artimater on fri 26 apr 02
Joyce wrote:
keeping an orderly line of ingredients, transferring from one line to =
another, helped me. I hope this is clear.
Yeah, ya would't wanna end up with some Pete's cone ten copper that =
fired out Hot flouresent purple!!!!....I got about six big pots that =
color....Welll...I used to have em....They went really fast....I may =
have one....How did she do that???HEHEHE
Joyce!!....You ain't lollygaggin now that mel is on his throne again are =
ya?....You wandering around out in the desert flowers?.......The desert =
and the mountains looked like that a long time...You'll have time to see =
em again...Get busy and make us some pots...I walked through San =
Bernadino one time(going to Vegas!)....That is close to you.... mebbe =
I'll come by and check on you=20
PAX,
Rush
"I only indulge when I've seen a snake, so I keep a supply of =
indulgences and snakes handy"
http://artimator.com
rush@artimator.com
http://groups.yahoo.com/group/texasceramics/
Artimator Galleries
2420 Briarwood Ln.
Carrollton, TX 75006
972-841-1857
Ivor on sat 27 apr 02
Even the best glaze gurus are human.
I'm just a potter, but I take steps to eliminate mistakes.
1. I write out the recipe each time.
2. I place ONLY the required ingredients on the table.
3. I count the number of ingredients and compare with recipe.
4. I check the label before weighing out.
5. I check the weight TWICE.
6. I check the label a second time.
7. I then tip it into the batch.
8. I move the ingredient container to the other side of the bench.
9. I tick the item on the recipe.
10. I repeat 4,5,6,7,8,9 for the next ingredient until all done.
11. I check that all ingredients have been moved to the other side
of the table.
12. I count the ingredients again and check against recipe.
Only then do I make up and label the glaze.
I sign, date and keep all the recipes at least until after the first firing.
When the firing produces unexpected results, its good to have the
check list to refer back to.
So far I have avoided rejecting a full batch of glaze!
Ivor J Townshend
Lee Love on sun 28 apr 02
Sometimes it is good not to be "anal retentive." Tight arsed glazes make
tight
arsed work. Of course, that's okay, if it is the effect you are going after.
But if you are looking for gestural work with human feeling, industrial
processes may not be the best ones to follow.
If you use glazes that are not dependent on minuet
"industial-like"
calculations, some variation (mistakes) are acceptable, Sometimes they
are
better than the original.
At the workshop, they mix the glazes by the wet ladel full:
ladel(s)
of ballclay, woodash and kaolin. The wet ash and clay are kept in cement
tubs (these are made of short lengths of concrete sewer or well pipe that
have
cement poured into the bottoms to make the tub.) When the clay or ash
settles, the excess water is scooped or siphoned off the top before the
material
is ladeld out. All new batchs are tested before they are put on pots.
--
Lee in Mashiko
"The lyfe so short, the craft so long to learne." - Geoffrey Chaucer
(c.
1340-1400).-
._____________________________________________
| Lee Love ^/(o\| Practice before theory.
|
| Ikiru@kami.com |\o)/v - Sotetsu Yanagi - |
`~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~'
"All weaves one fabric; all things give
Power unto all things to work and live." - Goethe -
vince pitelka on wed 1 may 02
> When did "gestural" become associated with human feeling and so-called
> "non-gestural" work become known as an industrial process?
> Human feeling?
> Its a pot! Its fired ceramic material! Last time I checked human beings
are
> soft, they are made of skin and bones. Not ceramic material!
> The notion that we can somehow assume someone else's feelings through a
non
> human material is nonsense! Appreciate the pot for its own AESTHETIC
> qualities, yes, but don't add in your own presumptions about the creators
> feelings!
Jeese Jeff, you accuse Lee of nonsense? The above is pretty much
unadulterated nonsense. Gesture as in movement is directly connected to
human feelings and attitudes, and it translates directly into pottery and
other objects made by hand. Anyone with a lick of sense knows this very
well.
Maybe when you are cleaning out your mailbox it would be better if you did
not dredge up subjects that have just recently been hashed out very
thoroughly on Clayart. Let's support a reasonable evolution of the ongoing
dialogue.
- 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/
Longtin, Jeff on wed 1 may 02
Cleaning out my mailbox and this one caught my eye.
Lee
Have to take issue with this observation.
When did "gestural" become associated with human feeling and so-called
"non-gestural" work become known as an industrial process?
Human feeling?
Its a pot! Its fired ceramic material! Last time I checked human beings are
soft, they are made of skin and bones. Not ceramic material!
The notion that we can somehow assume someone else's feelings through a non
human material is nonsense! Appreciate the pot for its own AESTHETIC
qualities, yes, but don't add in your own presumptions about the creators
feelings!
If you want to know how someone is feeling ASK them.
Tight assed glazes make tight assed work?
What on earth are you talking about?
Tight assed glazes, among other things, make glazes that don't pollute
peolpe's . We can only guess how many people suffered lead poisioning, and
other maladies, due to "loose" glazes of yesteryear.
Anal retentive? If I'm not mistaken the Japanese apprentice program requires
one to throw 1000 teacups! The first and last cup need to be alike or the
whole batch is recycled. Is this not retentive to the max or what? 1000
teacups! Have to match! Lets get real. We are humans beings, we are not
machines!
We're Americans. WE are all NOT alike. Thankfully OUR pots reflect THAT
fact!
In peace
Jeff Longtin
-----Original Message-----
From: Lee Love [mailto:Ikiru@hachiko.com]
Sent: Sunday, April 28, 2002 12:41 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: Glaze Goofs
Sometimes it is good not to be "anal retentive." Tight arsed glazes make
tight
arsed work. Of course, that's okay, if it is the effect you are going after.
But if you are looking for gestural work with human feeling, industrial
processes may not be the best ones to follow.
If you use glazes that are not dependent on minuet
"industial-like"
calculations, some variation (mistakes) are acceptable, Sometimes they
are
better than the original.
At the workshop, they mix the glazes by the wet ladel full:
ladel(s)
of ballclay, woodash and kaolin. The wet ash and clay are kept in cement
tubs (these are made of short lengths of concrete sewer or well pipe that
have
cement poured into the bottoms to make the tub.) When the clay or ash
settles, the excess water is scooped or siphoned off the top before the
material
is ladeld out. All new batchs are tested before they are put on pots.
--
Lee in Mashiko
"The lyfe so short, the craft so long to learne." - Geoffrey Chaucer
(c.
1340-1400).-
._____________________________________________
| Lee Love ^/(o\| Practice before theory.
|
| Ikiru@kami.com |\o)/v - Sotetsu Yanagi - |
`~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~'
"All weaves one fabric; all things give
Power unto all things to work and live." - Goethe -
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