Wood Jeanne on sat 30 dec 00
Hi Diane,
The bright, intense colors of low-fire are often
popular with children who are used to the colors given
by wax crayons, (sometimes adults think similarly).
I would suggest you take the kids on a field trip to a
really excellent potter's studio, or fine crafts
gallery nearby, so they can see the wonderful shapes
and how beautifully higher fired glazes work with the
designs. This works even better if the potter you
visit is comfortable talking to kids & can explain why
s/he chose the particular glazes.
Maybe occasionally bring in good pieces of pottery
into class, let the kids feel them, turn them over,
discover exciting areas of color & how it works with
the shapes.
Also, when you get your kids pots out of the kiln,
find areas of depth or interest in the high fired
pots, point them out, talk about them with excitement.
(Yes, it's easy to get excited over a quarter size
area of glaze on a kid's pot & if you're excited,
they'll be excited even if they are "cool" about
showing it).
Maybe compare good examples of glaze to other
sophisticated uses of color in paintings, other
pottery, etc.
Some kids may still prefer low-fire, and that's fine,
IMHO, but it's good to be able to do both and have
glaze styles be a conscious choice rather than just
what is easiest & conventionally prettiest.
Have Fun!!
Jeanne W.
--- Thom Mead wrote:
> I've struggled with this idea at the (very) small
> Catholic high school. We don't have a kiln room. I
> fire everything on my screen porch at home. There
> will never be space for a kiln room since we are
> landlocked in historic downtown Macon. (I don't
> think they'll let us demolish any ca 1800 structures
> to build a kiln space...thank goodness). Our big
> dilemma has been, the foray into high fire with a
> few dozen kids has not gone perfectly. The kids seem
> to do better with low fire, and I'm inclined to
> think they might be right. I have espoused the
> benefits of ^6 to them, but they all prefer ^06. In
> some ways I can't blame them. This might be the
> obvious question of the hour (and have I already
> answered it myself?): Should I keep going on as
> before trying to press the high fire issue globally?
> Or shall I stick with low fire work for the masses
> (the big classes) and reserve the higher fired work
> for seniors and those who have much more experience?
> I am trying to wrestle with this before next year.
> Advice from anybody who has this kind of tiny space
> and huge classes is greatly appreciated.
>
> diane in Georgia, wishing for snow like Mel's
> and knowing mostly I'm one of the lurkers
> clear=all>
Get your FREE download of MSN Explorer
> at >
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>
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>
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Thom Mead on sat 30 dec 00
I've struggled with this idea at the (very) small Catholic high school. W=
e don't have a kiln room. I fire everything on my screen porch at home. T=
here will never be space for a kiln room since we are landlocked in histo=
ric downtown Macon. (I don't think they'll let us demolish any ca 1800 st=
ructures to build a kiln space...thank goodness). Our big dilemma has bee=
n, the foray into high fire with a few dozen kids has not gone perfectly.=
The kids seem to do better with low fire, and I'm inclined to think they=
might be right. I have espoused the benefits of ^6 to them, but they all=
prefer ^06. In some ways I can't blame them. This might be the obvious q=
uestion of the hour (and have I already answered it myself?): Should I ke=
ep going on as before trying to press the high fire issue globally? Or sh=
all I stick with low fire work for the masses (the big classes) and reser=
ve the higher fired work for seniors and those who have much more experie=
nce? I am trying to wrestle with this before next year. Advice from anybo=
dy who has this kind of tiny space and huge classes is greatly appreciate=
d.
diane in Georgia, wishing for snow like Mel's
and knowing mostly I'm one of the lurkers
Get your FRE=
E download of MSN Explorer at http://=
explorer.msn.com
John Hesselberth on sat 30 dec 00
Thom Mead wrote:
> Should I keep going on as before trying to press the high fire issue
>globally? Or shall I stick with low fire work for the masses (the big
>classes) and reserve the higher fired work for seniors and those who have
>much more experience? I am trying to wrestle with this before next year.
>Advice from anybody who has this kind of tiny space and huge classes is
>greatly appreciated.
Hi Diane,
I'm sorry to hear you are having trouble with cone 6. Are your students
making functional work? If they are, do one experiment before you make
your decision. Make some test coupons or small cups with your low fire
glazes on them. Soak half of each coupon/cup in vinegar for three days
and see what happens. Then make your decision.
Low fire glazes are much more difficult to make stable for functional
work. I find plenty of cone 6 glazes that are not stable; the number
will be a lot higher at ^06.
Regards, John
"The life so short, the craft so long to learn." Hippocrates, 5th cent.
B.C.
tomsawyer on sat 30 dec 00
Thom,
Even though I am making more sculputural things, I still like functionality.
When it comes to function, high fire is better. Also, the subtlity and depth
of color is better at high fire. Bright colors are easier at low fire and
appeal to different people. Whenever such questions come up I think of the
title of Myers/Briggs book "Gifts Differing".
Tom Sawyer
tsawyer@cfl.rr.com
----- Original Message -----
From: "Thom Mead"
To:
Sent: Saturday, December 30, 2000 4:44 AM
Subject: ^6 may go bye bye, with exceptions (long-ish)
I've struggled with this idea at the (very) small Catholic high school. We
don't have a kiln room. I fire everything on my screen porch at home. There
will never be space for a kiln room since we are landlocked in historic
downtown Macon. (I don't think they'll let us demolish any ca 1800
structures to build a kiln space...thank goodness). Our big dilemma has
been, the foray into high fire with a few dozen kids has not gone perfectly.
The kids seem to do better with low fire, and I'm inclined to think they
might be right. I have espoused the benefits of ^6 to them, but they all
prefer ^06. In some ways I can't blame them. This might be the obvious
question of the hour (and have I already answered it myself?): Should I keep
going on as before trying to press the high fire issue globally? Or shall I
stick with low fire work for the masses (the big classes) and reserve the
higher fired work for seniors and those who have much more experience? I am
trying to wrestle with this before next year. Advice from anybody who has
this kind of tiny space and huge classes is greatly appreciated.
diane in Georgia, wishing for snow like Mel's
and knowing mostly I'm one of the lurkers
Get your FREE
download of MSN Explorer at href="http://explorer.msn.com">http://explorer.msn.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.
Thom Mead on sun 31 dec 00
Hi, John:
And thank you again for great advice.
Yes, there is a lot of functional ware being made at ^6. And I agree.
The test you suggest is very logical for us. =20
We will wrestle with these issues in our tiny space over the
next few months. I am sure some of my seniors will vote to continue their=
work with some high fire work. But I believe most of the younger kids wi=
ll opt for the low fire things. I have them make sculptural work with our=
low fire.
Happy New Year!
Diane in Georgia
----- Original Message -----
From: John Hesselberth
Sent: Sunday, December 31, 2000 9:54 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: ^6 may go bye bye, with exceptions (long-ish)
Thom Mead wrote:
> Should I keep going on as before trying to press the high fire issue
>globally? Or shall I stick with low fire work for the masses (the big
>classes) and reserve the higher fired work for seniors and those who hav=
e
>much more experience? I am trying to wrestle with this before next year.
>Advice from anybody who has this kind of tiny space and huge classes is
>greatly appreciated.
Hi Diane,
I'm sorry to hear you are having trouble with cone 6. Are your students
making functional work? If they are, do one experiment before you make
your decision. Make some test coupons or small cups with your low fire
glazes on them. Soak half of each coupon/cup in vinegar for three days
and see what happens. Then make your decision.
Low fire glazes are much more difficult to make stable for functional
work. I find plenty of cone 6 glazes that are not stable; the number
will be a lot higher at ^06.
Regards, John
"The life so short, the craft so long to learn." Hippocrates, 5th cent.
B.C.
_________________________________________________________________________=
_____
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@pclin=
k.com.
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Cheryl L Litman on sun 31 dec 00
I offer the kids the glazes I use at cone 6 but in deference to some who
want brighter colors I now take any cone 6 clear glaze recipe, mix it up,
divvy into smaller containers and add spoonfuls of mason stains to get
some brighter colors. I don't bother weighing or measuring just make a
test tile which stays with the container until it's time to fill it
again. Some of the kids want the brighter colors and I'm starting to
find out that just a few are enough to satisfy them.
Cheryl Litman ---------- Somerset, NJ --------- email:
cheryllitman@juno.com
All dug out from our 22" of snow yesterday. And just 5 miles west they
had about half that!
On Sat, 30 Dec 2000 14:01:46 -0800 Wood Jeanne
writes:
> Hi Diane,
> The bright, intense colors of low-fire are often
> popular with children who are used to the colors given
> by wax crayons, (sometimes adults think similarly).
>
> I would suggest you take the kids on a field trip to a
> really excellent potter's studio, or fine crafts
> gallery nearby, so they can see the wonderful shapes
> and how beautifully higher fired glazes work with the
> designs. This works even better if the potter you
> visit is comfortable talking to kids & can explain why
> s/he chose the particular glazes.
>
> Maybe occasionally bring in good pieces of pottery
> into class, let the kids feel them, turn them over,
> discover exciting areas of color & how it works with
> the shapes.
>
> Also, when you get your kids pots out of the kiln,
> find areas of depth or interest in the high fired
> pots, point them out, talk about them with excitement.
> (Yes, it's easy to get excited over a quarter size
> area of glaze on a kid's pot & if you're excited,
> they'll be excited even if they are "cool" about
> showing it).
>
> Maybe compare good examples of glaze to other
> sophisticated uses of color in paintings, other
> pottery, etc.
>
> Some kids may still prefer low-fire, and that's fine,
> IMHO, but it's good to be able to do both and have
> glaze styles be a conscious choice rather than just
> what is easiest & conventionally prettiest.
>
> Have Fun!!
> Jeanne W.
>
> --- Thom Mead wrote:
> > I've struggled with this idea at the (very) small
> > Catholic high school. We don't have a kiln room. I
> > fire everything on my screen porch at home. There
> > will never be space for a kiln room since we are
> > landlocked in historic downtown Macon. (I don't
> > think they'll let us demolish any ca 1800 structures
> > to build a kiln space...thank goodness). Our big
> > dilemma has been, the foray into high fire with a
> > few dozen kids has not gone perfectly. The kids seem
> > to do better with low fire, and I'm inclined to
> > think they might be right. I have espoused the
> > benefits of ^6 to them, but they all prefer ^06. In
> > some ways I can't blame them. This might be the
> > obvious question of the hour (and have I already
> > answered it myself?): Should I keep going on as
> > before trying to press the high fire issue globally?
> > Or shall I stick with low fire work for the masses
> > (the big classes) and reserve the higher fired work
> > for seniors and those who have much more experience?
> > I am trying to wrestle with this before next year.
> > Advice from anybody who has this kind of tiny space
> > and huge classes is greatly appreciated.
> >
> > diane in Georgia, wishing for snow like Mel's
> > and knowing mostly I'm one of the lurkers
> > clear=all>
Get your FREE download of MSN Explorer
> > at > >
> href="http://explorer.msn.com">http://explorer.msn.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.
>
>
> __________________________________________________
> Do You Yahoo!?
> Yahoo! Photos - 35mm Quality Prints, Now Get 15 Free!
> http://photos.yahoo.com/
>
>
_________________________________________________________________________
_____
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your
> subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
Cheryl Litman ---------- Somerset, NJ --------- email:
cheryllitman@juno.com
Thom Mead on mon 1 jan 01
Cheryl:
Agreed. The deal with us is not color based. The kids quickly realize tha=
t ^6 firings are more lengthy than ^06! So being almost as ADD as I am, (=
and that's saying something), they really like to get on with it and move=
on to glazing. I am trying my best to espouse the value of the higher fi=
red wares. It may work! Many take chem and physics at the same time and t=
hey get the picture and the benefits of ^6. I really don't have trouble w=
ith them regarding color. I think part of this is due to the fact that mo=
st of them do value those subtle, beautiful things they see in Georgia po=
tter's wares, and love the colors of this rural place we live in. Hunters=
and fishers like those soft landscape colors.
Thanks for the idea
Diane in GA
----- Original Message -----
From: Cheryl L Litman
Sent: Monday, January 01, 2001 9:40 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: ^6 may go bye bye, with exceptions (long-ish)
I offer the kids the glazes I use at cone 6 but in deference to some who
want brighter colors I now take any cone 6 clear glaze recipe, mix it up,
divvy into smaller containers and add spoonfuls of mason stains to get
some brighter colors. I don't bother weighing or measuring just make a
test tile which stays with the container until it's time to fill it
again. Some of the kids want the brighter colors and I'm starting to
find out that just a few are enough to satisfy them
Ge=
t your FREE download of MSN Explorer at m">http://explorer.msn.com
Cindy Strnad on mon 1 jan 01
Hi, Diane
I don't blame those kids for being impatient. You really have to do a lot of
pottery before you quit pacing while the kiln cools. I haven't done enough
pottery yet to have overcome this little problem. As I'm starting to spray
more of my glazes, maybe I'll get into some single firing now. That might
speed things up for your kids too, as well as giving birth to an interesting
new branch of experimentation.
Cindy Strnad
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
USA
earthenv@gwtc.net
http://www.earthenvesselssd.com
Thom Mead on mon 1 jan 01
Hi Cindy:
You've brought up our age old question, which becomes troublesome due to =
my age (haha). I was never taught single fire was okay. The purists I wor=
ked with think it is a big no-no. I think it's a great GREAT idea!!!
They never taught 250 kids in 6 or 7 period a day all year every year!!!!
Thanks for the thoughts!
Fond regards,
Diane in GA
----- Original Message -----
From: Cindy Strnad
Sent: Monday, January 01, 2001 4:27 PM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: ^6 may go bye bye, with exceptions (long-ish)
Hi, Diane
I don't blame those kids for being impatient. You really have to do a lot=
of
pottery before you quit pacing while the kiln cools. I haven't done enoug=
h
pottery yet to have overcome this little problem. As I'm starting to spra=
y
more of my glazes, maybe I'll get into some single firing now. That might
speed things up for your kids too, as well as giving birth to an interest=
ing
new branch of experimentation.
Cindy Strnad
Earthen Vessels Pottery
RR 1, Box 51
Custer, SD 57730
USA
earthenv@gwtc.net
http://www.earthenvesselssd.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@pclin=
k.com.
Get your FREE download of MSN Explorer at ef=3D"http://explorer.msn.com">http://explorer.msn.com
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