Liz Willoughby on mon 25 sep 00
Just wanted to applaud John Hesselberth and Ron Roy for the article
in Sept.issue of Ceramics Monthly. Well done, and thank you. It is
not an easy read, but not a difficult one either. You have done a
real service for us potters!
Best,
Liz
Liz Willoughby
R.R. 1
2903 Shelter Valley Rd.
Grafton, Ontario
Canada. K0K 2G0
e-mail, lizwill@phc.igs.net
John Hesselberth on tue 26 sep 00
Liz Willoughby wrote:
>Just wanted to applaud John Hesselberth and Ron Roy for the article
>in Sept.issue of Ceramics Monthly. Well done, and thank you. It is
>not an easy read, but not a difficult one either. You have done a
>real service for us potters!
Hi Liz,
Thanks for the comments. For those interested in glaze stability (I hope
that is everyone) I now have some samples and photos I wish we'd had for
the article. I took some of the glaze receipes people sent me a few
months ago plus some I found in well respected books and made test
samples. Then I put a slice of lemon on the test samples for a few hours
and it sucked the color right out of some of the samples. There is a
very dramatic white outline of a lemon slice left on the sample. This
problem of unstable glazes is real! I hope we potters start paying more
attention to it. And these glazes are ones that look great! Ron and I
are having fun working together in this area. And remember: it all
started on Clayart.
I plan to be at NCECA in March and will bring the samples with me.
Regards, John
John Hesselberth
Frog Pond Pottery
P.O. Box 88
Pocopson, PA 19366 USA
EMail: john@frogpondpottery.com web site: http://www.frogpondpottery.com
"It is, perhaps, still necessary to say that the very best glazes cannot
conceal badly shaped pots..." David Green, Pottery Glazes
John Weber on wed 27 sep 00
I too want to thank John and Ron for elevating our awareness of this topic.
However, I was concerned about a statement made in the article about matt
glazes,"although matt glazes are not recommended as liner glazes for reasons
other than stability of acids". Can you explain why matt glazes are not
recommended? I use a High Alumina Matt glaze on dinner ware that is based on
Daniel Rhodes' glaze for Cone 10 Reduction:
KNaO .2
MgO .35 Al2O3. .5 SiO2 2.34
CaO .45
Thanks for sharing so much with all of us.
John Weber in Manakin-Sabot, Virginia
Wade Blocker on wed 27 sep 00
----------
> From: John Weber
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: Making Stable Glazes
> Date: Wednesday, September 27, 2000 3:54 AM
>
> I too want to thank John and Ron for elevating our awareness of this
topic.
> However, I was concerned about a statement made in the article about matt
> glazes,"although matt glazes are not recommended as liner glazes for
reasons
> other than stability of acids". Can you explain why matt glazes are not
> recommended? I use a High Alumina Matt glaze on dinner ware that is
based on
> Daniel Rhodes' glaze for Cone 10 Reduction:
> KNaO .2
> MgO .35 Al2O3. .5 SiO2 2.34
> CaO .45
>
> Thanks for sharing so much with all of us.
John,
Have you ever run a knife or fork across your dinner plate? Does it leave
a
a grey mark? That is the reason for not using Matt glazes on dinnerware.If
you have no problem with this test, you probably have nothing to worry
about. Mia in ABQ
> 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.
David Hendley on fri 29 sep 00
Dear John, nothing personal, but I would be most unhappy
if I had to eat a meal on one of your High Alumina Mat glaze
plates.
First of all, there is that awful scraping sound from the
cutlery on the glaze. Like fingernails on a chalkboard.
Second, there will be unattractive metallic markings from
previous scraping by silverware on the glaze. If it's a dark
glaze, you might not see it, on a white glaze, it looks
horrible.
Third, this glaze will be crazed. Again, you might not notice
it because of the matt surface, but it WILL be crazed, and,
if it has been used for a while, stained.
All in all, a pretty unappealing functional surface.
There is simply not enough silica in the formula to make a
good functional glaze. Silica is what makes a glaze, the
other stuff just makes it melt sooner and keeps it on the
clay.
Do you use your own dinnerware? Aren't the plates marked
by scraping with knives? Aren't the coffee cups stained in
the crazing cracks by coffee and tea?
--
David Hendley
Maydelle, Texas
hendley@tyler.net
http://www.farmpots.com/
----- Original Message -----
From: John Weber
To:
Sent: Wednesday, September 27, 2000 4:54 AM
Subject: Re: Making Stable Glazes
| I too want to thank John and Ron for elevating our awareness of this
topic.
| However, I was concerned about a statement made in the article about matt
| glazes,"although matt glazes are not recommended as liner glazes for
reasons
| other than stability of acids". Can you explain why matt glazes are not
| recommended? I use a High Alumina Matt glaze on dinner ware that is based
on
| Daniel Rhodes' glaze for Cone 10 Reduction:
| KNaO .2
| MgO .35 Al2O3. .5 SiO2 2.34
| CaO .45
|
| Thanks for sharing so much with all of us.
| John Weber in Manakin-Sabot, Virginia
|
John Hesselberth on tue 3 oct 00
Hi John,
Sorry for the delayed response, but I've been traveling. Mia and David
gave pretty much the same answers I would. Metal marking is a major
concern. I also second David's concern that your glaze may not be very
durable with that low level of silica--particularly if you are using
copper as a colorant. My data is now showing that 2.5 is the minimum
needed and 3-4 would be better.
I have been been fairly successful with a high calcium semimat or
satin--the one given in the article. So far I haven't seen any problems
with it that concern me, but matts and dry matts are not glazes I would
want on my functional ware. I don't agree that it will necessarily be
crazed though. I own an off-white matt glazed coffee cup made by another
potter about 30 years ago. It is not stained even though it has seen
pretty regular use.
Regards, John
John Weber wrote:
>I too want to thank John and Ron for elevating our awareness of this topic.
>However, I was concerned about a statement made in the article about matt
>glazes,"although matt glazes are not recommended as liner glazes for reasons
>other than stability of acids". Can you explain why matt glazes are not
>recommended? I use a High Alumina Matt glaze on dinner ware that is based on
>Daniel Rhodes' glaze for Cone 10 Reduction:
>KNaO .2
>MgO .35 Al2O3. .5 SiO2 2.34
>CaO .45
>
>Thanks for sharing so much with all of us.
>John Weber in Manakin-Sabot, Virginia
John Hesselberth
Frog Pond Pottery
P.O. Box 88
Pocopson, PA 19366 USA
EMail: john@frogpondpottery.com web site: http://www.frogpondpottery.com
"It is, perhaps, still necessary to say that the very best glazes cannot
conceal badly shaped pots..." David Green, Pottery Glazes
Liz Willoughby on tue 3 oct 00
Dear John and Ron,
I'm starting to do a little preparation work on a workshop that I am
giving and thought it would be a good idea to print up your article
from C.M.to give as a handout. Is there any problem with that, if I
credit you both and C.M. as well? I seem to recall John, that you
said something about C.M. letting others use the article.
Think it would be a good idea for anyone teaching a workshop to bring
up the issue of durable glazes and simple tests that can be done for
leaching, as well as the info.about the Alfred Lab.
Meticulously loose (not lose) Liz
Liz Willoughby
R.R. 1
2903 Shelter Valley Rd.
Grafton, Ontario
Canada. K0K 2G0
e-mail, lizwill@phc.igs.net
John Hesselberth on tue 3 oct 00
Hi Liz,
This is a bit of a sticky question. While Ron and I have maintained
control of the copyright of the article and have offered it to other
ceramic publications, we do not have authority to give you permission to
copy the article directly from the Ceramics Monthly publication--that
would have to come from Ruth Butler at Ceramics Monthly. For very good
business and legal reasons, Ceramics Monthly has to have and enforce very
specific policies on copyrights so I couldn't predict what Ruth would
say. Ruth usually monitors Clayart and may answer directly or you can
contact her at rbutler@ceramicsmonthly.org
I will eventually put the article in pdf file format on my web site where
it can be downloaded and copied by anyone, but I haven't gotten to that
and can't quite predict when I will. It will take a day or so for me to
format it so it looks decent. The other option would be for me to send
you a Word file the same way we submitted it to CM, but it won't be very
pretty. What is your timing need? If you can wait a couple weeks maybe
I can finesse the whole issue by getting the pdf file done. John
Liz Willoughby wrote:
>Dear John and Ron,
>
>I'm starting to do a little preparation work on a workshop that I am
>giving and thought it would be a good idea to print up your article
>from C.M.to give as a handout. Is there any problem with that, if I
>credit you both and C.M. as well? I seem to recall John, that you
>said something about C.M. letting others use the article.
>
>Think it would be a good idea for anyone teaching a workshop to bring
>up the issue of durable glazes and simple tests that can be done for
>leaching, as well as the info.about the Alfred Lab.
>
>Meticulously loose (not lose) Liz
>Liz Willoughby
>R.R. 1
>2903 Shelter Valley Rd.
>Grafton, Ontario
>Canada. K0K 2G0
>
>e-mail, lizwill@phc.igs.net
>
>__________________________________________________________________________
>____
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
John Hesselberth
Frog Pond Pottery
P.O. Box 88
Pocopson, PA 19366 USA
EMail: john@frogpondpottery.com web site: http://www.frogpondpottery.com
"It is, perhaps, still necessary to say that the very best glazes cannot
conceal badly shaped pots..." David Green, Pottery Glazes
hal mc whinnie on wed 4 oct 00
this brings up an interesting question. most artists do not realize that
when they publish something the copyright becomes the publishers unless they
reserve the rights .
when i was teaching i had to get special permission from the dean of teh
college to have my own papers duplicated for students.
ceramics monthly pays for articles so the artists really works for hire and
does not own the rights to his own materials.
hal
-----Original Message-----
From: John Hesselberth
To: CLAYART@LSV.CERAMICS.ORG
Date: Wednesday, October 04, 2000 1:26 AM
Subject: Re: Making Stable Glazes
>Hi Liz,
>
>This is a bit of a sticky question. While Ron and I have maintained
>control of the copyright of the article and have offered it to other
>ceramic publications, we do not have authority to give you permission to
>copy the article directly from the Ceramics Monthly publication--that
>would have to come from Ruth Butler at Ceramics Monthly. For very good
>business and legal reasons, Ceramics Monthly has to have and enforce very
>specific policies on copyrights so I couldn't predict what Ruth would
>say. Ruth usually monitors Clayart and may answer directly or you can
>contact her at rbutler@ceramicsmonthly.org
>
>I will eventually put the article in pdf file format on my web site where
>it can be downloaded and copied by anyone, but I haven't gotten to that
>and can't quite predict when I will. It will take a day or so for me to
>format it so it looks decent. The other option would be for me to send
>you a Word file the same way we submitted it to CM, but it won't be very
>pretty. What is your timing need? If you can wait a couple weeks maybe
>I can finesse the whole issue by getting the pdf file done. John
>
>Liz Willoughby wrote:
>
>>Dear John and Ron,
>>
>>I'm starting to do a little preparation work on a workshop that I am
>>giving and thought it would be a good idea to print up your article
>>from C.M.to give as a handout. Is there any problem with that, if I
>>credit you both and C.M. as well? I seem to recall John, that you
>>said something about C.M. letting others use the article.
>>
>>Think it would be a good idea for anyone teaching a workshop to bring
>>up the issue of durable glazes and simple tests that can be done for
>>leaching, as well as the info.about the Alfred Lab.
>>
>>Meticulously loose (not lose) Liz
>>Liz Willoughby
>>R.R. 1
>>2903 Shelter Valley Rd.
>>Grafton, Ontario
>>Canada. K0K 2G0
>>
>>e-mail, lizwill@phc.igs.net
>>
>>__________________________________________________________________________
>>____
>>Send postings to clayart@lsv.ceramics.org
>>
>>You may look at the archives for the list or change your subscription
>>settings from http://www.ceramics.org/clayart/
>>
>>Moderator of the list is Mel Jacobson who may be reached at
>>melpots@pclink.com.
>
>
>John Hesselberth
>Frog Pond Pottery
>P.O. Box 88
>Pocopson, PA 19366 USA
>EMail: john@frogpondpottery.com web site: http://www.frogpondpottery.com
>
>"It is, perhaps, still necessary to say that the very best glazes cannot
>conceal badly shaped pots..." David Green, Pottery Glazes
>
>___________________________________________________________________________
___
>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.
John Hesselberth on wed 4 oct 00
hal mc whinnie wrote:
>this brings up an interesting question. most artists do not realize that
>when they publish something the copyright becomes the publishers unless they
>reserve the rights .
>
>when i was teaching i had to get special permission from the dean of teh
>college to have my own papers duplicated for students.
>
>ceramics monthly pays for articles so the artists really works for hire and
>does not own the rights to his own materials.
Hi Hal,
I don't believe this is quite the way the copyright law works. When you
are paid by a magazine for an article, you have sold one time publication
rights unless there is a WRITTEN agreement that you have sold more than
that. While I have no legal training, I have read the actual copyright
law and it is pretty explicit. You may have signed an employment
agreement with your university that did give them ownership. That is not
uncommon in an employee/employer relationship. But transfer of copyright
has to be in writing if it is for any more that one time non-exclusive
use. Also you can read Ceramics Monthly's policy on their web site. It
is consistent with the above. They don't try to claim all rights.
John Hesselberth
Frog Pond Pottery
P.O. Box 88
Pocopson, PA 19366 USA
EMail: john@frogpondpottery.com web site: http://www.frogpondpottery.com
"It is, perhaps, still necessary to say that the very best glazes cannot
conceal badly shaped pots..." David Green, Pottery Glazes
Cindy Strnad on wed 4 oct 00
Hello Hal.
I'm reproducing your post here, so others will know what we're talking
about:
>>>this brings up an interesting question. most artists do not realize that
when they publish something the copyright becomes the publishers unless they
reserve the rights .
when i was teaching i had to get special permission from the dean of teh
college to have my own papers duplicated for students.
ceramics monthly pays for articles so the artists really works for hire and
does not own the rights to his own materials.
hal
_________________________________________________
Actually, it's a little more complicated than this. I'm only familiar with
the way things are in the U.S., so do keep that in mind. Writers for
magazines generally sell "First North American Rights". That's a different
thing than "working for hire", which is what newspaper writers generally do.
In "working for hire", the writer assigns all rights, in perpetuity, to the
publisher. The copyright belongs to the publisher, as you explained. This
would be the case in work you did for which the university paid you while in
their employ. It may also be the case concerning work for which you
trustingly allowed them to gain the copyright, whether they paid you or not.
In purchasing "First Rights", the publisher gains the right to reproduce the
work once, and to be the first publisher of the work in the specified
region. Though the publisher will forever own the right to the actual
published copy of your article, and may make or grant permission to make
reprints as they wish, they must obtain your permission to publish anew, or
in a different medium (such as electronic).
Cindy Strnad
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
USA
earthenv@gwtc.net
www.earthenvesselssd.com
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