john horner on tue 26 feb 02
Re: Help for a student
Have her try throwing while standing, instead of
sitting. It may be that her proximity to the wheel is
not right. Playing in mud should be fun.
Good luck. John jnybravo2@yahoo.com
--- Automatic digest processor
wrote:
CLAYART Digest - 24 Feb 2002 to 25 Feb 2002
<BR>(#2002-57)
vlink="#FF0000">
CLAYART Digest - 24 Feb 2002 to 25 Feb 2002
(#2002-57)
Table of contents:
- Red Iron Oxide As Cone 10 Porcelain
Casting Slip Body Color
- Walker Pug Mills
- Amaco Alligator alternatives?
- extruder mystery
- Fixing crawling Berry Rust ^6ox
- Berry Rust addendum
- have pity,Garrison..
- food safe oxide decoration
- Potters Of Onda
- At-Home mug exchange
- Subject: extruder mystery
- George Koller
- Fw: Re: here's how to repair a
broken element
- Clay It Forward Report
- Help is needed for a fellow
student!
- Expression in art/critisism.
- Help!! I've lost you all
- Change of Address for Helen Bates to:
<nell@cogeco.ca>
- art aside -Engalnd
- Engalnd (sic)
- Stay At Home Mug Exchange, last call
to join or quit
- Ken Nowicki
- Engalnd(still sic)
- passive dampers; was Problems with new
wood kiln
- Cookbooks and Replacements
- Walker Pug Mills/using it?
- Paul Lewing:Virtual PC on a
Mac
- Roman / Medusa THIN pieces
anyone?
- slip trailing
- Clay books, libraries
- Olympic or Scutt and high alumina or
silicon carbide
- single layer commercial glaze
- Anywheels on Sale
- Big News Clay
- too old?
- Re: too
old? (02/25)
From: Tig Dupre
<dupremm@MSTP.QUANTICO.USMC.MIL>
- Phil Rogers Workshop in VA
- HVLP Sprayers, Different Models
(Beverly)
- Font Creation Dave Emmett's Softy
Support Page
- SusanPeterson Red/Blue
- clayart clay body
- librarys and what they carry
- Extruder No-Mystery
- Crystalline glaze: Need to buy seconds
or shards
- Walker Pug Mills "Unsafe at Any
Speed"
- Expansion rate of a glaze
- INGREDIENT ?
- Update on fellow student
- free kickwheel in MD
- Cryolite and electric element?
- Silica mesh questions
- Alkalinity and ^10 Tourquoise
Gloss
- Crocus Martis
- Crocus
Martis (02/25)
From: Llewellyn Kouba
<lkouba@POP.CTCTEL.COM>
- Colemanite Frit
- HVLP SPRAYERS: THE BASICS
AGAIN
- MSDS sheets and Risk Management
Company
- Collecting ceramics advice
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> Date: Sun, 24 Feb 2002 23:00:21 -0600
> From: vince pitelka
> Subject: Re: Red Iron Oxide As Cone 10 Porcelain
> Casting Slip Body Color
>
> > (a)"Since the breakdown of carbon or sulfur
> compounds in body and
> glaze
> > so easily reduces iron, a slow and very
> thoroughly oxidizing
> > atmosphere is critical through the 700-900C
> range to assure that
> all
> > the iron remains in its antiflux oxidized
> form."
>
> Jim -
> This is true, and it is very important to avoid
> early glassy phase and
> resulting carbon and/or sulphur coring. That is
> always a concern, but if
> you include 20% red iron in your claybody your
> problem will occur at higher
> temperatures. Red iron oxide dissociates to black
> iron oxide above 2100F
> (I believe I have that temperature right, but I
> might be off by a bit.) in
> both oxidation and reduction, so it WILL become an
> active flux before
> maturation temperature, and the 20% will pretty much
> melt your claybody.
> You might try developing the color with a mixture of
> red iron oxide,
> blackbird/barnard slip clay, and redart clay. Do
> lots of tests.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> Home - vpitelka@dtccom.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> http://www.craftcenter.tntech.edu/
> > Date: Sun, 24 Feb 2002 23:18:57 -0600
> From: vince pitelka
> Subject: Re: Walker Pug Mills
>
> > Hi, I hope I'm responding correctly. I just
> signed up on clayart and
> could'nt resist replying. I have a walker pug mill
> that was donated to me by
> a local school district. Any suggestions ? Randy
>
> Randy -
> If you are fully aware of the dangers, they are
> great machines and can be
> used quite safely. The important thing is to
> completely control their use,
> and don't let anyone else near them. The newer ones
> had a key switch, and
> you should keep the key in a safe place. If yours
> is one of the older ones,
> install a key switch. Make sure that the shutoff
> bar in front is in good
> working condition. Make sure that the floor around
> the mill always stays
> dry while you are mixing clay. Avoid distractions.
> Concentrate on what you
> are doing. The Walker works okay for mixing clay
> from dry materials, but it
> is especially good for processing recycle. Unlike
> other pugmills, you can
> put recycle slurry in the hopper and add drymix
> claybody, and produce good
> clay. Other than this feature, it is slow and
> ponderous and no match for a
> Bluebird non-deairing mill.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> Home - vpitelka@dtccom.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> http://www.craftcenter.tntech.edu/
> > Date: Sun, 24 Feb 2002 21:59:59 -0800
> From: Lajos Kamocsay
> Subject: Amaco Alligator alternatives?
>
> Hello,
>
> I really like the textural look of the Amaco
> Alligator glazes.
>
> http://www.amaco.com/1998Catalog/glazes/ltcolors.htm
>
> Are there any public domain glaze recepies that
> produce similar results?
>
> Thanks,
> Lajos
> > Date: Mon, 25 Feb 2002 01:32:09 EST
> From: Jim V Brooks
> Subject: Re: extruder mystery
>
> the extrusion that comes out "curled" is due to
> uneven pressure forcing the
> clay thru the dies... If you have a large
> extruder.. then you need to make
> sure that the die is centered so equal pressure is
> exerted to all the surface
> of the clay. and the clay extruded will be
> straight...
>
> This can be a pain... and i finally decided i didn't
> really care.. i use the
> curved pieces also.. and have fun making strange
> shapes.. Do you have any
> idea how many shapes a teapot can be? Have
> fun.. Jim in Dallas
> > Date: Mon, 25 Feb 2002 07:52:06 +0000
> From: Carol Tripp
> Subject: Fixing crawling Berry Rust ^6ox
>
> Back in December, I appealed for help in fixing a
> crawling problem with
> Craig Martell's revision of Berry Rust, ^6ox;
>
> Silica 24
> EPK 23
> Neph Syn 9
> Bone Ash 9
> Talc 15
> Frit 3134 20
>
> Red Iron Oxide 8.5 to 12% - you have to test and see
> what you like
>
> Ron Roy suggested dropping the EPK entirely and
> substituting OM #4 (Bell
> Dark Ball is ok too);
>
> Silica 18
> OM #4 31
> Neph Syn 8
> Bone Ash 9
> Talc 14.5
> Frit 3134 19.5
>
> RIO 8.5
>
> Chris S and Craig M suggested calcining half the
> EPK.
>
> I tried both ways and RR's came out a darker iron
> red with black breaks and
> the calcined EPK version was a rustier iron red with
> black breaks.
> I prefer the rustier version. Neither crawled. I
> have since used the EPK
> version on large pots and the glaze will crawl if it
> is on particularly
> thickly - it all depends on how watery the glaze is
> and just how thick is
> thick. I use a yellow semi gloss trailed over the
> Berry Rust all the time
> and these two don't crawl, so...as usual, it all
> depends.
>
> Anyway, thanks to Ron, Craig and Chris for the help.
> This in now my
> favourite iron red.
> Best regards,
> Carol
>
>
>
>
>
>
_________________________________________________________________
> Chat with friends online, try MSN Messenger:
> http://messenger.msn.com
> > Date: Mon, 25 Feb 2002 08:00:01 +0000
> From: Carol Tripp
> Subject: Berry Rust addendum
>
> I forgot to mention the following in connection with
> my use of Berry Rust;
>
> Clay: Tuckers Smooth White and/or Mid Red ^6
> Glaze seived once through 80 mesh
> Fired to self supporting Orton Cone 6 tip touching
> shelf
> Soak - this varies with kiln behaviour, I shut the
> soak off when the cone
> falls
> I fire down using a controller as my 2 1/2" kiln
> drops like a rock; 50C an
> hour until 700C then 30 min soak and then off
> Passes home vinegar test
>
>
>
>
_________________________________________________________________
> Send and receive Hotmail on your mobile device:
> http://mobile.msn.com
> > Date: Mon, 25 Feb 2002 01:50:13 -0800
> From: Tim Lynch
> Subject: Re: have pity,Garrison..
>
> On 2/24/02 8:30 PM, "Elca Branman"
> wrote:
> I was firing my wood fire and listening to the
> radio. I heard Garrison
> start to talk about a potter and thought, presumed,
> he would say something
> positive. He didn't but I suppose you can't be
> funny and positive at the
> same time.
>
> Tim
> --
> Tim Lynch
> The Clay Man
> 1117 Tedford St SE
> East Wenatchee, WA 98802
> hifired@earthlink.net
>
> > While driving today, caught the tail end of a
> phrase in the inimitable
> > voice of Garrison Keeler from Lake Woebegone .."
> and from the shelf he
> > picked up a squat little brown pot made by a
> potter with a lot more
> > persistance then talent.."...
> >
> >
> > Elca Branman.. in Sarasota,Florida,USA
> > elcab1@juno.com
> >
> >
>
________________________________________________________________
> > GET INTERNET ACCESS FROM JUNO!
> > Juno offers FREE or PREMIUM Internet access for
> less!
> > Join Juno today! For your FREE software, visit:
> > http://dl.www.juno.com/get/web/.
> >
> >
>
______________________________________________________________________________
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or
> change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be
> reached at
> > melpots@pclink.com.
> > Date: Mon, 25 Feb 2002 11:26:04 -0000
> From: Martin Howard
> Subject: food safe oxide decoration
>
> I would always put the colouring oxide in the slip,
> under the clear glaze.
> That way you should always be safe.
> But there may well be different views on this.
>
> Martin Howard
> Webbs Cottage Pottery
> Woolpits Road, Great Saling
> BRAINTREE, Essex CM7 5DZ
> 01371 850 423
> martin@webbscottage.co.uk
> http://www.webbscottage.co.uk
> Updated 8th February 2002
> > Date: Mon, 25 Feb 2002 07:36:04 -0500
> From: Richard Aerni
> Subject: Re: have pity,Garrison..
>
> Well, Elca, you gotta admit, there are a lot of us
> out there that fit that
> category! You noticed, of course, that the studio
> was in an upstairs flat?
> Shows good site planning too!
> Best,
> Richard Aerni (ex-attic, and then basement, potter)
> Bloomfield, NY
> ----- Original Message -----
>
>
>
> > While driving today, caught the tail end of a
> phrase in the inimitable
> > voice of Garrison Keeler from Lake Woebegone .."
> and from the shelf he
> > picked up a squat little brown pot made by a
> potter with a lot more
> > persistance then talent.."...
> >
> >
> > Elca Branman.. in Sarasota,Florida,USA
> > elcab1@juno.com
> >
> >
>
________________________________________________________________
> > GET INTERNET ACCESS FROM JUNO!
> > Juno offers FREE or PREMIUM Internet access for
> less!
> > Join Juno today! For your FREE software, visit:
> > http://dl.www.juno.com/get/web/.
> >
> >
>
____________________________________________________________________________
> __
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or
> change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be
> reached at
> melpots@pclink.com.
> >
> > Date: Mon, 25 Feb 2002 06:01:00 -0700
> From: Marcia Selsor
> Subject: Re: Walker Pug Mills
>
> The Walker Pug Mill at MSU-Billings had an emergency
> crash bar below the
> hopper that shut it off with a knee jerk. Still, I
> posted a sign above
> it "JAWS III". It is a fine piece of equipment but
> students don't take
> precautions and hence, the potential problem. The
> auger blades were
> razor sharp stainless steel. Inevitably when
> cleaning I would slice a
> finger when it was turned off!
> They are work horses. The one at the University was
> old before I started
> working there in 1975. It is still there.
> Just my two cents.
> Marcia Selsor in Montana
>
> vince pitelka wrote:
> >SNIP But the Walker pugmill has a
> > wide-gaping hopper with an unstoppable auger in
> the bottom. It is an
> > accident waiting to happen, and the manufacturer
> is liable for that.
> > Garrison Kiellor refers to this as "the age of
> litigation," and I agree with
> > him. People are ready to sue for the dumbest
> reasons, and they damn well
> > SHOULD take responsibilities for their actions
> when they do something dumb.
> > But the Walker is dangerous as hell, and the
> manufacturer was liable for
> > that.
> > Best wishes -
> > - Vince
> >
> > Vince Pitelka
> > Appalachian Center for Crafts
> > Tennessee Technological University
> > 1560 Craft Center Drive, Smithville TN 37166
> > Home - vpitelka@dtccom.net
> > 615/597-5376
> > Work - wpitelka@tntech.edu
> > 615/597-6801 ext. 111, fax 615/597-6803
> > http://www.craftcenter.tntech.edu/
> >
> >
>
______________________________________________________________________________
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or
> change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be
> reached at melpots@pclink.com.
>
> --
> Marcia Selsor
> selsor@imt.net
> http://www.imt.net/~mjbmls
> http://www.imt.net/~mjbmls/Tuscany2002.html
> > Date: Mon, 25 Feb 2002 08:14:28 EST
> From: Steven Branfman
> Subject: Potters Of Onda
>
> Friends,
> We now carry the video "Village Potters Of Onda", a
> film by Robert Sperry.
> Please e mail or call the shop for details.
>
> Steven Branfman
> The Potters Shop
> 31 Thorpe Rd.
> Needham MA 02494, USA
> <>
> 781 449 7687
> fax: 781 449 9098
> > Date: Mon, 25 Feb 2002 07:17:09 -0600
> From: Greg Lamont
> Subject: Re: have pity,Garrison..
>
> Hi Elca,
> I had the good fortune of being in the live audience
> for that show
> (performed here in Ames at Iowa State University).
> In that morning's local
> newspaper was a feature article on the opening of
> Mary Weisgram's exhibit of
> her pottery at a local gallery. Perhaps he took a
> cue from that article,
> figuring that most of the folks in the audience
> would have seen it. BTW, if
> you ever get the chance to see him do Prarie Home
> Companion live, by all
> means do--it's worth it!
>
> Greg
> www.lamontpottery.com
>
> -----Original Message-----
> From: Elca Branman
> To: CLAYART@LSV.CERAMICS.ORG
>
> Date: Sunday, February 24, 2002 10:46 PM
> Subject: have pity,Garrison..
>
>
> >While driving today, caught the tail end of a
> phrase in the inimitable
> >voice of Garrison Keeler from Lake Woebegone .."
> and from the shelf he
> >picked up a squat little brown pot made by a potter
> with a lot more
> >persistance then talent.."...
> >
> >
> >Elca Branman.. in Sarasota,Florida,USA
> >elcab1@juno.com
> >
>
>________________________________________________________________
> >GET INTERNET ACCESS FROM JUNO!
> >Juno offers FREE or PREMIUM Internet access for
> less!
> >Join Juno today! For your FREE software, visit:
> >http://dl.www.juno.com/get/web/.
> >
>
>___________________________________________________________________________
> ___
> >Send postings to clayart@lsv.ceramics.org
> >
> >You may look at the archives for the list or change
> your subscription
> >settings from http://www.ceramics.org/clayart/
> >
> >Moderator of the list is Mel Jacobson who may be
> reached at
> melpots@pclink.com.
> >
> > Date: Mon, 25 Feb 2002 08:26:58 -0500
> From: Lois Ruben Aronow
> Subject: At-Home mug exchange
>
> Is the At-Home mug exchange still happening? I
> never received the
> name of a person to send it to, although I received
> confirmation a
> while ago that I would be included.
>
> Thanks.
> --------------------------------------------
> Lois Ruben Aronow
> gilois@bellatlantic.net
>
> Fine Craft Porcelain
> http://www.loisaronow.com
> > Date: Mon, 25 Feb 2002 08:38:28 -0500
> From: John Jensen
> Subject: Re: Subject: extruder mystery
>
> Bonnie
> This is a fine sounding answer. I like it. It's
> similar to John
> Hesselberths answer, but has a better visual logic
> to it.
>
> Now let's see...Lets just say: When you pull on the
> plunger you are
> compressing the clay and the presure is distributed
> equally through out. In
> an extreme case, when the exit hole was just at the
> side of the barrel,
> there would be no lateral pressure on the side next
> to the barrrel and it
> would curl that way. This should be something we
> can test. Even if my
> logic is completely wrong.
>
> John Jensen, Mudbug Pottery, Annapolis
> mudbug@toad.net, Toadhouse.com
>
> > Dear Clayarters,
> > This action probably is caused by the exit hole of
> a smaller size not
> being
> > centered over the main hole.
> > Regards, Bonnie Staffel, Charlevoix, MI
> >
> >
>
____________________________________________________________________________
> __
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or
> change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be
> reached at
> melpots@pclink.com.
> >
> > Date: Mon, 25 Feb 2002 14:13:39
> AMERICA/FORT_WAYNE
> From: BEVERLY SCULPTR
> Subject: George Koller
>
> Hi,
> Sorry for posting here but I do not have your e-mail
> addy.... My Q is . Why
> did you choose the $69.00 44677-3vga ( online #)
> over the $99.99 (
> 45096-0vga)(HVLP sprayer from Harbor Frieght) ?
> Just cost or other reasons?
> I have been following your nfo on this and want to
> try one . You can contact
> me direct if u choose at sculptr@usa.net
>
> Thanks much ,Beverly
> > Date: Mon, 25 Feb 2002 07:09:17 -0800
> From: Tena Payne
> Subject: Re: Fw: Re: here's how to repair a
> broken element
>
> I have repented the borax fix.
>
> Sounded like a good idea at the time.... on a
> deadline... no time to take apart the entire kiln
> and
> rewire (besides... the elements in transit)
> I've scraped the borax off the brick and am starting
> all over.
>
> Thanx to all who have voiced concern...
>
>
>
> >
> > What a terribly, completely misguided thing to do
> to
> > a kiln. I hate to
> > think of what is going to happen with a little
> time.
> > Borax is about the
> > worst possible thing to use in this case.
> > But good luck anyway -
> > - Vince
> >
> > Vince Pitelka
> > Appalachian Center for Crafts
> > Tennessee Technological University
> > 1560 Craft Center Drive, Smithville TN 37166
> > Home - vpitelka@dtccom.net
> > 615/597-5376
> > Work - wpitelka@tntech.edu
> > 615/597-6801 ext. 111, fax 615/597-6803
> > http://www.craftcenter.tntech.edu/
> >
> >
>
______________________________________________________________________________
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or
> change
> > your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be
> > reached at melpots@pclink.com.
>
>
> __________________________________________________
> Do You Yahoo!?
> Yahoo! Sports - Coverage of the 2002 Olympic Games
> http://sports.yahoo.com
> > Date: Mon, 25 Feb 2002 10:07:48 -0500
> From: Richard Aerni
> Subject: Re: Clay It Forward Report
>
> From: "L. P. Skeen"
>
> > Geez o Pete! Who knew there'd be Library
> Police???!!!
>
> I'm pretty clueless...but since Lisa was quoting my
> post along with her
> reply, perhaps I didn't do a very good job of
> explaining myself.
> Personally, I preferred Gavin Stairs' reply to mine,
> as far as explaining
> why a library may not choose to accept one's book
> donation. It sounded as
> though he was coming from the perspective of a large
> urban area library
> system, whereas mine is a small rural library. So,
> I'll try to explain a
> bit more...
>
> Libraries are like supermarkets, or like galleries.
> There is limited
> shelf/pedestal space. Plans have to be drawn up to
> figure out how a library
> may best serve their users, given the space and
> budget available. Most
> libraries I know of have long range plans, where
> they study the demographics
> of their potential users, survey them as to their
> wants and needs, analyze
> their collections to identify weak areas, and decide
> just what type of
> library they wish to be. Budget dollars are
> allocated to address these
> areas, and there are always far fewer dollars
> available than needs to be
> met.
>
> Why might a library choose not to accept a donation
> of a book? Perhaps the
> librarian decides it is not in top condition. It
> may also be the case that
> it does not fill a perceived need. In the case of
> Ron and John's book, I
> would suspect that our local librarian (who has
> final say in what is or
> isn't on the shelves, along with the board of
> trustees), would feel it to be
> irrelevant. Not that it isn't worthy, but who would
> use it? As far as I
> know, I am the only potter working within the area
> served by our library.
> Why put a book on the shelves when there may only be
> one potential user in
> the system? If need is demonstrated in future, by
> requests from users, then
> the librarian may decide to buy the book.
>
> That is why I urged potential donors to speak with
> their local librarian
> before offering a book for the collection. Believe
> me, librarians want
> books on their shelves, but not just any books.
>
> I'm not sure why making these points is perceived as
> being the library
> police. I'm not a regulator of our library, on the
> contrary, I'm a huge
> supporter. Believe me, there are plenty out there
> who would like to tell us
> on the board what we can have on our shelves.
> Within the past few years,
> we've had public discussions in our community as
> attempts to remove books
> such as _Catcher in the Rye_, _The Bell Jar_, and
> _Lord of the Flies_ were
> made. So Lisa, if I've somehow misunderstood your
> comments, I apologize. I
> was merely responding, rather quickly, to a comment
> intimating that
> libraries which refuse to accept books to their
> collections are somehow
> being run in a very antiquated fashion.
>
> Respectfully,
> Richard Aerni
> Bloomfield, NY...now off the soapbox, and back to
> glazing pots
> > Date: Mon, 25 Feb 2002 23:41:00 +0800
> From: Susan Cline
> Subject: Re: extruder mystery
>
> Sounds so much nicer, and more reasonable, in
> French.....
> -----Original Message-----
> From: Ingeborg Foco
> Date: Sun, 24 Feb 2002 18:03:21 -0500
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: extruder mystery
>
>
> > The French have a saying for things that are
> difficult to explain or things
> > they simply don't wish to explain....... With a
> shrug of the shoulders and
> > a roll of the eyes "Parceque ce comme ca" -
> translation....because, that's
> > the way it is!!
> >
> > Ingeborg
> >
> >
> >
> > > ----- Original Message -----
> > >
> > > Why does the first inch or so of an extrusion
> curl up as it comes out?
> > >
> > >
> >
>
____________________________________________________________________________
> > __
> >
> > >
> >
> >
>
______________________________________________________________________________
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or
> change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be
> reached at melpots@pclink.com.
> >
>
> --
> > Date: Mon, 25 Feb 2002 07:48:44 -0800
> From: Brenda Shepard
> Subject: Help is needed for a fellow student!
>
> I am looking for some advice to help a fellow
> student in my ceramic class at college. I thought I
> would pass on a little story that happen the other
> day. I am working on my BA at a local college and I
> am consider a non-traditional student (a student who
> should of finish college 20 years ago but thought I
> didn't need a college degree !) Anyway, I have been
> working in clay for the last 2 1/2 years and I am
> just now getting to the point that I can throw a
> decent pot. There was a new student in our class
> that is a international student and she is very
> small. She is built like a 12 year old (I never did
> have that problem...sigh! ) She has been having
> problem centering her clay. Nothing we did or
> suggested has help her. She just sit there at her
> wheel fighting with the clay with big tears rolling
> down her face. We have come to the conclusion that
> her hands are too small and she doesn't have any
> upper body strength. She doesn't seem to be able to
> keep a grip on the clay as she is trying to
> bring it up. She is suppose to throw 3- 8' inch
> cylinders by Monday. It is now Sunday and she can't
> thow the cylinders. I finally told her to go home
> and talk to the professor on Monday. I suggested t
> hat she goes to handbuilding for now. Does anybody
> have any suggestion on how to help this young lady
> from Japan. She looked so pitful the other day with
> clay in her hair. I have heard that some people
> can't physically throw pot's due to their body size
> and she does have very small hands. I have already
> talk to the professor and he thinks it might be a
> hopeless case! What do yah think, I know from
> reading the post everbody have a very unique
> opinion. Thanks from Texas.......
>
> ;)Brenda(:
>
>
>
>
> ---------------------------------
> Do You Yahoo!?
> Yahoo! Sports - Coverage of the 2002 Olympic Games
> > Date: Mon, 25 Feb 2002 11:09:19 EST
> From: Timakia@AOL.COM
> Subject: Expression in art/critisism.
>
> Dear clayarters:
> When someone create something in clay, or any other
> art form, it is a way of
> expression. To express oneself is a way of
> communication. Am I right or
> wrong?
> If I am right, then one would assume that there will
> be reaction to that, if
> I expressed myself in a way that people understand
> it, or that they think
> they understand that?
> Would you say that that brings a responsibility to
> the artist to express
> him/herself as clear as possible and to take the
> consequences of that
> statement with the same attitude or gracefulness
> that it was expressed with,
> or not?
> Is it not also true that the representation of your
> work also give out a
> certain message and should be considered just as
> important as the rest of the
> work?
> This subject came up in a discussion a few days ago
> and I would like to know
> what the general perception on this is.
> Thanks.
> Antoinette.
>
> Antoinette Badenhorst
> http://hometown.aol.com/timakia
> 105 Westwood circle
> Saltillo, MS
> 38866
> > Date: Mon, 25 Feb 2002 11:43:51 -0500
> From: Sheron Roberts
> Subject: Help!! I've lost you all
>
> Help! I'm having DT's, withdrawal
> symptoms! I have not received a
> Clayart post since Friday. My server
> says there is nothing wrong on their end,
> they have checked my Outlook Express
> configurations and say all is well there.
> I am receiving other emails, but no
> Clayart. LISTSERV says I am
> subscribed. So could some one please
> point me in the right direction? Where
> have all the Clayart emails gone?
> If anyone can help, please email me off list,
> otherwise I will not see your reply.
> And know that I greatly appreciate any
> input on this problem.
> Sheron in NC (humming a line from Pink Floyd..."is
> there anybody...OUT THERE?")
> > Date: Sun, 24 Feb 2002 23:28:42 -0500
> From: Helen Bates
> Subject: Re: Change of Address for Helen Bates to:
>
>
> Hello,
>
> This is a "Blind Carbon Copy" announcing my change
> of address to the
> following: . The new email address
> is effective
> immediately, although the old address will remain
> functional for a short
> while.
>
> If you keep my address in your E-mail Address
> Book(s), please change it
> to the above address.
>
> Clicking "Reply" to my e-mails should now
> automatically address your
> reply to the new address.
>
> Thank you for your attention to this information.
>
> Sincerely,
>
> Helen Bates
> --
>
>
=====================================================================================
> Helen Bates - mailto:nell@cogeco.ca,
> mailto:nelba@nycny.net
> Web - http://www.geocities.com/nelbanell/
> My Clayart Posts -
> http://www.geocities.com/nelbanell/nellposts/
> Clayarters' Web Sites -
> http://amsterlaw.com/clayart.html (B.
> Amsterlaw's Site)
>
=====================================================================================
> > Date: Sun, 24 Feb 2002 23:55:56 -0600
> From: Tommy Humphries
> Subject: Re: art aside -Engalnd
>
> This reminds me of a story I once heard, not
> necessarily a true one by any
> means, although in these days and times it could
> very well be.
>
> Once upon a time there was a great gallery opening,
> featuring many great
> works of modern art...paintings, sculpture,
> mobiles...you name it. As the
> guests walked through the gallery admiring the
> amazing works around them
> they came to a display in a small bare cubicle
> which contained only a plain
> black coat hanging on a hook. Many of the guests
> stayed and contemplated
> this installation for many long minutes, discussing
> among themselves the
> meaning of the piece, how sad it was, hanging all
> alone, empty, limp.
>
> This went on throughout the day, and as the time for
> the gallery to close
> approached, many went back for one last look at this
> singularly moving item,
> which by the way was displayed anonymously.
>
> A while after the last visitor had left, the gallery
> owner strolled through
> the gallery looking at all the treasures in the
> darkened rooms, coming at
> last to the most popular display of the day. Taking
> down the coat from its
> hook, he puts it on, closes the closet door(which
> had been left open
> accidentally that morning), and goes home.
>
>
> Tommy
>
> ----- Original Message -----
> From: "artimater"
> To:
> Sent: Sunday, February 24, 2002 3:59 PM
> Subject: art aside -Engalnd
>
>
> I was reading Dave Berry waiting for my coffee last
> week...He a nation-wide
> humorist....He found much mirth in the work of the
> artist who won the
> prestigious JMW Turner Award....It seems the piece
> was a device to turn the
> light off and on, off and on....every five
> seconds....What a concept...
> > Date: Mon, 25 Feb 2002 07:09:49 -0500
> From: John Hesselberth
> Subject: Re: food safe oxide decoration
>
> Hi Calista,
>
> No you cannot assume this. The only way to know is
> to test. Not only might
> safety be a concern, but durability certainly will.
> Will a piece like this
> hod up to multiple passes through a dishwasher? No
> one knows without
> testing. Even putting the oxides under a clear
> glaze may not do the job
> depending on the amount and type of oxide present
> and the thickness and
> durability of the clear glaze. Test, test,
> test.....
>
> Regards,
>
> John
>
> on 2/24/02 8:09 PM, Calista Bookout at
> claylady@OPTONLINE.NET wrote:
>
> > If you wish to decorate with oxides such as
> copper, iron or cobalt
> > must the decoration be applied under the glaze,
> assuming that the
> > glaze itself is food safe and stable or can you
> apply the oxides over
> > the glaze and have it safely enter into the glaze
> melt?
> >
> > This question is from a potter who is not a
> clayart member, but a
> > friend of mine. Thanks in advance for this
> information.
> >
> > C.C. Bookout
> >
> >
>
______________________________________________________________________________
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or
> change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be
> reached at
> > melpots@pclink.com.
>
> Web sites: http://www.masteringglazes.com and
> http://www.frogpondpottery.com
> Email: john@frogpondpottery.com
>
> "The life so short, the craft so long to learn."
> Chaucer's translation of
> Hippocrates, 5th cent. B.C.
> > Date: Mon, 25 Feb 2002 07:46:08 -0600
> From: artimater
> Subject: Re: Engalnd (sic)
>
> Janet wrote:
> The winner of this year's Turner prize actually
> proposed a very
> different work, but cost, time, technical
> constraints, etc. prevented
> him from actually producing the piece
>
> Was that the crumpled piece of paper or the load of
> party debris that the janitor mistakenly took to the
> dumpster?
> Here in Dallas we have the "Great Tent Stake"
> at the DMA....It is a tent stake with rope attached
> blowed up to monsterous proportion(60' maybe?)....It
> was the "Great Pride" of the museum when it
> opened...You gotta love it.....NOT....We also get to
> enjoy several Serra "Slabs of steel on
> edge".....Maybe one day one of them will fall over
> and squash someone...We also had a large Moore
> sculpture but the homeless over-patinaed it to the
> point of having to take it downHEHEHE...Everyone is
> a critic, huh?
> PAX,
> Rush
> "I only indulge when I've seen a snake, so I keep a
> supply of indulgences and snakes handy"
> http://artimator.com
> rush@artimator.com
> http://clubs.yahoo.com/clubs/texasceramics
>
> Artimator Galleries
> 2420 Briarwood Ln.
> Carrollton, TX 75006
> 972-841-1857
> > Date: Mon, 25 Feb 2002 11:16:20 -0500
> From: Bruce Girrell
> Subject: Re: Stay At Home Mug Exchange, last call to
> join or quit
>
> Please add us:
>
> Lynne and Bruce Girrell
> 532 Webster St.
> Traverse City, MI 49686
>
> We participated last year as well.
>
> Bruce Girrell
> > Date: Mon, 25 Feb 2002 09:21:13 -0500
> From: "L. P. Skeen"
> Subject: Ken Nowicki
>
> Are you out there? Last I heard Ken was moving
> (driving....) from CA to Lawn Guyland, NY. Anybody
> heard from him? He ordered 12 cookbooks and I am
> hoping the postmaster isn't enjoying them instead of
> Ken............
>
>
>
> L. P. Skeen www.living-tree.net
> Living Tree Studios, Summerfield, NC
> "Just because nobody understands you does NOT mean
> that you are an artist."
> The election ain't over til your brother counts the
> votes.
> > Date: Mon, 25 Feb 2002 08:43:34 -0600
> From: artimater
> Subject: Engalnd(still sic)
>
> I think Turner would roll over in his grave, but it
> wouldn't help....Modern art has learned that there
> are no concrete rules....The looney think that means
> there should be no discretion either...IMO Seems the
> only choices taken are the ones that convert to the
> most cash(taxes spent, universities supported,
> wheels turned)
> Wolfe proved logically in "The Painted Word"
> that the only truely valid art is the spark of
> inspiration in the head of the artist....Any attempt
> to produce anything visable in visual art is but a
> bastardization of the original piece...So where do
> we go from there?.....IMHO(HEHEHE)....Someone
> figured out that valid or not, art can turn the
> wheels in a big money way....Personally, I think the
> spirit of art is a better starting point....Since
> all production is invalid, and we as artists insist
> on production, we have free choice of all style of
> all art....Why not produce art that maximizes the
> connection to the human condition??...(How bought
> Japanese pottery?)...How bout art that hangs out in
> the bathroom of the owner for 60 years?....And then
> the owners child's bathroom for 40 more?...How about
> Art more capable of building a sustaining
> relationship with the viewer; not passed off like a
> joke....big splash big money!!!....If you want to
> make sculpture, why not emulate Maillol instead of
> Mickey Disney.
> Or as for myself...Why not make "Peace
> Vases"?.....The answer is money....There is no money
> in "Peace Vases"...
> I am not bonkers...I really think this way...and
> care about this stuff....PAX,
> Rush
> I've spent 6 months making vases...They are
> beginning to be kick ass...Ask me a vase question
> somebody
> "I only indulge when I've seen a snake, so I keep a
> supply of indulgences and snakes handy"
> http://artimator.com
> rush@artimator.com
> http://clubs.yahoo.com/clubs/texasceramics
>
> Artimator Galleries
> 2420 Briarwood Ln.
> Carrollton, TX 75006
> 972-841-1857
> > Date: Mon, 25 Feb 2002 09:25:15 -0500
> From: Cheryl Fisher
> Subject: Walker Pug Mills
>
> All this talk about the Walker Pug Mills brings back
> memories. Back in the
> late sixties when I was going to the University of
> Florida one of the first
> stories that was told to us was to always have two
> people when using the
> pugmill. Supposedly someone had gotten their arm or
> hair caught and was
> pulled in. It was always implied that there was
> great damage done (like
> death). I don't remember if it was a Walker. I never
> knew if it was a true
> story to the University or one that was told because
> it had happened in
> other places and was used to reinforce safety
> measures. I do remember being
> mortified one day because one of the older
> (supposedly more experienced
> students) had it filled to capacity and was standing
> on it.
>
> Four or five years ago the person who taught me
> pottery as an adult became
> the owner of a Walker pug mill because someone in
> the community had gone to
> our school board auction and picked up one. She
> loves it but she is an
> experienced potter and I believe there is always at
> least two or more people
> present when it is used.
>
> Cheryl F.
> Sarasota, FL
> cafish@comcast.net.
> > Date: Mon, 25 Feb 2002 10:31:51 -0600
> From: karen terpstra
> Subject: passive dampers; was Problems with new wood
> kiln
>
> Hi Brandon,
> Passive and mechanical dampers are intrigal parts of
> the kiln. While I
> believe that how you use them can be very kiln
> specific, I think there
> are some basics. Some people fire just fine without
> passives but if you
> have them and you fire for more than 18 hours, it
> makes the kiln more
> versatile. I'll try to explain how we use them in
> our kiln. I hope
> that someone else on the list with more experience
> and technical
> knowledge than me can explain "passives" further!
>
> In our kiln, we use them to help us control the heat
> and flame. If you
> have access to Ceramics Monthly Nov. '01, you can
> see our kiln and the
> passives on the side. There are two more on the
> opposite side and three
> in the back---all at the same level. These are the
> ones we use the
> most. They are each two brick openings and placed
> in the chimney about
> even with the top of the chambers and at the top of
> the widest part of
> the chimney. In the picture, you can see how our
> chimney tapers.
>
> We also have three more passives in the back, about
> 2 courses up from
> the floor. We don't use these much unless we are
> having trouble holding
> the kiln back or need to adjust for a cold area. We
> set cones in the
> back chamber and placed so that we can use these
> passive openings as spy
> holes as well. We can keep an eye on the flame
> running through the kiln
> and see if the kiln is firing evenly on each side
> etc.
>
> Just below the top set of passives are the
> mechanical dampers. There
> are 3 of them made from silicon carbide, encased in
> a steel frame and
> covered with kawool. this save the life of the
> shelves. However, we
> seldom use them during the firing except when we
> shut the kiln down
> after firing, then we close them. In fact they are
> ususally not in the
> kiln when we fire. We keep the openings plugged
> with bricks.
>
> In the beginning of the firing (during candling) the
> bricks of the
> passives are left in so that as much heat is pulled
> through the kiln and
> this heats up both chambers and the chimney.
> Getting the lower part of
> the chimney heated up is important to promote a
> strong draft or
> "draught" through the kiln. Some people open the
> passives (take bricks
> out) to keep heat in right away. This doesn't seem
> to work for us. We
> want the chimney heated up too.
>
> When the back chamber and lower part of the chimney
> are warm and lower
> cones are starting to drop in the front chamber, we
> pull out a few
> bricks from the passive openings to let a mix of
> cold air into the
> chimney. This slows down the draught and holds more
> heat in the back of
> the kiln. If we stall, we can put the bricks back
> in so that more heat,
> longer flame start going through the entire kiln
> again.
>
> Once we have cones dropping in both chambers, we
> start looking for cold
> spots and try to even out the kiln. We need to be
> aware of the hottest
> part of the flame which is not at the tip or at the
> end, but seems to be
> in the middle of the flame (depending when and what
> temp we are at).
> So, we use the passives to adjust where we need the
> hottest part of the
> flame to be.
>
> With some firings, a person will stand near the
> passives. When a big
> stoke is fed into the firebox, the person has the
> bricks "in" so that
> the flame really draughts through. Then that person
> will pull some
> bricks out to keep the flame and heat from that
> stoke in the kiln. When
> the flame starts to recede back, the person puts the
> bricks back in to
> lengthen out the flame again and repeats with the
> next stoke...
>
> When we soak, we are maintaining a temperature from
> cone 10-12. During
> the soak the hot air rises and evens out the top
> part, corners, cold
> spots, etc. While we are doing this we have that
> top row of passives
> open (bricks out) so in theory, the heat stays in
> the kiln. If we have
> low barometric pressure (as we often do) this screws
> everything up and
> we have to start playing around more often with the
> passives just to
> keep more flame and heat traveling through the kiln.
> There are always
> variables it seems.
>
> I feel like I'm babbling and not explaining this
> well. Hopefully
> someone else can. Maybe start a discussion on
> dampers?
>
> happy firings,
> Karen Terpstra
> La Crosse, WI
>
>
> > Date: Fri, 22 Feb 2002 22:15:34 -0600
> > From: Brandon Phillips
> > Subject: Re: Problems with the new wood kiln
> >
> > I just unloaded the the underfired ware today,
> and to my shock found that we
> > got a good cone 11 behind the bagwall in the
> middle. Actually about 20% of
> > the pieces were definite diamonds in the rough.
> We are going to make some
> > adjustments to the structure. We found some
> gaps to fill and we need to
> > tighten the firebox up. The stack is 16 feet
> high, but the university here
> > won't let us increase its height. It's only
> 25-30 cu. ft stacking space and
> > I think that 16 ft should be plenty of height,
> even though more would
> > probably be better. Chimeny is 18 X 12" with a
> kiln shelf damper, no
> > passive damper. Where would the placement of a
> passive damper be and how
> > large would it be? I read Jack Troy's book but
> it doesn't give any info on
> > passive dampers. We are going to fire again on
> monday so wish us luck!
> > Thanks to everyone that responded, its much
> appreciated!
> >
> > Brandon Phillips
> >
> >
> >
> > Date: Mon, 25 Feb 2002 09:32:29 -0500
> From: "L. P. Skeen"
> Subject: Cookbooks and Replacements
>
> Hello folks,
>
> First item: There are still cookbooks available.
> Go to http://www.living-tree.net to order yours.
>
> Second item: I have been contacted by several
> people who state they have not rec'd their cookbooks
> and it has been however long since they ordered.
> ALL cookbooks heretofore ordered have been mailed,
> starting the week before Christmas and ongoing until
> more than 2 weeks ago, so you should have yours by
> now. IF YOU DON'T HAVE YOURS YET it is because the
> post office has failed us and not because I didn't
> mail it. If you don't have yours yet, contact me
> now for a replacement.
>
> Replacements w/b mailed this week to:
>
> Alander
> Hein
> Johnson
> Christen
>
> Thanks.
>
>
>
> L. P. Skeen www.living-tree.net
> Living Tree Studios, Summerfield, NC
> "Just because nobody understands you does NOT mean
> that you are an artist."
> The election ain't over til your brother counts the
> votes.
> > Date: Mon, 25 Feb 2002 10:47:13 -0600
> From: Peter Coates
> Subject: Walker Pug Mills/using it?
>
> I usually keep the hopper full enough that the auger
> blade are not
> exposed.... but to agree with the rest of the
> folks.... a Walker would
> remove you arm, pug it into clay with out skipping a
> beat...
>
> Question?
>
> How do you all clean it between uses.... i cover
> the hooper with plastic...
> but the clay dries anyways... a day or two before i
> plan on using it... i
> run buckets of water through it while running the
> auger... Any ideas on how
> it should be cleaned and used...???
>
> pete in Oklahoma
> > Date: Mon, 25 Feb 2002 11:03:15 -0600
> From: Dannon Rhudy
> Subject: Re: Help is needed for a fellow student!
>
> At 07:48 AM 2/25/02 -0800, you wrote:
> >I am looking for some advice to help a fellow
> student in my ceramic class
> at college. She is built like a 12 year old
> .....have come to the conclusion that her hands are
> too small
> ...doesn't seem to be able to keep a grip on the
> clay...
>
> Even children can throw pots on the wheel, so hand
> size and
> body weight are not a true issue. Has anyone (i.e.,
> the teacher)
> actually stood behind her and put their hands over
> hers,
> and SHOWN her, literally, what to do? There is
> really no reason
> for her to be in misery over a)learning to center;
> and b)learning
> to open and pull a cylinder. Some people have an
> easier time,
> but smallness is not a critical factor. Clay is
> about finesse,
> and not brute strength. She should start with
> perhaps a two-
> pound piece.
>
> You might ask her if some skilled person in the
> class might
> help her understand what she is trying to do by
> actually physically
> helping her ( in the event that the teacher does not
> do it
> himself).
>
> regards
>
> Dannon Rhudy
> > Date: Mon, 25 Feb 2002 12:10:09 -0500
> From: Marta Matray Gloviczki
>
> Subject: Re: have pity,Garrison..
>
> Greg Lamont wrote:
>
> >...In that morning's local
> >newspaper was a feature article on the opening of
> Mary Weisgram's exhibit
> >of her pottery at a local gallery. Perhaps he took
> a cue from that article,
>
> >>...and from the shelf he
> >>picked up a squat little brown pot made by a
> potter with a lot more
> >>persistance then talent.."...
>
> hope she doesnt read clayart :-))
> marta
> > Date: Mon, 25 Feb 2002 09:25:47 -0800
> From: Snail Scott
> Subject: Re: Red Iron Oxide As Cone 10 Porcelain
> Casting Slip Body Color
>
> At 07:26 PM 2/24/02 -0600, you wrote:
> >Perhaps a "dark chocolate brown" is not possible
> with Red Iron Oxide alone
> >in oxidation.
>
>
> Add some manganese; it'll help make it darker.
>
> -Snail
> > Date: Mon, 25 Feb 2002 12:42:13 EST
> From: Paulette Carr
> Subject: Re: Paul Lewing:Virtual PC on a Mac
>
> Hi, Paul!
>
> I am glad that I can return the favor, and answer
> one of your questions:
>
> I have run Matrix2000 on Virtual PC 4.0. My system
> is not an iMac but a
> G3/233 MHz PowerBook, my operating system is 8.6
> with 160 RAM (physical), my
> emulator is Virtual PC v. 4.0 with Windows 98, and
> my printer is an hpdeskjet
> 940c inkjet printer with a USB connection (I have an
> adaptor card for USB
> connections, now). Matrix always ran very well, but
> slowly on the emulator,
> but the problem was in printing ... I couldn't print
> any of my work. It
> seems likely that with the new type of printer
> connection that it will be
> possible. I should be testing this shortly. This
> may not be an issue for
> you with your newer equipment, operating system and
> motivation.
>
> For me, it is much easier to run a program on the
> Mac platform (I use Insight
> and Hyperglaze). I am not a big fan of Virtual PC,
> but Matrix seemed very
> good to me, especially considering that I wanted to
> use Ian Currie's method,
> and there is some sort of a tie in. There are great
> tutorials on the
> website. As for best, I will leave that discussion
> to someone else. I
> bought three programs, and something tells me that
> is quite enough.
>
> If you want more information on the difficulties
> that I had with Virtual PC
> 4.0 you can go to the following post in the
> archives:
> April 2001 (#2303)
>
>
http://lsv.ceramics.org/scripts/wa.exe?A2=ind0104&L=CLAYART&P=R113342
> .
>
> Good luck, and let me know if I can be of further
> help.
> Paulette Carr
>
>
> <> PC-simulator programs, and
> I'll be able to demo ALL the programs, not just the
> Mac ones. Does anyone
> have any experience with these things? Is one
> better than another? And
> specifically, has anyone tried to run Matrix,
> GlazeChem, Glaze Simulator, or
> Glaze Workbook on one of them?
> Thanks, Paul Lewing, Seattle>>
> > Date: Mon, 25 Feb 2002 17:46:33 +0000
> From: Judith Frederick
> Subject: Re: Roman / Medusa THIN pieces anyone?
>
> these links show no images for me.
>
> >From: Numb-Brrr
> >Reply-To: Ceramic Arts Discussion List
>
> >To: CLAYART@LSV.CERAMICS.ORG
> >Subject: Roman / Medusa THIN pieces anyone?
> >Date: Sun, 24 Feb 2002 21:54:40 -0500
> >
> >Ive spent literally days and hours looking for a
> medusa head the size of a
> >diner plate or close to it. I dont care if its
> ceramic or bronze...or
> >plaster. Has anyone see anything like this? Or know
> where to get a plaster
> >one made? If so how much? Thanks in advance for
> responding :)
> > Here are 2 pictures or
> examples of what I am talking
> >about. I am also looking for any roman type theme
> in the same style...flat
> >and made out of ceramic etc. Ceramic tiles might be
> something im interested
> >in to. Thanks :)
> > -Patrick
> >
> >http://www.angelfire.com/il/oveolga/w_meduza.jpg
> >
> >http://www.angelfire.com/il/oveolga/medusasm.jpg
> >
>
>______________________________________________________________________________
> >Send postings to clayart@lsv.ceramics.org
> >
> >You may look at the archives for the list or change
> your subscription
> >settings from http://www.ceramics.org/clayart/
> >
> >Moderator of the list is Mel Jacobson who may be
> reached at
> >melpots@pclink.com.
>
>
>
_________________________________________________________________
> Send and receive Hotmail on your mobile device:
> http://mobile.msn.com
> > Date: Mon, 25 Feb 2002 12:54:39 -0500
> From: Dave Gayman
> Subject: Re: Help is needed for a fellow student!
>
> Looking back on my own experience, tall cylinders
> were a problem because
> (1) I didn't sufficiently wedge the clay and more
> importantly (2) the clay
> I was using was far too hard, and (3) my wheel speed
> remained too high as
> the cylinder was raised.
>
> With the right consistency and wedging, clay will
> respond to almost any
> body build.
>
> If she also has underdeveloped small muscle control,
> it will be a while
> before she's in charge. Until then, the clay will
> be in charge.
>
> Has the professor or lab assistant thrown a cylinder
> with her? My first
> teacher would throw by holding our fingers -- a
> fantastic way to convey the
> motions and pressure involved. She also pointed out
> that my clay was far
> too hard. But we had 2+ hours of wheel time in
> class and 5 or more hours
> available during open hours, and even with that, it
> took a while for any of
> us to draw a cylinder over 4 inches.
>
> Dave
>
> At 07:48 AM 2/25/2002 -0800, you wrote:
> >IShe is suppose to throw 3- 8' inch cylinders by
> Monday. It is now Sunday
> >and she can't thow the cylinders. I finally told
> her to go home and talk
> >to the professor on Monday. I suggested
> >;)Brenda(:
> > Date: Mon, 25 Feb 2002 10:17:06 -0700
> From: James Bowen
> Subject: Re: slip trailing
>
> Miss Clairol Tint 'n Toner bottles or the generic
> equivalent
> are available from beauty shops or their suppliers
> for $1-2
> each and work great. Very fine line. Trimable for a
> larger
> opening if need be.
> I can see the need for both. Those that act using
> gravity
> instead of pressure should be more controllable. I
> think if
> we cut a hole in the side of a bottle near the
> bottom you
> could use a finger or thumb to allow air in and a
> bottle
> could be a gravity type trailer. Might need to make
> a cradle
> for it though .
>
>
>
> Stay Centered
> James Bowen
> Boyero CO
> jbowen43@yahoo.com
> jbowen43@plains.net
> > Date: Mon, 25 Feb 2002 12:24:53 -0600
> From: Burns Christina
> Subject: Re: Help is needed for a fellow student!
>
> I have worked with young cub scouts who are also
> very small and the secret
> seems to be in working with the amount of clay each
> individual can handle.
> After she becomes consistent at that level she can
> add more clay until she
> reaches enough to go 8 inches. Mostly it takes
> practice, practice and more
> practice.
>
>
> L. Christina Burns
> Ottawa University
> Student Development Office
> 1001 S Cedar, #2
> Ottawa, KS 66067
> burnsc@ottawa.edu
>
>
> -----Original Message-----
> From: Brenda Shepard
> [mailto:brendashepard@YAHOO.COM]
> Sent: Monday, February 25, 2002 9:49 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Help is needed for a fellow student!
>
> I am looking for some advice to help a fellow
> student in my ceramic class at
> college. I thought I would pass on a little story
> that happen the other
> day. I am working on my BA at a local college and I
> am consider a
> non-traditional student (a student who should of
> finish college 20 years ago
> but thought I didn't need a college degree !)
> Anyway, I have been working in
> clay for the last 2 1/2 years and I am just now
> getting to the point that I
> can throw a decent pot. There was a new student in
> our class that is a
> international student and she is very small. She is
> built like a 12 year old
> (I never did have that problem...sigh! ) She has
> been having problem
> centering her clay. Nothing we did or suggested has
> help her. She just sit
> there at her wheel fighting with the clay with big
> tears rolling down her
> face. We have come to the conclusion that her hands
> are too small and she
> doesn't have any upper body strength. She doesn't
> seem to be able to keep a
> grip on the clay as she is trying to
> bring it up. She is suppose to throw 3- 8' inch
> cylinders by Monday. It is
> now Sunday and she can't thow the cylinders. I
> finally told her to go home
> and talk to the professor on Monday. I suggested t
> hat she goes to handbuilding for now. Does anybody
> have any suggestion on
> how to help this young lady from Japan. She looked
> so pitful the other day
> with clay in her hair. I have heard that some
> people can't physically throw
> pot's due to their body size and she does have very
> small hands. I have
> already talk to the professor and he thinks it might
> be a hopeless case!
> What do yah think, I know from reading the post
> everbody have a very unique
> opinion. Thanks from Texas.......
>
> ;)Brenda(:
>
>
>
>
> ---------------------------------
> Do You Yahoo!?
> Yahoo! Sports - Coverage of the 2002 Olympic Games
>
>
____________________________________________________________________________
> __
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change
> your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be
> reached at
> melpots@pclink.com.
> > Date: Mon, 25 Feb 2002 11:47:17 -0700
> From: Dave Finkelnburg
>
> Subject: Clay books, libraries
>
> Hello all!
> I want to second Richard Aerni's comments, and
> Gavin Stairs' also, about
> how libraries pick which books to shelve. As a
> member of a library board, I
> can testify to the accuracy of what Richard says. I
> would add, if you have
> a special interest, and want information about that
> interest to be on the
> shelves of your library, contact your librarian.
> Librarians want most to
> have the shelf collection of their library reflect
> the interests of their
> library users.
> Regards,
> Dave Finkelnburg
> > Date: Mon, 25 Feb 2002 13:02:55 -0600
> From: Martin Rice
> Subject: Re: Expression in art/critisism.
>
> The questions you are asking here are,
> simultaneously, both the easiest to
> answer and the most difficult to answer.
>
> > When someone create something in clay, or any
> other art form, it is a way
> of
> > expression. To express oneself is a way of
> communication. Am I right or
> > wrong?
>
> You're right and wrong. Yes, expressing yourself is
> usually understood as a
> form of communication. But the world is full of
> "artists," in all media who
> really do not think at all about "what they are
> saying." Rather, they are
> thinking "will this sell." If they're "saying"
> anything, it's to themselves
> and goes something like: "this piece will be
> appealing to the customers I'm
> showing it to, because: [take your choice]
> earthtones are in; personal
> memoirs are in; honey jars are in; 12-tone is in;
> etc., etc.
>
> > If I am right, then one would assume that there
> will be reaction to that,
> if
> > I expressed myself in a way that people understand
> it, or that they think
> > they understand that?
>
> Now let's assume that the artist is not one of those
> described above, but is
> truly trying to communicate something with h/er art.
> If we assume that the
> people looking at it are considering it seriously,
> yes there will be a
> reaction of some sort. But the crux of the matter is
> in the second part of
> your above paragraph: "if I expressed myself in a
> way that people understand
> it, or that they think they understand that?" Never,
> ever will "people,"
> that is, all the people who consider a work of art
> understand it in the same
> way. I say that without any qualification
> whatsoever. That is the nature of
> humanity. So in a sense, an artist will never
> express h/erself in a way
> "that people understand it" in the way the artist
> understands it.
>
> > Would you say that that brings a responsibility to
> the artist to express
> > him/herself as clear as possible and to take the
> consequences of that
> > statement with the same attitude or gracefulness
> that it was expressed
> with,
> > or not?
>
> Anybody, artist or not, has the responsibility to
> express h/erself as
> clearly as possible, if s/he wants to be understood.
> As far as taking the
> consequences, you have no choice but to "take them."
> How you take them will
> always be a reflection of who you are. There's no
> way to prescribe to humans
> how they should take things.
>
> > Is it not also true that the representation of
> your work also give out a
> > certain message and should be considered just as
> important as the rest of
> the
> > work?
>
> I'm not quite sure if I understand what you mean by
> the above, but if you're
> talking about form vs. content, then I'm an adherent
> of the argument that
> there is no form without content and no content
> without form. In English,
> you can't express verbally/natively/correctly "Mary
> had a little lamb,"
> without doing it in 3 and 1/2 feet with the first
> syllable of each foot
> stressed. If you're not speaking about form vs.
> content, excuse the
> digression.
>
> But to close, I would indeed say that there has
> never been significant art
> which is not informed by thought. However, once the
> artist lets h/er
> creation go, it takes on it's own life, over which
> the artist no longer has
> any control. Artists should realize this and not
> agonize about it. Rather
> s/he should get back into the studio and create some
> more thought.
>
> Martin
> Lagunas de Barú, Costa Rica
> www.rice-family.org
> > Date: Mon, 25 Feb 2002 14:02:40 -0500
> From: Luba Sharapan
> Subject: Olympic or Scutt and high alumina or
> silicon carbide
>
> Hello everyone and sorry about the indecisive
> heading on this one. It's a
> curse, I have so many questions right now, I can't
> even seem to prioritize
> them. Once again, I turn to the experts for help.
>
> I am buying a kiln (or 3) and price-wise have found
> Scutt and Olympic 28
> cubic foot, cone 8 electrics to be comparable and
> (just barely) within my
> budget. On paper, they seem very similar. In
> reality, I'm sure there are
> significant differences. I'm getting the electronic
> controllers on each,
> along with the appropriate "underbelly" venting
> system. Has anyone had any
> experience with either brand - or one brand versus
> the other? I've
> searched the archives and wasn't able to find any
> information about the
> comparative merits of each. Like everyone, I am
> interested reliability
> (kiln, controller AND manufacturer) and am having a
> hard time
> distinguishing between the kilns from the brochures
> and sales folks.
>
> The other question is about the kiln shelves to go
> into the aforementioned
> kilns. From previous posts (and my personal
> experience in classroom
> settings) it seems that the high alumina is the
> preferred and less
> expensive alternative. Most of the posts about this
> issue are from the
> late 90's. Has anything changed in the last few
> years? Anything new out
> there? If not, can anyone recommend an
> inexpensive/reliable distributor?
>
> Thank you so much.
>
> Luba - who is having a BLAST playing with GlazeChem
> this week!
>
> The MudFire Center
> www.mudfire.com
> > Date: Mon, 25 Feb 2002 13:07:31 -0800
> From: Tony Ferguson
> Subject: Re: passive dampers; was Problems with new
> wood kiln
>
> http://www.2000cranes.com/Tenmoku_Feature.htm
>
> Check this guys work out! Beautiful!
>
>
>
> Tony Ferguson
> Stoneware, Porcelain, Raku
> www.aquariusartgallery.com
> Photographic, Web Site, & Marketing Services for
> Artists
> 218-727-6339
> 315 N. Lake Ave
> Apt 401
> Duluth, MN 55806
> > Date: Mon, 25 Feb 2002 19:28:02 +0000
> From: lela martens
> Subject: single layer commercial glaze
>
> Thank you Ababi, I will be doing some testing as
> well, but can`t get to
> the guild room for awhile and don`t have many
> materials here at home. I will
> be watching the list to hear how your testing works
> out. Thank you for
> taking the time to respond, Lela
>
>
>
_________________________________________________________________
> MSN Photos is the easiest way to share and print
> your photos:
> http://photos.msn.com/support/worldwide.aspx
> > Date: Mon, 25 Feb 2002 09:44:52 -0800
> From: Ryan Kamp
> Subject: Re: Anywheels on Sale
>
> Does anyone know if other companies such as Creative
> Industries offers
> this type of thing? Gets me thinking... I'd also be
> interested in
> purchasing a cosmetically flawed skutt :)
>
> "another option is to call up Laguna Clay and be put
> on a waiting list
> for a
> "cosmetic flaw" wheel...the price is around the same
> as Dan's...much
> cheaper
> than the list price. "
>
>
> Ryan in Seattle
> > Date: Mon, 25 Feb 2002 12:49:21 -0500
> From: Tig Dupre
> Subject: Re: Big News Clay
>
> Unfortunately, there are "monsters" out there who
> will always be grumbling,
> no matter what we do.
>
> Hi, I'm Tig Dupre, new to the group, renewing my
> love of clay after a too
> long hiatus for another career. I have been reading
> the list for a couple
> of months now, savoring the exchange of information,
> marvelling at the
> amount of craft wisdom in this one simple forum.
>
> You are to be congratulated. This media and this
> forum are what the
> internet was designed to do. Exchange information
> without having expensive
> phone bills, trips sponsored by who-knows-who, or
> lengthy position papers
> that seldom get read.
>
> All of us are students, and all of us are teachers.
> In every class, there
> is the one who is disruptive, inept, and rebellious.
> It is up to us to
> weed them out. Rather than form a committe, or ask
> a government agency
> (shudder!) to do it, we need to undertake the
> distasteful task of telling
> bullies where they can stuff their trash.
>
> This list is, for me a personal gold mine, bringing
> me up to date from a
> van Winklian absence of more than thirty years. I
> will not see it, the
> poters and ceramicists who use the list wisely, nor
> the suppliers who
> subscribe brought down by some bully.
>
> "Monsters" will always exist, like cockroaches.
> And, like cockroaches, if
> you do not tolerate them, will move on.
>
> Thanks for letting me rant.
>
> I live in Springfield, VA, and am setting up my own
> studio in my converted
> garage. I am hoping to learn much from all you
> experienced mudslingers out
> there, and maybe teach some of the mudpups from my
> own vast basket of
> errors.
>
> Get dirty!
>
> Tig
> > Date: Mon, 25 Feb 2002 13:25:51 -0500
> From: Tig Dupre
> Subject: Re: too old?
>
> I, also am 56 years old, and pretty beat up to boot,
> after more than 30
> years in the military. Pottery was my major in
> college, a lo-o-o-o-ong
> time ago. After graduation, I went into the service
> and only recently
> decided to get back into pottery, after retirement
> and moving into the
> civilian world.
>
> I can speak personally for centering problems,
> because I am, in effect re-
> learning how to do it all. My brain remembers, but
> the hands are rusty.
>
> I use a Stuart motorized kickwheel, throwing
> stoneware and porcelain. I
> work mainly in the evenings, after ten or more hours
> at work as a computer
> geek.
>
> My advice, stretch first, and "center" your mind on
> what you're about to
> do. It's kind of a Zen thing. Use music, incense,
> aromatherapy, whatever
> it takes to concentrate your thoughts on clay. Not
> on the bad day you had,
> not on something someone else said last week, not on
> that persistent ache
> in your elbow. Just the clay.
>
> Once your mind is centered, the clay follows a lot
> more easily.
>
> I start a session with wedging. It helps to warm me
> up, loosen these
> tired, old muscles, and get the wonderful homey
> smell of Mother Earth in my
> nose. After wedging, I do a few runner's stretches,
> then sit on the wheel
> and kick it slowly, with no clay on it for a minute
> or so.
>
> I start throwing with a three or four pound ball,
> sealing it to the bat,
> and getting the first splash of mud onmy apron.
>
>
> I can work for a few hours, getting some pots on the
> drying rack, and
> putting a few back in the slop bucket. And it is
> wonderful therapy for me.
>
> Hope this helps,
>
> Tig
> > Date: Mon, 25 Feb 2002 14:05:36 -0500
> From: Darlene Tsukamoto
>
> Subject: Phil Rogers Workshop in VA
>
> Item Type: Appointment
> Start Date: 02/25/2002 03:00 pm EST (Monday)
> Duration: 1 Hour
>
> Phil Rogers Ceramic Workshop
>
> Sat., March 9, 2002; 10:00 am - 5:00 PM
> Sun., March 10, 2002; 10:00 am - 4:00 pm
> Fee: $145.00 (Slide talk included)
>
> Friday, March 8, 2002; 7:00 - 9:00 PM artist
> reception/slide talk
> Slide Talk only: $10.00
>
>
> It is our pleasure to welcome internationally
> renowned Welsh potter Phil Rogers to conduct a 2-day
> workshop at the Lee Arts Center. In this workshop
> Phil will demonstrate his methods of throwing and
> making pots, and share his thoughts and influences
> on his work.
>
> Living and working in rural Wales, Phil Rogers has
> been a potter for over 23 years. His salt glazed
> wood fired pieces are highly regarded by collectors'
> as well as fellow potters. His work is a reflection
> of a variety of ceramic traditions -- from Medieval
> European, 15th and 16th century Korean, German salt
> glaze, 9th century Persian to the work of Hamada
> and Leach. He has had more than 30 one-man shows
> in galleries in the UK and overseas together with
> numerous group exhibitions. He has conducted many
> workshops in the US, Canada, Korea, S. Africa, Malta
> and the UK. He has written 3 books: 'Ash Glazes';
> 'Throwing Pots' and newly produced 'Salt Glazed
> Ceramics'. His work has been featured in numerous
> ceramic publications including Ceramics Monthly,
> Ceramic Review and Art and Perception. Many of his
> pieces are part of museum collections throughout
> Europe and the US.
>
>
> For more information contact:
> Lee Arts Center
> 5722 Lee Highway
> Arlington, Va 22207
>
> Website: www.erols.com/leearts
> Email: leearts@erols.com or
> dtsuka@co.arlington.va.us
> Ph.: 703-228-0558/0560
>
> > Date: Mon, 25 Feb 2002 12:29:40 -0800
> From: Craig Martell
> Subject: Re: Walker Pug Mills/using it?
>
> Pete was wondering:
> >How do you all clean it between uses.... i cover
> the hooper with plastic...
> >but the clay dries anyways...
>
> Hello Pete:
>
> I haven't used a Walker since college and that was a
> long time ago.
>
> However, with any pug I've ever used, the best way
> to keep the interior
> clay from drying out is to place wet towels in and
> over the clay in the
> hopper and then cover the whole shebang with plastic
> and use some sort of
> compression around the edge. I have a 4" Venco and
> I cover the nozzle with
> a wet rag and plastic that's held tight with a big
> rubber "O" ring. I put
> two wet towels over the hopper and cover them with
> plastic and strap it
> tight with a bungee cord.
>
> With your Walker, you might want to throw a couple
> pitchers of water in the
> hopper before you cover it. Then give it a check
> once in a while if it's
> going to sit idle for a long period and add water
> when needed. An ounce of
> prevention so to speak.
>
> regards, Craig Martell in Oregon
> > Date: Mon, 25 Feb 2002 14:24:19 -0600
> From: george koller
> Subject: Re: HVLP Sprayers, Different Models
> (Beverly)
>
> > Why did you choose the $69.00 44677-3vga ( online
> #) over the $99.99 (
> > 45096-0vga)(HVLP sprayer from Harbor Frieght) ?
>
> Beverly,
>
> I'm all but certain my catalog did not feature or
> even have the $99.99
> version so I was unaware of it. I did see another
> unit come up on my
> check of their website but I didn't study it, I
> actually thought it was a
> even cheaper model.
>
> My main reason for doing this is that I have
> believed that HLVP is just
> better in some ways and that I'd like to verify this
> on my own, with my
> glazes, in my booth, doing our pieces. This I've
> done this now, and I'm
> pretty satisfied with the basic premise of the true
> HVLP units having
> intrinsic basic advantages over the pseudo models,
> and that are not lost
> even in the cheapest units. By the way, the tiles I
> sprayed were more
> even, and had a better finish than any I've ever
> done (but this may or
> may not be desirable for others.)
>
> There is clearly some re-learning involved but I
> just "had fun" with it
> and it all worked out. Using water first to test
> out the patterns and such
> may have helped. Then I did a modest number of
> tiles and let myself
> "sleep on it". I liked spraying heavy at first,
> then when it was just starting
> to get dry, hitting them again with a lighter coat.
>
> Now I'd really like to understand the difference
> between these low end
> true HVLP units and the more expensive ones. But
> one step at a time...
> I feel like I've done well to get this far....
>
> When I get back to Wisconsin, I'll study the other
> gun for any hints, I'm
> behind getting stuff ready here.
>
> Best,
>
> George
> > Date: Mon, 25 Feb 2002 12:29:04 -0800
> From: Cindi Anderson
> Subject: Re: Help is needed for a fellow student!
>
> I am a weakling with no upper body strength and I
> can throw. I even threw
> pots when I was 14 and weights 80 pounds. Think
> about how long it has taken
> you. She just needs to "find it" and she will be
> ok, but it takes some time
> to find it, and some teachers are better than others
> and helping that
> process along.
>
> I was going to start giving advice on centering, but
> then I realized you
> didn't say she had problems centering... but
> problems pulling up... Here is
> a tip I got from Mary Law. After opening, collar in
> the clay. She calls
> this next move a pinch, and you do it before your 3
> pulls (you are only
> allowed 3, but that is another story!) The fingers
> of your left hand go
> inside the clay, at about 5 o'clock, the thumb is
> outside the clay. Both as
> far down as they can be. You pinch your thumb and
> fingers together hard and
> pull up, while pushing hard from the outside with a
> sponge in your right
> hand (to prevent the cylinder from going wide).
> This gets quite a bit of
> the clay up before you even start pulling. And then
> you have an inward
> starting position which gives you a lot of leeway in
> doing your pulls.
>
> Also, please make sure her clay is soft!
>
> Cindi
> Fremont, CA
>
> ----- Original Message -----
> From: "Brenda Shepard"
>
>
> Anyway, I have been working in clay for the last 2
> 1/2 years and I am just
> now getting to the point that I can throw a decent
> pot. There was a new
> student in our class that is a international student
> and she is very small.
> She is built like a 12 year old (I never did have
> that problem...sigh! ) She
> has been having problem centering her clay. Nothing
> we did or suggested has
> help her. She just sit there at her wheel fighting
> with the clay with big
> tears rolling down her face. We have come to the
> conclusion that her hands
> are too small and she doesn't have any upper body
> strength. She doesn't seem
> to be able to keep a grip on the clay as she is
> trying to
> > bring it up. She is suppose to throw 3- 8' inch
> cylinders by Monday. It
> is now Sunday and she can't thow the cylinders. I
> finally told her to go
> home and talk to the professor on Monday. I
> suggested t
> > hat she goes to handbuilding for now. Does anybody
> have any suggestion on
> how to help this young lady from Japan. She looked
> so pitful the other day
> with clay in her hair. I have heard that some
> people can't physically throw
> pot's due to their body size and she does have very
> small hands. I have
> already talk to the professor and he thinks it might
> be a hopeless case!
> >
> > ;)Brenda(:
> > Date: Mon, 25 Feb 2002 12:43:16 -0800
> From: GlassyClass
> Subject: Font Creation Dave Emmett's Softy
> Support Page
>
> For Janet (do not have her email addy)
>
> Here is a cheap font generation program that was
> written in the UK.
>
> http://users.iclway.co.uk/l.emmett/
>
> Sincerely,
> Bud Britt
> Tustin, CA, USA
> glassyclass@worldnet.att.net
> http://www.homestead.com/glassyclass/
>
>
>
> ATTACHMENT part 54.2 application/octet-stream
name=Dave Emmett's Softy Support Page.url
> Date: Mon, 25 Feb 2002 19:46:44 +0100
> From: Alisa og Claus Clausen
> Subject: Re: SusanPeterson Red/Blue
>
> I could very well be having bad memory, but were
> these glazes and not in a
> recent CM?
> In any case, there is a recent CM with bowls glazed
> as described below. It
> is in one of the last 3 CM's,
> I cannot check now, because they are all in my shop.
> Not always customers,
> you know..
>
>
>
> >glazes with varying amounts
> >of copper and varying thicknesses. There was a
> really active red and a
> >really actie deep blue that was almost black in
> some places.
> > Date: Mon, 25 Feb 2002 13:46:41 -0500
> From: "L. P. Skeen"
> Subject: Re: At-Home mug exchange
>
> send your name and address to Chris Schaefle at
> candle@intrex.net
>
> ----- Original Message -----
> From: "Lois Ruben Aronow"
> To:
> Sent: Monday, February 25, 2002 8:26 AM
> Subject: At-Home mug exchange
>
>
> Is the At-Home mug exchange still happening? I
> never received the
> name of a person to send it to, although I received
> confirmation a
> while ago that I would be included.
>
> Thanks.
> --------------------------------------------
> Lois Ruben Aronow
> gilois@bellatlantic.net
>
> Fine Craft Porcelain
> http://www.loisaronow.com
>
>
____________________________________________________________________________
> __
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change
> your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be
> reached at
> melpots@pclink.com.
> > Date: Mon, 25 Feb 2002 15:54:19 -0500
> From: Christena Schafale
> Subject: Re: At-Home mug exchange
>
> I will be sending out the partner matches on
> Wednesday. Patience, my friends.
>
> Chris
>
> At 08:26 AM 2/25/02 -0500, you wrote:
> >Is the At-Home mug exchange still happening? I
> never received the
> >name of a person to send it to, although I received
> confirmation a
> >while ago that I would be included.
> >
> >Thanks.
> >--------------------------------------------
> >Lois Ruben Aronow
> >gilois@bellatlantic.net
> >
> >Fine Craft Porcelain
> >http://www.loisaronow.com
> >
>
>______________________________________________________________________________
> >Send postings to clayart@lsv.ceramics.org
> >
> >You may look at the archives for the list or change
> your subscription
> >settings from http://www.ceramics.org/clayart/
> >
> >Moderator of the list is Mel Jacobson who may be
> reached at
> >melpots@pclink.com.
>
> Consultation and Referral Specialist
> Resources for Seniors
> christenas@rfsnc.org
> http://www.resourcesforseniors.com
> Phone: (919) 713-1537
> FAX: (919) 872-9574
> 1110 Navaho Dr, Suite 400
> Raleigh, NC 27609
> > Date: Mon, 25 Feb 2002 13:15:48 -0800
> From: Dave Evans
> Subject: Re: clayart clay body
>
> Hawthorn Bond Missouri Fireclay is available in
> at lest two mesh sizes, but the 35 mesh seems the
> most common.
>
> Redart seems by far the most universally
> available of the iron bearing clays. Several
> outlets have Roseville, several have Lizella and
> some have Newman.
>
> The Ione series of grogs is available at a
> number of locations, probably more than other types.
> Still, less than half of the places I looked at
> carried that. Molochite has similar availability.
> Similarity in grogs used throughout North America,
> let alone to other points, may be difficult to
> achieve. Silica sand is always an option, though
> not my personal preference.
>
> Ron Roy asked about some information on the
> clays I looked at. What little I could find
> follows:
>
> Kaolins:
>
> EPK (Edgar Plastic Kaolin) - fires cream white
> and not particularly plastic (claymaker.com)
>
> Tile #6 - very white, very plastic with small
> particle size (claymaker.com)
>
> Fireclays:
>
> Goldart - highly plastic (digitalfire)
>
> Hawthorne Bond Missouri Fireclay - variable
> [composition], buff firing, plastic (digitalfire)
>
> Ball Clays:
>
> Foundry Hill Cream - creamy color (Sheffield
> Pottery)
>
> Kentucky Ball Clay #4 (OM4) - fine grained
> (Kentucky - Tennessee Clay Company), lighter than
> OM4 (claymaker.com), seemingly most available
>
> Tennessee #1 (SPG) - coarse grained (Kentucky -
> Tennessee Clay Company), lighter than OM-4
> (claymaker.com)
>
> Red Clays:
>
> Redart - dark red (claymaker.com), medium
> plasticity, clean, low shrinkage with long firing
> range (digitalfire) seemingly the most widely
> available
>
> Newman - Red California clay, more orange than
> Laterite ( a high firing red plastic clay)
> (claymaker.com)
>
> Lizella - tougher than redart, but not as dark
> as other red bodies (clayart archives)
>
>
>
> John Evans in San Diego
> > Date: Mon, 25 Feb 2002 16:47:49 EST
> From: Working Potter
> Subject: librarys and what they carry
>
> When I teach clay , although I am not a full
> time teacher at all, I
> always stess to the students that if they wish to
> see certain books on
> subjects dealing with subjects they are interested
> in reading on the
> library shelves then request them and then do
> make sure to check out such
> subject matter regularly to keep them there. It is
> the old "use it or lose
> it" concept.
> Misty
> > Date: Mon, 25 Feb 2002 14:23:18 -0800
> From: Shulamit Gehlfuss
> Subject: Re: Help!! I've lost you all
>
> That's interesting. I've been reveiving only a small
> fraction of the clayart email as well for the last
> few
> days on AOL. Since my regular ISP is aol (let's not
> get into AOL bashing. I've heard all of the
> arguments
> before), I thought it was them again. I know that I
> am
> missing Clayart mail because I have a yahoo
> (backup)
> account as well. It looks like it's not only an AOL
> problem.
>
> Shula
> in sunny Redondo Beach, CA
>
> --- Sheron Roberts wrote:
> > Help! I'm having DT's, withdrawal
> > symptoms! I have not received a
> > Clayart post since Friday. My server
> > says there is nothing wrong on their end,
> > they have checked my Outlook Express
> > configurations and say all is well there.
>
>
> __________________________________________________
> Do You Yahoo!?
> Yahoo! Sports - Coverage of the 2002 Olympic Games
> http://sports.yahoo.com
> > Date: Mon, 25 Feb 2002 17:25:48 EST
> From: GORMO1@AOL.COM
> Subject: Re: Walker Pug Mills
>
> Vince: you are the one that said if someone would
> slip on some slurry and
> their hand got into the mill they would me torn off
> or something to that
> affect. That is not the makers of the pugmill fault,
> that was the point.
> I like to teach people to respect machines and learn
> how to use them
> and not walk away in fear. Fear and respect are not
> same in any way!
> If you respect something or someone because of fear
> you will never be in
> harmony
> with it.
>
>
> jim gorman
> > Date: Mon, 25 Feb 2002 22:02:42 +0000
> From: Mimi Stadler
>
> Subject: Re: Help is needed for a fellow student!
>
> >From: Brenda Shepard
> >>I am looking for some advice to help a fellow
> student in my ceramic class
> >>at college. There was a new student in our
> class that is a
> >>international student and she is very small. She
> is built like a 12 year
> >>old. She has been having problem centering
> her clay. Nothing we did
> >>or suggested has help her. We have come to
> the conclusion that her
> >>hands are too small and she doesn't have any upper
> body strength. She
> >>doesn't seem to be able to keep a grip on the clay
> <
>
> Well, Brenda, not being able to see her in action, I
> can't see specifically
> what might be going wrong. But I know that children
> younger than 12, and
> built pretty small, can learn to throw. I've taught
> a good many kids 8
> years old and up, some of 'em pretty skinny and
> little. I don't see why
> she'd be any different.
>
> It's a good idea to start with a small ball of clay.
> Little hands can do
> something with clay the size of a tangerine. You
> can't meet a requirement
> for a higher height before you've got the hang of
> getting the clay up in the
> first place.
>
> I wonder if the teacher is giving her any one-on-one
> teaching time?
>
> Sometimes the process just takes time.
> Mimi in NJ
>
>
>
_________________________________________________________________
> Get your FREE download of MSN Explorer at
> http://explorer.msn.com/intl.asp.
> > Date: Mon, 25 Feb 2002 16:00:49 -0600
> From: "j.a.velez"
> Subject: Extruder No-Mystery
>
> Jim, John, Bonnie et al:
>
> Jim wrote:
> "the extrusion that comes out "curled" is due to
> uneven pressure forcing the
> clay thru the dies... If you have a large
> extruder.. then you need to make
> sure that the die is centered so equal pressure is
> exerted to all the surface
> of the clay. and the clay extruded will be
> straight..."
>
> John wrote:
> "Now let's see...Lets just say: When you pull on
> the plunger you are
> compressing the clay and the pressure is distributed
> equally through out. In
> an extreme case, when the exit hole was just at the
> side of the barrel,
> there would be no lateral pressure on the side next
> to the barrel and it
> would curl that way. "
>
> Although I do not have or use an extruder, here is
> my explanation:
>
> The extruded form curls obviously because you are
> extruding more clay on the inside wall of the die
> than on the outside. I believe that happens because
> there is an initial "drag" (friction) on the walls
> of the barrel. Clay been a plastic material it
> adheres to the walls of the barrel, when the initial
> pressure is applied the velocity of the particles in
> contact with the barrel wall is zero while the
> velocity maximizes towards the center of the barrel.
> As the pressure increases the clay will "shear off"
> the barrel walls equalizing the velocity of the clay
> at the outer and inner wall of the extrusion form.
> I am not sure you could completely eliminate the
> curling phenomena. I have not studied flow of
> plastic materials, but it probably approaches the
> behavior of high viscosity liquids in laminar (low
> velocity, non-turbulent) flow. As others have
> suggested, it might be better in this case "to go
> with the flow" than to try to eliminate the curling.
>
> Best regards, Jose A. Velez
> > Date: Mon, 25 Feb 2002 15:48:39 -0600
> From: Craig Clark
> Subject: Re: George Koller
>
> I'd like to know the same thing. If the picture is
> any indication the $99
> model doesn't come with a compressor.
> Craig Dunn Clark
> 619 East 11 1/2 st
> Houston, Texas 77008
> (713)861-2083
> mudman@hal-pc.org
>
> ----- Original Message -----
> From: "BEVERLY SCULPTR"
> To:
> Sent: Monday, February 25, 2002 8:13 AM
> Subject: George Koller
>
>
> Hi,
> Sorry for posting here but I do not have your e-mail
> addy.... My Q is . Why
> did you choose the $69.00 44677-3vga ( online #)
> over the $99.99 (
> 45096-0vga)(HVLP sprayer from Harbor Frieght) ?
> Just cost or other
> reasons?
> I have been following your nfo on this and want to
> try one . You can
> contact
> me direct if u choose at sculptr@usa.net
>
> Thanks much ,Beverly
>
>
____________________________________________________________________________
> __
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change
> your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be
> reached at
> melpots@pclink.com.
> > Date: Mon, 25 Feb 2002 16:06:53 -0600
> From: Craig Clark
> Subject: Re: Help is needed for a fellow student!
>
> Brenda, I have yet to meet anyone who given
> enough time, practice,
> desire and encouragement that has not accomplished
> the task of centering and
> throwing a pot. Not neccessarily the greatest pots
> in the world but a pot
> none the less.
> How small are her hands? Is she able to
> comfortalbly handle say a 2lb
> ball of clay? Start her off with an amount that she
> feels comfortable with
> in her hands. Screw the height requirement. THat
> will come with time and
> practice. The clay may be to hard for her to work
> with. Is this the case.
> Try sofetning up a bit and see if it helps.
> I was told by a professor of mine that while he
> was in graduate school
> there was a 90 lb woman from Japan who could center
> and throw a 25lb lump of
> clay. Beyond that it became increasingly a matter of
> brute force rather
> nuance, coordination and using the leverage of the
> body.
> She might just be trying to hard and/or pushing
> to much. Get her to
> relax, breath slowly, and not be concerned with
> wether or not the mud is
> doing what she wants it to do. Get her to feeeel the
> mud. She has to pay
> attention to what her hands are telling her, not
> what she thinks that she
> sees. Clay is tactile. The primary input to the ole
> cerebellum is through
> the hands. Stress how good the mud feels when
> lubricated and spinning in the
> hands!!!! THe thought of someone crying at the wheel
> head is just plain
> rotten to me. Mud is fun. Ask her if she is
> enjoying, or wants to enjoy,
> what she is doing. Once you've focused on that you
> can go from there.
> Give her a small lump, you take one to, and
> pinch out a few pots. Then
> do more.
> Then wedge up enough clay to make about 50 one
> to two pound balls of
> clay, or whatever fits in her hands comfortably. Set
> them up on a board next
> to the wheel and have at it. Tell her not to spend
> much time on any one
> lump. If it doesn't work quite right take it off and
> go on to the next one.
> Maybe a rythm and feel for the mud will develop.
> Hope this helps, if you have anymore questions I'm
> in the Houston
> Craig Dunn Clark
> 619 East 11 1/2 st
> Houston, Texas 77008
> (713)861-2083
> mudman@hal-pc.org
>
>
> ----- Original Message -----
> From: "Brenda Shepard"
> To:
> Sent: Monday, February 25, 2002 9:48 AM
> Subject: Help is needed for a fellow student!
>
>
> > I am looking for some advice to help a fellow
> student in my ceramic class
> at college. I thought I would pass on a little
> story that happen the other
> day. I am working on my BA at a local college and I
> am consider a
> non-traditional student (a student who should of
> finish college 20 years ago
> but thought I didn't need a college degree !)
> Anyway, I have been working in
> clay for the last 2 1/2 years and I am just now
> getting to the point that I
> can throw a decent pot. There was a new student in
> our class that is a
> international student and she is very small. She is
> built like a 12 year old
> (I never did have that problem...sigh! ) She has
> been having problem
> centering her clay. Nothing we did or suggested has
> help her. She just sit
> there at her wheel fighting with the clay with big
> tears rolling down her
> face. We have come to the conclusion that her hands
> are too small and she
> doesn't have any upper body strength. She doesn't
> seem to be able to keep a
> grip on the clay as she is trying to
> > bring it up. She is suppose to throw 3- 8' inch
> cylinders by Monday. It
> is now Sunday and she can't thow the cylinders. I
> finally told her to go
> home and talk to the professor on Monday. I
> suggested t
> > hat she goes to handbuilding for now. Does anybody
> have any suggestion on
> how to help this young lady from Japan. She looked
> so pitful the other day
> with clay in her hair. I have heard that some
> people can't physically throw
> pot's due to their body size and she does have very
> small hands. I have
> already talk to the professor and he thinks it might
> be a hopeless case!
> What do yah think, I know from reading the post
> everbody have a very unique
> opinion. Thanks from Texas.......
> >
> > ;)Brenda(:
> >
> >
> >
> >
> > ---------------------------------
> > Do You Yahoo!?
> > Yahoo! Sports - Coverage of the 2002 Olympic Games
> >
> >
>
____________________________________________________________________________
> __
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or
> change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be
> reached at
> melpots@pclink.com.
> > Date: Mon, 25 Feb 2002 17:54:32 -0500
> From: Marta Matray Gloviczki
>
> Subject: Re: Help!! I've lost you all
>
> Shulamit Gehlfuss wrote:
>
> >That's interesting. I've been reveiving only a
> small
> >fraction of the clayart email as well for the last
> few
> >days on AOL. Since my regular ISP is aol (let's not
> >get into AOL bashing. I've heard all of the
> arguments
> >before), I thought it was them again. I know that I
> am
> >missing Clayart mail because I have a yahoo
> (backup)
> >account as well. It looks like it's not only an AOL
> >problem.
>
> i would not even use aol as a backup...
> sorry, i couldnt resist.
> marta
> > Date: Mon, 25 Feb 2002 19:25:39 EST
> From: Carol Baker
> Subject: Crystalline glaze: Need to buy seconds or
> shards
>
> If you responded to our request a few weeks ago, we
> thank you--but we had
> computer problems and no emails got through.
> So......one more time:
>
> An artist friend needs to buy crystalline glaze
> seconds or shards. She does
> beautiful piquet assiette. If |
