copyright

updated sun 16 may 10

John Jensen on tue 23 mar 99

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

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

I.Lewis on sun 30 may 99

To: Subscribers clayart=40lsv.uky.edu

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

Saturday, 29 May 1999

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

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

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

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

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

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

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

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

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

Best regaards to All

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

Linda Fletcher on fri 31 mar 00

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


> There are 115 messages totalling 5337 lines in this issue.
>
> Topics of the day:
>
> 1. RAKU: Copper Matt Techniques (3)
> 2. Bailey slab roller is sold
> 3. teapot question (6)
> 4. where did bisque come from? (10)
> 5. NCECA Impressions Continued
> 6. Square Plates and Slumping molds
> 7. Pugmill advice? (4)
> 8. non-functional teapots (4)
> 9. tell me about your work
> 10. Prices, prices, prices
> 11. pricing, mugs, etc(long) (2)
> 12. Joe Molinaro Nomination
> 13. Asheville Bound
> 14. Mixing Plaster (4)
> 15. Electric kiln problem: Kiln sitter contacts
> 16. CLAYART Digest - 26 Mar 2000 to 27 Mar 2000 (#2000-88)
> 17. Prices, mug prices
> 18. MacKenzie / Shimaoka-sensei (2)
> 19. looking for line drawings of pottery (2)
> 20. Clayart Archives - can't find
> 21. Glaze Stability Charts
> 22. copyright was:pricing, mugs, etc(long)
> 23. about clayart and thanks to those...
> 24. Looking for a 'primoridal' glaze
> 25. Wood Kiln
> 26. No censorship
> 27. NCECA (3)
> 28. Gerstley Borate
> 29. slab roller for sale (2)
> 30. Jeck
> 31. Sharing ceramic information (3)
> 32. Educating the public
> 33. Thanks for NCECA reports
> 34. warming teapot question
> 35. Thanks for taking on Clayart
> 36. Tile Artists?
> 37. Reflexions; clayfolks, clayart, NCECA
> 38. Tool doctor workshop
> 39. School kiln shelf tip
> 40. My mug?
> 41. Diana Panciloi
> 42. Monastery of Craftsmen
> 43. feldspar and wood ash
> 44. Purchase of designs -- royalties
> 45. BFA, MFA, "Putting in the Time"
> 46. Need Cone 6 oxid. clear matt glaze (2)
> 47. Shino session notes from NCECA
> 48. Orifice Nuts
> 49. substitutes for barium
> 50. Spodumene
> 51. books
> 52. copper mat
> 53. crazing
> 54. Thank you all
> 55. cone six glaze quest (long)
> 56. What is clayart
> 57. Crazing Cesspools?
> 58. potters shop
> 59. Non-functional teapots
> 60. Copying designs. Question Court ruling
> 61. Orifice nuts
> 62. non - functional teapots
> 63. NCECA Student Mug sell and beauty in the eye of the beholder
> 64. NCECA Reflections
> 65. Ishiguro Munimaro:info?
> 66. Website for building/hosting websites
> 67. Larry Bush Workshop / Apr. 6 & 7
> 68. about hump molds (?)
> 69. backgrounds for photography/ Peacock/Emerald glaze
> 70. food safety
> 71. Glaze Request
> 72. Summer Jobs
> 73. Functional or Non-Functional?
> 74. NCECA thoughts
> 75. NCECA 2000 - Mel et al
> 76. NCECA Thoughts
> 77. Lost and Found
> 78. Looking to buy a good ^10 kiln
> 79. Element in bottom of kiln
> 80. brushwork on glaze
> 81. Prices, mug prices
>
> ----------------------------------------------------------------------
>
> Date: Wed, 29 Mar 2000 16:49:45 EST
> From: KYancey
> Subject: Re: RAKU: Copper Matt Techniques
>
> ----------------------------Original message----------------------------
> Yes, thank you Susan, I mean to say cone 011. Sorry... Ken
>
> Susan Goldstein wrote:
>
> > ----------------------------Original message----------------------------
> > In a message dated 03/27/2000 3:06:51 PM Eastern Standard Time,
> > kyancey1@tampabay.rr.com writes:
> >
> > << raku pottery. So far I've been
> > using Mark's Copper Matt from the Branfman Book. Frit 3110 10%, Copper
> > carb 90%, Iron Oxide 5%. I fire in a fiber lined oil drum in oxidation
> > to cone 11. >>
> >
> > I never heard of firing raku to cone 11. Is this a mistake?
> >
> > Susan
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:49:53 EST
> From: Carol Jackaway
> Subject: Bailey slab roller is sold
>
> ----------------------------Original message----------------------------
> The Bailey slab roller is sold. Thank you all for your interest.
> Carol Jackaway
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:50:01 EST
> From: "Louis H.. Katz"
> Subject: Re: teapot question
>
> ----------------------------Original message----------------------------
> Hi Bacia,
> All Clay is cracked and everytime you change its temperature the cracks
grow.
> The more evenly you bring your pot through the change in temperature the
less
> the growth is. This is why we cool our kilns slow.
> Ah Leon rinses both the outside and inside of his Yi Xing teapots before
use.
> Louis
>
> Murray & Bacia Edelman wrote:
>
> > ----------------------------Original message----------------------------
> >
> > Hello, friends.
> > Short question: In giving instructions to a purchaser of a functional
> > teapot, and if I want to print a note re rinsing teapot first with warm
> > tapwater and then pouring in the boiling water, do I instruct new owner
to
> > do this the first time or two only, or every time the teapot will be
used.
> > If you have an answer, I would be most grateful. If you wish to read
on,
> > fine too. It gets wordy.
>
> --------------------------------------------------------------------------
--
> > ---------
> > I have been making teapots for years and years. In the past,thrown in
> > porcelain and highly functional, high-fire reduced. Later handbuilt
with
> > table-stands and cups, very non-functional and even the spouts were
solid
> > clay, lids part of design and affixed. Low-fired and layered
underglazes.
> > I quit those about 5 yrs. ago.
> > And I had no chance to enter the recent discussion re both types.
> > Now I make two types of teapots: mainly electric-fired and partly
> > hand-built with thrown bases and lids. The others are loose, mostly
> > hand-built, but quite functional and fired as guests in wood kilns.
> > My question is about placing instructions on the inside in a note to new
> > owner.
> > At NCECA, I saw a very nice John Glick teapot on exhibit. As there were
no
> > signs not to touch, I typically looked inside. There was a note telling
> > the new owner to rinse first with hot tap water and then pour in the
> > boiling water.
> > I never did this with my own functional ones.
> > BUT, I recently ruined a wood-fired one, by pouring water straight from
a
> > boiled kettle into it, and it was a successful one to look at. All
> > hand-built and time-consuming. The crack which occurred made a
sickening
> > NOISE. The spout poured beautifully!!
> > I spoke with Randy Becker, friend and high school teacher who invites me
> > now to place pieces in any of his kilns, salt or wood with salt, and who
> > had fired it. He is sure it was the clay body, which was not meant to
go
> > to c/11, which the teapot reached, never mind even c/10 which
Continental
> > Clay expects it to withstand ("high fire c/7 to c/10 white stoneware" is
> > how it is listed in catalog.)
> > I have just sold the last functional teapot still in my hands, still to
be
> > picked up.
> > It will remain in my town, Madison, as it is a wedding gift to one of
the
> > poets from the rest of them in a poetry-writing group here. It was
fired
> > at c/6 in electric, and all those have been o.k. except for two. The
> > spouts are narrow and hand-built and the problem with those two: poured
> > like, well, Peyronie's disease :-}}} or a garden watering can or water
came
> > out from under the lid at the same time. Only two out of dozens failed
to
> > pour right and I yielded the hammer.
> >
> > But I want to put a note in this newly purchased teapot and need help
> > about what to say re the pre-warming. I wish I could bother John Glick
> > with a phone call, but he knows me not and my Clayart gang is helpful
and
> > wonderful.
> > Thanks, people. Bacia
> > (trying out several other high-fire clay bodies for teapots when I have
time)
> >
> > Bacia Edelman Madison, Wisconsin
> > http://www.mypots.com/bacia.htm
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:50:13 EST
> From: Fabienne Cassman
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> Hello Eloise,
>
> according to Hamer&Hamer's Potter's Dictionary, the term BISCUIT
originated
> in the 17th c. in France when tin glazing was introduced; it necessitated
> an extra firing.
>
> Anyone can explain why "tin"? TIA
>
> Cheers,
>
> Faye
>
> --
> Pottery Toolbox http://clay.justnet.com
> Virtual Gallery http://clay.justnet.com/cgallery/
>
> Yes, I have learned from my mistakes...
> I can reproduce them exactly.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:50:21 EST
> From: Joyce Lee
> Subject: NCECA Impressions Continued
>
> ----------------------------Original message----------------------------
> Bad form, probably, but I dashed in and out of several panel
> discussions. I couldn't totally absorb these wonderful interactions
> because I was so eager to move on to the next riveting
> demo/presentation/exhibit. The ones on English Bone China and another on
> Sacred Ceramic Arts of Africa intrigued me the most.......I'm not even
> sure why. The simultaneous demos by Paul Dresang, Amara Geffen and
> Doug Jeck bound me in such a spell that I remained for two hours and
> returned again the next day for their followup. The video taping of the
> demos, which was shown on very large screens on either side of the stage
> and focused on the hands at work, was absolutely superior! The only
> other such I've seen was at NCECA Las Vegas. This process has come a
> very long way since then. In between I visited the extruder exhibit
> room, mug rooms, and contemplated which extruder to order as I browsed
> the exhibitor room....with periodic trips to Floor 22 for hugs, smiles
> and teasing in the Clayart room (How come antiquated ladies with crooked
> toes are so readily teased, anyway? Kindly done, of course; these are
> clayarters, after all) .....and next door to the Axner Hospitality Room
> to peruse their books and get a front, soft seat for Nils Lou's throwing
> demo ... an underglaze demo....and one on paperclay......all done
> extremely well. Drat! I missed Mel's ITC presentation for Axner after
> clearing my decks just to attend.....the time was changed and I JUST
> missed it!! Reportedly, it went very well, indeed, even without me, with
> a crowded room and much expressed interest. What did I buy, you've
> asked? The Potter's Workbook.....not the advanced, and not because I
> couldn't handle it...but because the first one is the better one by far,
> which sometimes happens; as we all know, the sequel often doesn't
> compare with the original. I ordered the Bailey 9" power
> extruder............but was really tempted by Scott Creek's biggest
> extruder. If I hadn't been honor bound to #1 Support Person to buy an
> extruder THIS TRIP, get it over with, and then quit yammerin' about it,
> I'm not sure just how the scales would have tipped. I'd researched the
> Bailey ad nauseum and know I'll love it.......but that Scott Creek was
> tempting, too.
>
> People???? Ahhhhh.....Liz the Willowy and Dannon the Serene were exactly
> as I'd pictured them. Doug Gray was a total surprise AND from my
> original wooded Appalachian mountains....born only 60 miles from my
> childhood home...but decades apart, of course. It was fantastic to
> finally meet Bacia and I loved her roomie, Marta, also; Mel was just as
> he seems on Clayart. Most definitely, what you see is what you get
> plus.....warm, bright, clever, fun...easily switches from serious to
> humorous....intellectual to comedic. Ron Roy's quick wit and warm smile
> were a surprise...not sure why...younger than I'd expected, too, or is
> it that I'm just that much older? Ran into Robin Hopper who was
> extremely warm and gracious. Jim Bowen who shared his experiences in my
> exact part of the Mojave. Sitting with John Hesselberth (and positioned
> just in front of my lovely author/friend Diana Pancioli whose extruder
> book sold out first day, I heard) for Emerging Artists presentation was
> an unexpected treat. One of the joys of Clayart is looking at the badge,
> recognizing the name and feeling immediately comfortable.....no small
> talk, nor bull**** necessary. New buds: Jeri Palmer, Linda Blossom,
> Terry from Nottingham England, Paul Lewing (much younger than I'd
> imagined and charming), Cheryl, Bonnie, all the Alaskans, the aussies
> and New Zealanders, one lady from Wales with whom Karen Fisher, June
> from B.C. and I wound up in a Sports Bar because somebody insisted on
> STEAK (need red meat now) on Saturday night in the big city....we had no
> reservation and were told we wouldn't need one in this other
> "restaurant" just 2 blocks over (NOT; about 6 long blocks up and over)
> ....soon discovered why; well, this is a tale all by itself......with 3
> tvs blaring and everybody else yelling madly in my ear....no choice
> language I hadn't heard working in a high school; just never so close to
> my person) loved the company, food was good, experience was most
> un-desert-like.......
>
> Joyce
> In the Mojave anxious to get started in the studio but unable to stop
> admiring and patting the embarrassment of riches added to my Clayart
> collection in Denver.......
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:50:50 EST
> From: Rosanne Cleveland-King
> Subject: Square Plates and Slumping molds
>
> ----------------------------Original message----------------------------
> I have been fruitlessly searching the archives for the information on how
to
> make and finish square plates using the BullsEye slumping molds. Can
> someone please enlighten me?
> Thank you,
> Rosanne Cleveland-King
>
>
>
>
>
> Vintage Person; Aged to Perfection over 50 years!
> Well worth the wait!
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:50:59 EST
> From: Marshall Talbott
> Subject: Re: Pugmill advice?
>
> ----------------------------Original message----------------------------
> We have a Venco 4" deairing pugmill that is absolutely terrific.. we can
get
> a constant vacuum of about 99kPa... It really saves the wrists..
>
> We also make our own claybodies.. Our clay is vastly superiour to any of
> that premixed stuff that we tried in the days of old....
>
> Marshall
> http://www.potteryinfo.com
>
> >From: Jeri Palmer
> >Reply-To: Ceramic Arts Discussion List
> >To: CLAYART@LSV.UKY.EDU
> >Subject: Pugmill advice?
> >Date: Tue, 28 Mar 2000 13:18:37 EST
> >
> >----------------------------Original message----------------------------
> >Howdy folks. I am in the market for a pugmill. I am impressed with the
> >small shimpo and I have looked at the smallest Bluebird. I am curious
> >about
> >other potters experiences with these or any other models. I work in ^10
> >porcelain and my wrists are not happy. I know a pugmill would change my
> >life. Any comments would be appreciated. TIA Jeri in Hastings, MN
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:51:08 EST
> From: Murray & Bacia Edelman
> Subject: Re: non-functional teapots
>
> ----------------------------Original message----------------------------
> Vince, oh Vince: Where were you when I had to defend myself and write
> statements during the bunch of years that my teapots were parts of a
> composition and definitely not utilitarian, a better word for me than
> functional? I really loved what you wrote and have enjoyed the exchange
> between you and Ray.
> Vince wrote:
> On the contrary, the decision to ignore utilitarian function is perfectly
> natural and normal in the case of a sculptural work which references the
> teapot form, while the decision to go to the extra effort to make the work
> functional in a utilitarian sense is a little bizarre, unless one sets out
> from the start to make utilitarian teapots or to comment on the actuality
of
> utilitarian function.
> end quote
> -------------------------
> I have not entered the fray before for lack of security about what I might
> say and for lack of time. But I am glad the conversation goes on and I
> read every entry with the Subject: teapots.
>
> For some strange reason, even my lichen-glazed teapots are becoming
usable.
> It is just where my thinking pushes me, and I obtain tremendous pleasure
> when people, whom I know personally, buy the usable though still
> "sculptural" teapots I had placed in a nearby gallery.
>
> Bacia
> P.S. The teapot is a great challenge to go either way or do a combination
> study
>
>
>
>
>
> Bacia Edelman Madison, Wisconsin
> http://www.mypots.com/bacia.htm
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:51:16 EST
> From: mel jacobson
> Subject: tell me about your work
>
> ----------------------------Original message----------------------------
> I have found over the years that asking the question, `tell me about
> your work` is most effective.
>
> People will then give you a short description of what they do.
>
> Asking if you are functional or abstract is far to tight a comment.
>
> `I function quit nicely, thank you.`
>
> But, as a mature male potter, I have found asking others about
> their work is a great opener, it gives young people and new potters
> a chance to speak and not expect just to listen.
>
> Mel/MN
>
> minnetonka, minnesota, u.s.a
> http://www.pclink.com/melpots (website)
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:51:33 EST
> From: Bobbi Bassett
> Subject: Re: Prices, prices, prices
>
> ----------------------------Original message----------------------------
> Hi Fellow Clayarters,
>
> I think all of you who have tried to make the point that there are all
kinds
> of mugs...... all quality of mugs..... are right on. I have read the
comments
> remembering the mugs I made when I first started in this business (in the
> dark ages). My $5 mugs sold fast and why not when I was underselling every
> other potter at the show. I was too much of a novice to realize it, but
> another potter caringly clued me in.
>
> Since then I have sold mugs in all price ranges...... Now my regular
> functional mugs run from $16-20........ quote mugs $25-27 and mugs in my
> signature work, sculpted grape vines and leaves $45-49. Each mug at each
> price range has a customer. No two customers tastes or pocketbooks are
alike.
> And, no one questions the prices. My customers seem to feel they get what
> they pay for.... and come back for more.
>
> Just my two cents worth.
> Bobbi in PA where it's trying hard to rain again.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:51:43 EST
> From: "Dwiggins, Sandra (NCI)"
> Subject: Re: pricing, mugs, etc(long)
>
> ----------------------------Original message----------------------------
> Probably it would be if she copyrighted the pieces and made sure that it
was
> obvious on each piece. The problem is, that even if she did that, if the
boxes
> that the guys were making were significantly different looking, even if
they had
> the tissues coming out of the mouth, then she wouldn't have a case.
Copyright
> is just that, the exact copy or a considerable amount of copying of a
book, a
> song, a poem, etc. is what the law is protecting against. This is a
major
> legal issue---"intellectual property"---and it would be highly unlikely
that
> your friend would pay a lawyer to take these guys to court----or for that
matter
> it would be highly unlikely that any potter would take a copycat to court.
> Might be interesting case for small claims though. The potter would have
to
> prove that he/she lost considerable income/name recognition/whatever from
the
> copycat-ing. And would need to be very exact in what he/she is asking for
when
> the case is presented.
>
> Sandy
>
> -----Original Message-----
> From: Diane G. Echlin [SMTP:dechlin@connix.com]
> Sent: Tuesday, March 28, 2000 1:12 PM
> To: CLAYART@LSV.UKY.EDU
> Subject: Re: pricing, mugs, etc(long)
>
> ----------------------------Original message----------------------------
> > So the next time you have a great idea. One that you've developed for a
year.
> > One that people flock to your booth for. Be aware that the likelihood
that it
> > will end up in Wal-mart in several months is a real possibility. A line
at
> > your booth for a certain item is a sure sign that you've created a
design
> > worth ripping off.
>
> A potter in my hometown, Anita Griffith, is facing just this problem. She
has
> been making "sneeze boxes" that disguise your tissue box, and the tissue
issues
> from yes, you guessed it, the mouth. Well, a few years ago she sold a
couple
> pieces to some gentlemen at a show somewhere down south, and at the same
show th
> following year, her sneeze boxes were being sold by those very men who had
made
> molds and were slip-casting the boxes. Disgusting. I can't help but
think that
> something that specific must be covered buy copyright.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:52:12 EST
> From: "Louis H.. Katz"
> Subject: Joe Molinaro Nomination
>
> ----------------------------Original message----------------------------
> Dear Clayart,
>
> I would like to nominate Joe for NCECA Honors and Fellows for his
> service to the World Ceramics Community. I would like to do this with
> the entire Clayart community. With this honor comes NCECA membership for
> life. There is no doubt in my mind that his massive contribution to
> clay in general and its spill over into NCECA merits this award.
>
> Achieving this may be a bit difficult, but we do have Clayart members,
> former and present on the board. Jim Connel, Elaine Henry, and Ted
> Vogel. To help me with this nomination I am asking that ALL Clayart
> members email me at:
> nominatejoe@nceca.net
> nominatejoe@nceca.net
>
> Your message should say: I nominate Joe Molinaro as an NCECA Fellow.
> Please include your name, and country. I will print out your nomination
> and forward the stack to the board of directors. I am aiming for 100%
> response from clayart members. Please respond today to:
> nominatejoe@nceca.net
>
>
> Louis
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:03 EST
> From: Al Schlimm
> Subject: Re: Asheville Bound
>
> ----------------------------Original message----------------------------
> Thanks Tracy. That would be much appreciated. Here's the address:
>
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> Al Schlimm
> 3785 Plum Spring Lane, Ellicott City, MD 21042
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
>
>
>
> ----- Original Message -----
> From: "Tracy Dotson"
> To:
> Sent: Tuesday, March 28, 2000 1:25 PM
> Subject: Re: Asheville Bound
>
>
> > ----------------------------Original message----------------------------
> > Al..The Spring tour is the 6 &7 of May. If you can send me an address I
> can
> > snail mail a map of the craft studios in this area.
> >
> > The Pottery
> > Tracy Dotson
> > PO Box 14
> > Penland NC 28765
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:18 EST
> From: Richard Gilbert
> Subject: Re: Mixing Plaster
>
> ----------------------------Original message----------------------------
> Elaine,
> Have you considered wood instead of plaster? Plaster is harder to clean if
> you are wedging different colors of clay. Plaster also tends to dry your
> clay out too quickly and make it short.
> An untreated wood surface requires no replacement.
> Richard Gilbert
> Cherryville, NC
>
>
> Elaine Beaufait wrote:
>
> > ----------------------------Original message----------------------------
> > This is my first communication on this list. After reading all the great
> > responses to other questions I feel confident someone can help me out
> > here. I am looking to create a wedging table. The size of the structure
> > is 28 x 32 x 2.5. This is an old counter that I am having the sides
> > added to. My question is how to mix the plaster. Anything I need to be
> > aware of. I believe someone said it is tricky but I forgot who said it
> > and just what did they mean??
> >
> > Thanks
> > Elaine Beaufait
> > Hudson, NY
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:28 EST
> From: David Woodin
> Subject: Re: Electric kiln problem: Kiln sitter contacts
>
> ----------------------------Original message----------------------------
> The kiln sitter was suppose to be a high limit safety to prevent the kiln
> from overfiring. The sitter contacts would last longer if the sitter was
> used as a safety and not to terminate each firing. In other words use
> witness cones and shut the kiln off manually or let the computor shut the
> kiln off.
> David
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:35 EST
> From: David Woodin
> Subject: Re: Pugmill advice?
>
> ----------------------------Original message----------------------------
> I would look at the Peter Pugger which has a much larger hopper and
opening
> than the Shimpo or Bluebird and the clay can be mixed for as long as
needed
> before pugging.
> David
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:41 EST
> From: Helen Bates
> Subject: Re: CLAYART Digest - 26 Mar 2000 to 27 Mar 2000 (#2000-88)
>
> ----------------------------Original message----------------------------
> Dear Lee Love,
>
> Thanks very much. The pots were nice to see, and the article was
> informative. I'm someone who likes both well-made and well-designed
> useful items, and many things that are made with other ideas in mind
> than conventional "use". Sometimes these things, such as the Peta Hall
> mini teapot and mug I got at the "One of a Kind" show last fall in
> Toronto are more "whimsical" than "beautiful", but I love them anyway.
>
> Some useful items I have (mugs, mostly, and bowls) are both fine art
> "beautiful" and useful art "beautiful".
>
> One thing about the "fine art" type of beautiful is an element of
> seeming or actual fragility in it. The "useful" beautiful at least
> -seems- more durable, and, as the article implies, "healthy", or, safe,
> to use.
>
> Concept art is something I like to look at, though only occasionally to
> own. The one piece I bought is not pottery but sculpture from recycled
> objects and material, by Judith Kreps Hawkins. She almost always
> includes altered books in her pieces, and thread. Sometimes the book's
> text is highlighted as part of the theme, sometimes not. I saw a new
> piece of hers in our local co-operative gallery in Belleville, Ontario,
> and it had dead honey bees all over the outside of the cover of the
> small book. (I presume they died a natural death, as most bees in
> northern climates don't survive the winter, except for a central core, I
> think...) Anyway, the piece was interesting for the form, the addition
> of silvery curly threads between the pages, the things brought to mind
> by the parts and the whole of the piece.
>
> Yours,
>
> Helen
>
> > ------------------------------
> >
> > Date: Mon, 27 Mar 2000 15:02:08 EST
> > From: Lee Love
> > Subject: Re: Warren MacKenzie
>
> > (...) (...)
> >
> > http://www1.ocn.ne.jp/~ikiru/mphotos.jpg
> >
> > Also, it is impossible to understand MacKenzie's prices without
> > examining the greater philosophy they are influenced by. Here is
> > something on Mingei by Soetsu Yanagi that might help. I'll write more
> > about it later.
> >
> > http://www1.ocn.ne.jp/~ikiru/mingei.html
> >
> > --
> > Lee Love
> > 2858-2-2 , Nanai
> > Mashiko-machi
> > Tochigi-ken
> > 321-4106
> > JAPAN
> >
> > Ikiru@kami.com
> >
> > ------------------------------
>
> --
>
> =========================================================
> Helen Bates
> mailto:nell@reach.net
> =========================================================
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:49 EST
> From: Bobbi Bassett
> Subject: Re: Prices, mug prices
>
> ----------------------------Original message----------------------------
> In a message dated 03/27/2000 3:01:53 PM Eastern Standard Time,
> JIMV062@aol.com writes:
>
> > ----------------------------Original message----------------------------
> > Patrick..it has been my experience that potters will pay a lot more
for a
> > coffee mug than anyone else.!!!!!!!!. Makes you wonder.. does the rest
of
> > the world know something we don't.. or do we know something that we are
not
> > telling..?
> I'm not Patrick, but I feel a need to reply. Obviously we know something
the
> rest of the world doesn't. WE POTTERS know the artistry, the
craftsmanship,
> the mechanics, the time and long hours, the sweat, the worry, AND THE LOVE
> that is put into a hand thrown or shaped clay vessel. Don't you feel sorry
> for the rest of the world? It's our little secret.
>
> Bobbi in PA where it's finally beginning to rain again
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:53:56 EST
> From: HD
> Subject: Re: MacKenzie / Shimaoka-sensei
>
> ----------------------------Original message----------------------------
> Excellent assessment John.
> Doing well here in Tokyo at my first exhibition selling goblets etc that
> take me 4 1/2 hours each to make...selling for $35
> Yes, I'm not giving up my day job
> Dan considine
> At 01:22 PM 03/28/2000 -0500, you wrote:
> >----------------------------Original message----------------------------
> >------------------
> >(clip)
> >Lets say these two potters are equal in all respects, both can throw as
> >well, and as quickly. Now what happens after say a month when both have
> >made
> >1000 mugs or whatever. Warren MacKenzie will no doubt manage to sell all
> >his
> >mugs at say $10 each but what happens to Shimaoka 1000 mugs. They are
> >priced
> >at $500 each, and I doubt if many have sold, and the following month he
> >makes another 1000 mugs. WHERE DOES HE KEEP THEM UNTIL HE FINDS A MARKET
IF
> >EVER??? Also Warren MacKenzie has earned $10,000 (less costs) with his
> >months mugs but how much has the other guy made in that month.?
> >In other words I think sales need to keep up with our production to a
> >certain extent.
> >(snip)
> >
> >Hi Jean. I have been terribly busy and am catching up on a huge stack of
> >unread CLAYART Digests.... so this might have been mentioned by
> >now.................
> >
> >Your point above is probably pretty valid if it were more a direct
> >comparison of two potters, BOTH here in the USA, producing at the high
end
> >and the low end of the pricing scheme. Mel talks about that concept a
> >lot...... the well-known "gallery potter" who can't have a backyard
studio
> >sale but whose work is priced for thousands of dollars in the major
> >galleries. But he/she only sells a couple of pieces a year....while the
> >back yard sales potter is outselling him/her! All too true.
> >
> >However..... comparing Shimaoka-sensei's situation in Japan to
MacKenzie's
> >here in the USA might be a bit of apples to oranges .
> >
> >Shimaoka-sensei has NO problem in selling everything his studio produces,
> >and the high price is not particularrly an issue that retards any sales.
> >In fact, like many "prestigious" things..... the high price point is an
> >asset. It helps give the work an air of exclusivity...... and makes the
> >work a good investment. A lot of "market position" factor is involved as
a
> >Living National Treasure in Japan, and he is under a lot of pressure to
> >maintain very high prices.
> >
> >The market for all pottery in Japan is QUITE different from that here in
> >the US. Hard to truly appreciate until you've been there and see what
goes
> >on. VAST amounts of pottery is produced .... and it is readily
purchased.
> >Pricing is on a completely different scale. When I was there visiting,
> >Shimaoka-sensei was just opening a kiln and it was all sold before the
> >doors were out. Simple yunomi (with signed box) were about $800 (US) in
> >1996. Many vases in the 12-15 inch high range fetched about
$25,000-35,000
> >(US) and more.
> >
> >I had the pleasure of visiting the Pucker Gallery on Newbury St. in
Boston
> >the last time Shimaoka-sensei was there having a show. MacKenzie also
had
> >a small exhibition in one of the Pucker's smaller upstairs galleries
> >ocurring at the same time. Both shows were pretty much sold out a couple
> >hours after the doors opened. Mac's at his typical low
> >prices.......Shimaoka-sensei at his high ones (but lower than in Japan).
> >
> >Shimaoka-sensei mentions in his introduction to a book on MacKenzie his
> >fondness for Mac's adherence to the inexpensive prices typical of the
folk
> >potter. There is a wistfullness in his comments. I think sensei is just
a
> >tad envious of Mac's ABILITY to keep his prices low. Shimaoka-sensei is
a
> >bit of a "prisoner" of his culture and his success. He MUST maintain
very
> >high prices...... to keep the proper professional respect, to protect the
> >huge investments of all his customers, and to maintain the proper high
> >status for the "office" of Living National Treasure for the government.
So
> >while Shimaoka-sensei is certainly very well off........... he is trapped
> >by the very system that makes him so successful, and has paid a price of
> >freedom for that success. Tradition is powerful, even if you are an
> >internationally recognized ceramic artist ..... not a village mingei
> >potter.
> >
> >Mac pretty much sells all his stuff. So does Shimaoka-sensei. Both are
> >top-of-the-field potters.....just in two different cultures with vastly
> >different appreciations for the arts. MacKenzie is reasonably well off
in
> >American middle class-dom from a combination of his university retirement
> >plus his pot sales. Shimaoka-sensei is a multi-millionare from his
> >governmental L.N.T. subsidy and his pottery sales.
> >
> >So in the example you gave, MacKenzie grossed $10,000.......... but
> >Shimaoka-sensei grossed $500,000. (Shimaoka-sensei's expenses WERE far
> >higher than Mac's!) And that sort of (unfortunately) is a bit of a
> >barometer on the difference in the cultural appreciation of pottery
making
> >between the USA and Japan .
> >
> >One thing is for sure here......................both of 'em make darn
nice
> >pots! Hopefully they both will be around for quite a few years yet,
> >blessing the world with even more great pieces.
> >
> >
> >Best,
> >
> >............................john
> >
> >John Baymore
> >River Bend Pottery
> >22 Riverbend Way
> >Wilton, NH 03086 USA
> >
> >603-654-2752 (s)
> >800-900-1110 (s)
> >
> >JBaymore@compuserve.com
> >John.Baymore@GSD-CO.com
> >
> >"Earth, Water, and Fire Noborigama Woodfiring Workshop August 18-27,
> >2000"
>
> Daniel P. Considine, Ph.D.
> Waseda University
>
> 102 Century Mansion
> 4-23-11 Irumagawa
> Sayama City, Japan, 350-1305
>
> Ph/Fax (81) 0429 54 2401
> Cell (keitai) 0908 105 8750
>
> I started with nothing
> and I still have most of it left.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:54:04 EST
> From: Helen Bates
> Subject: Re: looking for line drawings of pottery
>
> ----------------------------Original message----------------------------
> Donald;
>
> This reminded me of a book my daughter found in a second-hand store and
> gave me recently:
>
> "The Penguin Dictionary of Archaeology"
> by Warwick Bray and David Trump, copyright 1970.
>
> (My copy is a 1995 reprint).
>
> There are numerous illustrations of prehistoric pots, all line drawings,
> quite small format (one to two inches square), with details of the
> patterns of decoration as well as the shape of the pot. The articles
> are brief, but there is usually a sentence or two about the pot
> illustrating the culture or style the piece illustrates.
>
> Maybe this will help.
>
> Helen
>
> > Date: Mon, 27 Mar 2000 15:16:21 EST
> > From: Donald Burroughs
> > Subject: Re: looking for line drawings of pottery
> >
> > ----------------------------Original message----------------------------
> > ------------------
> > To all fellow members... I am looking for line drawings of pottery. The
type
> > of drawing is detailed, in black and white, and is often associated with
> > written description, eg. Dictionarys and technical books pre-dating
photograp
> > as the means of representation. Any suggestions?
> >
> >
> > Thanks to all for your help
> >
> > Donald Burroughs
>
> --
>
>
> =========================================================
> Helen Bates
> mailto:nell@reach.net
> =========================================================
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:54:25 EST
> From: Edward Cowell
> Subject: Clayart Archives - can't find
>
> Editor's note: Use the archives at:
> http://lsv.uky.edu/archives/clayart.html You will have better luck! Mary
>
> ----------------------------Original message----------------------------
> Having a problem getting info from Clayart Archives. When I open up
> "Clayart - Searching the Archives" and click on "Reference.com", I get
the
> message "File not Found". Where do I go from here?
>
> Laurie Cowell,
> Waterloo, Ontario, Canada
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:55:22 EST
> From: John Hesselberth
> Subject: Glaze Stability Charts
>
> ----------------------------Original message----------------------------
> As a followup to the NCECA discussion on this subject, I have posted the
> charts I used as a pdf file ( you need the free Adobe Acrobat Reader
> program). If you want a copy just go to:
>
> ftp://ftp.frogpondpottery.com/GlazeStabilityCharts.pdf
>
> and a copy will automatically be downloaded to your hard disk.
>
>
> John Hesselberth
> Frog Pond Pottery
> P.O. Box 88
> Pocopson, PA 19366 USA
> EMail: john@frogpondpottery.com web site: http://www.frogpondpottery.com
>
> The only things in life that are certain are death and taxes; however
> only taxes come once a year. Anonymous
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:55:47 EST
> From: Kathi LeSueur
> Subject: Re: copyright was:pricing, mugs, etc(long)
>
> ----------------------------Original message----------------------------
>
> In a message dated 3/28/00 1:25:48 PM, teres@flash.net writes:
>
> << This was a "trademark" decision right? Copyright is different and I
can't
> tell by the various comments which we are talking about. >>
>
> This was not a trademark decision. It was a copy right decision. The
clothing
> in question had very distinctive applied designs (fruit, etc). Anyone
> familiar with the line would recognize it any where it was sold. The only
> difference in the Wal-mart line was that the label inside was from another
> manufactuer.
>
> Design was specifically mentioned in the decision. It appears you can copy
a
> design as long as you don't copy the trademark along with it. So you could
> copy every distinctive feature of a Nike shoe but the trademarked "swoosh"
> and be just fine according to the decision.
>
> This is an expecially bad decision for any craftsperson. I can think of a
few
> garment makers who can expect to see their designs copied and sold in
> Wal-mart in the near future. The "artist" doing really one of a kind work
> MIGHT be safer. But I wouldn't bet on it. It's open season on our
creativity.
>
> Kathi LeSueur
> Ann Arbor, MI
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:55:53 EST
> From: Aiko Ichimura
> Subject: Re: MacKenzie / Shimaoka-sensei
>
> ----------------------------Original message----------------------------
> Hi all,
>
> I appreciated John Baymore's comment about MacKenzie/Shimaoka comparison
> very much. I grew up near Mashiko where Shimaoka lives and am familiar
> with the general situation as far as the pottery goes.
>
> I have felt many times that the price of pottery in the US are rather
> reasonable
> or very affordable. As I have mentioned before I mistook the price of tea
> cup in a Mashiko
> pottery shop: I thought the tea bowl was 350 yen( about $3.00) but it was
> actually 350,0000.00 yen
> ($30,000.00). I was quickly pointed out by my sister-in-law. No wonder!.
It
> was by Hamada.
>
>
> I was reading a book about pottery in Japanese and it explained that
> the peculiar thing about the Japanese pottery. If the pot or bowl does not
> have a wooden box
> with the potter's signature(Hakogaki) on the box the value of the pot or
> bowl is reduced considerably
> even it's proven the authenticity of the maker. So the author of the book
> hinted that if
> you want to own , say a Hamada piece, you might ask an antique dealer to
> look
> for a Hamada and you don't care if there is no box and hakogaki . You
might
> be able to
> own a Hamada very reasonably. This may no longer be true( the book was
> written many years ago.
> Hamada was still alive then.
>
> The author also visited the Hamada studio in Mashiko and made a NHK TV
> documentary
> about Hamada and his work. He was told by Hamada that he helps to make
> hundreds of
> pots and bowls but he picks out a few pieces out of kiln that he was
happy
> of the result and put
> his signature and re-fire them as his pieces. The rest are sold as
ordinary
> pieces with
> affordable prices with no Hamada signature. The author pointed out that if
> you have good
> eyes, probably you could pick Hamada pieces with affordable prices if you
> don't mind
> for not having his signature.
>
> Shimada was Hamada's student and he very struggled to develop his own
style
> for many years. Shimada commented in a book that Hamada encouraged him to
> break from the Hamada style pottery and find his own. I am so proud of
> Mashiko
> potters. I've heard so many stories about Hamada while I was growing up.
>
> I am so envious of Lee Love who is working in Mashiko and enjoying
> the life of potter/farmer(aspect of).
>
> If you ever visit Japan, include Mashiko and the Hamada house in the list
of
> must-visit places.
>
>
>
> Aiko Ichimura
> NW DC 20036 USA
> aikop@erols.com
> ----- Original Message -----
> From: John Baymore
> To:
> Sent: Tuesday, March 28, 2000 1:22 PM
> Subject: MacKenzie / Shimaoka-sensei
>
>
> ----------------------------Original message----------------------------
> ------------------
> (clip)
> Lets say these two potters are equal in all respects, both can throw as
> well, and as quickly. Now what happens after say a month when both have
> made
> 1000 mugs or whatever. Warren MacKenzie will no doubt manage to sell all
> his
> mugs at say $10 each but what happens to Shimaoka 1000 mugs. They are
> priced
> at $500 each, and I doubt if many have sold, and the following month he
> makes another 1000 mugs. WHERE DOES HE KEEP THEM UNTIL HE FINDS A MARKET
IF
> EVER??? Also Warren MacKenzie has earned $10,000 (less costs) with his
> months mugs but how much has the other guy made in that month.?
> In other words I think sales need to keep up with our production to a
> certain extent.
> (snip)
>
> Hi Jean. I have been terribly busy and am catching up on a huge stack of
> unread CLAYART Digests.... so this might have been mentioned by
> now.................
>
> Your point above is probably pretty valid if it were more a direct
> comparison of two potters, BOTH here in the USA, producing at the high end
> and the low end of the pricing scheme. Mel talks about that concept a
> lot...... the well-known "gallery potter" who can't have a backyard studio
> sale but whose work is priced for thousands of dollars in the major
> galleries. But he/she only sells a couple of pieces a year....while the
> back yard sales potter is outselling him/her! All too true.
>
> However..... comparing Shimaoka-sensei's situation in Japan to MacKenzie's
> here in the USA might be a bit of apples to oranges .
>
> Shimaoka-sensei has NO problem in selling everything his studio produces,
> and the high price is not particularrly an issue that retards any sales.
> In fact, like many "prestigious" things..... the high price point is an
> asset. It helps give the work an air of exclusivity...... and makes the
> work a good investment. A lot of "market position" factor is involved as
a
> Living National Treasure in Japan, and he is under a lot of pressure to
> maintain very high prices.
>
> The market for all pottery in Japan is QUITE different from that here in
> the US. Hard to truly appreciate until you've been there and see what
goes
> on. VAST amounts of pottery is produced .... and it is readily purchased.
> Pricing is on a completely different scale. When I was there visiting,
> Shimaoka-sensei was just opening a kiln and it was all sold before the
> doors were out. Simple yunomi (with signed box) were about $800 (US) in
> 1996. Many vases in the 12-15 inch high range fetched about
$25,000-35,000
> (US) and more.
>
> I had the pleasure of visiting the Pucker Gallery on Newbury St. in Boston
> the last time Shimaoka-sensei was there having a show. MacKenzie also had
> a small exhibition in one of the Pucker's smaller upstairs galleries
> ocurring at the same time. Both shows were pretty much sold out a couple
> hours after the doors opened. Mac's at his typical low
> prices.......Shimaoka-sensei at his high ones (but lower than in Japan).
>
> Shimaoka-sensei mentions in his introduction to a book on MacKenzie his
> fondness for Mac's adherence to the inexpensive prices typical of the folk
> potter. There is a wistfullness in his comments. I think sensei is just
a
> tad envious of Mac's ABILITY to keep his prices low. Shimaoka-sensei is a
> bit of a "prisoner" of his culture and his success. He MUST maintain very
> high prices...... to keep the proper professional respect, to protect the
> huge investments of all his customers, and to maintain the proper high
> status for the "office" of Living National Treasure for the government.
So
> while Shimaoka-sensei is certainly very well off........... he is trapped
> by the very system that makes him so successful, and has paid a price of
> freedom for that success. Tradition is powerful, even if you are an
> internationally recognized ceramic artist ..... not a village mingei
> potter.
>
> Mac pretty much sells all his stuff. So does Shimaoka-sensei. Both are
> top-of-the-field potters.....just in two different cultures with vastly
> different appreciations for the arts. MacKenzie is reasonably well off in
> American middle class-dom from a combination of his university retirement
> plus his pot sales. Shimaoka-sensei is a multi-millionare from his
> governmental L.N.T. subsidy and his pottery sales.
>
> So in the example you gave, MacKenzie grossed $10,000.......... but
> Shimaoka-sensei grossed $500,000. (Shimaoka-sensei's expenses WERE far
> higher than Mac's!) And that sort of (unfortunately) is a bit of a
> barometer on the difference in the cultural appreciation of pottery making
> between the USA and Japan .
>
> One thing is for sure here......................both of 'em make darn nice
> pots! Hopefully they both will be around for quite a few years yet,
> blessing the world with even more great pieces.
>
>
> Best,
>
> ............................john
>
> John Baymore
> River Bend Pottery
> 22 Riverbend Way
> Wilton, NH 03086 USA
>
> 603-654-2752 (s)
> 800-900-1110 (s)
>
> JBaymore@compuserve.com
> John.Baymore@GSD-CO.com
>
> "Earth, Water, and Fire Noborigama Woodfiring Workshop August 18-27,
> 2000"
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:55:59 EST
> From: Sharon31
> Subject: Re: non-functional teapots
>
> ----------------------------Original message----------------------------
>
> >-----Is there a difference between functional and utilitarian?
And...what
> is it?
> > Sandy
> Hi!
> This is the point I tried to find. On the other hand: Is there a
difference
> between unfunctional and unutilitarian? Are they only words, I think that
> the functional and unfunctional, are terms of art. The last one,
> unutilitarian is "useless". This sharp and not fair describing of an
> unfunctional piece,As I understood from Zakin's book.This meaning, opened
> for me, the limits I had about how and what I should do!
> Ababi
> sharon@shoval.org.il
> http://www.israelceramics.org/main.asp?what=gallery.htm
> http://clay.justnet.com/cgallery/asharon.htm
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:56:12 EST
> From: Helen Bates
> Subject: Re: about clayart and thanks to those...
>
> ----------------------------Original message----------------------------
> Centa,
>
> I've been a member of Clayart for just a few months, and a learner in
> pottery off and on for 35 years, but only recently in any amount of
> concentration... As I posted recently, I am an "amateur", but, I love
> clay (and glass) object that I happen to consider either beautiful or in
> some other way delightful, no matter how perverse my perception may be
> to others!
>
> My main reason for this reply is to encourage you to post answers to
> others' questions if you have something to say, something to show,
> information you have found that may be of help, or of interest. The
> professionals will be the ones who teach us here, but they too have
> areas of lack that sometimes another can fill, for whatever reason (lack
> of time, individual differences in opportunities to gather information,
> etc.)
>
> Helen
>
> > -------------------
> >
> > Date: Mon, 27 Mar 2000 15:19:01 EST
> > From: centa
> > Subject: about clayart and thanks to those...
>
>
>
> > (...) (...) my son asked me this morning as he was looking over my
> > shoulder at me reading Clayart answers to my questions, "do You ever
> > answer anyone's questions"? "Not yet" was my response. Anyway, I think
> > it is a good idea to check in to the mission, and define the
> > audience/participants of this list to keep it growing and accessible to
> > all who are interested in the exchange of technical knowledge, ideas,
> > and all that can be shared through this mode of communication, no matter
> > what stage they are in the process.
> >
> > thanks,
> > Centa
>
>
> --------------
> --
>
> =========================================================
> Helen Bates
> mailto:nell@reach.net
> =========================================================
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:56:26 EST
> From: rickmahaffey
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> Eloise,
>
> In some older English books I have seen what we in the US call Bisque
> referred to as Biscuit as in Biscuit fire. Some clays have the
> appearance of a hard biscuit when they have been through a bisque
> firing. I seem to recall that Dr. Herbert Sanders would use that term
> on occasion when I was in his class at San Jose State Univ. back before
> the turn on the century. :)
>
> Rick Mahaffey
> Tacoma Washington, USA
>
> Eloise VanderBilt wrote:
> >
> > ----------------------------Original message----------------------------
> > For ten years I have been using the word bisque and for ten years I have
> > wondered when and from where the word came into the pottery world. I
assume
> > from the spelling it is from France but no pottery book I've read
explains
> > it. I eat soft BISCUITS and honey, I eat hard cookies called BISCUITS.
> > Neither sound like the bisquing process. Some one with a more
comprehensive
> > dictionary than I have access to may be able to help me.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:56:35 EST
> From: "S. Delaney"
> Subject: Re: Looking for a 'primoridal' glaze
>
> ----------------------------Original message----------------------------
> I like the effect I get from using a natural sponge to apply several
> different earth toned stains on bisque. They were then put in an electric
> kiln for the 'glaze' firing, but without any glaze. I got a book on faux
> finishing techniques for paint & adapted them for staining bisque. It it
> looks too dry for you with just the stain, warm the piece up, apply some
> paste wax & buff.
>
> I've also gotten very 'just dug up out of the earth' looks from ^04 course
> red clay soda fired without any glaze or stain.
>
> ----- Original Message -----
> From: Llewellyn Kouba
> To:
> Sent: Tuesday, March 28, 2000 12:27 PM
> Subject: Looking for a 'primoridal' glaze
>
>
> > ----------------------------Original message----------------------------
> > Dear Readers,
> >
> > I am currently working on a very large plate to be entered in a juried
> show
> > if I get it done on time. Does anyone have a glaze formula that might
> look
> > like ancient rocks or very dry and primoridal? The current article in
CM
> > (An Ecological Aesthetic) is a prime example of a glaze type that I am
> > searching for. Of course I don't have a lot of time for study and glaze
> > testing and cone 04 is not my usual firing but I might be willing to
try.
> I
> > have used stain like approaches before but like this very nondescript
> thing
> > and would certainly support this current project - Does anyone have a
> cone
> > 04 bone Matt glaze?
> >
> > 'Primordial river'
> > Llewellyn Kouba
> > ABBEY POTTERY
> > http://www.assumptionabbey.com/Pottery
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:56:42 EST
> From: Aiko Ichimura
> Subject: Re: Wood Kiln
>
> ----------------------------Original message----------------------------
> Hi Michael,
>
> I don't know how much it can help you but it might be of your interest to
> visit the below URLs:
>
> http://www.biwa.or.jp/~shiho/voulkos_fir.html
> http://www.biwa.or.jp/~shiho/frame/index.html
>
> The first one explains about anagama and its firing in English.
> The second one shows Mr. Shiho Kanzaki's , a Shigaraki potter, works.
> There are other pages in this site that are very interesting.
>
> My friend in Japan told me that Mr. Kanzaki is well known and accomplished
> yakishime( no glaze) potter. Enjoy.
>
> Aiko Ichimura
> NW DC 20036 USA
> aikop@erols.com
> ----- Original Message -----
> From: Michael C Hill
> To:
> Sent: Tuesday, March 28, 2000 1:25 PM
> Subject: Wood Kiln
>
>
> > ----------------------------Original message----------------------------
> >
> > I am seeking some advice.
> > I teach ceramics at the University of South Dakota. I have been a studio
> > potter for over 25 years, but all of my firing experience has been with
> gas
> > kilns. Recently my students built a wood kiln, a cantenery arch with the
> > firebox on the right, about 30 cu feet of loading space. We are getting
> > ready to fire it, armed with the best intentions and all the reading we
> can
> > cram. I was wondering if anyone had some ideas on a firing schedule, or
> any
> > experience with a kiln like this. I was hoping to get to Denver and pick
> > some brains but my back had other ideas.
> > Thanks in advance
> >
> > Michael hill
> > University of South Dakota
> > Mhill@usd.edu
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:57:04 EST
> From: Jim Brooks
> Subject: Re: No censorship
>
> ----------------------------Original message----------------------------
> Mel..i am sure that you believe what you say...When i see your name on
an
> item..i tend to believe what you say.... but, i don't think what you
said
> is correct in this case.--about censorship. I have sent several
responses
> that never did get posted.!!. Guess someone didn't like what i said.. But,
> that is censorship......(wonder if this will make it..). Jim in Dallas..
> no axe to grind.. "just the facts"..
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:57:29 EST
> From: Susan Goldstein
> Subject: Re: RAKU: Copper Matt Techniques
>
> ----------------------------Original message----------------------------
> When you say flash the pot I am assuming you mean to uncover it and let it
> flame up. How long do you keep it this way before recovering?
>
> Susan
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:57:35 EST
> From: Paul Lewing
> Subject: Re: NCECA
>
> ----------------------------Original message----------------------------
> > rickmahaffey wrote:
> > >
> > > ----------------------------Original
message----------------------------
> > > Hello Clayarters,
> > >
> > > Just returned from NCECA where my students and I had a good time.
One
> > > of my students asked why the first question out of most peoples mouth
> > > was: "Do you do functional or sculptural work?" She wanted to know
why
> > > this was important upon first meeting someone. I could not say why
> > > this was asked so many people.
> > >
> > > Any thoughts?
>
> Rick, I think it's their age. Being an OLD guy, the question I get is
> not about my work, but "Do you teach or are you a studio artist?" I
> look old enough to be a college teacher, but they probably don't. Just
> and attempt to pigeonhole people and make it easier to start a
> conversation.
> Paul Lewing, Seattle,
> finally getting over the NCECA sleep deprivation.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:57:42 EST
> From: Nichola Darwin
> Subject: Gerstley Borate
>
> ----------------------------Original message----------------------------
> ------------------
> Hello Eveyone=21
> I am an English amatuer potter and have been following the discourse on =
> CLAYART
> avidly for sometime now, but I would like to ask one question.
>
> What is Gerstley Borate? And is it available in England or is there an
> alternative? (O.K. Two qoestions=21)
>
> Thankyou=21
> nichola=40ndarwin.freeserve.co.uk
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:57:48 EST
> From: Frank Bosco
> Subject: Re: slab roller for sale
>
> ----------------------------Original message----------------------------
> Is the slab roller still available, and if so could you please re-describe
> the specifics e.g. size and model number. You are within my pick-up range.
> frank bosco
> fbacarts@aol.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:57:55 EST
> From: Aiko Ichimura
> Subject: Re: pricing, mugs, etc(long)
>
> ----------------------------Original message----------------------------
> Hi,
>
> I've been always wondering about the prices(inexpensiveness) of American
> pottery.
> I am not a rich woman but when I find beautiful pottery, I want them so
> badly like
> some woman wanting diamonds. I would rather own closetful of wonderfull
> pots and bowls
> that give me such deep happiness day and night than a 5 carat diamond
ring.
>
> Lucky me I found an American potter near by whose works gives me such
> joy and pleasure that I can stare at them all day if I don't have to work.
>
> His works are shown at the Smithsonian and an art gallery near my house.
> His works are reasonable compared to the prices of Japanese pottery.
> His tea cups starts from $50.00 and large vase goes up to $5000.00.
> He told me that he shows in Japan also and sells out each time with higher
> prices but in DC he does not sell out and his gallery takes 50%
commission.
>
> My potter friend looked at his work and was astounded by the beauty and
> quality
> of this American potter's works. He told me that it fetches much higher
> prices
> in Japan.
>
> I don't know for sure the reasons of our(Japanese) culture to appreciate
> pottery
> so much so that a pot can be a national treasure and a potter a National
> Living treasure.
>
>
> Aiko Ichimura
> NW DC 20036 USA
> aikop@erols.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:58:05 EST
> From: Dannon Rhudy
> Subject: Re: Jeck
>
> ----------------------------Original message----------------------------
> At 01:11 PM 3/28/00 EST, you wrote:
> >----------------------------Original message----------------------------
> >Okay
> >now that everyone is trickling back from nceca can someone give me the
> >scoop on the doug Jeck
> >demonstration.
> -----------------------------------------------
>
> It was interesting to see the demonstration. I didn't see
> all of it. There were three presenting at one time, as is
> usual. Doug Jeck's portion was to make a head for a figure -
> he did not have time to do the whole figure in the time
> there was. So he took a pair of old knit pajamas or maybe
> it was long underwear, stuffed it with paper to make a base
> figure for the head, strapped it to a chair. Attached,
> sort of, a turntable to the
> part where shoulders meet neck, and built the neck and head
> on that. He's a very funny man, and makes a lot of understated
> jokes - it was interesting. I didn't see the finished peice,
> though, so I don't know how it turned out. But that is hardly
> the point of this kind of demonstration. He coil builds,
> by the way.
>
> regards,
>
> Dannon Rhudy
> potter@koyote.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:58:12 EST
> From: Wade Blocker
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
>
>
> ----------
> > From: Eloise VanderBilt
> > To: CLAYART@LSV.UKY.EDU
> > Subject: where did bisque come from?
> > Date: Tuesday, March 28, 2000 11:27 AM
> >
> > ----------------------------Original message----------------------------
> > For ten years I have been using the word bisque and for ten years I have
> > wondered when and from where the word came into the pottery world. I
> assume
> > from the spelling it is from France but no pottery book I've read
> explains
> > it. I eat soft BISCUITS and honey, I eat hard cookies called BISCUITS.
> > Neither sound like the bisquing process. Some one with a more
> comprehensive
> > dictionary than I have access to may be able to help me.
>
>
> Eloise,
>
> The word biscuit comes from French and Latin. -bis twice+coctus,past
> participle of coquere to cook. Webster's gives one meaning of the word to
> refer to unglazed pottery after the first firing.
> In the US and France"bisque" is preferred.
> According to the Oxford English dictionary "the regular form in England
> from 16th to l8th Century was bisket,as still pronounced;the current
> biscuit is a senseless adoption of the modern French spelling without the
> French pronunciation." In pottery the name given to porcelain and other
> pottery-ware after having undergone the first firing,and before being
> glazed,painted or otherwise embellished.
> The word of course refers to hard dry flat bread originally and
> also a very light tan color.
> Mia in ABQ
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:58:39 EST
> From: Frank Gaydos
> Subject: Re: slab roller for sale
>
> ----------------------------Original message----------------------------
> Carol,
> Sorry you had to change professions. Sounds like you are getting back on
> your feet. Great!
>
> I'm doing better with new cardiac medicine and feel great also.
> Frank
> ----- Original Message -----
> From: "Carol Jackaway"
> To:
> Sent: Tuesday, March 28, 2000 1:32 PM
> Subject: slab roller for sale
>
>
> > ----------------------------Original message----------------------------
> > Sorry everyone for not mentioning where I am located. I am right outside
> > Phila, Penna in Delaware county. right off the blue route (476) and 95.
> > ********Just to let everyone know, I have started painting again, but
> instead
> > of painting on clay I am painting on material. My grandfather used to
> paint
> > on silk before the depression. So I am transferring my love of color
and
> > nature and combining it with all natural, soaps, bath salts and hand
> painted
> > pillows and just having fun and selling. My lungs are clear and I am
> feeling
> > better then I have in months. Thanks for all the well
> > wishes,*****************
> > Carol Jackaway
> > Finding life after clay!!
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:58:46 EST
> From: Mert & Holly Kilpatrick
> Subject: Re: Sharing ceramic information
>
> ----------------------------Original message----------------------------
> Sibylle,
> I was very interested in your reply. I lived in Germany a couple years
> (years ago, military), and I also hear about Germany due to another
interest
> of mine, which is German Shepherd dogs.
>
> I hope you will have the time to add your point of view. We have members
> from many English speaking countries, but not too many from European
> countries, and I think it would be wonderful to have more different
> perspectives. I love all the non-American contributions. And when, for
> example, I use a glaze posted by Ababy in Israel (Butterscotch Matt came
> out really nice on tiles last weekend!) I get twice as much enjoyment out
of
> it, thinking how amazing this sharing is. Not to mention how impressed
> friends and family are with everything I have learned, and I can casually
> say, "Oh, yes, that's from so-and-so in New Zealand."
>
> > Another point of view (perhaps it is very german): I'm a self-taught
> person,
> > never had been at an art school, just read some books and bought my
wheel,
> > doing some courses for the basic technics and having fun with throwing,
> glazing
> > etc. now for about 4 years. And I have a kind of feeling to profite from
> other
> > peoples training, working, trying-out, means the work others have done
and
> I
> > myself can't give very much because I'm effectively not as skilled as
most
> of
> > you are. Everything I know about pottery are very common things to you.
> And I
> > don't want to be that sponge you mentionned, janet, but at the moment I
> can't
> > be much more, I fear and so you're right it takes courage to write all
> this.
> > But you gave me that little push I needed . Clayart for me is really a
> sort of
> > new pottery world and I enjoy it very much.
> >
> Many of the members are various stages of beginners (me included), so you
> are probably more skilled than many, especially in the areas you have
> focussed on. But no matter what your skill level, you have your own
unique
> perspective based on your experiences, and it is very interesting to learn
> what seems different in other cultures - and what seems the same. Where
> others can help me see a new picture, and where we can all share a common
> feeling across different cultures.
>
> I was interested to read that you are self-taught. I have an impression
> that in Germany there is much emphasis on formal training, certification,
> apprenticeships, etc. Is it common for potters there to be self-taught?
>
> Holly
> Pennsylvania, USA
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 16:59:03 EST
> From: Veena Raghavan <75124.2520@compuserve.com>
> Subject: Educating the public
>
> ----------------------------Original message----------------------------
> Message text written by Ceramic Arts Discussion List
> >I am presently working with a group of local potters to establish an
> annual
> clay festival. A major component would be public education. We are
> considering the different ways that we can communicate the variety of
> knowledge and physical training required to produce a well made pot.
> While
> it will not be possible to impart the detailed understanding we as potters
> possess, I hope we can at least leave them with a fuller appreciation of
> what goes into the making of pottery.
>
> Maybe its time to actively educate the public and make education a part of
> our marketing plan.
> <
>
> Hi Bob,
> I think what you are planning to do is a great idea. It is so true
> that the public needs to be educated on what handmade pottery is all
about,
> what goes into making even the smallest item, and the pleasure that is
> derived from using or looking at a piece of pottery that has been made by
a
> skilled potter.
> I have found that most of the buying public in the U.S. has
> absolutely no knowledge about pottery. This is not so true in Europe and
> Asia, perhaps because there is a centuries-old pottery tradition. So many
> people cannot appreciate the difference between a handmade pot and one
that
> is mass produced. I even find a difference in the teaching and practice of
> pottery between New York, other places in the U.S. and Europe. In New York
> the emphasis is on perfection (perfection meaning everything should looked
> even and polished), whereas the potters I have seen from other parts of
the
> U.S. and in Europe (this was true in India too, when I was there), lay
> emphasis on the fact that every piece should have character--that the
> potter should leave his/her mark on the piece, and they do not mean that
> stamp on signature!
> So, actually, perhaps it is not only the public that needs to be
> educated!
> I wish you and your group success with the annual festival and
your
> education plan. I hope you will share your ideas on educating with
Clayart,
> so that perhaps other groups in other areas, and even individual potters,
> can use some of these ideas to educate their audiences, students, and
> customers. If we all do a little in this area, perhaps it will have a
> ripple affect.
> All the best.
> Veena
>
> Veena Raghavan
> 75124.2520@compuserve.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:01:55 EST
> From: Veena Raghavan <75124.2520@compuserve.com>
> Subject: Thanks for NCECA reports
>
> ----------------------------Original message----------------------------
> Dear NCECA recently returned Clayarters,
> I would like to thank everyone who has posted or is going to post
> about their experiences on NCECA. Apart from the fact, that you make me
> green with envy, it is so interesting to hear about it. A Clayart friend
> has told me I should really try to make it next year, and I would
certainly
> like to try. Reading your posts makes me even more eager to do so. It
would
> be such fun to meet so many of the "names" that have personalities but no
> faces.
> And, Mel, I have an advance description of you, warm and cuddly!
> Thank you all.
>
> Enjoy experimenting and trying out all those new idea.
>
> All the best.
>
> Veena
>
> Veena Raghavan
> 75124.2520@compuserve.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:02:04 EST
> From: Veena Raghavan <75124.2520@compuserve.com>
> Subject: warming teapot question
>
> ----------------------------Original message----------------------------
> Message text written by Ceramic Arts Discussion List
> >Short question: In giving instructions to a purchaser of a functional
> teapot, and if I want to print a note re rinsing teapot first with warm
> tapwater and then pouring in the boiling water, do I instruct new owner to
> do this the first time or two only, or every time the teapot will be used.
> If you have an answer, I would be most grateful. If you wish to read on,
> fine too. It gets wordy.
> <
>
> Hi Bacia,
> In answer to your question, but from a different viewpoint, not
> protecting the integrity of the teapot but rather the quality of the
brewed
> tea, in India and England, one is always told to prewarm the teapot before
> brewing the tea. So, even if the pot can stand the heat of the water
> straight out of the kettle, it should be warmed before pouring water over
> the leaves, because it will make better tea.
> Hope this helps.
> Veena
>
> Veena Raghavan
> 75124.2520@compuserve.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:02:12 EST
> From: Veena Raghavan <75124.2520@compuserve.com>
> Subject: Thanks for taking on Clayart
>
> ----------------------------Original message----------------------------
> Message text written by Ceramic Arts Discussion List
> >the home of clayart is going to change,
> the moderator is going to change, but what does not
> change is what clayart is.
> <
>
> Mel,
> I think it is really good of you to take on moderating Clayart.
Joe
> and Richard are bound to be missed. They have done such a great job and
> given us such a wonderful forum where we can learn, exchange idea, express
> opinions, and help others who need information. For me personally, it has
> given me new faith in humankind, as I have been in a situaiton where I was
> beginning to wonder whether there was any giving left in the art world.
> With you at the helm, I hope that Clayart will continue to have
the
> same character and freedom of expression--that it will always be a place
we
> can find knowledge, support and friends. So, even though you will probably
> make changes that you feel are necessary for you to run it efficiently (a
> clear subject line is great), I am sure you will not change its
character,
> as I am sure it means as much to you as it does to many of us.
> Good luck (and don't listen to Russel), that lowercase helps me to
> pick out your posts right away!
>
> Veena
>
> Veena Raghavan
> 75124.2520@compuserve.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:02:43 EST
> From: "Joanne L. Van Bezooyen"
> Subject: Re: Mixing Plaster
>
> ----------------------------Original message----------------------------
> How much does a pound of water weigh?
>
> John Rodgers wrote:
>
> > ----------------------------Original message----------------------------
> > You would be safe to mix at a ratio of 1.5 to 1, ie 1.5 lbs plaster to
1 lb
> > of water. If you use USG #1 Pottery plaster that ratio will give you a
> > density of about 72, which is plenty good for a wedging table.
> >
> > John Rodgers
> > In Alabama where a cold front just passed through cooling everything
off.
> >
> > Elaine Beaufait wrote:
> >
> > > ----------------------------Original
message----------------------------
> > > This is my first communication on this list. After reading all the
great
> > > responses to other questions I feel confident someone can help me out
> > > here. I am looking to create a wedging table. The size of the
structure
> > > is 28 x 32 x 2.5. This is an old counter that I am having the sides
> > > added to. My question is how to mix the plaster. Anything I need to be
> > > aware of. I believe someone said it is tricky but I forgot who said it
> > > and just what did they mean??
> > >
> > > Thanks
> > > Elaine Beaufait
> > > Hudson, NY
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:02:53 EST
> From: dolly traicoff
> Subject: Tile Artists?
>
> ----------------------------Original message----------------------------
> This is my first message to all of you. Are there any tile makers out
> there? Would love to hear from you.
> Dolly
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:03:45 EST
> From: Liz Gowen
> Subject: Reflexions; clayfolks, clayart, NCECA
>
> ----------------------------Original message----------------------------
> ------------------
> Going to the clayart room, being greeted by Mel, as one greets a guest
=
> into
> their home.
>
> Getting to see all that great equipment one sees only in the
magazines,
> talking
> to the reps.Getting suggestions to fix up the stuff you have, and
plans =
> for
> new.
>
> Going to the clayart room when feeling lonely, chatting with folks, =
> putting
> faces
> with names that you have chatted with on clayart for over a year. =
> Getting
> offers
> of help with my glaze, clay and kiln quest. Viewing samples of the
work =
> of
> the
> group. Talking with the sages, you know who you are, about ideas, =
> problems
> solutions.....
>
> Having dinner with my clayart neighbors from New Zealand and Canada, =
> WOW=21
>
> Sitting in the lobby striking up a conversation with the person next
to =
> you
> time
> and again, of all ages.
>
> To paraphrase one of these people ,Thalmus Johnson, you come to NCECA
> for the people, it is all about the people.
>
> The common thread is the love of clay. A great experience, and without
> clayart
> to make me feel I belonged I might have missed it. Thank you.
>
> Liz Gowen New Jersey USA elgowen=40jersey.net
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:03:59 EST
> From: Liz Gowen
> Subject: Tool doctor workshop
>
> ----------------------------Original message----------------------------
> -------------------
> If someone that was able to attend the tool doctor workshop would be so
kind=
> as
> to touch on some of the highlights, examples, I would appreciate it. It
was =
> one
> of the workshops I wanted to attend, but I had to leave the conference =
> early.
> Thanks
> Liz Gowen
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:04:05 EST
> From: Erika Benson
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> My dictionary tells me, eventually, that bisque comes from Medieval
> Latin "biscoctus" - which meant twice-cooked bread. Could also refer to
> the color of the bisqued ware -
> Erika
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:04:36 EST
> From: DeLana Hornbeck
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> Hi Eloise,
> The story I have heard over the years is, that bisque means ,in French,
> cookie which resembles the feeling and porosity of the clay when it has
> been first fired.........hardened and still absorbant so it can recieve
the
> glaze.
>
> DeLana
> delh@enter.net
>
>
>
> ----- Original Message -----
> From: Eloise VanderBilt
> To:
> Sent: Tuesday, March 28, 2000 12:27 PM
> Subject: where did bisque come from?
>
>
> > ----------------------------Original message----------------------------
> > For ten years I have been using the word bisque and for ten years I have
> > wondered when and from where the word came into the pottery world. I
> assume
> > from the spelling it is from France but no pottery book I've read
explains
> > it. I eat soft BISCUITS and honey, I eat hard cookies called BISCUITS.
> > Neither sound like the bisquing process. Some one with a more
> comprehensive
> > dictionary than I have access to may be able to help me.
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:04:47 EST
> From: Richard Ramirez
> Subject: Re: School kiln shelf tip
>
> ----------------------------Original message----------------------------
> Pete,
> One of my student's assignment early in the year is having them do a
> 6"x6" slab tile (impress found objects). Tiles that are not picked up by
the
> students are used for that same situation you described, saving the kiln
> shelves. Funny, how things work out in real life situations. Richard
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:51:58 EST
> From: Kurt Wild
> Subject: My mug?
>
> ----------------------------Original message----------------------------
> Since I had to leave NCECA early I missed seeing who got my mug in the
> Clayart exchange. I'm curious to know who you are so please email me
> off list. Thanks!
> --
>
> Kurt Wild
> 1000 E. Cascade Ave.
> River Falls, WI 54022
> Phone: 715-425-5715
> email: kurt.l.wild@uwrf.edu
> web site: http://wwwpp.uwrf.edu/~kw77/
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:52:48 EST
> From: clennell
> Subject: Diana Panciloi
>
> ----------------------------Original message----------------------------
> Dear Diana: Please contact me off list re your jaw crusher and kick
wheel.
> cheers,
> tony
>
> Tony and Sheila Clennell
> Sour Cherry Pottery
> 4545 King St.
> Beamsville, On.
> Canada L0R 1B1
>
> http://www.sourcherrypottery.com
>
> 905-563-9382
> fax 905-563-9383
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:52:54 EST
> From: "Marie E.v.B. Gibbons"
> Subject: Re: NCECA
>
> ----------------------------Original message----------------------------
> I am curious to know from the NCECA goers about shows you may have seen
off
> site, did you do the bus tour, did you get around on your own a bit, there
> were sooo many shows in town, both functional and non functional, some
great
> installations, just sooo much to see. Would love to hear what people got
to
> see, and what the reactions were.
>
> Marie Gibbons
> www.oooladies.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:53:27 EST
> From: Janet Kaiser
> Subject: Re: teapot question
>
> ----------------------------Original message----------------------------
> Bacia,
>
> Here in the adopted home of tea -- the British Isles -- heating the pot is
> part of the ritual when making tea.
>
> We pour some very hot water out of the kettle before it reaches boiling
> point into the pot and swill it around to pre-warm the whole tea pot. We
> throw that water out once the pot is well warmed/hot, then we add the tea
(a
> spoon/tea bag per person plus one for the pot) then pour on the boiling
> water. Stand for three to four minutes, then pour. This brewing time is
> important. Any less, and the amount of tannin is disproportionately high.
> That is also why lidded hot water pots are/were sold with a teapot. The
> hostess can then add water to the cup of tea for those who wanted it
> "weaker".
>
> Pot warming is not just a custom. If you do not warm up the pot first, it
> cools the tea infusion down too much. The tea does not "brew" properly and
> tastes different... Well that is the theory! In a country where houses can
> be freezing cold, it also means at least the tea is hot and not luke warm
> right from the start!
>
> You must warm the pot each and every time you make a pot of tea.
>
> Some people never wash out teapots, but rely on cleaning them with
Steradent
> (denture cleaner) once or twice a year. This also gets rid of the built-up
> gunk around and down the spout which you cannot see. This non-washing of
> teapots comes from the days when tea was made in silver-plated teapots.
The
> base metal was lined with a tin or pewter alloy so if that was scratched
and
> scrapped off, you were likely to be consuming large quantities of lead in
> your daily cuppa!
>
> If water comes out of the lid when pouring, you may be pouring too fast at
> too acute an angle. But if not, it is usually because a vacuum forms.
> Sometimes this happens if the spout is too narrow to pour tea out whilst
> letting air in at the same time...
>
> Especially if there is no air hole. A good teapot always has a small air
> hole in the lid. Either through the knob or in the lid surface. Lids for
> teapots should also have some device to stop them falling off when pouring
> until the pot is empty. This can sometimes be quite an acute angle.
Nothing
> worse than a lid falling off into a cup! Spoils the tea party.
>
> Being such a "British institution" I suggest adding the words of the
> immortal Isabella Beeton for your teapots:
>
> Mrs. Beeton's Book of Household Management
> Ward, Lock and Co., London 1861
> Page 1476, Recipe No. 3481. TEA, TO MAKE
>
> "In order to make good tea it is necessary that the water should be quite
> boiling, but it must on no account be water that has boiled for some time,
> or been previously boiled, cooled, and then re-boiled. It is a good plan
to
> empty the kettle and refill it with fresh cold water, and make the tea the
> moment it reaches boiling point. Soft water makes the best tea, and
boiling
> softens the water, but after it has boiled for some time it again becomes
> hard. When water is very hard a tiny pinch of carbonate of soda may be put
> into the teapot with the tea, but it must be used very sparingly,
otherwise
> it may impart a very unpleasant taste to the beverage. Tea is better made
in
> an earthen than a metal pot. One good teaspoon of tea will be found
> sufficient for two small cups, if made with boiling water and allowed to
> stand 3 or 4 minutes: longer than this it should never be allowed to
stand.
> The delicate flavour of the tea may be preserved and injurious effects
> avoided by pouring the tea, after it has stood 3 or 4 minutes, into a
clean
> teapot which has been previously heated."
>
>
> Janet Kaiser
> The Chapel of Art, Criccieth LL52 0EA, GB-Wales
> Home of The International Potters Path
> TEL: (01766) 523570
> WEB: http://www.the-coa.org.uk
> EMAIL: postbox@the-coa.org.uk
> ----- Original Message -----
> From: Murray & Bacia Edelman
> To:
> Sent: 28 March 2000 19:14
> Subject: teapot question
>
>
> > ----------------------------Original message----------------------------
> >
> > Hello, friends.
> > Short question: In giving instructions to a purchaser of a functional
> > teapot, and if I want to print a note re rinsing teapot first with warm
> > tapwater and then pouring in the boiling water, do I instruct new owner
to
> > do this the first time or two only, or every time the teapot will be
used.
> > If you have an answer, I would be most grateful. If you wish to read
on,
> > fine too. It gets wordy.
>
> --------------------------------------------------------------------------
> --
> > ---------
> > I have been making teapots for years and years. In the past,thrown in
> > porcelain and highly functional, high-fire reduced. Later handbuilt
with
> > table-stands and cups, very non-functional and even the spouts were
solid
> > clay, lids part of design and affixed. Low-fired and layered
underglazes.
> > I quit those about 5 yrs. ago.
> > And I had no chance to enter the recent discussion re both types.
> > Now I make two types of teapots: mainly electric-fired and partly
> > hand-built with thrown bases and lids. The others are loose, mostly
> > hand-built, but quite functional and fired as guests in wood kilns.
> > My question is about placing instructions on the inside in a note to new
> > owner.
> > At NCECA, I saw a very nice John Glick teapot on exhibit. As there were
> no
> > signs not to touch, I typically looked inside. There was a note telling
> > the new owner to rinse first with hot tap water and then pour in the
> > boiling water.
> > I never did this with my own functional ones.
> > BUT, I recently ruined a wood-fired one, by pouring water straight from
a
> > boiled kettle into it, and it was a successful one to look at. All
> > hand-built and time-consuming. The crack which occurred made a
sickening
> > NOISE. The spout poured beautifully!!
> > I spoke with Randy Becker, friend and high school teacher who invites me
> > now to place pieces in any of his kilns, salt or wood with salt, and who
> > had fired it. He is sure it was the clay body, which was not meant to
go
> > to c/11, which the teapot reached, never mind even c/10 which
Continental
> > Clay expects it to withstand ("high fire c/7 to c/10 white stoneware" is
> > how it is listed in catalog.)
> > I have just sold the last functional teapot still in my hands, still to
be
> > picked up.
> > It will remain in my town, Madison, as it is a wedding gift to one of
the
> > poets from the rest of them in a poetry-writing group here. It was
fired
> > at c/6 in electric, and all those have been o.k. except for two. The
> > spouts are narrow and hand-built and the problem with those two: poured
> > like, well, Peyronie's disease :-}}} or a garden watering can or water
> came
> > out from under the lid at the same time. Only two out of dozens failed
to
> > pour right and I yielded the hammer.
> >
> > But I want to put a note in this newly purchased teapot and need help
> > about what to say re the pre-warming. I wish I could bother John Glick
> > with a phone call, but he knows me not and my Clayart gang is helpful
and
> > wonderful.
> > Thanks, people. Bacia
> > (trying out several other high-fire clay bodies for teapots when I have
> time)
> >
> >
> >
> > Bacia Edelman Madison, Wisconsin
> > http://www.mypots.com/bacia.htm
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:53:33 EST
> From: Janet Kaiser
> Subject: Monastery of Craftsmen
>
> ----------------------------Original message----------------------------
> ------------------
> Leafing through one of my favourite books, I again read the following
letter
> with delight. I'm passing it on, because it addresses some of the ethical
> questions potters still consider to this day - over 70 years later=21
Recent
> threads like: price of mugs, authentic work, perfect pots =5F all jump to
=
> mind=21
>
> It was written by Bernard Leach to the Rev. Eric Milner-White, Dean of =
> King's
> College Cambridge and later Dean of Yorkminster, who was one of the few =
> serious
> collectors of contemporary pots in the early decades of the 20th century.
>
> 7.7.27
> Dear Mr. Milner White,
> Curiously enough I got one of Hamada's rare letters this morning asking me
=
> to
> send, together with Murray and Mrs. Mairet and Miss Barron, for an autumn
> exhibition in Tokio. I am replying at once and I shall tell him of your
wish=
> and
> that I have given you his address in order that you may make your request
> direct.
>
> Shoji Hamada, c/o H. Inagaki Esq. /4 Susaki machi, Honjo Ku, Tokio
>
> He and my other Japanese craft friends are putting their prices down and =
> down,
> in a warm brotherly spirit of the general good, and consequent personal =
> health,
> so =A325 will go a good way.
>
> He says:- =22We have come now to understand what is the real craft and
what =
> is the
> right craftsmanship, and Yanagi (my great philosopher mystic friend) is
even
> going to think that communion would be the best way to produce the real =
> crafts,
> not being done by individual artists. (Monastery of Craftsmen). He is =
> studying
> the mediaeval guilds and their lives with great interest.
>
> This is a great change and means the passing of the stage of
self-assertion =
> in
> art. As a whole we are not yet ready for that and as a nation I think they
=
> are
> still less so.
>
> Yours sincerely
> Bernard Leach
>
> =2A=2A=2A=2A=2A=2A=2A=2A=2A=2A=2A
> The hand written original can be seen in:
> =22Pioneer Studio Pottery - The Milner-White Collection=22, Sarah Riddick,
=
> ISBN 0
> 85331 581 7 (paperback)
>
> BACKGROUND:
> Milner-White (1884-1963) only bought stoneware, which he considered the
> aristocrat of ceramics. He started collecting ceramics =22accidentally=22
as=
> his own
> words convey: =22It was by pure chance c. 1925 I walked into a Bond St. =
> Gallery
> and saw a show of stoneware pots by Reg.. Wells. Transfixed. Sat there 2 =
> hours -
> forgot lunch=21 At the end, I bought (=A320). A stranger, seeing my =
> interest, said
> that in another gallery in Bond St was an exhibition of pots by an
> artist-craftsman of whom he thought even more highly. I went there --- =
> picking
> up --- (William Staite) Murray.=22
>
> He wrote later: =22I knew I had come across something not only good, but
> =5Fv.=5Fgood=5F. I found an aesthetic delight, a thrill, over a fine pot =
> which no
> other branch of art had ever been able to give me... and worked hours,
days,
> weeks, correcting Certificate Papers in History from schools all over =
> England,
> to get the money to buy. I bought only the best. How I beat my foes=21=22
>
> As he himself wrote: =22The people interested in the work of Wells,
Murray, =
> Leach
> during the '20s could be counted on the fingers of one hand -
Eumorphopoulos
> Marriott the Art Critic of The Times, Bernard Rackham, head of the =
> department of
> Ceramics at the Victoria and Albert and that young and poor and unknown
> clergyman which was myself=21=22
>
> He missed out Sydney Greenslade who had been appointed by the Davies
Sisters=
> of
> Gregynog to acquire crafts for the University College in Aberystwyth,
which =
> he
> did from 1919 to 1936.
>
> William Staite-Murray was the most original of the pioneers in his view. =
> Over 34
> years, he purchased 98 examples of Murray=2As work alone, costing him
almost=
> 1,700
> pounds sterling=21
>
> Not only is the collection incomparable, Milner-White retained much of the
> ephemeral documentation relating to his purchases - mostly from
exhibitions =
> of
> potters' work in London galleries. Private view cards and catalogues were
> preserved in two large albums together with newspaper reviews of the time.
> Invoices and receipts were kept separately. Indexed notebook, notes made
on
> loose sheets and numerous letters from the potters themselves provide =
> invaluable
> information.
>
> The documentation and the major part of his collection was gifted to York
=
> City
> Gallery upon his death in 1963. It is =22the finest collection of pioneer
=
> studio
> pottery assembled by a private individual in the first half of the 20th.
> century=22
>
> The Milner-White collection included over 300 pots by over 40 potters.
When
> visiting the North of England, do visit the York City Art Gallery, which
has=
> a
> permanent display of pots from the collection. Sadly not all by any means,
=
> but
> enough to make one drool...
>
> Janet Kaiser
> The Chapel of Art, Criccieth LL52 0EA, GB-Wales
> Home of The International Potters Path
> TEL: (01766) 523570
> WEB: http://www.the-coa.org.uk
> EMAIL: postbox=40the-coa.org.uk
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:53:42 EST
> From: Janet Kaiser
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> Eloise,
>
> I talked to Frank and Janet Hamer about this after the "biscuit joke" some
> time ago...
>
> According to them, "bisque" is used to describe the first firing of
factory
> ware in the ceramics industry. "Biscuit" firing is what you do in a studio
> pottery... at least in the UK.
>
> A lot of young UK potters have started to use the term "bisque"... I
suppose
> it sounds more sophisticated?
>
> A natural confusion occurs when using "biscuit" to you people across the
> pond... Remember our "biscuits" are your "cookies". Your "biscuits" are
> variously known as scones, muffins, cakes, etc. over here.
>
> Accept a biscuit is a cookie and you will see where the expression comes
> from. A biscuit/cookie has the same touch and consistency of a
biscuit-fired
> pot. Not so hard on the teeth as a pot mind you, but you know what I mean?
>
> The confusion between a biscuit and a cookie is probably why the French
> expression "bisque" is preferred in the US. It all means the same thing
> though. I say "biscuit" because that is what I was taught and have always
> heard said and also because it is easier to spell! There are some pretty
> strange variations on "bisque" if you look through the archives...
>
> Why do the French say "bisque"? Well they think of biscuits being soft
too!
> Usually a sponge finger is called a biscuit!
>
> Hope this helps rather than confuses!
>
> Janet Kaiser
> The Chapel of Art, Criccieth LL52 0EA, GB-Wales
> Home of The International Potters Path
> TEL: (01766) 523570
> WEB: http://www.the-coa.org.uk
> EMAIL: postbox@the-coa.org.uk
> ----- Original Message -----
> From: Eloise VanderBilt
> To:
> Sent: 28 March 2000 19:27
> Subject: where did bisque come from?
>
>
> > ----------------------------Original message----------------------------
> > For ten years I have been using the word bisque and for ten years I have
> > wondered when and from where the word came into the pottery world. I
> assume
> > from the spelling it is from France but no pottery book I've read
explains
> > it. I eat soft BISCUITS and honey, I eat hard cookies called BISCUITS.
> > Neither sound like the bisquing process. Some one with a more
> comprehensive
> > dictionary than I have access to may be able to help me.
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:54:09 EST
> From: Janet Kaiser
> Subject: Re: Sharing ceramic information
>
> ----------------------------Original message----------------------------
> Dear Sibylle,
>
> I am so glad you did write... As Mel posted this day:
>
> >>And, all posts come to us as letters, we cannot see you. We do not know
> a thing about you, gender, race, religion. you can remain anonymous.
> A question is a question, a comment is a comment, that is what
> makes clayart great. Young, old, new, veteran, all have dignity.<<
>
> It is important everyone contributes in some way. I really wanted to
> encourage more lurkers to take part and at the same time at least one
person
> in Germany to take an active part. I miss my adopted home very much and
> would really like to know what is going on there! You would have so much
to
> contribute and may even encourage others too.
>
> > I'm not too overwhelmed of your discussions, but for me it is a bit
> difficult,
> > for I have to think longer about what I want to express (you know
English
> is
> > not my language) and when I've finished thinking, the thread is just at
> another
> > point of discussion.
>
> Ah, yes, how well I know this from my time learning German... Talk of anti
> nuclear demonstrations had turned to Christmas cookies before I could make
a
> comment. But, many comments, questions and answers do stretch over some
> time. Do not worry about it! And I wish my German was half as good as your
> English! Wirklich!
>
> > Perhaps one reason, why discussion in the net is not common here in
> Germany may
> > be the money.
>
> Yes, the whole of Europe (including the UK) needs to introduce lower fee
> telephone to bring us in line with countries like USA, Canada, Australia
and
> New Zealand. If the latter with just 3 million population can have a
no-fee
> service, we should certainly be able to!
>
> > Also it is not very easy to be potter here in freiburg, where I live. It
> is a
> > little town with many potters (means much competition). For example we
> have an
> > everyday-market in the center of town, but you can't get a place to sell
> at the
> > weekend where most people (tourists) come, because we are too many.There
> is a
> > group, called potter forum. They do a big market once every year but you
> can't
> > get a place to sell because we are too many.
> > Don't misunderstand me, I don't want to complain, I just try to explain,
> why
> > the situation is what it is here. Perhaps in other parts of Germany it
is
> > different, I don't know.
> I think you will find many potters in various places around the world
suffer
> the same problems. That is why there is a lot of debate on craft fairs,
> outlets, way of selling on clay art. You will hear a lot of advice which
is
> country-specific but may help you decide what would help you. I presume
you
> are talking about a "Toepfermarkt"? Is it juried? Do you have to pass a
> quality check? Perhaps if you are a member of the Potters Forum you could
> find ways of improving the standard of work accepted? If you earn your
> living from making pots, you and your friends will have to find strategies
> to change the situation. I know it is expensive, but what about setting up
a
> co-operative shop in the middle of town? You may qualify for state funding
> and could take turns selling. It does not even have to be full time. Maybe
> three of four hours every day?
>
> > Besides, I'm not in a too bad situation, because I try to earn my living
> with
> > pottery together with two friends of mine and we do exchange everything
we
> know
> > and also with some other potters here in town. But in spite of this you,
> janet
> > are right. I also believe that clayart could only become to such an
> interesting
> > discussion in "the land of the free". Perhaps because people are more
> > open-minded than in germany but also perhaps this land is so huge, that
> > communication by net is a more needfull thing as in an area where you go
> about
> > 3 hours with the car and are in another potters paradise.
>
> My rhetorical question did get responses from around the world... Some
> supporting this theory and others not. But on the whole, no, Sibylle, I do
> not agree with you entirely. I think there is still a snobbish tendency to
> pay no attention to the autodidactic potter or the amateur, as well as the
> "secret keeping" mentality. Alisa sees it in Denmark and you see it in
> Germany, but here in the UK (where there are hundreds of potters) there
> would also be the same open discussion.
>
> This attitude you encounter locally and regionally is a very difficult one
> to try to change. I sincerely hope that your participation will encourage
> others... Maybe the "Ton-Liste" (German Clay List) would pick up so more
> healthy discussion would take place? You could be a bridge!
>
> > Another point of view (perhaps it is very german): I'm a self-taught
> person,
> > never had been at an art school, just read some books and bought my
wheel,
> > doing some courses for the basic technics and having fun with throwing,
> glazing
> > etc. now for about 4 years. And I have a kind of feeling to profit from
> other
> > peoples training, working, trying-out, means the work others have done
and
> I
> > myself can't give very much because I'm effectively not as skilled as
most
> of
> > you are. Everything I know about pottery are very common things to you.
> And I
> > don't want to be that sponge you mentionned, janet, but at the moment I
> can't
> > be much more, I fear and so you're right it takes courage to write all
> this.
> > But you gave me that little push I needed . Clayart for me is really a
> sort of
> > new pottery world and I enjoy it very much.
> First I am sorry if you found my comments on "sponges" harsh, Sibylle. It
> was not entirely the way I meant it. But you must not underestimate your
own
> value and the contribution you can make. That is exactly the point I
wanted
> to make about Professors and Amateurs not talking. It is not only the
> professors who are wrong, but the amateurs or self-taught people who are
> wrong too... They allow this attitude and do not actively work to change
it.
> Remember that your experiences working as a professional potter for three
> years with two others, may be far more use to other potters than anything
> the Herr Professor has to say!
>
> I also feel a lot of other people are overwhelmed by the collective
> knowledge in exactly the same way you describe... But it is not true that
> everyone is more knowledgable and you have nothing to say! Look at people
> who have been potting for many years... They still have questions and
> problems. That is one of the challenges of pottery and ceramics... There
may
> be a beginning but there is never an end to learning! It is one of the
most
> exciting media anyone can chose to work in... as you know.
>
> Think of my post more as a rallying cry... Not just to you, but to all
those
> people who think they are not good or experienced enough. It was also a
> little dig at those people who post questions and then give no feed-back.
We
> would all like know what happened? if it worked? if not, why not? They are
> the real sponges I was referring to! They take, take, take but give very
> little back.
>
> Absorbing knowledge is what we are all doing (hopefully) and it is
wonderful
> to experience. But it does have to be kept alive. Look at the way Vince
and
> Ray are enjoying a discussion at the moment... We are all "listening" and
> enjoying their comments. It seems to be a tacit group decision not to
> interfere just yet...
>
> Sharing knowledge is also done without hesitation. People are so kind and
> generous, there is absolutely no need to feel shy or afraid. Indeed, you
> have already shown how courageous you are... So I hope you will continue
to
> enjoy Clay Art and feel free to join in from time to time.
>
> Janet Kaiser
> The Chapel of Art, Criccieth LL52 0EA, GB-Wales
> Home of The International Potters Path
> TEL: (01766) 523570
> WEB: http://www.the-coa.org.uk
> EMAIL: postbox@the-coa.org.uk
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:54:54 EST
> From: Tom Eastburn
> Subject: Re: Pugmill advice?
>
> ----------------------------Original message----------------------------
> I too, had to make this decision and eventually settled for the Peter
Pugger
> (de-airing). Nothing is cheap these days, but I finally figured out a
way
> to rationalize the decision! I love this machine. I have a small studio
> space and it fit MY needs perfectly. The only situation which is a
little
> sensitive is how many people will want to borrow it! Sharing is what us
> potters do, but shhhhh don't let to many people know unless you all use
the
> same clay! My wrists are happy. Good luck on whatever brand you chose.
> They are pricey, but in the long run you'll be happy you sacrificed
> food/shelter/dating and clothing for this tool. A most wonderful
invention.
>
> ----- Original Message -----
> From: Jeri Palmer
> To:
> Sent: Tuesday, March 28, 2000 11:18 AM
> Subject: Pugmill advice?
>
>
> > ----------------------------Original message----------------------------
> > Howdy folks. I am in the market for a pugmill. I am impressed with the
> > small shimpo and I have looked at the smallest Bluebird. I am curious
> about
> > other potters experiences with these or any other models. I work in ^10
> > porcelain and my wrists are not happy. I know a pugmill would change my
> > life. Any comments would be appreciated. TIA Jeri in Hastings, MN
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:55:02 EST
> From: Joseph Herbert
> Subject: feldspar and wood ash
>
> ----------------------------Original message----------------------------
> Aaron,
>
> Given the variability of "Mixed Wood Ash" you don't really need to
> worry about the composition of the feldspar. You will almost certainly
> do some adjusting one way of the other. then if your source of wood ash
> changes, you will have to adjust again. don't worry too much about the
> feldspar.
>
> Joe
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:55:09 EST
> From: Jeff Lawrence
> Subject: Purchase of designs -- royalties
>
> ----------------------------Original message----------------------------
> Hello,
>
> Any suggestions on how licensing of designs works? I'm thinking of making
> platters using decorative elements by a local artist.
>
> A fair arrangement would probably be something up front, followed by a
> percentage of sales, but have no idea of what those amounts would be.
>
> Could someone share some ballpark dollar ranges? I'd like to know what the
> market is.
>
> Thanks in advance!
>
> Jeff Lawrence ph. 505-753-5913
> Sun Dagger Design fx. 505-753-8074
> 18496 US HWY 285/84 jml@sundagger.com
> Espanola, NM 87532 www.sundagger.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:55:16 EST
> From: vince pitelka
> Subject: Re: non-functional teapots
>
> ----------------------------Original message----------------------------
> > ----------------------------Original message----------------------------
> > Is there a difference between functional and utilitarian? And...what is
> it?
>
> Sandy -
> Thanks for asking this question. This is another case of careless use of
> terminology, although it has become so widespread that there is probably
no
> chance of correcting its usage. All art is functional, because it serves
a
> function. Utilitarian work is that which serves a practical everyday
> function. In "high-art-speak," utilitarian carries a negative
connotation.
> Among those who make non-utilitarian sculptural work, there are some who
are
> immature, insecure, and uncertain of their place in the art world, and
they
> sometimes bolster their own self-confidence by condemning utilitarian
clay.
> Instead, they would serve their work and the clay community at large far
> better by a little solidarity with all clay artists, whether their work is
> sculptural or utilitarian (even that is a careless use of terminology,
> because all work is sculptural, whether or not it is also utilitarian.
This
> is a sticky business).
>
> So, it is hard to imagine any work of art or craft which is not
functional:
> i.e., that serves no function at all. Utilitarian has to do with
practical
> utility or useability.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Home - vpitelka@dekalb.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:55:23 EST
> From: vince pitelka
> Subject: Re: BFA, MFA, "Putting in the Time"
>
> ----------------------------Original message----------------------------
> > My sense is that by the time you are in a graduate program, you
> > are no longer being taught technique; you should have the technical
> > foundation by that point, as well as a ground of intellectual
> > understanding gained form the art history. Anyway, feedback would be
> > much appreciated, from the veterans as well as
> > anyone else is in a similar quandry.
>
> Centa -
> I have to side with most of the other posts. Education is never a waste
of
> time or money, but all things have to be considered. If you want the most
> intense educational experience, in order to maximize the development of
your
> work and the resulting opportunities in art/craft, and if you can afford
to
> go to grad school, then go the whole route - BFA and MFA. Otherwise, find
a
> BFA program which will give you the time and opportunity to further your
> work and pick up the peripheral skills and information to allow you to
> proceed in the direction of your choice. Do your research, talk to the
> faculty, talk to the students in the program. If you can't find an
> appropriate BFA program in your area, and are not able to move, then do
> workshops and find opportunities in local private or community studios.
The
> most important thing is to just do as much work as possible, and get
> feedback from others whenever possible to increase the learning curve. It
> happens faster in a BFA or MFA program, but there are other ways to get
> there.
>
> I had the pleasure of watching the demos at NCECA with Janet Mansfield,
John
> Glick, and Jullia Galloway. At one point Julia told a story about some
> established clay artist watching her work, and commenting that she must
have
> "put in the time at the wheel." In other words, her work has a sense of
> direction and maturity which can only be achieved by doing a great deal of
> work, sorting out all the issues, finding one's own niche.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Home - vpitelka@dekalb.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:55:33 EST
> From: Lorraine Pierce
> Subject: Re: Need Cone 6 oxid. clear matt glaze
>
> ----------------------------Original message----------------------------
> Hi Juanita, just saw the screen and am sending you Zakin's Transparent Mat
Glaze
> again...hope it is easier to read this time.
> boron frit 30, ball clay 40, wollastonite 25, dolomite 5
> I didn't know I couldn't make a list of the ingredients, as in the usual
printed
> recipe. Sorry about that.
> Lori in New Port Richey Fl.
>
> Lorraine Pierce wrote:
>
> > ----------------------------Original message----------------------------
> > Hi Juanita...I think there is a matt clear in Zakin's second book...I
tried it
> > long time ago now, but as I remember, it needed a good soak that it did
not
> > receive in the Art Center. (In my own kiln I now soak for an hour on
low, afte
> > cone six is down.)
> > Yes, here is the recipe:
> >
> > Transparent Mat Glaze boron frit 30 ball clay
4
> > wollastonite 25
> > dolomite 5
> >
> > color: clear visual texture: none
> > surface: mat to satin mat durability: excellent
> > light transmission: translucent
> >
> > Let me know if it works for you, Lori in New Port Richey Fl. (where
is Win
> > Springs...are you a neighbor?)
> > Juanita Blumberg wrote:
> >
> > > ----------------------------Original
message----------------------------
> > > Dear Clayarters,
> > >
> > > I've recently set up a clay studio at home after working in a
community
> > > studio for two years. I have a Skutt KM1027 electric, and want to mix
glazes
> > > for Cone 4-6 speckled stoneware bodies. I'm starting with some of
Richard
> > > Zakin's recipes, but his book does not list a recipe for a clear matte
glaze
> > >
> > > Would anyone share their tried and true recipe for clear matte in
oxidation?
> > > I'm glazing functional pieces, so need food-safe glazes.
> > >
> > > Thanks,
> > > Juanita Blumberg
> > > Winter Springs, FL
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:55:39 EST
> From: Jeff Lawrence
> Subject: Re: Mixing Plaster
>
> ----------------------------Original message----------------------------
>
> Elaine Beaufait was asking about plaster:
> My question is how to mix the plaster. Anything I need to be
> aware of. I believe someone said it is tricky but I forgot who said it
> and just what did they mean??
>
> Thanks
> Elaine Beaufait
> Hudson, NY
>
> Hello Elaine,
>
> My best tip is to weigh the water and the plaster according to mfr
> suggestions. Too much plaster and you'll get a hard non-absorbent cast.
Too
> much water and you'll get punky plaster that wears away quickly.
>
> My next best tip is to wear rubber gloves from the getgo. Split ends are
bad
> enough in your hair -- on your fingers they're the pits!
>
> Some other pearls:
> - Sift the plaster into the water and let slake for a couple of minutes.
> Slaking means you can walk away and do something else for a bit -- it
allows
> the plaster and water to commingle in peace. Sometimes I slake for 10
> minutes and no harm done and sometimes I get caught up in something else
and
> slake for 20 minutes. At 20 minutes it gets thick pretty fast.
>
> - Mix with a drill for 2 minutes, then with a stick or something for 30
> seconds to let air bubbles escape. Of course, you'll put air back in when
> you pour it, but you must cling to the belief that there'll be less in
there
> for that ritualistic 30 seconds.
>
> - Pour when the surface starts to show tracks of the stirring stick --
It'll
> be about heavy cream consistency. If you pour slowly into a corner and let
> the puddle spread, you should be able to avoid adding much more air.
>
> - Clay your seams or you'll be cleaning plaster off the floor!
>
> Have fun! plaster is a lovely material.
>
>
> Jeff Lawrence ph. 505-753-5913
> Sun Dagger Design fx. 505-753-8074
> 18496 US HWY 285/84 jml@sundagger.com
> Espanola, NM 87532 www.sundagger.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:55:45 EST
> From: Mike Gordon
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> Hi,
> My old ceramics teacher,Vernon Coykendall ( Corky) Told me the term
> Bisque came from the english , referring to "hard Bisquits" Mike
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:55:52 EST
> From: Dave Finkelnburg
> Subject: Shino session notes from NCECA
>
> ----------------------------Original message----------------------------
> ------------------
> Clayarters,
> For those of you with an interest in Shinos, I made the following
notes
> during the NCECA breakout session Friday afternoon.
>
> Steve Loucks, from Jacksonville State University in Alabama led the
> discussion. He began the session with a brief history of shinos. The
point
> was, the original glaze was likely all feldspar, possibly with some ash.
> Current recipes use high soda feldspar and/or soda ash, and sometimes =
> lithium,
> because they melt at low temperature, and the low melting temperature
traps
> carbon. This also means to get good shinos you have to start reduction
at =
> a
> low temperature, like around cone 014 to cone 010.
> Steve attempted to de-emphasize Shino recipes. Shino is not so much a
> particular recipe as a singular appearance--a deep, warm glaze typically =
> high in
> clay, which means lots of alumina and silica, but with fluxes which cause
it=
> to
> melt very early in the firing process.
> There was some discussion of single firing, basically to the point
that
> Malcolm Davis says single firing doesn't produce carbon trapping. He =
> reasons
> that the soda ash doesn't get distributed to the surface in the same way
as =
> with
> bisque ware, so the early glaze coat doesn't form in single firing like it
=
> does
> over bisque ware. He was in the group and said that was what he thought.
> Malcolm said he spritz's pieces (hand spray bottle) with a saturated =
> soda
> ash solution to get some improved carbon trapping. He also said up to
5=25 =
> salt
> will give more lustrous shinos.
> There seemed to be general agreement that spray application of shino =
> glazes
> is bad. It has so much clay it's too viscous to run, and the texture of
the
> glaze droplets tends to remain. Painting, dipping and pouring seem to be
> preferred.
> Regarding glaze layering, Malcolm said shino HAS to go on first. =
> =22Shino
> over is a curse,=22 he said. Again, because of the clay, anything coming
=
> out of
> the glaze below breaks through the shino and it doesn't heal over, leaving
a
> pinhole. He said that might be okay, if that's what you wanted.
> There was some suggestion of refiring shinos to a low bisque
temperature=
> if
> they don't work the first time. That won't give you a great shino, but it
=
> may
> salvage something useable.
> Firing seems to be generally oxidation to cone 014 or so, then mild
> reduction until the last 20 to 30 minutes, then strong oxidation at the =
> finish.
> Heavy reduction wasn't regarded as particularly effective. They cited Ron
=
> Roy's
> suggestion that heavy reduction produced large particles of carbon, which
he
> said were probably too big to get inside the glaze surface to condense on
=
> the
> clay body. One person said he fired fast to cone 10, then reduced down to
=
> get
> shino effects, but there wasn't much support for that method, the
consensus
> being that the shino effects has been caused by reduction during the fast
=
> firing
> up.
> There was a comment that high iron clay bodies yield more shino
results.
> Jim Busby (James Busby jbusby=40linfield.edu ) , one of Nils Lou's
=
> grad
> students at Linfield College, was also in the group. He is searching for
=
> Shino
> recipes and would like to hear from you if you have a recipe you could =
> share.
> He handed out copies of some recipes he had collected for wood firing
> I hope this gives you some idea of how the session went=21
> Dave Finkelnburg
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:55:58 EST
> From: David Hendley
> Subject: Re: Orifice Nuts
>
> ----------------------------Original message----------------------------
> Hey Marshall, before I became a wood-man, I regularly used 2
> sets of orifices on my natural gas kiln.
> For glaze firings, I actually started with the smaller ones and
> switched to the larger size somewhere around bisque temperature.
> --
> David Hendley
> Maydelle, Texas
> hendley@tyler.net
> http://www.farmpots.com/
>
>
>
> ----- Original Message -----
> From: Marshall Talbott
> To:
> Sent: Tuesday, March 21, 2000 11:53 AM
> Subject: Orifice Nuts (for gas kiln users eyes only)
>
>
> | ----------------------------Original message----------------------------
> | At one point I truely thought that I was going to have to
replace/rebuild
> | our gas fired car kiln because of excessively long glaze firing times
and
> | difficulty in getting into reduction. Although I did periodically clean
> the
> | orifices those orifice holes (unknown to me)were gradually decreasing in
> | size due to corrosion build up. To make a very long story short,
finally
> I
> | obtained new orifice nuts and decided to go with two different sets with
> | different size orifices. Now I use two sets of orifice nuts.. one for
> | bisque fires (oxidation 07/06) and another set for glaze fires (9/10
> | reduction)..... [our kiln uses two MK-1 burners] A simple concept and
one
> | that has saved my wife and I thousands of dollars and allows us to have
> some
> | really great firings... see picture of kiln at the link below...
> |
> | http://www.potteryinfo.com/ubb/Forum2/HTML/000008.html
> |
> | Marshall
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:56:03 EST
> From: David Hendley
> Subject: Re: substitutes for barium
>
> ----------------------------Original message----------------------------
> This sounds like a "copper-barium matt" glaze.
> I use a cone 10 version (non-functional surfaces only).
> It's hard to get these glazes to work without the
> barium, but I hope you will give it a try.
> The starting place for substituting for barium carbonate
> is 2/3 strontium carbonate and 1/3 whiting.
>
> --
> David Hendley
> Maydelle, Texas
> hendley@tyler.net
> http://www.farmpots.com/
>
>
>
> ----- Original Message -----
> From: Judy Musicant
> To:
> Sent: Monday, March 20, 2000 8:18 AM
> Subject: substitutes for barium
>
>
> | ----------------------------Original message----------------------------
> | Thanks to David Hendley and Ron Roy for their discussions about
> | substitutions for barium. I wonder if any have specific suggestions for
> | amounts of strontium and whiting to substitute in the following recipe
for
> | Amy's Blue Violet which was in CM a number of years ago (CONE 6,
> ELECTRIC):
> |
> | Barium........20.62
> | Whiting.......5.15
> | Dolomite....12.37
> | Ger. Bor....2.06
> | Neph. Sy...31.96
> | EPK..........8.25
> | Flint..........19.59
> |
> | Tin Ox......3.09
> | Zinc Ox...3.08
> | Cob. Carb..26 (that's .26)
> | Copper Carb..1.03
> | Mason St. 6005...8.25
> |
> | This glaze is very matte, doesn't run, works very well with many other
> | glazes. When the right thickness and temp., it is a sort of mottled
blue
> | and voilet. When applied thinner, and or hotter, tends to be mostly a
> nice
> | medium blue. When thicker and/or cooler, it can be completely violet.
> Very
> | interesting, and a very big seller. Because of the barium, I never use
it
> | on food surfaces.
> |
> | Thanks for any input.
> |
> | Judy
> |
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:56:09 EST
> From: Marni Turkel
> Subject: Re: Spodumene
>
> ----------------------------Original message----------------------------
> Ron Roy suggested to Hanna that she should wash her spodumene to stop a
> glaze batch from bubbling in the bucket. A year or two ago I was having
> trouble with a glaze foaming when I stirred it up or even dipped, Ron gave
> me the same advice (I actually just skimmed off the water in the existing
> glaze batch several times) and it did help. I decided to try buying a
fresh
> batch of spodumene to see if anything had changed since I had last bought
> it, and it had. The new spod. was a different texture and whiter than the
> previous and when I mixed a test batch of the glaze, it didn't foam at
all.
> If you really like the glaze, check out different sources.
>
> Hanna, I don't have your e-mail or I would post directly to you also.
>
> Marni
>
> Marni Turkel
> Stony Point Ceramic Design
> 2080 Llano Rd 1B
> Santa Rosa, CA 95407
>
> Pottery: 707-579-5567
> Office: 707-579-9511
> Fax: 707-579-1116
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:56:14 EST
> From: SBRANFPOTS@aol.com
> Subject: books
>
> ----------------------------Original message----------------------------
> Friends,
>
> The following books were posted recently. Here is some useful information
on
> them:
>
> "The Art of Rosanjin" by Sidney B., and Masaaki Hitano is out of print. A
> new version of the book titled "Uncommon Clay" is available.
>
> "Shigaraki Potter's Valley" by Louise Cort is long out of print and very
> rare. I understand that a paperback edition may be in the works. Stay
tuned!
>
> "A Potter in Japan" by Bernard Leach is long out of print and very rare.
>
> ""The Chinese Potter" by Margaret Medley was out of print but has been
> reprinted and is available.
>
> "Shoiji Hamada: A Potter's Way and Work" by Susan Peterson has just
recently
> gone out of print.
>
> I hope this helps some of you in your searches and inquiries!
>
> Steven Branfman
> The Potters Shop
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:56:19 EST
> From: SBRANFPOTS@aol.com
> Subject: copper mat
>
> ----------------------------Original message----------------------------
> Ken,
> Here are some tips on achieving the copper mat. Apply the glaze evenly.
> Experiment with thickness but I have found that a nice thin coat works
well.
> Fire the ware to approx cone 08. I don't use cones but that is the approx
> maturing cone of my raku glaze palette. Remove the ware and place in your
> reduction container. The container should be as small as is necessary for
the
> pot to fit in. Reduce with your material of choice. I use coarse sawdust
or
> woods havings. Allow the ware to smoke for about 45 seconds to a minute.
> Remove the lid (be careful of the delayed and subsequent sudden burst of
> flame). Watch the surface of the ware as the flame licks. remove the ware
and
> cool with a spray bottle to "freeze" the effect.
>
> Now.............Here's my two cents on copper mat. The effect has it's
merits
> and can be interesting but has become commonplace. It's fun to experiment
> with and a good learning tool for sure. Try for more interesting surfaces
> using combinations of glazes including so called alligator and patina
glazes,
> and more complicated surface texture in your clay. Don't rest on your
> laurels. Push the process and advance your personal repertoire!
>
> Steven Branfman
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:56:27 EST
> From: terryh
> Subject: crazing
>
> ----------------------------Original message----------------------------
> what's so distasteful about crazing? haven't we ever seen any "kan-nyu
> seiji" (crackle celadon)? i saw a few contemporary examples shown in
robert
> yellin's web page.
>
http://www.japanesepottery.com/Potter_Spotlight/S__Minegishi/s__minegishi.ht
> ml
> and as for hygienic of cracklles, well, i worry more about carcinogens in
> processed junk food and gene-altered new crops and .... i can always wash
my
> tea pot (grin).
> Terry Hagiwara
> terryh@pdq.net
> http://terryh.lookscool.com
> http://www.geocities.com/SoHo/Cafe/3755
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:56:44 EST
> From: John K Dellow
> Subject: Thank you all
>
> ----------------------------Original message----------------------------
>
> I am going off the list at the end of this month .
> I have enjoyed this forum over the last 2 years or so.
> Thank you all I hope back on again later this year.
> Am going to build the "all singeing dancing "wood fired kiln over
> the next 2 months.
> It will be a 2 chambered extended throat boury box ,constructed
> out of a mix of hard ,
> soft & diatoms, with a sandwich of fibre between the soft brick &
> diatoms in the wear chambers and
> central pivot fibre doors coated with ITC.
> I have a number of gas burners so will put 2 in each chamber ,one
> in the firebox & one in the base of the chimney as an
> after-burner.
> If anyone wants to contact me I will keep My free net address at
> dellow@usa.net
>
> John Dellow "the flower pot man"
> Home Page http://www.welcome.to/jkdellow
> http://digitalfire.com/education/people/dellow/
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:56:54 EST
> From: Heidrun Schmid
> Subject: Re: Sharing ceramic information
>
> ----------------------------Original message----------------------------
> It has been about one year now that I discovered the Clayart discussion
group an
> my life here in Bangkok has really been lightened up tremendously! I am
like a
> sponge, Sibylle! I read and discover, realize how little I really know
even afte
> 15 years of working in clay, half self educated as I am. Most of all I
realize t
> not only "little" people like me have problems with all sorts of things in
clay,
> also the experienced potters do have them. I share it with some of my
hobby pott
> friends and if they have a problem I often have the answer already read in
claya
> I believe that clayart is unique and I cannot imagine finding anything
close to
> in Germany to which country I will return next year after more than 30 in
Asia.
> have not found a potter on several pottery markets during my holidays in
Germany
> who were willing to start any kind of discussion with me about their clay
or
> glazes, like they had to keep a state secret!!! Whatever will happen with
my
> pottery activity once back in South Germany, I hope I will be able to keep
on
> "lurking" every day at clayart!
> Heidrun in Bangkok
>
> sibylle wrote:
>
> > ----------------------------Original message----------------------------
> > Hi to all and you, Janet
> >
> > I'm not too overwhelmed of your discussions, but for me it is a bit
difficult,
> > for I have to think longer about what I want to express (you know
english is
> > not my language) and when I've finished thinking, the thread is just at
anothe
> > point of discussion.
> > But I'll try to explain the results of my long silence.
> >
> > I knew that "kalkspatz" of course, but it is not at all similar to
clayart
> > discussion.
> > Perhaps one reason, why discussion in the net is not common here in
germany ma
> > be the money. To surf means to pay (30 $ each month and 2,5 cents for
every
> > minute that you are online). And not very many people, especially
potters, eve
> > have a computer or can afford this fees.
> >
> > Also it is not very easy to be potter here in freiburg, where I live. It
is a
> > little town with many potters (means much competition). For example we
have an
> > everyday-market in the center of town, but you can't get a place to sell
at th
> > weekend where most people (tourists) come, because we are too many.There
is a
> > group, called potter forum. They do a big market once every year but you
can't
> > get a place to sell because we are too many.
> > Don't misunderstand me, I don't want to complain, I just try to explain,
why
> > the situation is what it is here. Perhaps in other parts of germay it is
> > different, I don't know.
> >
> > Besides, I'm not in a too bad situation, because I try to earn my living
with
> > pottery together with two friends of mine and we do exchange everything
we kno
> > and also with some other potters here in town. But in spite of this you,
janet
> > are right. I also believe that clayart could only become to such an
interestin
> > discussion in "the land of the free". Perhaps because people are more
> > open-minded than in germany but also perhaps this land is so huge, that
> > communication by net is a more needfull thing as in an area where you go
about
> > 3 hours with the car and are in another potters paradise.
> >
> > Another point of view (perhaps it is very german): I'm a self-taught
person,
> > never had been at an art school, just read some books and bought my
wheel,
> > doing some courses for the basic technics and having fun with throwing,
glazin
> > etc. now for about 4 years. And I have a kind of feeling to profite from
other
> > peoples training, working, trying-out, means the work others have done
and I
> > myself can't give very much because I'm effectively not as skilled as
most of
> > you are. Everything I know about pottery are very common things to you.
And I
> > don't want to be that sponge you mentionned, janet, but at the moment I
can't
> > be much more, I fear and so you're right it takes courage to write all
this.
> > But you gave me that little push I needed . Clayart for me is really a
sort of
> > new pottery world and I enjoy it very much.
> >
> > sibylle
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:57:03 EST
> From: Sharon31
> Subject: Re: RAKU: Copper Matt Techniques
>
> ----------------------------Original message----------------------------
> I use this glaze, I found in the collection of raku glazes preparedby
> Dewitt Gimblet (dewitt@realtime.com). This specific glaze does not need
> burnished piece!
>
> Glaze name: Mr. King's Sculpture Raku
> Cone: 07
> Firing: Raku
> Surface texture: Lichen
> Color: Red to Green
> Date: 07/19/98
>
> Recipe: (Percent, Batch)
>
>
> Frit 3110 100.00 100.00
> -------- --------
> Totals: 100.00 100.00
>
> Also add:
>
>
> Black copper oxide 400.00 400.00
> Red iron oxide 25.00 25.00
>
> Comments:
>
>
> Comments: Glaze type: Raku (Reduction) Transparency: Opaque Visual
texture:
> very much mottled and variable Bubbles: Few Flow: Slight Durability:
> Medium
> Date: 03/31/97 Comments: Be aware of flaky underfired surface it can
> often
> give. *Variations: Try Cobalt in place of copper for an interesting
> flaky blue
> glaze. This glaze is almost bordering on a stain of sorts, and the
> addition of a
> boron source (e.g. Gerstley Borate) might make it more of a glaze per
> se. I like
> the odd, dry and aged look it gives large sculptural works. *How long
> have you
> been using this glaze? One year *Where is it used? Columbus Academy
> ceramics dept. Cols. OH. *Where did this recipe come from? I
formulated
> it
> myself (on accident) *What do you like most about this glaze?
> aged/varied
> surface texture. *Is this glaze reliable? Dependability varies in
direct
> proportion to the reliability of the person firing it. Overfire or
> deeply underfire
> and it's not so pretty. *Does this glaze tend to
> craze/crawl/pinhole/etc.? Watch
> out for flakes. *How do different firing temperatures/atmospheres
affect
> the
> glaze? Tip: Reduce not only in postfire red., but also in the kiln
> during last
> twenty min of raku (close the damper, cut off primary air) *How does
the
> glaze
> behave on different clay bodies? It likes groggy clay. Don't know too
> much
> about stoneware/high iron bodies for this glaze, though. NOT FOR USE
ON
> PORCELAIN (for whomever may raku Porcelain in the first place) *What
> consistency should the glaze be for pouring/dipping? THICK *How
thickly
> should the glaze be applied to the pot? two to three thick, uneven,
> coats is best.
> *How does this glaze interact with other glazes? avoid much
combination
> with
> glossy glazes. Good partner with copper matt. Try Post Pac Man from
Jan.
> '97
> CM. *What is your kiln type and size? 3 cubic foot fiber and brick
raku
> top hat
> kiln. Dual Venturi system. *How do you typically fire? One hour raku,
> starting
> at 3psi, and increasing at 1psi per 10 min until 9psi is reached. Ten
to
> twenty
> min at end of firing is in med. red. Soak moderately at cone 06 or so.
> *Do you
> experience problems with the raw glaze? add bentonite to solve
settling.
> Otherwise, best advice is to mix fresh and firs soon thereafter,
> otherwise dry
> cracking results. *Any other comments? I want my electric kiln to fire
> in
> reduction. *GlazeBase recipe* Submitted by: Kevin King
(kingx61@ibm.net)
> Ice Cream Flavor: Vanilla
>
> I used once copper carbonate instead of the oxide in the some amounts, Or
> another time added some cobalt ox. the way you spread salt on food to make
> it variable.
> In this opportunity to thank Mr. King for making this interesting glaze A
> good solution for burnishing lazy like me!
> Ababi
> sharon@shoval.org.il
> http://www.israelceramics.org/main.asp?what=gallery.htm
> http://clay.justnet.com/cgallery/asharon.htm
>
>
> ----- Original Message -----
> From: Susan Goldstein
> To:
> Sent: Tuesday, March 28, 2000 09:17
> Subject: Re: RAKU: Copper Matt Techniques
>
>
> > ----------------------------Original message----------------------------
> > In a message dated 03/27/2000 3:06:51 PM Eastern Standard Time,
> > kyancey1@tampabay.rr.com writes:
> >
> > << raku pottery. So far I've been
> > using Mark's Copper Matt from the Branfman Book. Frit 3110 10%, Copper
> > carb 90%, Iron Oxide 5%. I fire in a fiber lined oil drum in oxidation
> > to cone 11. >>
> >
> > I never heard of firing raku to cone 11. Is this a mistake?
> >
> > Susan
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:57:11 EST
> From: Paul Taylor
> Subject: Re: cone six glaze quest (long)
>
> ----------------------------Original message----------------------------
> Dear Merrilee
>
> This letter is long and contains advice that is ninety percent inferior
> to that given by someone with a full physical and chemical Knowledge of
your
> clay and glaze material choices. I am posting it so you can get an Idea of
> the problems that glaze chemistry can overcome. Some of what I advise here
> for that reason is speculative. That is the nature of working on glazes at
> this level a lot more testing and heart acke is involved. However the
glazes
> we use do not have to have the same specifications as an industrial glaze
> and some materials are not readily formulated . BUT for a clear glaze you
> want qualities that industry also wants .
>
> Your problem is not a simple one because you are using earthenware
> technology at stone ware temperatures or the other way round depending on
> your point of view.
>
> Barium and lithium used to make cone six exciting but their seems to
be
> a lot of negative felling about their stability and the possible harmful
> effects if they leach out. I am sceptical and wonder if a sense of
> proportion has not been lost but since I do not use them it is not my
> business- it is unfortunately yours. Not using these materials makes cone
> six difficult since these materials can be substituted for some of the
other
> fluxes adding stability . Zinc is also a material used for cone six and
used
> to be used a lot before higher textures were popular. I have no experience
> of using zinc.
>
> It seems logical that a slight rise in temperature could be
compensated
> by leaving out some of the fluxes. However the difficulties come because
the
> clay does not seem to cooperate and the fluxes and lead starts to boil off
> badly so lead silicates become un stable . Fluxes are also subject to
> eutectics but I would not worry too much about that .
>
> Lead is a flux that fits pots very well and Boron very much part of
> some low temperature glass structures has very little shrinkage. Since
lead
> is definatly out at cone six, boron is the only reliable flux left. The
> fluxes that suit stoneware are sodium/ potash and calcium . Calcium is
> unpredictable at cone 6 it can not make up its mind to be a crystallizing
> matting agent or a flux.
> Unfortunately putting a lot of sodium in the glaze tends to increase its
> crazing potential and although potash is better even the best feldspars
have
> a lot of sodium in them and because our frits are also sodium rich more
> trouble.
>
> So cone 6 is between two stools it too high a temperature for earthenware
> fluxes to be stable and too low for stoneware fluxes not to cause crazing.
>
> The glazes that are used contain a compromise between the two but we are
> now using boron and sodium/potash. The glaze recipes that work at this
temp
> do not allow a lot of leeway in their make up . So using someone elses
> glaze recipe may not be copying but the only choice given the strict
limits
> at cone six. This explains all the panic on this list concerning borax
> containing materials. A small change in the borates analysis seems to
make
> a big difference.
>
>
> Glazes that are crystalline seem to hold together well I suspect a
> crystal structure is more elastic than a compleat frozen liquid ,and maybe
> you can not see the crazing in these glazes.
>
> The clay you are using probably fires well at cone nine. At cone six it
> is not very vitrifyed this is great for oven ware no nasty silica
structures
> in a tight matrixes but getting a glaze on is difficult because it does
not
> shrink. The difficulty with putting flux in a body is that fluxes like
iron
> do not work in the steady way they aught, they enter the equation
suddenly.
> A discovey made by many a potter firing his earthenware too high . There
> must be clays that fit cone six well. But I would suspect that the
choices
> are fewer and the clear glazes that fit them are also fewer.
> One of the great helpers of the glaze fit is the glaze body layer in
> earthenware. All the pot is completely covered to help prevent the crazing
> that occurs if the body absorbs water. You have noticed I expect that old
> earthenware crocks are inevitably crazed . I would theorize that unless
the
> pot has a good glaze body layer it will sooner or later crazes with age.
>
> Most have to get their clay off the shelf. If you can buy one that
suits
> cone six all the better
> but that is a matter for your supplier. He boasts that the clay fires to
> cone whatever and usually does not supply expansion figgers for firing it
at
> cone six.
>
> The firing will make a difference a slow crawl to temperature is more
> forgiving than the blast to cone X. I do not know why and that as many
> things may be my imagination.
>
> The glaze thickness it important Ting ware is glazed very thin to
> prevent crazing.
>
> So you can judge from what I am saying that it is not impossible to get
> harmony at cone six but the perameters are small because earthenware
fluxes
> are very reactive at that temp and stoneware fluxes you need such a high
> proportion which introduces crazing.
>
> Thank God for borax this seems to be the corner stone of most ^6 glazes
> it fluxes well and shrinks little if you can find a form without loads of
> soda in as well .
>
> For your glaze
>
> First make sure that the materials you are using are dry if not
> compensate for this dry some out-mesure the loss and compensate for the
> difference.
>
> Substitute high potash spars for all or some high soda spars and if
they
> have a higher silica content all's the better because silica in this form
is
> already bonded with the fluxes which gives you more melt.
>
> Put in as much silica as you can you will be surprised how little you
> will need if you attend to the other things first. Also this is where
> Eutectics comes in adding silica may not necessarily raise the temperature
> of the melt.
>
> Substitute boron for soda/potash. by changing the fritt or
substituting
> it for some of the spars
>
> A good grinding of the glaze will also lower the firing temp and the
> finer the materials the less soda you will need to use.
>
> Glaze thiner.
>
> If You do a little of all these it is better than doing one of them a
> lot.
>
> Iron seems to be a good flux so temocuse and high iron glazes seem to
do
> well at all temperatures. Maybe it is because you can not see the crazing
or
> that iron glaze structures like lead has a lot of give in it.
>
> You can see how an understanding of glaze chemistry is an advantage
> especially if you are familiar with formulas . It is not that you will be
> breaking down all your glazes to their Seeger or proportional analyses but
> it will give you more confidence in your guesswork.
>
> I do not Know about the glaze and body formulas that suit cone 6 I
deal
> mainly with stoneware glazes and I have not got a familiar feel for the
> temperature
>
> the reasons above put me off firing lower than cone eight and most of the
> potters know seem to end up firing higher not lower and the suppliers here
> are very much geared up for either earthenware or stone ware and not much
in
> between which makes you very much on your own at cone six. not a lot of
> choices for materials designed to fit this temperature.
>
>
> My Thoughts on learning glaze technology are . Forget about how learning
was
> done at school.
> Nigel Woods books are great for understanding stoneware glazes- lots
of
> pictures. Seeger(unity) formulas are difficult to get your heard around .
> But unlike school you have no tests and lots of time to take glaze
> calculation slowly. so if you understand a little a day you will get there
> and I doubt if you are as illiterate as me.
>
> It gets confusing because of the different ways of approaching it by so
> many people.
>
> There are four basic ways of constructing glazes
>
> Formulas and calculation. Some use proportional analyses and others
> Unity formula.
>
> Triaxial and biaxial blending.
>
> Adjusting recipes.
>
> And bunging stuff in a bucket.
>
> learn one at a time but use all four
>
> Regards Paul T
>
>
>
>
>
>
>
> ----------
> >From: Merrilee F Pascaris
> >To: CLAYART@LSV.UKY.EDU
> >Subject: Re: cone six glaze quest
> >Date: Mon, Mar 27, 2000, 12:25 am
> >
>
> >----------------------------Original message----------------------------
> >Has anyone else done any testing on this?
> >
> >I mixed up the following glaze: RR3/00 Cone 6 Clear (using Custer
> >Feldspar and Ferro Frit 3134) .
> >
> >I also tested it with 1.5% cobalt carbonate and another with 2% copper
> >carbonate. All crazed on our particular clay body, which is from a local
> >supplier (Rovin, Taylor, MI). It's a gray stoneware clay (RO72), cone
> >6.
> >
> >I tried adding 10% more silica, and it still crazed, but less. The
> >colors were bright and clear.
> >
> >Ron Roy's Black #3 works very well on this clay body, as well as other
> >glazes that I've gotten from Clayart, so I have lots of other bases that
> >I can use, but I'd really like to learn how to revise glazes. I guess
> >this might be a good way to start. I have Insight, (bought it at NCECA
> >last year) but to be honest, haven't done too much with it.
> >
> >I'm open and willing to do what it takes. Any guidance would be
> >appreciated. Thanks to all for your sharing and support.
> >
> >Merrilee Pascaris
> >Birmingham Bloomfield Art Center
> >Birmingham, MI USA
> >
> >On Sat, 18 Mar 2000 15:21:00 EST Ron Roy writes:
> >Original message
> >Here is a revision of the clear that will work with the
> >chrome-tin reds and pinks. It has not been tested -
> >for melt, durability or colour response but I will bet it will pass all.
> >If anyone tries it I would appreciate knowing what happened.
> >
> >RR3/00 Cone 6 clear (untested)
> >
> >G200 - 22.0 (Custer should work just fine)
> >Ferro frit 3134 - 24.0 (fusion frit f12 will work)
> >Wolastonite - 23.0
> >EPK - 23.0
> >Silica - 8.0
> >Total - 100.0
> >
> >________________________________________________________________
> >YOU'RE PAYING TOO MUCH FOR THE INTERNET!
> >Juno now offers FREE Internet Access!
> >Try it today - there's no risk! For your FREE software, visit:
> >http://dl.www.juno.com/get/tagj.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:57:20 EST
> From: carrie or peter jacobson
> Subject: What is clayart
>
> ----------------------------Original message----------------------------
> Change. Fear.
>
> They often go together, eh?
>
> This time, though, change has been announced and has flashed fear in me.
> One has caused the other; they have not just wandered in unbidden.
>
> It is all well and good that the moderation of ClayArt leave one party and
> go to another. Mel is potentially as good a choice as anyone, I would
> imagine.
>
> But to announce that he "will try and give one or two answers, and try to
> figure out the most important answer," this simply does not work for me.
>
> Often, it's not until six or seven answers pile up that I find one that
> makes sense, or I even begin to pay attention to the heart of the
> discussion. The variety of the responses, the fact that they come from
> different people, with different lives and different experiences, this is
> important to me. And who is to say that Mel has the best idea of what the
> most important answer is for me?
>
> I have been on lists where discussion is taken up, sometimes completely,
by
> a series of "me, too!"s and, of course, I am not asking for that.
>
> I am asking for a continuance of what we have had: An apparently light
hand
> moderating, a dedication to inclusion, and an acceptance of a certain
> amount of chaos.
>
> This is not what you said you were going to give us, Mel, and I for one,
> would like to raise a calm voice of protest. I am not trying to attack you
> personally, Mel, but I am attempting to begin a discussion on what you
> announced as your plans.
>
> I sincerely hope this posting makes it to the list.
>
> Carrie Jacobson
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> Carrie Jacobson
> Pawcatuck, CT
> mailto:jacobson@brainiac.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:57:27 EST
> From: john a gibson
> Subject: Re: Mixing Plaster
>
> ----------------------------Original message----------------------------
> Elaine, if you multiply width times lenth times height you will have the
> number of cubic inches in your area. Then divide by 81. 81 cubic inches
> in a quart of water. This will tell you how many quarts of water your
> area will hold. once you have the number of qts. then decide how many
> pounds of plaster per qt. it is recommended any where from 2.5 to 3.0.
> by the plaster co. 2.0 lbs. works well.
>
> ________________________________________________________________
> YOU'RE PAYING TOO MUCH FOR THE INTERNET!
> Juno now offers FREE Internet Access!
> Try it today - there's no risk! For your FREE software, visit:
> http://dl.www.juno.com/get/tagj.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:57:34 EST
> From: Paul Taylor
> Subject: Re: Crazing Cesspools?
>
> ----------------------------Original message----------------------------
> Dear Ray or any body.
>
> I have tried tea it did not work.
>
> Does any body know how for certain to get black into the crackle on a high
> fired stoneware I would appreciate an answer since it would save a lot of
> time experimenting.
>
> I wonder if the cesspool was Just a pool of stagnant ink and smelled.
> From my experiments with chinese glazes I expect that many a researcher
made
> such mistakes and who would want to spoil the Joke.
>
> I no longer question the stories I hear about inscrutable secrets of
the
> orient I just smile at the romantic gullibility of the story teller.
>
> Regards
> Paul T
>
>
> ----------
> >From: Ray Aldridge
> >To: CLAYART@LSV.UKY.EDU
> >Subject: Re: Crazing and crazing
> >Date: Tue, Mar 28, 2000, 7:05 pm
> >
>
> >
> >More conventional crazing is often enhanced by soaking the pot in strong
> >tea. The Chinese, so I understand, would enhance the craze lines of
their
> >pots by submerging them in cesspools for several months. I would prefer
> >the modern approach.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:57:41 EST
> From: ferenc jakab
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> I'm not sure about the origin of 'bisque'. I've always assumed it was from
> the French too. However I do know that it is mostly used incorrectly. The
> state that we usually call bisque is actually biscuit. I.e. where the ware
> (pardon the pun) is fired to a temperature lower than that to which the
> glaze will be fired. Bisque is used in industrial production where the
ware
> is fired to a higher temperature than the temperature of the glost firing.
> Feri.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:57:55 EST
> From: Murray & Bacia Edelman
> Subject: Re: where did bisque come from?
>
> ----------------------------Original message----------------------------
> At 01:27 PM 03/28/2000 EST, you wrote:
> >----------------------------Original message----------------------------
> >For ten years I have been using the word bisque and for ten years I have
> >wondered when and from where the word came into the pottery world. I
assume
> >from the spelling it is from France but no pottery book I've read
explains
> >it. I eat soft BISCUITS and honey, I eat hard cookies called BISCUITS.
> >Neither sound like the bisquing process. Some one with a more
comprehensive
> >dictionary than I have access to may be able to help me.
>
> In the OLDEN DAYS when I first started in clay, the word Biscuit was also
> used a great deal. In my dictionary, under: biscuit, one definition is:
> ceramics. Pottery that has been fired once but not glazed. Also called
> "bisque."
> And the same definition appears under Bisque as does : a thick rich soup
> etc etc.
> Bacia Madison, WI
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:58:02 EST
> From: Knox Steinbrecher
> Subject: Re: teapot question
>
> ----------------------------Original message----------------------------
> I have ALWAYS used warm tap water to heat the teapot first...even
commercial
> ones. I was taught by my Grandmother that this was the way one made tea.
I
> never knew that her ritual was saving the teapot. Sweet thought.
>
>
> knox in Georgia...glad to be back to Clayart after a too long absence
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:58:11 EST
> From: mel jacobson
> Subject: potters shop
>
> ----------------------------Original message----------------------------
> For those of you that do not know, Steve Branfman owns the `Potters
> Shop`. I did not include his name in the thank you message.
>
> Wanted for sure, for you all to know that.
>
> Mel
> minnetonka, minnesota, u.s.a
> http://www.pclink.com/melpots (website)
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:58:16 EST
> From: Pancioli
> Subject: Non-functional teapots
>
> ----------------------------Original message----------------------------
> The distinction between the words "functional" and "utilitarian" were
> discussed briefly years ago at NCECA when Garth Clark stood up in the
> audience and asked if what Bill Dailey was talking about when he used
> the word "functional" wasn't really "utilitarian". Dailey bristled and
> said that "we all know what we were talking about!"
>
> Since then, however, I have made the distinction and used the word
> "utility" when speaking of pots that are "useful". Function is a much
> broader, less precise term. A painting "functions" as a thing of beauty
> and contemplation. Many things "function" that are not useful.
>
> I plan to join the discussion on utilitarian teapots as soon as I get a
> minute. I think there are other issues about teapots that are not well
> served by the simple distinction between utility and non-utility. I
> believe that the language and the debate can become more precise, and I
> am certainly glad to see it being discussed here.
>
> Diana
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:58:24 EST
> From: Janice Alexander
> Subject: Re: Copying designs. Question Court ruling
>
> ----------------------------Original message----------------------------
> After having worked directly with Coca-Cola on design of licensed products
in
> my "real" job, I can shed a little light on this.
>
> Coca-Cola does in fact have an official copyright registered on the design
of
> the Coke bottle. It is a violation of their copyright for anyone to use it
on
> anything.
>
> Janice in NC
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:58:30 EST
> From: Jonathan Kaplan
> Subject: Re: Pugmill advice?
>
> ----------------------------Original message----------------------------
> >----------------------------Original message----------------------------
> >Howdy folks. I am in the market for a pugmill. I am impressed with the
> >small shimpo and I have looked at the smallest Bluebird. I am curious
about
> >other potters experiences with these or any other models. I work in ^10
> >porcelain and my wrists are not happy. I know a pugmill would change my
> >life. Any comments would be appreciated. TIA Jeri in Hastings, MN
>
> This subject surfaced a few months ago, so I'll be brief and try not to
> sound repetitous.
>
> We have used Bluebird pugmills, (we have 2) in our shop since the early
> 1070's. In fact, our 750SV is still turning our fine de-aired clay. I just
> replaced the inline gear reducer and upgraded the power train. We also
have
> a Powerstar3000. These are fine machine with off the shelf parts and made
> here in the USA. Bluebird is an fine company with wonderful people. Enough
> said. Buy a Bluebird. Call Trina at Bluebird. She will fill in the rest.
>
> 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
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:58:36 EST
> From: Jonathan Kaplan
> Subject: Re: Orifice nuts
>
> ----------------------------Original message----------------------------
> >----------------------------Original message----------------------------
> >At one point I thought I was going to have to replace/rebuild our gas
fired
> >car kiln because of excessively long glaze firing times and difficulty in
> >getting into reduction. Although I did periodically clean the orifices
> >those holes were (unknown to me) gradually decreasing in size due to
> >corrosion build up. Finally I obtained new orifice nuts and decided to
go
> >with two different sets with different size orifices. Now I use two sets
of
> >orifice nuts.. one for bisque fires (oxidation 07/06) and another set for
> >glaze fires (9/10 reduction)..... A simple concept and one that has
saved
> >my wife and I thousands of dollars and allows us to have some great
> >firings...
>
>
> Marshal
>
> You could save time and effort when you replace the orfice nuts by
> purchasing a limiting orfice valve for each burner from North American
> Manufacturing. THese valves function as your orfice and are adjustable
with
> a screwdriver. These valves alow a regulated incremental increase of gas
> volume over a very broad range and will also maintain the money samvings
> you need.
>
> 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
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:58:43 EST
> From: Bob Bruch
> Subject: non - functional teapots
>
> ----------------------------Original message----------------------------
> Sandra writes:
> >>>>Is there a difference between functional and utilitarian? And...what
is
> it? Sandy
>
> Ray responds:
> >>>>>>>Well, it is. But the utilitarian object must accept some
constraints
> on
> its originality because it must function. It can never be entirely free
of
> that constraint, and in this sense, its originality is limited to a gloss
on
> the basic idea of a covered container that pours.
>
> JMHO, but the terms "utilitarian" and "functional" have very similar
> meanings. The base of the word "utilitarian" is UTILITY. The base of
> "functional" is FUNCTION. Utility derives from the French "utilite" -
> usefulness or use. I fail to see a significant difference between the two,
> unless one really wants to split hairs.
>
> I believe that there are three basic categories of ceramic work:
>
> 1) Utilitarian or functional in which the PRIMARY FOCUS is on the function
of
> the work. That doesn't just mean that a teapot pours, but how it pours,
and
> how it feels to the pourer. I have some cups made by top notch
utilitarian
> potters that FEEL wonderful and they were made with that in mind. That
does
> not mean that the ceramic object cannot have other concerns, just that the
> basic concern centered on the use of the object.
>
> 2) Vessels which are works based on traditional ceramic forms such as
plates,
> cups, bowls, urns, ewers, teapots, jars etc. The PRIMARY FOCUS of vessels
is
> not about function, although vessels can function and can even function
quite
> well. The creator is focused on something other than making the object
> function well. The creator is trying to convey something about the
particular
> ceramic object and function takes second place to the idea.
>
> 3) Sculpture is work in which the creator has a PRIMARY FOCUS of a concept
> that transcends ideas about the teapot itself. A sculpture could be based
on
> a ceramic form, such as the work of Richard Notkin. But I think that
> sculpture is work in which the political or social idea being expressed is
> the basic focus of the artists endeavor.
>
> Bob Bruch
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:58:51 EST
> From: Tim Skeen
> Subject: Re: NCECA Student Mug sell and beauty in the eye of the beholder
>
> ----------------------------Original message----------------------------
> Earl,
>
> Thank you for your message, in a strange way it helped me understand
> the teapot thread better. I was asked to make a horse hair teapot this
> past weekend. It's amazing that I would be asked to do this order when
> the teapot thread was the hot topic. I explained that it would be
> a nonfunctional teapot not made to look like a functional one because
> I wouldn't want anyone to ever think they could use it. She told me
> she wanted one of my horse hair pots and thought it would be great to
> have a hh teapot to add to her teapot collection. So we had great fun
> designing her new teapot. I've only made one teapot in the past and I
> must say it was a wonderful experience making this one. I can't wait to
> horse hair it. To make sure it is nonfunctional I did not make holes for
the
> spout. I just wanted to share this experience I had because it brought
> great joy for me to make it and for my customer it's function will be to
> hold it, caress it and it will be part of a lovely collection... I know
> there
> are potters that will frown on me making a nonfunctional teapot. The
money
> wasn't the issue in taking this order, it was the fact she was so happy to
> be getting a hh teapot, it will mean more to her than one of my other
pots.
>
> As for what one will purchase, I can't move into my customer's head to
know
> what they will like or dislike. Some of my pots that I wouldn't look
> twice at are the first ones to sell. Thanks goes to my husband because
> he always steps back and views those pots as a potential customer and
gives
> me the thumbs up or down!!! Most of the time he's right on with his
> critique.
> I look at some of the pots I have purchased over the years and most of
them
> were the odd ones that a potter was selling. The pot spoke to me and at
> times
> the potter would explain that it was their favorite because they drifted
> from
> their usual pottery design to have fun and create something new. I call
> these
> type of pots spirit pots because the potter taps into a new creative
energy
> and
> has fun... I think we all need to do this once in awhile and I think
these
> type
> of pots are very special even if they are odd looking to some... I think
> odd pots
> are different than seconds because they don't have flaws they just dance
to
> a
> different tune.
>
> I'm off to Austin Tx for a week, I've heard it's a beautiful
> place to visit!!!
>
> Best Wishes,
> Audrey
> mailto:t.askeen@worldnet.att.net
> http://t.askeen.home.att.net
>
>
> -----Original Message-----
> From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.UKY.EDU]On Behalf
> Of Earl Brunner
> Sent: Tuesday, March 28, 2000 1:08 PM
> To: CLAYART@LSV.UKY.EDU
> Subject: NCECA Student Mug sell and beauty in the eye of the beholder
>
>
> ----------------------------Original message----------------------------
> I had an experience at NCECA that still has me musing. I
> actually got up early and went to the Scholarship mug sell
> this time to see what I could actually buy. I was 38th in
> line. (some of the ones in front had spent
> the night) I was back a ways, but still in good position to
> find something good. We watched carefully as those in front
> brought out their purchases.
> And as I saw what some of them picked, and then when I got
> in and saw what they had left, I was sometimes amazed. I can
> only think that there is no accounting for taste. I am
> facinated by what draws the pot and the future owner
> together. You may have seen this phenomenom in action as
> people are attracted to a peice of pottery. It's like a
> magnetic attraction.
> And sometimes I am at a loss to comprehend what it is that
> they are seeing
> as they connect with a peice. The funny thing is, I more
> than suspect that others felt the same about what I selected
> and brought out. One of those mysteries of life.
> --
> Earl Brunner
> http://coyote.accessnv.com/bruec
> mailto:bruec@anv.net
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:58:59 EST
> From: Lois Ruben Aronow
> Subject: Re: Need Cone 6 oxid. clear matt glaze
>
> ----------------------------Original message----------------------------
> ------------------
>
> =3EWould anyone share their tried and true recipe for clear matte in =
> oxidation?
> =3EI'm glazing functional pieces, so need food-safe glazes.
> =3E
>
>
> I've never tried these, but they're from the Cushing Handbook. All
> are =5E6 Ox and all are tested food-safe, according to the handbook:
>
> VC Polished matte:
>
> Kona F-4 20
> Custer 20
> Spodumene 20
> dolomite 20
> Whiting 5
> Kaolin 15
>
>
> VC 8:
>
> Neph Sy 20
> Whiting 20
> EPK 20
> flint 15
> 3124 frit 25
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:59:08 EST
> From: Jeanette Harris
> Subject: Re: NCECA Reflections
>
> ----------------------------Original message----------------------------
> >The mug exchange is super. Got a
> >great mug from Jeanette. Thank you Jeanette.
>
> You're quite welcome, John.
>
> You can see one of my teapots in the Gallery area of Clay Times--can't
> remember the issue, but it's got Robbin Hopper on the cover.
>
> Delighted that you had a good conference.
> This was my third one and ranks right up there with Ft. Worth.
>
> See ya in Charlotte.
>
> Cheers, Jeanette
>
>
>
>
>
> >John Hesselberth
> >Frog Pond Pottery
> >P.O. Box 88
> >Pocopson, PA 19366 USA
> >EMail: john@frogpondpottery.com web site: http://www.frogpondpottery.com
> >
> >The only things in life that are certain are death and taxes; however
> >only taxes come once a year. Anonymous
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:59:14 EST
> From: Pam1amm@aol.com
> Subject: Ishiguro Munimaro:info?
>
> ----------------------------Original message----------------------------
> I am looking for books with photos of work by Ishiguro Munimaro. My
internet
> searches have
> yielded nothing, so far.
>
> Thanks in advance.
>
> Pam
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:59:19 EST
> From: Jon Kirkendall
> Subject: Website for building/hosting websites
>
> ----------------------------Original message----------------------------
> Hi All!
>
> I'm currently delving into building a website (who knew that on top of
> clay skills, engineering skills, chemistry skills etc. I'd have to be
> profecient in computer/internet skills when I decided to be a potter?),
> and found this site on the web that lists free/cheap hosts and sites for
> building web sites:
>
> http://personalweb.about.com/internet/personalweb/msub21.htm
>
> One of my students told me about it, and its been very useful, so I
> wanted to pass it on. I'd also love to hear from others who are
> currently working on web sites.
>
> Jonathan in DC
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:59:44 EST
> From: Laura Freedman
> Subject: Re: teapot question
>
> ----------------------------Original message----------------------------
> At 01:14 PM 03/28/2000 -0500, you wrote:
> >----------------------------Original message----------------------------
> >
> >Hello, friends.
> >Short question: In giving instructions to a purchaser of a functional
> >teapot, and if I want to print a note re rinsing teapot first with warm
> >tapwater and then pouring in the boiling water, do I instruct new owner
to
> >do this the first time or two only, or every time the teapot will be
used.
> >If you have an answer, I would be most grateful. If you wish to read on,
> >fine too. It gets wordy.
>
>---------------------------------------------------------------------------
-
> >---------
> >Hi Bacia, every time you have tea. It warms the pot against sudden shock
> >when you do pour in the hot water and it also keeps the
> tea warmer since the hot tea doesn't have to warm the pot too. Don't know
> where I read it or who taught me but I have been doing it for
> years. Laura
>
> >Bacia Edelman Madison, Wisconsin
> >http://www.mypots.com/bacia.htm
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 17:59:52 EST
> From: Frank Martin
> Subject: Larry Bush Workshop / Apr. 6 & 7
>
> ----------------------------Original message----------------------------
> For wishfull participants we still have three spaces
>
> If you would like, I can send a jpeg of Larry Bush's work
> please contact me off list for this offer.
>
> > -----Original Message-----
> > From: Frank Martin
> > Sent: Monday, February 07, 2000 12:42 PM
> > To: 'CLAYART [ sending mail ]'
> > Subject: Larry Bush Workshop / Apr. 6 & 7
> >
> > Dishes in the Year 2000
> > Larry Bush
> >
> > People have probably been using dishes since we became
> > "people" and have been making them out of clay for the past 12,000
years.
> >
> > Through demonstrations, dicussions and slide lectures, explore
> > what's different and what's the same, what our dishes should be
> > and look like, what the limits of tableware are, where the expressive
> > possibilities lie and what the artist's role is in all of this.
> > 2 sessions:
> > Thu & Fri, Apr. 6 & 7, 10 am-4 pm
> >
> > Larry Bush, MFA, New York College of Ceramics
> > at Alfred 1984; Chairman, ceramics department,
> > Rhode Island School of Design; studio potter,
> > making functional pottery, primarily in porcelain;
> > work is exhibited and collected internationally.
> >
> > The 92nd Street Y is located at
> > 1395 Lexington Avenue,New York, New York 10128.
> > For further information, call 212-415-5565 or
> > email - fmartin@92ndsty.org
> > email - pmartin@92ndsty.org
> > call - (212) 996-1100 to register for programs.
> >
> > http://www.92ndsty.org/artclass.html#Ceramics
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:00:03 EST
> From: john tygart
> Subject: Re: about hump molds (?)
>
> ----------------------------Original message----------------------------
> Centa, here my shot at your question..
> To speed dry molds with out harming them comercial manufacters have a room
> thay keep at a tempiture of 102 degries and have a dehumidfier going at
the
> same time. When Iam drying molds Ihave them in my wash room with the
> dehumidifer the heat from the dehumidifer keeps the room at a temp at
about
> 95 degries. You might try puting your mold in a closit with a dehumidifer.
> Hope this helps.
> John Tygart
> On Sat, 25 Mar 2000 23:30:14 EST, centa@wenet.net wrote:
>
> > ----------------------------Original
message----------------------------
> > Hi,
> > I am experimenting with large platter hump molds and was wondering how
> > dry does the plaster have to be to be effective enough for the clay to
> > set up? (I'm hoping not to lose this first attempt to wet mold
> > syndrome). Is there anything I can do other than can this slab and wait
> > for the mold to dry like a patient person?
> >
> > Thanks,
> > Centa
>
>
>
>
>
> _______________________________________________________
> Get 100% FREE Internet Access powered by Excite
> Visit http://freelane.excite.com/freeisp
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:00:09 EST
> From: "Joanne L. Van Bezooyen"
> Subject: NCECA
>
> ----------------------------Original message----------------------------
> Jeri and I made our own tour of shows and works we wanted to see on
> Saturday. With Jeri as navigator, she took me way up in the mountains
> to a little town for lunch....hmmmmm don't think that was on our 'tour'
> plan. :-) Some pieces in the shows really knocked our socks off. I
> had to hold Jeri's purse and pull her away or I knew she wouldn't have
> plane fare home.
> Jeri....I found your rocks in my car when I got home to Tucson. Come
> and get them!
> Joanne in Tucson
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:00:17 EST
> From: Ray Aldridge
> Subject: Re: non-functional teapots
>
> ----------------------------Original message----------------------------
> At 01:19 PM 3/28/00 EST, you wrote:
> >----------------------------Original message----------------------------
> >Ray -
> >Yes, we may be putting some people to sleep, but I really enjoy this
> >discussion.
> >
> >> on the basic idea of a covered container that pours. It cannot be
> >original
> >> in any basic sense.
> >
> >Whoa!! It cannot be original? The fact that it pours cannot be
original,
> >but otherwise there is unlimited room for originality.
>
> Well, no, because its function sets certain limits on its originality.
For
> example, the opening must be at the top-- it cannot be at the bottom. The
> spout will not point downward, it must not leak, and so forth. So its
> originality must function within certain fairly rigid boundaries. (Of
> course this is true of almost anything made by humans, but see below.)
>
> In the cosmic sense, you are correct-- there are infinite variations
> possible in glazes, in subtle elements of the shape, in surface
decoration.
> But in another sense, you could pick a thousand functional teapots at
> random and line them up in rows and an observer walking down the rows
would
> be struck more vividly by the similarities than by the differences.
>
> What we have here, I think, is one of the basic considerations in art
> criticism, which is how far apart along the vernier scale of originality
> you intend to set your parameters. If you get too cosmic, too
> all-inclusive, then you must say that every plastic toy is an original
> work, because the slight distortion caused as the plastic is removed from
> the injection mold makes each toy different in microscopic terms. If you
> narrow the scale somewhat, then you can still call a cylindrical
production
> mug with a brown matte glaze and a pulled handle original, because each is
> slightly different.
>
> If you go too far in narrowing the range, then almost nothing is new. But
> it's my opinion that functional clay is not a terribly original medium of
> expression (though there are other aspects of it that more than make up
for
> this.) A functional teapot is more *personalized* than originated, if you
> see what I mean. I don't think this makes it a lesser object in any way.
> There are many other art forms where the highest goal is personalization
> rather than origination. The novel is an excellent example. There is
> nothing very new about the stories in our greatest novels-- their strength
> is in the personalization their writers achieve. There are no really new
> plots and there are no really new teapots. The "nonfunctional teapot" is
a
> valiant attempt to circumvent this reality, but in my opinion it fails.
>
> >> impressed, and not less so. So the decision to subtract function from
an
> >> object that refers directly to functional clay should not be lightly
> >> undertaken-- if that decision is made, it should be for a good reason.
> >
> >On the contrary, the decision to ignore utilitarian function is perfectly
> >natural and normal in the case of a sculptural work which references the
> >teapot form, while the decision to go to the extra effort to make the
work
> >functional in a utilitarian sense is a little bizarre, unless one sets
out
> >from the start to make utilitarian teapots or to comment on the actuality
of
> >utilitarian function.
>
> Here we'll have to disagree, because the irreducible essence of a teapot
is
> its function, in human ritual terms. To ignore that is to diminish the
> work, except under certain special circumstances. A raku teapot may
ignore
> function because it must. A teapot 3 feet tall must also ignore function.
> A teapot which closely resembles a functional teapot but does not function
> is a bit of silly whimsy. Nothing terribly wrong with that, but I can't
> take it seriously as a work of art. It's just a little too thoughtless
for
> my taste-- I think work which purports to be original should make a
> muscular movement in that direction. Let me try to clarify this with an
> example. If you're familiar with the work of Goeffrey Swindell, a student
> of Hans Coper, you may remember the beautiful forms he was making in the
> early 80s-- they had tiny feet, from which the form swept up and out to a
> strong flange, above which rose a soft dome and a small mouth. I don't
> know if the teapot was the inspiration for these forms, but that would be
> my guess, because in looking at them, you can easily imagine a spout and a
> handle, (which would make a truly lovely teapot, by the way.) In any
case,
> this is in my opinion a valid reference to the teapot. But it is *not* a
> teapot. There are no useless and vestigial elements which serve some
murky
> conceptual purpose (or if you like, narrative purpose.) It is what it is,
> and it is superior to any work I've seen which refers coquettishly to the
> function of the teapot, while in some labored way denying that function.
>
> >
> >> only good reason that occurs to me is that the maker wants to make some
> >> sort of comment with her work *about* function or its absence, and that
to
> >> me moves the piece into the arena of conceptual art. I don't generally
> >> think well a maker who just doesn't care if the piece works or not-- if
> >> that's the case, sculpt a dog, not a teapot.
> >
> >I'm sorry, Ray, but by extending your logic one could just as easily say
> >that the sculpture of a dog would be more valid if it barked and peed on
> >hydrants and chased cars.
>
> I think it definitely would be more "valid." Or at least, a hell of a lot
> more interesting. Don't you? Wouldn't you be knocked out by such a
> sculpture? I think we'd all go to see it, if it came to town. (I have to
> admit a bias here-- my first published science fiction story was written
> from the viewpoint of a motile sculpture that saw itself as a real
person.)
> But it's not as far-fetched as we might suppose, because clearly art works
> with some degree of autonomy are on the horizon, and in the case of
> computer art, they're already here. This will force artists to make
> choices that our primitive technology so far protects them from. Would
> Guernica have been more powerful with a soundtrack, for example?
>
>
> >
> >> I can't bring myself to reduce a work of art, especially a
3-dimensional
> >> work that references functional work, to nothing more than the purely
> >> visual aspect of the work. Surely there's more to it than that. If
> >that's
> >> all we were concerned about, we'd be painters.
> >
> >I am not reducing it to "nothing more than the purely visual." I am
> >celebrating the aesthetic design and the narrative content, and I am
saying
> >that if those qualities are strong they can stand on their own very
> >comfortably without the issue of utilitarian function ever being of any
> >concern at all.
>
> Then why make reference to it at all, if it's unnecessary or irrelevant?
> To me, this is thoughtless and weakens the thrust of the piece. Evidently
> some aspect of the teapot stimulated the design of the piece, which we are
> still calling a "nonfunctional teapot." If the function of the teapot is
> irrelevant to the artist, why provide the faux teapot with a spout or a
> handle? I like whimsy as well or better than most, but it's like a joke--
> it's most entertaining the first time you hear it.
>
> >
> >> I think it's okay to say "I don't like that." How does this "demean"
> >> anyone's work? We can't all like everything; it would make the whole
idea
> >of art criticism pointless.
> >
> >I have no idea where you came up with this as a response to anything I
said.
>
> Vince, here's what you said that prompted this response, though perhaps I
> misunderstood you, or you didn't mean what you appear to be saying here:
>
> >>>This is getting a little silly. Your language implies such a profound
> >>>bias against any artwork which references utilitarian forms, which
> demeans >>>the work of so many leading sculptors and painters of the 20th
> century.
>
> >> I also think we should all be free to have our own reactions to that
work,
> >> positive or negative. Does it make me a bad, or intolerant, or
> >> unintelligent person if I find many of the major art figures of the
20th
> >> century to be overrated? I think it makes me realistic.
>
> >Again, I am not sure who this is addressed to, because it certainly does
not
> >respond to anything I said.
>
> See above.
>
> >
> >And I am enjoying every bit of this discussion,
>
> Me too, and I hope we're not putting folks to sleep.
>
> Ray
>
>
> Aldridge Porcelain and Stoneware
> http://www.goodpots.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:01:13 EST
> From: O'Brien Tyrrell
> Subject: Re: backgrounds for photography/ Peacock/Emerald glaze
>
> ----------------------------Original message----------------------------
> I was just reading the message regarding the photographic
suggestions...but
> am most interested in the Peaacock/Emerald glaze. Did I miss a posting on
> the formula? I am interested in receiving a formula for this
glaze...sounds
> great. O'Brien
> ----- Original Message -----
> From: Lorraine Pierce
> To:
> Sent: Monday, March 27, 2000 11:47 AM
> Subject: Re: backgrounds for photography/ Peacock/Emerald glaze
>
>
> > ----------------------------Original message----------------------------
> > Thanks for your photographic suggestions Carenza. Creative thinking!
> >
> > I have just removed several beautifully glazed mugs from my ^6 electric
> firing,
> > using your silky peacock/emerald blue glaze; Only one problem...the
glaze
> was a
> > georgeous pale softly grayed blue green. Any clues? No snake movement at
> all,and
> > mine broke clear pale olive where thin. Are these oxides correct;
titanium
> > dioxide 10%, cobalt oxide 0.75%, copper oxide 1%. I had increased the
> cobalt
> > because I used the carbonate. Lori in New Port Richey, Fl.
> >
> > Carenza Hayhoe wrote:
> >
> > > ----------------------------Original
message----------------------------
> > > Yes you can get your pictures published without the expense of buying
a
> > > commercial background! I use grey paper used to pack a roll of carpet
> > > pegged to a high shelf and allowed to curve over a table edge - this
> gives
> > > a gently receding background. I also use a dark brown double bed
sheet
> with
> > > a bamboo cane tacked to top and bottom to keep it straight and smooth.
> This
> > > is pegged to the same high shelf and laid across a table, the bottom
> bamboo
> > > puts just the right strain on the sheet to give a gentle curve for the
> back
> > > ground. I have been looking for a length of velvet in my local street
> > > market but no success so far. Apart from a good lens and the right
film
> for
> > > your purpose the most important thing is a tripod so you can use a
slow
> > > shutter speed. A spray to reduce shine can be an advantage too.
> > > ----- Original Message -----
> > > From: Susan Goldstein
> > > To:
> > > Sent: Wednesday, March 15, 2000 9:06 PM
> > > Subject: backgrounds for photography
> > >
> > > > ----------------------------Original
> message----------------------------
> > > > Just wondering if anyone using a background other than the
> commercially
> > > made
> > > > graduated ones, or shading done with very professional lighting, has
> ever
> > > > gotten your work published?
> > > >
> > > >
> > > > Susan
> > > >
> > > >
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:01:29 EST
> From: Phyliss Ward
> Subject: food safety
>
> ----------------------------Original message----------------------------
> Some questions regarding food safety of glazes...
>
> Is there anyway of knowing whether a particular glaze is food safe just
> by looking at it?
>
> Do we have a list somewhere of glazes that have been tested?
>
> If it is clear or white and doesn't contain barium or lead, can we
> assume it is safe?
>
> Specifically, does anyone know if Pete Pinnell's cone 6 weathered bronze
> green glaze is food safe?
>
> And last but not least, how do I know whether Mason stains are food safe
> or not? I have their brochure which lists the colorants...
>
> Thanks,
> Phyliss
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:01:44 EST
> From: Matthew Clemans
> Subject: Glaze Request
>
> ----------------------------Original message----------------------------
> I'm looking for a light-medium blue Cone 9-10 Celadon that looks good on
> porcelain. If anyone could help me out, I would greatly appreciate it.
>
> --
> ++++++++++++++++++++++++++++
> Matthew Clemans
> clemans@centre.edu
> mclemans@hotmail.com
> ICQ: 8555023
> AIM: mttclmns
> ph: 606.238.6659
> "I like feminists - I think they're cute."
> +++++++++++++++++++++++++++++
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:01:57 EST
> From: Wendy Rosen
> Subject: Summer Jobs
>
> ----------------------------Original message----------------------------
> Summer Jobs
>
> We're looking for college students (juniors or seniors)
> for paid summer intern opportunities.
>
> Craft Media Specialists
> Web & Graphic Designers
> Writers, Journalists
> Adv & Marketing Interns
>
> This summer work for a National Art Magazine !
>
> You'll be working with an exciting fast-paced team to create the
> worlds largest web-site for art!
>
> Your enthusiasm is more important than your experience!
>
> Earn $8+ per hour
> (Depending on your experience)
>
> Jonathan Oleisky C/O The Rosen Group, Inc.
> Mill Centre3000 Chestnut Ave #300
> Baltimore, MD 21211
> Ph: 410.889.3093
> Fax: 410. 243.7089
>
>
>
> Wendy Rosen
> The Rosen Group
>
> 3000 Chestnut Ave #304
> Baltimore, Maryland 21211
> 410.889-3093 410.243.7089 fax
>
>
****************************************************************************
****
> *
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> Emerging Artist
> Internships/Scholarships
> Craft Business Institute
>
>
****************************************************************************
****
> *
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:02:02 EST
> From: Wendy Rosen
> Subject: Functional or Non-Functional?
>
> ----------------------------Original message----------------------------
> Here's an interesting idea...
> Anything bought or sold has function... sometimes it's function is just to
> make you
> smile, think or get angry!
> 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
> The Buyers Markets of American
Craft
> Niche Magazine and Awards Programs
> Artist Mentor Program
> Market Insider Newsletter (FREE)
> Emerging Artist
> Internships/Scholarships
> Craft Business Institute
>
>
****************************************************************************
****
> *
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:02:09 EST
> From: Jinjer Stanton
> Subject: Re: teapot question
>
> ----------------------------Original message----------------------------
> The purpose of putting warm water into the pot before actually making
> the tea (besides the thermal shock thing) is to warm the pot so the tea
> will not cool off so rapidly once made. For this reason, I fill the pot
> with the hottest tap water possible and let it set while the tea water
> comes to a boil. Then I pour it off, add tea and the boiling water.
>
> It really works to keep the tea warm longer.
>
> Jinjer
>
>
> ----------------------------Original message----------------------------
>
> Hello, friends.
> Short question: In giving instructions to a purchaser of a functional
> teapot, and if I want to print a note re rinsing teapot first with warm
> tapwater and then pouring in the boiling water, do I instruct new owner
> to
> do this the first time or two only, or every time the teapot will be
> used.
> If you have an answer, I would be most grateful. If you wish to read
> on,
> fine too. It gets wordy.
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:02:15 EST
> From: "Louis H.. Katz"
> Subject: NCECA thoughts
>
> ----------------------------Original message----------------------------
> Hello Clayart,
>
> The NCECA Conference was fun this year, and I was glad to do much less
> running than in years previous thanks to Ken McCollum and Cameron (last
> name unknown). Muchos Gratias. The conference was very well attended
> with over 3500 attendees. The shows were wonderful and I think there was
> a lot of work for people of any persuasion.
>
> This is the first year that I have not been overwhelmed with complaints
> after the conference. I know that some of this is good, it was a better
> conference than most with fewer technical problems, and a great
> location. I would however like some feedback on what the membership
> would like improved. Feel free to send it off Clayart if you wish.
> Louis@nceca.net
>
> The board already knows that it has to structure the tours different,
> who gets tickets and how, but the shuttle buses seem to have run better
> than ever before. Part of the reason for this is that there was an
> onsite manager from the bus company helping to co-ordinate the buses,
> and also excellent management by Cameron, an NCECA Volunteer and his
> "staff".
>
> We had more trouble with slide remotes than ever before but had
> instructed almost all presenters to just say "slide" if there was a
> problem. This was made possible by doubling the volunteer staffing in
> the rooms. Ken McCollum deserves more than a little thanks for his role
> in keeping presenters calm and slide projectors working.
>
> The demos by most accounts were better than ever. We spent more money on
> professional videography and it seems to have payed off. Hopefully we
> will get the same value in Charlotte.
>
> Registration left some things to be desired. There was confusion about
> tours, and onsite registration was slow. I didn't show up in the
> preregistration roster. So it goes.
>
> NCECA is going through transitions. Reggie is no longer handling
> membership or conference fees and our new staff person is having to fill
> big shoes with a steep learning curve. Both Reggie and Minerva have been
> very understanding, patient and helpful as we try to replace them.
> Having a home office should help us keep things rolling.
>
> I have a few other topics that I will express in separate emails.
>
> Louis Katz
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:02:49 EST
> From: Donald Burroughs
> Subject: Re: looking for line drawings of pottery
>
> ----------------------------Original message----------------------------
> Thanks Anjii!
>
> I just realized I have that particular book ,duhh. It took a
> cyber clue to remind me!
>
>
> Sincerely, Donald Burroughs
> ----- Original Message -----
> From: "Anji Henderson"
> To:
> Sent: March 28, 2000 12:18 PM
> Subject: Re: looking for line drawings of pottery
>
>
> > ----------------------------Original message----------------------------
> > I just got this really cute book from the library of
> > my pottery guild... It is "The Japanese Pottery
> > Handbook" By Penny Simpson, Lucy Kitto, and Kanji
> > Sodeoka.. Distributed in the US by Kodanadha
> > International/USA LTD. Through Harper and Row,
> > publishers NY... First edition 1979 -- Fourth Printing
> > 1984
> >
> > It is real cute and has Japanese & english and
> > pronounciation....
> >
> > Anji
> >
> > --- Donald Burroughs wrote:
> > > ----------------------------Original
> > > message----------------------------
> > > ------------------
> > > To all fellow members... I am looking for line
> > > drawings of pottery. The type of
> > > drawing is detailed, in black and white, and is
> > > often associated with written
> > > description, eg.; Dictionarys and technical books
> > > pre-dating photography as the
> > > means of representation. Any suggestions?
> > >
> > >
> > > Thanks to all for your help!
> > >
> > > Donald Burroughs
> > >
> > > The
> > > Vessel Online @
> > > www.autobahn.mb.ca/~donaldo
> > >
> > > e-mail: donaldo@autobahn.mb.ca
> > >
> >
> > __________________________________________________
> > Do You Yahoo!?
> > Talk to your friends online with Yahoo! Messenger.
> > http://im.yahoo.com
> >
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:02:57 EST
> From: Jim Cullen
> Subject: NCECA 2000 - Mel et al
>
> ----------------------------Original message----------------------------
> WOW...what a kick!
>
> Mel, if you know how to pass an e-mail on to the City of Denver and all
the
> galleries please send this.
>
> A big thank you to the City of Denver, the schools, colleges, and
> universities, the galleries and shops for thinking of the many potters
> attending NCECA 2000.
> Your hospitality and consideration was greatly appreciated. You have set
the
> bar for Charlotte and the other future sites to match. Thank you.
>
> Mel, you also did a great job on the CLAYART room. Best of luck your new
> endeavour as CLAYART moderator. I know you have great plans and please
call
> on me for help, if needed.
>
> KEEP CENTERED
> Cullen
> Naperville, Illinois
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:03:20 EST
> From: Wendy Rosen
> Subject: NCECA Thoughts
>
> ----------------------------Original message----------------------------
> This was my 8th NCECA... Boy have things changed over the past few years.
> I remember my first experience... people came by my booth and said "Why
are
> YOU here?" ...well that doesn't happen anymore. I've adapted a bit and
the
> attendees have certainly changed over the years...
>
> There are many more studio artists attending.
> Students know there are few teaching slots open each year... they are
looking
> for ways to create a successful studio.
> The students are very saavy about marketing and ask lots of questions that
> really get down to business.
>
> But... although the attendees and exhibitors are finding new ways to
> work... the organization still seems to muddle along on the same track.
> People come expecting MORE and get LESS in
> the arena of programing.
>
> The panel discussions are very weak in content. The room arrangement is
> terrible. You can't see who's talking. I'm sure that every panel
> discussion I've ever attended was "organized over a three martini lunch".
> And the single lectures seem to be academic disertations more suited for
> medical school than the arts.
>
> There is so much opportunity for NCECA to grow if they will embrace the
> studio artists and also the collectors... it's the ONLY way our community
> will build value and grow members. The conference has become too large
for
> ONE room meetings... we need smaller break out rooms with lots of really
> great topics... and when we find good presenters we should utilize them
> more often than once every 3 years.
>
> For those of you who didn't get a chance to attend my Marketing Your Work
> Breakfast... I'll have some of it up in a week or so... as soon as I
finish
> the
> RFP for this huge website....
>
> It WAS good to see all of you in the ClayArt room... we NEED a BIGGER ROOM
!!!
> Please send me your thoughts off list... I'd like to collect them.
> See Ya in Charlotte,
> 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
> The Buyers Markets of American
Craft
> Niche Magazine and Awards Programs
> Artist Mentor Program
> Market Insider Newsletter (FREE)
> Emerging Artist
> Internships/Scholarships
> Craft Business Institute
>
>
****************************************************************************
****
> *
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:03:38 EST
> From: "Louis H.. Katz"
> Subject: Lost and Found
>
> ----------------------------Original message----------------------------
> There is a list of lost and found items on the NCECA homepage at:
> http://nceca.net.
> If you are missing something check the homepage.
> Louis
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:03:45 EST
> From: Jenny Lewis
> Subject: where did bisque come from?
>
> ----------------------------Original message----------------------------
> Hi Eloise
>
> This is one of those coincidences - I was watching a televdision
> documentary just recently, and learned the origin of the word
> biscuit. According to this programme, which was about World War I,
> something called hard tack that was issued to the troops was a type
> of biscuit (by the way, in this neck of the woods what we call
> biscuits are what the Americans call cookies), and the name came
> about because they were baked and then, to toughen them, baked again.
> Result, very hard objects that the soldiers could carry around, not
> as breakable or crumbly as once-baked biscuits would be. From the
> French bis-cuit meaning twice cooked.
>
> But why in pottery? Dunno, but I suppose the hard tack looked and
> felt like fired ceramics, probably tasted like it too, only more
> nourishing. Why spelled bisque? Dunno that either, but maybe
> that's how it was in French originally. Which makes me wonder,
> lobster bisque is a soup, but does not feel like ceramics. I know
> I'm not a great cook, but even I could not ... hmm, shouldn't tempt
> the fates here, should I.
>
> Jenny Lewis
> overlooking Regents Park
> late spring, official summer,
> bitterly cold, windy miserable lousy weather
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:03:56 EST
> From: Arnold Howard
> Subject: Re: Looking to buy a good ^10 kiln
>
> ----------------------------Original message----------------------------
> Paragon is introducing new cone 10 kilns: the PTF-24-3
> and PTF-28-3. They have 2400 deg. firebricks,
> controller, built-in safety fuses, UL/CUL listing, and
> will easily reach cone 10.
>
> If you're interested, please call 800-876-4328.
>
> Arnold Howard
>
> --- Maid O'Mud Pottery wrote:
> > ----------------------------Original
> > message----------------------------
> > I currently have a 7 cube electric theoretically
> > rated to ^10. It has
> > great difficulty getting to temp, and blows elements
> > constantly, despite
> > frequent wire changes, etc.
> >
> > I'm looking to upgrade both in size and ability.
> > Anyone out there with
> > production experience going to ^10 in electric? It
> > MUST be a single
> > phase; and I'm also looking for a good computer
> > controller as I want to
> > start glass slumping as well.
> >
> > Your help, as always, is greatly appreciated.
> >
> > --
> > sam - alias the cat lady
> > SW Ontario CANADA
> > http://www.geocities.com/paris/3110
> > scuttell@odyssey.on.ca
> >
> > "First, the clay told me what to do
> > Then, I told the clay what to do
> > Now; we co-operate"
> > sam, 1994
> >
>
> __________________________________________________
> Do You Yahoo!?
> Talk to your friends online with Yahoo! Messenger.
> http://im.yahoo.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:04:04 EST
> From: Arnold Howard
> Subject: Element in bottom of kiln
>
> ----------------------------Original message----------------------------
> Dear All:
>
> What do you think of the heating element mounted in
> the kiln's brick bottom? I've heard that it's main
> advantage is in drying clay during candling.
>
> Thanks,
>
> Arnold Howard
> Paragon
>
> __________________________________________________
> Do You Yahoo!?
> Talk to your friends online with Yahoo! Messenger.
> http://im.yahoo.com
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:04:10 EST
> From: Craig Martell
> Subject: Re: teapot question
>
> ----------------------------Original message----------------------------
> Hi:
>
> I tell folks to warm my teapots with hot tap water every time the pot has
> cooled to near ambient temperature. I do this myself when I make a pot o'
> tea. I fill the teapot with hot tap water and let it sit and warm while I
> boil the steeping water. I pour the tap water into a pitcher when I'm
> ready to brew and save it for the next pot of tea. I have a card with
this
> info that I put into my teapots.
>
> regards, Craig Martell in Oregon
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:04:19 EST
> From: Jan Lipuma
> Subject: brushwork on glaze
>
> ----------------------------Original message----------------------------
> Dear Doctor Clayart,
> Could anyone shed some light on how to achieve smooth brushwork on top of
> unfired glaze? I have tried adding fabric softener, but that was not
> right. Into another batch I added CMC to the glaze I am decorating with,
> but now it is all clumped up in the bottom of the container. Should I
also
> add Darvon 7, spray hair spray or spray starch onto the piece or what?
Any
> tips would be greatly appreciated. I think I have gotten in over my head
> in agreeing to so much brushwork on this dinneware order. Yikes
>
> "If it's not one thing, it's another!"
> TIA,
> jan
>
> Janice Lipuma
> jlipuma@mindspring.com
> Blue Moon Studio Pottery
> Lexington KY USA
>
> ------------------------------
>
> Date: Wed, 29 Mar 2000 18:04:25 EST
> From: Marshall Talbott
> Subject: Re: Prices, mug prices
>
> ----------------------------Original message----------------------------
> Our mugs typically sell at $18 to $20 each.. some with embellishments sell
> for $30 or more... I have a few special mugs that I would not sell for
less
> than $100... I'll post a picture of a few of our mugs if anyone is
> interested..
>
> Our stoneware also has a better feel when compared to that of lower fired
> pottery.. I'm not bashing but just telling you the way it is from what
I've
> heard from customers having sold at least a thousand mugs..
>
> Alot of work and finishing touches go into our mugs. The craftsmanship and
> glazing (cone 10 reduction) has much to do with why we can consistently
sell
> our mugs to the gemeral public...
>
> Marshall
> http://www.potteryinfo.com
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>
> ------------------------------
>
> End of CLAYART Digest - 28 Mar 2000 to 29 Mar 2000 (#2000-90)
> *************************************************************
>

Earl Brunner on mon 14 aug 00

Quoting from a source should be ok, copying something in
it's entirety probably would not. It would be important to
credit the source.
As far as glaze formulas go, I think that most would fall
under the area of public domain. Just because a popular
glaze is in a book or magazine does not automatically make
the book or magazine toe origin or source of the glaze.

sdpotter@GTE.NET wrote:
>
> Mel,
> I've always heard, from my school days, that when we quoted
> information we gave credit to the author and the source.
>
> There have been times when a glaze recipe or any other info
> was needed, the only source for this was either from a book
> or a magazine.
>
> Most of the glaze recipes I've seen posted on Clay Art, I've
> seen in either a book or magazine.
>
> Steve Dalton
> ----------
> > From: mel jacobson
> > To: CLAYART@LSV.CERAMICS.ORG
> > Subject: copyright
> > Date: Mon, 14 Aug 2000 10:13:58 -0500
> >
> >remember folks, you cannot copy things from magazines or
> >books and publish on clayart.
> >i will not post them.
> >you must get written permission.
> >mel
> >i am seeing them again.
> >http://www.pclink.com/melpots
> >written from the farm in wisconsin
> >
> >___________________________________________________________________________
> ___
> >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.

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

Pam on mon 14 aug 00

Mel, I did a search for "Clayart" in dejanews and noticed that Clayart posts
have occasionally been copied--not apparently cross-posted--to other
newsgroups. I realize that this is not just what you are referring to, and
while I realize that this is a public forum, it still seems like the
considerate thing to do is ask the original poster before further
broadcasting, and if permission has been granted, say so. I don't know.
I've probably done this myself earlier on and now I realize that I was not
as considerate as I could have been. It's like people who will copy an
email to others with out asking first. I realize that once it's out in
cyberspace in the Usenet or Newsgroup arena it seems to be that all
communications are "fair game." Still. What do you think?

----- Original Message -----
From: "mel jacobson"
To:
Sent: Monday, August 14, 2000 11:13 AM
Subject: copyright


> remember folks, you cannot copy things from magazines or
> books and publish on clayart.
> i will not post them.
> you must get written permission.
> mel
> i am seeing them again.
> http://www.pclink.com/melpots
> written from the farm in wisconsin
>
>
____________________________________________________________________________
__
> 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.
>

mel jacobson on mon 14 aug 00

remember folks, you cannot copy things from magazines or
books and publish on clayart.
i will not post them.
you must get written permission.
mel
i am seeing them again.
http://www.pclink.com/melpots
written from the farm in wisconsin

sdpotter@GTE.NET on mon 14 aug 00

Mel,
I've always heard, from my school days, that when we quoted
information we gave credit to the author and the source.

There have been times when a glaze recipe or any other info
was needed, the only source for this was either from a book
or a magazine.

Most of the glaze recipes I've seen posted on Clay Art, I've
seen in either a book or magazine.

Steve Dalton
----------
> From: mel jacobson
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: copyright
> Date: Mon, 14 Aug 2000 10:13:58 -0500
>
>remember folks, you cannot copy things from magazines or
>books and publish on clayart.
>i will not post them.
>you must get written permission.
>mel
>i am seeing them again.
>http://www.pclink.com/melpots
>written from the farm in wisconsin
>
>___________________________________________________________________________
___
>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.

Sharon31 on tue 15 aug 00

Hello Mel!
When I started to write to ClayArt, I asked for permission, (glaze
recipes) from my teacher at the time and from my good adviser. They agreed,.
So there is not any problem about their glazes. Last year, there was a big
discussion, about copyrights, So I asked,Frank Gaydos, My first off list
connection, in clayart, how should I write, or better, am I allowed to give
a
recipe from a book? He said that I should give a , how you say it in
English?
Compliment? I do not remember the exact words, to the author. In many of my
letters, I write, a little,and send you to the book, partly, because,it is
very hard to write a long letter with on finger (the other nine I save to
ceramics) and partly because, let us
say, Lana Wilson, or V.C. are being paid for they work and who am I to steal
it from them?
on the other hand, some if their glazes, are wandering around the net.
Or what should we do? anytime I want to send a glaze ask them or C.M.
ClayTimes and others who? the authors?publishers? and what if they open
their E-mail once a week?
How long a glaze is copyrighted?
If I added some Al2O3 is it mine?
Or you meant only articles.With this I am completely agree with you!
Ababi
sharon@shoval.org.il
http://www.israelceramics.org/main.asp?what=gallery
http://www.milkywayceramics.com/cgallery/asharon.htm
----- Original Message -----
From: mel jacobson
To:
Sent: Monday, August 14, 2000 06:13
Subject: copyright


> remember folks, you cannot copy things from magazines or
> books and publish on clayart.
> I will not post them.
> you must get written permission.
> mel
> I am seeing them again.
> http://www.pclink.com/melpots
> written from the farm in wisconsin
>
>
____________________________________________________________________________
__
> 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.

Christopher Anton on tue 15 aug 00

----- Original Message -----
From: "Earl Brunner"
> As far as glaze formulas go, I think that most would fall
> under the area of public domain.

Copyright law, according to my reading, does not allow for copyright of
simple lists, such as lists of ingredients. A write-up concerning specific
mixing and application instructions is protected by copyright, a list of
ingredients is not.

Note: This is a personal interpretation, I Am Not A Lawyer. (I was going
to acronymize that, but decided not to!)

- Chris Anton
c_anton@bellsouth.net

mel jacobson on thu 28 sep 00

the word that should accompany the word copyright is integrity.

INTEGRITY/COPYRIGHT

it is often forgotten in our new world.

if i use a pete pennell cranberry red, well i like to tell people
that. if i use a ron roy black, well i will tell people that.
i do not call them mel's red and mel's black.

i do not use other people's ideas and call them my own.
i hate that. it hurts nothing to give credit, and share what
others give you.

i hate the attitude, `well, i get to do whatever i want, so sue me.`
(his mommy and daddy gave him permission to do whatever he wants.)

the word is integrity...learn it, use it, live it.

it makes for a BETTER world.
mel
i like to think that i absorb ideas. (it took me seven years to get
mel's orange, but about 5 others beat me to it...they were smarter.)


FROM MINNETONKA, MINNESOTA, USA
http://www.pclink.com/melpots (website)

Carolyn Nygren Curran on fri 29 sep 00

Semantics, Mel. One man's absorbing is another man's stealing, adapting,
borrowing, etc. During a crit at Skidmore, I questioned my love of and
affinity for those classic potterly forms which had been used before.
Regis Brodie said one of those things which has remained with me..."Take it
and make it your own". And isn't that what the creative person strives
for? To take what has gone before and to enhance it through one's own
personality? Of course, you'll always have the people at a workshop who
take an idea literally and "steal" it...but even some of these will
eventually make something distinctive out of the idea. (If I don't
watch out, I'll start spouting forth Baudelairean ideas on poetry and
art---40 years since I wrote that undergraduate thesis, and the subject
still haunts me! Beware...) cnc

Darlene Beverlin on fri 29 sep 00

The potter may not be able to protect her process without a patent, but =
I bet she was trying to protect her time, effort, heartache and =
Ingenuity. Indeed I willing share how to make any of my work. I share =
my glaze recipes. I usually have an apprentice and I know there will =
be "copies" of my work out there. However I make it very clear that =
mass reproduction of many of the pieces will be considered by me as a =
violation of my rights. I took me 3 years to work out kinks in one =
product and I just can not put a price on that time. Give the potter a =
break and respect her development and sweat equity Let her have time to =
establish her process as being her own and then give her the credit when =
you begin to "ADAPT, DEVELOP and OWN WORK, not COPY" This I believe =
will make her work more sought after and valued.

Ok off the soap box now.. Have a super sun shine day

darlene
rarearth@lyn.net

Lori Leary on sat 30 sep 00

I have enjoyed reading all of the responses to my original post.

A few comments:

I meant patent, not copyright. The artist most likely said patent, and
I just wrote the wrong term.

Also, she was making wall plaques, not any kind of funtional ware. Her
work was very unusual and beautiful. Her website:

http://metalquilt.com/quilthome.html

I don't think she has any pictures of her enamel raku work, though.


What intrigued me were the colors and surfaces in her work. And as a
commited pyromaniac, I live for incindiary events (choice of words from
a recent post I received from our Vince, he sure has a way with 'em).
To be honest, I don't think experimenting with the process is wrong. We
all build upon the work of previous artists, and that is a fact. I have
no intention of stealing this very creative enamel artist's thunder(even
if I was capable of doing so), but I would love to explore and see what
this process can do.

Lori
lleary@sccoast.net
Pawleys Island, SC

artimater on sun 25 feb 01

Here we go again....My information on copyright came from a =
workshop I took on that very subject, conducted by a lawyer who has won =
millions in copyright infringement cases....
Glad to hear about your perverse pleasure...I'm surprised you =
didn't point out that I misspelled copyright in the subject line....My =
spell checker seems to miss the subject line so it sneaked by me...At =
Home misspells my name ..I misspelled the subject....When I saw that I =
thought for sure the major flack would be headed my way....
You couldn't find any value in the post because you obviously are a =
true sage, and you obviously know everything about everything...I wonder =
why you would have the need of any human relation at all...
I have a kickass lawyer but I would not use him to chase around a =
small copyright case with very limited upside....I guess you would be =
among the "SUE THIS ASS" crowd.....Go for it and when you are paying =
that $10000 bill and cashing your $50 judgment check I will say I told =
you so....That $50 is assuming you would win, which from what I read of =
the particular case is not at all a sure thing (insert favorite slander) =

artimator
artimator@earthlink.net=20
http://www.geocities.com/artimator/index.html=20
http://home.earthlink.net/~artimator/index.html
http://clubs.yahoo.com/clubs/texasceramics
"I only indulge when I've seen a snake, so I keep a supply of =
indulgences and snakes handy"

claybair on thu 20 dec 01

Hi Karen,
I guess I just don't want to walk into Target or Wal-Mart and see my idea
stolen and mass produced in China which by the way happened to a local
artist here.
This seemed like an economical way to have some protection.

Gayle Bair
Bainbridge Island, WA
http://claybair.com

Karen wrote>>


About copywrighting work...
I tried and put the symbol on the work and display cards
of some house pins I made...I figured that they were
more about my touch...so who cares...I was not
going into a serious manufacturing program....

A more serious case scenario was a friend who invented
the concept of "the couch potato". It became at first a
club...part of the Pasadena Do Dah Parade...a philosophy
about how little effort one exerts for any given activity.
Taken to the extreme...it gets pretty funny...
So back to the issue....

Everytime a business would use his term/concept...he had
to send off an attorney to settle "issues of use" and
it ended up costing him a lot of money.
I would see the New York Times s
Sunday magazine with a
blanket advertized as a couch potato item and feel
sympathy...
So perhaps legal advice or business practices advice...
bamboo karen

Karen Sullivan on fri 21 dec 01

Good advice about the association and
the D.C. attorneys.....Gayle, listen to them
not me.

Another story...
A friend does craft fairs...she does large
metal sculpture, painted bright southwest colors...
anytime someone comes by her booth with a
camera she gets quite angry and moves them away.
Seems there are stories on the fair circuit
of ideas being ripped off and manufactured...
All they needed was a photo and they're off
to fame and fortune with your idea.

I will try to improve my spelling....

bamboo karen

vince pitelka on thu 3 jan 02

> A. If you use a copyrighted work without authorization, the owner may be
> entitled to bring an infringement action against you. There are
> circumstances under the *fair use doctrine* where a quote or a sample may
be
> used without permission. However, in cases of doubt, the Copyright Office
> recommends that permission be obtained.

I am sorry, but this is unnecessarily alarmist. The poster asked if they
could quote someone's writing, and OF COURSE you can quote anyone's work any
time you want as long as you attribute the quotation, and you do not need
permission. Copyright protection of published material is primarily
designed to prevent the republishing or other wide distribution of
copyrighted information, taking profits from the original author and
publisher. There are lots of minor instances that technically could be
considered copyright violations, such as when a university professor copies
a magazine article to give it out to a class, but of course NO ONE is going
to enforce copyright law in such cases. Copyright law is written in
generalized terms to cover as much ground as possible (as is usually the
case when laws are drafted), but the only situations that writers and
publishers are really concerned about are the blatant violations which
capatilize upon theft of written material, or which freely distribute stolen
material so widely that it makes the original text less marketable.
Best wishes -
- Vince

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

Fraser Forsythe on fri 4 jan 02

Could someone help me out here. When I wrote Glaze Simulator v1. one of the
functions compared glaze analysis to 14 limit tables and reflected the amount of
deviation in a bar chart. I did not request permission to use these published limit
table data. Should I have? If so should I also request permission from Parmalee,
who in turns uses values on surface tension that come from someone named Dietzal?
Is there a difference between data and creative endevour? Is the material analysis
of EPK also protected by copyright?
No, I'm not asking these questions with tongue in cheek.



C. Burkhart wrote:

> vince pitelka said -
>
> > I am sorry, but this is unnecessarily alarmist. >
>
> Alarmist? Ha! Just the opposite. I think the copyright laws are anemic
> and imprecise, and dumps the burden of proof and legal fees on the
> artist/author.
>
> And, I'm sorry you're sorry, because I didn't pull those alarming laws you
> mention out of thin air, they are printed on the official US Copyright
> Office's website http://www.loc.gov/copyright/faq.html#q60). You will have
> to take it up with US Government since you disagree. Also, the information
> posted was used in context as a response to a Clayart post "re: sharing",
> not for profit as you accuse, although the law covers both. (: ^ ~)
>
> > time you want as long as you attribute the quotation, and you do not need
> permission. >
>
> No, the law does not allow you to quote anyone's *work*, you can quote
> "limited portions" of a
> person's work if you attribute the quotaton. This is also part of the
> copyright law. Again, from US Copyright office:
>
> "Under the fair use doctrine of the U.S. copyright statute, it is
> permissible to use limited portions of a work including quotes, for purposes
> such as commentary, criticism, news reporting, and scholarly reports. There
> are no legal rules permitting the use of a specific number of words, a
> certain number of musical notes, or percentages of a work. Whether a
> particular use qualifies as fair use depends on all the circumstances."
>
> > Copyright protection of published material is primarily designed to
> prevent the republishing or other wide distribution of copyrighted
> information, taking profits from the original author and publisher. >
>
> That's your interpretation! My interpretation is that it is designed to
> discourage, yet recommend litigation should one abuse another's work whether
> attributed or not, and left to the individual courts to decide and award.
>
> >such as when a university professor copies a magazine article to give it
> out to a class, but of course NO ONE is going to enforce copyright law in
> such cases>
>
> However, you are right on this point, teaching institutions are rarely
> penalized. This is fortunate IMHO. : )
>
> Regards,
>
> Carolsan
>
> ______________________________________________________________________________
> 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.

--
Fraser Forsythe
www.glazeexchange.com
fraser@glazeexchange.com

fraserforsythe@icqmail.com
icq# 56080709

tomsawyer on fri 4 jan 02

From a legal perspective to bring a law suit you must be able to prove
damages. Until damages have been sustained any action is said not to be ripe
and Courts will usually not hear such cases. If someone lives in Washington
and I live in Florida and I copy a glaze or design exactly, it is still very
difficult and expensive for the person in Washington to prove he has
sustained any financial damage. Does the artist sell in Florida? Would the
person in Florida have found the artist in Washington and purchased from
him? Again it is not enough to allege damage, they must be able to prove
damage. Now throw into the mix that I made a few minor changes to the glaze
or design. Remember that here in the States even when there has been some
infringment on one's intellectual property rights the winning party will
often still be obliged to pay their own attorney fees and expert costs.
Unless there is substantial damages, no one in their right mind will pursue
any legal action just because of the downside costs and aggravation. Yes you
might find an attorney to pursue your grievance if you pay him/her upfront
but your apt to lose that money forever. No you won't find an attorney to
take a case on contigency unless it is obvious that substantial financial
damages have resulted. Someone wrote me off list a few months ago about this
topic and my advise was to "get on with your life".

In general for most of us intellectual property rights law that would
provide some protection is not worth the cost of doing the paperwork. Book
publishing is different where a large number of books might be sold and
where it would be relatively easy by reviewing sales records to discover
actual dollar damages if someone copied your book and sold copies but even
here it could be quite costly especially if one didn't receive attorney fees
and cost in the final judgment. Sorry to be so glum.

Tom Sawyer
tsawyer@cfl.rr.com

C. Burkhart on fri 4 jan 02

vince pitelka said -

> I am sorry, but this is unnecessarily alarmist. >

Alarmist? Ha! Just the opposite. I think the copyright laws are anemic
and imprecise, and dumps the burden of proof and legal fees on the
artist/author.

And, I'm sorry you're sorry, because I didn't pull those alarming laws you
mention out of thin air, they are printed on the official US Copyright
Office's website http://www.loc.gov/copyright/faq.html#q60). You will have
to take it up with US Government since you disagree. Also, the information
posted was used in context as a response to a Clayart post "re: sharing",
not for profit as you accuse, although the law covers both. (: ^ ~)

time you want as long as you attribute the quotation, and you do not need
permission. >

No, the law does not allow you to quote anyone's *work*, you can quote
"limited portions" of a
person's work if you attribute the quotaton. This is also part of the
copyright law. Again, from US Copyright office:

"Under the fair use doctrine of the U.S. copyright statute, it is
permissible to use limited portions of a work including quotes, for purposes
such as commentary, criticism, news reporting, and scholarly reports. There
are no legal rules permitting the use of a specific number of words, a
certain number of musical notes, or percentages of a work. Whether a
particular use qualifies as fair use depends on all the circumstances."

> Copyright protection of published material is primarily designed to
prevent the republishing or other wide distribution of copyrighted
information, taking profits from the original author and publisher. >

That's your interpretation! My interpretation is that it is designed to
discourage, yet recommend litigation should one abuse another's work whether
attributed or not, and left to the individual courts to decide and award.

>such as when a university professor copies a magazine article to give it
out to a class, but of course NO ONE is going to enforce copyright law in
such cases>

However, you are right on this point, teaching institutions are rarely
penalized. This is fortunate IMHO. : )

Regards,

Carolsan

Terrance Lazaroff on fri 4 jan 02

Carolsan;

Read your words with great interest.
I don't think that the use of quotes is the real copyright infringement
problem. I believe the major copyright problem is organisations
solicitating the use of photographs of our work under the guise of "Your
work will be seen", or " you will get exposure" or "if you want to
participate in a show you have to sign over your rights".
Not only do we seldom get remuneration offered for the use of the images but
publishers, also, often negelect, (mia culpa), to give credit to the artist,
and or the photographer. It could be intentional or just an over zelous
staff member. A fine example of this kind of oversight was the recent,
Potters Council's recruiting pamphlet. The photos were great but I don't
know who created them. I don't want to throw arrows here, but we must be
more careful about our own door step before we spread it around the field.

As for getting remuneration, I am fortunate in that I am a member of a
copyright association that looks after my artist community's copyright
business. There is a fee and that is 15 to 20% depending on the type of
action to take.
If you ever show in Quebec at a major meseum be sure to consider registering
with SODART. They will look after your rights when you are here. Go to:
www.raav.org/sodart

We have a full time lawer on staff and we seldom go to court. Whenever we
see a copyright infringement we simply point it out to the association and
they take the ball from there. Most of the time they just send a bill.
And, most of the time the check arrives in the mail.

Our organisation just won a three year litigation with the three major
museums in the area that will see artists paid when the museums put their
work on the Museum's website. It is not much money, approximately $15.00
but it is the principle. This year the artist community will receive
approximately $120,000 just for this use alone.

The museum staffs thought they had the right to use our images when ever
they wanted. Well they cannot.

It has been said that we will never get noticed if we are not in print.
Well getting noticed never put bread on my table. My work is what gets me
noticed.

Enough drum pounding.
Take care

Terrance

Fraser Forsythe on sat 5 jan 02

I think I found my answer:

1.What does copyright protect?

Copyright, a form of intellectual property law, protects original works of
authorship including literary, dramatic, musical, and artistic works such as poetry,
novels, movies, songs, computer software and architecture. Copyright does not
protect facts, ideas, systems, or methods of operation, although it may
protect the way these things are expressed. See Circular 1, section What Works
Are Protected.

So it would seem that limit table data, material analysis and other such information
which have to do with 'facts' about non-created things are not covered. This makes
sense to me.


--
Fraser Forsythe
www.glazeexchange.com
fraser@glazeexchange.com

fraserforsythe@icqmail.com

Cindi Anderson on sat 5 jan 02

Copyright law is difficult. (I took a class in it a few years ago). At
first I was going to say yes, you should have permission. Then I remember
that you can't copyright facts. So for example, if a book has a list of all
the American Presidents, it is ok to use that list. Those are facts and
cannot be copyrighted. So if you're just using numbers which were provided
by someone else, I think you are safe. Generally copyright applies to the
expression of a fact or idea, not the fact or idea itself. honestly if I
ever wrote a book I would hire a copyright lawyer to help me make sure I
didn't miss something.
Cindi
Fremont, CA

----- Original Message -----
From: "Fraser Forsythe"
To:
Sent: Friday, January 04, 2002 8:30 PM
Subject: Re: copyright


> Could someone help me out here. When I wrote Glaze Simulator v1. one of
the
> functions compared glaze analysis to 14 limit tables and reflected the
amount of
> deviation in a bar chart. I did not request permission to use these
published limit
> table data. Should I have? If so should I also request permission from
Parmalee,
> who in turns uses values on surface tension that come from someone named
Dietzal?
> Is there a difference between data and creative endevour? Is the material
analysis
> of EPK also protected by copyright?
> No, I'm not asking these questions with tongue in cheek.
>

iandol on sun 6 jan 02

Dear Fraser Forsythe,

This may be one of those cases where a letter to the publisher might be =
the wisest path. By asking them you will get either a direct reply or a =
recommendation to the owner of the copyright.

Some years ago (1985)I wished to use information from the Ceramic Phase =
Diagram Book. The ACS gave permission as publishers even though the =
diagrams I wished to use had been compiled initially by other =
researchers. I also got permission from Longmans, publishers, to used =
data from Kaye and Laby who were compilers, not originators of the =
information. One way to cover yourself is to always include correct =
references or a bibliography with any utterance. Some authors do not do =
this and can become careless by omitting information when they put out =
second editions. (When I pick up an unfamiliar or new text its =
bibliography is one of my first ports of call!! Tells you a lot about =
the information therein and the attitudes of its author(s)

As a free lance writer, I have a concern about posting what I consider =
to be original concepts to Clayart before I have exploited them. After =
they have been printed and published, then I am willing to discuss them.

Best regards,

Ivor Lewis. Redhill, South Australia

Steve Mills on sun 6 jan 02

In my experience, material data, once published by the
manufacturer/retailer is in the public domain. Analysis process systems,
I would have thought, would at most, require acknowledgement of the
Author, but it is worth checking.
We all use methods of presenting information that were invented by
someone else (if not ourselves), and so at least owe a debt of thanks to
the originator.

Steve
Bath
UK


In message , Fraser Forsythe writes
>Could someone help me out here. When I wrote Glaze Simulator v1. one of t=
>he
>functions compared glaze analysis to 14 limit tables and reflected the am=
>ount of
>deviation in a bar chart. I did not request permission to use these publi=
>shed limit
>table data. Should I have? If so should I also request permission from Pa=
>rmalee,
>who in turns uses values on surface tension that come from someone named =
>Dietzal?
>Is there a difference between data and creative endevour? Is the material=
> analysis
>of EPK also protected by copyright?
>No, I'm not asking these questions with tongue in cheek.
>
>
>
>C. Burkhart wrote:
>
>> vince pitelka said -
>>
>> > I am sorry, but this is unnecessarily alarmist. >
>>
>> Alarmist? Ha! Just the opposite. I think the copyright laws are anem=
>ic
>> and imprecise, and dumps the burden of proof and legal fees on the
>> artist/author.
>>
>> And, I'm sorry you're sorry, because I didn't pull those alarming laws =
>you
>> mention out of thin air, they are printed on the official US Copyright
>> Office's website http://www.loc.gov/copyright/faq.html#q60). You will =
>have
>> to take it up with US Government since you disagree. Also, the informa=
>tion
>> posted was used in context as a response to a Clayart post "re: shari=
>ng",
>> not for profit as you accuse, although the law covers both. (: ^ ~)
>>
>> >> time you want as long as you attribute the quotation, and you do not ne=
>ed
>> permission. >
>>
>> No, the law does not allow you to quote anyone's *work*, you can quote
>> "limited portions" of a
>> person's work if you attribute the quotaton. This is also part of the
>> copyright law. Again, from US Copyright office:
>>
>> "Under the fair use doctrine of the U.S. copyright statute, it is
>> permissible to use limited portions of a work including quotes, for pur=
>poses
>> such as commentary, criticism, news reporting, and scholarly reports. T=
>here
>> are no legal rules permitting the use of a specific number of words, a
>> certain number of musical notes, or percentages of a work. Whether a
>> particular use qualifies as fair use depends on all the circumstances."
>>
>> > Copyright protection of published material is primarily designed to
>> prevent the republishing or other wide distribution of copyrighted
>> information, taking profits from the original author and publisher. >
>>
>> That's your interpretation! My interpretation is that it is designed t=
>o
>> discourage, yet recommend litigation should one abuse another's work wh=
>ether
>> attributed or not, and left to the individual courts to decide and awar=
>d.
>>
>> >such as when a university professor copies a magazine article to give =
>it
>> out to a class, but of course NO ONE is going to enforce copyright law =
>in
>> such cases>
>>
>> However, you are right on this point, teaching institutions are rarely
>> penalized. This is fortunate IMHO. : )
>>
>> Regards,
>>
>> Carolsan
>>
>> _______________________________________________________________________=
>_______
>> 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.
>
>--
>Fraser Forsythe
>www.glazeexchange.com
>fraser@glazeexchange.com
>
>fraserforsythe@icqmail.com
>icq# 56080709

--
Steve Mills
Bath
UK

Rowdy Dragon Pottery on sun 6 jan 02

Limit tables are facts? I always thought of them as created products (of
research, I would hope) or recommendations by individuals or groups, which
would make them a very different thing. If they were the sort of facts to
which copyright did not apply, wouldn't there be only a single table for a
particular firing range?


>So it would seem that limit table data, material analysis and other such
>information
>which have to do with 'facts' about non-created things are not covered.
>This makes
>sense to me.



Neil Berkowitz

Fraser Forsythe on sun 6 jan 02

My understanding is that my presentation of 'facts' is something I can copyright,
but not the facts.
Does this mean that presentation extends to expressing the data in limit tables?
Obviously not, since
the researcher did not invent limit tables, but is simply presenting data within
this context. The actual numbers are not something I can copyright either, even
though they reflect indirectly, a specific testing
procedure.
I can copyright the book or paper that contains this data, though, because that is
a unique way of presenting the information. Otherwise the author would not have the
right to even use limit tables as a means of expression since he\she did not invent
the system.
This also applies to material analysis, in my opinion. No one can copyright the
structure or properties of an oxide, or any material, unless that material is the
result of a specific and artificial process, AND the author owns that process
through patent. A frit, in my opinion could be 'owned' since it only exists as a
result of a specific technology.
I must admit the idea that we have to worry about sharing material analysis or
limit tables is to me very creepy. No one invented G200 or EPK, and therefore do
not own it's (theoretical) analysis. I cant see how science would have ever
progessed unless 'facts' about things in nature remained public domain, regardless
of how someone presents them.
Hey, I'm open to other viewpoints here.

Fraser


Rowdy Dragon Pottery wrote:

> Limit tables are facts? I always thought of them as created products (of
> research, I would hope) or recommendations by individuals or groups, which
> would make them a very different thing. If they were the sort of facts to
> which copyright did not apply, wouldn't there be only a single table for a
> particular firing range?
>
> >So it would seem that limit table data, material analysis and other such
> >information
> >which have to do with 'facts' about non-created things are not covered.
> >This makes
> >sense to me.
>
> Neil Berkowitz
>
> ______________________________________________________________________________
> 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.

--
Fraser Forsythe
www.glazeexchange.com
fraser@glazeexchange.com

fraserforsythe@icqmail.com
icq# 56080709

Philip Poburka on mon 7 jan 02

I believe a 'copyright' may be applied to any kind of thing as is assembled
or
configured or gathered or represented into two-dimensions...regardless of
what it is.

A big 'ex' on a sheet of paper may be Copyrighted...anything pretty much may
be.

It says that you claim it is 'yours', and is not respective as to 'what' it
is.

Someone may not 'copy' it...they MAY describe it, quote it, reiterate it or
what as manages to represent it without per-se 'copying' it.

That is all...

Yes?

Phil
Las Vegas...

----- Original Message -----
From: "Rowdy Dragon Pottery"
To:
Sent: Sunday, January 06, 2002 10:54 AM
Subject: Re: copyright


> Limit tables are facts? I always thought of them as created products (of
> research, I would hope) or recommendations by individuals or groups, which
> would make them a very different thing. If they were the sort of facts to
> which copyright did not apply, wouldn't there be only a single table for a
> particular firing range?
>
>
> >So it would seem that limit table data, material analysis and other such
> >information
> >which have to do with 'facts' about non-created things are not covered.
> >This makes
> >sense to me.
>
>
>
> Neil Berkowitz
>
>
____________________________________________________________________________
__
> 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.

Fraser Forsythe on mon 7 jan 02

I've gone to the U.S. copyright site and have tried to make sense of its guidelines. When I wrote my program I used limit table values, to create information about the melt characteristics of a glaze. Perhaps I should have made reference to the source of the data, but then should I make reference to the author of the method of limit tables? I also use co-efficient values of expansion and contraction for each oxide to determine a value for a glaze. I have looked at the other softeware programs on the market and I've never seen a copyright reference regarding co-efficient of expansion? Perhaps the authors of these programs have done their own research on expansion values, and limit tables, and for that matter material analysis of every
material used in their programs(but I doubt it). I'm not implicating anyone else but trying to point out that having to make reference to every material analysis, or oxide property, is a bit ridicules, not to mention practically impossible.
I keep thinking about science here. When a chemist publishes a work does he\she have to make copyright reference the the values in the periodic table? Some person or agency undoubtedly obtained the results through testing procedure(s). Perhaps if I publish a recipe I will also have to make reference to the material analysis source of all the materials used in the recipe.
Ya, I know I'm pushing it a bit, but I'm trying to make the point that at some level referencing gets impractical. At some point information becomes truly Public domain.

thanks for responding. I look forward to your reply.

iandol wrote:

> Dear Fraser Forsythe,
>
> This may be one of those cases where a letter to the publisher might be the wisest path. By asking them you will get either a direct reply or a recommendation to the owner of the copyright.
>
> Some years ago (1985)I wished to use information from the Ceramic Phase Diagram Book. The ACS gave permission as publishers even though the diagrams I wished to use had been compiled initially by other researchers. I also got permission from Longmans, publishers, to used data from Kaye and Laby who were compilers, not originators of the information. One way to cover yourself is to always include correct references or a bibliography with any utterance. Some authors do not do this and can become careless by omitting information when they put out second editions. (When I pick up an unfamiliar or new text its bibliography is one of my first ports of call!! Tells you a lot about the information therein and the attitudes of its author(s)
>
> As a free lance writer, I have a concern about posting what I consider to be original concepts to Clayart before I have exploited them. After they have been printed and published, then I am willing to discuss them.
>
> Best regards,
>
> Ivor Lewis. Redhill, South Australia
>
> ______________________________________________________________________________
> 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.

--
Fraser Forsythe
www.glazeexchange.com
fraser@glazeexchange.com

fraserforsythe@icqmail.com
icq# 56080709

ivor & olive lewis on sat 15 may 10

Dear Gene,

If you use Word or a similar program go to the Menus Bar, Select "Insert".
From the drop down menu select "Symbols". From the new menu select the
"Symbols Tab" and from "Font" select "Arial", from "Subset" scroll to "Basi=
c
Latin". In the frame you will find symbols =A9 seven lines down.

I had to cut and paste to give it top you here. It man not survive
transmission through clayart.



Have fun



Regards,

Ivor Lewis,
Redhill,
South Australia

June on sat 15 may 10

In my Word Perfect, you hit insert and then select typographic symbols. It'=
=3D
s in that group.


Regards,
June
http://www.shambhalapottery.com
http://www.shambhalapottery.blogspot.com
http://groups.yahoo.com/group/sodasaltfiring/
http://saltandsodafiring.ning.com/

May 15, 2010 07:05:07 AM, iandol@WESTNET.COM.AU wrote:

>Dear Gene,
>
>If you use Word or a similar program go to the Menus Bar, Select "Insert".
>From the drop down menu select "Symbols". From the new menu select=3D20
>the
>"Symbols Tab" and from "Font" select "Arial",=3D20
>from "Subset" scroll to "Basic
>Latin". In the frame you will find symbols =3DC2=3DA9 seven lines down.
>
>I had to cut and paste to give it top you here. It man not survive
>transmission through clayart.
>
>
>
>Have fun
>
>
>
>Regards,
>
>Ivor Lewis,
>Redhill,
>South Australia
>