no subject given

updated mon 20 aug 12

WACKY on thu 20 nov 97

Hi frens,

I am recently crazy over blue glazes.
I wonder if anyone of you have a favourite blue glaze
for Cone 7 firing to share.

Anxiously waiting for your responses!!!!!!!!!

yen
aka wacky
n7506512d@acad21.ntu.edu.sg

Linda Stauffer on wed 21 jan 98

What is the NCECA assignment book?

Sarah Picciotto on fri 19 jun 98

------------------
Hello All-

I am trying to find a residential-type throwing workshop from 2-4
weeks to attend in either July or August. In other words, I am
trying to find a live/eat/throw together sort of program that is
aimed at international participants.

I would prefer Mexico, but other countries are certainly possible.

If anyone has either attended such a workshop and would recommend
it, or has information about something like this, please let me know.

Thanks a lot-

Sarah Picciotto

I'm not sure how this works, so in case you need my direct email
address, it's sarahp=40ican.net

Cynthia Gehr on fri 25 sep 98

Does anyone out there have a (fail safe) glaze formula for a clear satin for
cone 6. I would like to do some testing and would be happy to post my
results.

Patrice Murtha on fri 13 nov 98

I am new to pottery, just started doing it about 3 years ago (and also new
to this group). I have a couple of technical problems that I hope the group
might be able to help me solve. I have been practicing making platters
and plates this last year and have been firing them in a salt kiln at
school to ^6. I find I lose a lot to warpage-- is there anything that can
be done? As near as I can tell they are not warped when I put them into
the kiln. I use wadding and try to make the wadding as even as possible
all around the foot. The second problem is that my platters seem to
collect evey bit of junk that flies around in the kiln. It all collects
in the bottom of the platter or plate or for that matter any wide form.
Does anyone have any suggestions on what to do? It can be very
discouraging. Thanks for any help.

Barbara Stanton on thu 7 jan 99

Does anyone know anything about recycling clay using an old bread mixer?
I'm also interested in a soldner clay mixer (any size) plus used pottery
equipment. I can be reached at gmpubs@adnc.com.

Thanks!
Dawn Galbo

jray on tue 9 mar 99

Im wondering if any potters out there have any blue prints or ideas on
how to build a wooden Japanesse kick wheel? if so, please contact me
a.s.a.p. because my ceramics class wants to try their luck at building a
functional tribute to pottery.

Thanks alot,

Jesse M. Raymond
LaSalle High School
South Bend, IN

Julie Bouche. on fri 26 mar 99

To: CLAYART@LSV.UKY.EDU
Message-Id: <8825673F.005D9DB1.00@ojd.state.or.us
>
Date: Thu, 25 Mar 1999 09:29:36 -0700
Subject: Help for us insecure "newbies" at NCECA-Denver
Mime-Version: 1.0
Content-type: text/plain; charset=US-ASCII


I have been reading the response to Sylvia's post with great interest.
While I'm not especially old or ugly or fat (okay, fine, so I'm 42, wear
glasses, and could stand to drop 30 pounds!), I am new to clay (three
years, part-time) and very new to Clayart (1 month). I'd love to go to
Denver in 2000 -- am tentatively planning on it, actually -- but have
feared I would feel a little ( a lot!) intimidated by all those "real,"
talented, and knowledgeble potters while I am just a rank beginner. Also,
like Sylvia and many others who've posted replies to her, I don't know any
of you except by disembodied messages on the list. (Are you all really as
nice and human as you sound?)

So I have a suggestion: When I went to my first Mensa convention many,
many years ago, those of us there for the first time received lapel buttons
proclaiming: "MY FIRST TIME!" This alerted other Mensans to a) be gentle
with us (if any of you have ever been to a Mensa Convention, you'll know
what I mean); b) introduce themselves and start conversations; and c)
introduce us to the so-called "Big Names" (every group has them) that they
were acquainted with but whom we had only heard of. Rather than hiding
from and with our "newness," we made it a joke, an ice-beaker. It was
great!

So, what do ya'll think? I'd be willing to coordinate having the buttons
made and getting them to Denver prior to the convention if The Powers That
Be think its a good idea (and are willing to pay for it).

Julie Ann Bouche'
in soggy Oregon, where the daffodils and the cherries are blooming in spite
of the interminable gray weather.

P.S. to Joyce Lee, whom I've never met but love anyway just from her
silly/human/thought-provoking posts: If you ever threaten to sign off of
Clayart again, I will personally travel down to the Mojave and kick your
butt!

Ron Sencer on wed 12 may 99

wanted used deairing pugmill
call Susan at 212-925-8144 days

David Coggins on wed 9 jun 99

Hi to all ,

I am a new subscriber to clayart. My name is Dave Coggins, and I run a
business in South East Queensland, Australia, repairing and rebuilding
kilns, kiln controllers, pyrometers, wheels, etc. I have a web page at
http://web.one.net.au/~dercoggins which has some information about kilns. My
background is in the electronics and electrical area, and I have been
involved with kilns for about 15 years. My wife Elaine has been a potter for
more years than she cares to remember, and a lot of it has rubbed off onto
me. I will be watching the exchange of information about kilns and firing
with interest, and I hope that I can have some useful input in regard to
kiln problems.

Regards


Dave

Billie Schwab on sat 12 jun 99

For Sale: One Flourish Archtop Trimline Canopy. Never used. Please mail
privately for details. Will entertain all offers. Must sell.

Victor Levin on fri 16 jul 99

can anyone tellme the dates of the Ann Arbor Craft Sale? Thank you.

School Services of Canada

"The Best in Educational Audio/Visual Media"

176 Albany Ave.
Toronto, On M5R 3C6

Phone 416 588-0716

Judy on sun 8 aug 99

Is there an archive of the first letters to this list so that a newbie could
read through the list chronologically?

thanks
judy

David W McDonald on thu 19 aug 99

"Laguna Clays Bloating at cone 10; anyone else?"

Dear Clayart readers,
Anyone who is experiencing bloating using cone 10 claybodies from
Laguna Clay Company, please take note. I have lost A LOTof work due to
pieces coming out of the kiln bloated for the past 2 months. I know 5
others at this time who have been experiencing the same. I would like to
know if anyone else out there has been getting these results, or knows of
someone who has. Please respond, either through Clayart, or to me
personally, e-mail, phone call, or US mail.
If it turns out that there are more of us than I've already heard
from, and if there's interest, I'll provide more info on this later. For
now though, I'm concerned to get the word out that if you're experiencing
bloating with Laguna cone 10 clays, you're not alone. I first brought
this up on clayart on June 14th, 1999.

David McDonald Tel. 520-778-7854 e-mail:
claydog@juno.com
Limberlost Pottery
721 First Street
Prescott, AZ 86301


___________________________________________________________________
Get the Internet just the way you want it.
Free software, free e-mail, and free Internet access for a month!
Try Juno Web: http://dl.www.juno.com/dynoget/tagj.

judy motzkin on tue 16 nov 99

About getting the clay out of the bucket. Somebody said a
4" loop and I thought of the tool used to remove the oil
filter from your car. It is a steel loop, 4-5" in
diameter on a handle. It would work, i think. check it
out. Let us know.


=====
www.motzkin.com
__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com

judy motzkin on tue 30 nov 99

Hello friends,

Crafts at the Castle is this week.
I hope ya'll will come by and see me.

I am busily packing up work and finishing assemblages.
Firing the last kiln was like playing my musical
instrument, good results too.
There is jewelry and some new prints to show you.

Thursday Dec 2 12-9pm
Friday Dec 3 12-9
Saturday Dec 4 10-6
Sunday Dec 5 10-5

See you there.

Best,
Judy
www.motzkin.com


=====
www.motzkin.com
__________________________________________________
Do You Yahoo!?
Thousands of Stores. Millions of Products. All in one place.
Yahoo! Shopping: http://shopping.yahoo.com

terryh on sat 11 dec 99

------------------
Nikom,
i read your post (Re: Fun with beer bottles, ashes, =26 clay) w/ great =
interest.
For i have been working (well,
trying) on =22Beerbottle Celadon=22 glaze in the last semester. I've been =
interested
in creating some crackle
celadon (kanmoku-seiji), and found a recipe in the book =22Glaze=22 by Prof.=
Onishi.
His recipe is : Glass about
40=25, Spar about 60=25. A great recipe, isn't it? Unlike other glazes in =
his book,
this one is rather precise
(grin). Others are listed like, for instance, Spar 20-40=25, Silica =
15-35=25,
.....Anyway, this was the starting
point.

A few years ago, i tried to get crackle celadon by replacing K-spar with =
Na-spar
as Na-spar has
larger expansion coefficient (i tried this earlier on Shino and had some
success). Some success, but not
crackled enough. (maybe, claybody wasn't right, .....all other wrong =
reasons.)
Anyway, I took a hit-or-miss
approach and missed.

So, when I saw Onishi's recipe, i tried this time w/ GLASS, and also
w/playground sand, too. Well, with this
recipe, the glaze made nice crackles but ran like river. And, just like my =
Shino
test, without clay, it was hard
to stir once it settles in the glaze bucket. So clay EPK was added. At =
present,
my recipe goes like,
Glass 40=3B Na-spar 60=3B EPK 20. Still likes to run.

Yes, it is glossy. Crackles. Very nice crackles. And color. Transparent. =
And, it
inherits the color of beer bottles. With Heineken, the glaze is green=3B w/ =
Harvey
Bristol Cream-Sherry bottle, it is blue=3B w/ Foster (and bet Budweiser, =
too) it
is light brown. (I wonder what Remy-Martin will do. Singha (sp?) would be
green.) All of them are very nice. All cone 10 high-fired, in reduction =
firing.

This is not quite Celadon yet (as I would like to achieve). Neither I have =
tried
on porcelain yet. Next step, use
plain/pane glass and w/ Fe2O3. Also, play w/ EPK and Spar to change the =
surface.
Have to find a way to
influence crackle size/texture. Definitely, one of projects next semester. =
So,
I'm very very curious how you do
=22dulling=22 the surface. I would like to see the picture, too. (I'm =
planning to
shoot the picture during this holidays.)

I enjoyed this Beerbottel Celadon idea. Was fun. Yes, I had to consume beer =
and
wine, dilligently, for
the sake of ART. (GRIN). And, all cranky noise from ball-mill while =
beerbottles
were being powderized.
Thanks to my fellow students who endured the noise in the studio. But, it =
was
worthwhile. (They agree.)

terry
terry hagiwara
terryh=40pdq.net
http://www.geocities.com/SoHo/Cafe/3755

Victor Levin on thu 16 dec 99

A friend is going to Miami soon and would like to know if there are any
ceramic studios to drop in on, especially tile makers. thanks for any
addresses.

Victor Levin
176 Albany Ave
Toronto, ON M5R 3C6
416 588-0716
ssc@echo-on.net

Renee Speenburgh on wed 5 jan 00

I am looking for a good low fire clear glaze recipe that I can make that
does not use lead. Currently the studio where I teach uses a commercial
clear glaze (LG10) which is very expensive. Thanks.

Baltimore Clayworks on thu 13 jan 00

**** ATTENTION ALL!! *******
We have changed our email address - it is now
baltimoreclayworks@earthlink.net
Please make a note of it!!
Thanks,
Leigh Taylor Mickelson @ Baltimore Clayworks

P.S. Please join us for the opening of "Sublime Servers: A Celebration of
Theatrical Possibilities for the Table," a national invitational exhibition
curated by noted Philadelphia art enthusiast Gail M. Brown. The opening
reception is this Saturday, January 15, from 6-8pm. The show will then
travel to New York's Greenwich House Pottery in April and the James A
Michener Art Museum, located in Doyelstown, PA, in June.

Veronica Honthaas on wed 19 jan 00

Here is the list of clayarters' web cites. There are a lot more cites out
there but these were the folks that responded to my query. Veronica


http://members.home.net/bpotter/art/art.html
http://www.pclink.com/melpots
www.linfield.edu/~nlou
http://coyote.accessnv.com/bruec
http://www.panworld.net/~rmace/
http//www.thepotterswheel.net
http://www.mypots.com
http://www.reallifeart.com
http://creativeclay.tripod.com/home.html
http://holdreadstudios.hypermart.net
mailto:francoise.bazard@beaux-arts.com
http://bazardceram.fr.st
http://le-village.ifrance.com/bazardceram/
http://www.multimania.com/fbazard
http://www.cpmg.com/anagama
http://www.silverhawk.com/ex99/cohn
http://www.dhpot.demon.co.uk

Don & Isao Morrill on fri 28 jan 00

At , Ceramic Arts Discussion List wrote:
>At 15:08 1/27/00 EST, you wrote:
>>----------------------------Original message----------------------------
>>
>>> Hi,
>>> In my work I usually have LOTS of leftover pieces of slabbed clay. I
>>>like to
>>>save these pieces for another day/project but always find that when I am
ready
>>>to use them(even sometimes only after a few days) they are too dry to work
>>>with.
>>>I do end up spraying them to soften but I heard of something called a damp
>>>box.
>>>Anyone know of such a beast? And of course the cheapest way to make one?
>>>Thanks
>>>in advance.
>>> Diane in Conn.
>>
>>Hi, Diane,
>>There are commercially produced damp boxes that are listed in clay/glaze
>>supply catalogs, but they are very pricey.
>>
>>I have seen old refrigerators and freezers used for the same purpose in art
>>schools and art centers. As long as the seals are in good shape, they work
>>well. I recycled a dishwasher into my studio to serve as a dampbox and
>>have cut plasterboard to fit on the roll-out shelf wheels.
>>
>>I would think that for a small amount of clay leftovers, you could even use
>>a picnic cooler. You really just want to maintain the moisture in a
>>tightly sealed container.
>>
>>Good luck,
>>Jeanette Harris
>> Old refrigerators work just fine and cost almost
nothing. sometimes it is necessary to add a wet sponge in a bowl for
additional moisture. I have two 'friges always in use. Isao $ Don M.

Don & Isao Sanami Morrill
e-Mail:

Ruth Ballou on wed 5 apr 00

Ian Currie (from Australia) has asked me to let Clayart know that he's
planning a visit to the US in September. As many of you know, Ian is
the author of Stoneware Glazes: A Systematic
Approach. He'll be staying for about a month and will be
available for workshops exploring his approach to the study of glazes.
Ian gives a fantastic workshop that opens the door to an understanding
of glazes.Both beginners and experienced potters have found his
approach to be enormously useful in developing, expanding and
maintaining a glaze palette.


I'll be helping with some of the logistics of scheduling, so anyone
interested in hosting a workshop may either contact me, or contact Ian
directly at ianc@flexi.net.au


Ruth Ballou

rballou@bellatlantic.net

Edouard Bastarache on tue 18 apr 00

------------------
Hello all,

here is a thought by new clayarter Smart that i find very
interesting. I translated it for clayarters withoutsufficient
knowledge of french

=22L'aluminium est tr=E8s dangereux, la preuve la plan=E8te en
est couverte et c'est la seule que nous connaissions avec
toutes les formes de vies dont nous faisons partie...
Y-a-t-il des plan=E8tes habit=E9es sans Aluminium ?
Il faut aller y voir tout de suite=22.(Smart)



Aluminium is very dangerous, the proof is out planet is
covered by it and it is the only that we know of with so
many forms of life and we are part of it
Are there habited planets without aluminium? If so,
It is necessary to go visit them immediately. (Edouard)



Edouard Bastarache
Dans / In =22La Belle Province=22
edouardb=40sorel-tracy.qc.ca
http://www.sorel-tracy.qc.ca/=7Eedouardb/

Linda Ziesmer on mon 15 may 00

-----Original Message-----
From: mel jacobson [mailto:melpots2@pclink.com]
Sent: Saturday, May 13, 2000 5:00 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Fwd: Need for strainer in teapots?


>From: CCPottery@aol.com
>Date: Fri, 12 May 2000 17:33:37 EDT
>Subject: Need for strainer in teapots?
>To: clayart@LSV.CERAMICS.ORG
>X-Mailer: AOL 5.0 for Windows sub 105
>
>This message was originally submitted by CCPottery@AOL.COM to the CLAYART
>list
>at LSV.CERAMICS.ORG. If you simply forward it back to the list, using a
>mail
>command that generates "Resent-" fields (ask your local user support or
>consult
>the documentation of your mail program if in doubt), it will be
>distributed and
>the explanations you are now reading will be removed automatically. If
>on the
>other hand you edit the contributions you receive into a digest, you will
>have
>to remove this paragraph manually. Finally, you should be able to
>contact the
>author of this message by using the normal "reply" function of
>your mail
>program.
>
>----------------- Message requiring your approval (21 lines)
>------------------
>To all teapot makers -
>
> As one of the truly weird people who not only drink hot tea all day
> long,
>but also use loose tea, I would like to say that there is no need for a
built
>in strainer.
>
> First and most importantly - they do not really work. Any one who
uses
>loose tea also uses some kind of strainer when brewing or pouring. The idea
>of a teapot with a built in one is cute but does not serve any reliable
>purpose.
>
> Second - as a lazy person - I find it just adds to the difficulty of
>cleaning the pot and getting out all of the loose tea.
>
> If you choose to leave it in as an exercise in dexterity, go for it.
But
>all of my good functional teapots do not have one. And, I do love GOOD
>functional tea pots so please worry more about those dripping spouts and
good
>balance when pouring!
>
>Chris Campbell - in North Carolina - on my second mug of Irish Breakfast
tea
>and the caffeine is kicking in !!


CLAYART MAIL FROM MEL
MELPOTS2@PCLINK.COM

____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org

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

Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.

Dwiggins, Sandra (NCI) on mon 15 may 00

Dear Linda---
Thank you very much for this answer. I personally love all the great
shapes that tea balls come in, and find that these do extremely well in
keeping the loose tea in my pot. I gave up the strainer thing long ago, and
have never had any returns from the teapots I have sold.
Sandy

> -----Original Message-----
> From: Linda Ziesmer [SMTP:lziesmer@MCARE.MED.UMICH.EDU]
> Sent: Monday, May 15, 2000 9:20 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject:
>
> -----Original Message-----
> From: mel jacobson [mailto:melpots2@pclink.com]
> Sent: Saturday, May 13, 2000 5:00 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Fwd: Need for strainer in teapots?
>
>
> >From: CCPottery@aol.com
> >Date: Fri, 12 May 2000 17:33:37 EDT
> >Subject: Need for strainer in teapots?
> >To: clayart@LSV.CERAMICS.ORG
> >X-Mailer: AOL 5.0 for Windows sub 105
> >
> >This message was originally submitted by CCPottery@AOL.COM to the
> CLAYART
> >list
> >at LSV.CERAMICS.ORG. If you simply forward it back to the list, using
> a
> >mail
> >command that generates "Resent-" fields (ask your local user support or
> >consult
> >the documentation of your mail program if in doubt), it will be
> >distributed and
> >the explanations you are now reading will be removed automatically. If
> >on the
> >other hand you edit the contributions you receive into a digest, you
> will
> >have
> >to remove this paragraph manually. Finally, you should be able to
> >contact the
> >author of this message by using the normal "reply" function of
> >your mail
> >program.
> >
> >----------------- Message requiring your approval (21 lines)
> >------------------
> >To all teapot makers -
> >
> > As one of the truly weird people who not only drink hot tea all day
> > long,
> >but also use loose tea, I would like to say that there is no need for a
> built
> >in strainer.
> >
> > First and most importantly - they do not really work. Any one who
> uses
> >loose tea also uses some kind of strainer when brewing or pouring. The
> idea
> >of a teapot with a built in one is cute but does not serve any reliable
> >purpose.
> >
> > Second - as a lazy person - I find it just adds to the difficulty of
> >cleaning the pot and getting out all of the loose tea.
> >
> > If you choose to leave it in as an exercise in dexterity, go for it.
> But
> >all of my good functional teapots do not have one. And, I do love GOOD
> >functional tea pots so please worry more about those dripping spouts and
> good
> >balance when pouring!
> >
> >Chris Campbell - in North Carolina - on my second mug of Irish Breakfast
> tea
> >and the caffeine is kicking in !!
>
>
> CLAYART MAIL FROM MEL
> MELPOTS2@PCLINK.COM
>
> __________________________________________________________________________
> __
> __
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> __________________________________________________________________________
> ____
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.

Diane Mead on thu 18 may 00

I have the solution to the "handmade" issue. Extremely simple.
Brain waves of the maker are to be measured. If the waves are
consistently deemed "creative" while the maker is involved in the
process, then the result is considered "handmade." If there is a lull in this
creative thinking process (even a blip), then it is not.

Of course this is sardonic humor, at it's lamest. Sorry. Couldn't help it.







Jonathan, like you, I also didn't want to get sucked into
>this again, but, doggone it, you've got me. I just have
>to comment on your assertion that that your slipcast
>pottery is as "handmade" as it gets (quote below).
>
>I'll tell you what's not handmade about it.
>You designed and made the molds. So, the molds are
>handmade. But that's where it ends. A piece you cast
>on Thursday will be the same as one you cast on
>Monday, even if you "touch" every piece. The piece you
>cast 3 weeks from yesterday will still be the same.
>That's kind of the whole point of making a mold, isn't it?
>If one of your workers, rather than you personally, pours
>the mold, guess what, it will still be the same.
>
>Contrast that to a potter throwing on a potter's wheel.
>The first couple of pieces of the day will probably be
>a little small, or large, or wide, until the potter "gets the
>feel" of what he's doing. If he stayed up too late the night
>before drinking Jack Daniels, the pots might even be a
>bit wobbly. If another person is hired to throw, the pieces
>will be different, even if they are the same size and shape.
>Also, unlike a slip-pourer, the hired potter will have had to
>work through years of training and practice just to qualify
>for the job.
>
>The potter is always subtlety but constantly "designing" his
>pot. Even if he is attempting to produce a standard line of ware,
>the work will be continually evolving. Your design work ended
>the moment you made your mold. It's dead. The throwing
>potter's design is living and changing and being refined.
>
>If you are making a handmade product, it should be no
>problem to make a custom piece for someone. If a customer
>asks me for a mug "like this one, except a half inch taller",
>I'll say, "No problem, if you don't mind waiting a few weeks.
>It will be $15, the same price as the one we're looking at."
>Will you make a new mold, cast a cup in it, and sell it for
>$15? I think not. The only way you can justify the time
>required to make a mold is to make and sell lots of the
>same thing. It would be like asking Ford to make me a new
>Explorer, except I want it 2 inches wider and an inch shorter.
>
>Here's a music analogy:
>Is Karaoke live music?
>I say no. The song will be the same length every time, it
>will have the same tempo, the guitar lead will always be the
>same. Just like your cast piece will always have the same
>dimensions.
>Even if the singer "designed" the accompaniment tape,
>played the instruments, and recorded the tape, it's still not
>live, or "handmade" music, because it is the same every
>time. Just as you can vary the decoration on a piece of cast
>pottery, the singer can vary what she sings, within the format
>of the tape, but that is just one part of the many elements
>that make a song.
>
>Yes, singing with a tape is "dead" because all the designing
>except the vocal was done in the recording studio. Get a real
>band together and you will have live, or "living" music. If the
>drummer is hyped up, he may play faster than usual. That
>may inspire the keyboardist, and then even the vocalist is
>trying some new things. Of course, if our Jack Daniels drinking
>potter also plays bass in the band, he may slow things down
>because his hands are tired from throwing pots all day.
>And then the next day, his pots may be wobblier still.
>
>This subject is not about money to me. Not at all.
>It's also not about design. It's not about valuing work made
>by one method more than that made by another method.
>It's simply about the definition of a word: "handmade".
>I think the word, like many in our society, has been
>increasingly more liberally defined until it is practically
>meaningless.
>--
>David Hendley
>Maydelle, Texas
>hendley@tyler.net
>http://www.farmpots.com/
>
>
>
>| My work
>| is slip cast from molds that I make from original parts that I make. These
>| forms are then assembled, decorated, and fired. What is not handmade about
>| them? Everything about them is handmade from the original concept,
>| designing and making the models, making the molds, casting the parts, and
>| assembling them, finishing and decorating them. My hands touch each and
>| every part of them in every stage of the process. They are handmade and
>| have entered competative exhibitions of handmade work and have also wond
>| awards. I would be hard pressed not to define them as hand made. The are
>| slip cast from hand made molds and models that are designed and made by
>me.
>| What could be more handmade? The wheel or the slab roller does not define
>| the parameters of handmade.
>
>
>
>
>
>
>
>----- Original Message -----
>From: Jonathan Kaplan
>To:
>Sent: Monday, May 15, 2000 7:38 AM
>Subject: Reviewing the responses to the handmade issue........longishj
>
>
>| I'll not belabor this issue as it is really a battle with no winners or
>| loosers. But I will address some points that some on the list put forward
>| in their responses to mine.
>|
>| >I am sorry to pick up on just one point of your mail, but being a mere
>| >consumer of ceramics, my concern is slightly different to those actually
>| >doing the making. I (rightly or wrongly) see slip casting in the
>| >manufacturing tradition. However, since Leach & Co. reintroduced the
>ideal
>| >of the hand-made tradition as an art form and honest work, this issue is
>| >programmed to continue... eternally. There will always be a "Them" and
>"Us"
>| >and ne'er the twain shall meet.
>|
>| Let us not for one minute only think that the Leach ideal is the only art
>| form and one of honest work. This is eliteism pure and simple, and
>| certainly presents a rather myopic vision. Them and us? I really don't
>| care. I think that laboring in the Leach ideal is a fine and nobel way to
>| work, if it fits your own particular vision of the world. But also let's
>| not prostelitize this as the only way.It certanly doesn't work for
>| everyone.
>|
>| >This will hardly be the only discussion which tends to repeat itself.
>| >Although it obviously annoys you personally, I trust we will be allowed
>to
>| >bicker on? Someone recently asked if had anyone changed their opinion
>about
>| >the other point of view, as a result of what has been said... I presume
>not
>| >among the old die hards.
>|
>| Sure, bicker on as much as you wish. This is an open forum and there is
>| room for all opinions, yours and mine. I don't for one minute assume that
>| anyone will really change their opinion. Its a matter of perspective and
>| experience. I think the issue is more a financial one than anything else
>| and that the real hand made issue is only a veil masquerading as a
>| financial one.
>|
>| >But if the final product is made by assisted technologies, with nothing
>else
>| >done to it but minor finishing and glazing, Then it should not be
>| >represented as handmade, and it should not be entered in competitive
>| >exhibitions of handmade work.
>|
>| This is too broad a statement to be left out there. For instance, my work
>| is slip cast from molds that I make from original parts that I make. These
>| forms are then assembled, decorated, and fired. What is not handmade about
>| them? Everything about them is handmade from the original concept,
>| designing and making the models, making the molds, casting the parts, and
>| assembling them, finishing and decorating them. My hands touch each and
>| every part of them in every stage of the process. They are handmade and
>| have entered competative exhibitions of handmade work and have also wond
>| awards. I would be hard pressed not to define them as hand made. The are
>| slip cast from hand made molds and models that are designed and made by
>me.
>| What could be more handmade? The wheel or the slab roller does not define
>| the parameters of handmade.
>|
>| >My entire point here is that when the artist makes the transition to
>assisted
>| >technolgies, and thus to a cottage-industry semi-mass-production
>operation,
>| >she/he steps out of the role of the one-of-a-kind craftsperson, and that
>is
>| >a very significant step, not to be taken lightly. As you and I both
>agree,
>| >it requires that the artist be completely upfront with the consumer about
>| >the means of production, and that the work be entered in appropriate
>| >exhibition and sales venues.
>|
>| Agreed. If we are not honest with our customers, then we not only deceive
>| ourselves as well as them. But what defines appropriate exhibition and
>| sales venues? Surely we cannot have the sales and exhibition police! But
>if
>| an exhibition clearly states "no cast work, jiggered work, pressed work"
>| and some potter gets in and puts work made with these methods out for
>sale,
>| then that person is in violation of the stated rules of the exhibition.
>But
>| if there is no stipulation then whats the point? ACC states in their
>| prospectus that the work should be made with appropriate tools. This is a
>| broad definition, subject to interpretation, and leaves the decision to be
>| made by the exhibitor. Having exhibited for many years in ACC and Buyer's
>| Market shows, there is this broad range of work represented and the only
>| issues that I remember over these many years was that one year someone had
>| the gall to put out decorated mugs with ' Made in China" stickers on the
>| bottoms!! Yes, that really offended us. But there has never been, IMHO,
>any
>| issues relating to how things are made at these major shows, Not that
>these
>| shows are in and of themselves the standards by which all exhibitions
>| should be judeged, but they are a major barometer of trends in the craft
>| industry. The point is , I think, is that again, its the work that
>matters.
>|
>|
>| >A fine pot has a pesonality and a presence, and in this case it
>| >becomes an inseparble component of the final expression of the piece.
>So,
>| >no matter how exquisite the painting, if the pot is mass-produced, it
>will
>| >suck some of the creative energy out of the painting.
>|
>| Only perhaps. We have exquisitely made plates and platters that are sold
>| to potters and others for decorating. These are mass produced. I have
>never
>| seen them diminish any creative energy whatsoever. They are a well made
>| canvas that enhances the decoration.
>| There are some very fine lines of beautifully produced tableware that are
>| mass produced by major manufacturers that have been designed by artists,
>| architects, potters, etc. To my mind some of the lines produced by Swid,
>| Rosenthal, and others blend beautiful mass produced forms with equally
>| beautiful decoration.
>|
>| >When all is said and done if you put your heart
>| >in the work then the customer will reward you. And if that customer
>thinks
>| >your over priced then let them go to the factories. We all know who's
>| >creating the problem here ( The Promoters ) can't live with them can't
>live
>| >without them. That's the real conundrum, after all a potters life is not
>| >really about money its about freedom, peace of mind, communing with the
>| >earth and its center, being one with your self.
>|
>| Well, this is an issue that is ripe for more discussion. But again, lets
>| not assume for one minute that the only true potters are potter's who
>| believe "a potters life is not really about money its about freedom, peace
>| of mind, communing with the earth and its center, being one with your
>| self." You can be all this and more!! But I would venture that money is a
>| prime concern, financial viability, success, etc. etc. And I also have
>felt
>| for a long time that the real issue here is a financial one, not one of
>| handmade vs. assisted technologies.
>|
>| >I guess my argument is still this. Press, cast, jigger whatever just
>don't
>| >masquerade as a potter.
>|
>| I disagree vehemently! I am as much a potter as anyone else on this list.
>| And are many of my colleagues who use assisted technologies. I have just
>| made a choice to expand my view and not be trapped into a myopia that
>reaks
>| of eliteism.
>|
>| >Another potter in Ontario keeps his press in the garage under a tarp.
>His
>| >press guy works at night.
>|
>| This guy needs a smack! He has a problem with self image and self worth,
>| and is too affected by the opinions of others. I would venture that he
>also
>| many not have a good feeling about the work he produces. My press, jigger,
>| casting equipment are out there for every one to see. I'm not ashamed of
>| anything that we do or make. In fact, there is nothing but pride in this
>| shop among my staff, myself, and our many happy customers.
>|
>| There was one post that postuated that "we need to return the issues of
>| integrity of the work to the marketplace". And that the only way to do
>| this was to hand make the work. At the expense of good design? At the
>| expense of poorly crafted work? You can only bring your own sense of
>| integrity to the marketplace. Any less will show through immediatley. The
>| post ended by saying that by restoring integrity to the marketplace will
>| help those who are dependant financially on the same marketplace for
>| survival. Huh? What does one have to do with the other? The marketplace is
>| only as "integrity bound" as what you bring to it. You can't worry or
>loose
>| sleep over what anyone else's standards are. Does poor work effect
>everyone
>| elses at a show? Sure does, but it also makes your work look even better
>| and even perhaps more sellable.
>|
>| Finally, I think that one of the essence of this "arguement" so to speak
>is
>| that we view process as the only viable involvement in potterymaking.
>| Process is important, but not at the expense of the other areas of
>| involvement in making pots. Process is part of the big picture, not at the
>| exclusion of everything else.
>|
>| I'm determined not to get sucked into this arguement again. I will agree
>to
>| disagree, and there is no need to put forward my views again. They are out
>| there, along with my work, for all to see. I don't hide anything.
>|
>| Respectfully,
>|
>| Jonathan
>|
>|
>|
>| Jonathan Kaplan
>| Ceramic Design Group LTd/Production Services
>| PO Box 775112
>| Steamboat Springs, CO 80477
>| (970) 879-9139 voice and fax
>| http://www.sni.net/ceramicdesign
>|
>| UPS: 1280 13th St. Unit13
>| Steamboat Springs, CO 80487
>|
>|
>
>______________________________________________________________________________
>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.


Diane Mead

Diane Mead on tue 23 may 00

Dear Mel:
You mentioned to clear the subject headings
or no posting.

Still the protocol?

And I have a query for the esteemed panel:
Please let us know the preferred/infinitely stable
way everyone says to adhere tiles to
(yuck) cinder/concrete block walls.

Thanks for the info.

Diane Mead

Aiko Ichimura on thu 8 jun 00

Hi,

> There should be LOTS in Tokyo. Every town should have one. Hanko are
> required for "signing" documents. When my friend moved to Japan, she was
> required to have one that said Anne Randerson in Japanese. Looked great!
>
> Russel

It is a strange thing that a hanko is more important than your signature in
Japan.
Or a signature without a stamp of hanko does not mean much.

The divorce paper would not be complete without stamp of hanko on it.
So people who are contemplating a divorce would have a divorce paper readily
filled out except the final stamp of hanko.

Now there are so many foreigners in Japan, they may recognize signature
without
hanko officially. Not sure.

Japanese potter use hanko-like stamp on their pots and bowls called "In"
before they are dried.
For example, a Raku teabowl made by a potter of Raku family has an embossed
character
"raku" in a circle in the center of near kodai(foot)(outside of kodai).

Other potters would put their " in" mark on the left side in general.
This ,because their respect to the Raku family.


Aiko Ichimura
NW DC 20036 USA
aikop@erols.com
202-293-3039

David Clark on sat 1 jul 00

Sometime back I had a chance to visit a rather successful pueblo potter,
Nancy Youngblood Lugo on the Santa Clara reservation. It was very exciting
to watch her pit fire some small seed pots. She mentioned, actually she was
very free with her methods and ingredients. One of them caught my attention.
She, or her husband sifts volcanic ash to add to the clay as temper adding
in reducing thermal shock. Anyone out there know where I might find some,
without pirating indian/artists' sites - very bad karma. Any commercial
sources, and I don't live near Mt. Saint Helens - thanks.
________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com

The Clay Studio on mon 3 jul 00

It is shaping up to be a great summer!

This month's exhibition: June 30 - July 22, 2000


Eva Kwong: New Vases
Made At The Clay Studio: Group Exhibition
Featured Shop Artist: Mimi Logothetis


First Friday Reception: July 7, 2000 5-9 pm
Gallery Talk : Sat. July 8, 2000 1pm

Eva Kwong, Juried Solo Artist, presents a series of vases assembled
from wheel thrown parts. True to her interest in the intersection
between pottery and sculpture, Eva's vases juxtapose enclosed forms
with the open form of a vase. Discuss her work with her and enjoy
refreshments at the Gallery Talk on Sat. July 8.
*NOTE* Eva Kwong Workshop July 22&23!

The Clay Studio's Visiting Artists showcase what they Made At The
Clay Studio during their varied residencies this year. Carlomangno
Martinez, Mexico; Sadashi Inuzuka, Japan/US; Luo Xiaoping, China;
Bonnie Kemske, Great Britain; Laszlo Fekete, Hungary; and Antje
Scharfe, Germany.

What's Happening:
There are a variety of classes and workshops being offered this
summer, reply with your snail mail address to get a brochure.
"A weekend with Eva Kwong" July 22&23; "Pinch Pot Weekend" July
22&23; "Pit Firing Weekend" August 12&13; "Throwing: Discovering Your
Style" August 21-25; "Handbuilding: A Personal Approach" August
21-25; "Majolica Weekend" August 26&27; "Kiln Firing Weekend" August
26&27.
The RNC is coming! The RNC is coming! Don't miss the special
celebration welcoming the Republican National Convention to
Philadelphia. "Fox Extra Friday" July 28, 5-9 pm will focus national
attention on Old City and will feature craft demonstrations, street
performances, live music and more! Many of these exciting events will
be held in the parking lot located next to The Clay Studio!
The annual Student Show is coming up, if you have taken a class since
Sept. 1999 at The Clay Studio, you are invited to submit one piece to
the show! Please bring your work to the first floor of the Studio on
Friday July 14 or Saturday July 15, 12-6 pm.


As always, please feel free to write or call with any questions or
comments! Watch for changes to our web site at:
www.theclaystudio.org

Enjoy the summer!

Mikal
mikal@theclaystudio.org
215-925-3453 x 17

Roseanne on fri 7 jul 00

To John Weber Re: kiln chimney materials.

Don't know if this would work but what about the clay chimney liners =
used in brick chimneys?

MICHAEL D. RESNIK on mon 17 jul 00

Janet Resnik is seeking a studio assistant. She has been in business for
25 years on a farm outside of Chapel Hill, N.C. Janet makes a large volume
of functional stoneware featuring impressionistic landscapes. The position
involves helping with all aspects of production exception throwing. Some
of the jobs are: making items on a slab roller, unloading clay, loading
and unloading kilns, and helping with gallery sales occasionally. The job
is about 30 hours weekly (Tuesday through Friday preferred). Salary
depends on skill level. Reply to Resnik@email.unc.edu.

cmm on tue 1 aug 00

=20
=20
=20

POTTING IN PARADISE
You are invited to discover central Mexico with a potter=B4s =
perspective. As the guest of a potter and her family you will enjoy:

a.. working in her studio and learning pottery techniques=20
b.. visiting old world villages where pottery continues to be =
produced as it has been produced for centuries=20
c.. visiting archeological sites with ancient pyramids=20
d.. relaxing in the pool and admiring the towering palm trees.
We will great you at Mexico city=B4s International Airport and drive =
you to our home in Cuernavaca. Known as the city of eternal spring, =
Cuernavaca is a tourist destination located an hour south of Mexico =
city.

Comfortable accomodations include three meals a day, snacks, internet, =
cable t.v. including U.S. chanels and swimming pool.

For more informations on 1, 2 or 3 weeks stay please e-mail me at: =
gina@chauvet.com

Or call me at 011 527 316-0320=20

Visit my web page at: http://chauvet.com/gina

I would really appreciate your=20

Jim &Lisa Blake on wed 9 aug 00

Am wondering if anyone out there has a nice black glaze fora cone 8 firing?

isak on wed 9 aug 00

Dear List,
Can anyone help me with recipes for crystal glazes for Orton Cone 2 as =
well as Cone 5?
TIA
---------------

Try this ones, perhaps you can adjust them,
C/07
Red Lead 80%
BariumCarb 5%
------
C/07
Red Lead 80%
Caolin 14%
------
C/011
Borax 57%
Flint 28.6%
RIO 14.4
------
C/5
Feldspar 50%
BariumCarb 20%
Caolin 10%
Frit#3191 10%
Cobaltoxide 6%
Manganese ox 4
------
C/5
Frit # Ferro 3304 80.5%
Black iron ox 15%
Caolin 4.5%
----------------------------
Good Luck!

All the best

Isak Isaksson
Velamsund
132 36 Saltsjoe-Boo=20
(Sweden)
Phone (+46 8 ) 747 97 21
www.swedcrafts.nu
isak@swedcrafts.nu

----- Ursprungligt meddelande -----=20
Fr=E5n: Cobus Potgieter
Till:
Skickat: den 8 augusti 2000 17:17
=C4mne: Crystal glaze



_________________________________________________________________________=
_____
Send postings to clayart@lsv.ceramics.org

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

Moderator of the list is Mel Jacobson who may be reached at =
melpots@pclink.com.

_________________________________________________________________________=
_____
Send postings to clayart@lsv.ceramics.org

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

Moderator of the list is Mel Jacobson who may be reached at =
melpots@pclink.com.

mgitlis on thu 31 aug 00

Jeff, there's a great book that lays out projects for kids, it's called =
The Great Clay Adventure by Ellen Kong. I had a wonderful teacher who =
taught me the following: keep the groups small, up to 10, set up =
materials, and tools ahead of time so they aren't running around looking =
for stuff while you're trying to teach, even weigh out 1.5- 2lb pieces =
of clay so they don't take more than they can wedge and work with, =
without it drying out. Do a demo, but let the demo evlove into whatever, =
so for example if we are doing pinch pots start one but then add a head =
and tail to make an animal, you get the idea.=20

The kids can usually watch a demo for 5-10 min and the more you set it =
up that way the more they get used to it. Also using engobes on wet work =
and drawing on it keeps them working on the same piece and gives them =
the colors they like, glazing can be very frustrating for young =
children. After a few classes with demos, I usually let them do what =
ever they want to. That lets me see if they've learned some techniques =
I've tried to teach and are comfortable using them and what kinds of =
things they want to make, so I can come up with demos that will help =
them make what they want to make. =20

You may also want to divide the group up by ages, 5-8, and 8-10.=20
Good luck, Jessica

Cleo on thu 31 aug 00

I am curious if anyone has used the Dave Roberts resist slip and glaze =
recipes. I am having trouble with it. Sometimes it sticks sometimes it =
dries and cracks off the pot before you get a chance to do any design =
work in it. The few times I got it to work perfectly I didn't think I =
did anything differently. The process is so fascinating to me most =
people want their glaze to stay put whereas with this process you want =
it to more or less fall off after firing. Any suggestions from people =
who have had continued success would be appreciated.

Newbie to this forum
Cleo

Jim Larkin on sat 2 sep 00

David's post about his son at the lumberyard brought back memories of the d=
ay my son started preschool. After the first day, when we picked him up, I =
asked how everything had gone. With a long, sad face he said "I need to sta=
y home and help you wuk"(his word for work). He immediately became a presch=
ool dropout. I rarely went to the lumberyard or pottery supply without he a=
nd his sister in the truck with me. They always had their own work table an=
d shelf in the studio, along with their own tools. Erin specialized in big =
busomed ladies and Fletch in snakes. They had a shelf of their own in the s=
ales shop, where some customers would stop by just to see what they had out=
new.

Erin now has a degree in sculpture and Fletch is finishing a degree in cer=
amics. Gift giving occasions often involve tools, sometimes new, sometimes =
hand-me-downs of my carpenter father and grandfather. These are the treasur=
ed ones. I grew up working for my dad. He expected me to anticipate him. If=
he was trimming a door or setting a lock, when it was time for the chisel =
he expected me to have it in hand ready for him. As I use those same tools =
today, I can even smell that "Dad" smell,a mixture of sawdust, Camel cigare=
ttes and the sweat of a hard day's work, and feel a pleasure remembering w=
orking together. I trust that love will be continued as I gradually pass th=
ese tools, and hopefully the joy of using them, on to my own children, who =
already use them better than I.
Jim Larkin
Fox Pass Pottery
Hot Springs, Arkansas
71901
501-623-9906
foxpass@aristotle.net

Jim Larkin on thu 7 sep 00

Like many others, I've had a love/hate relationship with rutile blue glazes=
.
The thickness of application is a crucial factor. But here is another varia=
ble that I haven't figured out. Rutile blues almost never pit/pinhole on ou=
r slab-built pieces, whereas it is all too common on thrown pieces. Anybody=
got a theory on that one? The slab pots are usually heavily textured.

Thanks,
Jim
Jim Larkin
Fox Pass Pottery
Hot Springs, Arkansas
71901
501-623-9906
foxpass@aristotle.net

Dave Finkelnburg on sun 17 sep 00

Cleo,
In July each year Michael McDowell has been hosting workshops at his
farm in Ferndale (near Bellingham, WA). This summer Vince Pitelka taught
two one-week workshops, one on hand-building, and one on "ancient clay."
You might want to check on this, if it's not too far in the future for you.
Michael's place is in a wonderful setting, class size is limited to 10
people so there's plenty of room and lots of opportunity for individual
help, and Michael is a wonderful host!
Dave Finkelnburg

-----Original Message-----
From: Cleo
To: CLAYART@LSV.CERAMICS.ORG
Date: Sunday, September 17, 2000 7:08 PM


I would like to know of any workshops in the Pacific Northwest, B.C. or
Alberta. I have searched the archives and found nothing. Anyone with
information on any out this way I would appreciate it.
Thanks
Cleo

____________________________________________________________________________
__
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.

Cleo on sun 17 sep 00

I would like to know of any workshops in the Pacific Northwest, B.C. or =
Alberta. I have searched the archives and found nothing. Anyone with =
information on any out this way I would appreciate it. =20
Thanks
Cleo

Verna Lucas on mon 18 sep 00

Hi everyone:

I am brand new to this line. Today I received 85 messages. Will there =
be that many everyday?

Thanks

Verna

STACEY LYNN KLOPP on tue 19 sep 00

heres my situation: I just finished working the whole summer pitfiring my
work and now that i am consumed with ideas i have nowhere to fire! i had
been firing my work on the shores of Lake Chateaugay in the uppermost part
of NY state where all you needed was a permit to burn (used mostly for the
campfires). Now that I'm back in Southern New Jersey I cant seem to find a
place to open fire. I wish I could fire close by but if i have to travel i
will do so, does anyone out there have any ideas? I'm pretty sure that most
of the area around me is off limits because of the Pinelands Treaty that
protects our local treasure.I'm also trying to find a good terra sig reciepe
in the past disscusions at clayart but theres no listing under the glaze
section. colored commercial terra sig has been doing some strange things on
my pots. I can use any help offered. thanks to all

Stacey klopp in S. Jersey
(is it me or is this an unusually cool end of summer here in jersey?)
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Cindy Strnad on tue 19 sep 00

Stacey,

Call your forest service office for help. They should be able to give you
suggestions. Usually, it's possible to obtain a permit for a personal fire
area which has been prepared to their specifications. Some ideas if you live
in town: a brick enclosed firing "chamber", a 55 gallon drum set in a
suitably non-flammable area, etc. If nothing else works, you can smoke fire
in a deep bar-b-que charcoal grill or a wood heating stove.

Now around here, where the Jasper fire just ate up 85,000 acres a couple of
weeks ago, you're likely to get a citation for smoking a cigarette in a
grassy area. (No, I'm not joking.) But under normal circumstances, I just
take my stuff out to the pit in the back yard and fire away. Of course, one
***never*** leaves the fire unattended. Ever. But your forest service office
will unquestionably mention that little caveat.

Cindy Strnad
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
USA
earthenv@gwtc.net
www.earthenvesselssd.com

Earl Brunner on tue 19 sep 00

Can you get the same or similar results with sawdust in a 55
gal drum?


STACEY LYNN KLOPP wrote:
>
> heres my situation: I just finished working the whole summer pitfiring my
> work and now that i am consumed with ideas i have nowhere to fire! i had
> been firing my work on the shores of Lake Chateaugay in the uppermost part
> of NY state where all you needed was a permit to burn (used mostly for the
> campfires). Now that I'm back in Southern New Jersey I cant seem to find a
> place to open fire. I wish I could fire close by but if i have to travel i
> will do so, does anyone out there have any ideas? I'm pretty sure that most
> of the area around me is off limits because of the Pinelands Treaty that
> protects our local treasure.I'm also trying to find a good terra sig reciepe
> in the past disscusions at clayart but theres no listing under the glaze
> section. colored commercial terra sig has been doing some strange things on
> my pots. I can use any help offered. thanks to all
>
> Stacey klopp in S. Jersey
> (is it me or is this an unusually cool end of summer here in jersey?)
> _________________________________________________________________________
> Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
>
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Earl Brunner
http://coyote.accessnv.com/bruec
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c guy on fri 29 sep 00

I am trying to find a spraybooth that I can vent for
spraying glazes. Does anyone know of a supplier/source
of sprayboothes?

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vince pitelka on sat 30 sep 00

> I am trying to find a spraybooth that I can vent for
> spraying glazes. Does anyone know of a supplier/source
> of sprayboothes?

C. Guy -
Commercially-made spraybooths which are powerful enough to do any good are
very expensive. It is far better to make your own. You can either build a
permanent booth, or simply have several hinged arms with canvas or plastic
curtains which swing out from the wall to create an open-front booth. That
way the counter or table can be used for other purposes when the spray booth
is not in use. The size of the booth and the size of the opening are
dependent on the size of wares you need to spray. Keep in mind that the
height of the spray booth must include the maximum height of your wares with
some space to spare, plus the height of a banding wheel upon which to place
the wares while spraying. The larger the spraybooth, and the larger the
opening at the front, the more powerful the fan needed to effectively
exhaust the overspray and fumes (if any are present).

The heart of the spray booth is the exhaust fan. Do not use a squirrel-cage
blower, as the small vanes will get clogged with overspray over time, even
if you have a filter. Use a good quality propeller-style fan (like a
box-fan, only better), or use a snail-shell blower with large paddle-style
vanes. You can find them in the Grainger's catalog. Get one with at least
a 1/4 HP motor.

On the face of the exhaust outlet at the back of the spray-booth, mount a
filter, like an ordinary household furnace filter, so that it is easily
replaced. Furnace filters are cheap, and you will want to replace it
frequently to keep the exhaust suction as high as possible. At the back of
the spraybooth in front of the filter mount a vertical baffle - just a big
piece of plywood, spaced out three or four inches from the surface of the
filter, so that the overspray has to go around either edge of the baffle,
rather than landing directly on the filter. That will assure that the
overspray is dry by the time it hits the filter.

This has been discussed before, and you can probably find good information
in the archives.
Good luck -
- 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/

ceramic students on mon 2 oct 00

Hi , my name is Emma and I'm a fourth year ceramic design student. I'm =
preparing a thesis on artists dealing with issues of the urban =
environment, and using their work to promote awareness and raise =
concerns about problems of the urban environment.i.e.. waste disposal, =
construction , land use , pollution .I would be very grateful if anyone =
could help me with information with regards to ceramic artists / ceramic =
works dealing with these issues. Thanking you, Emma

Balaun Pottery on wed 11 oct 00

Gee June, this is a great idea. I've been wanting to have a studio show
for some time, but was afraid I wouldn't have enough variety and
quantity. I may just have to hunt down some additional potters in the
Atlanta area and put on a studio show at my house. I hate the festivals
around here as the people who attend seem mostly interested in the
"country craft" stuff. When I have participated in "pottery only" events

I do great. Any Atlanta area potters/ceramists to whom this sounds
tempting? Feel free to email me offline at
balaunpottery@atl.mediaone.net.

Nancy

When you think of the money you have to spend on these fairs, motel
costs,
food costs, transportation, time, etc. you might be better served
getting a
few potters, weavers, jewelers, wood workers, etc. together and put on
your
own show. Combine mailing lists, and use the money to take out ads, do
mailings, etc. It will take time to build it up, but I think it would be

a
worth while endeavor.>

DEBORAH on mon 16 oct 00

Hi fellow potters,

I am new to clayart, but I have been eavesdropping for several weeks =
now.
I have learned more in these several weeks then I did in 4 years of
college. But that was 30 years ago!! So thank you.

But I desperately need your help. 3 years ago I purchase a SNF283
Paragon kiln. Because I have been working fulltime to save my=20
money to pot full time I only used the kiln several times. Out of=20
ignorance I always thought it was suppose to take 20 hours to
get my glazes to melt at cone 6. After going to a show this summer
I found it should only take approx 6 hours!!. I have called and =
corresponded
with Paragon several time to no avail. Can someone please tell
me how I can resolve this situation? I need a kiln that works.
Quit obviously this kiln never has and never will. They sent me
new elements several weeks ago. It worked once and then back to
the same old thing. I know my wattage and voltage it ok because I have=20
spent hundreds of dollars double checking this.

Does anyone have the same Paragon kiln I have that works to a cone 6?
If they advertise that it can be fired to 2300 degrees shouldn't it? =
And
if it doesn't isn't this false advertising?

I want to thank Cindy Strand for all of her help and support she has=20
given me. But I need more help to resolve this problem. So thank
you in advance.

Sorry this is so long. But I am very frustrated.
Deborah Olson

Les Wright on mon 16 oct 00

I'm having difficulty understanding the relationship between the coeffici=
ent
of expansion of the clay body and that of the glaze. The glaze calculatio=
n
program that I use in determining expansion numbers is Insight and the
expansion numbers of oxides and materials used are those provided by Ron =
Roy.


It is my understanding that Ron uses a dilatometer to measure the expansi=
on of
all the clay bodies that Tucker's sells and I have all these figures. Usi=
ng
Insight, I can calculate the attendant glaze expansion. =

Trough reading C.W.Parmelee and a couple of other sources, supposedly gla=
ze
fit (no crazing, but good compression) should fall within 10% to 20% less=

expansion than the clay body with 15% being optimal. I have lowered my
original clear glaze from c.o.e # 445.51 to 295.76 and yet it is still cr=
azes.
Obviously, I will keep lowering the c.o.e until the crazing disappears, I=

don't know any other way of solving the problem. Does it have anything to=
do
with measured vs calculated and are the c.o.e numbers given for oxides an=
d
materials so inexact that mathematical comparison is useless. And yes, I =
know,
test-test-test! =

I have rambled on far too long, in short, I need a great deal of help.

This is the original and adjusted version of the glazes above. I fire fro=
m
about c/6 to c/7 and use Orton standard cones in oxidation. I use Tucker'=
s
MCS, but I have also tested these glazes on Pottery Supply House 910;
Tuckers's Smooth White, Mid Smooth Spec, 650, Mid Porcelain Five. =


Two Recipes: REV C & CR#4 =

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
G-200 FELDSPAR G200. 32.00 16.00%
WOLLASTONITE........ 28.00 14.00% 29.29 14.65%
F12 (FERRO3134)..... 24.00 12.00% 22.78 11.39%
STRONTIUM CARBONATE. 20.00 10.00% 3.45 1.72%
TALC................ 4.00 2.00% 6.51 3.25%
EPK KAOLIN.......... 48.00 24.00% 55.25 27.62%
SILICA.............. 44.00 22.00% 63.20 31.60%
CADYCAL............. 8.14 4.07%
MAGNESIUM CARBONATE. 11.39 5.70%
=3D=3D=3D=3D=3D=3D=3D=3D =3D=3D=3D=3D=3D=3D=
=3D=3D
200.00 200.00

CaO 0.53* 9.30% 0.57* 10.83%
MnO2 0.00 0.00% 0.00 0.01%
MgO 0.07* 0.90% 0.32* 4.37%
K2O 0.07* 1.94% 0.00* 0.13%
Na2O 0.10* 1.90% 0.06* 1.36%
Fe2O3 0.00 0.22% 0.00 0.25%
TIO2 0.00 0.08% 0.00 0.09%
B2O3 0.14 2.98% 0.21 4.99%
AL2O3 0.41 13.14% 0.34 11.74%
SiO2 3.31 61.97% 3.20 64.88%
P2O5 0.00 0.03% 0.00 0.03%
SrO 0.23* 7.54% 0.04* 1.33%

COST/KG 2.52 1.88
Si:Al 8.02 9.40
SiB:Al 8.35 10.02
EXPAN 445.51 295.76



PS: Here is a glaze that appears to be crazless on all the aforementioned=
clay
bodies and its c.o.e is 426.23.
Go Figure! I test for crazing by submersing my glazed tiles into 20*cent.=

Water after heating them in an oven by 50*cent increments with the starte=
d
point of 100*cent. Please explain why and how this can be so.

RED TEM C/6 CANADORE (STEVE)
TA =3D TEM REV A
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
F12 (FERRO3134)..... 12.00 5.08%
TALC................ 36.00 15.25%
SILICA.............. 52.00 22.03%
CADYCAL............. 34.00 14.41%
F-4 FELDSPAR........ 62.00 26.27%
BELL DARK BALL CLAY. 4.00 1.69%
BENTONITE........... 4.00 1.69%
RED IRON OXIDE...... 32.00 13.56%
=3D=3D=3D=3D=3D=3D=3D=3D
236.00

CaO 0.41* 6.89%
MnO2 0.00 0.03%
MgO 0.41* 4.90%
K2O 0.05* 1.34%
Na2O 0.14* 2.58%
Fe2O3 0.30 14.41%
TIO2 0.00 0.03%
B2O3 0.40 8.35%
AL2O3 0.21 6.37%
SiO2 3.06 55.10%
SrO 0.00* 0.01%

COST/KG 1.60
Si:Al 14.70
SiB:Al 16.63
EXPAN 426.23

Notes: =

THIS RECIPE FROM CANADORE ELIMINATES GERST BOR BY SUB CADY CAL. RED IRON =
IS
FORCED PHANTOM.







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Get your own FREE, personal Netscape WebMail account today at http://home=
=2Enetscape.com/webmail

Carolyn Nygren Curran on tue 24 oct 00

EEEEEEEEEEEEEEEEEEEEEEEEK. At the risk of once again receiving accusations
about being a spelling Nazi, I must say that it is ANALYST, not annalist.
I have kept silent for many, many postings, but I just can't stand it any
more. It's analyst. The camel's back was broken with just one too many
straws.
Sorry, but I had to say it. cnc

Bob Hanlin on wed 25 oct 00

Carolyn must get very, very tired. Let it go, it's not about you.

BobH.
----- Original Message -----
From: "Carolyn Nygren Curran"
To:
Sent: Tuesday, October 24, 2000 7:12 PM


> EEEEEEEEEEEEEEEEEEEEEEEEK. At the risk of once again receiving
accusations
> about being a spelling Nazi, I must say that it is ANALYST, not
annalist.
> I have kept silent for many, many postings, but I just can't stand it
any
> more. It's analyst. The camel's back was broken with just one too many
> straws.
> Sorry, but I had to say it. cnc
>
>
____________________________________________________________________________
__
> 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.
>

Alka Dixit on wed 8 nov 00

Hi all,
My name is Alka Phatak. I am originally from India, and a new member of
clayart.I am a Fine art graduate from Sir. J. J school of Art,Bombay India
and am presently doing my Masters in Ceramics from Washington University in
St. Louis.
You can view my work at,
www.artsci.wustl.edu/~adixit/aadixit%20folder/index.html
Also please send me your comments,
Thanks,
Alka
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Alka Dixit on thu 9 nov 00

Hello, Arnold and Robert,

Thanks for replying back. At present I am basically concentrating on wheel
work. I have been trying to relate other arts to ceramics. To be more
precise I have related it more to Indian classical dance. My recent
sculptures have therefore been very rhythmic and delicate.

I plan to concentrate on experimenting with clay and glazes along with my
art work in the near future. After I graduate from Washu, I plan to set up a
studio in Pune, Maharashtra, India. I will be taking classes for the general
public here in India who dont know much about Ceramics. Also hold
exhibitions and sell work to gift stores.

I did build the kiln,(with the help of my professor). It was a great
experience. I hope to get another chance soon.

Good Luck with your kiln!

Alka





Hi Alka,

Welcome to America. I hope you have a great time here.

I went to Amritsar, Punjab, in 1974 and visited for six weeks.

Arnold Howard

_____________________________________________________________
______________________________________________________________
_____________________________________________

Hello Alka,
I read your post on clayart, checked out your sight. I enjoyed the
sculptural work and the veggie pot was neat. Are you concentrating in a
certain area at the moment? Just curious, where are you headed with your
clay career?
So did you build the wood fired kiln, where you gave the workshop?
I am just finishing one. Hopefully within a month it will be fired.
You will prob. get several responses from the list so I'll keep it sort.
Robert Moore
in southern Indiana

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K Farmer on wed 15 nov 00

I have taken ceramics classes where a little of raku
glazing and firing has been included. I would love to
immerse myself in this process and learn more about
firing, glazes, and even building my own kiln. Has
anyone heard of any one or two week workshops in the
U.S. where one could go to learn more about raku?
Thanking you in advance, Kathy Farmer

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Hank Knaepple on thu 16 nov 00

Help, I am looking for a copy of the book:
"The Potters' Alternative", Harry Davis, Chilton,
Pub.
I need a copy of the section on pug mill construction,
but would prefer to purchase the book outright if
possible.
thanks,
Hank in Kentucky
zatheros7@yahoo.com


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john britt on sun 10 dec 00

Vince,

I, too, have seen many instances of carbon trapping without soda washes.
The point of my example was to show that carbon trapping could be achieved
without iron. Soda washes only isolate the sodium in the test. Rather
than using neph. syenite as a soda source, which contains many other
compounds including trace amounts of iron.

Certainly you can get carbon trapping with shinos. I believe that is why
Nepheline Syenite is the used over Potash Feldspars (Althought that is not
exclusive). As your know, Neph. Sy. contains large amounts of soda.

Thanks

John Britt

Thanks,

John Britt
Penland Clay Coordinator

Cindy Strnad on mon 18 dec 00

Hi, Joan.

Pieces with large, thin, flat bases will tend to warp if fired on wads
whether or not the corresponding shelf is warped. Pieces with compact
bottoms don't warp, as a general rule, even if fired on warped shelves. This
warping is more pronounced as the pieces get closer to vitrification
(glass-hood). One can get away with doing things in low-fire conditions
which wouldn't work nearly as well in a high-fire load.

Cindy Strnad
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
USA
earthenv@gwtc.net
http://www.earthenvesselssd.com

Hank Murrow on mon 18 dec 00

>Reading the thread about kiln shelves leads me to this
>thought. If you put wadding under your bisque ware
>when you glaze fire it, and the pieces sit on wadding
>on a warped (slightly) shelf, will your work come out
>warped or not? I am thinking not, since the wadding
>serves to keep the pieces from sagging to the shape of
>the shelf. Am I wrong?
>
>Joan in cold windy concrete Brooklyn
>


Dear Joan;

I bet the woodfire folk will weigh in on the side of not warping.

regards, Hank

Joan Walton on mon 18 dec 00

Reading the thread about kiln shelves leads me to this
thought. If you put wadding under your bisque ware
when you glaze fire it, and the pieces sit on wadding
on a warped (slightly) shelf, will your work come out
warped or not? I am thinking not, since the wadding
serves to keep the pieces from sagging to the shape of
the shelf. Am I wrong?

Joan in cold windy concrete Brooklyn

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Tim & Deborah Floden on wed 20 dec 00

Thanks for the recipe Tom, and the info on a by line. I am in Estevan, =
Saskatchewan, Canada!! mighty cold and snowy here these days with not =
much to do, but think of glaze recipes!!

Deborah
Estevan, Saskatchewan!

Frederich, Tim on fri 5 jan 01

This message is for whoever was looking for the Turner Porcelain. Call Matt
Morris at Laguna in Ohio. The number is 800-762-4354. He is making the
porcelain for Tom Turner.

Best regards,

Tim

Martin Kunze on fri 5 jan 01

rent a place in a well-equipped studio! accomodation included! it´s a nice
place in austria/europe, old house but comfortably restored. €
150,-/month plus expenses for material.

get some more information: ceramix@gmx.net




about the studio: i have an electric kiln 330 l and two small wood fired
kilns 500 l , elecric wheel and a machine for preparing clay. im not
especially equipped for casting.

i enjoeyd to work with people together during my study which i finished 5
years ago and tried to prolong this . now i have the possibilities and
invite people to share my attitude...

i do a lot of turning - mainly planters in different sizes fired only at
1000 degrees with wood but i also make stoneware (tea-)pots at 1300 in the
wood kiln.

it´s an old farmers house in the country and was rebuilt 100 years ago and
looks more as house of the mainsquare of a small city. it was restaurated
with love in 1998 and has everything wich makes life comfortable. the house
where the studio is in has still enough space to expand the workshop.

if you have some more questions
martin - ceramix@gmx.net


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Earl Brunner on thu 11 jan 01

Hepa filter that fits. They clog fast, because they stop the stuff
before you breath it. Replacement cartridges aren't to bad.

Larry Gustafson wrote:

> When working with many glaze materials, wearing a mask is recommended. In searching my catalogs for masks, I find several types. What type of mask is recommended?
>
> Thanks for your help.
> Jeani Gustafson
> Ulysses, KS
>
> ______________________________________________________________________________
> 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.


--
Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net

Larry Gustafson on thu 11 jan 01

When working with many glaze materials, wearing a mask is recommended. =
In searching my catalogs for masks, I find several types. What type of =
mask is recommended? =20

Thanks for your help.
Jeani Gustafson
Ulysses, KS

CHRISTOPHE GREENMAN on wed 17 jan 01

If you are already on my list the brochures are out and I will be getting =
one to you ASAP.

The Alabama Clay Conference will be held this Spring at Alabama State =
University on the weekend of February 22-25. Featured will be Susan =
Peterson of Carefree, Arizona noted author of The Craft and The Art of =
Clay; Shoji Hamada, and a recent book on Jun Kaneko. Susan Stephenson, =
Professor of Art (retired), from Eastern Michigan University, and Paula =
Winokur, Professor of Art at Beaver College, Pennsylvania will share their =
work and knowledge of claying. Stephen Rolfe Powell of Kentucky will give =
a curators' talk about the show Millenium Glass: An International Survey =
of Contemporary Glass, Clifton Pearson of Stilman College and Charles =
Smith of Mobile will demonstrate and discuss their clay techniques and =
talk about their work. Related exhibitions and other activities are =
planned in relation to the conference. We will have an exhibit of =
conference participants works and there will be the traditional mug =
exchange. Call Georgine Clark 334.242.4076 x250 or Christopher Greenman, =
Assistant Professor of Art, Alabama State University 334.264.6966 for more =
information.=20



Other information:

Coinciding with the conference will be:

Suface design workshop for fiber artists with Toni Tully of Birmingham. =
Friday and Saturday

and a Wood workshop with Alfred Sharp who makes museum quality one of a =
kind furniture. Friday only.

Professional Development and Craft Marketing with Carol Sedestrom Ross, =
Director of Marketing for George Little Management. Sunday only.

Conference Hotel is:


Ramada Inn-- right down the street very close to ASU
924 Madison
Montgomery

$48/room

Or try your luck at:
Embassy Suites Hotels=20
Downtown Montgomery--- close
334.269.5055
800.362.2779

Days Inn
2625 Zelda Road=20
Montgomery
one exit away--close
334.269.9611



Hope to see many of you here in February


Christopher Greenman
Assistant Professor of Art
Alabama State University
Montgomery, AL

cgreenman3@home.com

Vicki Conley on thu 18 jan 01

Hi I am new to the list. i am going to Kauai in June. does anyone know of
any potters there that I might visit? Also when is that big annual raku bash
on the beach on Ohau?

Ronald Church on mon 5 feb 01

Does anyone out there know how air-dry clays are made? I have a vague
memory of having read that air-dry clay is produced by the addition of
bonemeal to ordinary clay. If so, isn't that a potential health
hazard, what with mad cow disease. I suppose I'm over-reacting, but the
brand I've been using (DAS Terracotta) is European. Anyway, I'd be
curious to learn about the composition of the stuff.
Karen Church

stephen mazza on mon 5 feb 01

Hello everyone,
I'm a new subscriber to this wonderful list and I'll
say what I'm sure has been said 1000 times before -
what a great means of information sharing! kudos to
those responsible for this.

I hope someone can help me with , so here we go!

I graduated 2 years ago with a BA in fine arts/art
history and find myself floundering trying to "make an
artist of myself". I've come to the realization that
more schooling might be neccessary. What I need to
know is what colleges offer the best programs for
ceramics in the U.S. (Florida or Georgia) or Canada
(almost anywhere but preferably in Ontario)?

my other concern is that the program I studied in
before was not geared towards ceramics, and pretty
much everything I know about clay was either taught to
me in art classes when I was 10 years old or self
taught. I'm sure that there are holes in my
understanding of the medium. Does this eliminate a
masters or can I supliment that with a few undergrad
credits?

I've learned much already filtering through the
archives, I hope somebody out there will be able to
help me some more. Thanks

Stephen Mazza



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mudlady@ATT.NET on mon 5 feb 01

To Clayart:

I am trying to sell my #1227 Skutt electric. It is only
4 years old and has been fired approx 30Xs to bisque
cone 06. It is in like new condition and has 10 half
shelves which are in mint condition.It has a kiln sitter
and timer. Dimensions are 28" in dia and 271/2" deep 9.9
cu.ft of space. I am asking $800 complete. Please
contact me at mudlady@worldnet.att.net Thanks

mudlady@ATT.NET on mon 5 feb 01

Hi Clayart,
Should I use a cone 7 in the kiln sitter for a cone 6
glaze firing. Please contact Thanks

Joanne L. Van Bezooyen on tue 6 feb 01

where are you?

mudlady@ATT.NET wrote:

> To Clayart:
>
> I am trying to sell my #1227 Skutt electric. It is only
> 4 years old and has been fired approx 30Xs to bisque
> cone 06. It is in like new condition and has 10 half
> shelves which are in mint condition.It has a kiln sitter
> and timer. Dimensions are 28" in dia and 271/2" deep 9.9
> cu.ft of space. I am asking $800 complete. Please
> contact me at mudlady@worldnet.att.net Thanks
>
> ______________________________________________________________________________
> 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.

--
Joanne L. Van Bezooyen
520-749-1685
Art Gecko Designs
http://www.arteriordesigns.com/noname.html
voice & fax: 520 760-1584
11220 East Via Madre
Tucson, Arizona 85749 USA

Laura Freedman on tue 6 feb 01

Hi, I use ^6 for ^6 firing and my witness cones say I am at ^6 with the tip
of 7 just beginning to limp. My studio mates who use a larger kiln than
mine use ^7 for a ^6 firing. Do you use witness cones? I guess testing is
the answer. Good luck. Laura


>Hi Clayart,
>Should I use a cone 7 in the kiln sitter for a cone 6
>glaze firing. Please contact Thanks
>
>______________________________________________________________________________
>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.

Ann Gattuso on thu 8 feb 01

Does anyone know what pottery tissue is and where it can be purchased?
Thanking you in advance,
Ann

ababi on fri 16 feb 01

Dear friends!
Our local modems
are in rible situation, takes hours to get into sites, and very slow to open
the letters. Yet, I read them, these ones that I like, and delete the others.
This is the way it should be. No body's educator! ( Write this don't write that).

The last-week letters were very annoying: Instead of ceramics, they were dealing
each- in the others, faults:( wWite this, don't write that!)
Yet ClayArt is the best list!

I would like to tell some new ClayArter When you ask about a problem
with a glaze, give us the materials. Yes I know where from you took that 04
ash glaze, I might even tested it but instead of searching again, quick view
at the materials can help a lot.
There is a great thing about such a list, the answer to your question comes
from the inside of your computer not from any arrogant teacher in front of a
whole classroom: You like it thank the person dislike press: delete!
Ababi Sharon
(I am building now a new photo album I think you can enter there without any
secret passwords)
ababi@newmail.net
http://members4.clubphoto.com/ababi306910/
http://www.milkywayceramics.com/cgallery/asharon.htm
http://www.israelceramics.org/index.html


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Avis Figueroa on sun 18 feb 01

Hi: Does anybody knows where I can buy metal stands (like the ones for
candle holder, or flower pot holders) that withstands cone 04 firings.
Thank you, Avis
_________________________________________________________________________
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L. P. Skeen on sun 18 feb 01

> Hi: Does anybody knows where I can buy metal stands (like the ones for
> candle holder, or flower pot holders) that withstands cone 04 firings.
> Thank you, Avis

Avis,
Aftosa sells iron stands of the variety you are looking for. Whether they
will withstand firing, I can't say, but they are inexpensive enough that you
should be able to experiment w/ them and find out. Buy one and set it
inside a trashable plate to fire. :)

L

Betty Morgavan on mon 26 feb 01

Mel...

I sent the following post a week or two ago and did not know if it got
posted. I did not see it on clayart, but was not sure if I had just missed
it or it never made it to print. Should I resubmit it???????

Thank you
Betty Morgavan

**************************
I am looking for a glaze formula called Kahana Brown. A work-study
student, here at Central Michigan University, made the glaze several years
ago. Unfortunately the student took the formula with him when he left. We
would like to make the glaze again but do not have the formula to do so.
It is a hi-fire (cone 9-10) waxy matte glaze.

Thanks

Betty Morgavan
betty.m.morgavan@cmich.edu
************************

Miriam Steele on wed 7 mar 01

In re: cone melting & having everything totally over
fired.... Just had this problem...with a Duncan
Kiln.... & quizzed kiln mfgr. Jen-Kens in Lakeland
Fla. about this while purchasing a new kiln last wk.
Their best advice was .... do NOT box in the shelves
around the kiln=setter...which I had been doing....use
some half-shelves to give it some room.... I have not
applicated his advice as yet...but there you are...for
what it's worth.... Have been firing for 30 some
years...learn something new every day.!!!
In response to the person who says one can not make a
living with clay.... I am one that does... Having
retired from out-door Juried Art shows 4 yrs. ago
.....have more business than I can handle...with my
line of hand-built decorative, usefull
stoneware...which I wholesale only to shops in a great
many other states. It takes perserverance &
imagination to obtain the shops...but it can be
done!!!!!!

__________________________________________________
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Mark Duerr on wed 7 mar 01

Folks,

For what it's worth . . .I have subsribed to 6
different lists relative to a research project I'm doing.
One list that shall remain un named has ceased to communicate
at all. I hung on every word they said for over a year. One
day a big disagreement came up and the e-mails were flying. . .

. . .one day it all stopped. . .that was 2 months
ago. I sent an e-mail finally, thinking that my browser
was busted and finally got someone else to send an e-mail
to the list. . .it was like a grid lock . . .there hasn't been
a serious post on that list for 2 months. . .think about it. . .
it was put pretty simply by one of the members:

"it reminds me of the Farside cartoon where all these
dogs are in a computer room, one dog is leaning over to another
dog and the caption reads. . ."this internet is great!. . .they
don't even know we are just a bunch of dogs". . ."

I'm new to the clayart list. I think it's great that
we can dialogue within our clay world. Up until I subscribed
last week, I was resigned to just love clay and firing. My
favorite part about making pots is the spiritual aspect. Things
in my life are centered, tested and tried. I look at each
stage as a blessing. Pots can be made out of a substance that
also grows great hot peppers and tomatoes. That notion brings
joy to my teaching. Being inside the process brings fulfillment
to all of us. Nit picking is a distraction.

Each of my pieces are special for the flaws I enjoy.
Are we much different from our pots? I enjoy all the e-mails from this
list. . .it makes me feel connected to a huge family that I
lost when I had to quit clay 20 years ago. I discovered it again
with no connection to anything from outside myself and I enjoy
that. The list is like stumbling into your own home after a
very long trip... thanks.

regards,

mark duerr

Karen Lookenott on tue 27 mar 01

Subject: Hump Mold
I am attempting to make a hump mold using a glass bowl. I found that you
can not pour the plaster into the bowl directly because you will have to
break the bowl to get the mold out. Can anyone give me an easy way to make
a hump mold of this bowl and what materials I will need?

wallace myers on sun 1 apr 01

Folks:

would some kind, knowledgeable person give me their opinion on whether =
it would be advisable to use the following glaze on food surfaces, cone =
6 ox. no colorant.

30.0 flint
20.0 Custer feldspar
14.0 talc
31.5 gerst borate
5.0 EPK

Thanks
Wallace

John Hesselberth on sun 1 apr 01

Hello Wallace,

There is nothing in this glaze to be particularly concerned about; however
it will not be very stable. That means it may gradually dissolve away after
a few dishwashing cycles or if it sees heavy duty use in contact with things
like orange juice. The alumina level is too low at 0.172. Also a lot of
the answer to your question depends of which lot of gerstley borate you are
using. I used the 9/97 analysis to arrive at the above opinion. Overall
this is a glaze I would not use on any functional work, not because you are
likely to poison anyone, but rather because it is probably not durable.

I'd highly recommend you not develop a new glaze containing gerstley borate
since it is no longer available. Why not try something like Tony Hansen's
5 20s glaze? You can find it on the digitalfire.com web site.

Regards,

John

Web site: http://www.frogpondpottery.com Email: john@frogpondpottery.com

"The life so short, the craft so long to learn." Chaucer's translation of
Hippocrates, 5th cent. B.C.


> would some kind, knowledgeable person give me their opinion on whether it
> would be advisable to use the following glaze on food surfaces, cone 6 ox. no
> colorant.
>
> 30.0 flint
> 20.0 Custer feldspar
> 14.0 talc
> 31.5 gerst borate
> 5.0 EPK
>
> Thanks
> Wallace

john elder on wed 4 apr 01

Erika, I would check out Utah State at Logan with John Neeley. A great
aesthetic and wood firing
John Elder
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tom huber on wed 4 apr 01

Hi all, a friend of mine has this equipment for sale, She is in Massachusets

FOR SALE: Klopfenstein standing kickwheel, wedging board, 110-volt
low-fire test
kiln, 50# clay, glazes, lustres, tools. $200. Call Sara at 978-664-4184, or
e-mail:
jetlagnein@aol.com.

Tom Huber
Ogunquit River Pottery
Wells, Maine

nadia saad on thu 5 apr 01

Hi every body,

 

I was invited to make raku as a show by night, but in a place that doesn´t affort to much smoke.

Has it any possibility to reduce the smoke?

Thank you very much.

---

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

Burton Isenstein on wed 11 apr 01

I am looking for a slip casting recipe for white earthenware. We
already use a red earthenware casting body that we fire to bisque 04
and glaze 06.
I need a body that works in the same temperature range and is
compatable with commercial underglazes and glazes. I use Darvan as
defloc and would like to do the same. Is 50 OM4/50 talc adequate?
Would Darvan percentage be the same for my redart formula as white
earthenware? Please e mail response directly. Thanks a bunch!

aliakbar heidari on wed 18 apr 01

Dear sir
please send for me some information about the formulation of RESINATE LUSTRE ( OXIDATION LUSTRE FOR TILE) and methods of production it.I will want information about oxidation glaze(lustre glaze) that use metallic resinate(metal component-organic resin-...) and don't use reduction kiln.

I am student of chemical eng. in IRAN.

very thanks.



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Kusum A Harchandrai on sun 22 apr 01

Hello!

I am looking for a ceramics apprenticeship in the Los Angeles (Santa
Monica/ Venice) area from June until September 2001.

I'm also interested in any teaching related positions for the summer.
Would anyone have any pointers?

Thanks!
Kusum

k.m.whipple@ATT.NET on sat 28 apr 01

Ilene,
I'm watching your posts about zinc with great interest
and sympathy! because I've had the same problem with
zinc oxide lumps, more than once. So far my only
solution has been to buy fresh supplies, in small
quantities, but that's wasteful and annoying. Grrrr!
Good luck, and thanks for sharing your difficulities,
I'm sure there are a few of us out here lurking and
learning.
Kathy
Moth Wings Pottery
Brooker, FL

ILENE MAHLER on sun 29 apr 01

I am going to try and fire the whole bisque to 012 tomorrow and will let
you all know if it works...Ilene on the way to wesleyan Potter to help
set up the Wedding show and redo the gallery...A great day in
Conn...Ilene

k.m.whipple@ATT.NET wrote:
>
> Ilene,
> I'm watching your posts about zinc with great interest
> and sympathy! because I've had the same problem with
> zinc oxide lumps, more than once. So far my only
> solution has been to buy fresh supplies, in small
> quantities, but that's wasteful and annoying. Grrrr!
> Good luck, and thanks for sharing your difficulities,
> I'm sure there are a few of us out here lurking and
> learning.
> Kathy
> Moth Wings Pottery
> Brooker, FL
>
> _______________________________________________________________________=
_______
> 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@pcl=
ink.com.

Miriam Steele on wed 23 may 01

I also had the problems of two kiln-loads of bloated
wares in the final firings.
Went to my supplier...St. Petersburg Clay here in
Fla.....taking along my bloated wares, & half a sack
of clay.....They instantly gave me another 400# of
clay, as at that time I was quite sure the prob was
with the clay.... & told me to throw away the clay I
had..... I didn't....further testing showed it was the
Duncan kiln that is obviously overheating....for a
Cone 6 firing.... Have relegated it to firing
bisque....as I do not have time to do further testing
on it at the present...

__________________________________________________
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william schran on thu 24 may 01

Miriam - You say the Duncan kiln was over heating. How did you know
that? Were you using witness cones to check? Try using witness cones
in your next firings and check the results.
Bill

Hank Murrow on thu 24 may 01

Miriam wrote;

>I also had the problems of two kiln-loads of bloated
>wares in the final firings.
>Went to my supplier...St. Petersburg Clay here in
>Fla.....taking along my bloated wares, & half a sack
>of clay.....They instantly gave me another 400# of
>clay, as at that time I was quite sure the prob was
>with the clay.... & told me to throw away the clay I
>had..... I didn't....further testing showed it was the
>Duncan kiln that is obviously overheating....for a
>Cone 6 firing.... Have relegated it to firing
>bisque....as I do not have time to do further testing
>on it at the present...


Dear Miriam;

If you slow down your bisque in order to completely burn out the
organics in your clay you will have much fewer problems with bloating.
Sometimes the bisque just goes up and down too fast to complete the burnout
of these organic materials and they later cause bloating in the glaze
firing.

Hope this helps, Hank

Isao & Don on sat 2 jun 01

iMPORTANT WORK AFTER 60?
About 85% of all the work accomplished on this poor sick
planet is housework. Surely, that is of great importance.
Are we speaking of work widely applauded? Work which, by
agreement is considered excellent? Gosh,I guess we are speaking of
ART.....whatever that kettle of fish is.......
IMHO: The human body has been unchanged for over
1,000,000 years. Our basic dietary demands consist of roots and berries,
topped-off with dead or slow-moving creatures. Important work? All work for
survival is of greatest important.
Why do simple potters,(Bricklayers,farmers), continue to
confuse themselves by discussing such idiocy as Art?
Perhaps feelings of lack of status in a society verging
on competitive insanity.
Back to your wheels,slabs and,clay. That should keep you
busy and out of mischief for a lifetime. Nearly every great concept was
percieved,(albeit dimly) by the age of 19yrs....all else is development
through a lifetime.
Don M.

Miriam Steele on sun 3 jun 01

In re: Brushes for arthritic hands...
Go to the nearest "Dollar Store"....Buy a pkg. of hair
rollers....with the pink foam
around them!!!!!!....Bring them home remove the
plastic piece to roll your hair on....& slide them on
your brushes!!!!!!
Dirt cheap!!!!!!
Mirijun@webtv.net

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Louis Katz on mon 4 jun 01

Dear Susan Fox-Hirschmann and Clayart,

There are no "big-deals" at NCECA that read
Clayart. For five years I read Clayart and
responded to questions. I no longer do. I do
not now have the time. I decided to cut back
on my volunteering for NCECA after five
years. I am now trying to concentrate on
making it possible for you to register
online. That is my main focus for NCECA this
year. Last year I suggested that a clayart
member run for an NCECA office. No one did.
I tried to get someone to be the liason
between NCECA and Clayart. No one bit. So be
it.

I would suggest that contacting the NCECA
Exhibitions Director regarding exhibitions,
the publications director regarding
publications, the president regarding
anything, might be more productive than just
voicing your concerns in a crowd hoping
something will change. All of these addresses
can be found at http://nceca.net, a site I
maintain for you in my spare time.

Michel Conroy, who works for you in her spare
time as exhibitions director, wrote the
letter below to another Clayart member.

I am not reading Clayart so please feel free
to write to me at Louis@nceca.net concerning
this matter or to Michel mc15@swt.edu .

Louis Katz

*************

Hi. After discussing several possible
exhibition themes for the 2002
NCECA Invitational Exhibition with me, my
co-curator, Raechelle Smith,
Director of the H&R Block Artspace at the
Kansas City Art Institute,
which will host the exhibition, chose "new
materiality" as the focus of
the show. I intentionally left the call for
submissions open to
interpretation in order to allow for a broad
range of responses.

It is not possible to make an object in clay
without the material being
at issue. It affects our expectations,
perceptions and
interpretations. Our discussion of this
theme began with an
understanding that the seminal change Voulkos
et. al brought to ceramic
art turned on materiality, exploiting clay's
expressive potential and
its plastic, responsive nature. We next
asked if ceramic artists are
now working from a somewhat different
paradigm (excuse the buzz word).
Is there a shift taking place in how artists
see the medium and how we
employ the ceramic process? This is an
on-going discussion and as
curators we are committed to seriously
considering all submissions.

I would like to extend an apology to all
NCECA members for the
submissions deadline snafu in the
Newsletter. When Sandy Early in the
home office realized that the May deadline I
originally set would not
allow artists time to get the Newsletter and
respond to the call for
entries, we moved the date back to June 15.
Sandy was pushing to get
the Newsletter out on time and caught the
change in the Newsletter
calendar, but missed it in the article. I
ask for people's
understanding that NCECA is an organization
run by volunteer artists and
2 overworked staff members. This is not an
excuse, we aspire to a
higher standard of service to the field than
this error evidences.

Please feel free to share this note with
Clayart readers.

-Michel


>
>
>
> Date: Fri, 1 Jun 244001 22:13:14 -0400
>
> From: Susan Fox-Hirschmann
>
>
> Subject: Re: NCECA bulletin/comment and
> question
>
> Mine arrived today....June 1st!
>
> Hope some big deals at NCECA are reading
> all these posts and listening. As a
>
> new memeber, I find their deadlines and
> incomprehensible descriptions of
>
> topis for the 2002 conference more
> philosophy than realism! Hey, how about
>
> something we can understand?
>
> Materiality? is that materialism? is it
> about money? What does it all
>
> mean. As a new member, this organization
> really confuses me.

Wendy Rosen on mon 25 jun 01

Dear Karen and all clayart friends,
Yes there still is a Craft Business Institute. It has just spun off
from The Rosen Group into an independent non-profit organization.
We hope to get some support from universities and foundations
to keep the program alive at several locations throughout the
US and Canada each year. Anyone willing to sponsor a CBI at
your school? (Let's see how many raise their hands here ;}
Wendy

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
http://www.nichemag.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

**********************************************************************
***********

Stephen Grimmer on mon 25 jun 01

Wendy,
We have a Crafts Area Seminar here at SIU-C that brings in lecturers on
professional practices that cross discipline/media lines. We have had a
photographer who specializes in craft work and a gallery owner in the past;
I think the interest would be there. Do you or the CBI travel to schools to
lecture or do workshops?

Best,
Steve

--
Stephen Grimmer
Southern Illinois University at Carbondale


> From: Wendy Rosen
> To: CLAYART@LSV.CERAMICS.ORG
>
> Dear Karen and all clayart friends,
> Yes there still is a Craft Business Institute. It has just spun off
> from The Rosen Group into an independent non-profit organization.
> We hope to get some support from universities and foundations
> to keep the program alive at several locations throughout the
> US and Canada each year. Anyone willing to sponsor a CBI at
> your school? (Let's see how many raise their hands here ;}
> Wendy
>
> Wendy Rosen
> The Rosen Group
>

Elca Branman on sun 1 jul 01

> Of course it matters WHO made the pot. It matters in a different way
from the quality of the pot itself.

All you have to do is take a walk throught the Uffizi gallery in Florence
(oh dear me, heresy!All those yards and yards of saintly paintings!) and
realize that WHO matters a whole lot more than HOW WONDERFUL, in the
world of collecting.

Collectors are different from other people, whether its pots
,matchbooks,or teddy bears that they collect.Its a different standard for
owning: rarity and the possibility of other people's coveting the item
all are as important as aesthetics.

There ARE collecters who simply love pots and they will buy your pot and
my pot , if they love them, more quickly than they will buy a name pot
they might not like as much.

Maybe we should call them something else... ummm.... patrons,lovers
,appreciaters,clayheads ,but they are different from "collectors".

Elca Branman, (real shy about her opinions)
> I also think it is ironic that Lee finds it necessary to mention
> that Hamada
> was a National Living Treasure, implying that the designation makes
> the work more valuable and the price more reasonable.
> This, after arguing all week that pots should be judged only by
> their
> merits.
> I guess WHO made a pot, and their official government status does
> matter.
>
> David Hendley
> Maydelle, Texas
> hendley@tyler.net
> http://www.farmpots.com
>
>
>
>

Elca Branman.. in Sarasota,Florida,USA
elcab1@juno.com

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KateMarlatt@COLLEGECLUB.COM on wed 25 jul 01

My name is Katie Marlatt and I have a question about kiln location. I am
working on restoring a basement and turning it into an art facility.
Space is limited however thus locations for the kiln are limited. We
would like to find a kiln that can be running while people work in the
area around the kiln. Is this possible?

Thanks for your help,

Katie


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The Clay Studio on tue 31 jul 01

>For the first time, The Studio will showcase two of its fine groups
>of artists at once! We are proud to present:
>
>The Clay Studio Student &
>Faculty Exhibitions
>July 27-August 18, 2001
>
>First Friday Opening Reception: August 3, 5-9pm
>
>Both Exhibitions are being held on the First Floor of The Clay Studio
>
>Harrison Gallery: Student Exhibition- The Clay Studio offers classes
>to over 150 students in each of four sessions per year. Some
>students have been with us for years and some are new faces...we
>invite you to see the wonderful work that they have created over the
>last year of sessions.
>
>Arcadia Gallery: Faculty Exhibition- View wonderful work from our
>Administrative Staff, Claymobile Teachers and TCS School Faculty.
>
>
>What's New?
>
>Yvette Cabrera-Vega will be presenting a slide lecture at a
>reception in her honor on August 8, 2001 at 6pm. Please join us in
>welcoming this wonderful artist from Puerto Rico!
>
>Border's Bookstore is hosting a group exhibition by the Associate
>Artists- it's only there until the end of August so don't miss it!
>
>The annual November Exhibition/
>Auction- Le Grand Buffet
>(Collector's Weekend (A Three Day Feast): Nov. 9-11; Benefit Auction
>Gala: Sunday Nov. 11) is shaping up to be another wonderful event!
>Save the dates so you won't miss work by Nancy Carman, Peter Callas,
>Bobby Silverman, Jill Bonovitz, Linda Arbuckle, Joe Bova and many
>more!
>
>**Note** The Clay Studio 1st Floor Gallery is closed on Sundays in
>August and the Second Floor Gallery is closed for the entire month.
>Both galleries are closed from August 18 to September 7, when we
>begin our new season with a solo exhibition by Shapiro Fellowship
>recipient Christyl Boger
>and a group show by our
>Resident Artists.
>--
>The Clay Studio
>139 N. Second St.
>Phila.,Pa 19106
>ph: 215-925-3453
>fax:215-925-7774
>info@theclaystudio.org
http://www.theclaystudio.org
--
The Clay Studio
139 N. Second St.
Phila.,Pa 19106
ph: 215-925-3453
fax:215-925-7774
info@theclaystudio.org
http://www.theclaystudio.org

Trezlie Bayliss on sat 11 aug 01

Hi everyone! This is in response to the posts on
raku. I fire my crackle white to 1850, let it cool
until I hear the cracking and then put the piece in an
old tin bread box filled with shredded newspaper. I
close the lid and then put the top of an oil drum on
top of that and seal the edges with sand keeping the
air out and that black smoke from escaping. 99% of my
pieces are a deep rich black, however I hear a lot of
folks use boot polish or majic marker as well. Hope
this helps.

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Craig Fulladosa on mon 13 aug 01

Any other potters on this list wanting to form a High Desert Potters' Guild?
Somewhere in the Mojave. We could meet and share water for throwing. Drink
cactus coolers from handmade goblets. Eat BBQ lizard and snake on Temmoku
platters. What do ya think?

MisUnruly on wed 15 aug 01

are the numbers in this recipe correct???
looks a little ouf of proportion to me, but I may be missing something...


>
>Antique Green
>
>Kaolin 270
>Flint 160
>Frit 3134 490
>Tin Oxide 80
>Copper Carb. 20
>Red Iron Ox. 20
>
>
>becky schroeder




Julia

>>(((=B0> >>(((=B0> >>(((=B0> >>(((=B0> >>(((=B0> >>(((=
=B0>
----------------------------------------------------------
sometimes on the way to a dream, we get lost, and find a better one.
----------------------------------------------------------
did you ever stop to think... and forget to start again?
----------------------------------------------------------

Seth Barendse on sun 26 aug 01

Art is not something you can be taught to make. Art is what comes from
within. Art is a transfer from an abstract thought or feeling brought to a
definition.
Seth

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keramik on fri 31 aug 01

Hello everybody at Clayart,

just saying hello, I am new to this list and have received the e-mails =
for just about a week now.
phew, what a lot of reading! very confusing initially.=20
I am in England and have been potting full time for about 2 years =
(electric kiln, cone 8), so still got a hell of a lot to learn. All the =
information greatfully received and soaked up, I must admit, as for =
instance tiles, gas kilns etc are outside my sphere,=20
but brilliant discussions on craft fairs.=20
slightly different situation here in England. Not tried the big craft =
fairs yet as there are a lot of money, but the small ones are atrocious, =
little hand knitted teddy bears etc., refuse to submit to "twee =
crappery", small cats or animals, not my thing really.

thanks everyone, I shall continue reading with interest.=20

Angela
Essex
UK

Richard Jeffery on fri 31 aug 01

Hi Angela
don't tell everyone about the twee crappery, or they will all want some...

Richard
Bournemouth UK
www.TheEleventhHour.co.uk


-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of keramik
Sent: 31 August 2001 12:28
To: CLAYART@LSV.CERAMICS.ORG
Subject:


Hello everybody at Clayart,

just saying hello, I am new to this list and have received the e-mails for
just about a week now.
phew, what a lot of reading! very confusing initially.
I am in England and have been potting full time for about 2 years (electric
kiln, cone 8), so still got a hell of a lot to learn. All the information
greatfully received and soaked up, I must admit, as for instance tiles, gas
kilns etc are outside my sphere,
but brilliant discussions on craft fairs.
slightly different situation here in England. Not tried the big craft fairs
yet as there are a lot of money, but the small ones are atrocious, little
hand knitted teddy bears etc., refuse to submit to "twee crappery", small
cats or animals, not my thing really.

thanks everyone, I shall continue reading with interest.

Angela
Essex
UK

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Lori Bernstein on tue 4 sep 01

I was in a local gift store (here in Port Townsend, Washington) and came
across some lovely ceramic light switch plates. I bought one, hoping that
I could figure out how to make them myself.

A dozen tries later, I'm still struggling with making a plate where the
screw holes and "switch opening" line up properly. I'm also puzzling over
how to recess the back so that the plate fits flush against the wall.

Any suggestions would be appreciated. Thanks!

Cindy Strnad on wed 12 sep 01

Hi, Folks.

I signed back on Clayart because I wanted to be with my friends during this
time. The sunrise this morning, the cool dew and the clear air almost belies
the knowledge that it was a very different USA I woke up to this morning
than that the sun greeted yesterday morning. It's hard to imagine depraved
men plotting such cowardly and evil actions on a morning like this one, or
like yesterday's. It should have been a dark, brooding day on which the sun
refused to rise. All creation should be in mourning today, and yet there's a
squirrel chattering and dropping pinecones on my roof, dew on the grass, and
our newest family member is prancing around wagging her tail, wanting to go
for a walk in the woods. Life is very strange.

I pray for all the people left behind, especially for the children. I pray
the men responsible for yesterday's wickedness will be quickly found and
quickly dealt with. Not for revenge. No human revenge could ever pay for
what was done. God can handle that part of it, I think. None of us is
equipped to dispense true justice. No, rather, they, and those who have
willingly provided them with asylum, must be destroyed in order to prevent
the continuance of their "jihad" against innocent people who never wished
them any harm. This falls far short of justice, but it's the best we can
hope to do.

My love and prayers to those of you intimately affected by yesterday's
atrocities.

Cindy Strnad
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
USA
cindy@earthen-vessels-pottery.com
http://www.earthen-vessels-pottery.com

Marty Morgan on thu 13 sep 01

"There's no such thing as peace! We should go in there and take "them'" out
!" This is what I heard from a young woman when I went to buy my daily
loaf of wonderful bread. John and Alexandra, the bakers, are in their
thirties, parents of a one year old boy. John's response to his angry
customer was to say: "We should do nothing". She said he'd feel differently
if someone killed his son. He replied that he still would not want that
person murdered, put away for life, but not executed. The angry woman left
to go spread more anger in the world, and John and I talked for awhile.
Then a man came in I haven't seen for 15 years, a retired psychiatrist who
used to come for sherry and talk therapy with me in my old pottery shop in
Manchester. Phil, the shrink, told the baker I was preaching love and
peace in the old days and here I was still at it. And I hope to stay at
it. The baker thinks universal love is too much to ask for and has
resulted in the failure of Christianity. He says tolerance is a more
realistic goal and he works with that in mind, putting tolerance in all his
bread and cookies.
I still want to go all the way, so I'm putting love in my pots, and in my
thoughts, and sending it to all of you.

I've been a lurker, but no more. I'm currently working on an Empty
Bowls Dinner to be held next week.Many potters, and their students, from
the north of Boston area have donated beautiful bowls; an artist
friend organised a group at the Senior Center to make bowls; and I invited
people to come to my studio for a bowlmaking party last month. About 45
people showed up over the two days, resulting in 75 bowls! - most of them
made by folks who had never worked with clay before. We had a great time
and I look forward to making this an annual event.
So in the midst of all the horrible news, I find myself in my studio
glazing the bowls everyone made, aware of the spirit of love and community
that went into their making.
Peace, everyone, and thanks to Mapikos for the poem.
Marty Morgan
Gloucester, MA

Jimena Alvarado on sat 22 sep 01

hi clayart

my name is jimena alvarado, 21, from costa rica, and i recently bought a
brent wheel, i'm trying to learn how to throw by myself. does anyone have
any good books on throwinng they'd reccommend?

thanks for everything, a new potter starting out

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j e motzkin on fri 5 oct 01

Your art supply store may have the wax I use... Dorland's
wax medium, used as a medium for oil paints. More
expensive though than the butcher's wax everyone else has
recommended, which works well.
You can also spray acrylic, matte or gloss. Do this
outside or in a spray booth.
Judy
www.motzkin.com


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CMG on mon 8 oct 01

I was wondering for anyone living in the Eureka/Arcata Ca. area if there =
were going to be any workshops I could get involved with while I'm there =
in February/March. I know about Inkpeople but there wasn't anything =
posted in their site for any. I would also like to be involved with any =
group pit firings. I'll miss my pit while I'm out there, will need a =
fix. If there is open studio time to rent I would love the use of a =
wheel too, let's just aim high while I'm asking. I plan on buying a =
second home out there and will bring my wheel and etc. when I move. Any =
information would be great.=20
Thanks
Cleo

Max Sheehan on tue 9 oct 01

How about, "Pschotic Potter," it has a decided
rhythmic, poetic ring to it :-)

As for Tony Blair, as an ex-pat Brit, living in the US
of A, I was proudly surprised. (The man is a rampant
Socialist, not your common or garden,
"Commie-Pinko-Liberal. These words are in miniscule
point size so I don't get into trouble for mentioning
politics.) He has gone up enormously in my
estimation.

Max


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Bill Rubar on mon 15 oct 01

Greetings Subscribers



I am the visiting artist at Cornell University and I have found CU to have a Ceramic Studio but not an accredited program for Ceramics. I believe the University is adequate and equipped to serve the academic community while supporting the community of ceramic potters. I think though an accredited program would better prepare the student majoring in Fine Artand Sculpture. Therefore, I am writing for any insight any of you may have to share on how I would submit a proposal for such a program. Can anyone share this information with me? I am hoping to submit this proposal for accrediting a ceramics program to several members of the School for Art and Architecture and the School for Arts and Science at Cornell . So, any information regarding how to submit a proposal on accrediting a Ceramics program is helpful.

Thanks

Bill



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CMG on thu 18 oct 01

I was reading through the archives and came across a post referring to =
Dave Roberts web site. I did a search and came up with nothing. Anyone =
know the whereabouts??

David Willhite on sun 21 oct 01

Hello fellow potters!

Let's Play 20 Questions! (about your glaze)

The glazes will be posted on:
http://www.geocities.com/davidwillhite/index.html
for everyone to have access to for free!

Please answer the following questions about your favorite clay and the glaze
you use on it the most:

1. What is the name of the glaze?

2. What is the recipe for the glaze?

3. Please list any colorants you use, and the amount to add...

4. Who originally formulated this recipe?

5. If you have testing information, (ie. glaze analysis, computer work-up,
etc.) please list:

6. What is the name of the clay you use this glaze on?

7. Has this glaze been tested for fit on this clay?

8. Where can others purchase this clay (or if home-mixed, what is the
recipie)?

9. Price per ton? Date of price?

10. Do you have the suppliers'phone number? Please list:

11. Do you have their web address? Please list:

12. What cone do you bisque to?

13. What cone do you glaze fire to?

14. What type of glaze is it? (ie. oxidation, reduction, raku, etc)

15. Please list any special glazing or firing notes or comments...

16. How do you apply the glaze?

17. Can you layer it?

18. Does it run, blister, bubble, pinhole or craze, etc?

19. What is your name and email address?

20. Has this glaze been Certified Non-toxic, if so, by who?
(This will be posted with the recipe, saving others the trouble!)

Please send copy of certification to:
David Willhite
570 Kingwood Ave.
Coos Bay, OR 97420


Please check the websight in a couple of days at:
http://www.geocities.com/davidwillhite/index.html
Thank you for your valuable contribution!!!


David Willhite

davidwillhite@hotmail.com

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Rachel Katz on thu 8 nov 01

Hi every one my
E Mail changed to rkatz@show.ca thank you Rachel

Susan Fox-Hirschmann on tue 13 nov 01

Just a reminder:

Potters out there, the most generous people on the earth, don't forget to
donate your cups, bowls and other work: 100% of the money raised will be
donated to breast
cancer research.

Please ship your work ASAP to:

Jan Omans
1565 Forest Ave
Winter Park
Florida 32789


(from susan fox hirschmann--a very interested friend)


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Jim Innes on thu 15 nov 01

Try Susie in the Trident Bar on Bourbon Street or if your tastes are of a
wider nature Old Sam in Heritage Hall. Another Potter

Auckland Studio Potters on thu 15 nov 01

I'm a potter from Auckland New Zealand (nice beaches here by the way, and no
arthritis, pinholing or knickers) heading to New Orleans in early April,
probably by train from the West Coast, wanting any useful contacts en route.
Hope to be in New Orleans for a few days about 10th April. My wife has a
conference there on "Identity Formation". Probably no need for nametags at
that one.
Thanks
Peter Lange
Auckland Studio Potters
PO Box 13 195, Onehunga
Ph: (09) 634 3622, Fax: (09) 634 3626

iandol on fri 23 nov 01

Snip form "Taylor's last rant"=20

<'Eutectics' to most ceramic graduate students is a Mexican rap band.>

Anyone out there willing to "Rap for a couple of minutes on Eutectics". =
Could be music to my ears!!

Ivor Lewis. Redhill, South Australia.

Judith I. Marvin on sun 9 dec 01

Snail - Thanks. Re the Albany slip. I'm firing cone 6 oxidation. Would
love to see your recipes. Meanwhile I'm making tiny test trials with my
treasure.

judithimarvin@hotmail.com

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Cindy Griffis on thu 13 dec 01

Cindi anderson wrote:
>>I have some of the beautifully made boxes that japanese pottery
came in, but I don't know what to do with them. They sit in a box,
hidden away in the storage room.<<


Why not use them for risers to display your work? Or stack them with
openings facing forward to use as an organizer on your desk? They
would also probably hold discs and CDs in a beautiful fashion too.
Can you tell I'm a "container and too geek?"




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Judith I. Marvin on fri 21 dec 01

Last summer my husband came home from an estate sale proudly bearing a tiny
little kiln. It is a Cress C-100 E. The previous owner made doll parts. It
has sat on my studio floor ever since serving no more purpose than to hold a
hot plate and pan of wax. I would like to use it for test tiles but don't
know how. There are no holes for peeping or pyrometer and no controls other
than a dial on the side numbered 1 - 100. It has a hinged door on the
front. Do I just crack it open and glimpse? Won't this take away any sort
of "control" over the tests. Any suggestions welcome. Judith Oh
yes, I tried calling Cress but they are closed for the holidays. TY jm

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Martin A. Arkowitz on sun 23 dec 01

this is a message for cindi anderson.

on dec 20 she wrote about putting some clayart pots on a poster and asked us
tto e-mail her offline, but she gave no e-mail address.

cindi-could you e-mail me you personal e-mail address.

tia.

eleanor arkowitz

<

PBORIAN on wed 2 jan 02

HELLO!
I HAVE BEEN LOOKING IN THE ARCHIVES FOR CONE 9-10 OXIDATION GLAZES AND I WAS
WONDERING IF ANYONE OUT THERE HAS ANY MORE RECIPES IN THIS RANGE THAT ARE
NOT ALREADY POSTED. I AM TEMPORARILY WITHOUT A GAS KILN AND NEED HELP!
ALSO, THERE IS A WEB SITE CALLED GLAZE EXCHANGE, BUT I COULD NOT FIGURE OUT
HOW TO ACCESS THE DATABASE WITH ALL THE RECIPES ON IT. SO IF ANYONE COULD
TELL ME HOW TO DO SO I WOULD APPRECIATE IT. THANKS!
PAUL BORIAN

Hank Murrow on wed 2 jan 02

>HELLO!
>I HAVE BEEN LOOKING IN THE ARCHIVES FOR CONE 9-10 OXIDATION GLAZES AND I WAS
>WONDERING IF ANYONE OUT THERE HAS ANY MORE RECIPES IN THIS RANGE THAT ARE
>NOT ALREADY POSTED. I AM TEMPORARILY WITHOUT A GAS KILN AND NEED HELP!
>ALSO, THERE IS A WEB SITE CALLED GLAZE EXCHANGE, BUT I COULD NOT FIGURE OUT
>HOW TO ACCESS THE DATABASE WITH ALL THE RECIPES ON IT. SO IF ANYONE COULD
>TELL ME HOW TO DO SO I WOULD APPRECIATE IT. THANKS!
>PAUL BORIAN


Paul;

There is a substantial difference between glazes fired to C/10 in
an electric kiln (neutral, really), and those fired in a combustion kiln in
oxidation. You might narrow your request to C/10 electric glazes.

Regards, Hank

howard lee on wed 16 jan 02

I am a newcomer to Clay Art, and would welcome any response to the following.....

I am an art teacher working at secondary level in a school  in Camden, London.

I teach Art at Key stage 3, 4, (G.C.S.E),and 5 (AS & A2), and try to do as much clay work as possible having previously trained as a potter.

Does anyone have any good schemes of work for working with kids and clay (or Art generally?).

 Also if anyone has any resouces to spare , images, postcards of their work, to inspire they would be most welcome.

Thanks

Howard Lee

Art Dept

Parliament Hill School

Highgate Road

London

NW5 1RL

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Richard Jeffery on wed 16 jan 02

Hi Howard

take a look in the Clayart archives - you should find a lot of suggestions
over the past few years.

I guess you'll get some more coming through here any time now...

not sure what level of assessed risk your school is happy with, but I've
been talking to a local school (Dorset, UK) about the potential synergy
across the curriculum in building a simple raku kiln and firing that. it
has an immediacy and sense of theatre that I would think kids would go for.
Lots of Key Skills materials too....

by the way, it might help to translate the Key Stage thingies into ages -
most of the contributors are in the States. we keep having to remind them
to translate stuff for us, so I guess we should do the same for them.

cheers

Richard

Richard Jeffery

Web Design and Photography www.theeleventhweb.co.uk
Bournemouth UK

-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of howard lee
Sent: 16 January 2002 17:38
To: CLAYART@LSV.CERAMICS.ORG
Subject:




I am a newcomer to Clay Art, and would welcome any response to the
following.....

I am an art teacher working at secondary level in a school in Camden,
London.

I teach Art at Key stage 3, 4, (G.C.S.E),and 5 (AS & A2), and try to do as
much clay work as possible having previously trained as a potter.

Does anyone have any good schemes of work for working with kids and clay (or
Art generally?).

Also if anyone has any resouces to spare , images, postcards of their work,
to inspire they would be most welcome.

Thanks

Howard Lee

Art Dept

Parliament Hill School

Highgate Road

London

NW5 1RL



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__ 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.

Brenda Shepard on sun 20 jan 02

Help! I am having a problem with the house clay at my university. I am in the process of making a series of teapots however, there is a problem with the house clay. The clay is stoneware that will break when I use the extruder pressing out the spouts and handles. As soon as I try to shape the extruded spout or handles the clay will crack or seprate in the joints or bends of the clay. The clay isn't too dry or hard. I have used new pug clay and that doesn't help. I have also waited till it matures and I still have the problem. Sense I don't have any input on how the clay is made I am kinda between a rock and hard place at the moment. The professor seems to think the clay is allright but I suspect that he doesn't want to say anything to the pugger becuase he is slighty tempermental about the clay and we don't want to tick him off and he will quit. Not many people want to be a pugger because it's a very hard and dirty job. So I guess my question is what can I do to the clay before I put it into the extruder that will help it from cracking apart? I have 3 teapots to finish putting together. I have decided to start buying Laguna clay in the future. However, how can I finish these teapo

ts in the same clay or maybe I can use another clay? If anybody can help me I would appreciate it greatly!

I don't know the recipe of the clay but, I do know we bisque it at 05 cone and fire the pots in a large updraft gas kiln at a cone 9 or 10. I quit using the clay for Raku because it will get stress cracks before it reaches 1600 degrees. Thanks for any help in Texas.


;)Brenda(:




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Paul Taylor on mon 21 jan 02

Dear Brenda

It sounds like your clay is either too hard or too short.

I am going to presume you know nothing because my problems do not get
solved until I approach them from this point of view . I know that's odd but
you can get the sense of it.

The clay could be too hard going into the extruder relative to its
plasticity . As a student your judgment of the hardness might be off so
don't take that for granted. Try wedging some very soft clay into the lump
and extrude a handle as soft as you can bend the handle and let it harden
enough not to damage the handle but still bend it a little then put it on
the pot. of course when you have your own clay it will be prepared properly
and you will not have any of this. By the way kneeding the clay does help
but make sure its not on a plaster bat as that dries it out which defeats
your objective.

The clay is too short:- This happens when clay has lost its fine
particles or they have gathered to gether when the reclaimed pots dried and
have not wetted down properly and been evenly distributed around the clay -
and sometimes its all just too old and overworked . There sounds like on the
short term there is nothing you can do about this. If you start wedging a
plastic clay into the pugged clay you may change the shrinkage too much and
the handles crack at the join but you could try a little say 25% of a ball
clay. You will have to wet that ball clay down to a slip or at least to the
consistency of whipped cream or you will not get all the particles of the
ball clay wet and it will just be as short as the clay you are using. You
will have to dry it out a bit before wedging and you will have to dry it out
evenly which could take a long time. Or a lot of bother. drying it on
plaster but making sure you keep turning it in on its self to keep it eaven.
then wedging it into your clay again with out spoiling the plasticity.

You do not say how your clay is prepared if you could get some of it
either from the bag if it comes wet or mix up some with water to the collage
recipe if dry again to whipped cream and dry it out you coiled mix a lot of
it then put it in an old pillow case and hang it up to dry out a bit and use
that clay for the handles.

Your collage may be doing all sorts of things with the clay it may be
blunging the clay with reclaim and then filter pressing the clay. This can
be very bad for plasticity if so get some clay before it goes in the filter
press and into the old pillow case to dry.

Is the extruder clean - any clay on the dies will roughen up the surface
of the clay and that encourages the clay to crack.

Is your clay well wedged. if you cut the clay from the pugmill can you
see a marbled spiral. if so wedge the clay and then kneed it again - but not
getting it dryer. none of this is easy.

When you have the dies clean and the clay comes out of the extruder
with out a smooth coat you know your clay is short but if you get a bit of
wet shamie leather or a very fine sponge and just smooth out the surface
before you bend then leave to set that may work.

Is it possible to pull the handles or have you some fancy cross sections
designed you can pull spouts round a stick. but wrapping a slab round a
stick and then giving it a pull come surface finish works as well. If you
have to wrap cling film round so you do not have difficulty getting the
spout off. do not let the spout dry too much or it will grip the stick and
crack

----------------

The real solution is prevention so this does not happen again. I have to
be careful here because there is still some hert feeling around the subject
of collage criticism . But I think your collage by making your life easy
with pugged clay is doing you a dis - service, or is the collage mixing the
clay from dry to it's own recipe and this has to be done by a trained
employee because you will loose all your fingers in the pug mill .
Unfortunately the collage is right and i have a scar down the little finger
of my right hand that proves it . Pugging clay in the factory tired and
arrogant.

But the baby has gone out with the bath water ; you did not post the clay
recipe for us to get a better understanding of your problem because you
either did not think it necessary or you do not know it.

You are going to have to fight a little for your education. Firstly the
tutors hate conflict so you do not have to Assert yourself too much to get a
lot of results from a tutor - persistent politeness will get help for most
problems. Come to think of it why are you asking us. Have your tutors
refused to help? do not know ? or are that unapproachable - better not
answer that question here.

Most tutors are like me , they hate work but want their students to
succeed. This contradiction is one we all live by - so you are going to have
to deal with it. The best way is to acquire an air of curiosity and
enthusiasm. If you tend to hide your enthusiasm under a vale of cynicism -
don't . If you are not enthustic there is something more wrong than I can
help you with.

Tutors love to teach we find the sound of our own voices soothing and and
we love students that hang on our every word . Yet at the same time we want
them independents and not bothering us -- usually both at the same time --
such is humanity.

So here are a few rules for getting on in the place you work in.

Do not take any thing for granted. Check the text books on any thing you
are taught.

When you know something and feel patronized by being told again, grip
your tounge and let the old bugger drone on, because he is a little insecure
and needs your help, so he can supply you eventually with the info you do
need. Regard not being a smart ass as an investment in your knowledge.
Remember that the teacher does not know what you know, but thinks he does
and he will feel moor confident with that illusion intact .

Innocent enthusiasm will go even further in grabbing the attention of your
tutors than a flirt in a skirt but the occasional drink in the pub helps.

And this is the key to the clay. The guy doing the pugging probably
thinks that the tutors are a right shower and are getting paid for nothing
while he does all the work. And to prove it to you he will tell you all
about the clay and the methods he uses to prepare it - Just to show you that
there is nothing to all this teaching lark. If you can help him all the
better. The chances are he will decline the offer so you get the brownie
points with out getting dirty and if he gets to like you he may give you
some of the better clay. So next time you see him a "cheery good morning"
will be a good softer and again remember to look impressed by what ever he
says and do not say any thing negative even if you think he is speaking a
load of drivel .


So get involved with all the processes especially the firings etc even
if there is a technician to do it for you, Because in the kiln there is a
spot where all the best pots get put. The firing is perfect in that spot and
thats where your pots should be, so if you are unpacking and packing kilns
your pots get put in that spot - and why not. The only thing that will blow
that is ! if you put a pot in the kiln with glaze on the bottom, so get some
experience unpacking kilns first so you can see the sort of glazes that drip
and can complain along with the tutors and the technicians about the "bloody
students" this will get you a reputation for diligence care and
reliability, so from then on it will not matter if you have an occasional
accident on the floor of the kiln - the glaze will be blamed not you.

Get To mix up some glazes: beware this is one of the most stressful
thing to do unless you have no imagination. With no imagination the
consequences of getting it wrong will not occur to you and you will not be
so easily distracted by wandering thoughts. If on the other hand you are
imaginative and your internal life is a blaze of thoughts and images, get
very organized and set yourself up so no mistakes can be made.

Always remove your pots to a safe place and put the best ones to
gether in a sort of display . This is like collecting. It will give you a
sense of your work being a whole and you will grow as opposed to being in a
no mans land -- ( no one can mix metaphor like me).

Write back if you want
--
Regards from Paul Taylor

There is no such fury as self interest posing as moral principle.

http://www.anu.ie/westportpottery





> From: Brenda Shepard
> Reply-To: Ceramic Arts Discussion List
> Date: Sun, 20 Jan 2002 14:15:28 -0800
> To: CLAYART@LSV.CERAMICS.ORG
>
> Help! I am having a problem with the house clay at my university. I am in the
> process of making a series of teapots however, there is a problem with the
> house clay. The clay is stoneware that will break when I use the extruder
> pressing out the spouts and handles. As soon as I try to shape the extruded
> spout or handles the clay will crack or seprate in the joints or bends of the
> clay. The clay isn't too dry or hard. I have used new pug clay and that
> doesn't help. I have also waited till it matures and I still have the problem.
> Sense I don't have any input on how the clay is made I am kinda between a rock
> and hard place at the moment. The professor seems to think the clay is
> allright but I suspect that he doesn't want to say anything to the pugger
> becuase he is slighty tempermental about the clay and we don't want to tick
> him off and he will quit. Not many people want to be a pugger because it's a
> very hard and dirty job. So I guess my question is what can I do to the clay
> before I put
> it into the extruder that will help it from cracking apart? I have 3 teapots
> to finish putting together. I have decided to start buying Laguna clay in the
> future. However, how can I finish these teapo
> ts in the same clay or maybe I can use another clay? If anybody can help me I
> would appreciate it greatly!
>
> I don't know the recipe of the clay but, I do know we bisque it at 05 cone and
> fire the pots in a large updraft gas kiln at a cone 9 or 10. I quit using the
> clay for Raku because it will get stress cracks before it reaches 1600
> degrees. Thanks for any help in Texas.
>
>
> ;)Brenda(:
>
>

Miriam Steele on wed 23 jan 02

For those of you with "tennis elbow" or such other
joint problems...may I suggest you check into
"Glucosamine Chondroitin".. a natural herbal
pill...readily available at any drug store...I use
Wal-Mart...best prices...
AND...for the person still looking for clock
parts...may I suggest, once again to him that he check
with his nearest Ceramic Supply House...the ones who
cater to low-fire ceramicists...They ALWAYS have clock
parts there...OR he may email me for the name &
address of the business I use, which deals ONLY in
battery operated clock parts of all descriptions.

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ADAM JARZEMBOWSKI on fri 25 jan 02

If you are just starting out I suggest that you use 2-3 lbs of clay. The
more clay you have makes it harder to center and control. Try to push the
clay as far as you can. This will help you learn the limitation of how much
clay you are using. When you start to feel comfortable throwing with 2-3
lbs you should start adding more clay to your projects.

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howard lee on thu 31 jan 02

Has anyone got any good ideas for successfully joining biscuit fired clay after a few kiln accidents with some kids work!!!

---

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Susan Parrish on thu 31 jan 02

The recipe that I posted a few days ago will usually work. here it is:
1/3 slip from your clay
1/3 vinegar
1/3 cairo syrup
not necessary to exactly measure thes things

AFter you mix it, let it sit a few days and get pasty, good luck. Susan =
Parrish
----- Original Message -----=20
From: howard lee=20
To: CLAYART@LSV.CERAMICS.ORG=20
Sent: Thursday, January 31, 2002 3:02 AM



Has anyone got any good ideas for successfully joining biscuit fired =
clay after a few kiln accidents with some kids work!!!




-------------------------------------------------------------------------=
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=
_________________________________________________________________________=
_____ 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.

Earl Brunner on thu 31 jan 02

Focus on object thickness, anything over 1/2 an inch thick can be a
problem. If you are blowing things up, it is probably a problem at the
lower heating range, you have to get the water out before it turns to
steam. In thicker things that can be hard to do.

At the art center we have computer programmed kilns, I use this schedule
for bisque.
50 degrees an hour to 190 and hold it for 4 hours,
200 degrees an hour to 900 and hold for 15 minutes
500 degrees an hour to 1750 hold for 15 minutes

Even with a kiln that just has switches, with a little experimentation
you could get similar results. Keep the lid partly open at first
start with the bottom switches and work up.

Once you get safely past the "steam" range you can go faster.

With my gas kiln, I have to keep the door partly open at first, Just
the pilot lights will get it to hot to fast.


howard lee wrote:

>
>
>
> Has anyone got any good ideas for successfully joining biscuit fired
> clay after a few kiln accidents with some kids work!!!
>
>
> -----------------------------------------------------------------------
> Join the world=92s largest e-mail service with MSN Hotmail. Click Here
>
> _______________________________________________________________________=
______
> 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.

--
Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net

Mark Potter on thu 14 feb 02

I would add this: Get the canvas from an art supply store, or canvas awning
supplier, What you want is called COTTON DUCK, the heavier the better,
number 12 at least. Some of the ducks have a double weave, some even have a
triple weave. The more weaves the thicker the canvas. There is a number 14
and it is REAL HEAVY. A yard or two for a wedging table should not cost
much. Some of the ducks from awning companies are also supplied coated with
a vinyl or plastic on one side only. This could be your under-side,
eliminating any worries that clay dust will make its way through the canvas.

Mark Potter
mark.potter@visionage.net

John Stromnes on wed 20 feb 02

Clay folks:

I was reading with interest the recent thread on Cone 10 purple glazes that
discussed the virtues/lack of same of Emily's Purple, containing manganese.
I'd like to develp a purple at stoneware tmperatures. I have this recipe
from an old book, Conrad I think. I have never tried it, because I can't
find the last two ingredients at my suppliers. It contains no manganese.
Question: Are the last two ingredients cadmium and selinium commonly
avaliable as oxides? If so, from where? Would this glaze be food safe and
contain enough silica/alumina to be stable and stay on the pot? Has
anybody tried or had success with it? Most important: Is it actually purple
when fired to Cone 8-10?

Glaze Recipe:
Reduction Purple Mat Cone 8-10
Potash spar 37.1
Flint 27.8
Whiting 18.6
Kaolin 9.3
Zinc O2 3
Selenium 2.1
Cadmium 2.1
------------
100%
I am aware that cadmium, at least, is toxic in its raw state.Does that mean
one should use those costly 'inclusion' stains at the same percentage?
John in Polson

Jennifer F Boyer on wed 20 feb 02

Emily purple doesn't have any manganese in it.
Jennifer

John Stromnes wrote:
>
> Clay folks:
>
> I was reading with interest the recent thread on Cone 10 purple glazes that
> discussed the virtues/lack of same of Emily's Purple, containing manganese.
> I'd like to develp a purple at stoneware tmperatures. I have this recipe
> from an old book, Conrad I think. I have never tried it, because I can't
> find the last two ingredients at my suppliers. It contains no manganese.
> Question: Are the last two ingredients cadmium and selinium commonly
> avaliable as oxides? If so, from where? Would this glaze be food safe and
> contain enough silica/alumina to be stable and stay on the pot? Has
> anybody tried or had success with it? Most important: Is it actually purple
> when fired to Cone 8-10?
>
> Glaze Recipe:
> Reduction Purple Mat Cone 8-10
> Potash spar 37.1
> Flint 27.8
> Whiting 18.6
> Kaolin 9.3
> Zinc O2 3
> Selenium 2.1
> Cadmium 2.1
> ------------
> 100%
> I am aware that cadmium, at least, is toxic in its raw state.Does that mean
> one should use those costly 'inclusion' stains at the same percentage?
> John in Polson
>
> ______________________________________________________________________________
> 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.

--
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
Jennifer Boyer mailto:jboyer@adelphia.net
Thistle Hill Pottery
95 Powder Horn Glen Rd
Montpelier, VT 05602 USA
802-223-8926
http://www.thistlehillpottery.com/

Never pass on an email warning without checking out this site
for web hoaxes and junk:
http://urbanlegends.about.com/
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

Morrill on sat 2 mar 02

I seem to sense a fear of status loss on the part of a few =
persons. That,somehow, dirty hands and the supposedly mundane tasks of =
being a potter, will take away from 'producing' Art, rather than =
,art.IMHO, ART, (If there is such an ideation) arises out of the labor, =
itself and into the perception and belief,. of the viewer. In Western =
civilization, I know of nothing considered as ART, divorced from =
day=3Dto-day, living. I have no way of knowing whether objects called =
ART, were traded or sold, except as utilitarian/religious, objects. And, =
religious objects were,(and are) very concrete, meaningful symbols, for =
catching the attention of the Gods: Of Fire,Water and soil.
Certainly, while no potter wishes to eschew the community =
production of claymakers, glazemakers or, machinemakers, as an =
experience of intimacy with the trade, one should have knowledge of the =
tools as a beginning. DonM.

Katheleen Nez on tue 5 mar 02

Hank said: <...and fire several different ways to
find out how it wants to be caressed by the flame...>

Hank, quit takin' like Isak Dienesen - Just Make
Pots...nezbah...by the way, lovely book (American
Shino: The Glaze of A 1000 Faces) my latest favorite acquisition...

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Morrill on fri 22 mar 02

The thrust of marketing may appear to be,to bolster sales.IMHO, The =
real intent is to encourage a low, but constant state of anxiety. This =
inevitably leads to degredation of 'taste', and understanding of =
process. The 'choice' between products is the choice between Tweedledee =
and Tweedledum, and no choice at all.
Perhaps the most one may expect is total revulsion and the =
lest, to sink quietly into a morass of maudlin stickiness.
Don M.

PBORIAN on fri 22 mar 02

Hello,
Does anyone know if there are any standard rules when determining how large
the inside dimensions of a chimney should be? In other words, how wide does
the inside have to be for a 90 cubic foot kiln with two forced air burners
fired with propane, and the burners have 19/64" orifices in them.
And for that matter, can anyone recommend the size of the burner ports
(which would come in the back) and the exit flue? Any feedback would be most
appreciated. Thanks!
Paul

L. P. Skeen on sun 24 mar 02

Follow the directions at the bottom of each and every post..............

L
----- Original Message -----
From: "Cheryl K Hanley"
Sent: Sunday, March 24, 2002 4:14 PM


> Can some tell me how to temporarily get off of Clay art.
> Thank you
> Cheryl
>
>
____________________________________________________________________________
__
> 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.
>

Cheryl K Hanley on sun 24 mar 02

Can some tell me how to temporarily get off of Clay art.
Thank you
Cheryl

Cheryl K Hanley on thu 4 apr 02

NO EMAIL

Ron Hensen on wed 10 apr 02

Somewhere I have heard of a high temp. industrial foil. Do any of you =
know if there is such a thing and if so where I can get it? Thank you =
for any information!

The Clay Studio on thu 2 may 02

The Clay Studio is proud to present:

Exhibition Dates

May 3 - 26, 2002 - Adelaide Paul: 30 Days

May 3 - June 23, 2002 - Looking Back:
Ten Years of the Evelyn Shapiro Foundation Fellowship

Gallery Hours: Tuesday - Sunday 12-6 pm

First Friday Opening Reception
Friday, May 3th from 5-9 pm
Gallery Talks begin at 5:30 pm

Pot Sale
Parking Lot - Great Bargains
Friday, May 3th from 5-9 pm

Adelaide Paul: 30 Days
Resident Artist Solo Exhibition
An installation of 432 Porcelain Urns and Photographs. Urns are for
sale at $100.00 each. Fifty percent of the artist's proceeds will be
donated to the Pennsylvania SPCA.

Looking Back:
Ten Years of the Evelyn Shapiro Foundation Fellowship
Barbara Botting, Kathy Butterly, Christyl Boger, Linda Cordell,
Mitchell Messina, Byung Joo Suh, Hirotsuni Tashima, Kukuli Velarde,
Steve Welch and Matt Wilt

Featured Shop Artist: Alec Karros

---------------------------------------------------------

Of Interest:
- -
There is still time to register for the Baltimore Bus Trip and the
Woodfire Workshop!

Bus Trip to Baltimore Clayworks and Private Collections
Sunday, May 19th, 9am - 7pm
$90 Member, $100 Non-member
Includes brunch, lunch and refreshment

If you have never gone, don't miss this opportunity!

Visit our sister organization in Baltimore! We will be treated to a
tour of the studios of Baltimore Clayworks by Director Debbie Bedwell
and a curator's talk on the special exhibition "Bonsai InSites:
Collaboration Between Tree and Container" by Maryland Institute
College of Art Ceramics Chair, Ron Lang. Among the 16 exhibiting
artists are Paul Dressing (IL), Richard Notkin (MT), Chris Staley
(PA), Yih-Wen Kuo (IL), Ken Vavrek (PA), Paula Winokur (PA) and
Robert Winokur (PA). The exhibition will consist of contemporary
bonsai in unique containers and sculptural settings, alongside the
artists' customary work.

Next we visit three marvelous private collections. Details will be
forthcoming.
- -
There is still room in the Woodfire Workshop May 11, 18, & 22. Please
contact Kathryn Narrow [215-925-3453 x11] if you are interested in
participating.
- -
Please check our website, as many new pages have been added.
http://www.theclaystudio.org
--
The Clay Studio
139 N. Second St.
Phila.,Pa 19106
ph: 215-925-3453
fax:215-925-7774
info@theclaystudio.org
http://www.theclaystudio.org

jodie atherton on wed 15 may 02

hi everyone!

if you haven't been by gem city clayworks to view maire gibbons artwork,
you're missing out! it's incredible~

the following is a description of her upcoming workshop....

Alternative Finishes on Clay:
A workshop by Marie Gibbons
June 1, 2002 ~ Noon to 6pm
Cost is $45 per person
Workshop will be held at Gem City Clayworks
119 Grand Avenue ~ Laramie, WY. 82070 ~ 307.721.6233


Class description:
The workshop will begin with a slide presentation and discussion of Marie
Gibbons' work, inspirations, and cold finish techniques; as well as other
artist examples works finished with alternative means. We will discuss the
benefits, both aesthetic and practical, of using cold finishing techniques
on non-functional clay work.
This one-day workshop will include demonstration and hands on instruction
cold finishing techniques. Finishing mediums will include (but are not
limited to) acrylic paints, wax pigments, color pencils, ink and acrylic
washes, and experimentation with other mediums.

Supply list:
Students should bring to this workshop:
~ 3 to 5 small to medium pieces of textured BISQUED work not intended for
functional use.
~ Rags (for applying and wiping off ink and acrylic washes)
~ A variety of cold finishing mediums will be provided for $5 materials fee
per student.

Hints for successful cold finished pieces:
Texture is a great thing with cold finishes... from carved and incised,
stamped, to rough cracked clay surfaces. Hand-built sculpture, wheel
thrown, tiles, anything goes. The dry brush technique Marie is
demonstrating allows the clay to retain its surface adornments and
imperfections. You might want to bring some pieces that are purely for
practice, finishing off with a piece or two that you would like to complete
using this process.

For more information on Marie Gibbons and her artwork:
www.oooladies.com


if you have any questions, please feel free to email me, or
call gem city clayworks at 721.6233. call to reserve a space for the
workshop. it's on a first come first serve basis.

see you soon!
jodie atherton
whitewater ceramics
please visit my website
www.whitewaterceramics.com

Gary Hess on thu 16 may 02

hello,
i am a ceramic artist looking for studio / work /
teaching opportunities in the field. i have a bfa
from alfred university and a mfa from penn state with
some experience teaching college courses at middlesex
county college, nj, marywood college, pa, and corning
community college in ny. after that i moved to ca and
became a plant manager for heath ceramics inc..
currently i am in vermont managing a ceramics studio,
and i have a personal studio here also. i am looking
for something more profitable financially at this
point, or a better opportunity in my career as a
teacher and artist. i look forward to hearing from
you.
sincerely,
gary hess

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Gail Vandy Bogurt on fri 17 may 02

LOOKING FOR INFO ON RE USE AND RECYCLING:

I'm looking for information on anything related to re use and recycling...
waste oil firing, sawdust firing....burning waste cardboard, paper,or wood
in a kiln fired with another primary fuel. Using ground glass in clays or
tile making..oddball ingredients in glazes like cement etc.

This is my first experience w/ clayart listserv...very helpfuland
interesting responses....overwhelming amount of mail though!


GVB

Tom Buck on mon 27 may 02

Francoise:
Like Bacia, I visited your website
(indalopottery.tripod.com/fenix.html)
and was in despair for you as I read through your trials with this
excuse for a kiln, etc. In No America we take our kiln designers for
granted; and hence we would be appalled by the treatment you have
received in Spain.
From the disastrous firing when you finally reached 1000+ oC
according to the controller, I have to conclude this kiln is barely worth
salvaging, other than use as a bisquing or raku kiln. My immediate
reaction is write it off and start from scratch and build a new oil-fired
kiln.
At this distance my main suggestion is to contact Steve Mills of
Bath Pottery Supplies (or hope he contacts you). I would expect Steve to
be aware of your situation in Spain, and would therefore be in the best
position to provide sensible advice.
til later. Peace. Tom B.

Tom Buck ) -- primary address. "alias"
or secondary address.
tel: 905-389-2339 (westend Lake Ontario, province of Ontario, Canada).
mailing address: 373 East 43rd Street, Hamilton ON L8T 3E1 Canada

Ron Hensen on thu 30 may 02

How do I get rid of chattering when I am trimming and how can I get it =
when I want it?

myersw on mon 17 jun 02

Hi Folks:

I saw a fire engine red cone 6 ox. glaze the other day and the potter =
told me it was a stain but he would not tell me where he got it . Does =
anyone out there know where I can buy it?

Thanks
Wallace

L. P. Skeen on mon 17 jun 02

It's prolly one of those Cerdec encapsulated cadmium stains they came out
with a few years ago. I bought a test package but have yet to use it.

L
----- Original Message -----
From: "myersw"
To:
Sent: Monday, June 17, 2002 3:52 PM


Hi Folks:

I saw a fire engine red cone 6 ox. glaze the other day and the potter told
me it was a stain but he would not tell me where he got it . Does anyone
out there know where I can buy it?

Thanks
Wallace

____________________________________________________________________________
__
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.

barry r. geise on wed 26 jun 02

NO MAIL

David England on thu 11 jul 02

Hi - I'm relatively new to this community, but have enjoyed following
the discussions as well as benefiting from the advise and information
made available. I'm a new "learning" potter, been throwing about 2 years
or so, and am learning the ropes. As I read the posts, I found myself
desiring to make some sort of contribution to this community, partly
because of all the great info and advice I've already gleaned. But my
pottery knowledge and resulting contributions are minimal. However, as
I've read some of the posts, it occurs to me that I do have a skill that
may be of some use to you potters. I do computer graphics for my job,
and can scan and digitally reproduce photos. I could scan photos, and
either email them or return them to the owner on a CD-ROM playable on
any PC computer. I can also produce interactive CD-ROM with images of
your work. Great - but how much will this cost" you say. Knowing how
important cash flow is in a small business (my wife and I run one
ourselves), not many folks may want to tie up money in this. But, what
does any potter have? Pots! So - I would be willing to scan, or create
CD-Roms for any Clayarter, send an invoice with a dollar amount, and
accept payment in pieces of your pottery instead of money (I don't want
your money - just pots). You determine what the service is worth to you,
and pay in pottery accordingly( obviously this is not a money making
venture). You get a service you'd otherwise have to pay for (assuming
you need such service) and I get great examples of you work to learn
from and appreciate. Of course, this may not appeal to anyone or may
strike some as hare-brained, but nothing ventured, nothing gained, as
they say. If you're interested, you can reach me off list at
dengland@eastbayou.org. Well, thanks for your indulgence. Hope to hear
from some of you.

David England

Rikki Gill on thu 25 jul 02

Hi Steve, I am replying to the list, because others may also wonder what is
involved.
The wheels come boxed,and you need to attach the top to the frame, put the
plastic tubing around the wheel drive, motor thingy, place the plastic
housing [2 pc.] around the wheel drive, [ I'm not sure I have the
terminology right] , attach this and that. A more knowledgeable person,
with the perfect tools for the job, might have done it more easily. And
faster. You would certainly get your time down by the second one. But for
someone not skilled in such things, it wasn't too bad. I had help from a
friend who is good at putting things together, but is not a potter. Hope
this helps.
----- Original Message -----
From:
To:
Sent: Thursday, July 25, 2002 5:43 AM


> Hi Riki,
>
> Can you tell me just a little bit more about the setup on the Bailey
wheel. I'm considering setting up a studio with as many as six wheels, but
three hours to set it up seems like a lot. What all did you have to do?
>
> Thanks,
>
> Steve Burtt
> Ocean Springs, Mississippi
>
>

Chris Jones on mon 5 aug 02

Hello,

We have a venco 3.5 inch de-airing pugmill that just doesnt seem to put out clay very fast. I do know it is getting proper power and is only 2 1/2 years old. We bought it used from a local school. When we got it it seemed in great condition aside from the hopper handle being bent severly down. My uneducated assumption is that stiff clay may have been forced into it and that bent the screw. I used a 4 inch model at another pottery and it really pushed out the clay.

Any advice would be greatly appreciated.

Thank you,
Chris Jones

www.jonespottery.net

Earl Brunner on mon 5 aug 02

Can you take it apart? I'm not familiar with the insides of a Venco, but some I know have screens inside. If that is the case, it may require cleaning.

Chris Jones wrote:

> Hello,
>
> We have a venco 3.5 inch de-airing pugmill that just doesnt seem to put out clay very fast. I do know it is getting proper power and is only 2 1/2 years old. We bought it used from a local school. When we got it it seemed in great condition aside from the hopper handle being bent severly down. My uneducated assumption is that stiff clay may have been forced into it and that bent the screw. I used a 4 inch model at another pottery and it really pushed out the clay.
>
> Any advice would be greatly appreciated.
>
> Thank you,
> Chris Jones
>
> www.jonespottery.net
>
> ______________________________________________________________________________
> 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.

--
Earl Brunner
http://coyote.accessnv.com/bruec
mailto:bruec@anv.net

Peter Pugger Mfg on thu 8 aug 02

Hello

We have two Peter Pugger pugger-mixers for sale - a PM-50 and a PM-100.

These are two largest pugger-mixers that do not have the de-airing =
option. Complete with two year factory warranty. The PM-100 has never =
been used but has some cosmetic shipping damage. The PM-50 was used for =
about two months.=20

The PM-50 is $3,500 and the PM-100 is $4,350. Retail is $4,120 on PM-50 =
and $4.980 on the PM-100.=20

Please contact Charlotte or myself for information. This is our first =
posting to the Clay Art list - I hope I have done it correctly - if not =
please excuse the intrusion. I'm sure we will receive advice to fine =
tune this posting.

Best regards,

Andrew Warren
Peter Pugger Manufacturing
andrew@peterpugger.com
707.463.1333 phone/fax

Den on sun 11 aug 02

I wish to participate in the Clayart discussions but am unable to access =
the website. Has it changed, or am I not following the correct =
proceedure.
Thanks for your help.

Denny McLaughlin

gordon jones on sun 11 aug 02

den,gordon from earthbound arts
i was able to get started by going through the www.potters.org site and it
led me in without a problem.


>From: Den
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Date: Sun, 11 Aug 2002 12:49:56 -0500
>
>I wish to participate in the Clayart discussions but am unable to access
>the website. Has it changed, or am I not following the correct proceedure.
>Thanks for your help.
>
>Denny McLaughlin
>
>______________________________________________________________________________
>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.




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barbara arner on mon 12 aug 02

Hello to all -
I am a young potter/artist (25) and I was wondering if there was any specific direction people take with their pottery? Is it best to do commissions, galleries, craft shows, teach, apprentice, have your own studio, go to school, learn on your own? Is there an ideal situation? Any advice would be of value. Thanks so much. As I'm sure you are all more experienced than I.
I must say, the last time I wrote to this group was about a year ago when I was first firing my kiln and asking for help. Since then I have had many successful firings and it was so beneficial to receive your input. Thanks.
-Barbara

Linda R. Hughes on wed 4 sep 02

Hi all,
Sorry about the link not working, it has been on my "favorite" list for =
a while. The site belongs to Frank Gaydos, he has added the frit chart. =
I tried this one and it worked for me: =
http://home.earthlink.net/%7Efgaydos/index.html.=20
Once you access this one you will be able to access the Frit Chart. =
Sorry. Linda
Linda R. Hughes
mamahug@attbi.com

Evan Clifford on wed 18 sep 02

Can a claybody be mixed like a glaze or must a pugmill be used...
Thanks in advance.

-Evan

Tony Ferguson on wed 18 sep 02

Evan,

Yes. You can mix clay to a slippy state and then spread it out on a variety
of surfaces to setup and then wedge. Mix as thick a slip as your hand mixer
will allow. Start wet and add your mix.


Tony

Thank you.

Tony Ferguson
Stoneware, Porcelain, Raku
www.aquariusartgallery.com
218-727-6339
315 N. Lake Ave
Apt 312
Duluth, MN 55806


----- Original Message -----
From: "Evan Clifford"
To:
Sent: Wednesday, September 18, 2002 2:29 PM


> Can a claybody be mixed like a glaze or must a pugmill be used...
> Thanks in advance.
>
> -Evan
>
>
____________________________________________________________________________
__
> 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.
>
>

Andi Bauer on mon 23 sep 02

Since when is the human body pornography??
Andi in San Diego

> Art is
>no excuse for pornography.
>Marilynn






Andi Bauer
619-543-3758

email: mailto:acody@ucsd.edu

William Lucius on fri 27 sep 02

Archaeologists use the term conoidal to describe such vessels (common in the
prehistoric Plains Woodland Tradition of Eastern Colorado). Still a bit
stilted for my tastes, so why not conoids?



William A. Lucius, Board President
Institute for Archaeological Ceramic Research
845 Hartford Drive
Boulder, CO 80305
iacr@msn.com


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Join the world’s largest e-mail service with MSN Hotmail.
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Lily Krakowski on tue 8 oct 02

Artists statements are just that. STATEMENTS.
What matters to me, Vince, is not their why and wherefore, but the whole bit
about LANGUAGE, which already has come up several times in the brief time
(two months?) I have been back on CLAYART.

Plenty of potters are, as I think Janet said, dyslexic. From what I know of
the world, some may be on heavy medications for depression, schizophrenia,
and other problems. Others may have damaged language skills from CP
neurological disorders, and deafness.

What clay offers is a world of silent communication. A world in which
those who, for whatever reason, have less language than most are treated as
equals. I have a niece who is deaf, and I have been a refugee and seen
brilliant brilliant educated people silenced by their inability to
communicate in the local lingo. ( I add here that the beauty of religious
services in Hebrew, or in Latin is/was that no one was really deprived of
understanding the service by being a stranger in a strange land.)

For all I care, any verbaly skilled, language blessed person can write a
whole Megilah about her work. How she was influenced by a little puppy, how
he spent three years in a Buddhist monastery, how she never understood clay
till she got a PhD in geology, how he wants to capture the mystery of
cobwebs....

What matters to me, enormously, is that a potter who has clay as her main
language is barred or handicapped when there is a show or similar where a
statement is asked for. THIS IS WHAT BUGS THE BOOTS OFF ME!!!!!

It does not matter to me, that one can read the statement after seeing the
pots, before seeing it, or when taking a break in the middle of examining a
show. What I am so deeply concerned about is that someone might be deprived
of an opportunity glib, verbal people like me have.

I value, I cherish the silence of clay. I value, I cherish that we talk to
each other and the world in the same language whether we "speak" 2500 year
old Peruvian --was it already Ke'chua?-- or 3000 year old Chinese, or
medieval Portuguese, or modern Japanese or English or Flemish. And I do not
like when assaults --and I see them as such-- are made on that muddy
language by demands for words.

I know there is something oxy-moronic in my request, but I would appreciate
it, and I think we all would benefit, if some of you who know what I am
talking about, some of you silent, shy lurkers, would communicate with
Clayart and tell us YOUR view.

Or, at the risk of seeming arrogant, write me, and I will tally the answers,
not comment, nor discuss,nor reveal, and just pass the count on to Clayart.

And. Speaking of communication. When I returned to Clayart I was enrolled
as Lily. Which makes no never mind. But my name really is as I sign it.
Not a diminutive, just


Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389

Be of good courage....

Tom's E-mail on wed 9 oct 02

Ralph,
When you and others criticize any supplier(s), I believe that supplier has a
right to respond. There have been many suppliers that have responded in kind
to criticism posted on this list. I remember a long response from L & L
kilns about a year ago. Frankly I was so impressed, I looked long and hard
at their company and subsequently purchased a kiln from them. By the way it
is a wonderful kiln and the people hard to beat.
Tom Sawyer
tsawyer@cfl.rr.com

Ralph Williams on wed 9 oct 02

QUOTE FROM: Gayle Bair: So laguna... I know you are out there. You told me
the last time I called you were concerned with people complaing on-line...
First, If some of you dont mind, I'd like to use a few quotes from the
clayart archives to illustrate my point. I apologize for any misquotes and I
do promise that I indeed have a point. BTW, Thanks to all of the fine folks
that archive us. Great job!!
Secondly, I would like to thank Mel for not silencing me. I think that this
venue is great for us to vent and discuss, and he does a fine job making
sure we have an outlet.
Many people think I am a mean ogre out to "get" Howard. I am not, but
Vince is right, I do have respect issues with him.
QUOTE FROM:Axner co.:"While we are sensitive to the non-commercial nature of
clayart, we have some important info to share"
Hey, I find it difficult to respect someone who cant post without some
kind of self advertising attached. If you like it, I suggest a catalog or
maybe a clay mag. There are plenty of good ones. Many will let you know when
a new product comes out. This is the proper venue for this kind of thing.
While you are at it, you might want to check out his catalog. He cant wait
to tell the world how he has copied this and that from other suppliers. I
have other reasons, but none of them are personal. I think he's a nice guy.
I guess I thought you had to be a little more than that to be respected as a
supplier. I think it's OK to be ignorant, but not as a supplier, and never
when safety is an issue.
QUOTE FROM:








_________________________________________________________________
Chat with friends online, try MSN Messenger: http://messenger.msn.com

Ralph Williams on wed 9 oct 02

QUOTE FROM: Gayle Bair: So laguna... I know you are out there. You told me
the last time I called you were concerned with people complaing on-line...
First, If some of you dont mind, I'd like to use a few quotes from the
clayart archives to illustrate my point. I apologize for any misquotes and I
do promise that I indeed have a point. BTW, Thanks to all of the fine folks
that archive us. Great job!!
Secondly, I would like to thank Mel for not silencing me. I think that this
venue is great for us to vent and discuss, and he does a fine job making
sure we have an outlet.
Many people think I am a mean ogre out to "get" Howard. I am not, but
Vince is right, I do have respect issues with him.
QUOTE FROM:Axner co.:"While we are sensitive to the non-commercial nature of
clayart, we have some important info to share"
Hey, I find it difficult to respect someone who cant post without some
kind of self advertising attached. If you like it, I suggest a catalog or
maybe a clay mag. There are plenty of good ones. Many will let you know when
a new product comes out. This is the proper venue for this kind of thing.
While you are at it, you might want to check out his catalog. He cant wait
to tell the world how he has copied this and that from other suppliers. I
have other reasons, but none of them are personal. I think he's a nice guy.
I guess I thought you had to be a little more than that to be respected as a
supplier. I think it's OK to be ignorant, but not as a supplier, and never
when safety is an issue.
QUOTE FROM:








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Join the world’s largest e-mail service with MSN Hotmail.
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Ralph Williams on wed 9 oct 02

Sorry for the two unfinished e-mails, please disregard.
Ralph






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Marni Turkel on sat 12 oct 02

Jennifer F Boyer asked about glaze tongs:

I have a URL for glaze tongs that I copied from Clayart awhile back.
It is http://www.ceraco.com/dippingtong.htm. I haven't tried them.

A few months ago I did have some tongs made for me. The ones now
available at the ceramic supply store just aren't the right shape for
most of what I glaze. So I made some drawings of what I wanted and
took it to a metal worker who has been helpful in the past. I now
have 3 pairs of stainless steel tongs, each with different distances
between the pins and where the angle is. They are not mirror images
from one side to the other so are more versatile in fitting shapes.
He charged me $60 for 3 pairs. I still have to put something on the
handles to make them more comfortable, and one set of them needs to
be bent so the handles are not so far apart when being gripped. There
is a lot of customizing that can be done to make tongs work better
and be more comfortable for you.

Marni

--

Marni Turkel
Stony Point Ceramic Design
2080 Llano Rd 1B
Santa Rosa, CA 95407

Phone: 707-579-5567
Fax: 707-579-1116
http://www.marniturkel.com

Tom and Jean Latka www.ceramicsite.com on mon 4 nov 02

I need help about a problem I am having with wax resist. I =
traditionally use Aftosa's brand and the majority of the time when I run =
the oxide over the dried wax resist, small beads of oxide stick to the =
wax. Other times, the oxide flows flawlessly, leaving no residue on the =
wax. I have studied the variables: drying time and thickness of the wax =
application and cannot find a consistent reason why sometimes the wax =
works and other times it does not. Aftosa was clueless when I asked for =
any help. Do anyone have any ideas about this? =20
Cheers,

When responding please include our names Tom or Jean in SUBJECT LINE




Tom Latka
229 Midway
Pueblo, Co. 81004
719-543-0720
tlatka2002@yahoo.com
http://www.ceramicsite.com

Diane Mead on fri 8 nov 02

I have the KILN BOOK --Olsen
and a ton of information on pit firing from
various sources. Anyone want to
post on any new wonderful
"primitive" fire ideas for us?
Thanks.
Diane Mead

Dupre Mr Marcy M on tue 26 nov 02

====================//snip//====================
Hey people,
How much electricity does it take/cost to run a ball mill 20 hrs? I
thought this was supposed to be free! Mike Gordon
====================//snip//====================

Mike,

Nothing--absolutely NOTHING in this life is "free!" There are things and
experiences that do not cost very much, as well as things and experiences
that are exorbitantly expensive.

"A man who carries a cat by the tail gets a lesson he can learn in no other
fashion." --Mark Twain

The bottles of brilliant blue glass that come pre-formed into someone else's
idea of beauty and function are not the right size, shape, and configuration
for your purposes. Therefore, you are faced with several prospects: 1)
forget about it, 2) put the bottles in a hole in the ocean and wait for them
to erode into a powder your great-grandchildren can use, 3) you invite all
your friends over for a "powder-pounding party," that will cost you several
pizzas and a case of beer, 4) fashion an industrial-strength mortar and
pestle yourself, and lose about 24 pounds while you work the glass into a
fine powder, 5) take the bottles to where a new pavement is being rolled and
slip them under the steam roller, or 6) beat the bottles into small shards,
put the shards into a ball mill, and run the mill for a while.

It is all a question of how much time, energy, and effort you wish to expend
for something purported to be "free."

If ever you have sat on a sun-baked porch in summer and hand-cranked ice
cream, you'll know the value of your labor and how sweet the fruits thereof.

Here endeth the philosophy lesson. Enjoy your bottles. (And please tell me
where I can get some! :o))

Tig

Kat Valenzuela on tue 26 nov 02

You wrote:

From: ranmcc
Subject: Replacing strontium with whiting
Can you successfully replace strontium in a glaze with whiting?
Randy
South Carolina

Randy:

Strontium and Whiting are completely different chemically specking.
Strontium is of course 70.20 SrO (stontium) and 29.80 Co2 (Carbonate) (some
have replaced strontium with Barium)
Whiting however is 56.10 CaO (calcium) and 43.0 LOI. (lost on ignition)

They are not similar at all.
Kat

clive tucker on wed 27 nov 02

Clive Tucker has a new email address so delete the old one out of your =
address book. Clive205@telus.net is the new one.(zoolink was the old =
one).
website is still http://www.clivetuckerpottery.com=20
happy Solstice.
Clive

rakufool on thu 28 nov 02

So Vince, or whoever:
I throw tall, (24 inch) narrow footed, classicly shaped vessels out
of two seperatly thrown pieces. (about 11 lbs. per section) I then
join them with slip, pull up, throw, and finish the rim, then dry
slowly, then raku fire them. I do it this way because my throwing
skills are not as yet such that I can throw these in one swell foop
(hehe).

When I first began this practice , most of them broke at the joint
due to thermal shock and poor craftmanship. As my skill improved,
there was less breakage. When I began adding sodium silicate to the
slip, there was even less. Now it works "most" of the time. Say
75%. Not good enough, and I know of potters who pull this off
regularly.

My question is, would sodium silicate or vinegar be recomended as a
slip addition in an effort achieve the strongest possible joint, or
something else? Or nothing?


I previously asked:
. Either vinegar or Sodium Silicate in slip, for
>> > joining clay, acts as a dufloculant, so that there is "more
clay" in the
>> > slip than if a defloc was not used. Hence stronger joints. Is
that it?
>> > Anybody? But some one suggested to me that Sodium Silicate has
its
>> > own "adhesive" properties in clay slip, and might provide an
even stronger
>> > joint. Is this so?
>>

Vince responded thusly:
>>
Leland -
>> Actually, they work for completely opposite reasons. Sodium
silicate is a
>> deflocculant, while vinegar is a flocculant. Sodium silicate
allows a
>> slurry with far less water, while vinegar makes the particles
attract
>> one-another more aggressively, making a slip with better adhesive
>> properties.
>> - Vince
>>
Thank you kindly, and happy Thanks Giving!
Regards,
______________________________________________________________________
______Leland Hall
Before The Wheel Enterprises
La Pine, Oregon, USA
b4thewheel@bendnet.com __
>>
>_____________________________________________________________________
_________
>

vince pitelka on thu 28 nov 02

> My question is, would sodium silicate or vinegar be recomended as a
> slip addition in an effort achieve the strongest possible joint, or
> something else? Or nothing?

Leland (I am assuming that this is still Leland, but you didn't sign your
post, so it is hard to tell.)

Vinegar, yes, sodium silicate, no. You don't want to add anything that
makes the joint different from the rest of the pot. Assuming that the two
sections are leather hard when you are joining them, and assuming that you
score very well with a Kemper toothed rib, apply a fairly thick slurry of
your claybody mixed with vinegar, work the joint together well, you should
have no problem, and the joints should NEVER come apart. One other thing,
the joining edge of one piece should have a groove, and the joining edge of
the other piece should come to a sharp edge that fits the grove. With all
the surfaces scored and slurried very well, once the pieces are joined well,
you should be able to work over the surfaces with a stiff curved rib and
seal and blend the surfaces very thoroughly.

Every semester I do large coil pots with my intro students. Invariably,
some of their pots crack where they resumed coiling on top of a portion that
had reached leather hard. I tell them to score and slurry thoroughly before
they add the first coil to the leather hard portion, but sometimes they are
a little careless. Mine never crack or separate.

It is the same in this case. As long as both of the sections are soft or
medium leather hard, finished to create a socket fit, and as long as you
score thoroughly and apply plenty of slurry, work the two pieces together,
blend the joints very well, and then cover with plastic overnight to let the
moisture equalize before you let the pot dry, you shouldn't have any
problem.
Best wishes -
- Vince

Vince Pitelka
Appalachian Center for Crafts
Tennessee Technological University
1560 Craft Center Drive, Smithville TN 37166
Home - vpitelka@dtccom.net
615/597-5376
Work - wpitelka@tntech.edu
615/597-6801 ext. 111, fax 615/597-6803
http://iweb.tntech.edu/wpitelka/

ccpottery@BELLSOUTH.NET on mon 2 dec 02

Kim said -

I went backwards with my work. I started making tiny items with fired on decals and went for fast volume dollars. At least that's what I thought. I'm ashamed of and continually apologize to people i know for my recent work. And honestly, the work I've been apologizing for took a great deal of time. (to look at the kind of things I do, if you want to,i'm at www.kimmariefinepottery.com )

Anyway, I think I'm caving in. I couldn't meet a financial commitment this
month and I can't deal with living like this. How do some of you cope when
a main goal couldn't be achieved?

And also, when you purchase a handmade piece of work, what enters into
your perception of the piece that determines if you feel the piece has the
value that the price tag states?

Kim and all ......

First of all, remember that this has been a very tough year in the Crafts Business. Most artists and galleries will tell you it has been hard work just staying even. Maybe there are some gifted folks who have beaten the curve, but most everyone I talk to has had to work like crazy to stay afloat. So, give yourself a pat on the back for hanging in.

Next, we all go nuts and start down paths that seem to make no sense in the short run. You went a little astray ... but not backwards. I am from the creative school that believes there are no wrong moves if you learn from it and move on.

I got into this corner myself ... I was making 'stuff' ... people liked it and it sold but I was not proud of it. I did not realize at the time how mentally and creatively draining this was. When I finally did, I stopped doing it and assessed what I really wanted to be doing.

This is the perfect time of year to be reflecting and setting new goals. Take some time alone if you can ... go to a museum, a good craft gallery, or just a quiet corner of your local library. Cut yourself some slack ... forget about this so called 'main goal' ...you are doing the best you can. Think about what you would love to create if money were no object. What is on your wish list? What work have you made that truly pleased you? If you follow your heart your work will feed you instead of starve you.

As to the price question ...When you are creating objects with pride it shows in the final product. People do not care a bit how long it takes you to make something. If time were a pricing criteria, cross stitching would bring in thousands of dollars. No one cares about your time. They care about how it looks, how if feels and what purchasing it says about them. Hearing the artist apologize for how crappy it is does not add to the sales experience.

Chris Campbell - in North Carolina - in with the legions of artists who have done that and been there ... no t-shirt though.

Allison on mon 9 dec 02

This is a test.
--
Allison M. Ruuska=A0 =A0 =A0 =A0
Web Developer

The American Ceramic Society
735 Ceramic Place
Westerville, OH 43081
Phone: 614-794-5839
Fax: =A0 614-794-5882
http://www.ceramics.org

Dupre Mr Marcy M on wed 11 dec 02

---------------------snip---------------------------
Date: Mon, 9 Dec 2002 22:23:41 -0700
From: Kat Valenzuela
Subject: Thanks and glaze thumb tong thingamajigs

Does anybody has or know where you can get a glazing tool you
place onto the ends of your finger or thumb and it has a hook on
the end of it and you can hold onto plates and such while dipping
into glaze?

Like finger tongs?

Kat in the Hat
kat@digitalfire.com
---------------------snip---------------------------

Kat,

This is going to sound really far-fetched, but try a martial arts shop =
or
mail-order catalog. There is a fighting device called a "Dragon's =
Claw,"
extended steel claws used for really nasty fighting, that may do what =
you
want. =20

Other than that, if you know a welder or have the skills yourself, make =
some
extensions on a pair of pliers or vise-grips.

You can also make a frame for dipping or pouring plates, then touch up =
the
areas where the frame touches. Make the frame from a bent coat hanger,
shaped to fit your plates, then either clean it and keep it, or throw =
it
away when you are done.

Best to you,

Tig

Mr. Marcy M. "Tig" Dupr=E9
Military Simulations Analyst
MAGTF Staff Training Program
Quantico, VA 22134

Comm (703) 784-1255/1228
DSN 278-1255/1228
e-mail: dupremm@mstp.quantico.usmc.mil
SIPR e-mail: dupremm@mstp.quantico.usmc.smil.mil

John Niehaus on fri 20 dec 02

GREETINGS, CLAYFOLK!

I HAVE BEEN AN AMATEUR POTTER FOR ABOUT TEN YEARS. HAVING BEEN DISSATISFIED WITH THE QUALITY/DESIGN OF OF WHEELS CURRENTLY AVAILABLE, I AM IN THE PROCESS OF BUILDING THE PROTOTYPE OF A NEW WHEEL THAT I HAVE DESIGNED. I INTEND TO MARKET THIS PRODUCT AND OTHER STUDIO EQUIPMENT IN THE NEAR FUTURE. I HAVE AN EXTENSIVE ENGINEERING AND MANUFACTURING BACKGROUND, SO I ASSURE YOU THIS WILL BE A TOP NOTCH PRODUCT.

I NEED YOUR HELP TO INSURE THAT THIS WHEEL IS THE BEST POSSIBLE ANSWER TO THE NEEDS OF SERIOUS CLAY ARTISTS. PLEASE LET ME KNOW WHAT YOU LIKE OR DISLIKE ABOUT WHEELS YOU HAVE USED. MOST IMPORTANTLY, WHAT FEATURES WOULD YOU LIKE TO SEE THAT ARE NOT PRESENTLY AVAILABLE? ANY HELP WILL BE MUCH APPRECIATED.

I WISH YOU ALL HAPPY AND SAFE HOLIDAYS! PEACE.

Bar-Shamai on sun 22 dec 02

hello Lisa,

I live in a town next to Tel Aviv which is not near Kibbutz Shoval.
I do pottery using an electric Kiln and some raku.

Thanks for your answer
shalom (that's a hebrew greeting which means peace)
varda

bnsaijim on tue 31 dec 02

Von,

Sorry if this reaches the list twice. My first attempt
seemed to bomb out so I've re-written my reply.

4 Routes of Exposure to Bad Pookey... Inhalation, Dermal,
Ingestion, Injection

>Also, I was reading posts that said that chrome could be
absorbed thru =
the skin.

Generally Chrome compounds are not absorbed by the skin but
depending on structure can cause dermatitis, skin ulcers,
sensitization... opening a path through intact skin for
further entry.

>I am curious about what chemicals can go thru the skin? I
=
called the poison center some years ago and was informed
that chemicals =
do not go thru skin, only sores or wounds in the skin. Were
these people =
uninformed?

Many. I.e., organophosphates and chlorinated hydrocarbons
(pesticides), cyanides, amino and aromatic nitro compounds,
mercury, tetraethyl lead... A good starting point would be
if the chemical has an ACGIH Skin notation...

Poison Control staffing and expertise requiremetns are
determined by the state entity running it. Chemicals DO go
through intact skin. Ask them abobut DMSO- Dimethyl
Sulfoxide.

Here's a pic of what skin "looks" like...

http://www.wfubmc.edu/besthealth/imagepage/8912.htm

Multiple layers. Absorption through intact skin can occur
to a lesser extent through the epidermis, hair fllicles,
sweat glands... More so through the keratin layer the
epidermal layers and then passing through the
epidermal/dermal membrane. From there it's an easy hop
through the vascular membranes into the blood, then on to
target organs... Damage to the skin just makes it easier...

>If stuff goes thru skin, how can I put my hands in bleach?

Bleach is a moderately strong oxidizer. You may note your
hands feel slippery- that is the oil from your skin.
Afterwards your hands are dried out. Repeated exposure may
cause chapping and cracking...

Water does =
not go thru my skin, so how could anything else go thru it?

Otherwise you'd become a human water baloon when you
showered... ;^) The cell membrane is composed of lipids
(fats/oils) and is therefore relatively impermeable to
water. Things that are lipid soluble or can "fool" a cell
membrane into being transported through can make it.

Just =
wondering, I'm perplexed on this one. Also concerned as I
see students =
getting glaze on their hands. Should we all be wearing
surgical gloves? =
Do chemicals go thru gloves? Inquiring minds want to know..

This practice , if not foolish, is irresponsible. Assuming
the glazes are at least non-toxic, they should be educated
to the potential properties of the materials they may
someday work with. Bad habits that will affect them later
on are being formed.

Gloves must be APPROPRIATE. Latex exam gloves are generally
okay for water soluble solutions- but may not be 100%. Also,
latex is a sensitizer and can cause, among other problems,
dermatitis. If a glove gums up, splits, or there are
obvious signs of exposure- change materials.

I can help if there are specific questions... I'm a much
better industrial hygienist than a potter!

Jim Stone, CIH, CSP, MOUSE
TX

Harry Asnien on thu 2 jan 03

HI,
I'm looking for a used relatively cheap Brent Model C wheel. If you
are selling one or know of someone who is looking to sell sell one please
email me at longboarder1234@hotmail.com.
Thanks

_________________________________________________________________
Add photos to your e-mail with MSN 8. Get 2 months FREE*.
http://join.msn.com/?page=features/featuredemail

kanittha@CHULA.COM on mon 6 jan 03

Dear;

Now I'm studying chemical engineering major in polymer at Chulalongkorn University. My thesis studied about silicone for medical application. I have some questions to ask you :

1. What is factor that makes different properties in each RTV silicone type?
( properties such as ; toughness, strength, hardness)
2. From my result, tensile strength increases as a function of curing agent concentration, after that, tensile strength will drop when curing agent is more added. Does it means effect of excess curing agent concentration? Can you give me for suggestion ?

3. How can I determine service-life of my silicone application?

4. How does effect of silicone oil on crosslinking modifier?

I'm looking forword to hearing your suggestion ....
Sincerely yours,
Kanittha

joan woodward on mon 20 jan 03

Hi All,

I'm off to Mexico in a few days, starting with a week in Cuernavaca, then 2 weeks in the Yucatan, and a final several days in the Lake Chulapa area. A friend here told me that there is a Japanese pottery school in or near Cuernavaca, but he didn't know any specifics. Anyone know where that might be? And any other not-to-be-missed places? Thanks.

Almost ready to go, though winter has been wonderfully easy to tolerate this year.

Joan in Grand Junction



---------------------------------
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Denise Johnson on mon 10 feb 03

This may be a silly question but, can a plaster mold be used to cast
plaster? My husband, a builder, says nope, it'll stick. I, on the other
hand, am not so sure. Clay shrinks when cast which helps the removal,
plaster doesn't so I assume I'll need some type of release.





_________________________________________________________________
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Harrington on mon 10 feb 03

Yes! I do it all the time, but the mold has to be chipped off the
plaster casting and gets destroyed in the process. That's why they are
called waste molds. You just need to line the mold with a release agent
before you pour in the plaster. I use something called water-glass, or
sodium silicate which you can buy in a bottle at the ceramic supply
store. Thin it 1:1 with water, and don't get it in your eyes. Also, it
helps a lot if you make your first coat of the mold a different color,
such as blue, with food dye. That way when you are chipping off the mold
you will know where the mold ends and the casting begins. If you
accidentally chip the casting, repair it with wet plaster right away
because it will stick better than if you wait until the casting is
totally dried.

Lisa

Denise Johnson wrote:
>
> This may be a silly question but, can a plaster mold be used to cast
> plaster? My husband, a builder, says nope, it'll stick. I, on the other
> hand, am not so sure. Clay shrinks when cast which helps the removal,
> plaster doesn't so I assume I'll need some type of release.
>
> _________________________________________________________________
> STOP MORE SPAM with the new MSN 8 and get 2 months FREE*
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> ______________________________________________________________________________
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Dai Scott on mon 10 feb 03

Denise - just the other day there was a thread on plaster and mold soap.
Yes, you can cast plaster to plaster, using a "release" such as mold soap.
Check the archives, or ask your local pottery supply house about mold soap.
Dai in Armstrong, BC
----- Original Message -----
From: "Denise Johnson"
To:
Sent: Monday, February 10, 2003 6:36 AM
Subject: [CLAYART]


> This may be a silly question but, can a plaster mold be used to cast
> plaster? My husband, a builder, says nope, it'll stick. I, on the other
> hand, am not so sure. Clay shrinks when cast which helps the removal,
> plaster doesn't so I assume I'll need some type of release.

Rahul Kumar on tue 4 mar 03

I am not getting any mails on CLAYART for the last one month....on
trying to register again it says that i am already listed...!

HELP.......!!!!!!!!!!!!!!!

Eleanor on fri 7 mar 03

Francine and Lisa,

I don't use plastic bats any more as I didn't like the way pots
released--or rather, didn't release from them, but I didn't have
centering trouble. My bats--and I believe I bought them at the same
place in NJ--have a smooth side and a textured side. I threw on the
textured side and it seemed to hold the clay in place very well--too
well.

Plaster bats are much better even though they are breakable. I'm
using Hydrobats now but they are pricey for a classroom situation.

You can use ordinary plaster from the hardware store and cast bats in
pie tins which come in diameters up to 10 inches. The bats are
attached to the wheelhead with plugs of clay or "glued" on with a
little thick slip. Plaster is cheap; I believe the type used in
Hydrobats is also available, called hydrocal (?); it's more expensive.

The students need to be taught not to scrape any of the plaster so
that bits mix with the clay but that can be done. There is never a
problem centering and the pots release more easily.

This is not "cutting edge" stuff; I learned how to pot many many
years ago at the Brooklyn Museum; all the bats were plaster and the
kickwheels didn't even have bat pins.

I hope Ceramic Supply will give you a refund. I've dealt with them
and they seem to be nice.

Eleanor Kohler
(icy) Centerport, NY
--

KimbaandGlenn@NETSCAPE.NET on sat 8 mar 03

how do I post a message to Cone6 discussion area?

Glenn Lefley Canmore, Alberta

kimbaandglenn@netscape.net

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Gail Van de Bogurt on sun 9 mar 03

SPECIAL ONE-DAY VISITING CLAY ARTIST WORKSHOP
AT US VIRGIN ISLANDS ECO CAMPGROUND RESORT "MAHO BAY CAMPS"
NEXT SATURDAY: MARCH 15

Nationally known ceramic artist WOODY HUGHES to present one- day
demonstration/workshop for Maho Bay Camps' Recycled Art Center.
Learn about Woody's handbuilding techniques utilizing wheel
thrown and altered components to create functional forms. His work is fun,
fantastic and imaginative.
He has many years of experience teaching in the NY City area ,
nationally and abroad as well as producing and selling his work to
galleries and at wholesale trade shows.
The Maho Bay Art Center is delighted to offer this special opportunity for
St John artists , craftspeople, students and those just beginning in clay
to meet this exceptional artist.
COST? ONLY $35.00 FOR ENTIRE DAY STUDENT RATE $25.00
WHERE? MAHO BAY CAMPS DINING AREA: NEW ART GALLERY DECK
WHEN? REGISTRATION 9 AM WORKSHOP BEGINS 9:30 AM
SCHEDULE: (1/2 DAY: AM $15.00 or PM $20.00)
8:00-9:30 AM REGISTRATION (BREAKFAST IS SERVED IN RESTAURANT 7:00- 9:30)
9:30 AM LECTURE/DEMO THROWING ON POTTERS WHEEL
12:00-1:30 PM LUNCH, SWIM BREAK (BRING SANDWICH OR BUY IN STORE OR BEACH
SHACK)
1:30 - 5:00 PM ASSEMBLING FORMS
5:30 PM DINNER BREAK (DINNER IS SERVED IN RESTAURANT 5:30 - 7:30 PM)
7:30 -8:15 PM SLIDE SHOW OF WOODY'S WORK (free and open to all. Donations
to St John Artists Association Welcome!)

TO REGISTER PLEASE CONTACT MAHO BAY ACTIVITIES DESK 776-6226 EXT 212
ALL MAJOR CREDIT CARDS ACCEPTED
OR RESERVE BY VERBAL CONFIRMATION AND PAY BY CASH OR CHECK ON DAY OF WORKSHOP
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FOR MORE INFORMATION: GINGER KREOFSKY DIRECTOR MAHO BAY ART CENTER
776-6226 EXT 248
rac@maho.org
GAIL VAN DE BOGURT: MAHO CLAY STUDIO ARTIST IN RESIDENCE 779-4550
innisfree@islands.vi

Diane Mead on thu 20 mar 03

This time someone
put the electric kiln on high
--pretty full of some glaze tests--
thought they put it on lo (yes I WILL
invest in a computer kiln sitter...)
the glazes fired really fast, (again
I did not catch it until it finished since
we were firing multiple kilns....)

Do you guys think these glaze tests were
compromised? They look great---
RSVP off line if you can--I won't get to the
archive til late late Sunday
Thanks
diane in GA--it finally quit rainin

Barbara McCray on sat 29 mar 03

Hi,
I am leaving Key Largo, FL and have 10 - 5 gallon buckets of glaze =
ingredients (all bought within the last 2 years and kept closed) that =
need new home. Will sell all for $75. Anyone interested contact me =
off list. Thanks Barbara

Stuart Fisher on sun 30 mar 03

My wife has a Sno Industries kiln, built around 1980. Does anyone know
where I could get a manual? I tried finding Sno Industries online and
had no luck - are they still around?

Thank you very much.


-Stuart Fisher
s.fisher.1@alumni.nyu.edu

hannah clare on thu 3 apr 03

Hello, am new to ceramics. am first year part time BA(HONS)ceramics. I was
wondering where the best place to look for cheep cheep second hand kilns
would be, if such a place exists! any help or advice that can be passed on
to the new girl will be welcomed, am very enthusiastic!



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rebecca aROA rouas on tue 8 apr 03

I am a Student of Hannah Brehmer, a inquierer of yours, and I was
wondering about moroccan style pottery and the techniques used to paint
the designs, the formulas for their bright colored glazes and any history
or knowledge about moroccan ceramics. I didn't find anything in the
archives and would appreciate any comments. thanks Jojo Rouas

Lily Krakowski on mon 14 apr 03

Dear Mel: I am so devoted to you I tend to agree and applaud even when I
ain't got no clue what you are saying.

As far as I knew "drop shipping" means that a bunch of orders from the same
source are sent to one address only, and that each ultimate purchaser picks
up her own stuff. A millenium ago, in Greenwich Village we did that with
bags of spar etc. And I know some food-coops do that even now.

But what is involved in the "drop shipping" you speak of? Why would that be
conducive to bad merchandise? Does the "drop" mean there is some warranty
between manufacturer and ultimate recipient that is broken?

Help!




Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389

Be of good courage....

Martin A. Arkowitz on mon 14 apr 03

------original messages-------


I also tried Mark Burleson's Ocean Green and it came out yukky. But worse, it
slid off the

vertical surfaces and made a puddle on the kiln shelves, and crawled badly on
horizontal surfaces.

Did you have any similar
problems?-------------------------------------------------


yes, yes, the same happened to me. i got the idea for using this glaze from
someone who used it on a mug that was on the stay at home mug exchange site. i
will now contact him off list and ask him what gives. did he really use this
glaze? and tell him that at least 2 clayarters have this problem. and what did
he do that give him such a good result? what tricks and suggestions does he
have to help with this problem.

eleanor arkowitz

=?iso-8859-1?q?Annapoorna=20Sitaram?= on sun 20 apr 03

HelloWe are setting up a studio and we were wondering if we can make a pugmill (as here in India we have the opportunity of getting it done to our specifications.There are no ready made pugmills available.) Is it possible to download any detail drawing and instructions on how a pugmill works so that I can show it to the person who is going to make it for us.We have learned a lot about the art and science of ceramics from all of you .Thanks a lot.Annapoorna Sitaram.
Catch all the cricket action. Download Yahoo! Score tracker

Brian Haviland on wed 23 apr 03

GOOD DAY ALL !!!!


I am just finishing up a new raku kiln and i am
building new torches for it. I have to buy the orfices for the torches and
they are sold with a btu rate stamped on them. What is the formula for
determining my orfice size. Inside dimentions of the kiln are 24" wide x
24" deep x 30" tall. It is fiber lined and i put a 3" vent hole in the top.
The torches (two) of them will be set at a flat angle accross from each
other to create a vortex effect inside kiln (good heat movement around work
i hope).I am regulating gas psi. at around 5-7 lbs. I have an old brick
raku kiln i bought with burner included but it is half the size of the one
i built and it works great. Reaches 1800 deg.in 15-20 min. without a
problem. I also want to know if reduction in the kiln itself will make
much(if any )difference before i put my pieces in the reduction cans with
saw dust and paper. I figure when i remove work from kiln to go to can that
all the reduction i did in kiln will be gone in those few seconds... Is
that right ?????

Thanks folks,,Brian Haviland ---- In Indiana where I've
already had the mower out twice =>( WHEW !!!!! spring :>)

Hendrix, Taylor J. on tue 29 apr 03

Howdy all,

I have been doing some reading in an area of pottery that I am very
interested in perusing and was hoping that some of you planter potters
could help me out.

Here is what I have read so far:

Ceramics for gardens & landscapes / Karin Hessenberg
The complete potter: Pots for plants and gardens / John Huggins

I am interested in doing some more reading on the subject. I have
really enjoyed Karin's book. Huggins' book has had some very good
technical information, but no information for further study. If anyone
has titles to suggest, I would be grateful. I can make a search for
books, but many are dross. I am interested in seeing what is being
done, who is doing it, and some basics on how--much like Hessenberg's
book.

I am also thinking about terracotta bodies (I think that is the best for
large outdoor planters) for throwing and would love to hear what the
experts have to say on what to look for when finding/formulating such a
body. I don't think Armadillo's low fire is going to do it for me.

Have done my troll through the archives with little help (It did lead me
to Ceramics for gardens...).

BTW, Svend Bayer's stoneware, love it!

Taylor, in Waco

dayton grant on thu 1 may 03

i consider myself a serious thrower and i cant throw clockwise because during my learning period i didnt practice it that way and i wish i could because i notice that some of the muscles have become unevenly specialized in my right and left hands ... i can operate a handsaw with either hand ,i can use a shovel equally on both sides ...these are things that take considerable time and effort so just for the sake of efficiency its just common sense to learn how to do these things with either hand as the lead ...so it probably depends if you will be doing your throwing seriously ..... if not then you dont need to practice both ways, but if youre going to be appying considerable pressure for extended periods of time i think its definitely worthwhile to practice both ways especially at the beginning of your wheel training so .......of course the wheels should go both ways if its not any extra cost ...... };^)

    dayton

---

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Laura Nichols on sun 4 may 03

Could someone please give me some guidance on what to charge others to fire
pots in my kilns? I go to 04 on the bisque then they use my glazes and I
fire to cone 6 gas reduction. Thank you for your help - Laura




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Anne Scotti on sat 17 may 03

Hello

I am currently interested in buying an electric potters wheel.
I use a Brent C at a studio and love it.
But I see Creative Industy has a wheel 1/2 HP for a lot less money.
Does anyone have a CI wheel and if so how does it work?????

Anne

Mike Henry on wed 6 aug 03

Hi,

I’m a potter/sculptor trying to find other(s) interested in sharing a
studio. It could either be an existing studio or going out and finding
adequate space. I’m in the Southern California area. I can relocate anywhere
from the Ventura area to San Diego. I’m keeping this short, so as not to
bother, those who this wouldn’t apply to. If interested, please contact me
offline and we can discuss details. Email is: highfire@gs-llc.com

Thank you…

Clyda Crafton on wed 6 aug 03

Hello to the group. I just recently joined your mailing list for two
reasons. I'm dying to start clay work again. It's been almost 20 yrs. It
was my passion in college, my professor said I had gone into production with
everything I did(mostly hand building). But life gets in the way of your
passion! Now, after 10+ yrs of corporate work, 6 yrs as a full-time mom to
two kids and a recent unwanted divorce behind me, I'm back to the corporate
world. But this time I'm excited! May be I can get to know people with the
same love for clay that I miss. May be what I do for a job could benefit
you. Or may be just getting to read about your lives will benefit me.

I've been reading some of your comments about marketing and may be I can
help some of you. I realize that the art you produce may not fit the need
for every florist's use or even a gift shop, you'll need to decide that for
yourself. But if you think you may have something that would fit this
market, I can offer you WEB exposure to this market. It's an annual fee,
nothing more! There are three levels of ads. Dollars range from $150-$300
per year, plus we will be offering web page and web site programs. We just
getting started with this, I've been working for months putting the
directory together and it will be an endless job! Our national launch will
be in November, with ads in trade magazines, direct mail to our members and
other florists across the country.

My name is Clyda Crafton and I'm the Coordinator of Development for
FGMarket(that's floral and gift market), which is an internet resource
directory for the gift and floral retailer. We are a division of Flower
Shop Network with over 4000 member florists. If you feel this would be of
interest to you, please e-mail me @:


ccrafton@fgmarket.com or call me at

Flower Shop Network #800-858-9925


Thank You

Clyda Crafton
Coordinator of Development for FGMarket.com

Lily Krakowski on sun 10 aug 03

Dr Arbuckle:

As someone with long-standing anxieties about the Academic-Crafts Complex, I
welcome the discussion your post invites.

I haven’t perceived “higher-education bashing” on CLAYART. “Higher
education” is a vague and, often arrogant, term for “advanced schooling.”
Many have expressed doubts about the value of advanced schooling.

When a farmer takes a handful of grass, rubs it and says: “Too wet for
bailing” it has taken years of diligent learning to acquire that “higher
education” . When a twenty-year old city dweller reads books and says
that when grass has dried to X % of moisture it is ready for bailing, but
does not know Timothy from Redtop, that is “advanced-schooling.”

You write “Higher education in art isn't perfect, but it offers many
positive aspects that are important to advancing artistic growth in a way
not available in other places.” And “In the end, it's not the piece of
paper, but the experience you've had that has enabled you to grow and to
learn how to continue that growth in your own studio in the future.”

Nothing provides anything in the identical way as something else. It would
be insulting to parse that for you. My concern is NOT about aspects leading
to artistic growth, but what exactly is meant by “artistic” and what exactly
is meant by “growth”.

I never believed potters are “artists” and I am not sure what you mean by
“growth.” To me, we are craftsmen — and if, after a lifetime of hard work
and deep thinking, others consider us artists that is wonderful. We remain
craftsmen. We are complimented by the honorific “artist” just great chefs,
or hairdressers are.

As to growth! I giggle when someone admires a child and says “My! How
she’s grown!” Children grow. Childhood is a time of growth. Period.
Unless something is dreadfully, terrifyingly wrong, a child grows. Unless
something is dreadfully, terrifyingly wrong, one’s intellectual being grows
and develops; as one practices one’s craft one grows and develops as a
craftsman.

This takes place in the person. Who one is, where one is, what one does,
what one is going through affects the process. Edith Wharton could not have
written “Oh, Pioneers!” and Willa Cather could not have written “The House
of Mirth” and neither one could have written Louisa May Alcott’s “Hospital
Sketches”. But neither place nor circumstances are responsible for, nor
create a piece of work, nor the growth of the person.

Graduate school offers a specific time and place. It presents focused
exposure to “new” --too often biased--ideas, and, if one is lucky, deep
conversation with people one admires and respects. For some people it is an
essential requirement for a particular career.

But, as Ivor Lewis pointed out, it costs a lot. (College costs in this
country have risen faster than medical costs!) Is it really the best way to
spend it? Would a two-year grand-tour to visit revered potters around the
world and talking to them be a worse investment? Would putting that money
in the bank for good MEDICAL insurance and starting one’s own studio be
worse? Would spending that time in the Peace Corps, with Habitat, in a
monastery, at a Yeshiva, lead to less growth?

And a question that gnaws my heart: kids nowadays get out of college
profoundly in debt. Grad school vastlyh increases that debt. That means
motherhood is postponed. Which, for a sufficiency of women means
sterility. Is it worth it?

You mention students whose work has gone into good shows and “been curated
into good venues” I am happy for them, and happy for you if, as their
teacher, you take pride. But not every one does. The degree [double
meaning intended] to which the Academy has taken over the Fine Arts is
extraordinarily troubling. For those of us who believe in higher education,
perfecting oneself, and so on, Academic credentials as passport of
professional acceptance are neither good news, nor progress. But a scary
trend towards intellectual standardization—a topic for another time.

And I sign
Sincerely,
and most respectfully




















Lili Krakowski
P.O. Box #1
Constableville, N.Y.
(315) 942-5916/ 397-2389

Be of good courage....

The Sherman's on tue 12 aug 03

You need to look at your specific situation to decide. I have my studio in
my basement. Very limited space. I have chosen not to mix my own glazes at
this time. I buy cone 5 Moroccan Sand dry glazes from Laguna (I refuse to
pay to ship water!). However, I make them my own by not always using them
as recommended. I mix them thinner and dip or pour over my pieces. I fire
to cone 6, rather than 5 and use a controlled cooling on my Skutt. This
make some of the glazes more fluid and others more matt. Test tiles propped
to 45 degrees on kiln furniture gives me a basic idea as to what the glazes
will do. I also use a fair amout of Mason stained slips under the glazes
and overlap glazes to get more interesting results. Will I mix my own
glazes if I get more room to store chemicals and equipment? Not sure... I
have the books, including "Mastering Cone 6" and have mixed glazes in the
past. Pre-mixed are convenient, easily available, and can be cost efficient
if you stay away from the colors that require lots of oxides to produce.

My $0.02

Marcey Sherman
Zephyr Pottery
Out on Long Island where my dehumidifier is running 24/7 and still the
basement is moist!


from Jacob- snips
"Just looking for advice here...

It is my final goal to do my own glaze formulation, as it's
more descriptive of who I am (I work as a chemist). I am
however, unsure as to what to do for now...should I begin
by purchasing glazes from amaco or spectrum and develop my
own glazes along side with a test kiln...or should I just
jump right in and work with glazes from books, etc...then
modify these glazes to what I want.

Thanks in advance for any advice."

Dea on thu 25 sep 03

Hi, I'm Deana, I just found your group. I've taken lots of time with clay in
the past and would like to bring that back as one of my focuses. I'm also
trained as an art therapist and have worked with clay in classes i teach and
in the therapy. In the past i've always gone to the library and scrounged
for whatever non reference pottery books i could find. Now I would like to
buy one or two to have with me, but I want to be selective at the same time.
Reference books for me. I'd love your suggestions. I'm both a beginner, as
its been awhile, and I'm not. And I'd use it for myself and the ones I work
with. Thank you, Deana

elark1@VERIZON.NET on tue 30 sep 03

hi-i bought a w5 lb bag of paper clay which i use occassionaly. today when i
went to grab a piece of paper clay i noticed lots of black mold growing all
over and in the clay. i would like to know if there is any way i can prevent
the growth of this black smelly stuff and also if this stuff is bad for my
health. and now that is all over the clay can i stop it from growing.
will it affect the use of the paper clay. would love to hearr from clayarters
about this smelly, yucky problem.
eleanor arkowitz
in hanover n.h wherre the temperrature is starting to drop and with it the
leaves from the trees.

mlkrakowski@citlink.net on tue 21 oct 03

So many hearts are broken when a girl gives a boy her phone number?and
he never calls. And he does not call because her 1 looked like a 7 or
the 4 like a 9?and she did not tell him what she was listed under.

As many hearts are broken because newbies do not grasp that the clay
body under the glaze is a prime (I often think THE prime) consideration
in how a glaze looks or fits.

For a glaze to fit properly it must interact properly with the body.
With apologies to Ivor?I know some of my similes grate on his nerves
as think of the way you interlace your fingers. In essence the clay
and the glaze and body interlace the same way, if the glaze is to fit.

That means that what one thinks of as ?shrug-offable? differences
in a clay body MAY NOT BE. Thinks salt. Recipe calls for vegetables
and meat and salt and pepper. (Kelly, cover your ears.) But you are
in a hurry so you use canned vegetables?contain salt-- and you add
some soup cubes?and that adds salt?and some leftover stock, and you
add the salt called for in the recipe. Inedible. You added tiny,
almost imperceptible, bits of salt?and produced a salt-lick.

Same here.

A Frans Wildenhain clay body recipe: (c.1951)

Jordan 50
Kentucky Ball Clay 20
Flint 10
North American Fire Clay 10
Black Bird 5
Bentonite 10

Another:
Jordan 1 part
Dalton 1 part
XX Saggar .5part
Neph Sy .25 part

Nothing wrong with that....Jordan, Dalton, NAFC are gone. Neph Sy
probably has changed in composition, and XX also may have, due to
different mine layers.

As I wrote a while back, the people who produce clay bodies mix
something that has the basic properties of whatever they call the body.
Lettuce say that there is a body called A*GILE. (Edouard, ca c'est
pour toi)

A*GILE started out as a c4-8 buff body with 5% fine grog. It used
Jordan and Dalton and a bit of Fetzer. When Fetzer disappeared,
another red earthenware clay was used. The Dalton left, but Perrine
did fine. Then that disappeared, till finally, not that long ago,
Jordan left. Meanwhile experts like Ron and Jon tested, and puttered,
and cursed, and kicked their teddy bears, to find A BODY THAT WOULD
WORK LIKE A*GILE but with available ingredients.

Analysis sheets on clays will tell you that there are differences that
can make a difference. T7 Kaolin has 1.76 titanium, and Grolleg only
..03. XX Saggar has 56.76 % Silica, and T7 only 44.72. I am NOT going
to go on forever, just trying to explain that's why today?s A* GILE
is not like that of 20 years ago, and that one might as well accept it,
and resign oneself to either puttering with a glaze that does not work
right, try a slip interface, OR simply move on to another glaze in the
same family.

This is one of my pet ?solutions?. Even if one does not know glaze
calculation, it is not that difficult to find several glazes in the
same family. I could fill a file drawer with recipes that call for
calcium, a bit of magnesium, boron, zinc...It often is easier to test a
batch of these to get an effect rather than tinkering with a glaze that
does not work....

Darlene Rare Earth Pottery on wed 29 oct 03

What is the sub for borax frite MOK G-3? there is a lovely glaze that I =
would like to try at =
http://www.barra.se/stoneware/glasyrer/recept/brown/cr729.htm

While you are there take a look at his other glazes. This a great =
site.

Have a sunshine day

darlene

Clifton D. Cardin on fri 7 nov 03

Hello list,
In response to Marianne Lombardo of Canada and her question about mold
sticking.
I realize my answer might be a couple of years late, but I thought they
might help someone else making molds.
After having made molds for over 24 years there are a few pitfalls and
suggestions I might be able to add.

1. Always check and see if your plaster is good. Run your hand through
the dry plaster and check for little nodules (lumps) of plaster. This
indicates old plaster and now matter what you do the mold will be soft
and brittle. If the plaster is very fine and "dusty" it is usually new
and suitable for mold making. If you have old plaster and you strain it
with a kitchen flour sifter, you will get the lumps out, but it will set
too quickly and be incredibly soft mold. Use new plaster, especially when
making one-off molds. These lumps are caused by the dry plaster absorbing
moisture from the air and the plaster is simply too old. It will absorb
this moisture through the bag the plaster is in.

2. The best separating compound I have found is a soap used by the oil
field industry to coat the threads on the water pipes they store outside.
The exact stuff we use is "JC-82, Potable water, Pipe Joint Lubricant" It
comes real thick and we thin it with water to the consistency of cream
and then use that as a separating compound. Another alternative is "green
soap" which comes from the medical supply field. A suitable soap is Ivory
liquid dishwashing soap, (white in color.) but since I have the JC-82 I
don't use anything else.

3. The trick to soaping is don't use vaseline first. Vaseline will seal
the piece and then the soap will not soak in and work. Let the soap soak
in until it begins to gel, then brush or blow it off. Allow a while to
dry then polish with soft towel. The shiny finish that results gives the
best separating effect and best detail. If the piece you are working with
is made of plaster, try soaking the piece itself in a tub of soap. This
will eliminate air from trying to rise out of the plaster piece and into
the mold you are trying to make. This happens when the wet plaster is on
top of the dry (air filled) plaster original.

4. Mix Ivory soap with water, about 1 oz Ivory with about 1/3 gallon
water. Put some of this mixture into a spray/misting bottle. When you
have mixed your plaster and are about to pour the plaster onto the item,
mist the piece lightly with this mixture. This water surface will break
the air bubbles in the liquid plaster and give better mold detail.

5. Mix the plaster 1 1/4 parts plaster to 1 part water by weight. In
other words, 1 oz water needs 1 1/4 ounce plaster. Always add plaster to
water. Mix throroughly. The reason most people allow the plaster to set
before pouring is to let the air bubbles rise to the surface. Not a bad
suggestion but will make you at risk of the plaster being too thick and
having excessive air bubbles and lack of detail. When pouring the plaster
pour in a steady stream to avoid adding air and to allow the air bubbles
to break as the plaster exits over the edge of the bucket.

6. The plaster will go through a heating cycle. Like anything that gets
hot it expands from the heating process. Wait until the plaster has
completely cooled. (Has a cold clammy feeling.) and then remove.
Compressed air blown between the piece and the plaster is the best
method.

7. Never use shellac or any other surface sealer. It will come off the
original and stick to the new mold. Within weeks it will being peeling
out and ruin your new mold. I've never used Murphy's Oil Soap, but will
try it next time I am working.

8. Generally, oil based separators, like Vaseline or butter or cooking
oil will react adversely to the water based plaster. (Remember water and
oil don't mix.) And that reaction is why we don't use those items.
Childrens play clay, (four sticks four colors) makes a good clay for
the corner of those boxes where the plaster might leak out. I prefer to
glue the piece with Elmers glue into the bottom of a plastic (Tupperware)
box and pour the plaster into that.
If you wish to make many molds, make you a set of mold boards out of
an old leaf of a table. Cut it into quarters and use clamps to hold the
lips together.

Clifton Cardin, Owner
Lone Star/Countryside Molds.


________________________________________________________________
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Judy Musicant on mon 10 nov 03

Hello potters,

A few days ago, primalmommy posted a note asking for alternatives in the =
case of a teaching studio that uses fans for drying student ware (so =
they can cover them with plastic before they leave), and the problem she =
seemed to be having with the resulting dust (no kidding!). I took =
classes in 7 or 8 studios in NYC and New Jersey in my earlier days. Not =
one of them used any special method for drying student ware so they =
could be firm enough to cover with plastic by the end of class. I found =
that if I covered my pots loosely, leaving just a small open space =
between shelf and bat with pot, my pots were generally leather hard when =
I returned the next week to trim. No dust, no problem.

Judy Musicant
Mountainview Pottery

Judith S. Labovitz on mon 10 nov 03

we have 24 students at our guild, and also use this method....it
works. Sometimes putting a sheet of newspaper on the tops of the pots
before covering with plastic helps keep the rims from distorting....

sure, there are occasionally pots that get too dry, or stay too
moist.....but by and large our students find this method useful.


judy in mid michigan


At 05:57 PM 11/10/03 -0500, you wrote:
>Hello potters,
>
>A few days ago, primalmommy posted a note asking for alternatives in the
>case of a teaching studio that uses fans for drying student ware (so they
>can cover them with plastic before they leave), and the problem she seemed
>to be having with the resulting dust (no kidding!). I took classes in 7
>or 8 studios in NYC and New Jersey in my earlier days. Not one of them
>used any special method for drying student ware so they could be firm
>enough to cover with plastic by the end of class. I found that if I
>covered my pots loosely, leaving just a small open space between shelf and
>bat with pot, my pots were generally leather hard when I returned the next
>week to trim. No dust, no problem.
>
>Judy Musicant
>Mountainview Pottery
>
>______________________________________________________________________________
>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.

Lyn Stoffels on wed 12 nov 03

Hi,
I have a base glaze recipe that is composed of Gerstley Borate, Kaolin and
Silica. I accidently used china clay instead of EPK kaolin. Should this make
and difference?
Thanks,
Lynn

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william schran on thu 13 nov 03

Lynn asked:>I have a base glaze recipe that is composed of Gerstley
Borate, Kaolin and
Silica. I accidently used china clay instead of EPK kaolin<

I used and still use this glaze on occasion. Have used all types of
kaolin/china clay and have never seen any difference between them.
Bill

Fredrick Paget on tue 18 nov 03

Yesterday a letter came into Clayart that was very difficult to
understand . I could see that the writer was struggling with limited
English so I wrote her to send her question in her native tongue
which is Brazilian Portuguese of which I have a certain amount of
understanding. With the help of AltaVista babelfish (translater
website) I have translated it as best I can. I still don't know what
she is talking about and wish Karl Platt was still with us as I think
he might help her. Anyone else want to take a stab at it? I can send
a copy of the Excel spreadsheet attachment she sent me to anyone who
wants to have it.
=46red




>Date: Tue, 18 Nov 2003 15:19:40 -0200
>From: RubiaM&M
>To: Fredrick Paget
>Subject: Re: Clayart
>ola
>Eu fa=E7o o ceramica e estudo esmaltes noBrasil.
>uso o matrix e fiquei curiosa para saber mais informa=E7oes sobre o
>calculo do fator de fluxo, enviei um e-mail para Lawrence Ewing que
>me encaminhou para clayarte, na pagina onde eu poderia encontrar a
>informa=E7ao sobre como fazer o calculo.
>Eu percebi que pode ter um engano em como fazer o calculo.
>Eu n=E3o tenho o texto original do autor,
>mas se multiplico cada das quantidades molares por seu fator de
>fluxo para calcular F =3D 100 * Y/(X+Y)
>o valor que eu encontro =E9 muito mais proximo do valor encontrado por Matr=
ix
>
>Hello,I make ceramics and study glazes in Brasil. I use Matrix and
>was curious to know more information on how tocalculate the flow
>factor. I sent an email to Lawrence Ewing who directed me to
>Clayart, the mailing list ,where I could find information about how
>to do the calculation. I perceived that he can have a mistake in how
>to do the calculation. I do not have the original text of the
>author, but if I multiply each of the molar amounts for its factor
>of flow to calculate F =3D 100*Y/(X+Y) the value that I find I am much
>larger than the value found for Matrix
>
>Calculo feito com Matrix
>Calculo feito com a orienta=E7ao encontrada em ClayArt
>Calculation done with orientation
>Callculation done with Matrix
>seen in Clayart
>Uk Potash feldspar =3D 50 %
>Uk Potash feldspar =3D 50 %
> whiting =3D 20%
>whiting =3D 20%
> silica =3D 20%
>silica =3D 20%
> EPK Kaolin =3D 10%
>EPK Kaolin =3D 10
>
>KNO =3D0.306
>KNO =3D 0.306
>CaO =3D 0.694
>CaO =3D 0.694
>Al2O3 =3D 0.448
> Al2O3 =3D 0.448
>SiO2 =3D 3.337
>SiO2 =3D 3.337
>TiO2 =3D 0.002
>TiO2 =3D 0.002
>
>
>Lengersdorff Flux Factor =3D 32,3
>Lengersdorff Flux Factor =3D26,43
>Deg C=BA =3D 1258
> Deg C=BA =3D 1258
>
>Rubia calculo e duvida ( Rubia calculates and doubts:)
>Lengersdorff Flux Factor =3D31,34
>
>eu gostaria de saber, qual a maneira certa de fazer este calculo?
>segue em anexo, uma arquivo do excell demostrando a minha duvida.
>grata por sua gentileza.
>>rubia moraes
>>I would like to know, which is the right way to make
>>thiscalculation? I am sending in the attachment, an archive of
>>Excel demonstrating my doubts. grateful for your gentility,
>>Rubia Moraes
>
>Fredrick Paget escreveu:
>
>>Afixe por favor a pergunta outra vez no portugues. Nos estamos
>>tendo demasiado problema que compreendemos o ingles que voce se
>>usou. Um de nos traduza-lo-a assim que voce pode comencar uma
>>reposta a sua pergunta.
>>Fred
>>
>> Fredrick Paget wrote: Another time please ask the question in
>>Portuguese. We are having too much of a problem understanding the
>>English that you used. One of us will translate it so that you can
>>get a reply to your question.
>> Fred
>


--
From Fred Paget, Marin County, California, USA
fredrick@well.com

Fredrick Paget on wed 19 nov 03

You should contact Karl Platt. Email : Karl Platt
He speaks good Portuguese. I think he lives in Santa Catarina.

Voc=EA deve contatar Karl Platt. Email: Karl Platt < kplatt@glass.com >
fala o portugu=EAs bom. Eu penso do ele vivo em Santa Catarina.

=46red
--
From Fred Paget, Marin County, California, USA
fredrick@well.com

Ron Hensen on wed 19 nov 03

To anyone in the Denver/Boulder area we are having a pottery sale this =
weekend! This is a group of nine who are students of mine or have been =
in the past. E-mail me if you want times and directions. =
mtnpottery@comcast.net

RubiaM&M on wed 19 nov 03

grateful fred for its gentility.
I would like to know if they who can say me why I calculate it is
different using matrix and he formulates it in clay art. which of the
two joined is the correct one?
rúbia moraes
(grata fred por sua gentileza.
eu gostaria de saber se alguem pode me dizer por que o calculo é
diferente usando matrix e a formula encontrada em clay art.
qual das duas é a correta?
rúbia moraes)

Fredrick Paget escreveu:

> Yesterday a letter came into Clayart that was very difficult to
> understand . I could see that the writer was struggling with limited
> English so I wrote her to send her question in her native tongue
> which is Brazilian Portuguese of which I have a certain amount of
> understanding. With the help of AltaVista babelfish (translater
> website) I have translated it as best I can. I still don't know what
> she is talking about and wish Karl Platt was still with us as I think
> he might help her. Anyone else want to take a stab at it? I can send
> a copy of the Excel spreadsheet attachment she sent me to anyone who
> wants to have it.
> Fred
>
>
>
>
>> Date: Tue, 18 Nov 2003 15:19:40 -0200
>> From: RubiaM&M
>> To: Fredrick Paget
>> Subject: Re: Clayart
>> ola
>> Eu faço o ceramica e estudo esmaltes noBrasil.
>> uso o matrix e fiquei curiosa para saber mais informaçoes sobre o
>> calculo do fator de fluxo, enviei um e-mail para Lawrence Ewing que
>> me encaminhou para clayarte, na pagina onde eu poderia encontrar a
>> informaçao sobre como fazer o calculo.
>> Eu percebi que pode ter um engano em como fazer o calculo.
>> Eu não tenho o texto original do autor,
>> mas se multiplico cada das quantidades molares por seu fator de
>> fluxo para calcular F = 100 * Y/(X+Y)
>> o valor que eu encontro é muito mais proximo do valor encontrado por
>> Matrix
>>
>> Hello,I make ceramics and study glazes in Brasil. I use Matrix and
>> was curious to know more information on how tocalculate the flow
>> factor. I sent an email to Lawrence Ewing who directed me to
>> Clayart, the mailing list ,where I could find information about how
>> to do the calculation. I perceived that he can have a mistake in how
>> to do the calculation. I do not have the original text of the
>> author, but if I multiply each of the molar amounts for its factor
>> of flow to calculate F = 100*Y/(X+Y) the value that I find I am much
>> larger than the value found for Matrix
>>
>> Calculo feito com Matrix
>> Calculo feito com a orientaçao encontrada em ClayArt
>> Calculation done with orientation
>> Callculation done with Matrix
>> seen in Clayart
>> Uk Potash feldspar = 50 %
>> Uk Potash feldspar = 50 %
>> whiting = 20%
>> whiting = 20%
>> silica = 20%
>> silica = 20%
>> EPK Kaolin = 10%
>> EPK Kaolin = 10
>>
>> KNO =0.306
>> KNO = 0.306
>> CaO = 0.694
>> CaO = 0.694
>> Al2O3 = 0.448
>> Al2O3 = 0.448
>> SiO2 = 3.337
>> SiO2 = 3.337
>> TiO2 = 0.002
>> TiO2 = 0.002
>>
>>
>> Lengersdorff Flux Factor = 32,3
>> Lengersdorff Flux Factor =26,43
>> Deg Cº = 1258
>> Deg Cº = 1258
>>
>> Rubia calculo e duvida ( Rubia calculates and doubts:)
>> Lengersdorff Flux Factor =31,34
>>
>> eu gostaria de saber, qual a maneira certa de fazer este calculo?
>> segue em anexo, uma arquivo do excell demostrando a minha duvida.
>> grata por sua gentileza.
>>
>>> rubia moraes
>>> I would like to know, which is the right way to make
>>> thiscalculation? I am sending in the attachment, an archive of
>>> Excel demonstrating my doubts. grateful for your gentility,
>>> Rubia Moraes
>>
>>
>> Fredrick Paget escreveu:
>>
>>> Afixe por favor a pergunta outra vez no portugues. Nos estamos
>>> tendo demasiado problema que compreendemos o ingles que voce se
>>> usou. Um de nos traduza-lo-a assim que voce pode comencar uma
>>> reposta a sua pergunta.
>>> Fred
>>>
>>> Fredrick Paget wrote: Another time please ask the question in
>>> Portuguese. We are having too much of a problem understanding the
>>> English that you used. One of us will translate it so that you can
>>> get a reply to your question.
>>> Fred
>>
>>
>
>
> --
> From Fred Paget, Marin County, California, USA
> fredrick@well.com
>
> ______________________________________________________________________________
>
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> Esta mensagem foi verificada pelo E-mail Protegido Terra.
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>
>

Paul Raymond on thu 20 nov 03

Ron,

I'll give that a try. I'm going to fire again soon with a longer soak at the end to see how that works but my eBay scale was acting up on me. I had to keep adjusting the tare knob after weighing only 2 ingredients. I had a bad feeling about that.

Paul

RubiaM&M on thu 20 nov 03

thanks.
I contact karl platt.
rubia moraes

Fredrick Paget escreveu:

> You should contact Karl Platt. Email : Karl Platt
> He speaks good Portuguese. I think he lives in Santa Catarina.
>
> Você deve contatar Karl Platt. Email: Karl Platt < kplatt@glass.com >
> fala o português bom. Eu penso do ele vivo em Santa Catarina.
>
> Fred
> --
> From Fred Paget, Marin County, California, USA
> fredrick@well.com
>
> ______________________________________________________________________________
>
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> Esta mensagem foi verificada pelo E-mail Protegido Terra.
> Scan engine: VirusScan / Atualizado em 19/11/2003 / Versão: 1.4.1
> Proteja o seu e-mail Terra: http://www.emailprotegido.terra.com.br/
>
>
>

Eowyn Burke on sat 22 nov 03

Hello all!

I just moved to the Big Bear area- in the San
Bernadino Mountains and am looking for a place to
work- internship/apprenticeship in the area (LA and
northern San Diego county would work as well). Does
anyone have any ideas/ know of anyone who would be
interested? Email me at eowynb@yahoo.com.

Thank you!!
Eowyn Burke

__________________________________
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Marcia Selsor on sat 29 nov 03

Dear Clayart family,
I just looked at the Clayart site on ACers while at the library. We have little
access to the internet here. I hope to be able to rejoin the group when we get
to Italy.
Just wanted to say hello. My time at The Clay Studio in Philly was way too
short. I am packing for Italy now. My article about last year's workshop in
Italy is in PMI for Dec/Jan. I saw it briefly at Linda Blossom's where we fired
her kiln. I noticed a mistake regarding the use of white slip over terra cotta.
We used that to enhance the color of glaze which was to be applied on the next
firing. My issue has not yet caught up with me. I am excited to read the edited
version. Hope everyone is having a nice holiday Turkey (for US folks). Saw a
post from Janet K in UK. I hope to visit her while across the pond.
Best wishes to everyone. I look forward to reading clayart again. Thanks to
Bacia for the good wishes.
Happy holidays to everyone.
Marcia selsor
http://home.bresnan.net/~m.selsor/Tuscany2004.html

logan johnson on sat 29 nov 03

Hi Marcia!
TAKE ME WITH YOU!!!!! I'm sure I can squeeze into my rolling backpack it's carry on size ;o} please let me / us know how the trip goes. Italy has been an obsession of mine for years now! I'm SOOOOOOOO envious!!!!! Have a safe trip!

Marcia Selsor wrote:
Dear Clayart family,
I just looked at the Clayart site on ACers while at the library. We have little
access to the internet here. I hope to be able to rejoin the group when we get
to Italy.
Just wanted to say hello. My time at The Clay Studio in Philly was way too
short. I am packing for Italy now. My article about last year's workshop in
Italy is in PMI for Dec/Jan. I saw it briefly at Linda Blossom's where we fired
her kiln. I noticed a mistake regarding the use of white slip over terra cotta.
We used that to enhance the color of glaze which was to be applied on the next
firing. My issue has not yet caught up with me. I am excited to read the edited
version. Hope everyone is having a nice holiday Turkey (for US folks). Saw a
post from Janet K in UK. I hope to visit her while across the pond.
Best wishes to everyone. I look forward to reading clayart again. Thanks to
Bacia for the good wishes.
Happy holidays to everyone.
Marcia selsor
http://home.bresnan.net/~m.selsor/Tuscany2004.html

______________________________________________________________________________
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.

Logan Johnson
Audeo Studios
"Carpe Argilla!!"


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Llewellyn Kouba on sun 30 nov 03

Messag
X-Sender: llewellyn@mail.assumptionabbey.com
X-Mailer: QUALCOMM Windows Eudora Version 5.1
Date: Sun, 30 Nov 2003 18:20:59 -0700
To: Clayart
From: Llewellyn Kouba
Subject: Re: CAR KILN LEAKS AROUND SEALS
In-Reply-To:
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed
Message-ID: <72E48A170184@assumptionabbey.com>

Paul,

Use Kaowool. It is an insulation material and won't crack or peel and you
can stuff in enough of this material to fill the gap and in a better way
than any putty material ever would be.
Hope this helps.
Llewellyn


At 12:45 PM 11/30/2003 -0500, you wrote:
>Hello,
>the seal on one side of my car kiln as a few leaks in it, and i found out
>that the one part of the kiln where i can not get copper reds is right near
>the biggest leak, so there must be a correlation. I think the leak started
>because i had to do some maintenance on the car it's self after the firest
>firing, and things got moved around just enough to cause the leak.
>The only simple idea i can think of is to try to plaster some Greenpatch on
>the seal -- i need to build some areas up about 1/4" to fill gaps. But i
>would think this will eventually spall off. Does anyone have any other ideas
>on how to fill the cracks in the seal between the car and the kiln? thanks,
>Paul B
>Falmouth,Ky
>
>______________________________________________________________________________
>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.

mudslingers@ATT.NET on fri 12 dec 03

i wrote:
> Here is an effective way to grow your mailing list:
> At your next art/craft fair, have a raffle.
> I make up a sign that says something like
> "Win a FREE GIFT from Mudslingers Pottery...

l.p.skeen wrote:
>The problem with this method is that these folks are not buyers; they're
>wanting something for nothing, and you end up sending out $$ on postage and
>printing cards for people who aren't necessarily interested in anything they
>have to pay for. :(

lp,

i can appreciate your point, but i have to say that this has been hugely
successful for me at my home shows (remember, success is relative!-- and
selling 120+ pots in a 4 hr time period is good for me!). i have to admit
that i have not done the raffle thing at every show. but one of the shows i
do it in is a local area art show that's been around for many, many years and
is a proven show. there are new attendees every year so it doesn't get stale;
it's close to home so the customer base is local for me as well. and the
people who come to the show are people interested in art. it's a big show, so
the people who see the little notice about the free gift are already looking
at my pottery.

so you see, it is almost a hand picked customer base!

lauren
(wow #4 post of the day! i'm on a roll!)
--
Mudslingers Pottery, Lauren Bellero
http://mudslingers.home.att.net
39 Leroy Place, Red Bank, NJ 07701
732.747.4853

Russel Fouts on tue 16 dec 03

Earl,

>> Dell computers are not all made overseas. All of our desktops are made
right here in Texas. In fact, I believe that we are the only major
computer manufacturer that still manufactures computers in the US--I
believe that the other major manufacturers even have their desktops
manufactured in Asia. Much of the value of a computer comes back to the US,
even on computers sold outside of the US--Intel and Microsoft are probably
the two largest suppliers, in dollar terms, on any box. Also, the real
shift is to Asia, not Mexico--Nafta isn't really the relevant issue. <<

I don't think any computer can be entirely made in the US. Maybe assembled,
yes. But you only have to open the machine up and have a look at the tops
of the chips. You'll get a geography lesson on Asia and South America.

Nothing against Dell. I Like Dells. All our desktops at the day job are
Dell. I'm writing this on my third Dell (The second one is at Enzo's).
Great PCs, good price, terrific business model. Michael got it right from
the beginning.


--- Earl Brunner wrote:
>
> Care to comment?
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On
> Behalf Of
> LindaBlossom
> Sent: Monday, December 01, 2003 9:20 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: Axner response to "Frema or Axner"
>
> Glad to hear this. I was disappointed to hear that
> Dell computers are
> all
> made overseas. I don't want to be protectionist
> but I am getting irate
> about all of our offshore companies that take the
> jobs and the taxes and
> expect us to support them as well as the loopholes
> in Nafta that make
> competition impossible. Three cheers for Howard
> for this.
>
> Linda
> Ithaca, NY
>

-----------------------------




Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75

Http://www.mypots.com
Home of "The Potters Portal"
Over 2300 Pottery Related Links!
Updated frequently

My work can also be seen on:
The World Crafts Council International Site: http://www.wccwis.gr
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EasyCraft: http://www.easycraft.org

"To announce that there must be no criticism of the president, or that
we are to stand by the president, right or wrong, is not only
unpatriotic and servile, but is morally treasonable to the American
public." --U.S. President (and Nobel Peace Prize winner) Theodore
Roosevelt.

Lois Ruben Aronow on tue 16 dec 03

> >> Dell computers are not all made overseas. All of our desktops are =
made
>right here in Texas. In fact, I believe that we are the only major
>computer manufacturer that still manufactures computers in the US--I
>believe that the other major manufacturers even have their desktops
>manufactured in Asia.=20

My Dell desktop came with a big "made in indonesia" stamped on it. =20
They are also notorious for off-shoring both their tech and customer
service. =20

************
Lois Ruben Aronow

www.loisaronow.com
Modern Porcelain and Tableware

The Tattoo is back!

Earl Brunner on tue 16 dec 03

I think if you open ANY computer case and read the parts inside it will
be very multi-national. I think what my son was saying was that they
assemble the desktop models in Texas. When you order from Dell, you can
customize your machine, they finish putting it together at that time.
I've installed a number of hard drives over the last couple of years and
NONE of them where made in the U.S.

Dell certainly isn't any worse than any other major computer company in
that regard, just curious why they are being singled out?

-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Lois Ruben
Aronow
Sent: Tuesday, December 16, 2003 3:13 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject:

> >> Dell computers are not all made overseas. All of our desktops are
made
>right here in Texas. In fact, I believe that we are the only major
>computer manufacturer that still manufactures computers in the US--I
>believe that the other major manufacturers even have their desktops
>manufactured in Asia.

My Dell desktop came with a big "made in indonesia" stamped on it.
They are also notorious for off-shoring both their tech and customer
service.

************
Lois Ruben Aronow

www.loisaronow.com
Modern Porcelain and Tableware

The Tattoo is back!

Lois Ruben Aronow on tue 16 dec 03

On Tue, 16 Dec 2003 07:26:13 -0800, you wrote:

>I think if you open ANY computer case and read the parts inside it will
>be very multi-national. I think what my son was saying was that they
>assemble the desktop models in Texas. When you order from Dell, you can
>customize your machine, they finish putting it together at that time.
>I've installed a number of hard drives over the last couple of years and
>NONE of them where made in the U.S.
>
>Dell certainly isn't any worse than any other major computer company in
>that regard, just curious why they are being singled out?
>
No - on the cardboard box my computer came in it said "Made in
Indonesia". =20

They are not being singled out - i was just responding to the thought
of Dell computers being "totally" made in the USA, which they are not.
I thought this thread was about off-shoring of labor. Sorry.

I own 2 dell computers and have no problems with either of them. And
the nice people in Bangalore India help me when I do. ;-)

************
Lois Ruben Aronow

www.loisaronow.com
Modern Porcelain and Tableware

The Tattoo is back!

daniel on wed 24 dec 03

Hi All,

What follows is a post I've been tossing around my head for a few days. Its
time it got out for walk. Be aware its a little long.

I have been watching the posts on art vs craft, being choked up over pots
and have been tossing this stuff over in my mind. David McBeth's post also
interested me. Consider this a response in part to that request, from a
person who does make some functional ware. But this also attempts to touch
on a number of the points raised or hinted at by the other threads. I have
been interested in the place of art in human existence for some time. This
is perhaps the first attempt to present to any group of people I've never
met, what I think. I'm pretty new to this list but I like it. You can be a
rambunctuous bunch at times but its fun, informative and for some curious
reason genuinely encouraging. Also, note I am a part time potter and full
time geek. Am I an artist ? on good days maybe, a craftsman ? ditto. Mostly
I get muddy and have a lot of fun doing it.

First let me say that "art will save the soul of man". I believe this
statement is the basis of the value of art.

The art vs craft argument is somewhat difficult for me to follow as I'm not
art critically trained. I look at the issue this way. Calling it art is no
excuse for shoddy work or for not doing any work. Being an artist,
craftsman, or artist craftsman is hard, really hard. The beautiful simple
stroke of a master's brush is immediately discernible from that of the
hamfisted efforts I myself make for example. That is not to say that art
must be neatly rounded at the edges, nor that one cannot make "rough" art
that is not of value or well executed, or that one must have a high level of
polish in a piece. (I know this may get arguments and much will come from my
use of words in one way rather than another. Language is a difficult medium.
In some ways clay is simpler.) It is possible to see in pieces that look
"rough" that they are executed by a craftsman of considerable skill, if this
is the case.

In respect of finish much may be said but in the end much comes down to
taste and one's own aesthetic. One can look at a piece and realise that
the "finish" it has is that of a rough slab that has been woodfired rather
than that of a French-polished table. Both are finished pieces of high
quality. Back to the point.

What is the value of hand-made over machine made ? why does anyone care ?

David McBeth asked this question or something akin to it in his post.
This is my response.

I do use some hand-made mugs and some hand made plates. I would like to use
more but I have yet to make some I like. Each piece of hand-made work
contains in my view some of the maker. For many, this means a person who at
the time the piece is made is doing what they love and what they care
about deeply. The piece is in some ways an example of the best of that
person. When a piece is made carelessly it is reflected in it. Just as water
impresses itself on the land in a river, so the soul of a potter is
impressed on the clay through the hands. Thus when one drinks from a
hand-made mug one drinks from a vessel imprinted with the loving hand. I
believe that for this reason that children should be exposed to such things
as much as possible too. I do not consider that the possibility that a child
might break a beautiful pot by carelessness or accident is reason to subject
them to lower quality massed produce items. They will learn due care for
things worth the care. The massed produced item is not made purely from
love. It is often made from the pressure of profit. It is desperately thin.
It is light weight. It is perfect. Where is the warmth of a little weight
and the humanity of a little irregularity - where is the mark of ourselves ?
Gone, almost all gone.

In hand-made work we try with each to reach perfection however we define
that. And for each of us it is different. This seems to be the definition of
fine craftsmanship - the skill acquired over time to achieve the
unachieveable. But in the end it is the failure to achieve the machine made
perfect circle or the industrial mirror finish that gives the piece the one
thing we really crave - life!

An interesting observation was made to me about emotional content in pieces
of one potter over another, the other day. Both are very very good potters.
The observation was that one potter's work had greater emotional content
than the other's. It is worth remembering this dual aspect in work. A
fantastic technical feat with a pot may not appeal to the soul as strongly
as the simple everyday beauty of a less prodigious piece.

There was a thread on getting choked up over a pot and many responded with
similar things. Much it seems may lead a person to weep when the emotional
impact of something is great. I remember seeing sunset colours around
Canberra one evening, beautiful turquoise greens. I'd never seen it like
that and never have again. Fantastic. I have been stunned when throwing on
rare occassions when the clay achieves a form that is just right. You're
struggling with a piece, a form you've struggled with before, perhaps many
times, and then suddenly there it is. Wonderful. We know so little about
ourselves and what we are capable of. Suddenly after years of training one
is given a glimpse of the possibilities. Why would one not cry ? Other
direct connections to pieces such as that described by the originator of
that thread show us things that we can only over time come to understand.
Many such things are deeply personal and would not touch everyone the same
way. But we must I feel develop an ever greater sense of beauty, a sense of
emotional content in art, in our soul. By this I mean that one must develop
a sensitivity to this as one must develop other faculties. As potters we
develop aspects of this over time. Some start with a greater capacity,
others struggle with it. We are, afterall, human.

When one sees art the soul responds. It is possible to look at a piece and
its beauty speaks directly to you. Such experiences I believe educate the
soul. One of the great problems of mass production is the deadening of the
sense of beauty, the sense of the real and the artificial. Such things in
modern life are under constant assault. There have been complaints on this
list about customers not wishing to pay so much for a pot. Assuming the pot
is well made and price is not exhorbitant one may say this. People have had
their understanding of the value of the handmade destroyed by mass
production, in some measure. I see that there is a need to promote the hand
made to customers as far greater than the mass produced. All the senses will
benefit. Was it Chanel who said that "a thing must not only be useful but it
should be beautiful" ? I misquote no doubt and perhaps misattribute but the
point itself is valid.

I believe that art in its highest form raises humanity. Just as television
in its terrible insidious background way confuses the real and the imagined
and depletes the imagination and much more besides, so the beautiful
handmade bowl used everyday enriches the soul and the sense of life.

Thanx for reading.

Merry Christmas.

D

elark1@VERIZON.NET on wed 31 dec 03

happy new year to clayart!
i am off to phoenix, arizona for a few days beginning jan.6 and i am hoping
that i will have some spare time. i would like to put my free time to good
use. is there any special pottery related things for me to see within the city?
any good galleries or museums?
thanks,
eleanor arkowitz in new hampshire

L. P. Skeen on wed 31 dec 03

Eleanor, our very own Mishy Lowe lives either in Phoenix or Tucson, I can't
remember which. You can email her at mishlowe@amug.org
L
----- Original Message -----
From:

> i am off to phoenix, arizona for a few days beginning jan.6

will hershey on wed 31 dec 03

Eleanor - You should absolutely check out the Ceramic Research Center
at ASU in Tempe. It's free.
There are also some nice galleries in old town Scottsdale, on Marshall
Street - Gallery Materia, for one
always has some great ceramic work.

BTW, I lived in Peterborough NH for about 1 year - it's a great area.

Have fun,

Will

On Wednesday, December 31, 2003, at 10:49 AM, elark1@VERIZON.NET wrote:

> happy new year to clayart!
> i am off to phoenix, arizona for a few days beginning jan.6 and i am
> hoping
> that i will have some spare time. i would like to put my free time to
> good
> use. is there any special pottery related things for me to see within
> the city?
> any good galleries or museums?
> thanks,
> eleanor arkowitz in new hampshire
>
> _______________________________________________________________________
> _______
> 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.
>

Jeff Weiland on mon 12 jan 04

I not exactly sure what you are shooting for but one of my favorite =
children's books is "The Art Lesson" by Tomie dePaola. It is a great =
read for both young and old alike. The ISBN number is 0698115724 and =
is published by Putnam Books. It deals with drawing and painting =
specifically but the creative energy applies to all media and =
disciplines. I am guessing that it is written on about a second grade =
level. Hope that helps with your search.

Jeff Weiland
409 Blaine Street
Knightstown, Indiana 46148
765-345-202

Russel Fouts on fri 16 jan 04

>> I still get marks on my face! I never do glaze mixing right before I go
grocery shopping! <<

Comments about lines on faces reminded me of Enzo with his CPAP. Then I
thought,"hey! maybe I could use in the studio as a respirator!"

Russel, practicing dangerous free association in rainy Belgium. ;-)



Russel Fouts
Mes Potes & Mes Pots
Brussels, Belgium
Tel: +32 2 223 02 75
Mobile: +32 476 55 38 75

Http://www.mypots.com
Home of "The Potters Portal"
Over 2300 Pottery Related Links!
Updated frequently

My work can also be seen on:
The World Crafts Council International Site: http://www.wccwis.gr
The World Crafts Council Belgium Site: http://wcc-bf.org (English Pages)
EasyCraft: http://www.easycraft.org

"To announce that there must be no criticism of the president, or that
we are to stand by the president, right or wrong, is not only
unpatriotic and servile, but is morally treasonable to the American
public." --U.S. President (and Nobel Peace Prize winner) Theodore
Roosevelt.

Norman Aufrichtig on tue 20 jan 04

i sent an earlier message, but it wasn't posted on the list for some =
reason, just as well, as i gave the wrong model number for the printer.
i just bought a Lexmark X1150. it prints copies scans and even works as =
a
fax.. the ink is outrageously expensive but i like to refill my =
cartages. i
checked with the people i buy my ink from and they sell ink for this
machine. the printer costs $89.00 it works great, how easy it will be to
refill, well, i will know soon enough.
norman in taos where it snowed today

mlkrakowski@citlink.net on sat 24 jan 04

Message from Barbara Cowles:

"... I thought you might want to be informed. Lili Wildenhain died
January 9, 2004 at St.John's Home in Rochester [NY]. She would have
been 85 years old on January 15th.

Her son...is planning a luncheon in her memory February 7 in
Rochester... I will give you more information as soon as I get it."

Lili, not a potter herself, was the widow of Frans Wildenhain.



Lili Krakowski

Joyce Lee on mon 26 jan 04

ok
----- Original Message -----
From: "mlkrakowski@citlink.net"
To:
Sent: Saturday, January 24, 2004 10:03 AM


> Message from Barbara Cowles:
>
> "... I thought you might want to be informed. Lili Wildenhain died
> January 9, 2004 at St.John's Home in Rochester [NY]. She would have
> been 85 years old on January 15th.
>
> Her son...is planning a luncheon in her memory February 7 in
> Rochester... I will give you more information as soon as I get it."
>
> Lili, not a potter herself, was the widow of Frans Wildenhain.
>
>
>
> Lili Krakowski
>
>
____________________________________________________________________________
__
> 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.

ronnie beezer on mon 26 jan 04

I just bought some green glaze and after firing it, it looks completely different than the color chip in the catalog, I don't like it at all and I would like to know if I can add some green mason stain to the remaining batch of glaze to change the color.
I also need some help on the best way to fire a very tall and large piece that will not fit vertically in my kiln. If I remove the bottom shelf I will have 1/4" of clearance to the lid. Is it possible to fire it standing on the bottom of the kiln or leaning and supporting it somehow, or am I better off placing it on stilts laying down on a shelf. Are the chances of it warping greater if it's placed on stilts or leaning it?
Ronnie


---------------------------------
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william schran on tue 27 jan 04

Ronnie wrote:>I just bought some green glaze and after firing it, it
looks completely different than the color chip in the catalog, I
don't like it at all..... I also need some help on the best way to
fire a very tall and large piece that will not fit vertically in my
kiln. If I remove the bottom shelf I will have 1/4" of clearance to
the lid. Is it possible to fire it standing on the bottom of the kiln
or leaning and supporting it somehow, or am I better off placing it
on stilts laying down on a shelf.<

We'll need some more information about the glaze - what it is
(glossy/mat, opqaue/transparent), what cone it's supposed to be fired
to, what cone you fired it to (witness cone on the kiln shelf - if
you fired by kiln sitter or pyrometer you may never have reached
proper firing temperature), how you applied the glaze, what kind of
clay you used.

Regarding firing the tall work - next time better planning - yes, you
can fire on the floor of the kiln, though I recommend against it. I
you go for it, make sure you coat the floor with kiln wash or a dry
layer of alumina. As for laying side ways and firing on stilts -
depends on firing temperature and if you don't mind the stilt marks.

Bill

Clyde Edward Cooper on tue 27 jan 04

Dear Reader;
=20
I have been looking for a recipe for a cone 10 glaze called Rousseau's
Madness, which is appears to be a flat green/olive green with brown
splotches in lines and/or circles, the circles sometime appear with a
Hallow affect. =20
=20
Ed Cooper
AS/400 Programmer/Analyst
Hitch Enterprises, Inc
309 Northridge Circle
Guymon, OK 73942
Phone: (580) 338-8575 Ext. 363



=20
=20

Mel Jacobson on wed 4 feb 04

The message cannot be represented in 7-bit ASCII encoding and has been sent as a binary attachment.

Mildred Herot on thu 5 feb 04

Dear Lili: The amount of messages one receives each day is quite
overwhelming and the delete button gets quite a workout. I must admit that
I never delete your comments until I have read them in their entirety.
You're quite a lady. Mildred Herot
----- Original Message -----
From: "lili krakowski"
To:
Sent: Thursday, February 05, 2004 6:49 PM
Subject: Re: Leach, Hamada tradition


If tradition is the river, then fame, fad, fashion are the ducks that swim
on it.

Leach was a fabulous self promoter, and he took Hamada along in his train.
Leach was lucky to have sponsors like the Elmhirsts, and to belong to just
the right caste in a very very class-conscious society. His book hit the
stores and the schools (here, anyway) at just then right time when not only
were the Brits our best friends (as they still are) but moved to the same
cultural music. At the time there was no book like it.

It was a strange time because here (and I know this from having been there!)
veterans of WWII, people who has suffered immensely at the hands of the
Japanese were studying and imitating Japanese pottery. I still do not know
what to make of it all. And I have thought on it for over 50 years.

Because--oh yes--the $ was riding high and the GI Bill did a lot for one in
Japan as well as in England many on the GI bill went to study in Japan, and
GB, and on their own plunged into that tradition.

Meanwhile the US tradition and the British were supplemented by Hitler
refugees-- not only the Abers, who were not in clay, but the Natzlers,
Marguerite--and later Frans-- Wildenhain, and in GB, Lucie Rie and Hans
Coper--not to mention Ruth Duckworth.
They were however quiet folk, and unlike Leach not in the right social
milieu.

NONE OF THIS MINI-RANT IS ADDRESSED TO HOW I FEEL ABOUT THEIR WORK. This is
a social observation that has to do only with fame, fortune and tradition.

But the traditions that were in place, the British, American. Scandinavian,
Dutch, French, German, Italian, Japanese inter al went on, with all these
ducks riding on them. And so many Americans--Voulkos, Soldner-- have been
the ducklings--

I think the tradition of the Arts & Crafts Movement and its Continental and
US equivalents have become dilluted. The specific values that a craftsman
was an intellectual who lived the simplest life style so that he could look
real workmen in the eye, and have a beer with them at night, is gone. More
"blue collar" folk today can afford a Jacuzzi than potters can!

I think the tradition of the Leach and Hamada time has gone. In part
because the economy has changed, the environmental problems have changed.
The technology has changed. I think the Rie and Coper and WIldenhain and
Natzler tradition continue but they too have changed.

It has been pointed out, though I don't remember by whom, that we all are
dropped at birth into the river of history. Same with tradition. It lives
on IN US and so Mel's fortunate students get the influences he was shaped by
as lived and expressed by Mel.
That is why the Talmud so often says: Rabbi So-and-So says in the name of
his Master, Rabbi X--- because we all should acknowledge the Masters whose
voice continues through us.

I think the clay river flows on. I have no idea where its course will take
it. I wish all the ducks and ducklings well.

Quack, quack, quack. Lili




Be of good courage

____________________________________________________________________________
__
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.

Llewellyn Kouba on fri 6 feb 04

Messag : <5.1.0.14.0.20040206105116.01d8bbd0@mail.assumptionabbey.com>
X-Sender: llewellyn@mail.assumptionabbey.com
X-Mailer: QUALCOMM Windows Eudora Version 5.1
Date: Fri, 06 Feb 2004 10:56:16 -0700
To: CLAYART
From: Llewellyn Kouba
Subject: Nice glaze but tends to run
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"; format=flowed
Message-ID: <95627ACE6679@assumptionabbey.com>

Readers:

I have been using this glaze for some time. I forget its source or the name
but tends to run.
I believe someone earlier told me to use calcined Kaolin so I might give
that a try and see if it will stabilize better? For my cone
(9-10)reduc. Goes to subtle purples and cremes. Especially nice for
porcelain. any hints as to how to stop a nice glaze from the runs :-(

Fieldspar (potash) 50.0
Kaolin E\PK 20.0
Dolomite 16.0
Whiting 8.0
Wollastonite 6.0
Tin oxide 5.0
Bone Ash 8.0
Red Iron Oxide 1.0
Rutile 1.5

Llewellyn
Abbey Pottery

wayneinkeywest on mon 9 feb 04

Henri:
Please e-mail me off-list the code on that thyristor.
I have sources for out of date product, and may be able to find a
replacement.
Wayne Seidl

----- Original Message -----
From: "1debock" <1debock@FREEMAIL.NL>
To:
Sent: Sunday, February 08, 2004 6:42 PM


> Hello, I am a dutch theatre engineer who really wants to be a
potter,
> I'm trying to build a shop.I have a propaine fired kiln and a 1972
> Podmore wheel which unfortunatly has gone dead.I took out the
motor and
> speed control to have a woble in the axes fixed. After I had put
the motor
> back in, the electronics shortcuited.It turned out that the
> diodes in the rectifier bridge where broken. A colleage of mine
> repaired that, I hate the handling of tiny electronical components
my
> hands are too big.The motor still didn't work.
snip

1debock on mon 9 feb 04

Hello, I am a dutch theatre engineer who really wants to be a potter,
I'm trying to build a shop.I have a propaine fired kiln and a 1972
Podmore wheel which unfortunatly has gone dead.I took out the motor and
speed control to have a woble in the axes fixed. After I had put the motor
back in, the electronics shortcuited.It turned out that the
diodes in the rectifier bridge where broken. A colleage of mine
repaired that, I hate the handling of tiny electronical components my
hands are too big.The motor still didn't work.We figured out that the
thyristor must be broken also. A thyristor with the same 30 year old code I
could find on the internet, but I had to buy 10 so that would cost about
300$.I replaced the thyristor with one that was approx. similar in voltage
and caracteristics. Then the nightmare began.The motor switched on and when
I pushed down the speed control it stutters and backfires.I called a guy
from an electronic company which sometimes works for our theatre,he had a
look at it and invited me to bring the motor and speedcontrol to him at his
home where he has an elecronic workshop. I arrived at 20:00 pm Klaas-Pieter
thought he could fix it in about half an hour.He tested the electronical
components on the circuitboard with his scope. At 0:00 pm he had to admit
defeat to the old Podmore.I left him somewhat frustrated, as I open my
cardoor he yells that when I didn't get the board fixed, I had to bring it
back and he would make a drawing of the board and mail it to an electronics
forum on the internet.Klaas-Pieter's theory is that a slight difference in
caracteristics of the new thyristor changed the caracteristics of
current and voltage on several components.The triac, the capacitor and the
zener diode have a part in firing the thyristor which in its turn
regulates the current to the 220 V DC motor.The triac I had replaced
and put back because it didn't effect the stuttering and the backfiring.
Klaas Pieter discovered that the capacitor I had replaced,just to be save
didn't have the same caracteristics as the old
one(1972 capacitor colour code is n't easy to read) The zener I had
replaced but Klaas-Pieter doubts that the zener I got from the shop is
a good translation from the old zener code.So next week I am going to
replace that one and hope that does the trick for I'd rather be
practising throwing pots.So little time so much to do.Suggestions on
the subject are most welkom. Greetings, Henri de Bock

1debock@freemail.nl

dan@LESLIECERAMICS.COM on wed 11 feb 04

This email address does not exist. Please check your spelling. If you would
like to reach Leslie Ceramic Supply Co., Inc., we can be reached by phone at
(510) 524-7363.

Thank you.

Peggy on thu 19 feb 04

Hello,

I have searched through the entire archives and cannot find a recipes for a bright glossy yellow. This seems to be a common question going through the archives, can anyone help me out here. I am looking for a recipes for cone 6 oxidation.

thanks
Peggy


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Donna Hoff-Grambau on sun 22 feb 04

I am in the final stages of putting a studio together - painting the
walls and the cement floor. Is there a type of paint for the walls in
the section that houses the kilns that is better than latex??? Any
recommendations for painting the cement floor?



"Too often we underestimate the power of a touch, a smile, a kind word,
a listening ear, an honest compliment, or the smallest act of caring,
all of which have the potential to turn a life around." --Leo Buscaglia

Donna Hoff-Grambau
Two Rivers Paper & Pottery

John Rodgers on sun 22 feb 04

I use hardyboard (concrete backer board) on the walls up to four feet
from the floor. No paint. Just concrete gray.

I would suggest for the floors, using a self leveling epoxy paint. It's
pricey, but will be with you for a while, and will give you a good
surface for dust control..

Regards,

John Rodgers
Chelsea, AL

Donna Hoff-Grambau wrote:

>I am in the final stages of putting a studio together - painting the
>walls and the cement floor. Is there a type of paint for the walls in
>the section that houses the kilns that is better than latex??? Any
>recommendations for painting the cement floor?
>
>
>
>"Too often we underestimate the power of a touch, a smile, a kind word,
>a listening ear, an honest compliment, or the smallest act of caring,
>all of which have the potential to turn a life around." --Leo Buscaglia
>
> Donna Hoff-Grambau
>Two Rivers Paper & Pottery
>
>______________________________________________________________________________
>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.
>
>
>

Nancy Udell on tue 24 feb 04

Date: Sun, 22 Feb 2004 12:33:00 -0800
> From: logan johnson
> Subject: Re: Taking the plunge
>

I had been struggling with this for a
long time when I finally just said to heck with it & sure enough when I
stopped trying SO hard to find it There it was starting to show up in
my
work! At least according to people who have been around me from the
begining
of my ceramics life. Best of luck with your work! Hope I said something
that
helped! L.J.

Logan, thanks. I didn't email you at the time, but did also look at
your site when you launched it earlier this winter. I love the fact
that your husband made it for you. I love seeing men promoting women
potters. And the site it great. Is he available to fix mine?. :~> I
know what you mean about "the heck with it" and have taken that view up
til now. It's the idea of starting to sell work that has me "panicked"
in that department.. Someone else wrote and said that people tell her
that they like her booth because they will always find something
different there. I wonder whether store owners will feel the same, but
all I can do is try. Also not sure how I'll feel about making the same
thing again (if asked - I should be so lucky) so, time will tell.

Cheers,

nancy

Jennifer Rehkopf on thu 4 mar 04

I just set up a studio in my basement, and am worried about pouring clay water down the drain for fear of plugging up the pipes. Can I dispose of the clay in my yard, or will that be harmful? I do not have well water, and have a small yard. Also, what is the best way to separate the slip from the water? I tried a coffee filter, but the clay was too heavy, and just broke the paper. Any suggestions for me? Oh, I work with a porcelain body if that makes any difference. Thanks!

Jennifer Rehkopf
Wyncote, PA



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Lowell Barron on thu 1 apr 04

Hi, I am wondering if there are any potters in the Nelson, BC area on
Clayart. We are visiting April 14 - 28 and I will be in Pottery withdrawal
and would like to find a "fix". A workshop would be great but just visiting
a studio would be nice.

Nelson is a really neat place with a lot of creative people and I am sure
there are potters around that area if I can just find them.

Thanks as always, Lowell

Aaron Norris on wed 7 apr 04

I am looking for any information relating to a Korean kick wheel. Ideally I
would like any information that would help me build one (i.e. dimensions,
materials). Or if nothing else, where I could buy one?I've searched on the
net for info, but all I could come up with was a picture of one. Thanks.

-Aaron J. Norris

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Stephani Stephenson on fri 30 apr 04

Hello CLAYARTERS
sticking my hands and fingers outside of the studio to type the
following
invitation , which I am posting on behalf of Ellen Nadeau at Hidden
Valley Artist Retreat

though the raku workshop is 2 days MAy 1 and 15
Ellen has indicated that visitors , as well as students , are welcome
to visit on May 15th.
Though please contact her for specifics
and RSVP to the following email address : retreat@artfolio.com
or visit the HIdden Valley site at http://www.artfolio.com

Ellen wrote:

I want to invite you to attend my Raku Workshop May 15th. The workshop
is one of several events we are doing in the next few months as our
Open House to invite all of you to get acquainted with the Hidden
Valley Artist Retreat! On May 15th we will be firing Raku pottery and
have a group of potters coming to fire their ware and we have a big
picnic and gallery exhibit planned for 6PM!

While you're here, take a tour of our studios, our beautiful gardens,
and sit under the shade of a big oak tree or take a dip in the pool!

If you would like more specifics about the workshop and would like to
attend as a student, just let me know!
If you would like to RSVP that you will join us for awhile on either
day, then just e-mail me back.
at retreat@artfolio.com

Looking forward to seeing some of you at Hidden Valley Artist Retreat!

Warm regards!
Ellen Nadeau




Stephani Stephenson
steph@revivaltileworks.com
http://www.revivaltileworks.com
ph/fax 760-730-9141