour right and I yielded the hammer.
> >
> > But I want to put a note in this newly purchased teapot and need help
> > about what to say re the pre-warming. I wish I could bother John Glick
> > with a phone call, but he knows me not and my Clayart gang is helpful
and
> > wonderful.
> > Thanks, people. Bacia
> > (trying out several other high-fire clay bodies for teapots when I have
> time)
> >
> >
> >
> > Bacia Edelman Madison, Wisconsin
> > http://www.mypots.com/bacia.htm
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:53:33 EST
> From: Janet Kaiser
> Subject: Monastery of Craftsmen
>
> ----------------------------Original message----------------------------
> ------------------
> Leafing through one of my favourite books, I again read the following
letter
> with delight. I'm passing it on, because it addresses some of the ethical
> questions potters still consider to this day - over 70 years later=21
Recent
> threads like: price of mugs, authentic work, perfect pots =5F all jump to
=
> mind=21
>
> It was written by Bernard Leach to the Rev. Eric Milner-White, Dean of =
> King's
> College Cambridge and later Dean of Yorkminster, who was one of the few =
> serious
> collectors of contemporary pots in the early decades of the 20th century.
>
> 7.7.27
> Dear Mr. Milner White,
> Curiously enough I got one of Hamada's rare letters this morning asking me
=
> to
> send, together with Murray and Mrs. Mairet and Miss Barron, for an autumn
> exhibition in Tokio. I am replying at once and I shall tell him of your
wish=
> and
> that I have given you his address in order that you may make your request
> direct.
>
> Shoji Hamada, c/o H. Inagaki Esq. /4 Susaki machi, Honjo Ku, Tokio
>
> He and my other Japanese craft friends are putting their prices down and =
> down,
> in a warm brotherly spirit of the general good, and consequent personal =
> health,
> so =A325 will go a good way.
>
> He says:- =22We have come now to understand what is the real craft and
what =
> is the
> right craftsmanship, and Yanagi (my great philosopher mystic friend) is
even
> going to think that communion would be the best way to produce the real =
> crafts,
> not being done by individual artists. (Monastery of Craftsmen). He is =
> studying
> the mediaeval guilds and their lives with great interest.
>
> This is a great change and means the passing of the stage of
self-assertion =
> in
> art. As a whole we are not yet ready for that and as a nation I think they
=
> are
> still less so.
>
> Yours sincerely
> Bernard Leach
>
> =2A=2A=2A=2A=2A=2A=2A=2A=2A=2A=2A
> The hand written original can be seen in:
> =22Pioneer Studio Pottery - The Milner-White Collection=22, Sarah Riddick,
=
> ISBN 0
> 85331 581 7 (paperback)
>
> BACKGROUND:
> Milner-White (1884-1963) only bought stoneware, which he considered the
> aristocrat of ceramics. He started collecting ceramics =22accidentally=22
as=
> his own
> words convey: =22It was by pure chance c. 1925 I walked into a Bond St. =
> Gallery
> and saw a show of stoneware pots by Reg.. Wells. Transfixed. Sat there 2 =
> hours -
> forgot lunch=21 At the end, I bought (=A320). A stranger, seeing my =
> interest, said
> that in another gallery in Bond St was an exhibition of pots by an
> artist-craftsman of whom he thought even more highly. I went there --- =
> picking
> up --- (William Staite) Murray.=22
>
> He wrote later: =22I knew I had come across something not only good, but
> =5Fv.=5Fgood=5F. I found an aesthetic delight, a thrill, over a fine pot =
> which no
> other branch of art had ever been able to give me... and worked hours,
days,
> weeks, correcting Certificate Papers in History from schools all over =
> England,
> to get the money to buy. I bought only the best. How I beat my foes=21=22
>
> As he himself wrote: =22The people interested in the work of Wells,
Murray, =
> Leach
> during the '20s could be counted on the fingers of one hand -
Eumorphopoulos
> Marriott the Art Critic of The Times, Bernard Rackham, head of the =
> department of
> Ceramics at the Victoria and Albert and that young and poor and unknown
> clergyman which was myself=21=22
>
> He missed out Sydney Greenslade who had been appointed by the Davies
Sisters=
> of
> Gregynog to acquire crafts for the University College in Aberystwyth,
which =
> he
> did from 1919 to 1936.
>
> William Staite-Murray was the most original of the pioneers in his view. =
> Over 34
> years, he purchased 98 examples of Murray=2As work alone, costing him
almost=
> 1,700
> pounds sterling=21
>
> Not only is the collection incomparable, Milner-White retained much of the
> ephemeral documentation relating to his purchases - mostly from
exhibitions =
> of
> potters' work in London galleries. Private view cards and catalogues were
> preserved in two large albums together with newspaper reviews of the time.
> Invoices and receipts were kept separately. Indexed notebook, notes made
on
> loose sheets and numerous letters from the potters themselves provide =
> invaluable
> information.
>
> The documentation and the major part of his collection was gifted to York
=
> City
> Gallery upon his death in 1963. It is =22the finest collection of pioneer
=
> studio
> pottery assembled by a private individual in the first half of the 20th.
> century=22
>
> The Milner-White collection included over 300 pots by over 40 potters.
When
> visiting the North of England, do visit the York City Art Gallery, which
has=
> a
> permanent display of pots from the collection. Sadly not all by any means,
=
> but
> enough to make one drool...
>
> Janet Kaiser
> The Chapel of Art, Criccieth LL52 0EA, GB-Wales
> Home of The International Potters Path
> TEL: (01766) 523570
> WEB: http://www.the-coa.org.uk
> EMAIL: postbox=40the-coa.org.uk
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:53:42 EST
> From: Janet Kaiser
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> Eloise,
>
> I talked to Frank and Janet Hamer about this after the "biscuit joke" some
> time ago...
>
> According to them, "bisque" is used to describe the first firing of
factory
> ware in the ceramics industry. "Biscuit" firing is what you do in a studio
> pottery... at least in the UK.
>
> A lot of young UK potters have started to use the term "bisque"... I
suppose
> it sounds more sophisticated?
>
> A natural confusion occurs when using "biscuit" to you people across the
> pond... Remember our "biscuits" are your "cookies". Your "biscuits" are
> variously known as scones, muffins, cakes, etc. over here.
>
> Accept a biscuit is a cookie and you will see where the expression comes
> from. A biscuit/cookie has the same touch and consistency of a
biscuit-fired
> pot. Not so hard on the teeth as a pot mind you, but you know what I mean?
>
> The confusion between a biscuit and a cookie is probably why the French
> expression "bisque" is preferred in the US. It all means the same thing
> though. I say "biscuit" because that is what I was taught and have always
> heard said and also because it is easier to spell! There are some pretty
> strange variations on "bisque" if you look through the archives...
>
> Why do the French say "bisque"? Well they think of biscuits being soft
too!
> Usually a sponge finger is called a biscuit!
>
> Hope this helps rather than confuses!
>
> Janet Kaiser
> The Chapel of Art, Criccieth LL52 0EA, GB-Wales
> Home of The International Potters Path
> TEL: (01766) 523570
> WEB: http://www.the-coa.org.uk
> EMAIL: postbox@the-coa.org.uk
> ----- Original Message -----
> From: Eloise VanderBilt
> To:
> Sent: 28 March 2000 19:27
> Subject: where did bisque come from?
>
>
> > ----------------------------Original message----------------------------
> > For ten years I have been using the word bisque and for ten years I have
> > wondered when and from where the word came into the pottery world. I
> assume
> > from the spelling it is from France but no pottery book I've read
explains
> > it. I eat soft BISCUITS and honey, I eat hard cookies called BISCUITS.
> > Neither sound like the bisquing process. Some one with a more
> comprehensive
> > dictionary than I have access to may be able to help me.
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:54:09 EST
> From: Janet Kaiser
> Subject: Re: Sharing ceramic information
>
> ----------------------------Original message----------------------------
> Dear Sibylle,
>
> I am so glad you did write... As Mel posted this day:
>
> >>And, all posts come to us as letters, we cannot see you. We do not know
> a thing about you, gender, race, religion. you can remain anonymous.
> A question is a question, a comment is a comment, that is what
> makes clayart great. Young, old, new, veteran, all have dignity.<<
>
> It is important everyone contributes in some way. I really wanted to
> encourage more lurkers to take part and at the same time at least one
person
> in Germany to take an active part. I miss my adopted home very much and
> would really like to know what is going on there! You would have so much
to
> contribute and may even encourage others too.
>
> > I'm not too overwhelmed of your discussions, but for me it is a bit
> difficult,
> > for I have to think longer about what I want to express (you know
English
> is
> > not my language) and when I've finished thinking, the thread is just at
> another
> > point of discussion.
>
> Ah, yes, how well I know this from my time learning German... Talk of anti
> nuclear demonstrations had turned to Christmas cookies before I could make
a
> comment. But, many comments, questions and answers do stretch over some
> time. Do not worry about it! And I wish my German was half as good as your
> English! Wirklich!
>
> > Perhaps one reason, why discussion in the net is not common here in
> Germany may
> > be the money.
>
> Yes, the whole of Europe (including the UK) needs to introduce lower fee
> telephone to bring us in line with countries like USA, Canada, Australia
and
> New Zealand. If the latter with just 3 million population can have a
no-fee
> service, we should certainly be able to!
>
> > Also it is not very easy to be potter here in freiburg, where I live. It
> is a
> > little town with many potters (means much competition). For example we
> have an
> > everyday-market in the center of town, but you can't get a place to sell
> at the
> > weekend where most people (tourists) come, because we are too many.There
> is a
> > group, called potter forum. They do a big market once every year but you
> can't
> > get a place to sell because we are too many.
> > Don't misunderstand me, I don't want to complain, I just try to explain,
> why
> > the situation is what it is here. Perhaps in other parts of Germany it
is
> > different, I don't know.
> I think you will find many potters in various places around the world
suffer
> the same problems. That is why there is a lot of debate on craft fairs,
> outlets, way of selling on clay art. You will hear a lot of advice which
is
> country-specific but may help you decide what would help you. I presume
you
> are talking about a "Toepfermarkt"? Is it juried? Do you have to pass a
> quality check? Perhaps if you are a member of the Potters Forum you could
> find ways of improving the standard of work accepted? If you earn your
> living from making pots, you and your friends will have to find strategies
> to change the situation. I know it is expensive, but what about setting up
a
> co-operative shop in the middle of town? You may qualify for state funding
> and could take turns selling. It does not even have to be full time. Maybe
> three of four hours every day?
>
> > Besides, I'm not in a too bad situation, because I try to earn my living
> with
> > pottery together with two friends of mine and we do exchange everything
we
> know
> > and also with some other potters here in town. But in spite of this you,
> janet
> > are right. I also believe that clayart could only become to such an
> interesting
> > discussion in "the land of the free". Perhaps because people are more
> > open-minded than in germany but also perhaps this land is so huge, that
> > communication by net is a more needfull thing as in an area where you go
> about
> > 3 hours with the car and are in another potters paradise.
>
> My rhetorical question did get responses from around the world... Some
> supporting this theory and others not. But on the whole, no, Sibylle, I do
> not agree with you entirely. I think there is still a snobbish tendency to
> pay no attention to the autodidactic potter or the amateur, as well as the
> "secret keeping" mentality. Alisa sees it in Denmark and you see it in
> Germany, but here in the UK (where there are hundreds of potters) there
> would also be the same open discussion.
>
> This attitude you encounter locally and regionally is a very difficult one
> to try to change. I sincerely hope that your participation will encourage
> others... Maybe the "Ton-Liste" (German Clay List) would pick up so more
> healthy discussion would take place? You could be a bridge!
>
> > Another point of view (perhaps it is very german): I'm a self-taught
> person,
> > never had been at an art school, just read some books and bought my
wheel,
> > doing some courses for the basic technics and having fun with throwing,
> glazing
> > etc. now for about 4 years. And I have a kind of feeling to profit from
> other
> > peoples training, working, trying-out, means the work others have done
and
> I
> > myself can't give very much because I'm effectively not as skilled as
most
> of
> > you are. Everything I know about pottery are very common things to you.
> And I
> > don't want to be that sponge you mentionned, janet, but at the moment I
> can't
> > be much more, I fear and so you're right it takes courage to write all
> this.
> > But you gave me that little push I needed . Clayart for me is really a
> sort of
> > new pottery world and I enjoy it very much.
> First I am sorry if you found my comments on "sponges" harsh, Sibylle. It
> was not entirely the way I meant it. But you must not underestimate your
own
> value and the contribution you can make. That is exactly the point I
wanted
> to make about Professors and Amateurs not talking. It is not only the
> professors who are wrong, but the amateurs or self-taught people who are
> wrong too... They allow this attitude and do not actively work to change
it.
> Remember that your experiences working as a professional potter for three
> years with two others, may be far more use to other potters than anything
> the Herr Professor has to say!
>
> I also feel a lot of other people are overwhelmed by the collective
> knowledge in exactly the same way you describe... But it is not true that
> everyone is more knowledgable and you have nothing to say! Look at people
> who have been potting for many years... They still have questions and
> problems. That is one of the challenges of pottery and ceramics... There
may
> be a beginning but there is never an end to learning! It is one of the
most
> exciting media anyone can chose to work in... as you know.
>
> Think of my post more as a rallying cry... Not just to you, but to all
those
> people who think they are not good or experienced enough. It was also a
> little dig at those people who post questions and then give no feed-back.
We
> would all like know what happened? if it worked? if not, why not? They are
> the real sponges I was referring to! They take, take, take but give very
> little back.
>
> Absorbing knowledge is what we are all doing (hopefully) and it is
wonderful
> to experience. But it does have to be kept alive. Look at the way Vince
and
> Ray are enjoying a discussion at the moment... We are all "listening" and
> enjoying their comments. It seems to be a tacit group decision not to
> interfere just yet...
>
> Sharing knowledge is also done without hesitation. People are so kind and
> generous, there is absolutely no need to feel shy or afraid. Indeed, you
> have already shown how courageous you are... So I hope you will continue
to
> enjoy Clay Art and feel free to join in from time to time.
>
> Janet Kaiser
> The Chapel of Art, Criccieth LL52 0EA, GB-Wales
> Home of The International Potters Path
> TEL: (01766) 523570
> WEB: http://www.the-coa.org.uk
> EMAIL: postbox@the-coa.org.uk
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:54:54 EST
> From: Tom Eastburn
> Subject: Re: Pugmill advice?
>
> ----------------------------Original message----------------------------
> I too, had to make this decision and eventually settled for the Peter
Pugger
> (de-airing). Nothing is cheap these days, but I finally figured out a
way
> to rationalize the decision! I love this machine. I have a small studio
> space and it fit MY needs perfectly. The only situation which is a
little
> sensitive is how many people will want to borrow it! Sharing is what us
> potters do, but shhhhh don't let to many people know unless you all use
the
> same clay! My wrists are happy. Good luck on whatever brand you chose.
> They are pricey, but in the long run you'll be happy you sacrificed
> food/shelter/dating and clothing for this tool. A most wonderful
invention.
>
> ----- Original Message -----
> From: Jeri Palmer
> To:
> Sent: Tuesday, March 28, 2000 11:18 AM
> Subject: Pugmill advice?
>
>
> > ----------------------------Original message----------------------------
> > Howdy folks. I am in the market for a pugmill. I am impressed with the
> > small shimpo and I have looked at the smallest Bluebird. I am curious
> about
> > other potters experiences with these or any other models. I work in ^10
> > porcelain and my wrists are not happy. I know a pugmill would change my
> > life. Any comments would be appreciated. TIA Jeri in Hastings, MN
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:55:02 EST
> From: Joseph Herbert
> Subject: feldspar and wood ash
>
> ----------------------------Original message----------------------------
> Aaron,
>
> Given the variability of "Mixed Wood Ash" you don't really need to
> worry about the composition of the feldspar. You will almost certainly
> do some adjusting one way of the other. then if your source of wood ash
> changes, you will have to adjust again. don't worry too much about the
> feldspar.
>
> Joe
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:55:09 EST
> From: Jeff Lawrence
> Subject: Purchase of designs -- royalties
>
> ----------------------------Original message----------------------------
> Hello,
>
> Any suggestions on how licensing of designs works? I'm thinking of making
> platters using decorative elements by a local artist.
>
> A fair arrangement would probably be something up front, followed by a
> percentage of sales, but have no idea of what those amounts would be.
>
> Could someone share some ballpark dollar ranges? I'd like to know what the
> market is.
>
> Thanks in advance!
>
> Jeff Lawrence ph. 505-753-5913
> Sun Dagger Design fx. 505-753-8074
> 18496 US HWY 285/84 jml@sundagger.com
> Espanola, NM 87532 www.sundagger.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:55:16 EST
> From: vince pitelka
> Subject: Re: non-functional teapots
>
> ----------------------------Original message----------------------------
> > ----------------------------Original message----------------------------
> > Is there a difference between functional and utilitarian? And...what is
> it?
>
> Sandy -
> Thanks for asking this question. This is another case of careless use of
> terminology, although it has become so widespread that there is probably
no
> chance of correcting its usage. All art is functional, because it serves
a
> function. Utilitarian work is that which serves a practical everyday
> function. In "high-art-speak," utilitarian carries a negative
connotation.
> Among those who make non-utilitarian sculptural work, there are some who
are
> immature, insecure, and uncertain of their place in the art world, and
they
> sometimes bolster their own self-confidence by condemning utilitarian
clay.
> Instead, they would serve their work and the clay community at large far
> better by a little solidarity with all clay artists, whether their work is
> sculptural or utilitarian (even that is a careless use of terminology,
> because all work is sculptural, whether or not it is also utilitarian.
This
> is a sticky business).
>
> So, it is hard to imagine any work of art or craft which is not
functional:
> i.e., that serves no function at all. Utilitarian has to do with
practical
> utility or