shambhalapottery on fri 25 jan 02
Hi Joyce and fellow Clayarters,
Well, it's been a crazy six months of selling and buying houses, thinning
down a studio and then moving studio and household 3,000 miles east! I
actually pared down to about 13,000 lbs for this move!
When we arrived in Florida there was much to do with the house and that i=
s
where my focus has been for five months. Now that the interior is painted=
,
the grounds refurbished, new deck and arbor built, and miscellaneous othe=
r
building/restoration projects completed, the dock building permit and pla=
ns
getting processed, I'm finally able to get some studio time.
I've also been dealing with severe daily headaches from a lot of bone spu=
rs
and other interesting cervical additions and deformations thanks to a lon=
g
past car accident; but life goes on -- some days better than others. On t=
he
good days I keep VERY busy! :-)
The past couple of days have been spent dry batching cone 6 glaze tests a=
nd
then another day searching in vain for more empty plastic containers.
My firebricks arrived this week for my mini oil/wood kiln. The pad is
poured, the oil burner made and the first few tests pots ready to go as
soon as I finish these cone 6 tests.
By the way, for Florida and other south east potters, I got a great deal=
on
70% alumina bricks ($1.79 each) from Superior Brick. Here's the web addre=
ss
if anyone is interested: www.superiorbrick.com
Speak to Barbara -- she's the one who gave me the great deal. These are
leftovers from a larger order and as of a week ago, she still had some in
stock.
When I get time (probably months from now!), I'll post some house and stu=
dio
pictures. We're right on the Indian River(the intracoastal waterway) and =
it
is glorious! We get to see the yachts coming down (one actually had a
satellite dish and a helicopter)!. The aquatic bird life and the daily
dolphin viewing is like being in heaven for us. My beloved husband hasn't
stopped smiling since we got here -- neither have I!
I was very lucky to find the house we wanted and it came with a 28X22 stu=
dio
to boot. I put a nice big window in near my wheel so I would have good no=
rth
light as well as a good view of part of the back yard, which I've been
planting like a maniac with bamboo, citrus and other fruit trees, buildin=
g
raised beds for veggies, as well as general landscaped beds with gingers,
heliconias, etc.. My aim to to have a tropical jungle look! Phase one is
done and phase two will include a koi pond; but I had to stop for a breat=
her
and get the studio unpacked and set up. The electric kiln is hooked up, t=
he
sink installed and I just have to get the claymixer hooked up; but I'm
organized enough to have thrown and fired the first set of test tiles. Ye=
ah!
It's good to finally have time to ready my Clayart mail again -- even tho=
ugh
I'm about two days behind at the moment!
Bonnie -- belated happy 80th! You and my friend Otto are great inspiratio=
ns
for me to start all these new projects! Love your pots as well!
Time to head for the studio and finish the last of those test and maybe I=
'll
have time to get the engobes done as well!
Warmest regards,
June
SuSuperior Brick &
Refractory Service, Inc.
P.O. Box 1732 . Riverview, FL
33569
Office Number: (813) 671-2233
Facsimile: (813) 671-1756 perior Brick &
Refractory Service, Inc.
P.O. Box 1732 . Riverview, FL
33569
Office Number: (813) 671-2233
Facsimile: (813) 671-1756
----- Original Message -----
From: "Automatic digest processor"
To: "Recipients of CLAYART digests"
Sent: Tuesday, January 22, 2002 9:00 PM
Subject: CLAYART Digest - 21 Jan 2002 to 22 Jan 2002 (#2002-23)
are greedy and let just anybody with the fee in?
value?
>I think it time educators and organizations eliminate the private agenda=
s
that interfere with the adult learning community.
I don't get this. What agendas are you talking about? I think colleges
place a premium on enrollments and contact hours. Why would they
"interfere" with any segment of the student population?
Chao,
Rafael Enrique
Molina,
It is not my intent to engage in a name-calling agenda, because I concur
with many of the basic concepts you've stated loud and clear to all who c=
an
read, as you said. That being said, it is difficult to reply to your
verbose declaration because it was not my intention to refer to Continuin=
g
Education as in CEU's, but as adults continuing their education for cred=
it
or audit, whether privately funded, state assisted, etc. The point I was
making is that education is big business. It is the largest national
corporation, employing the most people.
However, it was MY opinion that these large numbers of non-traditional
students (age 25 and above) enhance the education of the traditional
learners. Although, you site your institution as being overly crowded, th=
at
is not true in each institution, otherwise why would they need compete fo=
r
registrants? These additional 40% of adult students provide employment f=
or
more instructors, plant operators, security guards, cafeteria workers,
office workers, etc., and allow businesses to sell more educational produ=
ct
to generally keep the economy in a healthier situation.
> There is a HUGE difference between "job-related or personal development
> class, seminar or workshop" and a college credit class towards an
> Associate of Bachelors degree.
Yet one can obtain all of the above, can't they?
As you are aware, currently specialized programs and services exist for a
multitude of student populations - resident students, international
students, minority students, so there's no logical reason why
non-traditional students can't be provided flexibility also. I think it
time educators and organizations eliminate the private agendas that
interfere with the adult learning community.
You are to be commended on saving the taxpayer money, but, hopefully, not=
at
the expense of your adult students.
Oh, my politics are my own.
Carolsan
_________________________________________________________________________=
___
__
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-----------------------------
Date: Tue, 22 Jan 2002 14:30:38 -0600
From: "MOLINA, RAFAEL"
Subject: Gen X and Gen Y Slackers?
I've noticed in this thread about college student populations that
invariably the response is older, more experienced, and mature learners
enhance the learning of traditional college age students.
I know that Generation X and now Generation Y are popularly known as
"slackers", but it's been my experience that there are some very talented
and motivated young people working with clay today.
It's not always the more mature and experienced student giving the younge=
r
set the demo. Sometimes the kids can grasp things very quickly to the po=
int
of sharing their skill with anyone in the class.
My point is you can't generalize about student populations or classroom
dynamics.
Chao,
Rafael
Rafael Molina, MFA
Assistant Professor of Art
Department of Music, Art, and Dance
Tarrant County College-Southeast Campus
2100 Southeast Parkway
Arlington, TX 76018-3144
(817) 515-3711
(817) 515-3189 fax
-----------------------------
Date: Tue, 22 Jan 2002 15:54:24 -0500
From: Annie Swantko
Subject: =3D?iso-8859-1?Q?Mark=3D20Nafziger=3D20In=3D20Cincinnati?=3D
Mark Nafziger will be at Annie's Mud Pie Shop, in Cincinnati, OH
Saturday, February 16th 9am to 4pm
Sunday, February 17th 10am to 4pm
Demonstrations will include throwing, with special emphasis on the
decorative techniques of slip trailing and feathering.
For further details and GROUP RATE INFORMATION
go to http://www.anniesmudpieshop.com click "workshops"
Or call toll free 1-866-GET-CLAY (438-2529)
Single rate:
Price $130.00 Sat and Sun (lunch included)
75.00 one day only (lunch included)
-----------------------------
Date: Tue, 22 Jan 2002 16:15:45 -0500
From: Andi Fasimpaur
Subject: Re: making a good impression
At 09:42 AM 1/22/02 -0800, you wrote:
>here's another option for making stamps:
>
>Find a place that MAKES rubber stamps.
>many places that make stamps also use a material which is harder than
>the usual rubber stamp stock.
For about $36 including shipping and handling within the US, you can
get custom rubber stamps along with the Plate and the Matrix used
to form them. Arrange your designs on a 9 X 7 inch page, let them
know that you intend to impress the designs in clay, and they will
create an extra deep stamp... I've had very good luck with this and
will probably be assembling another "plate" in the near future...
http://www.readystamps.com/
It's a great company, and no, I'm not affiliated with them in any
way...
Best Wishes,
Andi.
-----------------------------
Date: Tue, 22 Jan 2002 16:14:06 -0500
From: "Dwiggins, Sandra (NCI)"
Subject: Re: flat, square and hollow coils
Bob--
When my coils go flat, it usually is because I am trying too hard and wan=
t
to get the process over with instead of focusing on making the coil. I pu=
t
too much pressure on one side...usually at the start of the roll. I find=
it
is pretty difficult to get students to use their whole hand when
rolling...and also to keep an even pressure. You're saying all the right
things, but it is something they have to do over and over again before th=
ey
can feel it in their hand.
Sandy
-----Original Message-----
From: Bob Pulley [mailto:pulleyb@BCSC.K12.IN.US]
Sent: Tuesday, January 22, 2002 10:06 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: flat, square and hollow coils
OK here is one for you educators out there. We are beginning coil pots. =
I
have been rolling coils since I was 4 and I'm now 53 and all of my cerami=
c
sculptures have been coil built since the 70's . I can roll a mean coil.
But I can't make it clear to beginners why theirs go flat, get hollow and
look ugly. I say, "Use your whole hand." "Keep an even preasure." "Mov=
e
hands outward from the middle as you roll." Any suggestions?
Bob Pulley
_________________________________________________________________________=
___
__
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.
-----------------------------
Date: Wed, 23 Jan 2002 07:02:15 +0900
From: Lee Love
Subject: Re: Japanese Gyubera. Seeking info
Chris,
You can see a photo of some at this page (bottom of the page, sec=
ond
to
last photo):
http://www.ceramicart.co.jp/tool/tool.html
Here is just the photo, if you have trouble finding it on the page (the
photo by
itself is larger):
http://www.ceramicart.co.jp/tool/gyubera.jpg
Richard Breshnehan used one at a workshop of his I attended (he
studied
in Kyuushu.) They are used as others have mentioned here. I bought on=
e
on my
first visit to Mashiko in '93, tried it, but never used it much.
--
Lee Love In Mashiko Ikiru@kami.com
"The best pots for me are the pots that I like." --Shoji Hamada (1894-197=
8)
-----------------------------
Date: Tue, 22 Jan 2002 21:59:07 -0000
From: Marek & Pauline Drzazga-Donaldson
Subject: coils
Dear Bob,
all you need to do is to tell people to first taper the ends of a =3D
fattish proto coil (this stops the hollowing at the ends, and to press =3D
from the centre outwards using an initial bit of oomph and make sure =3D
that the coil is made to roll through more than its circumference - this =
=3D
is what keeps it round, make sure that the coil is kept mobile.
happy potting from Marek http://www.moley.uk.com=3D20
-----------------------------
Date: Tue, 22 Jan 2002 14:05:29 -0800
From: Philip Poburka
Subject: Re: flat, square and hollow coils
Dear Bob,
They could use small pieces of a wide-ish, flat 'board'...maybe with the
egdes rounded a little...
Phil
ellvee
----- Original Message -----
From: "Bob Pulley"
To:
Sent: Tuesday, January 22, 2002 7:06 AM
Subject: flat, square and hollow coils
OK here is one for you educators out there. We are beginning coil pots. =
I
have been rolling coils since I was 4 and I'm now 53 and all of my cerami=
c
sculptures have been coil built since the 70's . I can roll a mean coil.
But I can't make it clear to beginners why theirs go flat, get hollow and
look ugly. I say, "Use your whole hand." "Keep an even preasure." "Mov=
e
hands outward from the middle as you roll." Any suggestions?
Bob Pulley
_________________________________________________________________________=
___
__
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.
-----------------------------
Date: Tue, 22 Jan 2002 14:09:26 -0800
From: Philip Poburka
Subject: Re: a long rant!../worthwhile
Dear Roger,
Uhhh...what is, or what are, "Psuedomonas aeruginosa"?
Are they some sort of animaculae, as a 'protozoan' or other?
A 'bacterium'?
And from 'where' would one get them?
Soil?
Water 'mists'?
Or...
Phil
Las Vegas...
----- Original Message -----
From: "Roger Korn"
To:
Sent: Tuesday, January 22, 2002 7:46 AM
Subject: Re: a long rant!../worthwhile
> Hi Folks,
>
> Really think about Dannon's comments. After winning a five year battle
with
> Pseudomonas aeruginosa, my lungs are better, but much compromised. I am
spending a
> lot of time designing air cleaners for studio ventilation and recommend=
ing
strong
> kiln room ventilation systems. Most lung problems from dusts and toxins
are not
> reversible, and, at 60 years of age, my #1 health issue.
>
> In the shop, I've got dust collection systems hooked up to most power
tools and
> "dust muzzles" (http://www.dustmuzzle.com/) on sanders and grinders. I
don't think
> I'm over-reacting a bit. Having spent years being young, male, and stup=
id
about
> dust set me up for five years of not knowing if I was going to live
another 6
> months, and the mental background stress that was imposed on me has
reshaped life
> in a fairly negative way.
>
> No joke,
>
> Roger
>
> Dannon Rhudy wrote:
>
> > Jonathan said:
> >
> > ...... This glaze
> > >>> should be never used. Just look at the percentage of manganese
dioxide and
> > >>> copper carb
> > >The red flag went up immediately when I saw 64% Manganese Dioxide an=
d
14%
> > >Copper Carbonate. Certainly ...
> > This is just plain stupid.
> > .... fumes from these materials should not be inhaled. Dave Shaner's
> > >experience ..... from MnO2 poisoning should be enough
> > >reason. . Do we have to be smacked in
> > >the face with baseball bat to get the picture?......
> > ........ everyone on this list should
> > >get a copy of John Hesselberth's and Ron Roy's new 'Mastering Cone 6
Glazes"
> > >as well as Michael Bailey's "Glazes Cone 6." ......
> >
> > Now THIS is a rant worth reading. Jonathan is quite correct in
> > noting that posting highly toxic glaze formulae is of concern. Most
> > often when such unbalanced and/or toxic glazes are posted to
> > the list some or many people catch it, and respond with warnings
> > and cautions. However, many don't bother to read cautions, many
> > don't pay attention if they DO read them, or take them lightly.
> > Also, such postings are automatically archived - anyone might
> > find them and try them out. This probably can't be helped. But
> > it behooves us, and ESPECIALLY those who don't understand much
> > about glazes, to think about what they are slathering on a pot,
> > to think about how the glaze might or might not function, and to
> > THINK ABOUT WHAT THEY ARE BREATHING while that pot/glaze
> > is being fired.
> >
> > Learn some basics about what your glazes are made of, what
> > kinds of things are likely to be stable in what kind of glaze, fired
> > to what temperature. If you can't do that, or don't want to do that,
> > at the VERY LEAST get a copy of a current glaze book such as
> > Ron & John's, and stick with things that have been tested by someone
> > who knows what they are about. There are earlier glaze books,
> > too, some of which are quite good. But we know a lot more about
> > testing than we used to, and leaching, and toxic fumes from firing.
> > So current books are going to be more useful in some ways.
> >
> > One of the most efficient ways to get toxins into
> > the body is to breathe them in. Think about that, folks.
> > Use good ventilation. Keep the really nasty stuff out of the
> > kiln altogether. And if you don't know what the nasty stuff
> > IS, find out.
> >
> > regards
> >
> > Dannon Rhudy
> >
> >
_________________________________________________________________________=
___
__
> > 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.
> >
>
> --
> Roger Korn
> McKay Creek Ceramics
> In AZ: PO Box 463
> 4215 Culpepper Ranch Rd
> Rimrock, AZ 86335
> 928-567-5699 <-
> In OR: PO Box 436
> 31330 NW Pacific Ave.
> North Plains, OR 97133
> 503-647-5464
>
>
_________________________________________________________________________=
___
__
> 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.
-----------------------------
Date: Tue, 22 Jan 2002 15:04:34 -0800
From: David Hendley
Subject: Re: Zirconium-vanadium turquoise stain
Thank you very much for your explanation, Michael.
Can you comment on the toxicity of vanadium in the
refractory spinel state, compared to vanadium pentodide?
I've always considered vanadium one of the more toxic
glaze colorants.
David Hendley
Maydelle, Texas
hendley@tyler.net
http://www.farmpots.com
----- Original Message -----
From: "Michael Banks"
To:
Sent: Tuesday, January 22, 2002 10:18 AM
Subject: Re: Zirconium-vanadium turquoise stain
> David,
>
> Commercial ceramic colours are composed of sintered mixtures of two or
> more transition metal oxides. The resultant colour is often unrelated =
to
> the colours of the original component oxides, or the colours that they
> produce when added to glazes on their own. Many of the compounds are
> refractory spinels, composed of divalent (X) and trivalent (Y) metal io=
ns
in
> the general formula XY2O4. Spinels are refractory and chemically stabl=
e
in
> molten glaze, remaining suspended there, so coloured spinels are ideal
> ceramic stains.
>
> The reason why the colours of sintered zirconium-vanadium compounds (in
> turquoise stain), and chrome-tin stains differ from their single
constituent
> oxides, is because in entering the combined molecule one or both of the
> metal ions is forced into a lower valency state than we are used to
> encountering in glazes.
>
> E.G: In chromium-tin stain, the normally green chromic (III) ion is for=
ced
> to reduce to the chromous (II) ion which is ruby red in colour. Normal=
ly
> (on it's own) Cr (III) is too stable to reduce to Cr (II) and yield a r=
ed
> colour in glaze. I believe a similar mechanism operates in
> vanadium-zirconium stain, the turquoise colour coming vanadium reduced =
to
a
> lower valency value than the pentavalent (V5+) ion (yellow-brown) norma=
lly
> seen in glazes.
>
> Michael Banks,
> Nelson,
> New Zealand
>
> ----- Original Message -----
> From: David Hendley wrote:
> > I noticed in the table of available stains that the turquoise stain
> > I've been using relies on zirconium and vanadium to produce
> > the color.
> > This puzzles me, since I've always thought, and every book I've
> > ever read says, that vanadium in a glaze produces a yellow color.
-----------------------------
Date: Tue, 22 Jan 2002 17:06:07 EST
From: KLeSueur@AOL.COM
Subject: Re: Sales and dying fairs
<y
have too many? Do you think it's because they have people selling
custom-dressed-geese next to expensive clay artists? Or is it because the
organizers are greedy and let just anybody with the fee in?
Please keep this thread on the list. I do at least one fair a month and a=
ll
the artists who have been doing them for many years say that they just
aren't the same quality. I'm interested.>>
I think fairs are dying because:
a. There are too many. Fairs used to be run by arts organizations to brin=
g
artists and people together. The were a service to both groups. Now they =
are
fund raisers for any group wanting to make some money. both customers an=
d
artist are overcharged for the "service" being provided.
b. the same artist end up at many of the shows across the country. Fairs
used
to be regional events often run by the artists who were members of an
organization. the customers traveled to various fairs to see the work the=
re.
Now we travel all over the country. My prime culprit in this is the
SourceBook. All of a sudden you had every artist applying to the same sho=
ws
all over the country. Fairs were more interested in getting a good
SourceBook
rating than in putting on a good show.
c. The people judging shows have become an incestuous group. Art director=
A
(who started out as a receptionist but eventually became art director as
everyone above her quit) is invited to jury a show for art director B. Ar=
t
director B observes what A rates highly. Then B is invited to jury for C.
Her scores reflect the influence of A. Then A invites C to jury her show.
You
get the picture.
d. Upgrading of the fair. More and more the average person can find nothi=
ng
they want or can aford. This is called "educating the public". But if you
want to educate someone, first you have to get them to class. And then yo=
u
have to provide them with a reason to come back. If you want to teach mat=
h
to
a seven year old you don't start with geometry.
As I recently told someone else, a director of a ballet company explained
that there are "Swan Lake" people and "Nutcracker" people. Without the
Nutcracker there wouldn't be enough people coming to the ballet to pay fo=
r
Swan Lake.
Without enough people coming to buy "average" art and fine crafts you won=
't
ever get enough people to buy the high end stuff. And the by the time the
person who can't afford to spend alot enters a higher income bracket, the=
y
will be in the habit of buying at some source other than art fairs.
A successful event has something for everyone.
d. As times have gotten tougher artist have become mean s.o.b.'s. They lo=
ok
for any excuse other than themselves for why they aren't selling. They
attack
their fellow artist, accusing them of cheating by one means or another. I
always know who the complaints are going to be against. They're the ones
with
the line in front of their booths. Many of these successful artists have
found themselves blacklisted from shows. Once their favorite artist is go=
ne
often customers don't return.
The solution: Younger artist need to organize their own shows with their =
own
rules. (I'm too old to do it). Don't fall into the trap of becoming a
non-profit. It's the first step to outsiders taking over your show. Pay y=
ou
taxes and keep your event to yourselves.
Kathi LeSueur
-----------------------------
Date: Tue, 22 Jan 2002 17:15:46 -0500
From: Susan Fox-Hirschmann
Subject: Re: Tennis Elbow
>From: Debbie Jestin
>Reply-To: Ceramic Arts Discussion List
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: Tennis Elbow
>Date: Mon, 21 Jan 2002 19:39:18 -0500
>Osteopathy is another choice....mine, i might add.
susan
>Hi Heather, Two things that work are accupuncture and chiropractor.
>Accupuncture is my number one choice works like a hot damn.
>
>________________________________________________________________________=
___
___
>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 and receive Hotmail on your mobile device: http://mobile.msn.com
-----------------------------
Date: Tue, 22 Jan 2002 18:34:33 -0800
From: Khaimraj Seepersad
Subject: Re: Egyptian Paste
Hello to All ,
Ababi ,
from the First [ Ceramic Formulas - Conrad pg. 31 ]
is EG1 dry matte.
This is one of the most interesting Egyptian Paste
recipes , I have come across . Can be altered to
river stone gloss , and handles all colours [ I have
used stabilised stains , underglaze colours and
raw pigment ].
The body fires with a quality more akin to glass ,
if you so desire.
I have also ball milled sea sand from the low tide
water mark , down to -200 mesh and passed it
back through this recipe.
Down here , there are ultra plastic clays , unaffected
by Alkali's [ actually becoming better with the soda
bic.] , and they occur at the high tide mark , with
80% sand naturally mixed in.
I dry the sand/clay mix , and then clean to -325
mesh. The cleaning yields enough sand at 200 to
-200 mesh , to make an excellent E.Paste body.
As always , remember the problems associated
with fine sand - though this is crushed quartz and
not crypto-crystalline silica - there is bound to be
some - 600 mesh sand.
I design my E.Paste to be dried in the kiln , after
a night of resting to allow the body to equalise it's
moisture content. Usually under a plastic bag , or
in an empty aquarium.
The artificial drying , gives the best River Stone
Gloss and nothing like that ugly glassy gloss , often
expected of E.paste.
You can go from Matte to Satin to High glass gloss.
E.Paste , to test the ability and imagination.
Khaimraj Seepersad
[ West Indies / Caribbean ]
* There is actually a low budget printed book out
of India , with excellent chemical oxide breakdowns
on E.Paste and Glass.
Picked it up in a Puja Store of all places.
-----Original Message-----
From: Ababi
To: CLAYART@LSV.CERAMICS.ORG
Date: 22 January 2002 12:37
Subject: Re: Egyptian Paste
>First: Ceramic formulas; The Complete Compendium of Conard page 30 31
>a lot of colors.
< snip >
>Ababi Sharon
>Kibbutz Shoval- Israel
> Glaze addict
>ababisha@shoval.org.il
>http://members4.clubphoto.com/ababi306910/
>http://www.milkywayceramics.com/cgallery/asharon.htm
>http://www.israelceramics.org/
>
-----------------------------
Date: Tue, 22 Jan 2002 17:24:03 -0600
From: Nancy Farrell
Subject: Summer Sculpture Workshops
I am looking for a summer sculpture workshop that will include concept
development. I have looked at the Anderson Ranch workshops, but the timi=
ng
of the sculpture one is wrong for me. Does anyone have any ideas of a g=
ood
teacher-workshop on ceramic sculpture content that is happening spring,
summer or fall?? Just U.S. and Canada.
Thanks, Nancy
www.nancyfarrell.com nfarrell@golden.net
-----------------------------
Date: Tue, 22 Jan 2002 16:28:40 -0600
From: Martin Rice
Subject: Much or little clay?
Here's a real newbee (or is it newbie?) question. I'm just starting to te=
ach
myself to throw. I've been using rather large lumps to learn to center an=
d
open up (maybe 7 to 10 lbs. of red clay). Today I was wondering if there =
was
any common knowledge about whether the size of the lump makes a differenc=
e
in learning at the very beginning and, if so, what people would recommend.
I'm using a kick wheel and have average size hands.
Thanks,
Martin
Lagunas de Bar=FA, Costa Rica
www.rice-family.org
-----------------------------
Date: Tue, 22 Jan 2002 17:31:40 -0500
From: Elca Branman
Subject: Re: slabs
The most important thing to me , when making slab plates or platters, is
to make sure the center dries before the sides.
I accomplish this by cutting dry cleaner plastic garment covers
horizontally,about 5 inches wide, so essentially I have plastic rings.
These are wrapped around the sides of the plates , with the centers left
open to dry..
I do the same when I throw plates or platters. Once the center is dry,
you take off the plastic and dry the rest at whatever is a normal drying
pace for your clay body.
Elca Branman.. in Sarasota,Florida,USA
elcab1@juno.com
________________________________________________________________
GET INTERNET ACCESS FROM JUNO!
Juno offers FREE or PREMIUM Internet access for less!
Join Juno today! For your FREE software, visit:
http://dl.www.juno.com/get/web/.
-----------------------------
Date: Tue, 22 Jan 2002 17:32:14 -0600
From: "MOLINA, RAFAEL"
Subject: ET Coming To My Home
Elmer Taylor, Professor of Art, School of Visual Art, University of North
Texas (see September 1999 CM pp. 40-45) will be a visiting artist here at
Tarrant County College Southeast Campus tomorrow January 23, 2002. He wi=
ll
lecture and demonstrate for our students and the local community in our n=
ew
facility The Art Annex from 1-4 pm and 6-9 pm. The workshop is free and
open to the public.
Elmer Taylor currently has an exhibition "Just Pots II" on view in the Ar=
t
Corridor I (see October 2001 CM pp. 70-71) at our campus.
If anyone would like more information about the gallery, exhibitions, or
workshops please contact me at the numbers below.
TIA.
Chao,
Rafael Enrique
Rafael Molina, MFA
Assistant Professor of Art
Department of Music, Art, and Dance
Tarrant County College-Southeast Campus
2100 Southeast Parkway
Arlington, TX 76018-3144
(817) 515-3711
(817) 515-3189 fax
-----------------------------
Date: Tue, 22 Jan 2002 16:29:51 -0500
From: Brooks Ratledge
Subject: Re: flat, square and hollow coils
They may be pressing to hard as they roll the coil.
P. Harden
-----------------------------------------------------
Click here for Free Video!!
http://www.gohip.com/free_video/
-----Original Message-----
From: Bob Pulley
To: CLAYART@LSV.CERAMICS.ORG
Date: Tuesday, January 22, 2002 3:36 PM
Subject: flat, square and hollow coils
OK here is one for you educators out there. We are beginning coil pots. =
I
have been rolling coils since I was 4 and I'm now 53 and all of my cerami=
c
sculptures have been coil built since the 70's . I can roll a mean coil.
But I can't make it clear to beginners why theirs go flat, get hollow and
look ugly. I say, "Use your whole hand." "Keep an even preasure." "Mov=
e
hands outward from the middle as you roll." Any suggestions?
Bob Pulley
_________________________________________________________________________=
___
__
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.
-----------------------------
Date: Tue, 22 Jan 2002 13:54:52 -0800
From: Stephani Stephenson
Subject: Internet sales, how are they?
Well, you just have to respond to someone named Harry in Iowa, who wants
to hear about internet sales!
This is just a raw figure, but internet sales from the website last
year (gross sales) were about $55,000.
Of course 'gross sales' is not money in the bank. But your bottom line
is your affair !
Website itself costs about $400 per year in actual cash outlay. Though
, of course, that doesn't include time, precious time.
But just for a raw comparison, it seems to me to be a decent return for
the 'advertising' dollar.
In the first year, start up costs will be higher and returns likely will
be lower. My website was started in May of 2000.Takes a while to get
rolling.
Like Marie, I started the site mostly as an 'information only' site. Had
no idea or expectations, basically a babe in the woods .
Laird Plumleigh's large tiles are first and foremost what people are
looking for and purchasing. I have myself picked up a number of custom
projects such as sinks, fountains, fireplaces, sculpture , sconces,
lanterns and garden pots and have sold my Mattybirds well this way. Also
I do a lot of designing for clients' projects, using Alchemie tile.
onward to 2002, may we all prosper.
Stephani Stephenson
steph@alchemiestudio.com
http://www.alchemiestudio.com
-----------------------------
Date: Tue, 22 Jan 2002 17:53:00 -0600
From: Kate Johnson
Subject: Re: making a good impression
Wow Andi! This is great...do you cut them apart yourself then? I just
asked at my local office supply store and they told me $32 for ONE stamp,
about 3" across...
> For about $36 including shipping and handling within the US, you can
> get custom rubber stamps along with the Plate and the Matrix used
> to form them. Arrange your designs on a 9 X 7 inch page, let them
> know that you intend to impress the designs in clay, and they will
> create an extra deep stamp... I've had very good luck with this and
> will probably be assembling another "plate" in the near future...
>
> http://www.readystamps.com/
Your answer is a keeper! I do love decorated pots...
Best--
Kate
-----------------------------
Date: Tue, 22 Jan 2002 17:54:28 -0600
From: "MOLINA, RAFAEL"
Subject: Who is that person from the Clay Studio?
Who is the person who submits infromation about the Clay Studio in Philly=
?
Their posts are full of great information about their programs, but are
submitted anonymously. I'm just curious.
BTW, I think the Clay Studio is an outstanding example of an independant
studio offering classes, providing studios, and organizing workshops and
exhibitions.
Chao,
Rafael
Rafael Molina, MFA
Assistant Professor of Art
Department of Music, Art, and Dance
Tarrant County College-Southeast Campus
2100 Southeast Parkway
Arlington, TX 76018-3144
(817) 515-3711
(817) 515-3189 fax
-----------------------------
Date: Tue, 22 Jan 2002 16:58:16 -0800
From: David Hendley
Subject: Re: dying fairs
In Texas, craft fairs have been on a downward trend for at least
20 years. In the '70's they were dynamite, in the 80's the best
ones were still good, and now there are so many that the
potential audience is totally diluted.
In the spring and fall around major cities, there is a craft fair
of some sort EVERY weekend, and every podunk town has some
kind of fair with an 'arts and crafts' section. Tommy probably
goes to the 'Fireant Festival' in Marshall.
I have done one less fair each year, and am now down to two
a year. I do one to help out a buddy who is trying to get some
things happening in his town, and then the Texas Clay Festival,
which is not really a craft fair, since it was conceived by and is
run by potters and for potters.
Everyone just got too greedy. Civic groups saw craft fairs as
a way to make money. Art museums made them their big money
makers for the year. Prices to exhibit kept going up and up,
artists were forced to 'donate' work to auctions, and long-time
exhibitors were kicked out after years of supporting the fair.
Good riddance. Potters can do better on their own.
What I resented most were fairs run by 'arts' organizations. The
business plan was to charge artists a big fee to sell their work,
so they could use the proceeds to help 'support the arts'.
This usually meant that got their money from visual artists and
gave it to performing artists.
David Hendley
Maydelle, Texas
hendley@tyler.net
http://www.farmpots.com
-----------------------------
Date: Tue, 22 Jan 2002 16:01:23 -0800
From: potterybydai
Subject: Re: flat, square and hollow coils
Bob, tell them to let the coil roll free for a bit after they've made a
rolling pass with their whole hand, fingers spread wide---this way, their
hand/fingers don't land on the same place on the coil when they resume th=
e
rolling motion. Boy, I don't know if I can make this clear----when you u=
se
your hand/fingers to roll a coil, if you don't lift your hands from the c=
oil
and reposition them, but instead just roll the coil back and forth, back =
and
forth, it will go flat. And it's almost impossible to round it again. T=
he
"hollow" part, I find is usually caused by not squeezing the clay properl=
y
into a "sausage" before starting to roll the coil. Also, make sure the c=
lay
is soft enough, and slightly dampen the canvas they are working on. Dry
canvas just sucks the moisture out of the clay, and results in crumbly, a=
nd
less-round, coils. I find that some students catch on to making coils ri=
ght
off the bat, and others struggle with it for a long time (these students
usually HATE coil projects!); personally, I think it's one of the harder
techniques for people to learn.
Good luck on this one!
Dai in Kelowna, BC, who spent the afternoon curling instead of
coiling---great exercise, and less stressful For those of you in the
deep south, curling is a sport played on an ice surface, with rocks and
brooms and lots of shouting. Invented by the same people who brought you
that other sport that involves balls and clubs and lots of swearing (the
Scots).
potterybydai@shaw.ca
Life is 10% what happens to you, and 90% how you
respond to it.
----- Original Message -----
From: "Bob Pulley"
To:
Sent: Tuesday, January 22, 2002 7:06 AM
Subject: [CLAYART] flat, square and hollow coils
OK here is one for you educators out there. We are beginning coil pots. =
I
have been rolling coils since I was 4 and I'm now 53 and all of my cerami=
c
sculptures have been coil built since the 70's . I can roll a mean coil.
But I can't make it clear to beginners why theirs go flat, get hollow and
look ugly. I say, "Use your whole hand." "Keep an even preasure." "Mov=
e
hands outward from the middle as you roll." Any suggestions?
Bob Pulley
_________________________________________________________________________=
___
__
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.
-----------------------------
Date: Tue, 22 Jan 2002 18:02:17 -0600
From: Dannon Rhudy
Subject: Re: ET Coming To My Home
At 05:32 PM 1/22/02 -0600, you wrote:
>Elmer Taylor, Professor of Art, School of Visual Art, University of Nort=
h
>Texas (see September 1999 CM pp. 40-45) will be a visiting artist here a=
t
>Tarrant County College Southeast Campus tomorrow January 23, 2002. He w=
ill
>lecture and demonstrate......
If you get a chance to see Elmer work, you should take
advantage of it. His decorative brushwork is extraordinary,
as is his use of coloring oxides over plain glazes.
He's pretty funny, too - go for it.
regards
Dannon Rhudy
-----------------------------
Date: Tue, 22 Jan 2002 18:47:04 -0500
From: Helen Bates
Subject: Website of Tom Turner/ Gail Russell
Randy,
I changed this just a little so that clayartfolk can click on the link
in most mail software and get taken straight to Tom's site.
> Just a note to pass on that Tom Turner's website is now up and running=
,
> sure he would like some visitors.
> http://www.peachblowpottery.com
> Randy Roberts
Helen
--
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D
Helen Bates - mailto:nell@quintenet.com,
mailto:nelba@nycny.net
Web - http://www.geocities.com/nelbanell/
B. Amsterlaw's links: to Clayarters' Web Links -
http://amsterlaw.com/clayart.html
to my Clayart Posts - http://amsterlaw.com/nell/
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D
-----------------------------
Date: Tue, 22 Jan 2002 18:22:50 -0800
From: Tony Ferguson
Subject: Re: How are sales?
Hello,
Sales have been good, but course I would like better. I am still acquirin=
g
artists as well as defining the gallery. It has been able to support us,
barely. I hope to do more shows and fatten up the mailing list this summ=
er
and next fall.
I am focusing on marketing shortly here (as well as filling he
gallery)--direct email, snail mail, and other ways to alert people of wha=
t
the gallery has to offer. I am looking into buying specific lists that ar=
e
targeted. In fact, if any other people who have websites are interested =
in
going in on lists that target art buyers and the like, contact me off the
list serv.
I am a one man show so things are slow. Can't afford to pay someone else=
so
I learn how.
Thank you.
Tony Ferguson
315 N. Lake Ave. Apt. 401
Duluth, MN 55806
USA
218.727.6339
Stoneware, Porcelain, Raku
http://www.AquariusArtGallery.com
----- Original Message -----
From: "Harry in Iowa"
To:
Sent: Monday, January 21, 2002 5:33 PM
Subject: Re: How are sales?
> I am hearing mainly positive comments about sales recently. You people =
are
> nothing like the farmers I deal with on a daily basis. Farmers grouse
about
> everything, if it was raining money they would complain that their buck=
et
> was too small.
> It is good to hear about the good business. We still haven't heard
from
> the web sales people. You must be out there, I can see your web sites a=
nd
> every one of them have something for sale. I understand that most peopl=
e
> view pottery or clayart as something more dependant on physical contact.
> Does this impede web sales? Are all these web sites just for show? Woul=
d I
> be wasting my time to do it?
>
> Harry in Iowa
> I'm spending a lot of time glazing lately, will be ready to fire soon.
>
> ----- Original Message -----
> From: "Orchard Valley Ceramic Arts Guild"
> To:
> Sent: Monday, January 21, 2002 11:42 AM
> Subject: Re: How are sales?
>
>
> > Harry,
> >
> > The various sales events held by our Guild have done very well this
> > year - better
> > than the previous year. We attribute this to lots of publicity, and
> > building up a steady
> > customer base. (We have a large mailing list of both street
> > addresses and e-mail
> > addresses.) We also have a small gallery situation in a local coffee
> > shop which has
> > done well, mostly due to the great personality and sales ability of t=
he
> owner.
> >
> > The work of our best potters seems to sell itself - the rest of us re=
ly
on
> > marketing. ;-)
> >
> > I'm also interested in hearing about sales on the web. Personally,
> > I don't think
> > I'd ever buy pottery from a website... I need to feel the pot in my
> > hands to appreciate
> > it. Are there any web "success stories" out there?
> >
> > >
>
>
_________________________________________________________________________=
___
__
> 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!?
Get your free @yahoo.com address at http://mail.yahoo.com
-----------------------------
Date: Tue, 22 Jan 2002 18:36:26 -0800
From: Tony Ferguson
Subject: gas kiln design-help
Greetings,
I am designing a gas kiln for a student of mine and am apealing to some o=
f
the pros out here.
The kiln is designed around 2 12 x 24 inch kiln shelves. a 6 inch alley
border around the 24" square and then the wall (double). The kiln will b=
e
36" inches high with a sprung arch on top. My experience with a similiar
kiln like this was a west coast kiln, updraft, 8 burners nat gas. Fired
like a dream.
I was wondering if I make the aforementioned kiln into a down draft, (a 9
inche square hole at the bottom center?) would two burner holes on the b=
ack
bottom of the wall shooting flame into the alley toward the door at 500,0=
00
btu's each (burner suggestions for propane apprec.) be sufficient to get
good reduction to cone 10? I've built wood and raku kilns but not cone 1=
0
gas so this is new to me and for a friend so I don't want to screw it up.
I've been combing the books and getting on the studio floor and drawing w=
ith
pen and square to scale. Any suggestions would be appreciated. She want=
s
to have a frame welded up (just like the west coast, Olympic, etc) so the
kiln will be elevated and one would load waist high, a door, etc. I woul=
d
imagine we would need a stack on the back 4 feet above the top of the kil=
n
or so, internal diameter same as the hole?. And where in the heck is the
best place to put the damper? Thanks to any who respond. Got plans?
Great!
Thank you.
Tony Ferguson
315 N. Lake Ave. Apt. 401
Duluth, MN 55806
USA
218.727.6339
Stoneware, Porcelain, Raku
http://www.AquariusArtGallery.com
----- Original Message -----
From: "vince pitelka"
To:
Sent: Wednesday, January 16, 2002 7:57 PM
Subject: Workshops at Appalachian Center
> Our brochure should be out very soon, but I thought I would go ahead an=
d
> post information on the clay workshops for summer 2002. This is a bit =
of
a
> "Clayart Fest," in that many of the presenters are Clayart participants=
,
> including Shiela and Tony Clennell, Dannon Rhudy, David Hendley, Paul
> Lewing, and myself.
>
> If you would like to receive a brochure, please send an email message w=
ith
> your snail-mail address to our secretary Erika Smart at esmart@tntech.e=
du
> asking her to put you on the workshop mailing list . Please do not sen=
d
> brochure requests to me. Thanks -
> - Vince
>
> June 3-7
> Utilitarian Pottery
> Ron Meyers
> $260
> This class will explore the potential of making a variety of useful for=
ms
on
> the potter's wheel using earthenware clay including drinking, pouring=
,
> storing and serving shapes. The instructor will demonstrate these form=
s
and
> will show slides of historical and contemporary ceramic work to give
> students the basis for
> working on their own forms. Intermediate-Advanced
>
> June 3-7
> Handbuilding: Tricks of the Trade
> Vince Pitelka
> $250
> The objective of this workshop is to develop a particular mindset, an
> adventurous inclination to use thrown and handbuilt components in new a=
nd
> different ways, opening up the possibility of original forms inaccessib=
le
> through more traditional ceramic methods. This workshop will explore n=
ew
> ways of approaching coil and slab construction and will use the potter'=
s
> wheel as a tool for creating components to be used in handbuilding.
> Although our primary objective is the design and construction of clay
forms,
> we will bisque-fire as much work as possible so that it can be transpor=
ted
> safely. Basic-level competence in handbuilding and/or throwing is
> recommended.
>
> June 10-14
> The Art of Throwing & Raku Firing
> Harry Hearn
> $250
> Develop and improve your throwing skills in order to make the pots of y=
our
> dreams. Bring your throwing questions, problems and hopes. Some of th=
e
> topics to explore include: the mystery of centering, the myths of trimm=
ing
> and the magic of throwing larger forms. Other mysteries, myths and mag=
ic
> will be encountered as we finish many of our pieces in the raku kiln.
> Beginning-Advanced, $10.00 material fee payable to instructor
>
> June 17-21
> Finishing Porcelain
> Jason Briggs
> $280 (includes glazes)
> During this workshop students will explore a wide variety of
> firing/finishing possibilities for porcelain, including colored clays,
> colored slips, terra sigilatta, soda-firing, lusters, as well as,
> traditional cone 10 glazing. Students will also explore some handbuild=
ing
> techniques and post-firing options such as sanding and the use of mixed
> media. Participants will come away with a new appreciation for this
> material, especially those with no former porcelain experience.
> Intermediate-Advanced.
>
> June 24-28
> Tile: Making, Decorating, Marketing
> Paul Lewing
> $280 (materials included)
> A hands-on class in which students will make tile on the slab roller an=
d
> extruder and then decorate and fire tiles with cone 5 glazes and china
> paints. The instructor will lead discussions which will include: glaz=
e
> chemistry and glaze calculation software; tile installation; the market=
ing
> of tile; commissions; working with architects and designers; doing show=
s
and
> building portfolios. Demos and lectures will occupy part of each day w=
ith
> the rest of the day devoted to students' individual tile projects. To
view
> Paul's work, visit his website, "paullewingtile.com".
> Intermediate-Advanced.
>
> June 24-28
> Color and Line
> Rimas VisGirda
> $280
> In this workshop participants will learn hands-on methods for pattern
> development, narrative imagery and symbolism using underglazes on
> earthenware with wax resist and wax inlay techniques for a black outlin=
e.
> Also covered will be multi-fire techniques using underglaze pencil shad=
ing
> to give depth and enhance texture. There will be discussions of worksh=
op
> techniques applicable to resources within your own studio (i.e. glazes,
> engobes, majolica, low temp, mid-range and high fire). Also included w=
ill
> be discussions of multi-fire processes, handbuilding and throwing
> demonstrations, and also firing pieces and critiques of finished work. =
To
> view examples of Rimas' work, visit the websites, "guild.com" or
> "sdgallery.com".
> Intermediate-Advanced; materials fee TBA
>
> July 8-12
> Beyond Handles: Creative Extruder Use for Potters
> David Hendley
> $250
> During this workshop the instructor will cover three broad areas using =
the
> clay extruder: extrusions as additions to wheel-thrown pieces, such as
> handles, feet and rims; extrusions used as building components to
construct
> forms; and hollow extrusions that make vessel forms with the additions =
of
> tops and/or bottoms. He will also cover the principles of extruder die
> design, fabrication, modifications and trouble-shooting. Students will
> spend one day actually making extruder dies. Intermediate-Advanced
> (Students should be familiar with basic clay-workings skills, such as
> throwing on the potter's wheel, forming clay slabs and joining together
> shapes of clay. Experience using a clay extruder is helpful, but not
> necessary.); Materials Fee, $50 payable to instructor.
>
> July 15-19
> From the Kitchen to the Living Room
> Tony and Sheila Clennell
> $260
> This workshop will focus on handles, special details and embellishments.
> Topics covered include making pots in sections, altering them, decorati=
ng
> them and finally handling them. Students will make teapots, beakers,
> plates, platters, bowls, jugs and jars. They will learn all aspects of
clay
> handles, lugs and embellishments and be introduced to making their own
cane,
> reed, grapevine and twig handles. To view the Clennels' work, visit th=
eir
> website, "sourcherrypottery.com". Intermediate-Advanced; materials fee
> $20.00, payable to instructor.
>
> July 22-26
> Sculptural Work Using Thrown and Handbuilding Methods
> George McCauley
> $260
> During this class students will use thrown and handbuilt methods to mak=
e
> sculptural work. Students will make pots and/or sculpture using person=
al
> narrative, mythology, some life experience or story, etc., without rega=
rd
to
> function, although use can be a point of departure. Time permitting so=
me
> work will be single-fired in a soda kiln. Intermediate-Advanced.
>
> July 29-Aug 2
> Beginning to Throw
> Dannon Rhudy
> $250
> This workshop introduces students to basic pottery techniques, with an
> emphasis on beginning throwing. Students in this class will work from t=
he
> cylinder toward acquiring and understanding several pottery skills. Thi=
s
> foundation can be used for producing an array of functional or sculptur=
al
> forms, including vase, bowl and cup forms. Beginning.
>
> 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/
>
>
_________________________________________________________________________=
___
__
> 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!?
Get your free @yahoo.com address at http://mail.yahoo.com
-----------------------------
Date: Tue, 22 Jan 2002 16:56:03 -0800
From: "Linda R. Hughes"
Subject: Interested in that Chado/Ikebana show at the Kirland Arts Center=
?
Hey All,
If you are interested in entering the Chado/Ikebana show at the Kirkland =
=3D
Arts Center you can now view the prospectus and print out an entry form =3D
at www.kirklandartscenter.org/chadohome.htm. The more the merrier. It =3D
should be great fun, after all our Ashtray show was a great success and =3D
this one should be too.
Linda R. Hughes
mamahug@attbi.com
-----------------------------
Date: Wed, 23 Jan 2002 11:57:47 +1100
From: Gail Nichols
Subject: NCECA room found, thanks
Such generosity among Clayarters--- I have received far more offers of =3D
shared rooms at NCECA than I can accept.
Thanks to all who have contacted me. I no longer need a room, but I'm =3D
sure there are others who do.
I hope to meet many of you at the conference.
Gail Nichols
Sydney, Australia
gailnichols@optusnet.com.au
http://www.haecceityarts.com.au/
-----------------------------
Date: Tue, 22 Jan 2002 18:20:05 -0700
From: Marcia Selsor
Subject: Re: Sculpture Workshops/ Arch. Ceramics
There is a Sculpture and paper Clay workshop at La meridiana August
18-31st with Ian Gregory
if that is a better time for you.
Look up www.pietro.net for more details.
Meanwhile I have two spots left for my Architectural ceramics Workshop
May 24- June 7.
http://www.imt.net/~mjbmls/Tuscany2002.html
Marcia in Montana looking forward to linda Blossom's workshop in paris
texas with Dannon!
Nancy Farrell wrote:
>
> I am looking for a summer sculpture workshop that will include concept
> development. I have looked at the Anderson Ranch workshops, but the
timing
> of the sculpture one is wrong for me. Does anyone have any ideas of a
good
> teacher-workshop on ceramic sculpture content that is happening spring,
> summer or fall?? Just U.S. and Canada.
> Thanks, Nancy
> www.nancyfarrell.com nfarrell@golden.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.
--
Marcia Selsor
selsor@imt.net
http://www.imt.net/~mjbmls
http://www.imt.net/~mjbmls/Tuscany2002.html
-----------------------------
Date: Tue, 22 Jan 2002 18:27:35 -0500
From: "L. P. Skeen"
Subject: Slab Roller Table
Hey guys, you are going to be jealous!!! My sweetie just built a table =3D
for my slab roller and it is FABOO!!! It is exactly the right height =3D
and ultra sturdy too. I will be painting it various colors a la =3D
Mondrian ;) and then I will post a photo to my web site! =3D
Bwahahahahahaha!
L
L. P. Skeen www.living-tree.net
Living Tree Studios, Summerfield, NC
"Just because nobody understands you does NOT mean that you are an =3D
artist."
The election ain't over til your brother counts the votes.
-----------------------------
Date: Tue, 22 Jan 2002 20:29:14 EST
From: Boop33@AOL.COM
Subject: Equipment for sale in California
Closing a huge pottery in Northern Calif
Everything from ram presses, kilns, wheels, tools, extruders, bat, etc t=
ons
of chemicals, thrown hifire bisque
Email for complete list to bkpottery@aol.com or call 925-946-1707 days e=
ves
925-952-9798
all ready for viewing starting Feb 5th
-----------------------------
Date: Tue, 22 Jan 2002 19:36:42 -0600
From: vince pitelka
Subject: Re: Tennis Elbow - glucosamine
> > .) But glucosamine has been used long enough for joint pain with g=
ood
> > results and even doctors are suggesting trying it. Tests show th=
at
it
> >
>
> Unfortunately there is not statistical proof that it is effective.
I don't know if anyone is collecting statistical proof, but sometimes tha=
t
is irrelevant, as in this case, when there are such large numbers of the
general public who have been taking glucosamine/chondritin for several ye=
ars
and realize significant improvement in joint problems. If the evidence i=
s
enough to make large numbers of doctors recommend it, then it seems prett=
y
clear that it is worthwhile for those suffering from joint problems.
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/
-----------------------------
Date: Tue, 22 Jan 2002 17:25:01 +0100
From: Mike Gordon
Subject: Re: 80th birthday Sabbatical Picture
Bonnie,
What a fantastic vase!!!! My hats off to you, do you throw it all in one
piece??? How much clay do you use??? I am going to show this to my
students, especially the ones who claim they aren't "strong enough",
Mike Gordon, Walnut Creek,Ca.
-----------------------------
Date: Tue, 22 Jan 2002 20:10:29 -0600
From: vince pitelka
Subject: Re: flat, square and hollow coils
> OK here is one for you educators out there. We are beginning coil pots.=
I
have been rolling coils since I was 4 and I'm now 53 and all of my cerami=
c
sculptures have been coil built since the 70's . I can roll a mean coil.
But I can't make it clear to beginners why theirs go flat, get hollow and
look ugly. I say, "Use your whole hand." "Keep an even preasure." "Mov=
e
hands outward from the middle as you roll." Any suggestions?
Bob -
I guess we each have our own approach, and I would not presume to tell
someone as expereinced as you that there is a better way. I do have good
luck telling my students to roll coils with their outstretched fingers
spread apart, moving quickly out from the center. It does produce some
dimples and ridges on the coils, but those are of no consequence as long =
as
the coil is generally uniform along its length. I find that works much
better than rolling with the palm of the hand.
After the students form the clay into a long sausage shape, and they star=
t
rolling it with their hands, the first thing they should do is roll the e=
nds
out to a taper, so that the form looks like a giant cigar. As long as yo=
u
are using good soft plastic clay, that should eliminate the problem of
hollow coils. But if the clay is too stiff it will often still go hollow=
,
because it simply separates internally. As you know, coil construction i=
s
always most efficient and successful with soft clay, because you can smea=
r
the coils together without scoring or slurry, and it will produce an
extremely strong monolithic wall. The only times we ever score and use
slurry during coil construction is to attach the first coil when we retur=
n
to a form which has stiffened partially, or for other attachments.
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/
-----------------------------
Date: Wed, 23 Jan 2002 02:08:43 +0000
From: J Myers
Subject: Re: Gen X and Gen Y and older folk
I'm not sure that "quickness" is necessarily the gift the olde=
r
student has to offer. I think experience, wisdom (with luck) and
Maturity are. You don't see old fighter pilots (quick), NBA stars
(Quick), or chess grandmasters (quick) but they all look to old
(comparatively) people for guidance. Wise , mature and so forth hav=
e
become PC ways of saying older. If you mean older say older.
Maturity and experience are not classroom skills, they are life
skills. Is it going to be hard for a 55 yr old to go back to school=
?
Sure, the kids have been "schooled" in schooling for 12 or 13 years while
the older person has been worring about paying bills and learning
painful adult lessons (sometimes this leads to wisdom and maturity, it
always leads to age and experience). Sure ,not all kids are
slackers, people are people and the decent folk/idiot ratio is pretty muc=
h
the same no matter where you look (all the old idiots I know
started out as young idiots) . Older people may not have much to offer in=
an
acadimic setting but experienced, mature, and wise people will. I k=
now
you aren't trying to be condecinding
;it's just that PC lip service waters down the meanings of words without
changing the attitudes or implications.
J.Myers
>
>From: "MOLINA, RAFAEL"
>Reply-To: Ceramic Arts Discussion List <=
/P>
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Gen X and Gen Y Slackers?
>Date: Tue, 22 Jan 2002 14:30:38 -0600
>
>I've noticed in this thread about college student populations that
>invariably the response is older, more experienced, and mature
learners
>enhance the learning of traditional college age students.
>I know that Generation X and now Generation Y are popularly known =
as
>"slackers", but it's been my experience that there are some very
talented
>and motivated young people working with clay today. It's not alway=
s
the more mature and experienced student giving the younger
>set the demo. Sometimes the kids can grasp things very
quickly to the point
>of sharing their skill with anyone in the class.
>
>My point is you can't generalize about student populations=
or
classroom
>dynamics.
>
>Chao,
>
>Rafael
>
>
>Rafael Molina, MFA
>Assistant Professor of Art
>Department of Music, Art, and Dance
>Tarrant County College-Southeast Campus
>2100 Southeast Parkway
>Arlington, TX 76018-3144
>(817) 515-3711
>(817) 515-3189 fax
>
>__________________________________________________________=
___
_________________
>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 a=
t
melpots@pclink.com.
Chat with friends online, try MSN
Messenger: Click
Here
-----------------------------
Date: Tue, 22 Jan 2002 20:15:13 -0600
From: vince pitelka
Subject: Re: hardware quality in electric kilns
> To all the kiln makers out there, a simple plea...
> Please use stainless screws and hardware on your kilns from now on...OK=
?
Hooray Tommy. I have been meaning to ask the same thing, especially
regarding the screws. It would be such an insignificant increase in cost=
,
and it would mean SO MUCH to us.
In the mean time, I keep several boxes of hex-washer-head sheet metal scr=
ews
of the appropriate sizes around, and every time I remove the control boxe=
s
or kiln setter, if there is any sign of corrosion I replace the screws.
They are very inexpensive. But you are right, it would be far better if
they were stainless steel, saving us all this bother.
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/
-----------------------------
Date: Wed, 23 Jan 2002 02:11:58 +0000
From: Natalie Winter
Subject: Re: cone or computer S type thermocouples
In message , Bobbi Bassett
writes
>Can these [type N thermocouples] be used on a Scutt Controller? If so,
where do you get them at that
>price?
You'll have to contact Skutt for that info, as I'm a Brit and we don't
get Skutt kit over here. But you can buy thermocouples from electronic
supply houses. My usual supplier is Farnell Components. They're on
1-800-718-1997 in the USA and the order codes are as follows according
to length:
150mm 707-9072
250mm 707-9084
Don't forget to use Type N connecting cable if you change your
thermocouples -- type S cable won't work with a type N couple!
Hope this helps,
Nali.
Natalie Winter in Exeter, SW England
The Dawnmist Website: http://www.dawnmist.demon.co.uk
-----------------------------
Date: Wed, 23 Jan 2002 02:17:36 +0000
From: Natalie Winter
Subject: Re: cone or computer S type thermocouples
In message <9c.19c3b53b.297f0281@aol.com>, WHC228@AOL.COM writes
>Nali
>Thank you for letting me know about the N type couples. I would have to
>investigate to see if the are appropriate to my fireing. I fire to ^10 i=
n a
>zinc rich atmosphere. I am using them to fire zinc macro crystalline
glazes.
They're definitely OK for that -- that's exactly what I use them for,
except that I only fire to cone 8. I'm a crystalline glaze freak, there
are examples on my website if you're interested. Cone 10 is right at the
top limit for Type N -- 1300 C. Coating with ITC is a really good idea
at the top temperatures.
The EMF/temp curve for Type N is very different to Type R/S. N's are
more sensitive, which makes for better accuracy as there are more
millivolts to play with, but you do need a controller that "knows" about
Type N. Mine is specifically designed for Type N, though it's adaptable
for other types.
Hope this helps
Nali.
Natalie Winter in Exeter, SW England
The Dawnmist Website: http://www.dawnmist.demon.co.uk
-----------------------------
Date: Tue, 22 Jan 2002 14:48:24 -0600
From: Craig Clark
Subject: Re: How are sales?
I set up and sold on the street. It was great. There was no booth fee.
There wasn't a huge crowd. There wasn't any competition. I met some nice
folks that stopped to either purchase or talk about the work. It was an
absolutely beautiful day. I was able to sit back and read, think and draw.
To top it all off, sales were good and I've since gotten fruther business=
,
one couple wants two larger vessels.
Craig Dunn Clark
619 East 11 1/2 st
Houston, Texas 77008
(714)861-2083
mudman@hal-pc.org
----- Original Message -----
From: "Harry in Iowa"
To:
Sent: Monday, January 21, 2002 7:07 PM
Subject: Re: How are sales?
> Craig,
>
> Are you telling me you were standing on a street corner hawking you=
r
> wares? Or are you talking about a store front?
>
> Harry in Iowa
> ----- Original Message -----
> From: "Craig Clark"
> To:
> Sent: Monday, January 21, 2002 9:45 AM
> Subject: Re: How are sales?
>
>
> > I live in the forth largest city in the country and have had good
and
> > bad relations with galleries/shops. I got really pissed off and pulle=
d
all
> > of my work out of the last place that I was in and haven't invested t=
he
> > energy to find another place since. That was over a year ago.
> > My sales are from two festivales (Bayou City Art Festival) in the
> spring
> > and the fall, an increasing number of sales from my shop(I'm trying t=
o
> > follow Mel's fifty mile radius rule), and setting up to peddle my war=
es
on
> > the street not far from the house (this worked great this past
christmas.
> I
> > just went down the end of the block one Saturday morning and sold.) I
earn
> > additional money by teaching private lessons. I charge $25 per hour o=
n
an
> > hourly basis. THis helps and I enjoy teaching, it keeps me in touch w=
ith
> why
> > I started working with clay to begin with and the interaction with ot=
her
> > folks is quite nice rather than working in relative isolation day in =
and
> day
> > out.
> > I'm not making a ton of money, but I'm doing better than I've don=
e
> > before!
> > Hope this helps
> > Craig Dunn Clark
> > 619 East 11 1/2 st
> > Houston, Texas 77008
> > (713)861-2083
> > mudman@hal-pc.org
>
>
_________________________________________________________________________=
___
__
> 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.
>
-----------------------------
Date: Tue, 22 Jan 2002 19:46:54 -0700
From: Lee Burningham
Subject: Re: flat, square and hollow coils
Howdy,
You are probably using mostly fingers instead of the whole hand. The
tendency with beginners using their whole hand is to forget there is a ri=
dge
of callouses along the top edge of their hands where the fingers attach. =
As
a result, they end up with a flattened coil when the callous ridge hits t=
he
coil. Tell them to use fingers only, spread their fingers apart as they r=
oll
the coils, and move along the coil rather than staying in one spot on the
coil.
I just love those coil pots/sculptures, too. Forces you to think 3-D of t=
he
finished goal as you stack and work the coils together.
Lee Burningham
-----------------------------
Date: Tue, 22 Jan 2002 16:25:12 -0800
From: Karen Sullivan
Subject: flat, square and hollow coils
Bob...
It is interesting to watch all of the possible
forms that coils can take on in the hands of beginners...
My solutions are...
for flat coils...I pick up the coil and rotate it 1/4 turn...
put it back on the table and then start rolling again. So the predisposit=
ion
for rolling a flat coil is partially solved by changing the surface of
the coil that is getting the pressure...
Another technique is to pick up the coil and twist it
as though you are twisting or tightening a rope...then start rolling agai=
n.
Square...not letting the coil rotate even 180 degrees, round off the edge=
s
and roll again.
hollow...not enough pressure...
I wish I had a horror picture reference to add...
but I guess that remains Snail's brilliance.
Perhaps the stance of terror when viewing the resulting coils.
Hope that helps...
I had always....or at least usually flattened my coils into a ribbon
to add to the form...I figured it was less work...
but I heard today that by doing so I am compressing the
clay 80% and therefore have less potential in forming the
shape by starting with flat/ribbon shaped coils...
So now I will adapt my strategy and see what happens.
I have been constructing large bottles...30 inches tall...
They go up quickly...are made on a kick wheel which acts
as a large banding wheel.....
I going to keep making them and stacking them in the front
yard...perhaps by Easter I can complain of the large
Easter egg rabbits that have invaded...or something...
Interesting...always learning new stuff...
bamboo karen
http://home.earthlink.net/~kwinnies/
-----------------------------
Date: Tue, 22 Jan 2002 16:42:47 -0800
From: Karen Sullivan
Subject: death of craft fairs
I tried a couple dozen fairs before giving up....
It seemed to me that they were forms of
entertainment...people wandering up and down the
site...not purchasing a lot...
And I figured that the people making money
at the venture were the promoters...
So...I gave it up...
I do much better at my home sales...
local events with loyal collectors of
my work...the previous 50 mile radius thread
talked about this strategy...
Now if I were selling $5000. sculptures...and
could figure the event a success if I sold one....
It might be worthwhile.
I would rather stay home.
bamboo karen
perhaps I am a jadded west coast soul...
I always thought the grass was greener
elsewhere...east coast...now that is
where the craft sales are good. right?
-----------------------------
Date: Tue, 22 Jan 2002 16:47:24 -0800
From: Stephani Stephenson
Subject: Re: Summer Sculpture Workshops
Nancy
The Archie Bray Foundation in Helena, Montana has it's summer schedule
posted on it's website.
The Bray provides an excellent learning/sharing environment. Don't know
your personal preferences, but workshops and website are listed below:
Contemporary Chinese Figurative Sculpture
Lu Pin-chang March 23
Anagama Firing
Chuck Hindes & Dean Adams
May 13-24
The Human Figure
Patti Warashina
June 7-9
Revisiting Materials
John Gill & Bill Carty
June 17-28
Tableware & Surface Design
Silvie Granatelli
July 12-14
Heads
Doug Jeck
September 13-15
Archie Bray website is :
http://www.archiebray.org
Stephani Stephenson
steph@alchemiestudio.com
-----------------------------
Date: Tue, 22 Jan 2002 19:24:54 -0800
From: Paul Herman
Subject: Re: Pyrometer question?
Greetings, Robert,
I use an Omega hand-held pyrometer that reads two K type probes. It
reads F or C digitally in tenths of a degree. You can set it to read
probe A, or probe B, or it will tell you A then B then the difference
between the two. The latter feature is really nice to use on the wood
kiln, which has 2 chambers. It runs on a 9 volt battery. It seems to be
a fine little machine and cost about $125 two years ago.
My glassblower buddy says Omega has a website, but I haven't visited it.
Paul in Doyle
----------
>From: "MOORE, Robert J."
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Pyrometer question?
>Date: Tue, Jan 22, 2002, 12:02 PM
>
> I'm looking at Fluke Thermometers and would like to speak with someone =
who
> owns one. Specifically, Models 50S and 50D. If someone on the list has =
one
> of these models could you contact me. I'm curious as to what probe you
> purchased for the meter, whether your using a K thermocouple, and if yo=
u
> generally like the meter.
> Or if someone has another brand they believe is quite reliable and
durable,
> please tell.
> Thanks,
> Robert Moore
> rjmoore2@ius.edu
>
>
_________________________________________________________________________=
___
__
> 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.
>
-----------------------------
Date: Tue, 22 Jan 2002 21:01:32 -0600
From: Tommy Humphries
Subject: l&l comercial grade toys
I was just browsing through L&L's industrial products website...
http://www.hotfurnace.com/GHH.htm
And all I can say is DAMN... 3100=3DBA F. kilns...WOW
Tommy Humphries
-----------------------------
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