aprons: re: clayart digest - 12 sep 2006 to 13 sep 2006 (#2006-246)

updated mon 18 sep 06

Donna Torrance on sun 17 sep 06

My dear mother who lived in Nebraska would call her neighbor farmer friends
and gather used overalls, then have her quilting friends help her patch
them. In the pocket of each overall was the name of the farmer and the town
he was from, written with a black sharpie. I loved that outreach of
Nebraska farmers to the students here in Naples Florida. She's gone now,
but I still have a few of the oldies left. Many of the farmers are gone
too, but the overalls are hanging in there!
----- Original Message -----
From: "Automatic digest processor"
To: "Recipients of CLAYART digests"
Sent: Thursday, September 14, 2006 12:00 AM
Subject: CLAYART Digest - 12 Sep 2006 to 13 Sep 2006 (#2006-246)


> There are 76 messages totalling 6289 lines in this issue.
>
> Topics of the day:
>
> 1. Thixtropic clay (7)
> 2. Clay aprons (4)
> 3. Commercial Cone 6 glazes (4)
> 4. Windows, Linux, Mac - which one for you ?? (5)
> 5. Teapot handles - T.or S. Clennell
> 6. kiln shed (2)
> 7. Clayart-signing posts (2)
> 8. : Re: Thixtropic clay
> 9. photo up of wall hanging
> 10. Clay Expressions
> 11. Clay aprons, for schools (2)
> 12. aprons
> 13. workshop presenters
> 14. Throwing Closed Forms - Any advice??
> 15. the public's understanding of paperclay (5)
> 16. Finding Kansas/Missouri Potters (2)
> 17. Clay Expressions Potter/Moms Swap
> 18. drying....what am I missing???
> 19. glazing/clay frustration (2)
> 20. Lid shrinking more than the opening in bisque firing.
> 21. Gas Kiln for Sale
> 22. Response to Laurence re: warping plates
> 23. Misc:Pinholes, Throwing Sticks;Talent: Stirring Story (Manganese)
> 24. Clayboss Wheel Resolution?
> 25. Glaze Calculation (2)
> 26. Clay Expressions-Mom Swap
> 27. Iron red glaze on web site
> 28. calendar countdown...
> 29. CLAYART Digest - 9 Sep 2006 to 10 Sep 2006 (#2006-243)
> 30. Windows, Linux, Mac - separate corners, children. (3)
> 31. Windows, Linux, Mac - which one for you ?? (OT not clay) (2)
> 32. The Last Brickmaker (2)
> 33. paper clay and bricks (4)
> 34. OT: Anyone using Earthlink's SpamBlocker?
> 35. Thixtropic clay--casting slip question
> 36. Music in the Studio: iTunes Sony Sonic Stage was : Windows, Linux,
> Mac -
> which one for you ?? (OT not clay)
> 37. oxidation and wood ash? (2)
> 38. paper clay part two
> 39. Five Potters Book
> 40. 240v outlet cost?
> 41. paper clay part two - just-a-thought...
> 42. Architectural Ceramics, tilemaking workshops: S. California
>
> ______________________________________________________________________________
> 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: Tue, 12 Sep 2006 23:34:12 -0500
> From: Ron Roy
> Subject: Re: Thixtropic clay
>
> Hi Ivor,
>
> I'm saying that bentonite helps if clay is not plastic enough - or glazes
> don't suspend well - thats all.
>
> As I understand it - bacteria produce acid during their life cycles -
> which
> then improves flocculation - which improves workability. If you add
> vinegar
> to a clay slip you will see the thickening for instance.
>
> RR
>
>
>>Yes, I was aware that many minerals in clay will release metallic ions
>>that have the ability to destroy or negate hydrogen bonding. Are you
>>saying that Bentonite is of no consequence.
>>
>>I continue to wonder about the nature of Bacterial Action. What is about
>>this process that causes the clay to improve. Carbonic acid seems a
>>natural candidate in ensuring good plasticity with a high yield point
>>since this is one of the two end products of bacterial decay or organic
>>detritus.
>>
>>Best regards,
>>
>>Ivor
>
> Ron Roy
> RR#4
> 15084 Little Lake Road
> Brighton, Ontario
> Canada
> K0K 1H0
>
> ------------------------------
>
> Date: Tue, 12 Sep 2006 20:38:18 -0700
> From: pdp1@EARTHLINK.NET
> Subject: Re: Clay aprons
>
> Hi Claire,
>
>
> Maybe see if you can make a deal with the Home
> Economy Classes for them to make some nice ones
> for your classes to use.
>
> Aprons are easy to make, and owuld be a good
> Sewing excercise for them to do...that is, if they
> still have Sewing as part of Home Economy Classes,
> then...seems like something should be possible.
>
> Some medium or lighter weight 'Sail Cloth' or Duck
> ought to do nicely, or the heavier Cotton
> Denims...
>
> You can have your Classes make them some tolerable
> graduated Mixing Bowls or something...
>
> And everyone then would be happy...
>
>
>
> Phil
> Las Vegas
>
>
> ----- Original Message -----
> From: "Claire Reishman"
>
>
> I have a question about where to find good clay
> aprons. I teach in a high school where we need
> good aprons to protect kids' pants legs from
> slurry that slips out of the splash pan while
> they're throwing. I would like to find good
> quality aprons which can stand up to a couple of
> years of hard work and frequent washings. It
> would be excellent if the aprons had adjustable
> neck straps, but all ties (neck straps, waist
> ties, leg ties) have to be substantial, or else
> they will catch on the washing machine center and
> rip off. Does anybody have a recommendation?
>
> Claire Reishman, St. Andrew's-Sewanee School,
> Sewanee, TN
>
> ------------------------------
>
> Date: Tue, 12 Sep 2006 23:56:04 -0400
> From: "L. P. Skeen"
> Subject: Re: Clay aprons
>
> Collaborate with your home ec teacher and get some split-leg aprons =
> made. They are easy to make, just use up a couple yards of denim and =
> some bias tape binding for neck strap and ties.
>
> L
> ----- Original Message -----=20
> From: Claire Reishman=20
>
> I have a question about where to find good clay aprons. I teach in a =
> high school where we need good aprons to protect kids' pants legs from =
> slurry that slips out of the splash pan while they're throwing.
>
> ------------------------------
>
> Date: Tue, 12 Sep 2006 22:59:25 -0500
> From: Vince Pitelka
> Subject: Re: Thixtropic clay
>
> Steve Slatin wrote:
>> And now, having settled on the formulation "dramatic thixotropy" how
>> about some suggestions regarding mixing up clay bodies that
>> demonstrate "dramatic thixotropy?"
>> I've got some sodium silicate, also some soda ash around somewhere,
>> so roughly what's a good point to start at for experimenting? I don't
>> want to turn the body all the way into casting sludge, I want to be able
>> to pull it like taffy. Whack it like a pocupine. Pound it like a veal
>> medallion.
>
> Steve -
> Normally, 1/4 of 1% of the dry weight of the clay is enough to
> deflocculate
> a slip, but in another post there was some mention of over-deflocculation
> to
> achieve extreme thixotropic behavior in clay. In deflocculating terra
> sig,
> it seems generally agreed that a combination of sodium silicate and soda
> ash
> works very well - I add 1/4 of 1% of each. So if you have access to some
> soda ash you might want to try that. There is bound to be a point of
> diminishing returns in the deflocculant addition, so I would try a range
> of
> additions from 1/2% to 3% or 4% deflocculant of the dry weight of the
> clay,
> which you can estimate by subtracting 25% of the wet weight. As you
> probably know, once you achieve truly thixotropic clay, there's a pretty
> limited range of things you can do with it. Mostly, you get clay shapes
> that look like pulled taffy. As you can imagine, that gets old pretty
> quick, and that's what happened when thixotropic clay was briefly popular
> back in the 60s or 70s. A visual technique based on such a limited
> gimmick
> doesn't really go very far. Then again, it might be in your destiny to
> produce the great thixotropic clay masterpiece of all time.
> Good luck -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Craft, Tennessee Technological University
> Smithville TN 37166, 615/597-6801 x111
> vpitelka@dtccom.net, wpitelka@tntech.edu
> http://iweb.tntech.edu/wpitelka/
> http://www.tntech.edu/craftcenter/
>
> ------------------------------
>
> Date: Tue, 12 Sep 2006 23:08:20 -0500
> From: Shirley Ostrander
> Subject: Commercial Cone 6 glazes
>
> Hey folks! I needed to vent a little and ask some questions.
>
>
>
> I purchased some commercial cone 6 glazes from L & R specialties in Nixa,
> MO
> - www.claydogs.com - and I've had them for a
> few
> months. Let me say that I am VERY new to all of this - I took my first
> throwing class in January 06 and can't keep my hands out of the "mud" !!!
>
>
>
> I've only done earthenware and have been very successful with marbling
> white
> and red earthenware clays. I wanted to try my hand at stoneware and
> porcelain and I've been pleased with the results. I've done some marbling
> with the porcelain and well - I'm hooked.
>
>
>
> The one thing that I HATE (because I'm no good at it) is glazing. The
> marbled earthenware gets a simple clear dipping glaze that is premixed and
> so very simple! I thought - hey - you can get dipping glazes for
> stoneware
> and porcelain, I'll try that. My very first glaze firing at cone 6 was a
> huge disappointment! While there is a lot of information out there about
> mixing one's own glazes and tweaking formulas, there's very little (at
> least
> that I've found) on the mechanics of adding water and testing the
> consistency and running the glaze through a sieve, how long to dip, how
> thick the coat of glaze should be, etc. Shoot, even the class I took only
> taught throwing - not glaze application, not firing, nothing else. is
> that
> typical? If so - it's time that someone fix that problem.
>
>
>
> I have a copy of Mastering cone 6 glazes - but as far as I've gotten into
> it, it focuses on building a good recipie - not on the "stir until peaks
> are
> shiny and stiff" part of the process.
>
>
>
> Having said all that - here's what happened. I mixed 2 glazes - the clear
> and the pattern blue. I used distilled water and 5 lbs of dry glaze. I
> put
> less than a gallon of water with the dry glaze, even though someone at L&R
> told me that a gallon would be fine and that a hydrometer wouldn't really
> be
> necessary. It was thinner than egg nog, heaver than milk - "light cream"
> and coated my fingers. I dipped and the coating was similar to what I get
> on the earthenware that been dipping in the clear glaze (the consistency
> was
> similar too) The clay bodies that I used were L&R ^6 porcelain and ^6
> stoneware. I thought, hey that should be a good match, right? I called
> them today because the "pattern blue" that I used turned out BLACK - on
> both
> the porcelain and the stoneware - turns out that someone forgot to put the
> rutile in a batch that went out (go figure, I'd get 5 of the 25 or so
> pounds
> that slipped by). The clear - well, it crazed - BADLY and is still
> crazing.
> (it might have settled by now) turns out that "oh yeah, the clear does
> that".. Now, L&R is sending me replacement pattern blue - but DAMN -
> what's
> with the clear crazing - don't you think they should mention that when
> they
> sell it - or in the description somewhere?
>
>
>
> Got any ideas where I can get some commercial glazes that will work
> reasonably well? I'm not ready to get into mixing my own - I need to
> really
> focus on the clay and the forms and the process - I will expand
> eventually,
> but for now - I'd like to at least have something that I can count on to
> work consistently. I'm doing this for pleasure - not for a living so
> until
> I retire from my 'day job', I'm not committing to mixing my own clay
> bodies
> and glazes.
>
>
>
> Oh yeah - I have a brand new evenheat electric kiln with computer
> controller
> and it's been fired to ^04, and ^06 less than 10 times and to ^6 once. in
> case that makes a difference.
>
>
>
> Any thoughts/advice is welcome!
>
>
>
> Shirley
>
> In Memphis where it's cooled down considerably and I'm still at work
> (11:08pm) trying to get home before midnight. :-)
>
> ------------------------------
>
> Date: Tue, 12 Sep 2006 21:13:04 -0700
> From: Scott Harrison
> Subject: Re: Clay aprons
>
> Best thing we have found are overalls. Sometimes you can get used
> ones from St. Vinnie's or Salvation Army or a business that goes
> through them and discards one's that need minor repair.
>
> Scott Harrison
> South Fork High School
> Humboldt Redwoods CA
>
>
> On Sep 12, 2006, at 1:50 PM, Claire Reishman wrote:
>
>> I have a question about where to find good clay aprons. I teach in
>> a high school where we need good aprons to protect kids' pants legs
>> from slurry that slips out of the splash pan while they're
>> throwing. I would like to find good quality aprons which can stand
>> up to a couple of years of hard work and frequent washings. It
>> would be excellent if the aprons had adjustable neck straps, but
>> all ties (neck straps, waist ties, leg ties) have to be
>> substantial, or else they will catch on the washing machine center
>> and rip off. Does anybody have a recommendation?
>>
>> Claire Reishman, St. Andrew's-Sewanee School, Sewanee, TN
>>
>> ______________________________________________________________________
>> ________
>> 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: Tue, 12 Sep 2006 21:20:39 -0700
> From: Lee Love
> Subject: Re: Thixtropic clay
>
> On 9/12/06, Steve Slatin wrote:
>>
>>
>>
>> With apologies for asking an on-topic question, I remain,
>> informationless --
>
>
> "Interesting" is far more important than an authoritarian focus. ;^)
> Nevertheless, Maybe Neph Sye can give you a clue:
>
> Posted earlier from Nelson:
>
> Also listed is a glaze for thixotropic clay body:
> (Cone 5, crazes at Cone 9)
>
> 16 Kaolin (EPK)
> 24 Nepheline Syenite
> 60 Fetto Frit #3124
>
>
> --
>
> Lee in Mashiko, Japan
> http://potters.blogspot.com/
> "Let the beauty we love be what we do." - Rumi
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 15:39:58 +1000
> From: Malcolm Cooke
> Subject: Re: Windows, Linux, Mac - which one for you ??
>
> Hi all
> You still under the impression that macs need specialised peripherals
> not so, if it usb compliant or firewire compliant peripherals is used
> it will work with a mac just by pluging it in. It was only in the
> Origional Version of OSX there was a problem with bogey USB
> peripherals. But that was years ago. Windows only really became usb
> compliant with XP and then on older HW it is very problematic works
> sometimes usually not.
>
> Many times we have USB drives which are so called windows only wont
> work on older windows HW but work on all macs going back to the first
> iMac.
> Cheers
> On 12/09/2006, at 10:35 PM, Lee Love wrote:
>
>> On 9/11/06, Malcolm Cooke wrote:
>>>
>>> OSX will not run on any generic clone the mother boards are not
>>> compatible with the non bios boot system which the Mac OSX needs.
>>
>>
>> Malcolm C,
>>
>> The clones that have been written about are Mac clones and not
>> generic ones. Is it true that it is "illegal" to run Mac OS on
>> anything
>> other than a Mac? That's the kind of thinking that keeps me away
>> from
>> them.
>>
>> But Linux is in my future. Just need to get my Vaio
>> 505TR a
>> new HD. My 3 Windows machines are FireWire 800 capable. Which
>> is a good
>> Mac idea that I wish was more widespread, so more inexpensive non-Mac
>> peripherals were available for it. :^) I use a LaCie external
>> HDrive
>> with FW 800.
>>
>> --
>>
>> Lee in Mashiko, Japan
>> http://potters.blogspot.com/
>> "Let the beauty we love be what we do." - Rumi
>>
>> ______________________________________________________________________
>> ________
>> 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.
>>
>
> Malcolm Cooke
>
> Identity Environment & Art
> 7 Naas Rd Tharwa ACT 2620 Australia
> mcooke@placemaking.com.au
> http://www.placemaking.com.au
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 01:50:24 -0400
> From: Janine Roubik
> Subject: Teapot handles - T.or S. Clennell
>
> Tony or Sheila (or, of course, anyone else w/experience with this)
> I hope you're on here - I thought I'd seen your names!
> I read your March/April 2004 article in PMI about the handmade teapot
> handles. This is something I'd like to try - except I can't find any
> craft or hobby stores around here (Milwaukee, WI) that carry basket making
> supplies. I was going to try to order some online, but then after looking
> at a few site I realized I'm in way over my head and am not sure what size
> of the reed or cane to get because I can't take a pot with me to see what
> would look the best.
> Any tips?
> Thanks everyone!
> Janine Roubik
>
> P.S. for Tom Buck or John Britt - after all that talking about the
> replacing of the black iron oxide (in the Tom Buck Celadon)I realized the
> studio I'm firing at didn't have any Grolleg. So since I had to go to
> the "clay place" anyway, I just got the black iron oxide! It looks
> beautiful! Thanks for all the help!
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 01:37:52 -0500
> From: Patrick Cross
> Subject: Re: kiln shed
>
> I've never seen this stuff (*Pallet Racking*) used in this way before but
> I
> think it would make a lot of sense for putting up a kiln shed. Some image
> links...use your imagination.
>
> http://images.google.com/imgres?imgurl=http://www.atlasequipment.com/graphics/palt_rk1.jpg&imgrefurl=http://www.atlasequipment.com/prod_rck.htm&h=340&w=444&sz=21&hl=en&start=26&tbnid=k0dVu31HRbb9DM:&tbnh=97&tbnw=127&prev=/images%3Fq%3Dpallet%2Brack%26start%3D20%26ndsp%3D20%26svnum%3D10%26hl%3Den%26lr%3D%26sa%3DN
>
> http://www.chinarack.com/images/Pallet%20Rack/Pallet%20Rack.jpg
>
> http://images.google.com/images?q=pallet+rack&ndsp=20&svnum=10&hl=en&lr=&start=60&sa=N
>
> 1. It would go up in a flash...and if a move was ever necessary later
> could
> come down quickly too. All you'd need to do is sheath the outside
> perimeter
> with something else fire proof and configure some sort of roof.
>
> 2. Easily bolted down to a slab...extremely rigid and capable of handling
> tremendous loads.
>
> 3. It would go beyond simply enclosing a kiln. With a row of this on
> either side (and maybe at one end) just think of all that nice
> adjustable shelf space for kiln furniture...bricks for the door...room to
> lay out pots during loading and unloading or a place to put pots ready to
> be
> fired and free up space in the studio until the next firing. A place to
> keep some quantity of wood if it's for a wood kiln. Potters love their
> horizontal surfaces...and there's never enough, right? There would be the
> obvious savings of not having to outfit your shed with shelves because the
> building itself would be a huge shelf unit.
>
> 4. It's modular so expanding later to allow for another kiln or what ever
> would be relatively uncomplicated if you planned ahead a little. Anyone
> with even a minimal skill level could put this stuff together...no
> cutting,
> sawing, welding...except maybe for whatever the roof would require.
>
> 5. Widely available especially if you live near a metropolitan
> area....And
> can often times be purchased used for about half the cost. It's not that
> inexpensive but think of the time and labor you'd save as opposed to
> constructing a shed...without the pros and benefits...out of some other
> material.
>
> What do y'all think?...To me it looks like "Instant Building"...and you
> could get right back to doing what you really want to do...your art.
>
> Patrick Cross (cone10soda)
>
>
> On 9/12/06, Don Goodrich wrote:
>>
>> Hi Judy,
>> You might try the Metal Roofing Alliance website:
>> http://www.metalroofing.com
>> It has a couple of places where you can search out local
>> suppliers. Their idea of what's "local" may be wildly
>> at odds with your own, but sometimes you get lucky.
>> For instance, when I entered the Zip code for Cambridge, MA,
>> it spit out names of suppliers in Maine, Indiana,
>> and Millford, New Hampshire. The NH one might do for your needs.
>> Their website is http://preciousmetalroofs.com
>>
>> Good luck,
>> Don Goodrich
>>
>> goodrichdn@aol.com
>> http://dongoodrichpottery.com/
>>
>>
>> On Tue, 12 Sep 2006 11:14:35 -0700, je motzkin
>> wrote:
>>
>> >Next weekend I plan to build a shed over my gas kiln. I am working on a
>> design for this that might include a hinged roof made of metal roofing on
>> a
>> wood frame, so that I can open it when hot or smoky. I cannot find metal
>> roofing in this part of the country. Any suggestions?
>> >
>> > Any pics or ideas of sheds that you have build please send link or
>> > send
>> photo to me off list. thanks.
>> > jude
>>
>>
>> ______________________________________________________________________________
>> 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: Wed, 13 Sep 2006 00:00:01 -0800
> From: Kris Bliss
> Subject: Re: Clay aprons
>
> get the ones from clayart tacoma,
> these are great, tie around the calf area,
> waist tie... washable just wonderfull.
> and cute too. split leg. fit well ...
>
> kris
> in sunny anchorage.
> ----- Original Message -----
> From: "Claire Reishman"
> To:
> Sent: Tuesday, September 12, 2006 12:50 PM
> Subject: Clay aprons
>
>
> I have a question about where to find good clay aprons. I teach in a high
> school where we need good aprons to protect kids' pants legs from slurry
> that slips out of the splash pan while they're throwing. I would like to
> find good quality aprons which can stand up to a couple of years of hard
> work and frequent washings. It would be excellent if the aprons had
> adjustable neck straps, but all ties (neck straps, waist ties, leg ties)
> have to be substantial, or else they will catch on the washing machine
> center and rip off. Does anybody have a recommendation?
>
> Claire Reishman, St. Andrew's-Sewanee School, Sewanee, TN
>
> ______________________________________________________________________________
> 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: Wed, 13 Sep 2006 17:34:56 +0930
> From: Ivor and Olive Lewis
> Subject: Re: Thixtropic clay
>
> Dear Steve Slatin,=20
> AS I said earlier, read Ed 4 of Glen Nelson. Shows good illustrations =
> of "pulled taffy"
>
> Once you have your deflocculated your clay allow the water to evaporate =
> until you get a stiff sludge.
>
> Or use the recipe I gave to Vince for an experiment but mix your =
> defloccing agents in your water and cut the mass of water down to about =
> 10%. Let stand for 24 hours then mix. If you need more water spray with =
> an atomiser.
>
> Best regards,.
>
> Ivor Lewis.
> Redhill,
> South Australia.
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 15:37:11 +0930
> From: Ivor and Olive Lewis
> Subject: Re: Thixtropic clay
>
> Dear Earl,
>
> Nothing new in your Hydrogen Bond Theory. It is well explained by W.E. =
> Brownell, "Industrial Ceramics", Ch 4. ISBN 3-211-81382-9, 1976.
>
> An illustration of the strength of the hydrogen bond is the way it =
> allows skaters to enjoy their sport, which would be impossible if water =
> had an unpolarised molecule.
>
> Best regards,
>
> Ivor Lewis.
> Redhill,
> South Australia.
> ..=20
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 15:57:45 +0930
> From: Ivor and Olive Lewis
> Subject: Clayart-signing posts
>
> Dear Veena,=20
>
> Using your URL after you name is really superfluous since this is given =
> at the top of your message !.
>
> Why not follow my example ?
>
> Best regards,
>
> Ivor Lewis.
> Redhill,
> South Australia.
>
>
> Veena Raghavan asked the following:-
>
> Date: Tue, 12 Sep 2006 12:56:47 EDT
> From: Veena Raghavan
> Subject: Clayart-signing posts
>
> Hi everyone,
>
> Once again, I have a request. Would it be possible for everyone to sign =
> their
> full name in some form or another at the end of their post. I just sign
> Veena, but at the bottom, my e-mail address has my full name. I like to =
> save
> information from Clayart and like to acknowledge the person who posted =
> the
> information, but without the name, I cannot do this.
>
> Thank you everyone, and Mel, thank you for posting this, if you do!
>
> Veena
>
> VeenaRaghavan@cs.com
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 17:21:48 +0930
> From: Ivor and Olive Lewis
> Subject: : Re: Thixtropic clay
>
> Dear Vince Pitelka,
> Not so long ago we had our attention directed towards images of clay =
> revealed by a new form of Scanning Electron Microscope. These featured =
> images of clay crystals, superb hexagonal plates on which rested =
> globules of water. The commentary explained that Kaolinite was =
> Hydrophobic. This means that it has no affinity to water. The people who =
> did this work were
> Dr Jim Buckman
> ESEM Facility Manager,
> Insitute of Petroleum Engineering,
> Heriot-Watt University,
> Riccarton,
> Edinburgh,
> EH14 4AS.
>
> And
>
> Prof Adrian Todd
> CESEM Director,
> Institute of Petroleum Engineering,
> Heriot-Watt University,
> Riccarton,
> Edinburgh,
> EH14 4AS.
>
> Yes, you are right to surmise that I do not think there is an =
> appreciable degree of free water in plastic clay. Clay particles of the =
> Kaolin group of minerals have mixed +ve and -ve charges around their =
> edges but the faces of the crystals carry opposite charges, one for each =
> exposed atom. If Valency Shell Electron Pair Repulsion Theory is applied =
> to the basic molecular unit of Kaolinite, it becomes quite obvious that =
> exposed tetrahedral silica-oxygen units are charged negative and the =
> exposed hydrogen ions of the octahedral Hydroxy Aluminate units are =
> charged positive. At this point I would refer you to W.E. Brownell, Ch =
> 4. There is sufficient electronic force from the billions or is it =
> trillions of clay crystals in every cubic inch of clay to induce water =
> molecules ( which in fluid water are known to exist in limited volume =
> ordered structures because of their polarised nature) to form a totally =
> solid water structure. This is what Lawrence and West (Ceramic Science =
> for Potters) called a "Water Hull". What they did not appreciate was =
> the actual volume of water involved. A simple calculation shows the =
> "water hull" to be approximately twice the volume of the clay crystal =
> that it surrounds. To the best of my knowledge this has been known for =
> almost half a century though I worked it out after reading a basic =
> chemistry text.
>
> A simple experiment is to weigh out a kilogram (1000 grams) of dry clay =
> powder and 250 grams of pure water. Put your water in a dish or flat =
> based container. Now sift you clay powder into the water. Eventually you =
> will cover the water. Carry on sifting and when all the powder is in the =
> container carefully, with a soft brush, level the surface without =
> pressing down. Cover the container and leave it to stand for 24 yours =
> before you examine it. I would like to know if your observations match =
> mine? I was enlightened by what I saw.
>
> Perhaps the most important result so far that has come from this =
> discussion is that it illustrates the extent to which the ceramic =
> community is influenced by ststements in the Dictionary of Frank Hamer. =
> This volume is treated as though it were the highest authority with =
> respect to pottery science and technology. Such reverence may prevent =
> critical research, investigation and evaluation when we are faced with =
> topics such as this one.
>
> Best regards,
>
> Ivor Lewis.
> Redhill,
> South Australia.
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 03:21:04 -0700
> From: Lee Love
> Subject: Re: Windows, Linux, Mac - which one for you ??
>
> On 9/12/06, Malcolm Cooke wrote:
>>
>> Hi all
>> You still under the impression that macs need specialised peripherals
>>
>
> I don't know that anybody said they do. Only that generic hardware
> inspired by apple usually costs less. Like my firewire800 HD.
>
> I just heard that iTunes is now available in Japan. This is
> great. I've tried to sign up with ItUNES and sony's music services when
> they first came out, but I couldn't because I am computing from Japan,
> even
> though I have a legal residence in Minneapolis and also a bank in the
> States. Because my ISP server is in Japan, I couldn't sign up. I
> figure it must be some kind of licensing restriction.
>
>
>
> --
>
> Lee in Mashiko, Japan
> http://potters.blogspot.com/
> "Let the beauty we love be what we do." - Rumi
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 07:28:35 -0400
> From: Carole Fox
> Subject: photo up of wall hanging
>
> With Holly's help, I emailed the photo of the wall hanging that needs help
> with attachments to the Clayart Flickr site. .
> http://www.flickr.com/photos/clayart
>
> I am guessing it weighs 20-25 ponds(?). The wires in the back are from the
> gallery hanging system. I am sorry for the poor quality of the photo.
>
> Please let me know if you can suggest a way to put this thing together
> that
> doesn't look so crappy.
> Carole Fox
> Silver Fox Pottery
> Elkton, MD
> silverfoxpottery@comcast.net
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 08:00:02 -0400
> From: Lori Jenkins
> Subject: Clay Expressions
>
> The Clay Expressions conference at AMACO will provide both a continental
> breakfast and lunch for attending participants. If you have any questions
> please give me a call. Lori Jenkins 800-925-5195 or you can
> e mail me at ljenkins@amaco.com. George Debikey 800-925-5195 or
> gdebikey@amaco.com
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 08:29:45 -0400
> From: linda rosen
> Subject: Re: Clay aprons, for schools
>
> Claire ,
>
> This works well in our classroom (we have close to 200 ceramic =
> students). We
> use heavy duty cloth backed vinyl aprons. Before they go back on the =
> hooks,
> students sponge them clean as part of their end of class routine (never =
> see
> a washing machine). We have been able to get away with having just one =
> apron
> per wheel, not providing cover-ups for hand building. They easily last =
> out
> the year. After a couple years the straps crack and strings knot, but =
> the
> aprons are still functional with a bit of duct tape. Really nice ones ( =
> even
> with split legs) could be made up ( on my someday list), but we go with =
> what
> our clay supplier stocks which is an awful bright yellow. I've seen them =
> at
> Art supply stores too.=20
>
> Linda Rosen, Toronto
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Claire =
> Reishman
> Sent: Tuesday, September 12, 2006 4:50 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Clay aprons
>
> I have a question about where to find good clay aprons. I teach in a =
> high
> school where we need good aprons to protect kids' pants legs from slurry
> that slips out of the splash pan while they're throwing. I would like =
> to
> find good quality aprons which can stand up to a couple of years of hard
> work and frequent washings. It would be excellent if the aprons had
> adjustable neck straps, but all ties (neck straps, waist ties, leg ties)
> have to be substantial, or else they will catch on the washing machine
> center and rip off. Does anybody have a recommendation?
>
> Claire Reishman, St. Andrew's-Sewanee School, Sewanee, TN
>
> _________________________________________________________________________=
> ___
> __
> 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: Wed, 13 Sep 2006 07:49:31 -0500
> From: mel jacobson
> Subject: aprons
>
> i went to some of the big box grocery chain stores
> and asked them for old/used aprons.
> hit the jackpot...got 30 green/long aprons.
> used them for years. put up some hooks near the door...and bango.
> went to home ec once a week and ran them through
> the home laundry. (don't let the tie strings tangle...worse than a
> backlash
> on a 1950 langley `lakecast` reel.)
> home ec was next door. a few mugs/ and free laundry
> service. (just made sure we did not leave clay on the washer)
> mel
>
> from: mel/minnetonka.mn.usa
> website: http://www.visi.com/~melpots/
>
> Clayart page link: http://www.visi.com/~melpots/clayart.html
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 08:52:05 EDT
> From: Susan Fox Hirschmann
> Subject: Re: Clay aprons, for schools
>
> Over the years I have collected about 20 aprons from restaurants, kitchen
> shops, etc. I have tried to buy more at Michaels Crafts but they fall
> apart in
> the washer.
> So I know that decent aprons that last and last in repeated washings are
> hard
> to come by. When I see nice ones, with pockets (since I also teach
> adults),
> I buy them, cause they are worth the price in longevity. When they leave
> I
> have them retie the strings into bows before putting them in a delicate
> cycle in
> the washer for less of a mess in trying to untangle them.
> Whole foods used to sell some really nice ones, but they are sortta
> pricey....tho I have found some at Plaza Art Supplies, not sure if you
> have that around
> where you are. You could google
> Jerry's Artarama....they have reasonably priced art supplies and ship
> everywhere.
> Best of luck!
>
> Susan
> Annandale, VA
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 08:54:42 -0400
> From: Marty Morgan
> Subject: workshop presenters
>
> Is there a list of potters who give workshops, with information about fees
> and working conditions etc.?
>
>
>
> I'm trying to revive an old support group for potters north of Boston and
> want to offer ideas about possible workshops.
>
> Thanks,
>
> Marty Morgan
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 08:59:12 -0400
> From: Mike Juengling
> Subject: Re: Commercial Cone 6 glazes
>
> Hi Shirley, I am just a clay 'weekend warrior' so take my advice for
> what it is worth. I had a similar experience when I first started a few
> years ago. A local pottery supplier talked me into buying their
> prepared glazes. I told them how I was using it and firing it (^6
> oxidation) and they showed me samples and told me how easy it was going
> to make my life. Well after firing a batch I had the same disappointing
> results as you, except mine was caused by blistering and running. Not
> knowing their formula I couldn't adjust their glazes to fix the
> problems. I ended up pitching all the commercial glaze out.
>
> I went back to mixing and testing my own. This has led me to a lot of
> reading about glaze development and testing glazes (which, because of my
> part time involvement is an on going process). I have had some good
> results and some bad, but I am beginning to learn how to control the
> process. It is a whole lot more satisfying, when it comes out right if
> I am responsible for the whole process.
>
> Anyways, I guess what I am trying to recommend is that you should
> reconsider 'rolling your own' glaze. It is the best way to get what you
> want.
>
> Michael Juengling
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 08:59:48 -0400
> From: Bonnie Staffel
> Subject: Re: Throwing Closed Forms - Any advice??
>
> When I make closed forms or teach it, I emphasize the fact that a =
> "chimney"
> always has to be present IMO. Clay that is thus formed will close up =
> for
> you. I also use a small stick to support the inside when my finger is =
> too
> large for the hole. This same stick can then be laid on the top at an =
> angle
> to do the final closing which will either remove the remaining tiny =
> chimney
> or will blend it into the closed form. I have found that it takes =
> longer to
> close the pot than to throw the whole thing. The thickness of the clay
> forming this "chimney" needs to be no thinner or thicker than the body =
> of
> the pot. Wrinkles or collapse shows that the wall is uneven in =
> thickness.
> Any unevenness in your throwing technique always shows up at the top.
> Sometimes it seems like you spend time cutting it off level quite a lot.
> This tells you to practice throwing the walls to get the clay =
> distributed
> evenly. Also if your clay has not been properly prepared, an unevenness =
> of
> moisture in various parts of the wall will also show up with a wavy top. =
> =20
>
> Through the years I have found that closed forms gave me the basis for =
> many
> of my sculptures as the form can be altered by paddling, or is strong to
> hold up to pressures of clay additions from the trapped air inside. =20
>
> Takes practice but worth the work when you achieve a nicely closed form. =
> =20
>
> Bonnie Staffel
>
> http://webpages.charter.net/bstaffel/
>
> http://vasefinder.com/bstaffelgallery1.html
>
> DVD Throwing with Coils and Slabs
> DVD Beginning Processes
> Charter Member Potters Council
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 08:06:23 -0500
> From: "Smith, Judy"
> Subject: Re: the public's understanding of paperclay
>
> I am new to ceramics and only have a slight understanding of what paper
> clay is. Do you have a good recipe for making paper clay or do you know
> where I can get more information about this medium?
>
> Thanks,
> Judy Smith=20
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Craig Clark
> Sent: Tuesday, September 12, 2006 6:37 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: the public's understanding of paperclay
>
> Meryl, you will run into the folks who automatically think paper
> mache whenever they read paper+clay. A short description of what paper
> clay is would help to inform those who would like to know. I like to
> call it "magic clay" because of all the stuff that you can get away when
> working with it.
> It really isn't all that new though. It has been around in different
> forms for a very long time. As far as the comtemporary widespread
> application and use of paper clay goes, much of the credit belongs to
> Rossette Gault. She is the one who did pretty extensive research back in
> the early 1990's. For a brief history from a 2004 symposium on the
> subject just follow the
> link....http://www.grahamhay.com.au/hay2006update.html
> Hope this helps
> Craig Dunn CLark
> 619 East 11 1/2 St
> Houston, Texas 77008
> (713)861-2083
> mudman@hal-pc.org
>
> ..curtis adkins wrote:
>> Hi,
>> Are you making it or buying it premade...maybe just tell them the
> process ...ie ^5 or ^10 stoneware or porcelain some folks just don't
> need to no anymore than what it isa for and how much it costs!
>>
>> Curtis "Monk" Adkins
>> Miami, OK
>> Meryl Ruth wrote: Hi, I went to an opening where
>
>> I had pieces of my work on display yesterday. This was the first time
> I was showing work I had created from paperclay. I have previously only
> worked in stoneware and porcelain. Anyway we overheard two women
> discussing one of my pieces made of paperclay. One woman said, "What is
> paperclay?" And the reply of the second woman was, "I think that means
> paper mache`."
>>
>> The public is not educated regarding paperclay. Do I display
> information about this relatively new medium along with my work or is
> there another name for paperclay that can be used so it is not
> misrepresented as paper mache`. I wouldn't want folks to think my
> teapots were created from paper mache`. Not too functional!
>>
>> Regards,
>> Meryl Ruth, Porcelain Grace
>> http://www.merylruth.com
>>
>> ______________________________________________________________________
>> ________ Send postings to clayart@lsv.ceramics.org
>>
>> You may look at the archives for the list or change your subscription=20
>> settings from http://www.ceramics.org/clayart/
>>
>> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>>
>> ______________________________________________________________________
>> ________ Send postings to clayart@lsv.ceramics.org
>>
>> You may look at the archives for the list or change your subscription=20
>> settings from http://www.ceramics.org/clayart/
>>
>> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>>
>>
>
> ________________________________________________________________________
> ______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 08:21:09 -0500
> From: Pam Cresswell
> Subject: Re: Finding Kansas/Missouri Potters
>
> Try the KC Clay Guild, www.kcclayguild.org in KC MO
>
>
>
>
> Subject: [CLAYART] Finding Kansas/Missouri Potters
>
> Hi! Could anyone tell me how to query the list to get studio addresses?
> I
> am interested in finding other potters living and working in Kansas and
> Missouri. Thanks! C. A. Sanger
>
> C. A. Sanger Sparfish Studio Herington, KS
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 09:27:46 -0400
> From: Bob Masta
> Subject: Re: the public's understanding of paperclay
>
> One reason for the public confusion over this, is that there is a
> commercial product called "paperclay" that really *is* like paper mache...
> crumbles after firing. It's used by "crafters" for making things like
> doll
> heads and beads. So if the public has run into that product already,
> there will naturally be some wrong assumptions. I think you would have
> to go into some detail to explain the differences, if you are going to use
> the term.
>
> Best regards,
>
>
>
>
> Bob Masta
>
> potsATdaqartaDOTcom
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 09:36:46 -0400
> From: Ivy Glasgow
> Subject: Re: Thixtropic clay
>
> This brings two questions to mind. Can just any clay be made thixotropic
> by
> this approach, or are there some which don't respond to treatment with a
> deflocculant? And, could just any clay be made into a casting slip?
>
> I'm tuning in to this subject kind of late, so I apologize if this ground
> has already been covered.
>
> Ivy G, biding time and resting wrists till my pugmill arrives (woohoo!).
>
>>Steve Slatin wrote:
>> And now, having settled on the formulation "dramatic thixotropy" how
>> about some suggestions regarding mixing up clay bodies that
>> demonstrate "dramatic thixotropy?"
>> I've got some sodium silicate, also some soda ash around somewhere,
>> so roughly what's a good point to start at for experimenting? I don't
>> want to turn the body all the way into casting sludge, I want to be able
>> to pull it like taffy. Whack it like a pocupine. Pound it like a veal
>> medallion.
>
>>Steve -
>>Normally, 1/4 of 1% of the dry weight of the clay is enough to
>>deflocculate
>>a slip, but in another post there was some mention of over-deflocculation
>> >to
>>achieve extreme thixotropic behavior in clay. In deflocculating terra sig,
>>it seems generally agreed that a combination of sodium silicate and soda
>> >ash
>>works very well - I add 1/4 of 1% of each. So if you have access to some
> soda ash you might want to try that. There is bound to be a point of
> diminishing returns in the deflocculant addition, so I would try a range
> of
> additions from 1/2% to 3% or 4% deflocculant of the dry weight of the
> clay,
> which you can estimate by subtracting 25% of the wet weight. As you
> probably know, once you achieve truly thixotropic clay, there's a pretty
> limited range of things you can do with it. Mostly, you get clay shapes
> that look like pulled taffy. As you can imagine, that gets old pretty
> quick, and that's what happened when thixotropic clay was briefly popular
> back in the 60s or 70s. A visual technique based on such a limited gimmick
> doesn't really go very far. Then again, it might be in your destiny to
> produce the great thixotropic clay masterpiece of all time.
> Good luck -
> - Vince
>
> Vince Pitelka
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 06:58:42 -0700
> From: Elizabeth Priddy
> Subject: Clay Expressions Potter/Moms Swap
>
> Folks for the Home-Potters Moms Pot Swap:
>
> George Debikey contacted me about the mom's pot swap
> and has offered us a room at lunchtime on Saturday.
>
> Just go to the lunch provided and get your lunch and
> meet us in the room indicated by the sign,
> "Potter/Mom's Lunch".
>
> There will be lunch provided on Saturday, although the
> brochure doesn't say that.
>
> Our swap can include ANYTHING you have been able to
> get done, pot or jam included. As fellow moms, we get
> that you might be on hiatus from making clay at the
> moment, so feel free to swap what you like (No kid
> stuff though, this is for a grown up day out).
>
> This informal lunch is seriously informal! So just
> show up with something to trade in a bag. The
> Potter's Council Swap is unrelated and I am sure clay
> things are required for that. So if you are doing
> both, remember to keep your items seperate!
>
> If you are in town and not attending the conference,
> same deal but bring your own lunch.
>
> Thanks to George for accommodating us and I'm looking
> forward to meeting everyone at the conference. I
> don't expect there to be more than a dozen of us,
> tops, so be sure and come on over to exchange emails
> and meet other potters doing it from home for a while,
> menfolk definitely included and welcome.
>
> Elizabeth
>
>
> Elizabeth Priddy
>
> Beaufort, NC - USA
> http://www.elizabethpriddy.com
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 10:38:48 -0400
> From: Ann Baker
> Subject: Re: drying....what am I missing???
>
> Uh, "Phil in Las Vegas". That was a lot of good info but don't you =
> think 3 drying rooms seems a bit excessive? Unless someone is a major =
> production potter it seems to me that is a lot of hoopla for drying some =
> pots. Are you an engineer by any chance? Actually though, you did give =
> me some good points to think about for helping my sculptures dry more =
> evenly!
>
> Ann B
>
>
> Ann Baker Studio
> www.annbakerstudio.com
> 331 Old Tory Trail
> Aiken, SC 29801
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 07:47:27 -0700
> From: Wayne Kilburn
> Subject: Re: Windows, Linux, Mac - which one for you ??
>
> Hi, Carl,
>
> As the one who made the "cluncky" comment quoted
> below, I must clarify my reason for sending the post.
> I have no interest in changing anyone's mind regarding
> their operating system of choice. My only concern is
> to clarify factually inaccurate statements, based on
> outdated information that were made in Lee's original
> post.
>
> This should not be construed by any means as trying to
> sway anyone's purchasing decision or as a personal
> attack on any individual. I agree with you that
> Maurice's post should have been sent off list.
>
> To summarize:
>
> 1. Mac clones were an experiment that failed in the
> mid-1990's. Apple has no incentive to repeat the
> experiment.
>
> 2. OS X does not run on non-Mac hardware at this time.
> Some individuals have hacked OS X to run on a non-Mac
> machine, but it is not stable or easy to do, and you
> don't get any tech support from Apple for such
> installations.
>
> 3. There are plenty of software offerings for the Mac,
> both by major companies and small. Upgrade delays were
> at one time prevalent, but the market has generally
> evened out. There are even a fair number of Mac-only
> offerings on the market.
>
> 4. Over the past few years hundreds of viruses, trojan
> horses, spyware and adware have been released on the
> net. During that same period, 2 Mac viruses have been
> released.
>
> 5. Apple is in on danger of going out of the computer
> business. The reports that I have seen indicate that
> their profits and customer satisfaction numbers are
> quite strong.
>
> By all means, I agree with your advice - find a
> software package and operating system that suits your
> needs. Use it, love it, go forth and be fruitful. But,
> please at least get the facts right when evaluating
> other products.
>
> As a side note, according to the Seattle Times,
> Microsoft is becoming quite interested in how
> aesthetics can drive sales. The article is available
> at:
> http://archives.seattletimes.nwsource.com/cgi-bin/texis.cgi/web/vortex/display?slug=vistadesign11&date=20060911&query=microsoft
>
> Wayne Kilburn
> Lake Stevens, WA
> --------------------------
>
> "it just doesn't make sense to abandon (what one
> Clayarter called) my "clunky" Windows interface, even
> if it spares me the onerous task of running an
> anti-virus program once a week."
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 10:35:01 -0400
> From: Gay Judson
> Subject: Re: glazing/clay frustration
>
> Thanks to the many who have contributed their thoughts on my dilemma. The
> consensus seems to be that the clay is still releasing gasses from burning
> impurities. I am about to refire the pieces that came out such a mess to
> a
> little higher temperature and see if the glazes smooth out. And then I am
> going to fire the next bisque firing longer, slower. See if I can catch
> the
> villan! What an incredible resource this group is. I am AGAIN most
> greateful for the generously shared wisdom here at Clayart!
> Gay Judson, San Antonio, TX
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 15:17:12 +0000
> From: "dwichman@frontiernet.net"
> Subject: Re: Commercial Cone 6 glazes
>
> I feel your pain..... Pottery is really a mixture of science, skill,
> and art. You spend hours and hours (happily, of course) learning the
> way clay and your hands respond to each other, and when you begin to
> get the clay to cooperate, you realize there is so much more to learn
> in getting control of glazing. Even in using commercial glazes, the
> difference in the fired look of the glaze from clay to clay, thick to
> thin, etc. is amazing. Then you decide to paint some glaze over what
> you are using and can get beauty or the beast, or at worst, ruined kiln
> shelves.
>
> I also, feel that I am not at the point where I can make my own glazes,
> though I hope to someday. In the meantime, I have found that some of
> the Laguna Glazes are quite reliable and somewhat flexible as far as
> working on several clays and I can order them in dry form from Davens
> Ceramic Center in Atlanta. I also use some Opulance glazes from Mid
> South Ceramics in Nashville and have had good luck with them on almost
> any clay, though they are a bit more expensive.
>
> By the way, I also really disliked glazing for a long time. It takes
> as much practice to learn to glaze something in the best practical way
> as it does to make a good pot. Once you've done it as many times as
> you have made a pot, it gets easier and you get to appreciate and enjoy
> it as part of the process....(at least this has been my experience...)
>
> Debi Wichman
> Cookeville, TN
> http://www.elementterra.com
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 11:03:29 EDT
> From: Veena Raghavan
> Subject: Re: Clayart-signing posts
>
> Dear Ivor,
>
> Good idea. The problem with most URLs is that they do not contain the name
> of
> the person posting. Thus, my request.
>
> Veena
>
> In a message dated 9/13/2006 5:22:52 AM Eastern Standard Time,
> iandol@WESTNET.COM.AU writes:
>>
>> Dear Veena,
>>
>> Using your URL after you name is really superfluous since this is given
>> at
>> the top of your message !.
>>
>> Why not follow my example ?
>
> VeenaRaghavan@cs.com
>
> ------------------------------
>
> Date: Sat, 9 Sep 2006 00:13:49 -0700
> From: Fredrick Paget
> Subject: Re: Lid shrinking more than the opening in bisque firing.
>
>>On 9/7/06 8:47 PM, "Lynn Goodman Porcelain Pottery"
>> wrote:
>>
>>> I think it has to do with the comparable size/thickness of the
>>> different parts, and probably a difference in the amount of water
>>> absorbed by the different parts (the lid is thinner, and therefore
>>> absorbs relatively more water).
>>
>>May have a little to do with it, but I think more than water is the
>>orientation of the clay particles and how that affects shrinkage.
>>
>>
>>-- William "Bill" Schran
>
> That could be it. I sort of hand built that lid as a purely thrown
> lid was not coming out in four attempts. The gallery is about 8
> inches in diameter.
>
> I was trying to get a slight dome shape and kept getting it too high
> - sort of bowl shaped. Since I had the last one to where it measured
> right I fan dried it for a couple of hours on the slowly rotating
> wheel . Then I cut off and saved the rim and discarded the bowl shape
> (Actually I made a shallow bowl out of it).
>
> Then I got a lump of the same clay I was using and made a round slab
> out of it by the Chinese pounding method using the Chinese clay
> beater/mallet that I got from Po.
>
> (I have seen how they beat the clay into a slab when making Yixing
> teapots and also on a much larger scale making garden planters of 5
> gallon size.)
>
> You beat the clay with the curved side of the mallet and it moves
> outward. You finish off with the flat side of the mallet. I got a
> nice slab about 1/4 inch thick and transferred it to a hump mold
> mounted on the wheel.
>
> I spun it up on the wheel and threw it down on to the curve of the
> hump then with needle tool cut it round and fan dried it so i could
> lift it off and transfer it to the flat bat with the rim on it after
> scoring and slipping the edge threw it to fit down, made a knob for
> the top.
>
> It came out well and after drying to the same leather hard state as
> the pot,fitted well, a tiny bit loose. Then after drying ,I fired the
> lid and pot - Lid on_ to cone 04. That is when it shrank so the lid
> is about 3/4 inch too small.
>
> It must have been that beating the clay got that oriented the clay
> particles so they shrank more. Also when beating a slab you can use
> drier clay so the lid top clay may have been drier than the throwing
> clay of the pot body, I really can't remember.
> Fred
> --
> From Fred Paget,
> Marin County, CA, USA
> fredrick@well.com
>
> Charter Member Potters Council
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 09:15:15 -0500
> From: Dyann Myers
> Subject: Gas Kiln for Sale
>
> $11,000/best offer
> 38 cubic foot sprung arch, soft-brick (primarily) car kiln
> Designed and built by Donovan Palmquist of Master Kiln Builders
> forced air burners & blower
> 3 years old
> Hudson, Wisconsin (Twin Cities MN area)
> buyer must dismantle and haul away
>
> You can see photos on my website http://www.dyannmyers.com/Kiln.html
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 11:21:57 -0400
> From: "O. Leslie Greeman"
> Subject: Response to Laurence re: warping plates
>
> I have done little slab work and worked with earthenware rarely. However,
> ipicked up a tip from Paul Soldner at a workshop he put on some years ago
> in Cincinnati, OH.
>
> He advised plate makers to wrap the rims of their pieces with
> plastic;allowing the centers to dry first. His rationale is that the form
> will dry from the edges to the center. That is from thiner to thicker
> material. As this occurs the outer rim of the plate shrinks faster than
> the center causing the form to war and or crack.
>
> Since hearing this I have routinely dried plates in this fassion.
>
> It Works! I do not make a great many sets of dishes becaust they are
> difficult to sell.
> However, my losses to pre and post fireing malformations have been
> dramatically reduced.
>
> Hope this helps
> OLG
> ________________________________________________________________________
> Check out the new AOL. Most comprehensive set of free safety and security
> tools, free access to millions of high-quality videos from across the web,
> free AOL Mail and more.
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 11:15:26 -0400
> From: Lili Krakowski
> Subject: Misc:Pinholes, Throwing Sticks;Talent: Stirring Story (Manganese)
>
> Pinholing is a misery, with a number of possible causes.
>
> You write that the glazes have done fine on another body, and are ok on
> the
> test tiles. You fired The Other Clay to the same cone
> in glazing, but it was NOT mature. The present clay is vitrified. So
> there
> are perceptible differences in the bodies. Fine.
>
> Clay bodies are mixtures of materials. The two bodies in question may
> contain
> different materials.
>
> A possible pinhole cause comes from organic materials in the body
> components, and the fineness or coarseness of the clay.
> You might start by
> slowing your bisquing way way down, to allow organic materials to
> burn out before the surface tightens up too much. We worry, rightly,
> about steam from the residual water in the pot plus the chemical
> water in the clay. But forget that organic matter
> in the clay needs plenty of time and opportunity to burn out.
> Otherwise it burrows it's gassy way through the glazes, leaving pinholes.
> (Cooper points out that organic matter burning out puts the body into
> reduction.)
>
> You say some of the pinholes are like craters. That suggests serious
> gas formation, not enough time and temp for the glaze to heal well. Also
> some colorants will make a glaze more refractory (needing a higher
> glaze firing temp) and some produce quite a bit of gas.
>
> So a change in firing cycle might help.
>
> There is a possibility --well beyond my expertise, however--that an
> ingredient in
> your clay body--which you tell you were warned not to fire over co.5,
> but are taking to co.6--is beginning to decompose at co.6. I would find
> that strange, because bodies generally are formulated to do ok on either
> side of the cone for which they are designed, but it is possible.
>
> Then the two bodies may accept glaze differently. The pinholes just
> might
> come from the glaze application. The test tiles may do ok because the way
> you apply glaze to them is more compatible with the body. Your might want
> to experiment with applying the glaze in different ways, and with the
> glaze
> itself, the liquid slop, thicker and thinner. I have found that the
> dampness/dryness
> of the bisque plays a part in application success.
>
> And then...and let no one tell you this never happens, because every old
> potter has war stories--there may be something amiss with the batch of
> that
> clay body that you got. The boxes may have code numbers, check, call, ask
> for a box from another batch.
>
> A true story: A potter whose work was extremely prim, proper, pristine
> used
> a just-off-white clay. One day the supplier (now gone, no one
> you would know, and certainly not the blessed, wonderful Jack Wolfe)sent
> a mislabeled batch of speckled clay. By the time the disaster was
> noticed,
> the speckles had found their way into his recycling bin! Neither
> apologies,
> nor refunds could make up for the time lost, orders deliveries postponed
> etc.
> Test each new batch before integrating it into the studio....
>
>
> A hint: Think of your clay body as you would of bread. Think of the kiln
> as your toaster. Raisin bread needs different toaster treatment/time than
> rye; White Italian bread needs a different time in the toaster than a
> bagel...and so
> on....
>
> THROWING STICKS are fun, and our very own Ivor wrote a lovely piece in PMI
> a while ago--Ivor, please tell us date--about making one's own. Meanwhile
> get a few old wooden kitchen spoons at the thrift shop. You can whittle
> them to your taste, or use them as is....
>
> The throwing suggestions you have been given all are perfect. When
> people
> say slow the wheel down--they mean SLOW. Mine runs at about 40 revolutions
> per minute when I am throwing...a bit more when trimming. Throw as dry as
> you can...and leave plenty of clay at the top before you start collaring.
>
>
>
> TALENT: A quote from Frans Wildenhain: "Everyone has talent. Nobody
> wants
> to work!" Talent or no talent, what makes the potter is work, work, work,
> and work. (Or why I must get going).
>
> STIRRING STORY: The reaction as you have been told would not be to
> the manganese...but what are the other ingredients? Could you have a
> reaction to
> one of them?
>
> Another war story. When I was a young student I mixed a whole bucket of a
> wood ash
> glaze with my bare arm. I was not attentive to the fact that the ash was
> unwashed. My
> arm felt a bit funny while I was stirring. It emerged from the bucket
> with
> a bright red
> opera-length glove. I had that peeling glove for easily a week--till I
> grew new skin.
> Ain't used no unwashed ash since!
>
>
>
> Lili Krakowski
> Be of good courage
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 11:19:00 -0400
> From: kathy forer
> Subject: Re: Windows, Linux, Mac - which one for you ??
>
> -----Original Message-----
> From: Lee Love
>
> It will make the OS affordable soon. If Mac goes belly up, hopefully
> they will continue as an OS so it isn't as risky to own one.
> -------------------------
> It's curious why you would characterize the venerable yet thoroughly
> revitalized Mac OS as "unaffordable." The latest release of OS X "Tiger"
> (next to be "Leopard") costs about $130 for single user and $200 for
> multi-computer 'family pack'. That's hundred fifty dollars less than the
> Windows OS (XP Pro $280 at Amazon).
>
> The perception that Windows costs less is a result of its dependency on
> OEM/System Builder manufacturer bundling it with cheaper (dare I call it
> inferior?) hardware.
>
> An Apple computer will also thrive for many years after the usual
> expendable PC cycle has consigned your latest three year old grey box to
> the garbage.
>
> As for Apple going under... I guess you've never seen an iPod, heard about
> iTunes nor read the financial pages.
>
> www.apple.com
>
> iTV: www.macworld.com/news/2006/09/12/itv/index.php.
>
> See top story (or search 'Apple') at www.businessweek.com
> Why you even consider to purchase anything from a such a "moribund"
> company?
>
> Hey, but I'm just drinking the koolaid.
> Kathy Forer
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 11:43:27 -0400
> From: Fred Parker
> Subject: Clayboss Wheel Resolution?
>
> I have published the latest, and probably last, update on the continuing
> saga of problems I have had since purchasing a Creative
> Industries "Clayboss" wheel. It is on my blog at
>
>
> I'd like to make it emphatically clear that my reason for publishing this
> information is not to throw rocks at Creative Industries or anyone there.
> Until I bought this wheel I knew nothing about the company. I still don't
> know much.
>
> But I have learned a lot about the specific Clayboss wheel I bought and
> paid for. It might be typical, or it might be unique. I honestly do not
> know that. What I summarized on the blog is no more and no less than what
> my experience with this purchase has been. I know Clayart has many
> beginning potters. In fact, I am one of them. I am sharing my
> experiences in hopes what I have learned might be useful to other potters.
>
> Fred Parker
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 12:27:07 -0400
> From: "Edouard Bastarache Inc."
> Subject: Re: Glaze Calculation
>
> Cliff,
>
> do you know the name of the method used to
> calculate the COE?
>
>
> Later,
>
>
> Edouard Bastarache
> Le Français Volant
> The Flying Frenchman
>
> Sorel-Tracy
> Quebec
> edouardb@sorel-tracy.qc.ca
> www.sorel-tracy.qc.ca/~edouardb/Welcome.html
> http://perso.wanadoo.fr/smart2000/index.htm
> http://www.pshcanada.com/Toxicology.htm
> http://www.flickr.com/photos/30058682@N00/
> http://thepottersshop.blogspot.com/
>
>
> ----- Original Message -----
> From: "cliff daniels"
> To:
> Sent: Tuesday, September 12, 2006 10:11 PM
> Subject: Glaze Calculation
>
>
>> Hi everyone,
>> So I have this Glaze Calculation Software, and
>> if
>> it is ever going to be anything other than a
>> glaze recipe database, I need to learn how to
>> use
>> it. I have this recipe which is somewhat
>> appealing, but which had a note that said COE is
>> low, raise to at least 65. Use less Talc,
>> increase sodium, Magnesium, and potassium.
>>
>> Original Recipe:
>>
>> Gerst.Bor. 99 31
>> Talc 14
>> Custer Feld. 20
>> EPK 5
>> Silica 30
>> add RIO 15
>>
>> This is what I came up with.
>> GB 99 30
>> Talc 10
>> Custer 27
>> Silica 22
>> Whiting 6
>> add RIO 15
>>
>> Of course I haven't tested it yet. Si:Al is
>> 10.74
>> Al is .275, Si is 2.95, MgO is actually lower,
>> but CaO and K2O are higher. COE is 65.4. These
>> all seem to be acceptable ranges, but are there
>> things I am missing?
>>
>> Any feedback?
>>
>>
>>
>> The Mud Man
>> Clifford Daniels
>> 1 Calvin Coombs Rd.
>> Colrain, MA 01340
>> 413-624-0251
>> mudmanpottery@yahoo.com
>>
>> __________________________________________________
>> Do You Yahoo!?
>> Tired of spam? Yahoo! Mail has the best spam
>> protection around
>> http://mail.yahoo.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: Wed, 13 Sep 2006 12:22:18 -0400
> From: dalecochoy
> Subject: Re: kiln shed
>
> I certainly wouldn't use the roofing from steel shed kits ala HD/Lowes
> UNLESS LOTS of braceing. It is like steel toiletpaper. I think they had a
> contest to see who could make it thinest and still actually have a sheet!
> :>)
> My outside gas kiln shed is a 10'X14' from one of those places. It's a
> two-man job ( really should have more) to assemble without collapse, and,
> once started, Finish before you quit. If theres a storm....you'll have
> your
> steel toilet paper all over the neighborhood! :>)
> Dale
>
> ----- Original Message -----
> From: "L. P. Skeen"
> To:
> Sent: Tuesday, September 12, 2006 5:25 PM
> Subject: Re: kiln shed
>
>
> Hey Jude, have you been to Home Despot or Lowe's? They usually have metal
> roofing in several colors. I like the idea of the hinged roof, although
> not
> sure how practical it might be. I would, however, be sure to paint the
> wood
> parts with some of that fire paint that mel uses....or maybe some ITC. ;)
>
> L. P. Skeen, Summerfield NC
> Get your 2007 Clay Lover's Calendar at
> http://www.living-tree.net/calendar.htm
>
> ----- Original Message -----
> From: je motzkin
> To: CLAYART@LSV.CERAMICS.ORG
> Sent: Tuesday, September 12, 2006 2:14 PM
> Subject: kiln shed
>
>
> Next weekend I plan to build a shed over my gas kiln. I am working on a
> design for this that might include a hinged roof made of metal roofing on
> a
> wood frame, so that I can open it when hot or smoky. I cannot find metal
> roofing in this part of the country. Any suggestions?
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 12:34:53 -0400
> From: LindaC
> Subject: Clay Expressions-Mom Swap
>
> Dear Elizabeth, Thankyou for organizing the swap--I'll be there and happy
> to
> get a chance to meet you and other Clayarters/clayheads. Running hard to
> prepare to get on the road from Mentor near Cleveland, seven hours
> straight
> driving to Indy. See you tomorrow night, travel safely, Linda Haibara in
> Ohio
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 13:05:36 -0500
> From: Ron Roy
> Subject: Re: the public's understanding of paperclay
>
> Hi Maurice,
>
> I think you are right to be concerned - I have test results from clays
> that
> have paper added - and can compare with the same clays without paper
> added.
>
> In every case - even thought the paper version is the same clay -
> vitrified
> properly - the paper clay well absorb about 3 times the water in an
> absorption test.
>
> I suppose it's because the channels left from the burned out paper fiber
> are connected.
>
> The up shot is that paper clay will probably leak if the glaze surface is
> not perfect - like crazed or pinholed. I expect it will get hot in a
> microwave if there is water present in the clay from washing etc.
>
> Easy enough to test for if anyone wants to know.
>
> RR
>
>
>>I assume that the fired paperclay body can be vitreous, perhaps
>>depending on the amount and type of paper used. But I've seen some
>>paperclay pots, allegedly fired to the same cone as the same or
>>similar body without paper, that at least had "issues" with their
>>usability as functional pots exposed to significant water.
>>
>>So, by issues, I mean either because they were vessels contains
>>liquids by their nature, or they were soaked in water in a sink or
>>dishwasher, they "weeped" or absorbed too much water to be safely
>>(alright, comfortably) microwaved.
>
> Ron Roy
> RR#4
> 15084 Little Lake Road
> Brighton, Ontario
> Canada
> K0K 1H0
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 13:05:29 -0500
> From: Ron Roy
> Subject: Re: Iron red glaze on web site
>
> I like Bills attitude about giving the information about this glaze - if I
> could just add a few comments to expand on what he has said.
>
> The expansion of this glaze - without the iron - is very low - some might
> be tempted to use it as a clear glaze or just add a small amount of
> colouring oxide. In that case it would be wise to test carefully for
> shivering and dunting on any clay bodies you are using and on any new clay
> bodies you start using.
>
> RR
>
>
>
>
>>A few folks contacted me about the ^6 iron red glazed pot on my web site.
>>
>>I decided not to include the recipe on my web site because it is not a
>>stable glaze for functional ware.
>>
>>It is a glaze that was listed as part of an article in Ceramics Monthly
>>several years ago as part of an investigation in creating iron reds at ^6
>>in
>>an oxidation firing.
>>
>>Here's the recipe:
>>
>>^6 Iron Red
>>Gerstley Borate - 54.88
>>Talc - 14.63
>>Silica - 30.49
>>Red Iron Oxide - 21.95
>>
>>As you can see, this glaze contains no clay, relying on the GB to hold it
>>in
>>suspension.
>>I would usually add a couple tablespoons of soda ash to large batches to
>>keep the glaze from gelling too much.
>>
>>A second firing at bisque temps (usually just included some pots in a
>>bisque
>>firing) would yield more reddish colors.
>>
>>
>>-- William "Bill" Schran
>
> Ron Roy
> RR#4
> 15084 Little Lake Road
> Brighton, Ontario
> Canada
> K0K 1H0
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 11:57:29 -0500
> From: Craig Clark
> Subject: Re: the public's understanding of paperclay
>
> Judy, follow the link in the post below. It will explain a great many
> things about paper clay and the history thereof. The grahamhay site will
> also give you links to other sources of info on the subject. For a
> definitive read consult and/or purchase "Paper Clay" by Rosette
> Gault.....follow this link to one of many sources for the
> book........http://www.upenn.edu/pennpress/book/14102.html
>
> Hope this helps
> Craig Dunn Clark
> 619 East 11 1/2 St
> Houston, Texas 77008
> (713)861-2083
> mudman@hal-pc.org
>
>
> ..Smith, Judy wrote:
>> I am new to ceramics and only have a slight understanding of what paper
>> clay is. Do you have a good recipe for making paper clay or do you know
>> where I can get more information about this medium?
>>
>> Thanks,
>> Judy Smith
>>
>> -----Original Message-----
>> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Craig Clark
>> Sent: Tuesday, September 12, 2006 6:37 PM
>> To: CLAYART@LSV.CERAMICS.ORG
>> Subject: Re: the public's understanding of paperclay
>>
>> Meryl, you will run into the folks who automatically think paper
>> mache whenever they read paper+clay. A short description of what paper
>> clay is would help to inform those who would like to know. I like to
>> call it "magic clay" because of all the stuff that you can get away when
>> working with it.
>> It really isn't all that new though. It has been around in different
>> forms for a very long time. As far as the comtemporary widespread
>> application and use of paper clay goes, much of the credit belongs to
>> Rossette Gault. She is the one who did pretty extensive research back in
>> the early 1990's. For a brief history from a 2004 symposium on the
>> subject just follow the
>> link....http://www.grahamhay.com.au/hay2006update.html
>> Hope this helps
>> Craig Dunn CLark
>> 619 East 11 1/2 St
>> Houston, Texas 77008
>> (713)861-2083
>> mudman@hal-pc.org
>>
>> .curtis adkins wrote:
>>
>>> Hi,
>>> Are you making it or buying it premade...maybe just tell them the
>>>
>> process ...ie ^5 or ^10 stoneware or porcelain some folks just don't
>> need to no anymore than what it isa for and how much it costs!
>>
>>> Curtis "Monk" Adkins
>>> Miami, OK
>>> Meryl Ruth wrote: Hi, I went to an opening where
>>>
>>
>>
>>> I had pieces of my work on display yesterday. This was the first time
>>>
>> I was showing work I had created from paperclay. I have previously only
>> worked in stoneware and porcelain. Anyway we overheard two women
>> discussing one of my pieces made of paperclay. One woman said, "What is
>> paperclay?" And the reply of the second woman was, "I think that means
>> paper mache`."
>>
>>> The public is not educated regarding paperclay. Do I display
>>>
>> information about this relatively new medium along with my work or is
>> there another name for paperclay that can be used so it is not
>> misrepresented as paper mache`. I wouldn't want folks to think my
>> teapots were created from paper mache`. Not too functional!
>>
>>> Regards,
>>> Meryl Ruth, Porcelain Grace
>>> http://www.merylruth.com
>>>
>>> ______________________________________________________________________
>>> ________ Send postings to clayart@lsv.ceramics.org
>>>
>>> You may look at the archives for the list or change your subscription
>>> settings from http://www.ceramics.org/clayart/
>>>
>>> Moderator of the list is Mel Jacobson who may be reached at
>>>
>> melpots@pclink.com.
>>
>>> ______________________________________________________________________
>>> ________ Send postings to clayart@lsv.ceramics.org
>>>
>>> You may look at the archives for the list or change your subscription
>>> settings from http://www.ceramics.org/clayart/
>>>
>>> Moderator of the list is Mel Jacobson who may be reached at
>>>
>> melpots@pclink.com.
>>
>>>
>>
>> ________________________________________________________________________
>> ______
>> Send postings to clayart@lsv.ceramics.org
>>
>> You may look at the archives for the list or change your subscription
>> settings from http://www.ceramics.org/clayart/
>>
>> Moderator of the list is Mel Jacobson who may be reached at
>> melpots@pclink.com.
>>
>> ______________________________________________________________________________
>> Send postings to clayart@lsv.ceramics.org
>>
>> You may look at the archives for the list or change your subscription
>> settings from http://www.ceramics.org/clayart/
>>
>> Moderator of the list is Mel Jacobson who may be reached at
>> melpots@pclink.com.
>>
>>
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 13:05:32 -0500
> From: Ron Roy
> Subject: Re: Glaze Calculation
>
> Hi Clifford,
>
> Good for you for asking.
>
> First - your revision only totals 95 without the iron is that correct?
>
> Your alumina and silica levels are down so you have changed the way the
> glaze will look by doing that - and you made it unstable because the
> alumina is lower than recommended. You also lowered the MgO enough to make
> a difference as well.
>
> If you look at the expansion of that glaze with the iron included you will
> see - the expansion is not all that low.
>
> If someone had asked me to raise the expansion of that glaze a significant
> amount I would say it's not possible and have the same result - I would
> simply say - make sure the iron is in it to keep the expansion at a safe
> level.
>
> It is always a good idea to test any glaze you think has to low an
> expansion with the clays you are using - there are some clays on the
> market
> that will dunt and/or shiver with this glaze - even with the iron in it.
>
> Let me know if you need any help with glaze calculation - I think it's a
> good idea to have potters around that can do it.
>
> RR
>
>>Hi everyone,
>>So I have this Glaze Calculation Software, and if
>>it is ever going to be anything other than a
>>glaze recipe database, I need to learn how to use
>>it. I have this recipe which is somewhat
>>appealing, but which had a note that said COE is
>>low, raise to at least 65. Use less Talc,
>>increase sodium, Magnesium, and potassium.
>>
>>Original Recipe:
>>
>>Gerst.Bor. 99 31
>>Talc 14
>>Custer Feld. 20
>>EPK 5
>>Silica 30
>>add RIO 15
>>
>>This is what I came up with.
>>GB 99 30
>>Talc 10
>>Custer 27
>>Silica 22
>>Whiting 6
>>add RIO 15
>>
>>Of course I haven't tested it yet. Si:Al is
>>10.74
>>Al is .275, Si is 2.95, MgO is actually lower,
>>but CaO and K2O are higher. COE is 65.4. These
>>all seem to be acceptable ranges, but are there
>>things I am missing?
>>
>>Any feedback?
>>
>>
>>
>>The Mud Man
>>Clifford Daniels
>>1 Calvin Coombs Rd.
>>Colrain, MA 01340
>>413-624-0251
>>mudmanpottery@yahoo.com
>>
>>__________________________________________________
>>Do You Yahoo!?
>>Tired of spam? Yahoo! Mail has the best spam protection around
>>http://mail.yahoo.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.
>
> Ron Roy
> RR#4
> 15084 Little Lake Road
> Brighton, Ontario
> Canada
> K0K 1H0
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 10:21:22 -0700
> From: Steve Slatin
> Subject: Re: Thixtropic clay
>
> Ivor --
>
> I have Nelson and did mix a VERY small batch (100 g) from his
> recipe --
>
> frit 3110 -- 20
> flint -- 10
> EPK -- 15
> Spodumene -- 15
> F-4 Feldspar -- 15
> Ball Clay -- 25
>
> It handles 'sticky' but so far no taffy-pulling. I wonder if Nelson
> left out a step involving adding additional Na?
>
> I'm going to try Vince P's scheme of adding sodium silicate and
> soda ash to wet clay next. Maybe having it rest for a week or
> two will make a difference. I was literally scraping the bottom
> of my F-4, so if it doesn't work I need to get a new bag of the
> stuff to try again. And I really need to gear up production for
> the next show, and stop experimenting ...
>
> Steve Slatin
>
> Ivor and Olive Lewis wrote:
> Dear Steve Slatin,
> AS I said earlier, read Ed 4 of Glen Nelson. Shows good illustrations of
> "pulled taffy"
>
> Once you have your deflocculated your clay allow the water to evaporate
> until you get a stiff sludge.
>
> Or use the recipe I gave to Vince for an experiment but mix your
> defloccing agents in your water and cut the mass of water down to about
> 10%. Let stand for 24 hours then mix. If you need more water spray with an
> atomiser.
>
> Best regards,.
>
> Ivor Lewis.
> Redhill,
> South Australia.
>
> ---------------------------------
> Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small
> Business.
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 13:40:06 -0400
> From: "L. P. Skeen"
> Subject: calendar countdown...
>
> Just a couple of weeks left until the calendar is printed, and the =
> discounted price goes away until next year.... I can't wait to see the =
> thing in person! (This year I'm saving one for me.)
>
> L. P. Skeen, Summerfield NC
> Get your 2007 Clay Lover's Calendar at =
> http://www.living-tree.net/calendar.htm Wholesale pricing available on =
> orders of 10 or more copies.
>
> ------------------------------
>
> Date: Wed, 13 Sep 2006 11:50:36 -0700
> From: nils lou
> Subject: Re: CLAYART Digest - 9 Sep 2006 to 10 Sep 2006 (#2006-243)
>
> I'll try to answer your questions RE: MFT
> M-board is compressed ceramic fiber and is available in sheets 1" X 24"
> X=20
> 36". Cut to fit desired damper size (9" X 15" ). One sheet is about
> $50.=20
> Soak in liquid silica and fire to C06.
> The flame trench and tuning system in the MFT is designed to allow=20
> extremely even firings. A C10 reduction firing typically uses about 30=20
> gallons of LPG. I have used as little as 19 and as much as 40.
> You can certainly place pots on the cart bed and post on up. Make sure=20
> there is no obstruction of the exit flue. Use stack sleeves for stack=20
> insulation especially if you use thin walled steel. Sleeves and M-board
> are =
>
> available from Smith-Sharpe in Mpls, MN. No hood should be used or needed.
> Preferred burner is the SK-1ss propane. 500,000 Btu each burner. price
> for=20
> the two burner system with safety is $800, including shipping. Hope this
> is =
>
> helpful. Nils
> --On Monday, September 11, 2006 12:00 AM -0400 Automatic digest
> processor=20
> wrote:
>
>> There are 49 messages totalling 2394 lines in this issue.
>>
>> Topics of the day:
>>
>> 1. Thixtropic clay (6)
>> 2. Cat Cave Ripple Marks, Olof meets a Porcupine, YouTube ceramics (2)
>> 3. Muse of Fire: The Ceramic Figure now online
>> 4. How to hang ornaments (3)
>> 5. runny glaze
>> 6. some glaze chemistry
>> 7. Windows, Linux, Mac - which one for you ?? (2)
>> 8. Tall Orders promptly filled: Attn: Brad (3)
>> 9. Free Pottery DVD (2)
>> 10. =
> =3D?ISO-8859-1?Q?Re:=3D20=3DA0=3D20=3DA0=3D20=3DA0=3D20Re:=3D20family=3D20of=
> =3D20matt=3D20?=3D
>> =3D?ISO-8859-1?Q?glazes?=3D
>> 11. Nice article related to the Manual Arts
>> 12. Making Totems (4)
>> 13. Dear Bonnie Staffel-hope you do get to share China pics
>> 14. Lizella clay and the ACC at UF (2)
>> 15. 9 fingered man
>> 16. drying (9)
>> 17. re; RUNNY GLAZE
>> 18. supporting local business
>> 19. Tall Orders promptly filled
>> 20. Building a MFT
>> 21. Looking for Kelly Swope
>> 22. Colored Clay Workshop in NC?
>> 23. Terra SIG?
>> 24. how much does 5lbs of dry glaze yield?
>> 25. FW: Tucson Arizona Casita for rent/pottery studio near by
>>
>> _________________________________________________________________________
>> _____ 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: Sun, 10 Sep 2006 15:52:37 +0930
>> From: Ivor and Olive Lewis
>> Subject: Re: Thixtropic clay
>>
>> Dear Ron Roy,,
>>
>> You are confusing my understanding of the behaviour of clay.
>>
>> As I was given to understand many years ago, thixotropic substances were
>> =
> =3D
>> generally solid in nature but when agitated or subject to mechanical =3D
>> stress they tended to become fluid. Thixotropic was particularly applied
>> =
> =3D
>> to household paints that remained solid in the can until stirred by the =
> =3D
>> brush. Once the agitation stopped they immediately solidified again on =
> =3D
>> the bristles of the brush. When paint was applied to the wall or ceiling
>> =
> =3D
>> it fluidised and flowed to give a good smooth textureless surface =3D
>> without running or dripping.
>>
>> Are you saying that adding a deflocculant to a clay will allow this to =
> =3D
>> happen ? Another thing, are those bags of hard solid clay that I drop on
>> =
> =3D
>> the floor to soften them actually in the deflocculated and not the =3D
>> flocculated state ? I ask this because I thought the fact that they =3D
>> softened indicated that the clay was thixotropic. But from what you say,
>> =
> =3D
>> this must be incorrect because they have no added alkali.
>>
>> Best regards,
>>
>> Ivor Lewis.
>> Redhill,
>> South Australia.
>>
>> ------------------------------
>>
>> Date: Sun, 10 Sep 2006 06:23:06 -0500
>> From: Gary Navarre
>> Subject: Cat Cave Ripple Marks, Olof meets a Porcupine, YouTube ceramics
>>
>> Hay Crew,
>>
>> Rick took Willy and me out to a place along the bluffs by Pine Creek
>> where there is supposed to be a cougar den. While hiking he explained
>> some of the geology that took place when this was an ancient subduction
>> zone around the precambrian era. Some rocks show the ripple marks left
>> along the ancient beach of the sea that once covered this area. These
>> rocks are 4.5 billion years old and I added them to the end of this;
>>
>> http://public.fotki.com/GindaUP/ca/ggm/glzrks/
>>
>> and I also picked up a few to set in the front of the pignose foundation
>> in
>>
>> http://public.fotki.com/GindaUP/ca/kpap/upsmrkc/
>>
>> Some of the other bolders were found in the woods around the kiln.
>>
>> Olof had himself a learning experience Labor Day morning ( 1:00 AM when
>> the nearby vets were closed). Dianne from pets did say he was big on
>> brawn but not on brains. Seems he has a pentient for things that scurry
>> through the woods. I was training him to nudge the door open to get in
>> the house, prepairing him to scratch the door to let me know he wants in,
>> and he did it a time or two. Then he came in justa snortin and swatting
>> his snout full of baby Porcupine quills. If the sight of blood makes you
>> squemish don't go here;
>>
>> http://public.fotki.com/GindaUP/family/oap/
>>
>> A potter from Southern Califounia calling himself "caieros" started a
>> youtube group "Ceramics" and invited me to join. There's about 25 people
>> and about 90 videos so far. Here is the link if you care to check it out;
>>
>> http://www.youtube.com/group/ceramics
>>
>> I'm thinking I took to youtube cause unlike GoogleVideo it seems to be
>> more dialup friendly what ever that means. Still it takes 3 hours to post
>> 2 minutes but maybe that will change on my end soon. In fact I just
>> posted a companion video to Cat Cave Ripple Marks (somewhere in the link
>> below).
>> Still faster than the 3 days it took to make this. Real quick doesn't
>> exist for me anymore so I just stay in there, eh?
>>
>>
>> G in Da UP
>> Navarre Pottery
>> Navarre Enterprises
>> Norway, Michigan, USA
>> http://public.fotki.com/GindaUP/
>> http://www.youtube.com/profile?user=3DGindaUP
>>
>> ------------------------------
>>
>> Date: Sun, 10 Sep 2006 08:02:38 -0400
>> From: John Hesselberth
>> Subject: Re: Thixtropic clay
>>
>> On Sep 9, 2006, at 9:26 PM, Vince Pitelka wrote:
>>
>>> I do not claim to be an expert on this, but I am certainly not
>>> about to
>>> accept the statement that "all clays are thixotropic," unless you can
>>> explain to me how that could be possible. I think I understand the
>>> concept
>>> of thixotropy, and it simply does not apply to normal plastic clay.
>>> - Vince
>>
>> Vince, I don't think you understand the definition of thixotropic.
>> You are being too black and white about it. The term simply applies
>> to materials which become less viscous when subjected to an applied
>> stress. There are all degrees of thixotropic behavior. You are used
>> to thinking it is a very dramatic change in viscosity, but it can be
>> a very tiny one. And the underlying cause is not specified in the
>> definition of the word. If the material "shear thins" or becomes less
>> viscous under applied stress it is thixotropic.
>>
>> Regards,
>>
>> John
>>
>> ------------------------------
>>
>> Date: Sat, 9 Sep 2006 22:52:08 -0400
>> From: Charlie Cummings
>> Subject: Re: Muse of Fire: The Ceramic Figure now online
>>
>> Many many thanks to Don for driving a couple of hours out of his way
>> to come to the reception this evening. The reception was well
>> attended, the food and wine were great, and it was nice to meet a new
>> person from clayart.
>>
>> Charlie
>>
>> At 08:29 PM 9/7/2006, you wrote:
>>> As it happens, I plan to be in northern Indiana on Saturday,
>>> and just may be able to make it to the opening. Any other
>>> Clayarters besides Charlie planning to be there?
>>>
>>> Don Goodrich
>>> goodrichdn@aol.com
>>>
>>> http://dongoodrichpottery.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.
>>
>>
>> Charlie Cummings Clay Studio & Gallery
>> 4130 South Clinton Street
>> Fort Wayne, IN 46806
>> Charlie@claylink.com
>> 260-458-9160
>> www.claylink.com
>>
>> ------------------------------
>>
>> Date: Sat, 9 Sep 2006 23:15:31 -0400
>> From: Bunny Lemak
>> Subject: Re: How to hang ornaments
>>
>> Hi Judy-
>>
>> You can get something called a "U pin" for your ornaments. It is high
>> fired wire, shaped in a U, and you simply put it in your wet clay, fire
>> it - as many times as needed, and it will stay and hold up your ornament.
>>
>> You can find these U-pins at www.Nationalartcraft.com or I do believe
>> www.loudavis.com has it also.
>>
>> If you need any more help, let me know-
>>
>> Bunny
>>
>> ------------------------------
>>
>> Date: Sat, 9 Sep 2006 20:29:41 -0700
>> From: Kathryn Hughes
>> Subject: Re: runny glaze
>>
>> I understand toxicity issues with barium and I'm hearing about lithium.
>> Now I'm caught off guard by chrome oxide, as I use that in a glaze to
>> produce reds. Is it safe to come in contact with food and drink after
>> firing? Is the same for Manganese and lithium? thank you! Kathryn In NC
>>
>> Ron Roy wrote:
>> Hi Michele,
>>
>> The total of all the ingrediants in your glaze is 535 without the chrome
>> =
> -
>> is that correct?
>>
>> Adding more clay will eventually stop the running - but I'm sure the =
> glaze
>> wsill change.
>>
>> This is a very unstable glaze by the way - I hope you are not using it
>> where food acn be incontact with it.
>>
>> There are toxicity issues with Lithium, Barium and Chrome and all the
>> ingredianys in this glaze will leach out when in contact with acidic
>> foods.
>>
>> Chrome is volitile during firing by the way - I hope your kiln is vented
>> properly and you are not breathing fumes while firing you work.
>>
>> RR
>>
>>
>>> I just posted this but with my old email address so I'm posting it again
>>> correctly..
>>>
>>> I love this glaze but it's running more than I like. How do I reduce the
>>> running but keep the same lovely glaze?
>>>
>>> Thanks,
>>> Michele
>>> damicomichele@comcast.net
>>>
>>> Neph Sy 120
>>> Lithium Carbonate 65
>>> Whiting 15
>>> Barium Carb 115
>>> Ball clay 15
>>> Flint 155
>>> Fritt 3124 50
>>> Chrome OX 2.5
>>
>> Ron Roy
>> RR#4
>> 15084 Little Lake Road
>> Brighton, Ontario
>> Canada
>> K0K 1H0
>>
>> _________________________________________________________________________
>> _____ 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!?
>> Get on board. You're invited to try the new Yahoo! Mail.
>>
>> ------------------------------
>>
>> Date: Sat, 9 Sep 2006 20:41:00 -0700
>> From: Kathryn Hughes
>> Subject: Re: some glaze chemistry
>>
>> Thank you so much, Tom, for the information! I have been out of the loop
>> for quite awhile and am getting back into the swing of information about
>> chemicals.My first thought after reading your message is "This man is a
>> walking wikipedia!" LOL Again, thanks for the info. With warm regards,
>> Kathryn in NC
>>
>> Tom Buck wrote: Kathryn Hughes:
>> Perhaps you may benefit by obtaining a copy (via the WWW) of the
>> Periodic Table of The Elements. It would show that the elements of Group
>> =
> I
>> include the alkali metals: Lithium (Li), Sodium (Na), Potassium (K),
>> and others. And Group 2 lists the alkaline earth metals: Beryllium (Be)
>> (not used in claywork), Magnesium (Mg), Calcium, (Ca), Strontium (Sr),
>> Barium (Ba), and Radium (Ra) (not used).
>> Basically, the Table assembles similar elements in a Group, going
>> from low atomic weight, to high atomic weight. So, within modest limits,
>> an element low in weight can sub for an element higher in weight, or the
>> other way around, high for low.
>> Both Na & K are common is our daily lives: NaCl (common table
>> salt), KCl (potassium chloride which is used medically when a patient is
>> consuming too much NaCl and must lower its consumption). Sodium carbonate
>> (soda ash) is often encountered, and it produces a highly alkaline
>> solution in water, quite similar to lye (NaOH, sodium hydroxide).
>> Potassium behaves similarly. So it shouldn't be a surprise that Lithium
>> compounds will behave in a like fashion, although Lithium Carbonate (the
>> compound often used by potters) has low (but not zero) solubility when
>> used in a recipe and then water is added to make the glaze mix (a =
> slurry).
>> If the slurry is left standing for some days/weeks, it could be come =
> quite
>> alkaline and harm flesh. This doesn't happen with Na & K materials =
> because
>> (other than soda ash or potash) we use feldspathic materials to source Na
>> & K in our recipes, and these materials have extremely low solubility.
>> In some recipes, the need to lower expansion/conraction of a
>> fired glaze requires that some Na &/or K be replaced with Li feldspar or
>> Lithium Carbonate. If the substition is modest, the recipe will yeild a
>> satisfactory fired glaze; however, if too much Li compound is used, then
>> shivering will occur (the glaze contracts too much).
>> as for the alkaline earths: Calcium compounds are the standard,
>> and give solid results in most cases. yet some special effects can be
>> achieved with Ba compounds (eg, high Ba will cause copper to make a blue
>> glaze, not the usual green effect). and glaze mixes that depart from
>> glossy surfaces, that is, a matte surface is sought, then the matte =
> effect
>> can be achieved by using extra Ca, or extra Mg, or subbing either of
>> these, with Sr or Ba. The difference between Ba & Sr is that Sr++ ions =
> can
>> be handled by the body with little ill-effects should the fired glaze be
>> affected by materials that cause Sr++ ions to form and migrate to the =
> food
>> we eat. This is not the case for Ba++ ions; if ingested as such the ions
>> may result in the body being poisoned.
>> as a basic rule, always use Ca materials in glazes for Cone 6 or
>> lower when making food-ware. some lesser amount of Mg materials or Sr
>> materials can be used in Cone 6 mixes and mixes of Cone 10/+. and
>> generally most potters accept the use of Ba materials only when the glaze
>> will go on surfaces that will not come into contact with food.
>>
>> til later. peace. Tom B.
>>
>>
>> Tom Buck ) -- primary address.
>> "alias" or secondary address.
>> tel: 905-389-2339 (westend Lake Ontario, province of Ontario, Canada).
>> mailing address: 373 East 43rd Street, Hamilton ON L8T 3E1 Canada
>>
>> _________________________________________________________________________
>> _____ 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.
>>
>>
>>
>> ---------------------------------
>> Get your email and more, right on the new Yahoo.com
>>
>> ------------------------------
>>
>> Date: Sat, 9 Sep 2006 23:49:03 -0400
>> From: John Post
>> Subject: Re: Windows, Linux, Mac - which one for you ??
>>
>> Lee,
>> What is the source of your information that Mac will be an operating
>> system that can run on clones?
>>
>> John Post
>>
>>> But that also means that window machines will more easily run the
>>> Mac OS. What it comes down to, is that Mac will be an operating =
> system
>>> like Linux and Windows and not a physical computer. It will make it
>>> more
>>> affordable.
>>
>> ------------------------------
>>
>> Date: Sat, 9 Sep 2006 20:48:17 -0700
>> From: Kathryn Hughes
>> Subject: Re: Tall Orders promptly filled: Attn: Brad
>>
>> Just so that I understand because I have alot of damaged neurons in the
>> brain, if the recipe calls for LiCa2,I can substitute spodomene or
>> petalite instead? Also, I'm hearing that chrome oxide and manganese is
>> also toxic to touch. Are they toxic leaching from fired clay? I do alot
>> of functional pottery. Much thanks! Kathryn in NC
>>
>> Daniel Semler wrote: Hi Karen,
>>
>>> I'm a newbie hear. Are you saying that Lithium carbonate is
>>> poisonous? What about strontium carbonate? so what would make a good
>>> substitute for barium carbonate? Is lithium safe in the fired
>>> stage? Thanks! Kathryn In NC
>>>
>>
>> Lithium carbonate is toxic yes. I've read that lithium compounds are
>> toxic but the lithium felsdspathoids are never mentioned as being
>> toxic. In fact the reverse. So spodumene is my general choice for
>> lithium oxide, though petalite can also be used. That said lithium
>> carb apparently causes issues if too much is used in a glaze anyway -
>> over about 2% I think. I have yet to finish my literature search on
>> this one.
>>
>> Strontium carb is non-toxic and is a fine sub for barium carb in many
>> cases. Calcium carb can be subbed but if you have a bunch of calcium
>> oxide in the glaze already it may be better to use the strontium.
>>
>> Thanx
>> D
>>
>> _________________________________________________________________________
>> _____ 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.
>>
>>
>>
>> ---------------------------------
>> Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great
>> rates starting at 1=A2/min.
>>
>> ------------------------------
>>
>> Date: Sat, 9 Sep 2006 23:29:20 -0400
>> From: Bunny Lemak
>> Subject: Re: Free Pottery DVD
>>
>> On Sat, 9 Sep 2006 16:40:06 -0700, j isaac
>> wrote:
>>
>>> i followed the directions and heard nothing back.... Is it me
>>>
>>> Marvin Kitshaw wrote: Id love one but I
>> couldnt acess your site (must be me) so if you could send one Lovley!
>>>
>>>>
>>> Thanks in advance
>>> Marv
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
>> I (thought) I followed directons too, but haven't heard back either.
>>
>> What are we doing wrong??!!
>>
>> Bunny
>>
>> ------------------------------
>>
>> Date: Sat, 9 Sep 2006 20:58:02 -0700
>> From: Nancy Braches
>> Subject: Re: How to hang ornaments
>>
>> Judy
>>
>> Are you only glazing one side? There are hangers available for the kiln
>> and hanging them allows you to glaze both sides as well as keeping the
>> hole open and free from glaze. They use a high temp wire.
>>
>> Nancy
>> Hilltop Pottery
>>
>> "Smith, Judy" wrote: I am making a bunch of
>> Christmas ornaments to sell at an October crafts fair. I need
>> suggestions on how to make the ornaments hangable. The ornaments are
>> fairly small so that they won't weigh too much. I was thinking that a
>> hole in the clay may close with shrinkage and then clog with glaze. With
>> Fimo ornaments I use a wire from a paper clip, but I am afraid that the
>> wire will melt when the clay is fired. Any
>> suggestions would be appreciated.
>>
>> Thanks,
>> Judy
>>
>> _________________________________________________________________________
>> _____ 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.
>>
>>
>>
>> ---------------------------------
>> Get your email and more, right on the new Yahoo.com
>>
>> ------------------------------
>>
>> Date: Sun, 10 Sep 2006 00:49:55 EDT
>> From: Brad Carter
>> Subject:
>> =
> =3D?ISO-8859-1?Q?Re:=3D20=3DA0=3D20=3DA0=3D20=3DA0=3D20Re:=3D20family=3D20of=
> =3D20matt=3D20?=3D
>> =3D?ISO-8859-1?Q?glazes?=3D
>>
>> Ron,
>>
>> Yes, the first glaze only totals 89. In fact, in the original ClayArt
>> string of messages on this glaze, one sender noted this and questioned if
>> something might be missing.
>>
>> I may be attending your class at Mother Earth Clay--have not signed up
>> yet. If so, I'll bring samples of these glaze tests to show.
>>
>> Brad Carter
>> Grass Valley, Calif
>>
>> ------------------------------
>>
>> Date: Sat, 9 Sep 2006 22:01:30 -0700
>> From: pdp1@EARTHLINK.NET
>> Subject: Nice article related to the Manual Arts
>>
>> http://www.thenewatlantis.com/archive/13/crawford.htm
>>
>>
>>
>>
>> Love,
>>
>> Phil
>> el v
>>
>> ------------------------------
>>
>> Date: Sun, 10 Sep 2006 01:06:06 -0400
>> From: Teresa Wooden
>> Subject: Making Totems
>>
>> I am wanting to make a couple of garden totems, about four feet tall, of
>> several pieces stacked. I am planning on using a hollow metal rod about
>> 3/4 inch width to stack them on. I'm kinda' stumped on the best way to
>> make a base that will be stable enough to hold these things up without
>> tipping... the standard "step in" rod base (like on bird feeder poles)
>> doesn't seem like it would be strong enough, especially in cultivated
>> ground like a flower garden.
>>
>> Also wondering about whether I should pad the top of the pole with a
>> rubber ball or some-such, and whether I should provide any kind of
>> padding (rubber discs?) between peices.
>>
>> Anybody have any experience with this type of structure or any ideas? I
>> would surely appreciate any pointers.
>>
>> Thanks,
>>
>> Teresa Wooden
>>
>> ------------------------------
>>
>> Date: Sun, 10 Sep 2006 01:32:33 -0400
>> From: LindaC
>> Subject: Dear Bonnie Staffel-hope you do get to share China pics
>>
>> Dear Bonnie, It would be so good if you have time to go through your many
>> slides of China and put some pics up for us to see. We who have not been
>> to China in the past will never be able to see it as it was, due to the
>> changes it has undergone....Best regards, linda/Ohio
>>
>> ------------------------------
>>
>> Date: Sun, 10 Sep 2006 09:45:49 -0400
>> From: William & Susan Schran User
>> Subject: Re: Thixtropic clay
>>
>> On 9/10/06 8:02 AM, "John Hesselberth" =
> wrote:
>>
>>> The term simply applies
>>> to materials which become less viscous when subjected to an applied
>>> stress. There are all degrees of thixotropic behavior. You are used
>>> to thinking it is a very dramatic change in viscosity, but it can be
>>> a very tiny one. And the underlying cause is not specified in the
>>> definition of the word.
>>
>> I recall reading about thixotropic clay in Ceramics Monthly many years =
> ago
>> while in school and mixing up a batch.
>>
>> With the clay that I mixed, there was a dramatic change in the =
> consistency
>> when at rest and then agitated.
>>
>> When agitated/disturbed the clay became runny, much like hot lava,
>> requiring a mold to support a desired shape. Yet when allowed to rest,
>> undisturbed, it retained the shape as a "normal" moist clay, but also
>> retaining the surface as it was in the "wet" state.
>>
>> Here's some examples:
>>
>> http://www.claytonbailey.com/blob.htm
>>
>> http://www.worsleyschool.net/science/files/thixotropic/materials.html
>>
>> And a related study of clay bodies:
>>
>> http://www.ceramicindustry.com/CDA/Articles/Feature_Article/fcd8eaeeba25d
>> 010 VgnVCM100000f932a8c0____
>>
>>
>> -- William "Bill" Schran
>> Fredericksburg, Virginia
>> wschran@cox.net
>> wschran@nvcc.edu
>>
>> ------------------------------
>>
>> Date: Sun, 10 Sep 2006 10:19:14 -0400
>> From: Roy or Marcey Sherman
>> Subject: Lizella clay and the ACC at UF
>>
>> Boy- does the mention of Lizella clay bring back memories. It is the
>> first clay I l threw with when I worked at the Arts and Crafts Center at
>> the University of Florida in the '80's. They had leisure (non-credit)
>> classes in a variety of arts and crafts open to the university folks,
>> then the community at large on a space available basis. In Beginning
>> clay we started with basic hand building and ended with a few sessions of
>> wheel work. Intermediate and Advanced wheel could only be taken after
>> the Beginning class. Lizella is not very plastic as Fred mentions. And
>> lots of grog! I remember learning not to center with the sides of my
>> hands on the wheel head because the grog would take off skin. But it is
>> pretty forgiving for beginners because it can take lots of water without
>> collapsing. Fired to 06-04 it was a nice orange but can be fired higher
>> as well. I remember making some great Halloween pumpkins with hats for
>> lids. It does improve with age so if you can let it sit for a few months
>> it will help the plasticity. We had 2 buckets for recycling clay-
>> Lizella and the ^6 stoneware we used. Always used to have some cross
>> contamination from students who weren't paying attention and the addition
>> of the stoneware clay did make it easier to throw. I know because as a
>> student assistant I could recycle (by hand- no pug mill) all the clay I
>> wanted for my personal use. Dry it out on big plaster bats and wedge
>> away. Cut and slap was very useful! The Laguna stoneware was definitely
>> better for throwing. Each student got a #25 bag included in class
>> registration, plus the use of the class glazes and firing.
>>
>> The 2 different potters I worked for there taught me a lot about basic
>> studio practices- Jill Keezer (now the director), and Mary Ann Cole.
>> Hated cleaning out the clay trap but taught me why a studio sink needs
>> one. Used a respirator mixing glazes- they would do the weighing- I
>> would add the water, they didn't want me to be responsible if something
>> wrong went into the glaze. Scrapped and washed kiln shelves, made cone
>> packs and kiln gods, helped load and unload kilns, setting up the vents
>> for the kiln room. Also learned the basics of weaving, basketry, black
>> and white photo development, stained glass, jewelry, including loss wax
>> casting (my hubby and I cast our wedding rings there), drawing and
>> painting as well. Just checked out there website while typing this-
>> http://www.union.ufl.edu/acc/. If you're in the area look them up- good
>> people.
>>
>> Marcey Sherman
>> Zephyr Pottery.... 1/2 way out Long Island where there is a definite
>> feeling of fall in the air today.
>>
>>
>>> From: "Fred Parker"
>>> To:
>>> Sent: Friday, September 08, 2006 4:11 PM
>>> Subject: Lizella clay
>>
>>
>>> I recently got some Lizella clay and have been trying to work with it.
>>> (For anyone unfamiliar with it, Lizella is a small town in middle =
> Georgia
>>> where this stuff is mined. I think a major use is in brickmaking.) I
>> was
>>> wondering if anyone has experience with it, and especially, if anyone =
> has
>>> any suggestions for working with it -- like additives to make it a bit
>>> more plastic. Mine tends to break easily in handbuilding. I tried it =
> on
>>> the wheel, and assume it is definitely not a throwing clay because of =
> its
>>> grog content and removal of a good portion of the skin on my hands.
>>> Although I haven't seen it fired yet, I live nearby -- less than a
>> hundred
>>> miles from Lizella -- so I'd like to figure out some way to use it if
>>> possible.
>>>
>>> Thanks,
>>>
>>> Fred Parker
>>>
>>
>> ------------------------------
>>
>> Date: Sun, 10 Sep 2006 10:31:25 -0700
>> From: bea pix
>> Subject: Re: 9 fingered man
>>
>> was looking up this bandaid for you and found this for me
>> http://www.jnj.com/news/jnj_news/20041130_154430.htm
>>
>>> I found these really great bandages they are called Advancer
>>> bandages, and are made by Johnson & Johnson. A totally new kind of
>>> bandage. They are expensive but well worth it. Check them out. Norman
>>
>> ------------------------------
>>
>> Date: Sun, 10 Sep 2006 07:39:20 -0700
>> From: j isaac
>> Subject: drying
>>
>> I would like to know what people use for drying there pottery. I have
>> been using bags but it is not working out well. I was thinking of putting
>> plastic up on the front of a 3 sided enclosed shelf. Does this sound like
>> it would work? Does it need to be almost or completely air tight?
>>
>> The Pretend Potter
>>
>> ---------------------------------
>> Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small
>> Business.
>>
>> ------------------------------
>>
>> Date: Sun, 10 Sep 2006 09:52:01 -0500
>> From: Daniel Semler
>> Subject: Re: Tall Orders promptl