raku glazes

updated tue 31 jan 12

Kim Bachmann on fri 5 apr 96

Does anyone have a receipe for a purple, and/or dark blue raku glaze? Thank
you in advance.

John Termeulen on sat 6 apr 96

>----------------------------Original message----------------------------
>Does anyone have a receipe for a purple, and/or dark blue raku glaze? Thank
>you in advance.
>
>
Hello Kim,

The book "Raku pottery" by Robert Piepenburg has a nice recipe for a deep
purple raku
glaze. It goes as follows:
Mecham white (Base glaze)
80 Colemanite .
20 Cornwall stone.
Add the following to the base to get purple:
4 Manganese dioxide.
1 Cobalt oxide.
I am sure that the above mixture added to any base will do the trick. The
book also has many other combinations to obtain different colors.
To get dark blue, add cobalt oxide or cobalt carbonate.
I hope this will help you out and good luck.

John Termeulen
Trenton , Ontario

Jennifer Hite on mon 6 may 96

I am a rookie at ceramics but I really enjoy it! My most successful pieces
have been with raku firings and I enjoy the experience. I am planning to do
a firing tomorrow night with the ceramics prof and I was hoping to try out
some new glazes - I am looking for blues, teals and deep purples that have
been tried and work well for such a novice as I :)

Thanks for your help!!

Jennifer Hite

Jennifer Hite

jhite2@indwes.edu

Cindy Howe on mon 5 aug 96

Howdy,
I'd like to experiment with a variety of raku glazes. I have used a basic
white crackle and a basic copper, but would like to try some others. Any
ideas??
Thanks
Cindy Howe
Aurora,CO

Jack Phillips on tue 6 aug 96

At 01:15 PM 8/5/96 EDT, you wrote:
>----------------------------Original message----------------------------
>Howdy,
>I'd like to experiment with a variety of raku glazes. I have used a basic
>white crackle and a basic copper, but would like to try some others. Any
>ideas??

Cindy, go to Tom Buck's article on raku glazes at-

http://digitalfire.com/magic/buckraku.htm


Jack Phillips
STONART Ceramic art
Portland, Oregon

Web site:
http://www.worldstar.com/~stonart/welcome.html

RALPH on fri 4 oct 96

Some time ago my stepson got some Raku glazes off Clayart. Since Clayart has
moved he cannot get them off the archives. They were headed "Funky Glazes" and
some off the recipes were headed "Ocean Oil", "Superstition", and "Earth
Mother", etc. If somebody has copies could you please email them to me at
. My wife has threatened me with dire circumstances
if I do not get them. We had them and tested them all. A few of them she
absolutely adores. So could somebody please save my hide.

Susan Maguire on sun 6 oct 96

Hi Ralph... This original post was mine, but I have deleted the
"Funky Glaze" folder.. Let me get to my stack of formulas that is my glaze
book (now under construction) and I will find and re-post them for you!!




Susan Maguire, Fort Lauderdale, Florida

smaguire@bcfreenet.seflin.lib.fl.us

On Fri, 4 Oct 1996, RALPH wrote:

> ----------------------------Original message----------------------------
> Some time ago my stepson got some Raku glazes off Clayart. Since Clayart has
> moved he cannot get them off the archives. They were headed "Funky Glazes" and
> some off the recipes were headed "Ocean Oil", "Superstition", and "Earth
> Mother", etc. If somebody has copies could you please email them to me at
> . My wife has threatened me with dire circumstances
> if I do not get them. We had them and tested them all. A few of them she
> absolutely adores. So could somebody please save my hide.
>

Bryan Hannis on fri 6 dec 96

could anyone supply me with copper matte raku glazes that will be stable
over a long period of time[10 yrs.]?
Bryan

cathy durham on sat 7 dec 96

Hi! Jonathan I have limited experience with raku, but here are a few
recipes that have given me some exciting results.
APPLE CRACKLE- a very reliable white craclke- works nicely overlapping
other glazes also (ie a manganese purple)
80 gerstley borate
20 neph syenite
note: I have poured: 3 manganese dioxide
1 cobalt oxide
used very thin, over apple crackle with GREAT RESULTS-many shiny,
metallic colors!!

Susan Winthrop's "TURQUOISE LUSTRE"
frit 3110 1000
copp. carb. 30
bentonite 20
tin ox. 30

BWINER's "SILVER" (I did not "brush on a very dilute solution of silver
nitrate in water")
gerstley borate 80
bone ash 20
copper carb 3
cobalt carb 2
manganese carb 3.5
I got lots of colors and a sort of orange peel texture!!!

COPPER MATTE
frit 3110 20
copper carb 80
bentonite 5

I hope you find these interesting... Cathy in NZ

Bryan Hannis on wed 11 dec 96

I am looking for copper matte and luster glazes that will last for ever?
hope someone out there can help me

thanks Bryan

Tom Buck on thu 12 dec 96

Bryan Hannis: You may be interested in my discussion of raku lustre
durability that appears in my article written for UK's Ceramic Review,
issue N0. 159. The article is also downloadable from the website below,
namely, http://digitalfire.com
Incidentally, your Net provider says you do not exist. Please
check
on this.

Cheers TomB Hamilton ON Canada URL http://digitalfire.com/magic/tombuck.htm


On Wed, 11 Dec 1996, Bryan Hannis wrote:

> ----------------------------Original message----------------------------
> I am looking for copper matte and luster glazes that will last for ever?
> hope someone out there can help me
>
> thanks Bryan
>

Bryan Hannis on sun 15 dec 96

I'm looking for stable long lasting raku glazes of any kind or color but
especially sopper matte , and luster glazes, can anyone help me, I'm
just starting into raku and would like to obtain a number of glazes to
start with.

Thanks in advance for all andor help
Bryan

Joyce Lee, Jim Lee on mon 16 dec 96

Bryan Hannis wrote:
>
> ----------------------------Original message----------------------------
> I'm looking for stable long lasting raku glazes of any kind or color but
> especially sopper matte , and luster glazes, can anyone help me, I'm
> just starting into raku and would like to obtain a number of glazes to
> start with.
>
> Thanks in advance for all andor help
> BryanBryan,

There are 16 recipes listed for raku in the SDSU Glaze Database. I just
looked at them and some look very interesting. However, don't click
under "color" or "glaze name." I found them under "firing"....makes
sense. If you need more info, just email me.

Joyce
In the Cold Mojave. Had to heat throwing water today.

Bryan Hannis on thu 26 dec 96

Hi to all

I'm still looking for good raku glazes so I can start rakuing?
Does any body have a good stable glaze that they would part with ie.
copper matte, lusters,white crackle ect., I would very much like to try
them on the clays that I raku with, in advance thanks for yur help.

Bryan

Tom Buck on fri 27 dec 96

Bryan Hannis asks for help with raku glazes. He doesn't say where he
lives, nor does he say whether he is monitoring Clayart. Any message sent
to his stated email address (potter@cancon.com) is returned immediately.
So has anybody got an idea of how to reach this fellow?
Tom Buck Hamilton ON Canada
URL http://digitalfire.com/magic/tombuck.htm

Andrew S Lubow on fri 27 dec 96

Here's a Raku Glaze that is used at Brookdale Community College in
Lincroft, NJ with great success. I hope it's what you're looking for. The
Brookdale Raku Kiln does not use any controls. They pull it from the kiln
when it "looks ready" to reduce so I have no idea what cone it is.

Raku R -1 White Crackle

Ferro 3110 19.73
Gerstley Borate 64.65
Dolomite 1.79
EPK 7.21
Borax 2.78
Zircopax 3.85

On Thu, 26 Dec 1996 15:39:21 EST Bryan Hannis writes:
>----------------------------Original
>message----------------------------
>Hi to all
>
>I'm still looking for good raku glazes so I can start rakuing?
>Does any body have a good stable glaze that they would part with ie.
>copper matte, lusters,white crackle ect., I would very much like to
>try
>them on the clays that I raku with, in advance thanks for yur help.
>
>Bryan
>

KDrescherg on mon 30 dec 96

My favorite Raku Glaze, from a handout by Jim Romberg dated 1986.
I have used this glaze many times with amazing results at different
tempratures-always comes very good.

Gun metal

Gerstley Borate 3 parts
Neph. Sy. 2
Copper Carb. 3
Red Iron 3

Rich oranges greens purples. Try overlaps. Try sponging. experiment!!!

Bryan Hannis on sun 9 mar 97

Hi

I'm looking for some good stable long lasting raku glazes, ie; crackle
white, copper matte, and any others that are stable?

Bryan Hannis

Sandy Hensen on fri 30 may 97

It has been my experience that raku copper mat glazes lose a lot of their
bright colors after living in my house several years. Is there anything that
any of you know that will stop this from happening? I appreciate any and
all ideas and I love reading the clayart mail!

Peter and Sam Tomich on sat 31 may 97

Sandy Hensen wrote:
>
> ----------------------------Original message----------------------------
> It has been my experience that raku copper mat glazes lose a lot of their
> bright colors after living in my house several years. Is there anything that
> any of you know that will stop this from happening?

There is a great article on this on:

http://nirvana.ece.ucsb.edu/interglaze.html

Also, newer formulated glazes and glazes with frits in them seem to work
better. My stuff fades in a matter of months with the glazes we use at
school...we are trying other stuff out to replace/upgrade the old ones.
I guess they need more glass forming material, see article. We are also
reducing earlier in the firing now and are getting better results with
post firing effects. Hope this helps,

Samantha Tomich
Earthen Vessel
Paauilo, Hawaii

Samantha Tomich on sat 7 jun 97

So sorry! I am link dyslexic lately, as I am working on my links pages,
I have links coming out of my ears. I will double check next time.
Here is the correct address for the raku article by Tom Buck:

http://www.ceramicsoftware.com/education/glaze/buckraku.htm

"First You See It Then You Don't - Tom Buck
Raku glazes with their often spectacular lustrous effects continue
to interest potters and public. But, as letters in Ceramic Review and
other journals indicate, the lustres often lose their brilliance with
time. Here, Tom Buck suggests strategies for adjusting glazes to enable
them to retain their lustrous glow. "

Samantha Tomich

slaughter@camalott.com on mon 25 aug 97

does anyone have a raku glaze that it looks like smoke swiles with
blue,gold green,
and red it is a dry matte ...would love to have for my students
address.slaughter@camaoltt.com thanks from an old art teacher.who loves
to do raku with her students....many thanks.............!!!!!!!!!!!

Gary Ferguson on tue 26 aug 97

Check out http://netnow.micron.net/~gafergus/rakuglaz.htm
Hawaiian Blue and Carl's Copper Sand are both excellent, give the Raku
gods are kind to you!

Good Luck,
Gary F.


slaughter@camalott.com wrote:
>
> ----------------------------Original message----------------------------
> does anyone have a raku glaze that it looks like smoke swiles with
> blue,gold green,
> and red it is a dry matte ...would love to have for my students
> address.slaughter@camaoltt.com thanks from an old art teacher.who loves
> to do raku with her students....many thanks.............!!!!!!!!!!!

Marie Claire Stil on wed 27 aug 97

------------------
On Mon, 25 Aug 1997 10:13:47 EDT, you wrote:

=3E----------------------------Original message----------------------------
=3Edoes anyone have a raku glaze that it looks like smoke swiles with
=3Eblue,gold green,

Have you tried this one :
copper cab. 80
Frit 3110 20
Manganese diox. 3,5
Cobalt carb. 3,5
RIO 3,5

I hope you'll like it as I do.

M. Claire

James Henry Gorman on fri 29 aug 97

copper carb 80
frit3110 20
mang, diox 3.5
colbalt carb 3.5
rio 3.5
here today gone tomorrow this glaze just fades away
not enough glass forming agents jim

Susan Goldstein on sat 30 aug 97

Jim,
I read your mail and was curious to know if this can be corrected and if you
can predetermine whether the glaze will fade and if so how?

Marie Claire Stil on tue 2 sep 97

------------------
On Fri, 29 Aug 1997 08:45:42 EDT, you wrote:

=3E----------------------------Original message----------------------------
=3Ecopper carb 80
=3Efrit3110 20
=3Emang, diox 3.5
=3Ecolbalt carb 3.5
=3Erio 3.5
=3E here today gone tomorrow this glaze just fades away
=3Enot enough glass forming agents jim
=3E


Jim
Sorry, I did forget to mention it's not a glaze, it's called =22copper
wash=22.
A friend to whom I've given the =22washed pots=22 3 years ago still
enjoyed them: matt red purple blue gold... ,a beauty.
It's purely for decorative purpose as most raku ware are.
I've heard about fading copper red in raku when exposed to harsh
sunlight and could report whenever it occurs, but if you try it, you
could see it by yourself.
I do have some sculpted pieces raku glazed years back, the red color
where intended is gone. The pieces are now just turquoise.
Cheers
M. Claire

Dee Clay on sat 22 nov 97

<<
I'm just starting to make my own glazes and was wondering what would happen
if I used a Raku glaze on a piece that was fired in an electric kiln at
^06-04 or ^5-6?
Any suggestions or should I not even think about it?
Diane in every Sunny Miami
using my husbands e-mail address MKSAX@aol.com
mine is deeclay@aol.com

>>


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Date: 97-11-21 03:04:49 EST

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Date: Thu, 20 Nov 1997 23:41:22 -0500 (EST)
From: MKSAX@aol.com
Message-ID: <971120234122_665198115@mrin53.mail.aol.com>
To: Clayart@lsv.uky.eduo
Subject: Raku Glazes

I'm just starting to make my own glazes and was wondering what would happen
if I used a Raku glaze on a piece that was fired in an electric kiln at
^06-04 or ^5-6?
Any suggestions or should I not even think about it?
Diane in every Sunny Miami
using my husbands e-mail address MKSAX@aol.com
mine is deeclay@aol.com

Arturo M DeVitalis on sun 23 nov 97

One of my students trailed a raku copper sand glaze on some leatherheard
clay thinking it was slip. We bisqued, and covered it with a clear cone
3 and it looked great and did not run.

douglas gray on mon 24 nov 97

Many raku glazes can be used in low temp. electric firings. I needed some 06-04
glazes quick and didn't want to buy them, so I took a raku clear glaze and added
oxides and stains to get the colors I needed. You may also have to make some
alteration to control crazing, but I didn't mind the cracks, the pieces were
sculptural in nature.

I have also used textured raku glazes in the electric kiln. Alligator raku
works well, same surface, but you get very different color results--true of most
raku glazes. The copper glazes stay very green or aqua in color. There is no
mistaking these electric fired pots for raku fired-no smoking, no black crackle
pattern (unless you ink the cracks after firing), and no rainbow or oil slick
flashing typical of many raku glazes. The results sre so very different, but
that is not to say they don't have there own merit.

I would imagine that most raku glazes would run terribly at the cone 5-6 range,
any glaze will if you take it hot enough.. However, I have used the alligator
raku glaze up to cone 10 reduction. It does run at that point, smooths out
flat, almost a crystaline affect.

Experiment and see.
doug

In message Dee Clay writes:
> ----------------------------Original message----------------------------
> <<
> I'm just starting to make my own glazes and was wondering what would happen
> if I used a Raku glaze on a piece that was fired in an electric kiln at
> ^06-04 or ^5-6?
> Any suggestions or should I not even think about it?
> Diane in every Sunny Miami
> using my husbands e-mail address MKSAX@aol.com
> mine is deeclay@aol.com


============================================================================ =)
Douglas E. Gray
Assistant Professor of Art, Ceramics
Francis Marion Univeristy
Florence, South Carolina 29501

dgray@fmarion.edu

LRANCHO on sun 12 apr 98

Oh great gods of clayart,
Please hear my call for help!!!
I have been looking for raku glazes that produce any strange effects. I
am working with the typical copper glazes but I am looking for
information, tips and tricks. Please be so kind as to pass along some
information to a hungry mind.
Thank you,
Amber Pelish

Marvin S. Flowerman on wed 1 jul 98

Attention raku glaze gurus:


I would like to reduce the tendancy of my raku glazes to run, drip,
contaminate feet and shelves etc.
Most of the recipies call for substantial portions of gerstley borate, and
some for frits 3110 and/or 3134.
Can I reduce the runniness by reducing those proportions or adding more
kaolin or ball clay?

Your helpful advices would be appreciated.

Marvin Flowerman (off line e-mail: marvpots@aol.com or marvpots@juno.com)

Marcia Selsor on thu 2 jul 98

Maybe don't fire so hot! I watch the glaze. When it gets to the "pancake ready
to flip" stage, i.e. bubbling up on verge of fluxing,
I wait for the fluxing when it looks shiney and then remove from kiln.
It should not run unless its too hot or too thick.
Marcia in Montana

Marvin S. Flowerman wrote:
>
> ----------------------------Original message----------------------------
> Attention raku glaze gurus:
>
> I would like to reduce the tendancy of my raku glazes to run, drip,
> contaminate feet and shelves etc.
> Most of the recipies call for substantial portions of gerstley borate, and
> some for frits 3110 and/or 3134.
> Can I reduce the runniness by reducing those proportions or adding more
> kaolin or ball clay?
>
> Your helpful advices would be appreciated.
>
> Marvin Flowerman (off line e-mail: marvpots@aol.com or marvpots@juno.com)

Jim Connell on thu 2 jul 98

Marvin your best bet is to make sure you don't over fire your glazes. If
you are having trouble judging your glaze maturity through the peephole try
adding a cone pack to your first firings. You can't keep putting in cone
packs as they will blow up in a hot kiln but at least you can start off by
looking and observing what the glaze looks like at cone 08. I recommend
08, to 06 as most raku glazes melt in that range. I also recommend aslower
firing schedule. We have been raised with a myth that raku is all about
speed. Let your glazes go through the melting cycle smoothly.

Jim Connell

----------
From: Marvin S. Flowerman
Sent: Wednesday, July 01, 1998 8:31 AM
To: Multiple recipients of list CLAYART
Subject: Re: raku glazes

----------------------------Original message----------------------------
Attention raku glaze gurus:


I would like to reduce the tendancy of my raku glazes to run, drip,
contaminate feet and shelves etc.
Most of the recipies call for substantial portions of gerstley borate, and
some for frits 3110 and/or 3134.
Can I reduce the runniness by reducing those proportions or adding more
kaolin or ball clay?

Your helpful advices would be appreciated.

Marvin Flowerman (off line e-mail: marvpots@aol.com or marvpots@juno.com)

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hal mc whinnie on thu 2 jul 98

you can add 10%epk.

you might try doing raku glazes with glass cullett

50% borax
40% glass cullett
10%epk
hal
On Wed, 1 Jul 1998 08:31:46 EDT "Marvin S. Flowerman"
writes:
>----------------------------Original
>message----------------------------
>Attention raku glaze gurus:
>
>
>I would like to reduce the tendancy of my raku glazes to run, drip,
>contaminate feet and shelves etc.
>Most of the recipies call for substantial portions of gerstley borate,
>and
>some for frits 3110 and/or 3134.
>Can I reduce the runniness by reducing those proportions or adding
>more
>kaolin or ball clay?
>
>Your helpful advices would be appreciated.
>
>Marvin Flowerman (off line e-mail: marvpots@aol.com or
>marvpots@juno.com)
>

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Sheilah Bliss on fri 3 jul 98

In a message dated 7/2/98 5:39:59 AM, you wrote:

<you are having trouble judging your glaze maturity through the peephole try
adding a cone pack to your first firings. You can't keep putting in cone
packs as they will blow up in a hot kiln but at least you can start off by
looking and observing what the glaze looks like at cone 08. I recommend
08, to 06 as most raku glazes melt in that range. I also recommend aslower
firing schedule. We have been raised with a myth that raku is all about
speed. Let your glazes go through the melting cycle smoothly.

Jim Connell
>>

Thanks for your response to Marvin, Jim! I've found that my raku firings that
go slow and gently, sometimes 3 hours plus, render the best results. When
I've told other raku potters about my long, slow firing cylces, I'm often
frowned at and reprimanded for wasting gas and time, etc. However, the colors
are usually much nicer and there are a lot less pot-fatalities and cracks when
the firings go smooth and easy. My pots were trying to tell me to do it this
way for months while I was trying to go fast and furious before I finally
heard what it was they were saying. Sometimes we get stuck in "supposed-to"
routines. Even though it does take a little longer, the rewards far outweigh
the little time lost.

Sheilah B. in Spokane WA where I miss my clay terribly ... I've been talked
into helping remodel my mother's bathroom. Where that IS fun, it's not
clay....

Marvin S. Flowerman on fri 17 jul 98

To all fellow clayart readers who responded to my recent inquiry:

Thank you all very much for your very constructive suggestions. (Special
thanks to Steve MIlls, Steven Branfman and Marc Ward !) I was able to
incorporate almost all of them in my most recent firing before which I also
changed the burner orifice to one with a 1/16" opening.
The results showed considerable improvement over previous firings and produced
some very interesting pieces. I had no running glazes (I thinned them and
applied them more carefully) no flames shooting out of the kiln except a small
amount during reduction, a bit slower and more careful firing, and good eye
control rather than routine timing.

Again, thanks to you all.

Marvin Flowerman marvpots@aol.com

John Clayton on mon 31 aug 98

Hello,
Have been doing raku pottery for over three years and
interested in trying some new glazes. Only interested
in glazes that hold their color over long period of time.
Also, I would like to have a white glaze recipe for a
white that appears like the consistancy of white stone
and not the glaze look. Not sure how to explain that
last sentence.
Thanks a lot.
John

carol young on sat 8 may 99

You were all so great on my last cry for help so here I am again.
We are having a Raku fire this weekend and I can't find my receipe for
crackle white glaze. This is for a highschool workshop. Any good raku
glazes would be appreciated. Thank you
Carol Young, Fairbanks, Alaska

Burtt on sun 9 may 99

Hi Carol:
I recently had trouble with my white crackle glaze and Karen in
Sonoma sent me a new one. I tried it and it is very white with nice
strong crackle. BTW, thanks Karen.
This is Karen's:

FATTY WHITE
Frit 3134 80
ball clay 9
silica 9
zircopax 10

Hope that helps.

Steve Burtt
Ocean Springs, Mississippi

Brian Crocker on sun 9 may 99

G'Day Carol,
Try this Crackle White,
It is simple and you should have the necessary materials.

Regards Brian.

Barium White

Gerstley Borate 99
Potash Feldspar 20
Silica 19
Ball Clay 10
Barium Carbonate 10
-----------------------
>>Basic White Crackle<<

Gerstley Borate 65
Ball Clay 5
Nepheline Syenite 15
Tin Oxide 10
Silica 5



At 09:08 PM2:10: 8/05/99 EDT, you wrote:
>----------------------------Original message----------------------------
>You were all so great on my last cry for help so here I am again.
>We are having a Raku fire this weekend and I can't find my receipe for
>crackle white glaze. This is for a highschool workshop. Any good raku
>glazes would be appreciated. Thank you
>Carol Young, Fairbanks, Alaska
>
>
Brian Crocker.
4 Erica Street,
Tea Tree Gully 5091,
South Australia. [e.mail] crocker@dove.net.au

With them the Seed of Wisdom did I sow,
And with my own hand labour'd it to grow:
And this was all the Harvest that I reap'd --
"I came like Water, and like Wind I go." The Rubaiyat.

Stephen Mills on sun 9 may 99

Carol,

This is my Glaze base recipe:
85 parts by weight of any leadless Fritt (I prefer a high Alkaline one)
15 parts.............China Clay (Kaolin)

to this add 5 per cent Tin Oxide or Zirconium Silicate for a nice, not
too dead white, opaque, or whatever percentages of oxides you like for
different colours.

Steve
Bath
UK


In message , carol young writes
>----------------------------Original message----------------------------
>You were all so great on my last cry for help so here I am again.
>We are having a Raku fire this weekend and I can't find my receipe for
>crackle white glaze. This is for a highschool workshop. Any good raku
>glazes would be appreciated. Thank you
>Carol Young, Fairbanks, Alaska
>

--
Steve Mills
Bath
UK
home e-mail: stevemills@mudslinger.demon.co.uk
work e-mail: stevemills@bathpotters.demon.co.uk
own website: http://www.mudslinger.demon.co.uk
BPS website: http://www.bathpotters.demon.co.uk

Charles Williams on sun 9 may 99

Middlebrook's Crackle White: 60% gerstley borate; 50% potash feldspar; 22%
barium carbonate; 16% silica
Basic Crackle (clear)- apply over white clay body; gerstley borate 70%;
nepheline syenite 20%; kaolin 10%

Hope these help
C Williams

Lana Reeves on sun 9 may 99

Carol, A good, simple white [actually clear] crackle:
Gerstley Borate 80
Feldspar 20
[Custer, G-200 or Nephsy all work]
Happy firing!

Lana in Somerville, MA
kilnkat@rcn.com
-----Original Message-----
From: carol young
To: CLAYART@LSV.UKY.EDU
Date: Saturday, May 08, 1999 9:09 PM
Subject: Raku Glazes


----------------------------Original message----------------------------
You were all so great on my last cry for help so here I am again.
We are having a Raku fire this weekend and I can't find my receipe for
crackle white glaze. This is for a highschool workshop. Any good raku
glazes would be appreciated. Thank you
Carol Young, Fairbanks, Alaska

Marvin Flowerman on wed 12 may 99

Carol:

Try this one for a good white crackle raku glaze:

Colemanite (Gerstley Borate)-----60 grams
Buck Spar( K -200)-------------------50 grams
Barium Carbonate---------------------22 grams
Silica---------------------------------------16 grams

This should give you good results.

Good Luck!

Marvin Flowerman (marvpots@aol.com)

Charles G Hughes on wed 16 feb 00

------------------
I am getting ready to fire up our new barrel-based Raku kiln for the first =
time
and am distressed to find that most of the Raku glaze formulas I have been =
able
to find contain a large portion of Gerstley Borate or Lead. I'd love to have
some submissions of Raku glaze formulas that do not contain either one of =
these
ingredients. Can anyone help? Please?=21?
While I am at it, what is the conventional cone rating for Raku firings,=
I
have been told 05, but I learned to fire by watching the glaze mature on the
pot, I have never fired a raku kiln using a cone. Any information would be
appreciated=21

Yours in Clay,

Charles Hughes

http://www.thecreativeoasis.com

clayman=40prodigy.net

James L Bowen on thu 17 feb 00

-------------------
Let the glazes be your guide. Let a pyrometer be your partner.

skhouse@excite.com on thu 6 apr 00

In addition to my earlier post about Raku glazes without Gerstley Borate, I
was hoping that someone with more knowledge and maybe some software would be
willing to offer some suggestions for altering these glazes to remove the
gerstley:

Rick's Blue

Gerstley borate 32
Nepheline Syenite 16
Spodumene 17
Lithium carb 17
Zircopax 16
Copper Carb 1
Cobalt Carb 1


Superstition Sunset

Lithum carb 30
Talc 30
Gerstley Borate 40
Nepheline Syenite 10
Copper Carb 3
Cobalt carb .25

Fat White

Gerstley Borate 38
Frit 25 38
nepheline syenite 11
Kaolin 3
Ball Clay 5
Flint 5
Zircopax 2


Thank you all in advance, and i would be glad to share my results in a few
weeks.

Sarah House
skhouse@excite.com





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Sharon31 on fri 7 apr 00

TO SARA AND MORE... ...Whenever you write about replacing Gerstly B.
(Especially through a software), you must write if this is an old recipe
when the B23O3 was about50% of the borax, or is it a new recipe with
27-29% B2O3 inn the gerltly borate.
Ababi in Israel were nobody heard about "CADICAL"
----- Original Message -----
From:
To:
Sent: Thursday, April 06, 2000 05:30
Subject: Raku Glazes


> ----------------------------Original message----------------------------
>
> In addition to my earlier post about Raku glazes without Gerstley Borate,
I
> was hoping that someone with more knowledge and maybe some software would
be
> willing to offer some suggestions for altering these glazes to remove the
> gerstley:
>
> Rick's Blue
>
> Gerstley borate 32
> Nepheline Syenite 16
> Spodumene 17
> Lithium carb 17
> Zircopax 16
> Copper Carb 1
> Cobalt Carb 1
>
>
> Superstition Sunset
>
> Lithum carb 30
> Talc 30
> Gerstley Borate 40
> Nepheline Syenite 10
> Copper Carb 3
> Cobalt carb .25
>
> Fat White
>
> Gerstley Borate 38
> Frit 25 38
> nepheline syenite 11
> Kaolin 3
> Ball Clay 5
> Flint 5
> Zircopax 2
>
>
> Thank you all in advance, and i would be glad to share my results in a few
> weeks.
>
> Sarah House
> skhouse@excite.com
>
>
>
>
>
> _______________________________________________________
> Get 100% FREE Internet Access powered by Excite
> Visit http://freelane.excite.com/freeisp

claydude on sat 8 apr 00

Sarah,

The best Raku glaze I is on Page 103 of Chappels' "Clay and Glazes"

Pemco Frit 25 -42.5
3134 - 27.4
Lithium Carbonate - 9.8
Kaolin - 6.3
Silica - 14.0
Bentonite - 2.0

Add: 4.5 copper Carbonate.

They list many other great color variations.
Thanks,


John Britt
claydude@unicomp.net
www.dysfunctionalpottery.com/claydude
www.silverhawk.com/ex99/britt/welcome.html
www.claystation.com/gallery/2000/britt.html

----- Original Message -----
From: "Automatic digest processor"
To: "Recipients of CLAYART digests"
Sent: Thursday, April 06, 2000 11:01 PM
Subject: CLAYART Digest - 5 Apr 2000 to 6 Apr 2000 (#2000-98)


> There are 93 messages totalling 4080 lines in this issue.
>
> Topics of the day:
>
> 1. teaching a 6-week class -- responses
> 2. max. & min. temperatures for raku
> 3. thankless donations-local state newspaper critic's slam
> 4. Dioxine in Kaolin
> 5. Suggestions needed for Monterey, California
> 6. mentorship in SF Bay area?
> 7. Gerstley Borate substitution
> 8. Tr: Wanted-kilns
> 9. Raku glazes-no gerstley
> 10. Wendy Rosen
> 11. Tile Artists?
> 12. need a stencil for clock face
> 13. NCECA (AAARRRGGGHHH)
> 14. peter bugger?
> 15. Mingei
> 16. teapots on the web
> 17. New French ceramic site
> 18. Tr: Wanted
> 19. studio vacuums revisted
> 20. Sv: Re: food safety/oxides
> 21. Gerstley Borate (2)
> 22. Raku Glazes
> 23. Pugmill advice
> 24. electric reduction kiln (3)
> 25. Broken pots
> 26. Craft Business Institute- Scholaraships Avail
> 27. Slab rolling mat (Used to be: Re: Tile Artists?) (3)
> 28. slate wedging table
> 29. Gerstley Borate and Raku (3)
> 30. substitute for magnesium carbonate (3)
> 31. Vince Pitelka Workshops
> 32. plugging kiln (3)
> 33. Pinholes and wedging
> 34. wood as opposed to plaster for wedging table (4)
> 35. new to glazing
> 36. Brush Making Materials (2)
> 37. Back to pottery
> 38. Cone 10 Glaze Stability Results
> 39. Tom Sawyer/elec/reduction
> 40. Tell me your secrets about your hands (10)
> 41. weird economics (2)
> 42. teapot question
> 43. Clayart International
> 44. Cone 10 glaze Stability Results
> 45. stained crackle--colored
> 46. Slabmat (Canvas alternative) Information
> 47. Brent Splash pans
> 48. Brent Splash Pans
> 49. re Lana Wilson's dry engobe
> 50. Bronwyn Williams-Ellis: Book on tiles
> 51. Food safety
> 52. Weird Economics / Not
> 53. still plenty of Gerstley borate
> 54. Foodsafe glazes
> 55. Building a plaster surface wedging table
> 56. re weird economics
> 57. Denver Airport
> 58. : what is clayart? sharing glaze information
> 59. Downloading problems and Teapot Makers
> 60. NCECA pix
> 61. High fire vs. Low?
> 62. Tell me your secrets about your hands. Barrier Creams
> 63. : Re: Electric kiln damage?
> 64. SlabMats to order
> 65. electric kiln damage?
> 66. What to do about Stinky Overglazes?
> 67. Tribute to Nils Lou
> 68. *** Critical Ceramics: New Article ***
>
> ----------------------------------------------------------------------
>
> Date: Thu, 6 Apr 2000 10:19:47 EDT
> From: Mary Lou Lundgren
> Subject: Re: teaching a 6-week class -- responses
>
> ----------------------------Original message----------------------------
> Dear All...
> As an art teacher, who as a potter, particularly loves clay - this is an
> example of a subject I would have liked to have had the oppportunity to
> review.
> I feel as tho I am missing alot when people reply privately to a person
and
> not the group. I would rather pass by things I won't want to read than
not
> read the things I do..........
> Chris... thank you for posting this review of the messages you received
off
> the server - did you get any cool clay projects for elementary age kids?
> Loving Clayart,
> ML
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:20:18 EDT
> From: Reid Harvey
> Subject: max. & min. temperatures for raku
>
> ----------------------------Original message----------------------------
> Dear All,
> Can anyone tell me at what maximum and minimum temperatures I can hope
> for success in doing raku? For example could I do it with earthenware
> glazes? Should the appropriate cone for the glaze be where the piece is
> at when reduction starts?
> Thanks
> Reid Harvey
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:21:49 EDT
> From: Dale McCleskey
> Subject: Re: thankless donations-local state newspaper critic's slam
>
> ----------------------------Original message----------------------------
>
>
>
>
> Dale McCleskey@BSSBNOTES
> 04/05/2000 07:13 AM
>
> Typical disclaimer: I don't usually get involved in discussions of what is
> and is not art, but couldn't resist noting something that reviewer said:
>
> >>There is some good art in this mostly bankrupt exhibit, including some
of
> the
> >>more cutting political commentaries seen in local galleries in a long
> time.
>
> His comment, and subsequent kudos for social commentary instead of art
> (IMHO) underlines the great tragedy of the art world in recent decades.
Art
> once sought to convey ideals like truth and beauty, but with the rise of
> modern nihilism art for people like him has sunk to "in your face" social
> commentary. as my spanish-speaking friends would say, "que lastima"-- what
> a pity.
>
> Dale McCleskey
> In sunny Nashville, putting siding on my new studio building so I can get
> my hands back in the clay. (probably that's why I'm grumpy, its a
clay/skin
> contact deficiency).
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:22:26 EDT
> From: Jeff van den Broeck
> Subject: Dioxine in Kaolin
>
> ----------------------------Original message----------------------------
> Hi,
> recently I read an information that I would like to share.
> In a regulation of 17 november 1999 the European Commission "on the
> conditions for the authorisation of additions belonging to the group
> 'binder, anti-caking and coagulants' in feedingstuffs" states that
> "...kaolinitic clays originating from certain mines situated in the
Federal
> Republic of Germany have been found to contain extremely high levels of
> dioxine. According to available information, this could be a contamination
> of geological origin... The use of feedingstuffs contaminated with
dioxines
> may contaminate foodstuffs of animal origin... The acceptable level of
> dioxins in kaolinitic clays should be restricted to the analytical limit
of
> determination... The contamination could in fact also concern other
> authorised additives, as indicated by the fact that ball clay, sedimentary
> clays containing other minerals besides kaolin, originating from a mine in
> the United States has also been shown to be heavily naturally contaminated
> by dioxin of geological origin..."
> I imagine no greater risk for potters than for other citizens. What
happens
> to dioxine in the firing?
> Greetings, Jeff.
>
> Jeff van den Broeck - P.O.Box 1099
> Baguio City 2600 - Philippines
> jvdb@skyinet.net
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:22:54 EDT
> From: Sylvia Shirley
> Subject: Suggestions needed for Monterey, California
>
> ----------------------------Original message----------------------------
> Hello everybody,
>
> I will be going to Monterey California for a week. Does
> anybody have any suggestions for clay places there? I'll
> have the daytime hours to explore while my husband attends a
> chemistry conference.
>
> Thanks,
>
> Sylvia
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:23:42 EDT
> From: centa
> Subject: mentorship in SF Bay area?
>
> ----------------------------Original message----------------------------
> Hi folks,
> I am continuing to explore educational opportunities/possibilities and
> have come upon a low residency MFA program that uses a mentors or
> artist/teachers that are located all over the country, apparently. I
> have a feeling that most of their paid "artist/teachers" or off campus
> mentors may be in media other than ceramics. I love the idea of
> working under the tutelage so to speak of an artist whose work I respect
> and admire in ceramics (figure sculpture and pots preferably), and am
> wondering if their is anyone in the sf bay area who has worked with
> students in such a mentorship role (in this case, one would apply to the
> school to be a paid mentor), or who might be open to such an
> arrangement/committment. I don't know the details yet of how these
> relationships are negotiated and defined, as far as the school goes, but
> I would be curious if anyone has any artist leads for me to at least
> dialog with.
>
> Thanks again,
> Centa
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:23:55 EDT
> From: Tony Hansen
> Subject: Gerstley Borate substitution
>
> ----------------------------Original message----------------------------
> I have completely rewritten our page on Gerstley Borate and how to replace
> it in
> your glazes. I did calculation demos dozens of times at NCECA and got a
> lot of feed back from people. I am working on a substitute and will be
> meeting with
> Borax suppliers later this month and should have much better information
then.
> The page is at http://digitalfire.com/education/material/gerstley.htm
> All-in-all, the best solution is to learn how to replace it yourself, you
> will have
> unmatached enthusiasm and determination to fix your own glazes, all you
need
> is a little knowledge and direction.
>
> ====================================================
> T o n y H a n s e n thansen@digitalfire.com
> http://digitalfire.com Calculation/Database Software for Ceramic Industry
> http://ceramicsearch.com Search engine for the Ceramic Industry
> --
> Report our performance to The Public Eye at
> http://208.8.12.151/addcomments.cfm?&key=3606
> ====================================================
> T o n y H a n s e n thansen@digitalfire.com
> http://digitalfire.com Calculation/Database Software for Ceramic Industry
> http://ceramicsearch.com Search engine for the Ceramic Industry
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:24:37 EDT
> From: Antoinette Badenhorst
> Subject: Re: Tr: Wanted-kilns
>
> ----------------------------Original message----------------------------
> This e-mail reached me in a little, to me confusing way, but I could make
out
> the request. Here is the info you need of suppliers in Cape Town.
> Reinders potters
> Industrial ave.
> Kraaifontein.
> Phone (021 9882977)
> If you talk to Adele or Terry, say Hi from me.
> You find the most friendly people there
>
> Cape pottery Suppliers(CPS)
> 11Celie rd.
> Retreat.
> Phone 021 7011320/1
>
> They are also known as Kiln Contractors.
> They are quit big out there, but except of working with them when I was on
> the board of APSA (Association of Potters Southern Africa) Western Cape, I
> never done business with them, so I cannot tell anything about their
services.
> You can also contact APSA. They often know of people that want to sell
kilns.
> You can advertise in their newsletter for one.
> Write to:
> P.O. Box 1150
> Durbanville
> 7550
> Good luck.
> Antoinette.
>
> Antoinette Badenhorst
> PO Box 552
> Saltillo,MS
> 38866
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:24:50 EDT
> From: skhouse@excite.com
> Subject: Raku glazes-no gerstley
>
> ----------------------------Original message----------------------------
>
> I will be teaching a workshop in a week or so and was hoping for a few
more
> Raku glazes that do not contain Gerstley Borate. i hope to have enough for
a
> few old favorites, but i think there is less than 10 lbs. left. If anyone
> has any good recipies please send them to me. I and my students will be
> grateful although most are beginners and will not know it.
> Sarah House
> skhouse@excite.com
>
>
>
>
>
> _______________________________________________________
> Get 100% FREE Internet Access powered by Excite
> Visit http://freelane.excite.com/freeisp
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:25:20 EDT
> From: "Dwiggins, Sandra (NCI)"
> Subject: Re: Wendy Rosen
>
> ----------------------------Original message----------------------------
> Right on, Mel. Wendy is one of the best marketing people I've ever met.
> The ideas just keep popping out of her. I feel the same about talking
with
> her, and sometimes I have a hard time keeping up with her pace!
>
> Sandy
>
> > -----Original Message-----
> > From: mel jacobson [SMTP:melpots@pclink.com]
> > Sent: Thursday, March 30, 2000 1:33 PM
> > To: CLAYART@LSV.UKY.EDU
> > Subject: Wendy Rosen
> >
> > ----------------------------Original message----------------------------
> > What a friend we all have in Wendy Rosen.
> >
> > She is on a mission to create a better place for
> > artists and crafts people to sell their work. She
> > is a friend of clayart and what it stands for.
> > I trust her.
> >
> > Of course she has a business to run, and profit to make.
> > But, if you get on her express train, and you want to make
> > some money in your work, it is a great ride.
> >
> > And if it is not your style, well, listen to her anyway,
> > she has good things to say. Every time I talk to her I
> > come away with a new idea.
> >
> >
> > Mel/ MN
> >
> >
> > minnetonka, minnesota, u.s.a
> > http://www.pclink.com/melpots (website)
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:26:13 EDT
> From: ILENE MAHLER
> Subject: Re: Tile Artists?
>
> ----------------------------Original message----------------------------
> Try using lineolium.I probably spelled it wrong In home Depot etc. They
> have end rolls they can be cut to size and are reasonably priced thats
> what we used in our colored clay workshop with Debbie Fried..It adapted
> well to the slab roller I use it all the time no marks and it can be cut
> ro the width of the roller and any length you want.and you can make
> several for different clays or let stuff dry if too wet Good
> Luck,,,,Ilene in Conn
>
> "Marion Barnes-Schwartz." wrote:
> >
> > ----------------------------Original message----------------------------
> > Joanne,
> >
> > Please let us know where one can get these slab roller mats. I, for
one,
> > am tired of the wavy slabs caused by smoothing after rolling with
canvas.
> >
> > Thanks,
> >
> > Marion
> > Denver, NY
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:26:54 EDT
> From: matthew zehr
> Subject: need a stencil for clock face
>
> ----------------------------Original message----------------------------
> HI all
> Does any one know if I can buy (that is my preferance I dont thingk I am
capable
>
> Thanks
> Matt Zehr
> Lowville NY
> (were the cows out number the people)
> -----------------------------------------------
> FREE! The World's Best Email Address @email.com
> Reserve your name now at http://www.email.com
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:27:07 EDT
> From: Joyce Lee
> Subject: NCECA (AAARRRGGGHHH)
>
> ----------------------------Original message----------------------------
> Response to David Hendley....
>
> > I'll help you understand, Joyce.
> > This is NOT, repeat NOT, how I feel, but it's pretty easy for a
> > struggling potter to resent educators who seems to have it
> > so much easier. ('Seems' is the operative word; we know things
> > are often not as they seem.)
>
> I do understand that perspective, David. But it does seem to me to be
> at least similar to my being resentful, for example and which I am NOT,
> of all the potters before me who opted to spend their time, money and
> energy perfecting their art and craft whilst I was off trying other
> paths. I chose to be an educator; later, I just as whole heartedly
> re-chose to be a potter. I'll never catch up with others of my age, and
> even like abilities, who elected 20 or 30 years ago to be potters while
> I chose to trod the halls and dodge the bullets of academia. I thank the
> fates, and possibly education, that I have no such unrealistic
> expectations. It is frustrating that I no longer have a comfortable fit
> in either world. So be it. I am happy with both choices, but if I were
> not, I would not blame or resent those who operated their lives
> differently and now are very successfully reaping the rewards of their
> perseverance. I might have a ping now and then of "but for the ignorance
> of my younger self, I too might have been an artist," but in my depths
> I'm sure that if I'd made THAT choice, I'd be here today thinking that I
> might have been a dynamite educator IF I could have just plowed through
> the dreck of academic requirements ...... And, for the record, I think
> that it's morally reprehensible for an educator to be able to use time
> on the job to produce works he later sells solely for personal profit
> .... unless the institution involved says okay/fine .... then my
> disagreement MIGHT be with the institution, but not with the potter.
> And, no, I do not intend this to reflect that I have such a shallow view
> about any other remotely similar practice........
>
> Joyce
> In the Mojave firing a whole bisque load of mentee's indians ... never
> thought back in August that I'd be mentoring indian
> creating....jeez....I'm a FUNCTIONAL potter ......who is just starting
> the exercises in the Potters Workbook, which arrived yesterday....not an
> indian in the whole book......
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:27:27 EDT
> From: Cheryl L Litman
> Subject: Re: peter bugger?
>
> ----------------------------Original message----------------------------
> > Would you mind telling me what company this is? I've never heard of
> it.
>
> Ok, since so many people are in stitches about this it's a Peter Pugger.
> All I can say is that us spelling impaired should pay a lot more
> attention before blindly accepting the offerings of the naive and poorly
> trained spell checker, maybe even proof read the post after using spell
> check. But hey, isn't this more fun
>
> Cheryl Litman ---------- Somerset, NJ --------- email:
> cheryllitman@juno.com
>
> ***Experience is what allows you to recognize a mistake......when you
> make it again.***
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:27:40 EDT
> From: Aiko Ichimura
> Subject: Re: Mingei
>
> ----------------------------Original message----------------------------
> Hello,
>
> It's been covered by many people by now. I thought it might be some use to
> visit the below URL
>
> http://www.trocadero.com/stores/blueandwhiteamerica/pages/amingei.htm
>
>
>
> Aiko Ichimura
> NW DC 20036 USA
> aikop@erols.com
> ----- Original Message -----
> From: John Baymore
> To:
> Sent: Monday, April 03, 2000 5:51 PM
> Subject: Mingei
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:27:53 EDT
> From: Cheryl L Litman
> Subject: teapots on the web
>
> ----------------------------Original message----------------------------
> I was browsing and found these sites which has some neat teapots.
>
> http://www.ferringallery.com/gallery/contemp_teapots_artists/index.html
> http://www.ferringallery.com/teapots/springfieldregister.html
>
> Cheryl Litman ---------- Somerset, NJ --------- email:
> cheryllitman@juno.com
>
> ***Experience is what allows you to recognize a mistake......when you
> make it again.***
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:28:06 EDT
> From: Smart
> Subject: New French ceramic site
>
> ----------------------------Original message----------------------------
> ------------------
> Welcome to the ceramic world, I invite you to visit my new ceramic site :
> http://perso.wanadoo.fr/smart2000/
>
> You may ask me all sort of questions about ceramics (help, training
periods,
> technical problems and solutions, Job announcements...) , I'll give you my
> experience if possible (else I ask my friends to do it). In all cases I'll
=
> try
> to help you.
> Cordialement,
> Smart
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:28:54 EDT
> From: Smart
> Subject: Re: Tr: Wanted
>
> ----------------------------Original message----------------------------
> ------------------
> Hello,
> If you speak french or if one's friend can translate, visit my site
> http://perso.wanadoo.fr/smart2000/
> I explain how to build an electrical kiln for earthenware (1100=B0C) an i
=
> give
> adresses, plans, details in different parts of my homepages. The result of
> your works will be cheap and you will be able to modify and repare it
> aesily.
> Welcome to my site
> Best regards
> Smart
>
> ----- Original Message -----
> From: Edouard Bastarache =3Cedouardb=40sorel-tracy.qc.ca=3E
> To: =3CCLAYART=40LSV.UKY.EDU=3E
> Sent: Tuesday, April 04, 2000 7:56 PM
> Subject: Tr: Wanted
>
>
> ----------------------------Original message----------------------------
> ------------------
> Hello all,
>
> can someone living in South Africa help this person?
>
> Later,
>
> Edouard Bastarache
> Dans / In =22La Belle Province=22
> edouardb=40sorel-tracy.qc.ca
> http://www.sorel-tracy.qc.ca/=7Eedouardb/
> -----Message d'origine-----
> De : jacquesk =3Cjacquesk=40netactive.co.za=3E
> =C0 : edouardb=40sorel-tracy.qc.ca =3Cedouardb=40sorel-tracy.qc.ca=3E
> Date : 3 avril, 2000 13:34
> Objet : Wanted
>
>
>
> I am looking to buy a kiln, something small and cheap
> I live in cape Town, South Africa
>
> Diane
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:29:26 EDT
> From: Autumn Downey
> Subject: studio vacuums revisted
>
> ----------------------------Original message----------------------------
> I realize this subject has been on Clayart before (and I have read the
> Archives). Am now trying to sort out possiblities abit further. We are
> looking for second thoughts that anyone is having.
>
> Our Guild vaccuum needs replacing. (It builds up static, zaps the
operator,
> recently zapped our sound system, scrapes noisily along the cement floor
> pushing clay in front of it and generally irritates people to no end.)
Our
> pottery rep describes it as "hostile" and that's the politest review it's
had.
>
> These are the particulars of our situation:
> The Guild is in a high school art room. It consists of a large work space
> plus separate rooms for office, kiln room and chemical room on one wall.
>
> A built in vac sounds the most "industrial" and useful but we wouldn't be
> able to vent directly to the outside because it would be a hazard to the
> schoolkids. How well does this type of vac work when not directly vented
> outside? I imagine the canister could be placed in the chemical room
which
> has an exhaust fan that would remove air and any floating dust from that
> space as well as create some back pressure.
>
> I think it was Marc Ward's website which suggested that HEPA filters are a
> mixed blessing - may choke up the suction and may or may not catch all the
> very small particles??
>
> Is there a portable industrial vacuum out there that works well? It seems
> that the high quality vacs meant for houses and carpets are not very
> effective on cement floors. We don't really need all those magic wands
and
> specialty stuff.
>
> I know Rainbow was mentioned, but I wonder if it would be suitable for
this
> type of heavy duty use.
>
> We mop, but there are invariably crumblies and bits that need to be dealt
> with first.
>
> Thanks for any further suggestions you might have.
>
> Autumn Downey
> (Yellowknife, NWT, Canada)
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:29:59 EDT
> From: Alisa and Claus Clausen
> Subject: Sv: Re: food safety/oxides
>
> ----------------------------Original message----------------------------
> ------------------
> Hi Ron,
>
>
> snip..
> Any glaze that has metalic metal oxides floating on the surface is not
> durable - what metals are there determins the effect on the user.
>
> This has been a recent question of mine in adding color to a transparent =
> glaze.
> I have two different transp. glosses I am testing. (also one beige matt,
=
> but by
> virtue of it's matt surface, I am not using it for cups and dishes).
>
> One of the transp. is ready mixed and described as a hard surface good for
> plates, etc. I have no receipe.
>
> But the other is Marek's receipe,
> cone 6 clear
> Potash feldspar 40,0
> Filint 25,0
> Whiting 20,0
> China clay 12,5
> Bentonite 2,5
>
> I have colored them with varying additions of oxides
> Black copper, colbalt, rutile, iron and tin.
> Combinations of up to 5 precent of any oxide.
>
>
> A surprise for me, that the addition of 1 precent colbalt, completely
matted=
> the
> transparency.
> Is that usual for colbalt to behave like that in a gloss base?
>
> When you say heavy metals =22floating on the surface=22, does that mean
the =
> oxide
> contrentation
> is saturated so that the glaze surface has metallic areas (such as I have
=
> found
> with 3 precent
> of colbalt)?
>
> Is there a rule of thumb for what concentrations of oxides, or is only
heavy
> metals,
> that make an otherwise food safe glaze, unsafe? Otherwise, with a given =
> receipe
> and
> precent of additives, can you adivse me on the safety of the colored
> transparents?
>
> Thanks and best regards,
> Alisa in Denmark
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:30:20 EDT
> From: Marshall Talbott
> Subject: Gerstley Borate
>
> ----------------------------Original message----------------------------
> At the link below I'm compiling information on the soon to be extinct
> product of Gerstley Borate... If you know of clayart messages that pertain
> to this topic please point me in that direction..
>
> http://www.potteryinfo.com/ubb/Forum1/HTML/000024.html
>
>
> Thanks.. Marshall
> http://www.potteryinfo.com
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:30:52 EDT
> From: skhouse@excite.com
> Subject: Raku Glazes
>
> ----------------------------Original message----------------------------
>
> In addition to my earlier post about Raku glazes without Gerstley Borate,
I
> was hoping that someone with more knowledge and maybe some software would
be
> willing to offer some suggestions for altering these glazes to remove the
> gerstley:
>
> Rick's Blue
>
> Gerstley borate 32
> Nepheline Syenite 16
> Spodumene 17
> Lithium carb 17
> Zircopax 16
> Copper Carb 1
> Cobalt Carb 1
>
>
> Superstition Sunset
>
> Lithum carb 30
> Talc 30
> Gerstley Borate 40
> Nepheline Syenite 10
> Copper Carb 3
> Cobalt carb .25
>
> Fat White
>
> Gerstley Borate 38
> Frit 25 38
> nepheline syenite 11
> Kaolin 3
> Ball Clay 5
> Flint 5
> Zircopax 2
>
>
> Thank you all in advance, and i would be glad to share my results in a few
> weeks.
>
> Sarah House
> skhouse@excite.com
>
>
>
>
>
> _______________________________________________________
> Get 100% FREE Internet Access powered by Excite
> Visit http://freelane.excite.com/freeisp
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:31:50 EDT
> From: Marshall Talbott
> Subject: Re: Pugmill advice
>
> ----------------------------Original message----------------------------
> Weee doogies!
>
> Vince.... I fail to see the point on spending somewhere on the
neighborhood
> of 4 grand for the deairing Peter Pugger when you can have a deairing
venco
> 4" and soldern studio model for somewhere around 6.5 grand.. (prices when
we
> purchased) Dollar for dollar the venco and soldner give you FAR more for
> your hard earned money.. Just look at the labor savings and quality of the
> product vs cost before you get overly ruffled...:)
>
>
> Marshall
> http://www.potteryinfo.com
>
> >From: vince pitelka
> >Reply-To: vince pitelka
> >To: CLAYART@LSV.UKY.EDU
> >Subject: Re: Pugmill advice
> >Date: Mon, 3 Apr 2000 17:48:10 EDT
> >
> >----------------------------Original message----------------------------
> > > You made a wise decision.. clay mixers are for mixing and pugmills are
> >for
> > > pugging.. the hybrid machines such as the peter pugger don't do either
> >very
> > > well..
> >
> >Marshall -
> >The above post is a little baffling, considering all the strong
> >testimonials
> >we have received recently on Clayart from small studio owners who are
very
> >happy with their Peter-Puggers. It is a very ingenious machine, which
> >serves a certain niche very well. Your statement above is a pointless
slap
> >in the face to all the people who posted their satisfaction with their
> >Peter-Puggers.
> >
> >For a big production studio that mixes its own clay, I agree with your
> >previous assessment - the best solution is a Soldner mixer AND a good
> >deairing pugmill. But don't presume to imply that this is within the
means
> >of most studio potters. In fact, for most studios it would be an absurd
> >misdirection of funds. A good de-airing mill is never a waste of money
for
> >any studio potter, but the Soldner mixer is a silly expense except for
> >those
> >with cash to burn or those mixing large amounts of custom claybodies from
> >scratch. There are much easier, cheaper ways for all others to mix or
> >recycle clay, especially with a good de-airing pugmill for final
> >processing.
> >
> >But that is all beside the point. The fact is that the Peter Pugger is a
> >beautiful machine for what it was designed to do.
> >- Vince
> >
> >Vince Pitelka
> >Home - vpitelka@dekalb.net
> >615/597-5376
> >Work - wpitelka@tntech.edu
> >615/597-6801 ext. 111, fax 615/597-6803
> >Appalachian Center for Crafts
> >Tennessee Technological University
> >1560 Craft Center Drive, Smithville TN 37166
> >http://www.craftcenter.tntech.edu/
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:32:09 EDT
> From: "chris@euclids.com"
> Subject: Re: electric reduction kiln
>
> ----------------------------Original message----------------------------
> > i am in the process of re/building an electric kiln to the nils lou
> > reduction spec for the farm.
> > I am going to take out the coils, replace with euclid's coils
> > that i will dip in itc 213 metal coating.
> > then, i will spray the inside with a coat of itc 100, followed
> > by several thin coats of itc 256a.
> > i would like to give it a very independent try...sorta kick this
> > thing in the butt hard
>
> Hi mel,
> We would be very interested in the results, & will gladly donate the
> elements for this experiment.
> As far as the coating of the elements goes, keep it thin & even.
> What is your guess as to how many firings they will last ?
> Lots of luck,
> chris
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 10:32:31 EDT
> From: Mary
> Subject: Broken pots
>
> ----------------------------Original message----------------------------
> I am stressed! As I said earlier, I am just returning to clay.
> Before I received my kiln, I built some pots at a friend's house so that I
> could fire them in hers. The one I particularly liked was about 12" high,
8"
> diameter, and had coiled spirals about 2" down as one layer. The spirals
> were graduated in diameter, so the pot ended up with a high side, and a
low
> one. I also made coiled spiraled handles. I was thrilled with my first
"new"
> pot.
> HER CAT JUMPED ON IT in its completely dry, unfired state and it is now in
> smithereens. I forgot how frustrating it is to break a piece, and just how
> much one can become attached to "sand and water".
> Needless to say, my unfired pieces are safely in my studio, far above
where
> my teenaged sons might be tempted to pounce!
> Also, in response to many kind suggestions, I contacted Highwater Clay
> Company, and they are sending samples to me of different clay bodies.
> I have also decided to save money so that I can attend a glazing workshop
> this summer or early fall.
> Finally, I mentioned in a private email that I was reluctant to say much,
> due to my very amateurish status among some very talented potters, but she
> assured me that you were a caring, helpful group. I am appreciative of
that.
>
> Many thanks,
> Mary, soon to be considered a potter again.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:20:33 EDT
> From: Wendy Rosen
> Subject: Craft Business Institute- Scholaraships Avail
>
> ----------------------------Original message----------------------------
> *************************************************************
> DESIGN YOUR CAREER PATH
> Craft Business Institute (CBI)
> *************************************************************
>
> CBI is designed for craftspeople, like you, who want to learn how to
design
> a path for selling production, limited-edition and one-of-a-kind artwork
in
> all media.
>
> Through your interactions with presenters and fellow participants, a
> resource room full of vital information sources, a panel discussion with
> gallery owners and the CBI exhibition you will gain the knowledge and
> confidence you need to take your craft business to the next level of
> success.
>
> A limited number of full and partial scholarships will be awarded.
>
> Register for CBI by April 7 and save $100 on your complete conference
> package (includes sessions, meals, and lodging). Day packages are also
> available.
> Call 800.642.4314 for more information or to register.
>
> *************************************************************
> Courses and Presenters:
> Accounting and Taxes: What Every Artist Should Know
> Charles Geser, certified public accountant
>
> Artists' Materials That Sell!
> Steve Swan, owner, Artifax Gallery
>
> Credit Card Sales: Increase Your Retail Sales by 30% (or More)!
> Guy McDonald, CEO Arts & Crafts Business Solutions
>
> Credits, Collections and Negotiating to Win
> Steve Rosen, retailer, Mark Down, Inc.
>
> Effective Display Design: Breaking Through the Glazed-Over Look
> Barbara Eldredge, exhibit consultant, ExpoDisplays
>
> Publicity, Promotion, & Career Planning
> Bill Hunt, educator and craft artist
>
> Hitting the Bullseye: Targeted Marketing
> Gary Rosenthal, founder and president, The Rosenthal Collection, Inc.
>
> How to be a Dynamic Craft Seller: Parts I & II
> Bruce Baker, artist, educator and owner, Great Falls Collection
>
> How to Get the Attention of Corporate Art Buyers
> Laura Kaufman, president, ArtResource, Inc.
>
> Creating a Website and Marketing on the Internet
> Jonathan Oleisky, General Manager, NICHE and AmericanStyle magazines
>
> Is There a Gallery in Your Future? 10 Reasons to Wholesale
> Wendy Rosen, founder and president, The Rosen Group
>
> It's Not Creative Unless It Sells: How to Advertise
> Kurt Coburn-Herring, sr. account manager, NICHE magazine
>
> Pricing Your Work: Separating the Amateurs from the Professionals, Parts I
& II
> Chuck Geser, certified public accountant
> Sandra Magsamen, ceramic artist, Table Tiles
>
> Profitable Partnerships with Galleries and Retailers
> Steve Swan, owner, Artifax Gallery
>
> Publicity and Promotion & Career Planning
> Bill Hunt, educator and craft artist
>
> Spotlight on Slides: The Difference Between Good Slides & Bad Slides
> Rick Faulkner, artist, Barrick Design
>
> Spotlight on Slides: How Your Slides Compete in the Jury Process
> Rick Faulkner, artist, Barrick Design
>
> Trends of the Craft Movement
> Donna Milstein, owner, Hanson Galleries
>
> How to Get Your Craft Business Started
> Loretta Anne Castagna, jeweler, CBI alumni
>
> How to Develop Your Products Into a Line
> Tom Mann, artist, Thomas Mann Design
>
> Protecting Your Designs
> Joel Joseph, Chairman, Made in the USA Foundation
>
> *************************************************************
> CALL 800.642.4314 OR VISIT WWW.AMERICANCRAFT.COM FOR MORE INFORMATION AND
A
> COMPLETE SCHEDULE OF EVENTS.
> *************************************************************
> Sponsored by The Rosen Group
> 3000 Chestnut Ave #300
> Baltimore, MD 21211
> 410.889.2933 (phone) 410.889.1320 (fax)
> *************************************************************
>
>
> Wendy Rosen
> The Rosen Group
>
> 3000 Chestnut Ave #304
> Baltimore, Maryland 21211
> 410.889-3093 410.243.7089 fax
>
>
****************************************************************************
****
> *
> AmericanStyle Magazine Career Services
> http://www.americanstyle.com http://www.americancraft.com
> The Buyers Markets of American
Craft
> Niche Magazine and Awards Programs
> Artist Mentor Program
> Market Insider Newsletter (FREE)
> Emerging Artist
> Internships/Scholarships
> Craft Business Institute
>
>
****************************************************************************
****
> *
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:20:48 EDT
> From: DinaH
> Subject: Re: Slab rolling mat (Used to be: Re: Tile Artists?)
>
> ----------------------------Original message----------------------------
> I took a workshop this summer with Bruce Winn, who does slab work, and he
told
> us to put 2 pieces of double knit polyester (yes, its still out there)
between
> the canvas and roll on that. It works really well.
> There is the slightest texture that disappears quickly with an easy swish
of a
> rubber rib.
> Dinah in AZ where we had our first 90 degree day yesterday.
>
> Kent / Pat wrote:
>
> > ----------------------------Original message----------------------------
> > Dear Joamme and Dom, et al.:
> >
> > I am about to order these same mats. I got samples at NCECA and the
> > orderong information is as follows:
> >
> > "SLABMAT
> > * A non-woven material without the texture of weave of canvas
> > * Sheet Dimensions = 22"x50"
> > * For use with slab rollers, tabletop slab rolling. or hand building
> > * With proper care SLABMAT can last for years. See website forsimple
> > cleaning instructions.
> > * SLABMAT : $18.00 per piece, plus ups shipping
> >
> > Herring Designs,L
> > PO BOX 35-7581
> > Gainsvile, FL 32635
> >
> > Email : pjh.mae@aya.yale.edu
> > Website: HerringDesigns.com
> > Phone: 888 391-1615
> >
> > * We suggest buying 2 peices of SLABMAT to allow drying time of
material
> > if you frequently rolll slabs."
> >
> > We have discussed these mats in class. Some people have mentioned that
when
> > they are used that the clay tends to stick to the mat. Maybe
"seasoning" it
> > with vegatable oil , mineram oil or WD40 would solve the problem. I
have 2
> > small samples here and will try the oils on them. JoAnne, if this
works, it
> > will save a lot of sanding, and thus a lot of dust in the air.
> >
> > Pat Porter
> > pporter@4dv.net
> > http://www.geocities.com/windy_pines_2000/index.html
> > Aurora CO USA
> > ----- Original Message -----
> > From: "Joanne L. Van Bezooyen"
> > To:
> > Sent: Monday, April 03, 2000 2:55 PM
> > Subject: Re: Tile Artists?
> >
> > > ----------------------------Original
message----------------------------
> > > Don,
> > > At the NCECA I purchased a 'mat' to use instead of canvas on the slab
> > roller.
> > > (What button did I push to make all this underline?) This eliminates
the
> > step
> > > of having to sponge the canvas texture marks off the top of the clay
slab.
> > The
> > > wiping will distort the slab's thickness making it wavy. It works
just
> > great.
> > > If you are interested, I'll send you the info.....or, better, if the
mfg's
> > or
> > > distributers of the item I am mentioning are lurking, perhaps they can
get
> > you
> > > the info. I think it cost $15.
> > > Joanne in Tucson
> > >
> > > Don Jones wrote:
> > >
> > > > ----------------------------Original
message----------------------------
> > > > Dear Group,
> > > > I am currently reinventing the wheel (in this case the tile
process). I
> > > > have a North Star slab roller, Giorgini's book, and I am rolling out
> > 3/8"
> > > > slabs to use in 6" and 8" tiles. To get the canvas texture off the
> > slab, I
> > > > wet it down with a sponge and rub it until a slip appears. Then I
> > squeegee
> > > > it off and use a bisque tile as a template to cut out the tiles.
> > Drying is
> > > > between plaster wall boards. It is working ok but each tile when
> > finished
> > > > has a slightly wavy, handmade look to it that I hope people will
like.
> > > > I am currently making 12" square tiles using a fatter slab. These
are
> > still
> > > > in the research stage but I have high hopes. I decorate them with
my
> > usual
> > > > sky designs. There is a big crafts fair coming up in June here in
> > > > Albuquerque where I will market test them. I'll let you know how it
> > goes.
> > > > Don Jones
> > > > http://www.highfiber.com/~claysky
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:21:12 EDT
> From: mary simmons
> Subject: Gerstley Borate
>
> ----------------------------Original message----------------------------
> Hi Folks-
>
> One of your brethren sent me a sample of gb from Hammill & Gillespie's
> batch #8852 He gave me permission to post this analysis to the list (if
> anyone else has an analysis of this batch, I'd appreciate a look at
> it--always good to double check what our machines tell us).:
>
> H&G #8852
> SiO2 17.88
> Al2O3 1.97
> Fe2O3 0.54
> MnO 0.03
> MgO 5.59
> CaO 26.22
> Na2O 4.09
> K2O 0.53
> TiO2 0.10
> P2O5 0.13
> LOI 26.80
> total 83.87
> B2O3 16.13
>
> total 100.00
>
>
> Boron is a difficult mineral to detect using XRF because we use lithium
> tetraBORATE as a flux to melt the sample into a disk. B203 is gotten by
> subtracting all the other major elements plus LOI from 100. There are,
> however, some trace elements, maybe 1% or so, so keep that in mind
>
> For the benefit of those who missed the other three analyses I did on
> sample of gb whose batch numbers are unknown, here they are again:
>
> GB1 GB2 GB3
> SiO2 15.88 14.67 9.05
> Al2O3 1.89 1.64 0.77
> Fe2O3 0.60 0.49 0.14
> MnO 0.02 0.03 0.03
> MgO 4.43 4.74 3.55
> CaO 24.29 24.70 24.64
> Na2O 4.26 3.91 5.15
> K2O 0.57 0.55 0.31
> TiO2 0.08 0.08 0.03
> P2O5 0.08 0.08 0.06
> LOI 26.30 25.90 27.64
> total 78.39 76.77 71.37
> B2O3 21.61 23.23 28.63
>
> total 100.00 100.00 100.00
>
>
> same thing about the boron applies.....
>
> These analyses, while perhaps not exactly what YOU have, are closer than
> what is reported in the ceramic databases (ie: 16.8% CaO, 9.3% Na2O, 52.3%
> B2O3)
>
>
> cheers-
> mary
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:21:22 EDT
> From: Sheron Roberts
> Subject: Re: slate wedging table
>
> ----------------------------Original message----------------------------
> ------------------
> Howdy,
> My husband made from angle iron this
> perfect wedging table for me. It is the
> right height, heavy enough that it doesn't
> move while being used and just the right
> size for my studio. My intentions were
> to buy a slab of slate from the local
> tombstone guy, but he told me he would
> have to order it. So while waiting for the
> local pool table repairmen (yes we really
> have one) to find me a piece of slate, I
> walked out to my garden path and borrowed
> a nice smooth piece. It isn't square but
> the top is perfectly smooth, and it is large
> enough and heavey enough to stay put on
> the table. When the pool table guy brings
> me a piece of slate, I shall return the
> =22wedging/stepping=22 stone to its place in
> the garden. =3Cg=3E
> Sheron in NC where the azaleas are
> =22bustin,=22 out all over=21
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:21:45 EDT
> From: Bruce Girrell
> Subject: Re: Gerstley Borate and Raku
>
> ----------------------------Original message----------------------------
>
>
> Charles Hughes wrote:
>
> >Is there any reason I can't start with a non -Gerstley Borate based
> >glaze 012-05 glaze and fire it Raku style then make adjustments from
there?
>
> It's a perfectly good approach. I suggest that you go about it in a
> systematic way, though. Otherwise, you'll likely have a long period of
> frustrating glaze experiments ahead of you. Check out
> http://ian.currie.list.to/recipe_method.htm
> Currie's method will work even if you don't know the components of your
base
> glaze (as with a commercial glaze). Just use 100% base glaze for corner C.
> Choose a base glaze that melts at a pretty low temp so that your useful
> results will have more range across the tile.
>
> If you happen to know the constituents of your base glaze, then you may
want
> to investigate glaze calc programs. Several good ones exist for both PC
and
> Mac.
>
> Both the recipe approach and glaze calc programs have advantages and
> disadvantages. If you are uncomfortable with numbers or you are interested
> in finding unique new glazes that may not fall into the class of a "good"
> glaze or if you just like choosing between a set of actual samples, then
the
> recipe method will work well for you. If your main interest is
> predictability and good glass formation; if you don't have a problem with
> numbers and computers, then glaze calc is for you.
>
> Good luck. Let us know if you find something interesting.
>
> Bruce and Lynne Girrell
> in springtime northern Michigan
> cooking up a few experiments of our own for the next firing
> 1) Trying a slip under the glaze to see how it affects the crackle network
> size
> 2) Adding opacifier to the slip to see how it helps the colors
> 3) Playing with the OxyProbe
> 4) Trying a porcelain based clay body for raku (lots of molochite)
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:21:54 EDT
> From: Khaimraj Seepersad
> Subject: Re: substitute for magnesium carbonate
>
> ----------------------------Original message----------------------------
> Good Day to All ,
>
> Veena ,
>
> I use Magnesium Oxide when making Frits . I get
> it from Ceramic Supply of New York And New
> Jersey.
> It is not fluffy or other and no carbonates to
> decompose , not sure how it would behave in a
> glaze .
>
> There is also Talc , if you can factor the Silica and
> other contaminants in .
>
> A long shot Magnesium Zirconium Silicate .
> AND Dolomite
>
> But then again , are you asking to substitute for
> Magnesium Carbonate with say Strontium Carbonate?
> Khaimraj Seepersad
>
>
>
>
> -----Original Message-----
> From: Veena Raghavan <75124.2520@compuserve.com>
> To: CLAYART@LSV.UKY.EDU
> Date: 05 April 2000 13:07
> Subject: substitute for magnesium carbonate
>
>
> >----------------------------Original message----------------------------
> >There are quite a few recipes that call for magnesium carbonate. Is there
> >any substitute for this?
> >I would appreciate any advice from the glaze experts.
> >
> >Thanks in advance.
> >
> >Veena
> >Veena Raghavan
> >75124.2520@compuserve.com
> >
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:22:22 EDT
> From: Joyce Lee
> Subject: Vince Pitelka Workshops
>
> ----------------------------Original message----------------------------
> I feel compelled to chime in on Michael McD's comments on Vince's guitar
> playing.......singing, too... At Michael's wonderful and productive
> organic farm three summers ago Vince entertained around the
> shadow-casting, inviting campfire for hours without repetition. We
> workshop participants sat enthralled after experiencing long days filled
> with learning new skills and enhancing old ones..... days led by our
> Vince who, as you might imagine, is very detail-oriented. Nothing
> escapes his attention and he spares no energy in making it all work.
> Just had to say that.
>
> Joyce
> In the Mojave happy with my return to clay.....even though I did find
> a dead, partially eaten rabbit behind the little kiln..... drat!
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:22:37 EDT
> From: Arnold Howard
> Subject: Re: plugging kiln
>
> ----------------------------Original message----------------------------
> Leaving the top plug out will extend the life of the
> Kiln Sitter tube. Corrosive fumes will leave the kiln
> through the peephole instead of through the porcelain
> tube.
>
> If you use a kiln vent, leave the peepholes plugged.
>
> Leave the top peephole unplugged for extra
> oxygenation. However, if you experience problems from
> cool air drafts (such as crazed spot), you should plug
> the top peephole.
>
> Arnold Howard
>
> --- elise pincu wrote:
> > ----------------------------Original
> > message----------------------------
> > Hello to all.
> > A friend of mine has a slight dispute with her
> > co-worker, and I promised I'd ask this on clayart
> > for
> > her.
> >
> > My question is: Should a person plug the top peep of
> > the electric kiln when firing? Should this be done
> > during bisque and/or glaze firing? If it should be
> > un-plugged (open peep), why?
> >
> > Thanks for responding!!!
> >
> > ELise in Miami
> >
> > =====
> > Pincu Pottery
> > Funktional Ceramic Art
> > http://www.basic-learning.com/pincupottery/
> >
> > __________________________________________________
> > Do You Yahoo!?
> > Talk to your friends online with Yahoo! Messenger.
> > http://im.yahoo.com
> >
>
> __________________________________________________
> Do You Yahoo!?
> Talk to your friends online with Yahoo! Messenger.
> http://im.yahoo.com
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:22:50 EDT
> From: Virgil and Susan Leise
> Subject: Pinholes and wedging
>
> ----------------------------Original message----------------------------
> ------------------
> Hi . I unloaded the kiln today..and still have a few pinholes=21When I =
> talked with
> the clay supplier...they suggested that I am wedging it wrong..putting air
=
> into
> the clay...which causes the pinholes (they are there when I glaze ..before
> firing the glaze) My question is this...Is there a site on the net that
I =
> can
> see spiral wedging??? I have been doing pots for 20 years...my wedging
> suddenly isn't good enough??? By the way...I have used other clay from =
> other
> suppliers...no problem?????? Tell me what you think ...PLEASE=21
> Susan
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:23:14 EDT
> From: Gayle Bair
> Subject: Re: wood as opposed to plaster for wedging table
>
> ----------------------------Original message----------------------------
> Ever the recycler...
> I use canvas (from oil painting days) on
> covered drawing boards (from college days)
> that I have clamped to an old printer stand
> (old printer days). I put one foot on the stand
> and wedge away! It's light weight and easy to clean.
> It works great for me and very portable!
> I also nail strips of wood to the board when
> making tiles. then I can pound or roll the clay to
> the size I need. When done I pry off the strips.
> My two sense!
> Gayle Bair
> gaylebair@earthlink.net
>
>
> -----Original Message-----
> From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.UKY.EDU]On Behalf
> Of Veena Raghavan
> Sent: Wednesday, April 05, 2000 12:44 PM
> To: CLAYART@LSV.UKY.EDU
> Subject: Re: wood as opposed to plaster for wedging table
>
>
> ----------------------------Original message----------------------------
> I just wanted to put in my two cents worth about wedging surfaces. I agree
> with Ivor Lewis and Richard Gilbert about a wood as opposed to a plaster
> surface. I work out of a group studio, where we use plaster wedging
tables.
> There is a constant problem with chips of plaster getting into the clay.
> Everyone is not careful about how they use the surface, and it is
difficult
> to control in a teaching studio. I hope to have my own studio in the near
> future, and plan to have either a wood wedging table, because I feel it is
> easier to clean and maintain.
>
> Veena
>
>
> Veena Raghavan
> 75124.2520@compuserve.com
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:23:38 EDT
> From: Cheryl L Litman
> Subject: new to glazing
>
> ----------------------------Original message----------------------------
> Mary,
>
> Before you dig out CM recipes, I'd search the clayart archives for Ron
> Roy posts and start with some of the glazes he reformulated. There are
> quite a number and you'll probably have instant success with them - all
> but the floating blue that is and that's not Ron's fault, it's just
> really sensitive to temperature variations.
>
> Cheryl Litman ---------- Somerset, NJ --------- email:
> cheryllitman@juno.com
>
> ***Experience is what allows you to recognize a mistake......when you
> make it again.***
>
>
> On Wed, 5 Apr 2000 15:50:39 EDT Mary writes:
> > ----------------------------Original
> > message----------------------------
> > Thanks to all who responded so generously, both in private emails,
> > as well
> > as on the list. I have decided to send off to Highwater for clay
> > samples,
> > search for a used wheel, and just get on with it!
> > I happen to have several back issues of Ceramics Monthly, so I am
> > going
> > through them looking for glaze recipes. I think I'll start with
> > recommended
> > ones, then venture out on my own once I have a firmer grasp of the
> > elements.
> > Guess what I have!
> > When I purchased my kiln, there were about 4 boxes FILLED with kiln
> > furniture, brushes, cone, etc. In the last box, there were 4 leather
> > bound
> > books containing little (4" x 6") magazines called "Ceramic Art &
> > Crafts"
> > and about 50 loose magazines called "Popular Ceramics". They're all
> > from the
> > late 60's, in perfect condition and just a riot to read!
> >
> > Thanks again to all!
> > Mary
>
> Cheryl Litman ---------- Somerset, NJ --------- email:
> cheryllitman@juno.com
>
> ***Experience is what allows you to recognize a mistake......when you
> make it again.***
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:23:53 EDT
> From: Cheryl L Litman
> Subject: Re: Slab rolling mat (Used to be: Re: Tile Artists?)
>
> ----------------------------Original message----------------------------
> I spoke with the woman selling them and within seveal months she's coming
> out with a wider version. I didn't want to give up the inches.
>
> Cheryl Litman ---------- Somerset, NJ --------- email:
> cheryllitman@juno.com
>
> ***Experience is what allows you to recognize a mistake......when you
> make it again.***
>
>
> On Wed, 5 Apr 2000 15:40:55 EDT Kent / Pat writes:
> > ----------------------------Original
> > message----------------------------
> > Dear Joamme and Dom, et al.:
> >
> > I am about to order these same mats. I got samples at NCECA and the
> > orderong information is as follows:
> >
> > "SLABMAT
> > * A non-woven material without the texture of weave of canvas
> > * Sheet Dimensions = 22"x50"
> > * For use with slab rollers, tabletop slab rolling. or hand
> > building
> > * With proper care SLABMAT can last for years. See website
> > forsimple
> > cleaning instructions.
> > * SLABMAT : $18.00 per piece, plus ups shipping
> >
> > Herring Designs,L
> > PO BOX 35-7581
> > Gainsvile, FL 32635
> >
> > Email : pjh.mae@aya.yale.edu
> > Website: HerringDesigns.com
> > Phone: 888 391-1615
> >
> > * We suggest buying 2 peices of SLABMAT to allow drying time of
> > material
> > if you frequently rolll slabs."
> >
> > We have discussed these mats in class. Some people have mentioned
> > that when
> > they are used that the clay tends to stick to the mat. Maybe
> > "seasoning" it
> > with vegatable oil , mineram oil or WD40 would solve the problem. I
> > have 2
> > small samples here and will try the oils on them. JoAnne, if this
> > works, it
> > will save a lot of sanding, and thus a lot of dust in the air.
> >
> > Pat Porter
> > pporter@4dv.net
> > http://www.geocities.com/windy_pines_2000/index.html
> > Aurora CO USA
> > ----- Original Message -----
> > From: "Joanne L. Van Bezooyen"
> > To:
> > Sent: Monday, April 03, 2000 2:55 PM
> > Subject: Re: Tile Artists?
> >
> >
> > > ----------------------------Original
> > message----------------------------
> > > Don,
> > > At the NCECA I purchased a 'mat' to use instead of canvas on the
> > slab
> > roller.
> > > (What button did I push to make all this underline?) This
> > eliminates the
> > step
> > > of having to sponge the canvas texture marks off the top of the
> > clay slab.
> > The
> > > wiping will distort the slab's thickness making it wavy. It works
> > just
> > great.
> > > If you are interested, I'll send you the info.....or, better, if
> > the mfg's
> > or
> > > distributers of the item I am mentioning are lurking, perhaps they
> > can get
> > you
> > > the info. I think it cost $15.
> > > Joanne in Tucson
> > >
> > > Don Jones wrote:
> > >
> > > > ----------------------------Original
> > message----------------------------
> > > > Dear Group,
> > > > I am currently reinventing the wheel (in this case the tile
> > process). I
> > > > have a North Star slab roller, Giorgini's book, and I am rolling
> > out
> > 3/8"
> > > > slabs to use in 6" and 8" tiles. To get the canvas texture off
> > the
> > slab, I
> > > > wet it down with a sponge and rub it until a slip appears. Then
> > I
> > squeegee
> > > > it off and use a bisque tile as a template to cut out the
> > tiles.
> > Drying is
> > > > between plaster wall boards. It is working ok but each tile when
> > finished
> > > > has a slightly wavy, handmade look to it that I hope people will
> > like.
> > > > I am currently making 12" square tiles using a fatter slab.
> > These are
> > still
> > > > in the research stage but I have high hopes. I decorate them
> > with my
> > usual
> > > > sky designs. There is a big crafts fair coming up in June here
> > in
> > > > Albuquerque where I will market test them. I'll let you know
> > how it
> > goes.
> > > > Don Jones
> > > > http://www.highfiber.com/~claysky
>
> Cheryl Litman ---------- Somerset, NJ --------- email:
> cheryllitman@juno.com
>
> ***Experience is what allows you to recognize a mistake......when you
> make it again.***
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:24:25 EDT
> From: Mary
> Subject: Re: Brush Making Materials
>
> ----------------------------Original message----------------------------
> I own a hair salon, and when my favorite Asian client decided to remove
over
> 8" of her hair, I saved it as a ponytail. I have made many and various
> brushes using her hair. I even have one that has only 3 hairs in it, which
I
> use in my acrylic painting for very fine, detailed strokes. I also made a
4"
> long one with tapered ends which is wonderful for loopy, spiral-y strokes.
> Maybe you could ask your stylist to save some for you?
>
> Mary
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:26:25 EDT
> From: "Deborah B."
> Subject: Re: plugging kiln
>
> ----------------------------Original message----------------------------
> Never heard of not having it plugged. Except for keep the door cracked in
> the beginning of a bisque to allow water vapors to escape and to bring
temp
> up slower. Seems like any time after that is a waste of energy. Sort of
> like turning your furnace on when you have your windows open!
>
> Deborah
>
> >From: elise pincu
> >Reply-To: Ceramic Arts Discussion List
> >To: CLAYART@LSV.UKY.EDU
> >Subject: plugging kiln
> >Date: Wed, 5 Apr 2000 16:01:07 EDT
> >
> >----------------------------Original message----------------------------
> >Hello to all.
> >A friend of mine has a slight dispute with her
> >co-worker, and I promised I'd ask this on clayart for
> >her.
> >
> >My question is: Should a person plug the top peep of
> >the electric kiln when firing? Should this be done
> >during bisque and/or glaze firing? If it should be
> >un-plugged (open peep), why?
> >
> >Thanks for responding!!!
> >
> >ELise in Miami
> >
> >=====
> >Pincu Pottery
> >Funktional Ceramic Art
> >http://www.basic-learning.com/pincupottery/
> >
> >__________________________________________________
> >Do You Yahoo!?
> >Talk to your friends online with Yahoo! Messenger.
> >http://im.yahoo.com
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:26:43 EDT
> From: Mary
> Subject: Re: Back to pottery
>
> ----------------------------Original message----------------------------
>
> > I regard to your glass work: I, too, have become enamored with fused and
> > slumped glass, and would love to know just how to use my regular ceramic
> > kiln for that. The glass kilns have elements in the lid for more even
> heat,
> > but I understand we can adapt our kilns, too, by using only one layer
and
> > firing very low, by our standards, like cone 017. Would love any
> suggestions
> > you have along these lines.
>
> Pam,
>
> Thanks for your encouragement. I have been invited to sit in a glass
studio
> locally, and watch a man whose speciality is glass fusion and bead making.
> He uses both a glass kiln and a clay kiln, and swears it can be done. I
have
> heard of others who have done the same, but from what I gather, they have
to
> open and close the lid to anneal the glass, which sounds like far too much
> work and babysitting for me. I am as curious as you are to see if there is
a
> straightforward way to do glass in this manner, without having to tend to
it
> so diligently.
> I'll keep you posted privately, unless someone else is interested.
>
> Mary
> Jax. Fl.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:27:26 EDT
> From: John Hesselberth
> Subject: Cone 10 Glaze Stability Results
>
> ----------------------------Original message----------------------------
> Hi everyone,
>
> Thanks to Tom Wirt, I have now been able to post the leaching test
> results for the first Cone 10 glazes on my web site. And Cone 10 glazes
> are not immune from leaching problems.
>
> The glazes are:
>
> Shaner's Oribe--turns out this one is quite unstable and leaches a LOT of
> copper. I would not put it on a food surface and Tom doesn't either.
>
> Old Celadon--a fairly stable light green glossy transparent glaze
> formulated by Tom by combining two other glazes.
>
> Esther's White accented with Shaner's Oribe--in spite of the instability
> of Shaner's Oribe this combination is quite attractive and stable;
> although anyone using it should have it tested themselves.
>
> Check them out at
> http://www.frogpondpottery.com/glazestability/stableglazes.html
>
> Who else has tested some cone 10 glazes and is willing to share the
> results? I know more have been tested, but I don't yet have any other
> results. Please send some to me.
>
> John Hesselberth
> Frog Pond Pottery
> P.O. Box 88
> Pocopson, PA 19366 USA
> EMail: john@frogpondpottery.com web site: http://www.frogpondpottery.com
>
> The only things in life that are certain are death and taxes; however
> only taxes come once a year. Anonymous
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:27:52 EDT
> From: Gregory D Lamont
> Subject: Re: Tom Sawyer/elec/reduction
>
> ----------------------------Original message----------------------------
> At 03:50 PM 4/5/00 -0400, you wrote:
> >----------------------------Original message----------------------------
> >Thank you for that report Tom. And thank you identifying your
> >connection to Axner's.
> >(Snipped)
>
> > Many of us see a dramatic change coming with electric reduction.
> >It will change the lives of many potters working from their homes,
> >and do not have access to reduction kilns.
>
> Tom, Mel, Nils, et al,
>
> I've been following this thread with great interest as my situation fits
> the above description to a "T". I'll be interested to see what your
> results are, especially as regards the long-term life of the
> elements. BTW, where do I find ordering information for ITC products?
> Greg
>
>
> E-mail address:
> gdlamont@isunet.net
>
> Pottery Web Page:
> http://www.ourwebpage.net/greglamont/
>
> Mailing address and Phone:
> Greg Lamont
> 3011 Northwood Drive
> Ames, IA 50010-4750
> (515) 233-3442
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:28:36 EDT
> From: Gregory D Lamont
> Subject: Re: electric reduction kiln
>
> ----------------------------Original message----------------------------
> At 03:53 PM 4/5/00 -0400, you wrote:
> >----------------------------Original message----------------------------
> >I am not sure that I get the why's of using a gas/electric kiln. I am
> >fortunate to have a Bailey gas kiln that is piped in such a manner that I
can
> >easily control the gas to ramp to and hold at 1650 deg F.
> >David
>
> David,
>
> The reason for this is to enable potters who, like myself, have our
studios
> located in residential settings where zoning regulations and/or the gas
> company do not permit gas kilns to be used. It would allow us, the legion
> of "basement potters", the ability to to attain a reduction atmosphere
when
> desired, yet fire normally, as well. It's my understanding that the
> concept is not new, but previous attempts saw the reduction atmosphere
> dramatically shorten the life of the elements. The availability of the
ITC
> coatings provide the protection necessary to allow the electric/reduction
> concept to become a practical reality.
> Greg
> E-mail address:
> gdlamont@isunet.net
>
> Pottery Web Page:
> http://www.ourwebpage.net/greglamont/
>
> Mailing address and Phone:
> Greg Lamont
> 3011 Northwood Drive
> Ames, IA 50010-4750
> (515) 233-3442
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:29:24 EDT
> From: Don & Isao Morrill
> Subject: Re: wood as opposed to plaster for wedging table
>
> ----------------------------Original message----------------------------
> At 15:44 4/5/00 EDT, you wrote:
> >----------------------------Original message----------------------------
> >I just wanted to put in my two cents worth about wedging surfaces. I
agree
> >with Ivor Lewis and Richard Gilbert about a wood as opposed to a plaster
> >surface. I work out of a group studio, where we use plaster wedging
tables.
> >There is a constant problem with chips of plaster getting into the clay.
> >Everyone is not careful about how they use the surface, and it is
difficult
> >to control in a teaching studio. I hope to have my own studio in the near
> >future, and plan to have either a wood wedging table, because I feel it
is
> >easier to clean and maintain.
> >
> >Veena
> >
> >
> >Veena Raghavan
> >75124.2520@compuserve.com
> >
>
> Veena, We have used canvas covered plywood for over 35 yrs. and
> found it most satisfactory. A suggestion: A large 'end'grain' wood slab
> works beautifully. Butchers Bocks are constructed of many short pieces of
> end-grain maple....especially because the end-grain is highly absorbent
and
> does not splinter. Nearly any wood should do the trick and certainly worth
> a try.
> Don & Isao
> Don & Isao Sanami Morrill
> e-Mail:
>
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:29:43 EDT
> From: Khaimraj Seepersad
> Subject: Re: Tell me your secrets about your hands
>
> ----------------------------Original message----------------------------
> The Magic Balm -
>
> Beeswax 33 %
> Vaseline 33
> Cocoa butter 33
> Baby Oil [ mineral Oil ] to keep it soft
> some type of scent
>
> Should just be barely liquid at 93 deg.F
> Liquefying , while rubbing on heavily .
>
> Then go to work with Egyptian Paste as
> coils.
> Usually all gone when the object is finished.
>
> Do not keep washing your hands !
> Grease Monkey
>
>
> -----Original Message-----
> From: Aiko Ichimura
> To: CLAYART@LSV.UKY.EDU
> Date: 05 April 2000 12:45
> Subject: Tell me your secrets about your hands
>
>
> >----------------------------Original message----------------------------
> >Hi all,
> >People assume that I am a potter because I am a member of pottery Mailing
> >List.
> >I am not and I wish I were.
> >
> >One of the reasons that stops me diving in to the world of pottery in
> >addition to having no time
> >is the rumors that the pottery making would be very hard on my hands.
> >Being a musician and a practitioner of the tea ceremony, I could not
afford
> >to damage
> >or make my hands uglier. I've heard my potter friends talk about their
> hands
> >breeding, cracking
> >thinning palm skin and so on. They are all Japanese potters and it might
be
> >not so bad here.
> >Is it true? Or how do you take care of your hands? Any secrets?
> >
> >Aiko Ichimura
> >NW DC 20036 USA
> >aikop@erols.com
> >
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:30:58 EDT
> From: Rosanne Cleveland-King
> Subject: Re: Slab rolling mat (Used to be: Re: Tile Artists?)
>
> ----------------------------Original message----------------------------
> I use a lot of WD-40 in this situation, so buy it in the gallon can.
Works
> for me.
> Rosanne
> Mud Pies in Ky
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:31:11 EDT
> From: June Perry
> Subject: Re: weird economics
>
> ----------------------------Original message----------------------------
> Hi Everyone:
>
> Well, I just got back from helping my 84 year old mother unpack and get
> settled in her new senior apartment complex. While unpacking her little
> treasures, I found a few of her Hummel plates from the 70's. My mother
> proudly told me that they were quite valuable, because when she went to
price
> one of the missing one of the series, she found it would cost $3000
because
> the molds have now been destroyed.
> Now maybe that's what production and studio potters need to do. Make
> everything limited editions, signed and numbered. We can hold on to half
the
> production and then in ten years sell it all on ebay for thousands a piece
> and retire to a balmy Mediterranean village, sit on the verandah of a
white
> washed villa overlooking the sea, sipping margaritas or pina colada or
first
> growth Chateau Margaux in our twilight years. :-) Of course you can create
> your own idea of heaven. :-)
>
> Warmest regards,
> June
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:31:26 EDT
> From: millie carpenter
> Subject: Re: teapot question
>
> ----------------------------Original message----------------------------
> Ron,
>
> if you use two different glazes, and there is no obvious crackling or
crawling o
> anything else wierd looking, how can you tell if there is too much
compression
> one side or the other?
>
> Millie in Md where the catapillars are trying to hatch and eat my apple
trees ;-
>
> Ron Roy wrote:
>
> > ----------------------------Original message----------------------------
> > I can't stand it any longer - I just have to point out what this is all
about.
> >
> > If a tea pot cracks when water is poured in - even if the tea pot is
frozen
> > - then the liner glaze is in too much compression. The problem is
> > compounded if there is a crazed glaze on the out side. The problem is
less
> > if the same glaze in applied inside and out.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:31:43 EDT
> From: "Louis H.. Katz"
> Subject: Re: Clayart International
>
> ----------------------------Original message----------------------------
> Nikhom go to http://world.altavista.com/
> for translations. You get what you pay for though
>
> Nikhom gehen zu http://babel.altavista.com/translate.dyn? f|r
\bersetzungen.
> Sie erhalten, was Sie zahlen f|r zwar
>
>
>
>
> Nikhom vont `
> http://world.altavista.com/translate. pour des traductions.
> Obtenez vous ce que vous payez cependant
>
>
> Nikhom va a
http://world.altavista.com/translate.
> para las traducciones. Usted
> consigue lo que usted paga sin embargo
>
> Luigi
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:31:59 EDT
> From: "Diane G. Echlin"
> Subject: Re: plugging kiln
>
> ----------------------------Original message----------------------------
> Elise,
> I have a Skutt KM1027. The manual specifically states that the top peep
> should remain unplugged during the bisque firing. Not sure why, but I do
> what the manual says. I suspect it has something to do with air
> circulation, though. Also, I use the envirovent. As for glaze firing, I
> haven't used this kiln for it yet, so I don't know what what manufacturer
> recommends.
> Di
>
> elise pincu wrote:
>
> > ----------------------------Original message----------------------------
> > Hello to all.
> > A friend of mine has a slight dispute with her
> > co-worker, and I promised I'd ask this on clayart for
> > her.
> >
> > My question is: Should a person plug the top peep of
> > the electric kiln when firing? Should this be done
> > during bisque and/or glaze firing? If it should be
> > un-plugged (open peep), why?
> >
> > Thanks for responding!!!
> >
> > ELise in Miami
> >
> > =====
> > Pincu Pottery
> > Funktional Ceramic Art
> > http://www.basic-learning.com/pincupottery/
> >
> > __________________________________________________
> > Do You Yahoo!?
> > Talk to your friends online with Yahoo! Messenger.
> > http://im.yahoo.com
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:32:51 EDT
> From: Tom Wirt/Betsy Price
> Subject: Cone 10 glaze Stability Results
>
> ----------------------------Original message----------------------------
> One added note and correction to John's post about the glazes we had
tested.
> The Shaner's was obviously developed by David Shaner....we just use it and
> sent it in for testing.
>
> Booth the other glazes/combinations were developed by Betsy Price. I
throw
> pots she does the glazing. All the credit must go to her. Especially for
> the Old Celadon ( I prefer to call it Betsy's Old Celadon) which is a dead
> ringer for a 6th century Korean celadon which we saw at a Chicago Art
> Institute show about 10 years ago.. If anyone finds some new things they
do
> with these glazes, we'd sure love to hear about them.
>
> Tom Wirt, Betsy price
> Clay Coyote Pottery
> claypot@hutchtel.net
> www.claycoyote.com
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:33:33 EDT
> From: Bonita Cohn
> Subject: stained crackle--colored
>
> ----------------------------Original message----------------------------
> I made a discovery today that I want to share regarding the stained
crackle
> thread. I made a batch of beet borscht this week (Old family recipe). I
> refrigerated it in a deep casserole dish, glazed thickly with a shino that
> appears white when clean. I finished the borscht today, and lo and behold,
> the crackle is stained pink! I guess I could clean it with bleach, but I
> rather like it. Imagine the possibilities as the berry season approaches!
> from,
> Bonita in San Francisco, enjoying the lilacs and the rosemary and their
> intoxicating scents.
> http://www.cpmg.com/anagama
> http://www.silverhawk.com/ex99/cohn
> anagama_mama@yahoo.com
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:34:05 EDT
> From: Deborah Goletz
> Subject: Slabmat (Canvas alternative) Information
>
> ----------------------------Original message----------------------------
> I have yet to try this product, but for those interested, here is the
> Slabmat information that came with the slabmat I purchased at NCECA:
> HERRING DESIGNS, LC
> P.O. BOX 35-7581
> Gainesville, FL 32635
> web site: HerringDesigns.com
> e-mail: PJH.MAE@AYA.YALE.EDU
> Best,
> DeBorah Goletz
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:34:43 EDT
> From: Marvin Flowerman
> Subject: Re: Tell me your secrets about your hands
>
> ----------------------------Original message----------------------------
> There are any number of lotions, ointments etcetera which, if used
> diligently, but sparingly, after one is done with wet clay and water for
the
> day, will keep hands in good condition except in the rare instance that
> someone is allergic to the clay/water combinations.
> In addition, when using/making glazes, it is very helpful to wear
protective
> latex or ordinary rubber gloves to protect the hands.
>
> Following such precautions should effectively protect the hands, even for
a
> serious musician!
>
> Marvin Flowerman (marvpots@aol.com)
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:35:03 EDT
> From: Wade Blocker
> Subject: Re: Tell me your secrets about your hands
>
> ----------------------------Original message----------------------------
>
>
> ----------
> > From: Aiko Ichimura
> > To: CLAYART@LSV.UKY.EDU
> > Subject: Tell me your secrets about your hands
> > Date: Wednesday, April 05, 2000 1:45 PM
> >
> > ----------------------------Original message----------------------------
> > Hi all,
> > People assume that I am a potter because I am a member of pottery
Mailing
> > List.
> > I am not and I wish I were.
> >
> > One of the reasons that stops me diving in to the world of pottery in
> > addition to having no time
> > is the rumors that the pottery making would be very hard on my hands.
> > Being a musician and a practitioner of the tea ceremony, I could not
> afford
> > to damage
> > or make my hands uglier. I've heard my potter friends talk about their
> hands
> > breeding, cracking
> > thinning palm skin and so on. They are all Japanese potters and it might
> be
> > not so bad here.
> > Is it true? Or how do you take care of your hands? Any secrets?
> >
> > Aiko Ichimura
> > NW DC 20036 USA
> > aikop@erols.com
>
>
> Dear Aiko,
> I suppose the wear and tear on ones hands depends on how much you
> work with clay, eg a production potter versus someone who does not work
> daily with clay. The climate would also have an effect. If the workshop is
> heated, and there is a supply of warm water, cold weather will not cause
> the same damage to hands that have to work with cold clay in a cold room.
> I generally wear the very thin disposable rubber gloves that are
used
> by dentist and physicians. They are very inexpensive and on occasion a
pair
> will last for more than a day of use.I also use a lot of Lubriderm
> whenwever I wash my hands.This is a necessity in the arid climate we have
> in new Mexico.
> Admittedly my nails are not beautifully manicured. Since I love to garden
> that alone would ruin them. Mia in ABQ where it is finally sunny and warm.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:35:24 EDT
> From: Maid O'Mud Pottery
> Subject: Re: Tell me your secrets about your hands
>
> ----------------------------Original message----------------------------
> Keeping your hands clean is the key. EVERY time I get off the wheel I
scrub my
> hands with warm water, soap and a plastic scrubber. I don't scrub hard
enough
> to hurt - just enough to make sure every clay particle is removed. This
is
> repeated multi-times daily - each time I drink a cup of tea, eat lunch
etc.
> I've passed the hint to my students, and not one has ever had cracked
hands,
> etc. I, too, am a musician (as are many potters) and my hands are soft
and
> smooth. Apply a heavy hand lotion near the end of the day *immediately*
after
> washing for the last time, while your hands are still very slightly damp.
>
> There, you have my secrets ;-)))
>
> Aiko Ichimura wrote:
>
> > ----------------------------Original message----------------------------
> > Hi all,
> > People assume that I am a potter because I am a member of pottery
Mailing
> > List. I am not and I wish I were.
> >
> > One of the reasons that stops me diving in to the world of pottery in
> > addition to having no time is the rumors that the pottery making would
be
> > very hard on my hands. Being a musician and a practitioner of the tea
> > ceremony, I could not afford to damage or make my hands uglier. I've
heard my
> > potter friends talk about their hands breeding, cracking
> > thinning palm skin and so on. They are all Japanese potters and it might
be
> > not so bad here. Is it true? Or how do you take care of your hands? Any
> > secrets?
> >
> > Aiko Ichimura
> > NW DC 20036 USA
> > aikop@erols.com
>
> --
> sam - alias the cat lady
> SW Ontario CANADA
> http://www.geocities.com/paris/3110 scuttell@odyssey.on.ca
>
> "First, the clay told me what to do
> Then, I told the clay what to do
> Now; we co-operate"
> sam, 1994
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:35:44 EDT
> From: Evan Dresel
> Subject: Re: Brent Splash pans
>
> ----------------------------Original message----------------------------
> Alisa and Claus Clausen wrote:
> >
> > ----------------------------Original message----------------------------
> > ------------------
> > Dear Clayart,
> > Last year when I received my Brent CXC, there was no manual. Thus
clayart
> > pulled me along
> > how to reset my pedal speed. Thank you.
> >
> > I remember the shimpo splash pan discussion a while back, and well, now
they
> > have a new
> > better one. I am sure my splash pan is fine, but why am fighting with
it so
> > much??
>
> I think the key is to swear a lot -- preferably in several languages.
> Actually I never have much problem with the smaller half, it is the
> large one I can't figure out. My technique involves wrapping my leg
> around one of the legs on the wheel to try to hold it in place while I
> pull and wriggle the pan off.
>
> I think your best bet is to learn to throw dry so you seldom have to
> remove the thing.
>
> -- Evan in W. Richland, WA (that's Washington, USA, mel, not Western
> Australia) who has been thinking for years about a fireplace inspired by
> the irregular hexagons of the basalt columns around here. Just had some
> drafting done for work and found out the draftsperson was a potter,
> too. He showed me a picture of the fireplace he had done at his
> cabin... beautiful black irregular hexagons.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:36:13 EDT
> From: vince pitelka
> Subject: Brent Splash Pans
>
> ----------------------------Original message----------------------------
> I am surprised at all the negative posts about the Brent splash pans.
Once
> my students get proper instruction in installing and removing them, they
> never have any more problems with them. As far as I have seen, they are
the
> best splash pans of any wheel on the market, because they STAY ON when
they
> are installed, with no movement. They are very sturdy, and I believe very
> well-designed. They leak a little bit?? Is this really a problem?? If
> they leak because they overflow, then you are throwing with too much
water.
> If they leak at the seam where the two pieces meet, I do not know what the
> problem is. I have never had one leak at all, except if it is over-filled
> with slop. If you really want a guarantee of no leakage, then you might
> consider getting a Shimpo or Bailey with a permanently-installed one-piece
> splash pan. No leaks, but you have to put up with the damn splash pan in
> the way all the time.
>
> In my experience, it does not matter whether you install the large portion
> of the Brent splash pan from the front or from the back. Put it wherever
it
> is easier for you to install it. If it is hard to slide in place, the
first
> thing to do is to make sure there is no clay debris caught in the flange
> under the wheelhead, and then lubricate the underside of the flange with
> spray silicone lubricant. You can either install the larger portion from
> the back and sit in front of the wheel and pull it back and forth towards
> you, with your arms and hands around behind the pan, or you can install it
> from the front, pushing it in place with the palms of your hands. Once
you
> get the big piece installed all the way, slide the small piece in with the
> open side pointing slightly downwards, and when it is almost in place,
push
> down on the center of the outer rim of the smaller piece, and this will
> click it in place. When removing the smaller piece, pull up on the center
> of the outer rim, while pushing down on either one of the tabs. Do this
> gently, and you will not spill any slop, as long as it is not over-full.
> This really is not a problem, once you figure out the right way.
>
> I have used all the various kinds of wheel/splash pans, and in my opinion,
> the Brent is the very best splash pan design. If you really know of a
> superior one, I would love to hear about it.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Home - vpitelka@dekalb.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:36:59 EDT
> From: Wade Blocker
> Subject: re Lana Wilson's dry engobe
>
> ----------------------------Original message----------------------------
> Dear Ababi,
> When you wrote about the miraculous engobe that allowed one to reglaze
a
> pot on top of a less than successful glaze,I immediately bought Lana's
> book.
> I used her dry engobe with disastrous results. I covered the original
> glazed surface,on the inside of a bowl, bisqued the bowl, then applied a
> cone 6 glaze and refired the bowl. The result was a glaze that slipped 2
> inches from the rim, and resulted in a very uneven lichen type glaze to
be
> charitable .I will try this with one of Conrad's recipes and see what
> happens. Ababi had you ever tried the dry engobe recipe yourself? I think
> there is just too much borax in it for a cone 6 firing
> I also tried some of her glaze recipes, and was equally disappointed
by
> the results .Each to his own taste. Mia in ABQ
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:37:33 EDT
> From: vince pitelka
> Subject: Re: Tell me your secrets about your hands
>
> ----------------------------Original message----------------------------
> > Is it true? Or how do you take care of your hands? Any secrets?
> > Aiko Ichimura
>
> Aiko -
> In my experience it does take some diligent care, but I have been a potter
> for 30 years and a guitarist for longer, and have never had a problem with
> one interfering with the other. I use Nutragena hand cream religiously
> whenever my hands are dry. That has worked well for me for several
decades.
> Others will mention various other high-quality hand-moisturizers, and I
> think that it perhaps depends on your skin-type. You may need a
"greasier"
> hand treatment, like Eucerin, or you may be able to get away with one that
> really massages into the skin, like the Neutragena. Whatever works for
you.
> The important thing is to use it diligently before your skin has a chance
to
> dry and crack excessively.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Home - vpitelka@dekalb.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:38:17 EDT
> From: vince pitelka
> Subject: Re: wood as opposed to plaster for wedging table
>
> ----------------------------Original message----------------------------
> I don't know if this has been mentioned, because I have been unable to
> follow this thread completely, but my very favorite wedging surface is
wood
> covered tightly with heavy canvas duck. Get at least 12-oz. canvas, and
> staple it tightly behind the board. The clay releases beautifully from
the
> canvas, and the canvas provides just the right amount of friction for
> effective wedging.
>
> For those who prefer wedging on plaster (which I have NEVER understood),
you
> can also cover a plaster wedging surface with canvas, stapling it to the
> wooden frame. The plaster will still absorb moisture, but you will never
> have any problems with plaster chips getting in the clay.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Home - vpitelka@dekalb.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:38:51 EDT
> From: tgschs10
> Subject: Re: Tell me your secrets about your hands
>
> ----------------------------Original message----------------------------
> Aiko,
> Two weeks ago, I burned my left hand rather badly; prior to that incident
I
> had noticed as I worked my in my studio that my hands were becoming very
> rough. Well being a retired physician and volunteer in a homeless clinic,
I
> acquired a box of rubber gloves. They worked very nicely for throwing;
> although, I must say I like throwing better without. Nevertheless, during
> the week I used the glove on my left hand, much of the dryness
disappeared.
> If you really want to throw, you might try the rubber gloves.
>
> Tom Sawyer
> Orlando, Fl
> tgschs10@msn.com
> ----- Original Message -----
> From: "Aiko Ichimura"
> To:
> Sent: Wednesday, April 05, 2000 12:45 PM
> Subject: Tell me your secrets about your hands
>
>
> > ----------------------------Original message----------------------------
> > Hi all,
> > People assume that I am a potter because I am a member of pottery
Mailing
> > List.
> > I am not and I wish I were.
> >
> > One of the reasons that stops me diving in to the world of pottery in
> > addition to having no time
> > is the rumors that the pottery making would be very hard on my hands.
> > Being a musician and a practitioner of the tea ceremony, I could not
> afford
> > to damage
> > or make my hands uglier. I've heard my potter friends talk about their
> hands
> > breeding, cracking
> > thinning palm skin and so on. They are all Japanese potters and it might
> be
> > not so bad here.
> > Is it true? Or how do you take care of your hands? Any secrets?
> >
> > Aiko Ichimura
> > NW DC 20036 USA
> > aikop@erols.com
> >
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:39:48 EDT
> From: Janet Kaiser
> Subject: Re: weird economics
>
> ----------------------------Original message----------------------------
> I ponder this quite often... Donald Burroughs using Wedgwood and $300
lamps
> as examples, makes me repeat my conclusion that it is simply a variation
on
> the
>
> "Keeping up with the Jones's Syndrome"
>
> People wanting to impress friends, family, neighbours, etc. have to buy an
> article which everyone knows costs a lot. Whether a car or a pot, it does
> not matter. Buy a BMW or a Porsche rather than a Fiat Uno and people can
see
> your worth. Same with pots...
>
> If you casually mention you bought this great new lamp from Harrods or
some
> high-class shop, people will have already seen it. They know it cost X
> amount of money. They are duly impressed. They want one too. Or even a
pair
> (this is all about one-upmanship). It is quantifiable and everyone knows
> where they are. Their "taste" is qualified and sanctioned by the price tag
> and the shop they bought it from. Socially acceptable. Matches the decor
> perfectly. All that stuff.
>
> But commission or buy a pot off an artist or potter... Could cost anything
> from $10 to $10,000 but the drawback is no one KNOWS you paid what you
did.
> It is also far too unique and has not been sanctioned by a classy store or
> other buyers. No one can get another and they are not sure they would want
> one. "Taste" has not been proscribed by public so it is most dubious. They
> probably never heard of the artist/potter. Not good for their worldly-wise
> image. Way out of step with what everyone else is doing!
>
> It is why people also buy "names". I had two people visiting from Oxford
in
> the gallery today. They obviously visit galleries regularly. She was
> choosing pots, he was paying and had the final word. The choice eventually
> fell on a bowl and a ginger jar. Both were by members of the Craft Potters
> Association of Britain. The other work which had been considered was
finally
> rejected. Nothing was said, but I am certain it was because the makers
> basically had no street cred. in these people's eyes. They were talking of
> having seen his work in Oxford, Ledbury and a gallery near their home...
> This somehow gave the jar and the maker credibility in a gallery new to
them
> (and therefore not yet equal to others which their friends also visit).
>
> In fact, I have reason to believe they were buying at The CoA because it
was
> cheaper than anything they would get elsewhere, because we charge less
> commission (30%). They can go home and tell friends and family they bought
a
> DF jar and a FT bowl at this wonderful little gallery they discovered in
the
> wilds of Wales... Everyone is happy. They are keeping up appearances. They
> also have the immense satisfaction of saving a few $ (a human weakness I
> find).
>
> Their friends will be duly impressed. Everyone is happy. Only the other
> makers who were rejected on pretty spurious grounds would be saddened if
> they only knew... Usually it is my job to guide and advise clients to
> considering something they may like, to suit their taste and pocket, which
> they have possibly missed or overlooked. I suggest alternatives or
> combinations, etc. etc. But when people look at the names and price tags
> before they even look at the pots properly, well, I just know it is
useless.
> They have a totally different agenda and I leave them to it.
>
> Yes, I am afraid that when people buy, they like the world to know just
how
> much they paid and feel they are in accord with current taste and fashion.
> They do not want something unique. That is far too risky.
>
> Just my few pence worth.
>
> Janet Kaiser
> The Chapel of Art, Criccieth LL52 0EA, GB-Wales
> Home of The International Potters Path
> TEL: (01766) 523570
> WEB: http://www.the-coa.org.uk
> EMAIL: postbox@the-coa.org.uk
>
> > ----------------------------Original message----------------------------
> > Could not agree with you more Kathi. It seems to me that if people are
> > willing to pay big dollars for Wedgwood and other fine chinas which are
> mass
> > produced they certainly could afford more local, more individual, more
> > intimate pots /sclupture from craftpersons/clay artists which tell a far
> > more personal story about the maker and about the materials which
comprise
> > the object. Take for example that people are willing to pay say 300.00$
> for
> > a mass produced lamp which lacks any depth of true quality save the
> > engineered mold from which it was cast, but are reluctant to commisson a
> > local artist/potter to make say two unique lamps they could truly call
> their
> > own without fear of seeing it in everybody else's home. Weird is right!
> >
> Donald Burroughs
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:55:36 EDT
> From: Janet Kaiser
> Subject: Bronwyn Williams-Ellis: Book on tiles
>
> ----------------------------Original message----------------------------
> ------------------
> All you NCECA returnees... Did anyone get to talk to Bronwyn? She talked
to =
> me
> briefly on the phone today and said so many people had heard of The Path
she=
> was
> most impressed=21 But she is still suffering from jet lag and having
talked =
> to so
> many people in such a short space of time... Well, she could not recall
any
> names.
>
> Her projected book on tiles and tile makers will concentrate on
contemporary
> western makers (Europe, US, Australasia etc.) although she wants to
include
> Asian work as well. She is looking for =22really good work=22 to include.
=
> All
> techniques.
>
> I know there are tile makers amongst Clayarters, but wondered if any of
you =
> got
> to talk to Bron? She is open to suggestions of others you may know too.
Any
> really famous folk she may overlook?
>
> She has realised she needs to get on-line, but has a personality clash
with
> anything attached to a mouse... So I will pass on any useful information
you=
> may
> have.
>
> Thanks for any suggestions.
>
> Janet Kaiser
> The Chapel of Art, Criccieth LL52 0EA, GB-Wales
> Home of The International Potters Path
> TEL: (01766) 523570
> WEB: http://www.the-coa.org.uk
> EMAIL: postbox=40the-coa.org.uk
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:55:47 EDT
> From: Janet Kaiser
> Subject: Re: Tell me your secrets about your hands
>
> ----------------------------Original message----------------------------
> Aiko
>
> The skin problems associated with pottery are numerous and many are listed
> in the archives. Winter seems to be worse, but people who suffer badly
seem
> to all the year round.
>
> You will get lots of replies about creams used on cows (udders) and brand
> names that will be unheard of in Japan (as they are here). There is many a
> tale in the archives of people creaming their hands and going to bed with
> cotton gloves on, smelling like a dairy chamber rather than a bed chamber!
>
> Barrier creams have also been mentioned. The old method of soaping up
hands
> with a bar of soap and then rubbing lots and lots until the hands are
> covered with soap and the bar has dried will also work as a "barrier".
Dirt
> cannot ingrain the skin and cuticles then.
>
> I gave an old "secret recipe". Cut a carrot and rub the chapped skin until
> the carrot juice has dried. Then cut again and rub. Continue for a few
> minutes and repeat a couple of times a day. It is also good for cracked
lips
> in the winter.
>
> Many agree that creams work, whilst others say that creams are only a
> cosmetic "cure". Most would say prevention is much better than cure.
> Although to do that, you need to know the real cause.
>
> Some will advise increasing vitamin intake, saying that a dietary
deficiency
> is the main cause.
>
> However, there seem to be many people who never suffer from these
problems.
> They possibly work in warmer and/or drier workshops. Or they take care
> washing and scrubbing their hands free of clay and then DRYING them more
> thoroughly. Or they are not as susceptible to dry skin. Who knows?
>
> Here in the UK (a nation of gardeners) soil and working out in all
weathers
> affects hands much more than working in clay. It can also discolour nails
> and cuticles more.
>
> I believe the main threat to potters here is arthritis, rheumatism and
other
> bone/ muscle/ cartilage/ degenerative complaints which are made worse or
> induced by cold, damp working conditions. Many "old" potters I know, have
> given up because their painful and swollen joints prevent them from
working
> easily and they cannot improve working conditions, because they cannot
> afford to upgrade their studios enough. It is not restricted to hands
> either. Years of standing on concrete or stone floors is not good for the
> feet.
>
> Janet Kaiser
> The Chapel of Art, Criccieth LL52 0EA, GB-Wales
> Home of The International Potters Path
> TEL: (01766) 523570
> WEB: http://www.the-coa.org.uk
> EMAIL: postbox@the-coa.org.uk
> ----- Original Message -----
> From: Aiko Ichimura
> To:
> Sent: 05 April 2000 20:45
> Subject: Tell me your secrets about your hands
>
>
> > ----------------------------Original message----------------------------
> > Hi all,
> > People assume that I am a potter because I am a member of pottery
Mailing
> > List.
> > I am not and I wish I were.
> >
> > One of the reasons that stops me diving in to the world of pottery in
> > addition to having no time
> > is the rumors that the pottery making would be very hard on my hands.
> > Being a musician and a practitioner of the tea ceremony, I could not
> afford
> > to damage
> > or make my hands uglier. I've heard my potter friends talk about their
> hands
> > breeding, cracking
> > thinning palm skin and so on. They are all Japanese potters and it might
> be
> > not so bad here.
> > Is it true? Or how do you take care of your hands? Any secrets?
> >
> > Aiko Ichimura
> > NW DC 20036 USA
> > aikop@erols.com
> >
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:56:24 EDT
> From: elizabeth priddy
> Subject: Re: Tell me your secrets about your hands
>
> ----------------------------Original message----------------------------
> one secret about your hands is to follow good
> hand care like diabetics do. Each day at the
> end of the day, just look at them. If they are
> dry, moisturize. If you see a small bur or
> whelt forming, put a bandaid and some Neosporin
> on it. you have to very careful.. Some people
> swear by "bag Balm" but the main active
> ingredient is Vaseline which is cheaper. About
> once a week, slather your hands in vaseline,
> pull on rubber gloves and let your hands "cure"
> for about two hours. Once you get used to it,
> it is less gross. And it brings your hands back
> to woman standard good. I go easy on my left
> hand because I need the callouses for guitar
> work, but the rest of my hands are quite nice.
>
>
> ---
> Elizabeth Priddy
>
> email: epriddy@usa.net
> http://www.angelfire.com/nc/clayworkshop
> Clay: 12,000 yrs and still fresh!
>
>
>
>
>
> On Wed, 5 Apr 2000 15:45:10 Aiko Ichimura wrote:
> >----------------------------Original message----------------------------
> >Hi all,
> >People assume that I am a potter because I am a member of pottery Mailing
> >List.
> >I am not and I wish I were.
> >
> >One of the reasons that stops me diving in to the world of pottery in
> >addition to having no time
> >is the rumors that the pottery making would be very hard on my hands.
> >Being a musician and a practitioner of the tea ceremony, I could not
afford
> >to damage
> >or make my hands uglier. I've heard my potter friends talk about their
hands
> >breeding, cracking
> >thinning palm skin and so on. They are all Japanese potters and it might
be
> >not so bad here.
> >Is it true? Or how do you take care of your hands? Any secrets?
> >
> >Aiko Ichimura
> >NW DC 20036 USA
> >aikop@erols.com
> >
>
>
> --== Sent via Deja.com http://www.deja.com/ ==--
> Share what you know. Learn what you don't.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:56:40 EDT
> From: John Baymore
> Subject: Re: Food safety
>
> ----------------------------Original message----------------------------
> ------------------
> (snip)
> There are plenty of materials available that are not a problem - there was
> a list made up once - does anyone have it? I must be somewhere.
> (clip)
>
> Ron,
>
> Monona Rossol put one out a while back....... maybe she'll respond.
>
> BEst,
>
> .....................john
>
> John Baymore
> River Bend Pottery
> 22 Riverbend Way
> Wilton, NH 03086 USA
>
> 603-654-2752 (s)
> 800-900-1110 (s)
>
> JBaymore=40compuserve.com
> John.Baymore=40GSD-CO.com
>
> =22Earth, Water, and Fire Noborigama Woodfiring Workshop August 18-27,
> 2000=22
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:57:03 EDT
> From: John Baymore
> Subject: Weird Economics / Not
>
> ----------------------------Original message----------------------------
> ------------------
> All this stuff about not being taken seriously as business people and the
> undervaluation of the potter's time and efforts is not really =22weird=22
> economics........... it is simply a reflection of the emphasis, education,
> and value that the culture here in the USA puts on pottery as an
expressive
> form. It is simply normal day-to-day economics. It deals with supply,
> demand, and percieved value.
>
> If this situation is to change here, grassroots efforts at changing the
> place of the arts in general in the educational curriculum of our school
> systems is pretty important. Get out and do community outreach and
> education. This isn't a short term quick fix.
>
> We also have to address the art/craft differentiation within our OWN art
> community that attempts to place pottery somehow =22below=22 other =
> expressive
> media and forms. We gotta' clean our own house...... no one else will do
> it for us.
>
> Also it is about how we as professionals handle our business dealings. If
> we undervalue our time and what we do, how can we expect others less
> connected to the field to gain an impression of value in what we do?
Wendy
> Rosen is very astute in urging US potters as a group to raise
> prices.......... we can start to affect the percieved value of claywork
> through this simple move. Burger flippers around here (southern NH) get
> =247.00 to 9.00 an hour to start......... UPS package handlers get
=2412.00 =
> an
> hour.......... carpenters get =2430.00 an hour.......... god, a plumber
gets
> =2450-70.00 an hour. I would think it reasonable to say that we are worth
=
> AT
> LEAST what other trained =22craftspeople=22 are paid. So =2430-50.00 per
=
> hour
> should not be too unreasonable a goal for someone who is reasonabley
> skilled and =22paid their dues=22.
>
>
> Along the lines of professionalism in pottery business............
>
> One of the best pieces of advice I got before my trip to Japan was from
> Richard Mahaffey........... buy a dark business suit. The reason for that
> suit was that while the potters might wear casual clothes or homespun =
> =22folk
> craft=22 clothes (if that was the image they wished to project) while in
the
> studio, when it came to the selling, exhibitions, and formal marketing
> aspects........... they were all business. A Japanese opening looks like
a
> corporate board meeting on Wall Street =3Cg=3E.
>
> Interestingly, the prices utilitarian pots command in Japan are serious
> business =3Cg=3E. There is some relationship there from which us potters
in
> the USA can learn. (Of course it helps that the arts in general are
> greatly appriciated in Japan, handcraft is highly respected, and pottery
is
> king of the crafts field.)
>
>
> Self-confidence and belief in what you are doing goes a long way toward
> this end. Don't appologize for your prices. They are necessary and just.
> Stand your ground. You'll find that people will come around. And that
old
> retail addage from Tom Peters is VERY, VERY true......... =22Sell on
quality
> not on price=22.
>
>
> Best,
>
> ......................john
>
> John Baymore
> River Bend Pottery
> 22 Riverbend Way
> Wilton, NH 03086 USA
>
> 603-654-2752 (s)
> 800-900-1110 (s)
>
> JBaymore=40compuserve.com
> John.Baymore=40GSD-CO.com
>
> =22Earth, Water, and Fire Noborigama Woodfiring Workshop August 18-27,
> 2000=22
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:57:20 EDT
> From: Craig Martell
> Subject: Re: substitute for magnesium carbonate
>
> ----------------------------Original message----------------------------
> Veena was wondering if:
>
> >There are quite a few recipes that call for magnesium carbonate. Is there
> >any substitute for this?
>
> Hi:
>
> I'm envisioning Ron Roy typing out the definitve answer to this query but
> I'll post one anyway! :>)
>
> Magnesium carb will contribute only Mg to a glaze after the carbonate is
> liberated by heat. You can use Talc or dolomite in place of magnesium
> carb. Talc contributes magnesia and silica to the glaze and dolomite
> contributes magnesium and calcium so you have to use calculation to keep
> the same molecular formula. If your glaze is devoid of calcia, you won't
> be able to use dolomite. All glazes have some silica so talc is fine in
> most cases. The short answer is that there are no raw materials that you
> can substitute directly for magnesium carb. Well, none that I know of
anyway.
>
> regards, Craig Martell in Oregon
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:57:45 EDT
> From: Anji Henderson
> Subject: Re: wood as opposed to plaster for wedging table
>
> ----------------------------Original message----------------------------
> I second the wood... I was going to write something
> before but I was too tired.. Hahahahaha not to say I
> am not on the verge or well beyond it now.. You never
> know any more...
>
> Well, as for two cents go.. When I started setting up
> my studio, I had to have a table to work on.. Well,
> not knowing much, and having a strange post with holes
> in the top in my basement I put a big piece of wood
> across and sunk the screws.. Tada table.. So I had a
> small block of plaster for drying then wedged on the
> wood..
>
> It has been three years now, and the wood (did I say
> an old board from the barn, probably older then I will
> ever live) well, the wood is in the same condition,
> just a lot darker.. The only real set back I have
> encountered is those set in screws and rolling out
> slabs, but tada, I have an unpainted cement floor.. :)
>
>
> Now YES it is much easier to clean.... I go from dark
> dark clay to porcelain, and my porcelain is still
> soooo white it has a blue tinge...
>
> I also see no need now to acquire a plaster wedging
> table, BUT if any one has a slab roller.. :)
>
> Anji
>
> --- Veena Raghavan <75124.2520@compuserve.com> wrote:
> > ----------------------------Original
> > message----------------------------
> > I just wanted to put in my two cents worth about
> > wedging surfaces. I agree
> > with Ivor Lewis and Richard Gilbert about a wood as
> > opposed to a plaster
> > surface. I work out of a group studio, where we use
> > plaster wedging tables.
> > There is a constant problem with chips of plaster
> > getting into the clay.
> > Everyone is not careful about how they use the
> > surface, and it is difficult
> > to control in a teaching studio. I hope to have my
> > own studio in the near
> > future, and plan to have either a wood wedging
> > table, because I feel it is
> > easier to clean and maintain.
> >
> > Veena
> >
> >
> > Veena Raghavan
> > 75124.2520@compuserve.com
> >
>
> __________________________________________________
> Do You Yahoo!?
> Talk to your friends online with Yahoo! Messenger.
> http://im.yahoo.com
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:58:48 EDT
> From: David Hendley
> Subject: Re: substitute for magnesium carbonate
>
> ----------------------------Original message----------------------------
> There are 2 good ways to substitute magnesium carbonate:
> dolomite and talc.
> Both are much, much cheaper.
> The big hitch: dolomite adds calcium as well as
> magnesium, and talc adds silica as well as magnesium.
> So, to use talc you have to also decrease the silica, or
> to use dolomite you have to decrease the whiting.
> If your recipe does not use any whiting or silica that
> you can reduce, then you can't make the substitution.
>
> I make substitutions with glaze calculation, so I don't know
> of a 'ratio' or formula for directly substituting, such as
> '10 parts talc equals 3 parts magnesium carbonate
> and 7 parts silica', but such a formula could probably be
> worked out. Anyone?
>
> --
> David Hendley
> Maydelle, Texas
> hendley@tyler.net
> http://www.farmpots.com/
>
>
>
>
>
> ----- Original Message -----
> From: Veena Raghavan <75124.2520@compuserve.com>
> To:
> Sent: Wednesday, April 05, 2000 3:05 PM
> Subject: substitute for magnesium carbonate
>
>
> | ----------------------------Original message----------------------------
> | There are quite a few recipes that call for magnesium carbonate. Is
there
> | any substitute for this?
> | I would appreciate any advice from the glaze experts.
> |
> | Thanks in advance.
> |
> | Veena
> | Veena Raghavan
> | 75124.2520@compuserve.com
> |
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:59:05 EDT
> From: David Hendley
> Subject: still plenty of Gerstley borate
>
> ----------------------------Original message----------------------------
> I stopped in at Trinity Ceramic Supply in Dallas last
> week and picked up a couple of bags of Gerstley borate.
> They have lots of it in their warehouse.
> John Williams, the owner of Trinity, is a real friend of
> potters, and he has not raised the price of Gerstley to
> take advantage of the increased demand since it was
> announced that production will cease. It's still $27.50
> for a 50# bag, 2 for $50. To discourage hoarding, they
> have set a limit of 200 pounds per customer.
> Trinity Ceramic Supply
> 9016 Diplomacy Row
> Dallas, TX 75247
> 214-631-0540
>
> --
> David Hendley
> Maydelle, Texas
> hendley@tyler.net
> http://www.farmpots.com/
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:59:34 EDT
> From: Tom Buck
> Subject: Re: Gerstley Borate and Raku
>
> ----------------------------Original message----------------------------
> Charles Hughes, it seems, doesn't like my "wild conconction" as a
> substitute for Gerstley Borate in Raku glazes. The basic problem is that
> the 80GB:20NSy is a widely used Raku base; it is cheap; it works well. If
> you wish to develop Raku glazes without GB, then using a Frit is the only
> way to get insoluble glaze slurries (Borax is soluble and will not sit
> well in a glaze on the shelf). The frits to employ with a redesigned
> recipe are 3124, 3134, 3278, 3195 (or their equals). But these frits will
> not emulate 80GB:20NSy because the SiO2 (and sometimes Al2O3) will be too
> high for a typical Raku firing.
> Mr Hughes can try glzcalc and see if his tests yield what he
> wants, a departure from 80:20. I fear he will be hard-pressed to get
> sastifying lustres.
>
> Tom Buck ) tel: 905-389-2339
> (westend Lake Ontario, province of Ontario, Canada).
> mailing address: 373 East 43rd Street,
> Hamilton ON L8T 3E1 Canada
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 14:59:48 EDT
> From: croft
> Subject: Foodsafe glazes
>
> ----------------------------Original message----------------------------
> ------------------
> I wonder if someone could help with teh following. I have a basic glaze
that
> works and wondered if adding the following colourants would still make for
a
> foodsafe glaze
> Basic Glaze at cone5/6
> 20=25 EPK
> 20=25 Silica
> 20=25 Wollastonite
> 20=25 Ferro Frit 3134
> 20=25 Potash feldspar
> then adding
> 10 - 15 =25 superpax for white
> 4=25 cobalt carbonate for blue
> 1.5=25 cobalt carbonate and 1=25 copper carbonate for med blue
> 1.3 =25 cobalt carb and .8=25 chrome carb for blue/green
> .3=25 cobalt oxide and 5=25 rutile for light variegated blue
> 7=25 copper carbonate for vivid metallic green
>
> Thanks - I appreciate any and all responses
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 15:00:06 EDT
> From: amy parker
> Subject: Re: Building a plaster surface wedging table
>
> ----------------------------Original message----------------------------
> Gee, Sibylle, if you do this in Georgia, USA, you will be arrested for
> defacing a cemetary. I would have thought it was illegal in your part of
the
> world also! And aren't you worried about bringing a ghost home to complain
> about his missing headstone???
>
> Amy
>
> At 01:13 PM 4/2/00 EDT, you wrote:
> >----------------------------Original message----------------------------
> >Hi,
> >here is another possibility for a wedging table, without doing all this
> >building work. I don't know wether it is as possible in US as in germany,
but
> >we went to a graveyard to get an old tombstone of granite. It didn't cost
> >anything. We built an trestle of wood fitting exactly. OK, it was hard
work for
> >half an hour, to transport this huge stone ( there steep stairs to our
> >pottery), but it was really worth it. It is polished, easy to clean, we
are
> >very pleased to have it.
> >
> >Sibylle
> >
> >
> amy parker Lithonia, GA
> amyp@sd-software.com
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 15:00:44 EDT
> From: Joan Ashworth
> Subject: re weird economics
>
> ----------------------------Original message----------------------------
> ------------------
> Another lurker emerges from the shades
>
> The coast of KwaZulu-Natal is a holiday mecca for South Africans living in
=
> the
> dry hot interior. An excellent highway follows the coast from the border
in =
> the
> South to Empangeni in the North. The road is dotted with local crafters
who =
> sell
> their products to tourists.
>
> In the north of KwaZulu, beyond the reach of freeways or roads of any
kind,
> live Nesta Nala and her daughter. Up until about five years ago they lived
> relatively anonymous lives, digging their own clay, coiling exquisitely =
> formed
> traditional round Zulu pots, decorated only with clay beads and =
> incisions/coils
> around the necks of the pot, travelling long distances to dig up the aloes
=
> with
> which the pots were fired, and finally rubbing them with animal fat to
seal
> them. Their pots, now acknowledged to be the finest examples of
traditional =
> Zulu
> pots being made today, were never seen by tourists - the locals bought or
=
> traded
> them and they performed their traditional functions of containing food and
> drink.
>
> The two women were 'discovered' about five years ago (perhaps more - how =
> time
> does fly). But they have never moved, and never become part of the market
=
> forces
> that operate around 'craft' and 'art'. To buy a Nesta Nala pot, you either
=
> need
> a 4X4 and a guide to visit her, paying as little as R15 (about =242) for a
=
> perfect
> little pot. Or you can visit an art gallery that carries 'traditional Zulu
> craft' and pay about R60. Her pots are a dense glossy black, and
decoration =
> and
> form are perfectly matched.
>
> About 300 kms away, in the same Province, lives another great potter, =
> producing
> exquisite pots of a different kind. Andrew Walford, steeped in Japanese
clay
> lore, produces pots in stoneware and porcelain and uses reduction fired
> tenmoku, celadon and other self-developed glazes. You can buy a pot from =
> him, or
> from a gallery. About five years ago I bought a beautiful small bowl from
=
> him
> for R80, and this same bowl is now priced at more than double that.
>
> A previous post spoke of prices and how they affect your 'well-being'. I
=
> think
> that is true. In the two extremes of culture that live side by side yet
very=
> far
> apart, reflected in the artwork of Nesta Nala and Andrew Walford, both =
> artists
> are highly valued, although in different ways. Maybe what is essential is
> finding what 'community/culture' will recognise and value your work, and =
> pricing
> your work accordingly?
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 15:00:56 EDT
> From: David McDonald
> Subject: Re: Tell me your secrets about your hands
>
> ----------------------------Original message----------------------------
> Aiko,
> It is true; working in clay does take its toll on the hands and
skin.
> There was alot of talk about this ("cracked fingers" thread) last year on
> clayart. Although it's hard for me to always see it this way, I think
> there is a kind of earthy, authentic beauty to potter's and artist's
> hands. David McDonald
>
> On Wed, 5 Apr 2000 15:45:10 EDT Aiko Ichimura writes:
> > ----------------------------Original
> > message----------------------------
> > Hi all,
> > People assume that I am a potter because I am a member of pottery
> > Mailing
> > List.
> > I am not and I wish I were.
> >
> > One of the reasons that stops me diving in to the world of pottery
> > in
> > addition to having no time
> > is the rumors that the pottery making would be very hard on my
> > hands.
> > Being a musician and a practitioner of the tea ceremony, I could not
> > afford
> > to damage
> > or make my hands uglier. I've heard my potter friends talk about
> > their hands
> > breeding, cracking
> > thinning palm skin and so on. They are all Japanese potters and it
> > might be
> > not so bad here.
> > Is it true? Or how do you take care of your hands? Any secrets?
> >
> > Aiko Ichimura
> > NW DC 20036 USA
> > aikop@erols.com
>
> David McDonald
> Limberlost Pottery
> 721 First Street
> Prescott,AZ 86301
> (520)778-7854 claydog@juno.com
>
> ________________________________________________________________
> YOU'RE PAYING TOO MUCH FOR THE INTERNET!
> Juno now offers FREE Internet Access!
> Try it today - there's no risk! For your FREE software, visit:
> http://dl.www.juno.com/get/tagj.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 15:01:25 EDT
> From: Tim E McKenna
> Subject: Re: Denver Airport
>
> ----------------------------Original message----------------------------
> Next time you are in the main terminal, under the tents. Up on the
> second level, are some wonderful ceramic railings. However made these
> did a wonderful job.
> ________________________________________________________________
> YOU'RE PAYING TOO MUCH FOR THE INTERNET!
> Juno now offers FREE Internet Access!
> Try it today - there's no risk! For your FREE software, visit:
> http://dl.www.juno.com/get/tagj.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 15:03:47 EDT
> From: iandol
> Subject: : what is clayart? sharing glaze information
>
> ----------------------------Original message----------------------------
> ------------------
> I think Jeff van den Broeck raises some interesting points about the way =
> glaze
> information is shared and it is interesting to search out assumptions =
> relating
> to the belief that all glaze recipes should be freely disseminated.
>
> There are several attitudes which any potter of teacher can adopt at a =
> workshop
> or in a long term teaching situation.
>
> 1 Share your recipes. What you take away is used at your own risk. It
works =
> well
> up to a point, but when things go wrong the one who has acquired this new
=
> recipe
> is in a hole. Without deeper knowledge they are lost unless a generous =
> person
> sorts it out for them.
>
> 2 Share none of your recipes. Seems very mean but it may encourage people
to
> stand on their own feet and do their own research. Big drawbacks are the =
> time,
> cost and effort needed to get anywhere near success
>
> 3 Give the old stuff but not the new. What has been successful is given
with
> caveats about use so that newcomers have a starting point.
>
> 4 Share the ways and means. This means that the teacher is preparing a =
> student
> for independence, for self reliance.
>
> 5 Encourage diversification. This means promoting learning of design
skills =
> as
> well a ceramic knowledge.
>
> I=92m sure my ideas can be shredded and others will add to the list, but
it =
> is an
> interesting exercise to assess the attitudes one meets in terms of =
> assumptions
> and conjectures to test the validity of their beliefs.
>
> I feel that a person who teaches without sharing in the most supportive
way
> possible is masquerading and may be concealing their own inadequacies.
>
> Any more opinions?
>
> Ivor Lewis. Still enjoying the challenge of research and teaching by proxy
> printed pages.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 15:04:01 EDT
> From: iandol
> Subject: Downloading problems and Teapot Makers
>
> ----------------------------Original message----------------------------
> ------------------
> Downloading Clayart Files
>
> Being one of those who get the digest version I wanted to be sure that I =
> have a
> good record. Since I joined the group I have always down loaded onto a =
> floppy.
> Depending on weight of postings, it seems to work out at about ten to =
> fifteen
> digests per floppy including my replies. This leaves my hard drive for
those
> enormous graphics files.
>
> Teapots.
>
> After all the conversations of recent weeks, just how many teapot makers
are
> there out there. Come on out into the open all you sleepers, admit to the
=
> rest
> of us the type of tea pots you are making. And put Antoinette out of her =
> misery,
> tell us all how you design them.
>
> Ivor, who has been attaching streamlined spouts today.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 15:04:15 EDT
> From: j nickson
> Subject: Re: NCECA pix
>
> ----------------------------Original message----------------------------
> Earl, You could take some pictures of works from unknowns and ask on
> clayart for people to identify them. This could be in a "semi-private"
> area so it isn't really "on the web". If the works were in a show, are
> they already "semi-public"?
> Example, here is a picture of the road to my place that I put up that only
> clay art people know of: http://www.roninsg.com/hideclay/road.jpg. There
> are ways to keep search engines and things off the area; we can do that
> offline if anyone wants.
> Does this actually resolve anything? I'm not sure. Difference without a
> distinction?
> J
>
> >Date: Wed, 5 Apr 2000 16:07:53 EDT
> >.From: Tasha Olive
> >Subject: Re: NCECA
> >
> >----------------------------Original message----------------------------
> >Earl, Probably not.....but how about the ones that you do know the names
of?
> >Personally I cannot imagine that anyone would be offended at having tier
> >work in the public eye, but who knows? Tasha in Roswell
> ->----Original Message-----
> F>rom: Earl Brunner
> >T.o: CLAYART@LSV.UKY.EDU
> >Date: Tuesday, April 04, 2000 12:21 PM
> >Subject: Re: NCECA
>
>
> >>----------------------------Original message----------------------------
> >>After editing I have about 75 digital images, mostly pottery
> >>from
> >>various exhibits at NCECA, I would be happy to share,
> >>however I'm in
> >>abit of a quandry. I only know some of the clay artists. I
> >>doubt it
> >>would be ethical to post their pots on the web without their
> >>permission
> >>and/or proper identification and recognition....
>
> -------------------------------------------------
> James Nickson, j@RoninSG.com voice: 603-256-8055
> modem 603-256-8050 facsimile: (802)258-2444
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 15:04:28 EDT
> From: Dave Finkelnburg
> Subject: Re: High fire vs. Low?
>
> ----------------------------Original message----------------------------
> Helvi,
> Really you are asking very good questions.
> In general, you are in control of this process. If you don't fire the
> clay high enough, it isn't vitrified as much as it could be. If it's
going
> to be a sculpture, outdoors in freezing weather, that could mean it will
> absorb moisture, freeze and fall apart. That's usually not the case, of
> course, but you can see why you'd want to consider the use in deciding how
> high to fire a clay. If you are using stoneware for vases or pitchers or
> mugs, you also want the clay vitrified, to about less than 3% absorbance.
> Otherwise they will leak out the bottom. Yes, the moisture will come
> through the glaze and the clay and you'll have a wet spot which can damage
a
> wood table! So for functional work, there is an issue. Strength is also
> improved by proper firing. However, beyond these considerations, it's
> pretty well up to you.
> I don't think there's been much of a discussion of how underfiring
> affects clay expansion and glaze fit, but I think it does make a
difference.
> On the other hand, underfired clay seems to be more resistant to thermal
> shock, so ovenware is commonly an underfired body.
> You have asked a very good question!
> Good potting!
> Dave Finkelnburg in sunny, springtime Idaho
> -----Original Message-----
> From: Helvi Abatiell
> To: CLAYART@LSV.UKY.EDU
> Date: Wednesday, April 05, 2000 2:12 PM
> Subject: High fire vs. Low?
>
>
> >----------------------------Original message----------------------------
> >Okay, I've gotten many great responses to my earlier questions (thank you
> >all) regarding low and high fire glaze temps but I have one more...
> > What happens if you don't fire a clay to the temp suggested? What
> >happens to a high fire clay that is fired less then that? Does it not
> >vitrify? Does it contaminate if fired with a low fire glaze? Will
glazes
> >not adheer properly? Why not?
> > I'm sure all these questions have been answered before. I'm hoping
> there
> >are others out there with similar questions and I'm not just feeling
> foolish
> >for asking.
> > Thanks for your help, you wise potting souls, you.
> > Helvi :)
> >
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 15:07:58 EDT
> From: iandol
> Subject: Re: Tell me your secrets about your hands. Barrier Creams
>
> ----------------------------Original message----------------------------
> ------------------
> Aiko,
>
> I can relate to your dilemma. There are so many musical instruments which
=
> are
> incompatible with pottery work, especially on the wheel. Those who enjoy =
> playing
> stringed instruments suffer because nails wear away when they contact the
=
> wheel
> head. Long nails also get in the way when doing things like hand moulding,
> usually called making thumb pots.
>
> Yes, considerable dermal damage can be done if people insist throwing
clays
> which are heavily loaded with coarse grogs, sands and such substances. Why
=
> they
> sacrifice their hands to such materials only they can explain. But it is
> possible to get clays which are smoother than face powder, which have
almost=
> no
> abrasive power at all. These tend to polish the tips of your fingers and =
> nails
> and make them very smooth. Look for Paulus Berehnsohn=92s book called =
> Finding
> One=92s Way With Clay. There is a new edition. If you can find it you
should=
> be
> inspired to start and see the affinity between his ways and what they =
> produce
> and your current calling.
>
> Others who my read these pages may also wonder if they can mix apparently
> incompatible activities. Try for a short while. Protect your skin and
nails =
> with
> a waterproof barrier cream. Clay should be painless and rewarding.
>
> Wishing all who try bright success.
>
> Ivor Lewis.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 15:08:23 EDT
> From: iandol
> Subject: : Re: Electric kiln damage?
>
> ----------------------------Original message----------------------------
> ------------------
> Elise,Yes=21
>
> It=92s not a question of thinking about the answer but of applying known =
> ceramic
> craft technology and science. A straw poll will not change the answer.
>
> There is a lot of air voiced about the effects of rapid cooling of pottery
> through various Quartz inversions which cause problems of crazing,
shivering=
> and
> so on to our pottery. But little is ever said about cracking kilns early
and
> what the results of doing this are on the refractories of our kilns when =
> they
> crash cool.
>
> Now I don=92t mind being told I am wrong about this one but here goes.
>
> All refractories we seem to use are based on alumino silicate substances.
=
> The
> higher the Pyrometric Cone Equivalent of the refractory, it=92s PCE, the =
> higher
> the percentage of Alumina and the lower its percentage of Silica. So RI 23
=
> have
> a PCE of cone 23 and high silica, RI 26 a PCE of cone 26 and less silica.
I =
> have
> some hard bricks with a PCE of 37. If free silica starts to form, this
will =
> be
> subject to thermal stress due to quartz inversions. I have seen one kiln =
> where
> this had happened. Half inch slabs spalled from bricks in the arch over a
=
> period
> of time. I have no doubt, though I have no proof, that this also happens
to
> fibre because it embrittles over time.
>
> So if kilns are crash cooled just because the pyrometer registers an air
> temperature of less than two hundred Celsius and you think your pots are =
> cold
> enough to remove and you crack the door, remember that the refractories
may =
> be
> well above that temperature in their interiors. . I almost forgot about
the
> effects of rapid contraction at the surface of the refractories which also
> causes spalling. The shock of crash cooling may lead to disaster sometime
in=
> the
> future.
>
> All kilns are expensive to purchase, replace, maintain or rebrick. It pays
=
> to
> treat them with respect. Curb your excitement. Let your kiln get dead cold
> before you crack the seal. And have a bit of respect for your pots. Though
a=
> pot
> may be below the danger point on the surface, it may be well above that
> inversion point in the thickness of the clay. If this inversion happens =
> because
> of air quenching, the stress may exert itself much later when you are =
> brewing
> tea.
>
> Ivor Lewis.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 16:56:17 EDT
> From: NakedClay@aol.com
> Subject: Re: SlabMats to order
>
> ----------------------------Original message----------------------------
> In a message dated 4/5/00 12:44:56 PM Pacific Daylight Time,
> joannevb@azstarnet.com writes:
>
> > http://www.HerringDesigns.com/
> ================
> When I attempted to visit this website, I got an error message. Is this
the
> correct spelling of the URL? Internet Explorer changed the "case" to no
> caps--I suspect this has nothing to do with the "Failure to Parse" error
> message I got. Perhaps a ClayArt computer techie can help us out.
>
> I, too, am interested in this product. I usually am not a fan of smooth
tile,
> but once in a while, I get the urge to try something different. I favor
the
> waves and textures one can imprint on a slab, using a variety of
materials,
> in conjunction with slab-rolling.
>
> Milton NakedClay@AOL.COM
>
> In the midst of an early summer here in the Mojave Desert!
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 16:56:26 EDT
> From: tgschs10
> Subject: Re: electric reduction kiln
>
> ----------------------------Original message----------------------------
> David,
> I for one would be most reluctant to fire with gas overnight while I was
> sleeping; I have much less concern with electric. I live in a residential
> neighborhood and like the idea of topping off the firing during daylight
and
> using an oxyprobe set about 0.65 where only a wiff of smoke is seen and I
> get good reduction. My neighbors have no inkling when I'm firing.
> Tom Sawyer
> Orlando, Fl
> tgschs10@msn.com
> ----- Original Message -----
> From: "David Woodin"
> To:
> Sent: Wednesday, April 05, 2000 12:53 PM
> Subject: Re: electric reduction kiln
>
>
> > ----------------------------Original message----------------------------
> > I am not sure that I get the why's of using a gas/electric kiln. I am
> > fortunate to have a Bailey gas kiln that is piped in such a manner that
I
> can
> > easily control the gas to ramp to and hold at 1650 deg F.
> > David
> >
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 16:56:37 EDT
> From: NakedClay@aol.com
> Subject: Re: electric kiln damage?
>
> ----------------------------Original message----------------------------
> In a message dated 4/5/00 1:02:58 PM Pacific Daylight Time,
> pincupot@yahoo.com writes:
>
> > f you take work out of a kiln while it is too hot to
> > touch with the bare hands, will it damage the electric
> > kiln?
> --------------------------------
> OUCH!
>
> Perhaps I fail to understand this one--when is it necessary to extract
> extremely hot items, from an electric kiln, to begin with?
>
> My guess is that the damage will be greater to one's hands and eyes
(wearing
> protective gloves, and eye covering, I assume), than to the kiln. Be sure
the
> kiln is switched "off" before unloading hot items from it. This is
especially
> necessary, if you use metal tongs to extract hot pottery from the kiln.
Wear
> appropriate hand and eye protection, too.
>
> That said, I hope you'll enlighten us of your unusual technique. Perhaps
> there's more than meets the eye here.
>
> Best wishes!
>
> Milton NakedClay@AOL.COM
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 16:56:48 EDT
> From: NakedClay@aol.com
> Subject: Re: What to do about Stinky Overglazes?
>
> ----------------------------Original message----------------------------
> Hi!
>
> You might try a capful of bleach to your Overglazes, to kill the bacteria
> that causes the odor. Bleach is also good to use with "stinky" glazes, and
> slips, too.
>
> Milton NakedClay@AOL.COM
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 16:57:02 EDT
> From: Paul Gerhold
> Subject: Re: Gerstley Borate and Raku
>
> ----------------------------Original message----------------------------
> Pemco Frit 25 will make a good starting point for low firing Raku glazes.
You
> can order from Highwater Clays in Ashville N.C. Their e-mail is
> www.highwaterclays.com.Sorry for such a short message but not much of a
> typing person. Good potting.Paul Gerhold in dry Florida.
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 16:57:20 EDT
> From: tgschs10
> Subject: Re: Tribute to Nils Lou
>
> ----------------------------Original message----------------------------
> Mel,
> I agree with your assessment of Nils. I mentioned that he bailed me out of
> burner problems by paying me a personal visit. In reviewing his most
recent
> tapes, I was intrigued by his extruder that sits on the floor and extrudes
> from down up instead of the other way; great idea and much more practical;
> it certainly would be easier to change dies etc. I'm trying to pry some
> plans out of him so I might get one manufactured here in Orlando.
> Tom Sawyer
> Orlando, Fl
> tgschs10@msn.com
> ----- Original Message -----
> From: "mel jacobson"
> To:
> Sent: Wednesday, April 05, 2000 1:08 PM
> Subject: Tribute to Nils Lou
>
>
> > ----------------------------Original message----------------------------
> > I was sitting this evening and going over my list of
> > materials to build a reduction/electric kiln.
> >
> > Smack/right in the forehead, another Nils Lou invention
> > that i am making.
> >
> > Genius is a big word, has many meanings, but to me,
> > without question it means `invention`. Change the course
> > of any given time and place or profession.
> >
> > Nils has done this many times in my long association with
> > him. The corner bracket that holds the monolithic arch of the
> > flat top kiln. Sheer genius. Now, the reduction/electric kiln.
> > Sheer genius.
> >
> > Nils found ways to use the work of Feriz Delkic, and his ITC products.
> > He was not content to just spray it on, he had to go far
> > beyond that. His mind is always saying, `what if, what if`?...and
> > then he does it.
> >
> > It seems that every time I talk to Nils on the phone he says to me,
> > `hey, you ought to try this or that.` Or, what do you think of this
> > idea?` And of course, being Nordic, I have to smack myself in the
> > forehead and say `geez, i did not know you could do that.` And
> > then I get to try it. Works every time.
> >
> > Anyway, just want to remind all of you good folks on clayart.
> > He is a gem.
> >
> > Mel/MN
> > minnetonka, minnesota, u.s.a
> > http://www.pclink.com/melpots (website)
> >
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 16:59:07 EDT
> From: Forrest Snyder
> Subject: *** Critical Ceramics: New Article ***
>
> ----------------------------Original message----------------------------
> Critical Ceramics has just posted a new article by John Britt - "The
'Unknown
> Craftsman' is Dead." This article is a follow up to his first Bernard
Leach
> article, "I, too, was a Neo-Leachian...", also featured on Critical
Ceramics
> (see the articles index). The new article can be found through this link:
>
> http://criticalceramics.org/articles.htm
>
> To those of you who've been asking, I will be posting some reviews of
NCECA
> shows in short order. Just like last year, I was laid low by illness after
all
> the NCECA excitement. I apologize for the delay.
>
> Finally, Critical Ceramics is interested in publishing your articles about
> NCECA 2000 - perhaps there was a show that you found particularly moving
or a
> presentation that you believe to be worthy of extended discussion. Please
> email me with your ideas.
>
> Sincerely,
>
> Forrest
>
> --
>
> Forrest Snyder, Editor
> Critical Ceramics
> 13 Flying Point Road
> Freeport Maine 04032
> USA
>
> Telephone: 207-865-0845
>
> Email: editor@criticalceramics.org
>
> WWW: http://www.criticalceramics.org
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 16:59:16 EDT
> From: martin howard
> Subject: Re: Tell me your secrets about your hands
>
> ----------------------------Original message----------------------------
> I was also a musician, so I understand your problem.
> But if you
> 1 Avoid the really nasty chemicals and
> 2 use gloves when mixing glazes and
> 3 use something which enables the skin to regenerate,
> then IMHO you should not have problems.
>
> So, get potting in time to the music.
>
> Martin Howard
> Webb's Cottage Pottery
> Woolpits Road
> Great Saling
> BRAINTREE
> Essex CM7 5DZ
> 01371 850 423
> martin@webbscottage.co.uk
> www.webbscottage.co.uk Should be ready for 2000 :-) or 2001
>
> ------------------------------
>
> Date: Thu, 6 Apr 2000 16:59:22 EDT
> From: martin howard
> Subject: Re: Brush Making Materials
>
> ----------------------------Original message----------------------------
> No problem, speaking for those veggies out there. Why not use the remains
of
> road kill for worthy purposes?
> But let's not support fur farming and similar cruel pursuits such as
> reckless driving.
>
> I do still wear leather sandals, because the cow has been killed and the
> leather is purely a by-product and I cannot find vegetarian sandals to
suit
> my taste. I have good boots that are pure veggie.
> One day there will be such good bristles from non-animal sources that the
> ethical problem will disappear.
> Still, for the present, why not use such things as bone ash from pet
> crematoria? I included the analysis for my local one in an earlier
posting.
>
> Why not use the physical remains of human beings for our purposes? The
> essential essence of the person has moved on. All that remains in physical
> form is waste for recycling.
> Why not use human ash in glazes for a dinner service for the next
> generation? Natural deaths only, of course.
>
> Am I stretching your elastic a little? Good :-))
>
> Martin Howard
> Webb's Cottage Pottery
> Woolpits Road
> Great Saling
> BRAINTREE
> Essex CM7 5DZ
> 01371 850 423
> martin@webbscottage.co.uk
> www.webbscottage.co.uk Should be ready for 2000 :-) or 2001
>
> ------------------------------
>
> End of CLAYART Digest - 5 Apr 2000 to 6 Apr 2000 (#2000-98)
> ***********************************************************
>

Mary Irvine on thu 12 oct 00

Hi! I'm new to this newsgroup but I've been potting for five or six years
now. I'm a student working on my diploma in Clay right now. I'm doing my
independent study on Raku and I'm really sick of the few galzes I've ben
using on everything. So, if anyone can suggest some great glazes I fire to
^06 with post firing reduc. Thanks!

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

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http://profiles.msn.com.

Bruce Girrell on fri 13 oct 00

>Hi! I'm new to this newsgroup but I've been potting for five or six years
>now. I'm a student working on my diploma in Clay right now. I'm doing my
>independent study on Raku and I'm really sick of the few galzes I've ben
>using on everything. So, if anyone can suggest some great glazes I fire to
>^06 with post firing reduc. Thanks!



Mary,

At the bottom of each Clayart posting you'll see the following:

You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/

You can search the archives from there. Also, sometimes the older way is
better. Try http://www.potters.org/categories.htm to search by category.

Then there's http://art.sdsu.edu/ceramicsweb/.

That ought to be enough for you to get started with. But lemme ask you this:
If you're doing an independent study on raku for your degree in clay, don't
you think your time would be better spent understanding the glazes and
formulating your own?


Get a copy of _The Potters Dictionary of Materials and Techniques_ by Hamer
and Hamer. Get _Raku: A Practical Approach_ by Branfman or _Raku Pottery_ by
Piepenburg.

Get a glaze calc program - Insight, GlazeChem, Matrix, Foresight. Use the
archives again to search for others' comments about these tools so you can
decide which one to buy.

If you find the glaze calculation method uncomfortable, check out Ian
Currie's page http://ian.currie.list.to/original/index.html for a
recipe-based method. Although he talks primarily about stoneware glazes, the
method applies to any glaze.

I think that you will continue to be disappointed as long as you continue
using others' recipes. Those recipes worked for the other person's clay
body, firing schedule, reduction method, etc. and may not work at all for
you. When you understand the glazes, the clay/glaze interaction, the effects
of the post-fire reduction, then you will get glazes that work for you and
you will deserve that diploma.

My apologies to those whose favorite book/web site/glaze calc
software/whatever that I failed to mention. These were just the first few
that came to mind.

Bruce Girrell
in northern Michigan. Trees are peaking. Lynne and I are leaving tonight for
the Ian Currie workshop in Plymouth. We'll miss our Sara Sue (chocolate
lab), but I don't think she'd do well there. I got her to count the 35 cups
and arrange them properly, but she really has trouble dispensing with the
syringes.

DCurtis171@AOL.COM on tue 17 oct 00

Try looking in the Clayart Glaze archives.

Good luck,

Don

Cat Audette on mon 15 jan 01

Hello all,
Doing a lot of Raku here at Towson. Wondering if anyone has any glazes we
can try particularly warm matt copper glazes. Also wondering if anyone has
any clues to keeping /freezing the colors.
Thanks

--
Cat Audette
cataudette@earthlink.net
"Clay IS the way"

Marcia Selsor on mon 15 jan 01

Dear gary,
gary Ferguson has posted raku glazes on a website: http://netnow.micron.net/~gafergus/rakuglaz.htm
As for freezing the color use a clear acrylic spray. I tested one in
the sun for over 8 years. It works.
Marcia in Montana

Cat Audette wrote:
>
> Hello all,
> Doing a lot of Raku here at Towson. Wondering if anyone has any glazes we
> can try particularly warm matt copper glazes. Also wondering if anyone has
> any clues to keeping /freezing the colors.
> Thanks
>
> --
> Cat Audette
> cataudette@earthlink.net
> "Clay IS the way"
>
> ______________________________________________________________________________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.

--
Marcia Selsor
selsor@imt.net
http://www.imt.net/~mjbmls
http://www.imt.net/~mjbmls/Tuscany2001.html

mel jacobson on sat 21 jul 01

i am not a ruku guy, but, i have made some
very nice glazes from frit /ferro 3134. or pemco 54.

this seems to be a well balanced glaze, all by itself.
i add about 10 percent of silica and feldspar, just to
make sure.
not big science here...but, it works, melts, and seems
to be a nice glossy glaze. crackles like mad if you leave
it in the air for 2 minutes.

there are thousands of raku glazes that do not use gertsley.
so, it should be no problem to find them.
mel
From:
Minnetonka, Minnesota, U.S.A.
web site: http://www.pclink.com/melpots

Megan Ratchford on fri 1 feb 02

Karin,
How yellow? Could you use mason stain mixed into a white crackle glaze?
I've also found that silver nitrate glazes I've used go light yellow in
oxidation. But a true, bright, shiny yellow? I don't know...
Megan
----- Original Message -----
From: "Karin Hurt"
To:
Sent: Friday, February 01, 2002 8:52 PM
Subject: Raku Glazes


> I'm looking for a yellow Raku glaze, does anyone have a recipe I could
try?
>
> Karin
> Laughing Bear Pottery
> Arizona
>
>
____________________________________________________________________________
__
> 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.

Karin Hurt on fri 1 feb 02

I'm looking for a yellow Raku glaze, does anyone have a recipe I could try?

Karin
Laughing Bear Pottery
Arizona

Bob Pulley on tue 29 oct 02

I'm getting ready to do a raku firing in my high school. Up until this
year I've used gerstly borate based glazes, but you know that story.
Now truly out of gerstly borate I need to come up with a reliable raku
glaze that I can mix with what I have. I'v got lots of frit 3134 and a
frit that Colubus Clay calls "Gerstly Borate Substitute". Can anyone
recommend a simple raku glaze based on one or another of these frits?
Bob PUlley

Carole Fox on wed 30 oct 02

Hi Bob,
I've got a great raku glaze using Frit 3134.
3134............... 90
EPK............... 10
This is a clear base that will give a great glossy crackle that works well
for me on a white clay body.

For Turquoise/Copper:
Add:
Tin ox.......... 5
Copper carb. 4
Bentonite..... 2

For Silver Cloud:
Add:
Tin Ox........ 3
Silver Nit..... 5

Frankly, I've never used the last variant, but the first two recipes have
been my main raku glazes for years. I also add epsom salt. It's a habit for
me...I don't really know if they need it.

Good luck.
Carole Fox
Elkton, MD
cfox@dca.net

Bob Pulley on wed 30 oct 02

Fantastic! That's what I need. Utter simplicity and something that
works. I think I will stay away from the silver nitrate with high
school students. Thanks.
Bob

>>> cfox@DCA.NET 10/30/02 08:56AM >>>
Hi Bob,
I've got a great raku glaze using Frit 3134.
3134............... 90
EPK............... 10
This is a clear base that will give a great glossy crackle that works
well
for me on a white clay body.

For Turquoise/Copper:
Add:
Tin ox.......... 5
Copper carb. 4
Bentonite..... 2

For Silver Cloud:
Add:
Tin Ox........ 3
Silver Nit..... 5

Frankly, I've never used the last variant, but the first two recipes
have
been my main raku glazes for years. I also add epsom salt. It's a habit
for
me...I don't really know if they need it.

Good luck.
Carole Fox
Elkton, MD
cfox@dca.net

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ELAINE CARROLL on mon 21 jun 10

Can raku glazes be used for firings other than raku? Elaine

William & Susan Schran User on mon 21 jun 10

On 6/21/10 9:37 AM, "ELAINE CARROLL" wrote:

> Can raku glazes be used for firings other than raku? Elaine

Sure, as long as you're firing in the same temperature range.
Depending on the glaze formula, you may find the raku glazes functionally
unstable and may be very runny. You will need to run a series of tests and
include various thicknesses of application with the tests.
The results may, or may not come out the same as the raku firing and you
will not have the contrast of a reduced grey/black clay.

Bill

--
William "Bill" Schran
wschran@cox.net
wschran@nvcc.edu
http://www.creativecreekartisans.com

Snail Scott on tue 22 jun 10

On Jun 21, 2010, at 8:37 AM, ELAINE CARROLL wrote:
> Can raku glazes be used for firings other than raku?



Of course. Use them for whatever you want - the Pottery
Police will never know. Any glaze is just a bunch of
materials that behave in certain ways. Many so-called
'raku glazes' differ very little from other low-fire glazes
designed for conventional earthenware, while some
(owing to the non-food-safe expectations of most raku
practitioners) may have poor glaze fit, stability or durability.
If you have the recipe, you can make a good guess. If
you are using someone else's glaze (commercial product
or common-studio shared glaze) you might have to do
some testing, but you'd be doing that anyway, right?
And some nominally low-fire formulations do worthwhile
things at much higher temperatures. Maybe runnier,
and maybe changed color/surface, but maybe good for
something, too.

A descriptive label is not an instruction book. Just because
something is labeled as a raku glaze, or an underglaze,
or a decorating slip, or whatever, doesn't mean you have
to use it that way. An so-called engobe at one temperature
might be a glaze at another, and vice-versa. Like the 'Pirate
Code' from the Johnny Depp movie, they aren't 'rules',
they're really more like 'suggestions'.

A foundryman I know once said, "It's my wrench, I paid for
it, and I'll use it as a hammer any time I want to!". (Anathema
to my tool-using upbringing, but a very freeing mindset.) A
wrench will likely make a poor hammer for most purposes,
but it just might be the thing in some special circumstance,
and adequate in others. Just as an 'off-label' pharmaceutical
may have benefits in ways the maker didn't plan, and that
ugly scarf your aunt made works great as a potholder.

"It's a floor wax! It's a dessert topping!" -Saturday Night Live

A glaze is just a combination of minerals. What it's good
for is up to you and your own intentions; no one else's.

-Snail

Claude Lehman on thu 17 nov 11

A recent visit to the Freer and Sackler Museums in Washington renewed my=3D=
20=3D

interest in classic Japanese Raku. I was struck by the simple, austere b=
=3D
eauty of=3D20
the red and black raku cups displayed alongside other stunning pieces fro=
=3D
m=3D20
Japan, China and Korea. When I returned to Vermont I did some research a=
=3D
nd=3D20
found some information about ancient Japanese Raku and was reminded from=3D=
20=3D

Leach's Potter's Book that the work did not undergo post-firing reduction=
=3D
as does=3D20
all of the Raku I have experienced over the years.=3D20=3D20
I want to try and make work in the style of those old Japanese cups,=
=3D
but=3D20
found that the glazes Leach mentioned, and those I found in a book about =
=3D
Ogata=3D20
Kenzan all are lead glazes. Also, the black raku required some rare blac=
=3D
k stone=3D20
from the bottom of a Japanese lake that I currently don't have access to.=
=3D
Has=3D20
anyone developed glazes that don't have lead that approximate the colors =
=3D
and=3D20
textures of the ancient Japanese raku teabowls? I have heard that there =
=3D
are no=3D20
simple repalcements for lead in glaze. You can't just say instead of 50%=
=3D
white=3D20
lead use 50% of X. But can you say replace the lead with a combination o=
=3D
f=3D20
materials to get similar glaze effects? Any advice or wisdom on this top=
=3D
ic would=3D20
be greatly appreciated.

May Luk on thu 17 nov 11

Hello Claude;

What is the attribute of those ancient Japanese Raku wares? And what
is the intended purpose of these wares that you are going to make?

May

On Thu, Nov 17, 2011 at 8:53 AM, Claude Lehman wrote:
> A recent visit to the Freer and Sackler Museums in Washington renewed my
> interest in classic Japanese Raku. =3DA0I was struck by the simple, auste=
re=3D
beauty of
> the red and black raku cups displayed alongside other stunning pieces fro=
=3D
m
> Japan, China and Korea. =3DA0When I returned to Vermont I did some resear=
ch=3D
and
> found some information about ancient Japanese Raku and was reminded from
> Leach's Potter's Book that the work did not undergo post-firing reduction=
=3D
as does
> all of the Raku I have experienced over the years.
> =3DA0 =3DA0 I want to try and make work in the style of those old Japanes=
e cu=3D
ps, but
> found that the glazes Leach mentioned, and those I found in a book about =
=3D
Ogata
> Kenzan all are lead glazes. =3DA0Also, the black raku required some rare =
bl=3D
ack stone
> from the bottom of a Japanese lake that I currently don't have access to.=
=3D
=3DA0Has
> anyone developed glazes that don't have lead that approximate the colors =
=3D
and
> textures of the ancient Japanese raku teabowls? =3DA0I have heard that th=
er=3D
e are no
> simple repalcements for lead in glaze. =3DA0You can't just say instead of=
5=3D
0% white
> lead use 50% of X. =3DA0But can you say replace the lead with a combinati=
on=3D
of
> materials to get similar glaze effects? =3DA0Any advice or wisdom on this=
t=3D
opic would
> be greatly appreciated.
>



--=3D20
http://www.artspan.org/artist/mayluk
http://www.ceramicsbrooklyn.com/

Lee on thu 17 nov 11

On Thu, Nov 17, 2011 at 7:53 AM, Claude Lehman wrote:
>=3DA0Any advice or wisdom on this topic would
> be greatly appreciated.

Start with this. Experiment with different oxides and/or mason stains:


Tak Fat White Raku Glaze
Comments: A Kurt Wild glaze, it came from a student named Takahara.

Fat white, big crackle
Give it time to cool just a second/deep reduction

frit 3134 100
silica 6
epk 10

tin or opax 10 If you want a clear leave this out. Bentonite will help
suspend it.

Takes copper well: blue/green to red/blood .
Variations --
Takes copper well
Leave out tin for clear

--
=3DA0Lee Love in Minneapolis
http://mingeisota.blogspot.com/

=3DA0"Ta tIr na n-=3DF3g ar chul an tI=3D97tIr dlainn trina ch=3DE9ile"=3D9=
7that is, =3D
"The
land of eternal youth is behind the house, a beautiful land fluent
within itself." -- John O'Donohue

Bill Merrill on sun 29 jan 12

Here,are 2 good Raku Glazes.
=3D20
=3D20
This glaze melts with a match. It is a glaze reminescent of the early =3D
Japanese. It is a lithium glaze and the glaze had rocks from the Kamo =3D
River in Japan that were cruched by potters for a part of their glaze. =3D
The frits can be cross referenced to find frite that are similar to Frit =
=3D
25. The glaze will be white over a white body and pinkish over a red =3D
body. You can add opacifiers if you want to this glaze. I have used =3D
this glaze over the years. I got it from a Lithium Corporation bulletin =
=3D
in about 1972. The glaze was a Richard Behrens glaze from long ago.
=3D20
Cone 016 Like Old Japanese Raku=3D20
Frit 25 (Pemco) 43.6=3D20
Frit 3134 (ferro) 26.3=3D20
Lithium Carb 9.9=3D20
EPK 6.2=3D20
Flint 14.0=3D20

Try copper washes on this glaze, for a floating blue green, red =
=3D
if reduced.

David Tell=3D20
=3D20
FRIT 3304.....80=3D20
EPK.....5=3D20
BORAX..10=3D20
C0LEMANITE...5 =3D20
transparent...spectacular large crazes. Blow on it with compressed =3D
air....This glaze was one that David Tell used at Alfred when he was a =3D
student. David has his thesis at Alfred that can be copied if you call =3D
the secretary at The college of Art and Design at Alfred University, =3D
Alfred, NY. It's only cost is for copying.
=3D20
Bill Merrill
=3D20
=3D20
=3D20
=3D20

Eve Rose on mon 30 jan 12

Is that cone 016 or cone 06?

Bill Merrill wrote:

>Here,are 2 good Raku Glazes.
>
>
>This glaze melts with a match. It is a glaze reminescent of the early Jap=
anese. It is a lithium glaze and the glaze had rocks from the Kamo River i=
n Japan that were cruched by potters for a part of their glaze. The frits =
can be cross referenced to find frite that are similar to Frit 25. The gla=
ze will be white over a white body and pinkish over a red body. You can ad=
d opacifiers if you want to this glaze. I have used this glaze over the ye=
ars. I got it from a Lithium Corporation bulletin in about 1972. The glaze=
was a Richard Behrens glaze from long ago.
>
>Cone 016 Like Old Japanese Raku
> Frit 25 (Pemco) 43.6
> Frit 3134 (ferro) 26.3
> Lithium Carb 9.9
> EPK 6.2
> Flint 14.0
>
> Try copper washes on this glaze, for a floating blue green, red i=
f reduced.
>
>David Tell
>
>FRIT 3304.....80
> EPK.....5
> BORAX..10
>C0LEMANITE...5
>transparent...spectacular large crazes. Blow on it with compressed air...=
.This glaze was one that David Tell used at Alfred when he was a student. =
David has his thesis at Alfred that can be copied if you call the secretary=
at The college of Art and Design at Alfred University, Alfred, NY. It's o=
nly cost is for copying.
>
>Bill Merrill
>
>
>
>
>
>
>
>