Chris Simoncelli on sat 17 aug 02
I use 11 oz for some mugs and 14 oz for larger ones, but I throw pretty thin. The smaller ball gives me a mug that holds about 12-14 ounes of coffee and the larger, 16 onces. I am using Standard's #181 white stoneware and firing to cone 6.
Chris
Chris Simoncelli
1198 Zonolite Road
Atlanta, GA 30306
404-815-0005
http://home.earthlink.net/~csimoncelliChris Simoncelli
1198 Zonolite Road
Atlanta, GA 30306
404-815-0005
http://home.earthlink.net/~csimoncelli
Automatic digest processor wrote:
> There are 86 messages totalling 3735 lines in this issue.
>
> Topics of the day:
>
> 1. Rice in clay?
> 2. abstract expressionist
> 3. Appliance Timer for safety? (Was: waxing feet vs the sponge) (2)
> 4. Porcelain in Ancient Rome? (2)
> 5. Insulating the outside of an electric kiln. (4)
> 6. clay mixing question (3)
> 7. "Ceramic Engines"...and...
> 8. need adjustable regulator (4)
> 9. Kiln for Sale in Vermont
> 10. Slipping bisque (3)
> 11. recycling clay and glaze (5)
> 12. Venco pug mill 3"
> 13. gallery owning
> 14. Slips & Engobes Book Wanted (Was: cone 6 reduction/Michael
> Bailey)
> 15. hot wax: what the oil does
> 16. NCECA / Clayart stuff at Nottingham
> 17. article and finally THAT PICTURE!!!
> 18. Drying with Microwave
> 19. off to the Bray
> 20. Abadi, Abadi, Abadi
> 21. Rice in clay
> 22. Raku refiring from ^6
> 23. Randy's Red, electric blue, neph syn,-rurtile etc.
> 24. refiring glazed pieces (2)
> 25. NCECA - San Diego Shared Accomodation
> 26. Gerstley Borate
> 27. Can I fire it? (2)
> 28. Colorful Slipware Trends...
> 29. A response to "Do your raku pots "ring" when thumped (longish)
> 30. working ways
> 31. Jonathan's Picture
> 32. logs
> 33. Clayart
> 34. 100 Mugs
> 35. Spain and Portugal
> 36. Some ideas about floating blue ( in a well isolated kiln)
> 37. floppy handles
> 38. BLACK IRON OXIDE
> 39. Pottery Fiction
> 40. back on Clayart mates
> 41. Copying
> 42. Photo..JPGS
> 43. Drinking clay
> 44. When to handle?
> 45. Randy's Red as base glaze (2)
> 46. Jackson Pottery and Clay Guild people
> 47. Northumberland
> 48. Amount of clay for coffee mugs?
> 49. Glaze search for Flambe
> 50. Shinos en =?iso-8859-1?Q?Fran=E7ais?=
> 51. slipping up
> 52. Wincester Workshop in Duluth, MN
> 53. Bamboo (2)
> 54. Wholesale Shows/was Colorful Slipware Trends...
> 55. hot wax, an' yer scarin' me, too...!
> 56. odd request for help to those with access to Voulkos' work
> 57. Frit 3304
> 58. Cone 6 Glazes
> 59. Looking for crystalline glazes and firing info.
> 60. throwing upside-down
> 61. drinking clay
> 62. woodfire glazes and claybodys?
> 63. of the Re: Bamboo - as to 'working it'...
> 64. Bruce/Gregg/Jonathan
> 65. Dictionary
> 66. Colorful Slipware Trends/HANDMADE wares
>
> ______________________________________________________________________________
> 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: Thu, 15 Aug 2002 09:36:34 -0500
> From: vince pitelka
> Subject: Re: Rice in clay?
>
> > This was recently mentioned on the list. I wedged rice, small round
> desert
> > type, into my clay body and threw it.
> > All the rice sprung out, taking clay with it, like lime popping in the
> > bisque. I have not learned the technique!
>
> Alisa -
> A student of mine in North Dakota tried that. I suggested to her that
> "popped rice" cereal expands considerably when it is fired, but she wanted
> to try it. She ended up with a pile of shards. The rice "pops" very early
> in the firing, when the clay is weak.
>
> That was not quite as interesting as the student who wedged kitty-litter
> into her clay. It turned out to be a calcium-carbonate-based litter -
> something like chalk. After the firing, the calcined calcium carbonate
> became aggressively water-hungry, and expanded as it absorbed water, which
> is of course what causes lime pops. In this case, the clay was FILLED with
> little chunks of calcined calcium, and over the intervening weekend, before
> anyone came back into the studio, the bisque fired pieces simply
> disintegrated to piles of shards. Most of the shards were concentrated
> where each pot had been on the ware shelves, but small pieces were evenly
> distributed in reducing concentration radiating out from each piece. We saw
> it as a wonderful performance piece, once the student got over the initial
> disappointment.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> Home - vpitelka@worldnet.att.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 09:37:47 -0500
> From: vince pitelka
> Subject: Re: abstract expressionist
>
> > I was wondering if anyone would like to expand upon art - particularly
> clay of course - that is considered abstract expressionist. Is anyone doing
> anything that is considered expressionist? Can a piece that is considered
> abstract expressionist also be functional? Is it solely sculptural? Are
> there any female artists who are considered abstract expressionists? The
> leading ones that come to my mind are Voulkos, Callas, Autio, and Reitz.
>
> Barbara -
> Voulkos is the one best known as an abstract expressionist clay sculptor.
> As you may know, while teaching a summer workshop at Black Mountain College
> in North Carolina in the mid 50s, Voulkos met some seminal NYC artists -
> electronic musician John Cage, dancer Merce Cunningham, and painter and
> assemblage artist Robert Rauchenberg. They all encouraged him to go check
> out Abstract Expressionism in NYC, where he met Jackson Pollack, Franz
> Kline, Willem DeKooning, and other contemporary expressionist artists. It
> completely captivated him, and his work changed drastically. He was
> probably the first academically-trained American clay artist to manipulate
> the surface of the clay in an abstract expressionist fashion, rather than
> just painting abstract expressionist imagery on the surface with bright
> color.
>
> Also referred to as "action painting," the term "Abstract Expressionism" was
> coined by NYC critic Clement Greenberg during the 50s in reference to the
> paintings of the above artists and others. It refers to abstracted work
> where the primary visual subject or content of the work is the physical
> evidence of the expressive movements of the artist during the creation of
> the work - generally wide, sweeping, gestural mark-making - obvious,
> aggressive brush strokes showing gesture of the hand, arm, and body.
>
> It is important to differentiate between Abstract Expressionism and just
> Expressionism. The latter simply refers to any work where the content and
> style emphasize powerful emotional expression, such as in the work of German
> Expressionists like Emil Nolde, Ernst Ludwig Kirschner, Kathe Kollwitz,
> Oskar Kokoshka, Egon Shiele, etc.
>
> There is no reason at all why functional wares cannot be expressionist or
> even abstract expressionist. I suppose the critical consideration is
> whether the expressionist content begins to interfere with utility. If you
> choose to make functional wares that are aggressively expressionist, you
> will be aiming at a small market niche, but one that certainly does exist.
> Good luck -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> Home - vpitelka@worldnet.att.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 09:38:43 -0500
> From: vince pitelka
> Subject: Re: Appliance Timer for safety? (Was: waxing feet vs the sponge)
>
> >Here's a thought... why not plug that old electric skillet into an
> appliance
> >timer then plug the timer into your outlet? You could set the timer for any
> >length of time... how about just for the hours you are in your studio... or
> >even less? A variety of these timers can be found at most hardware stores.
> >Just me two cents worth. (hmmm... maybe I'll send this one to CM for my
> ten
> >bucks... lol)
>
> The trouble here is that appliance timers are meant for very low-wattage
> devices, and would not handle the load of an electric skillet. You might be
> creating a much greater fire danger. Generally when a higher-wattage
> appliance is controlled by a timer, it involves an industrial interval timer
> and a relay switch, and that gets into considerable investment.
> Good luck -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> Home - vpitelka@worldnet.att.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 09:40:44 -0500
> From: vince pitelka
> Subject: Re: Porcelain in Ancient Rome?
>
> > I am wondering if the Romans were renown for making porcelain pots.
> > I'm so accustomed to thinking about Roman and terracotta in the same
> > breath that I stubbed a mental toe on the idea of "Roman porcelain".
>
> Jeremy -
> Your instincts were correct. The Romans never made anything remotely
> resembling porcelain. True porcelain originated in China, and not until
> long after Roman times. Porcelain first appeared around the late Tang or
> Early Song Dynasties, between 800 and 1000 AD, and it was not developed in
> the West (in Germany) until 1000 years later.
>
> Roman pottery synthesized influenced from diverse cultures, exhibiting one
> of the most remarkable aspects of Roman culture - their ability to
> assimilate some of the better qualities of every culture they absorbed or
> conquered. Roman pottery never shows the degree of artistic accomplishment
> found in Classical Greek pottery, but it certainly shows some remarkable
> ingenuity, especially in the use of bisque molds and the development of a
> super-refined terra sigillata. The essential process of terra sigillata had
> been developed by the Greeks, and the Etruscans were noted for monochromatic
> polished wares (bucchero ware), and the Romans seem to have put these two
> together to come up with their monochromatic red polished wares.
>
> All Western pottery before the late medieval era was porous earthenware. The
> Germans developed high-fired salt glazed wares during the Gothic era, but it
> took quite a few more centuries for them to develop true porcelain. Best
> wishes -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> Home - vpitelka@worldnet.att.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 12:48:40 +0100
> From: Eleanora Eden
> Subject: Re: Insulating the outside of an electric kiln.
>
> Hi Martin and all,
>
> Determined today to use some clayart time doing more than deleting
> thousands of messages. And here is something I know something about and
> that something is contrary, of course and as usual, to all other comments.
>
> Twelve or thirteen years ago we wrapped my L&L kiln with kaowool and tin
> foil and wire. At the time I was told in no uncertain terms the same
> mantra that all the posts responding to Martin, ie it will wreck the
> stainless steel shell. Well we did it anyway because, frankly, that made
> no sense to me.
>
> Well, about 3 years ago we took all that off as the top area of kaowool had
> been degrading (it is a top-loader) and, no surprise at all, the stainless
> steel shell is still in perfect condition. We replaced it with a new
> kaowool layer and this time we used masonry cement to make an impervious
> outer shell. So my kiln looks like a little missile silo.
>
> So, Martin, GO FOR IT!!!!!! If you want specifics let me know and maybe
> Fred, who actually did it, can talk with you on the horn.
> This was relatively easy to do and the fuel savings have got to be
> enormous, and less heat in the studio of course. BTW I also use several lids.
>
> And, BTW, sometimes I wonder at the myths people spout. I wonder if
> anybody ever actually saw a kiln degraded by adding insulation or if
> somebody's theoretical prognosis eventually became commonly accepted fact.
>
> Eleanora
>
> PS There was a time when I shared with open heart on this list. The
> endless and sometimes nasty criticisms shoved at me cured me of that quite
> a long time ago. It is too bad, I have alot to offer. Maybe the current
> batch of knee-jerk critics will think one second before just tripping over
> themselves to loudly proclaim I don't know what I am talking about.
>
> At 08:41 PM 7/16/02 +0100, you wrote:
> >From: Martin Howard
> >Subject: Insulating the outside of an electric kiln.
> >
> >
> >My kiln room gets hot when the kiln is on.
> >During winter I let the heat out a little at a time to keep me warm in the
> >rest of pottery.
> >
> >I could install a sauna, but really want the space for extra shelving:-)
> >But in summer, even the bit of UK summer we are now experiencing, it means
> >the kiln room is not usable for anything else when the kiln is on. And the
> >electricity bill is a little higher than I would like; up by 25% over
> >figures I got when I first had the kiln 3 years ago.
> >
> >Has anyone on list put an outside coating of insulation around such a kiln?
> >It is a large front loader with metal frame and block infill.
> >For example, would the packages that we put around hot water tanks in the UK
> >be OK for this kind of job?
> >
> >Martin Howard
> >Webbs Cottage Pottery
> >Woolpits Road, Great Saling
> >BRAINTREE, Essex CM7 5DZ
> >01371 850 423
> >martin@webbscottage.co.uk
> >http://www.webbscottage.co.uk
> >Updated 6th July 2002
> >
> >______________________________________________________________________________
> >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.
>
> Eleanora Eden 802 869-2003
> Paradise Hill eeden@vermontel.net
> Bellows Falls, VT 05101 www.eleanoraeden.com
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 12:10:04 -0400
> From: Fred Cook
> Subject: clay mixing question
>
> When a clay recipe calls for stoneware clay as part of the mix...not ball
> clay, not china clay, but stoneware clay....is it possible to substitute
> some things.
>
> I am having trouble finding a clay supplier who sells 50 lb bags of
> "stoneware" clay. In most catalog listings under raw materials.."clay"
> there are of course categories for ball clays, fire clays, Kaolins, red
> earthenware... but not "stoneware".
>
> Any suggestions?
>
> Thank you for any help with this as well as for all the support of the list.
> Fred Cook
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 11:39:20 -0700
> From: Philip Poburka
> Subject: "Ceramic Engines"...and...
>
> I checked out the 'web-site' that was mentioned in connection with =
> this...
>
> What an interesting developement...
>
> I first heard of this maybe ten years ago...ten or twelve...hope they do =
> it.
>
> I would love to do it!
> What fun!
>
> The little 'web-site' was more about who-ever's site it is, being down =
> on Engines that are not 'Ceramic', than that it was somehow 'about' =
> Ceramic Engines, which got a little boreing.
>
> I will look into some web-searches on this...would like to know more...
>
> What shall the Crank Shafts be 'made-of'?
> The Connecting Rods?
> Is the Head detatchable?
> What kind of Valves, and what are they made of?
> What of the Transmissions?
>
> Lotsa work for those researchers!
>
> Likely...many more components shall become other than Steel, as time go =
> on.
>
> A friend came bye the other day to show me his new 'Corvette'...it has a =
> plastic intake manifold...'composite' something suspension springs as =
> are not Steel...curious...body is plastic...lotsa plastic going on, and =
> he said it weighed 2700 lbs?...seems a mite 'heavy' to me...
>
> It will not age well, I do not think!
>
> In a hundred years...there will still be more Ford Mdl. "T" and Mdl. "A" =
> Cars up-and-running, and looking good doing it, than any other...than =
> much of anything else made since, and certainly almost nothing =
> 'seventies or since shall stand much chance of that kind of =
> duration...unless packed away in Nitrogen or something...
>
> Anyway...
>
> Phil
> Las Vegas
>
> ------------------------------
>
> Date: Wed, 14 Aug 2002 11:18:39 -0500
> From: Phil Jaren
> Subject: need adjustable regulator
>
> I'm having some trouble getting an adjustable regulator to put on the LP =
> tank so I can get a 27 cu ft kiln to cone 10. I have located a 0-15 lb. =
> regulator, but am not sure if this will be enough to do the job. In the =
> past I had a 0-40 lb model which worked great (didn't really need it, =
> but it was good to have a little extra in case of a stall. So, if anyone =
> out there has a spare or new I'd appreciate a post.
>
> Thanks to everyone who contributes to this group! What a great bunch!
>
> Take care
>
> Phil
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 15:10:34 -0400
> From: Jennifer Buckner
> Subject: Kiln for Sale in Vermont
>
> I have an L & L J230 kiln for sale in northern Vermont, right by Lake
> Champlain.
>
> It's 7.05 cu. ft., has the heavy duty elements, and a Dawson Kiln
> Sitter. I bought it from the craft studio where I take classes but they'd
> only fired it 3 or 4 times before realizing they had too many kilns. I've
> done 4 bisque (^06) and 7 glaze (^6 - ^7) firings in it since buying
> it. It's a fine kiln and in excellent condition but I've just bought a
> computer controlled kiln.
>
> It doesn't come with any kiln furniture - I'm keeping that for my new kiln.
>
> Please email me off-list if interested.
>
> Jennifer
>
> Jennifer G. Buckner jenniverre@pgtv.net
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 20:43:02 +0100
> From: Martin Howard
> Subject: Slipping bisque
>
> Antoinette says:- you will have to add some glaze components to your slip
> and change it to an englobe.
>
> I fire to cones 1-3. The white clay used for the slips matches the base
> earthenware clay.
> By putting the glaze straight on top of the slip, both are firing together
> and in effect, forming an engobe within the kiln.
> This may be the logical reason for me not finding problems with this method,
> so far.
>
> Martin Howard
> Webbs Cottage Pottery
> Woolpits Road, Great Saling
> BRAINTREE, Essex CM7 5DZ
> 01371 850 423
> martin@webbscottage.co.uk
> http://www.webbscottage.co.uk
> Updated 6th July 2002
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 16:10:57 -0400
> From: barbara arner
> Subject: recycling clay and glaze
>
> Hello to all-
> Without a pugmill, can someone tell me what the best way to recycle clay is? To let it dry out and then add water, and then what?
> And on that note, does anyone recycle glaze? I have learned that if you rinse the glaze off the bottoms of your pots (and for whatever else) and use a continual water bucket for this, the glaze accumulates. Then can you add some sort of chemicals to make a new glaze? I'm using Minnesota Clay Glazes to ^6 oxidation.
> Thanks for your feedback. Have fun potting!
> -Barbara (:
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 07:39:45 EDT
> From: ASHPOTS@AOL.COM
> Subject: Re: Venco pug mill 3"
>
> Is it necessary to put the screen back in the pug mill... I just cleaned
> mine.. I have to get the filter for my air pump.. The inlet filter fell
> apart...
>
> Mark
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 21:26:22 -0400
> From: gordon jones
> Subject: Re: gallery owning
>
> lisa,
> i am happy to say we are making a profit in a time and town where things
> tend to suffer.we make a lot of other products and pottery is one of the
> newest,i dont know if we could make it on pottery alone but i have sold a
> lot of pieces in the short time we have had it in the gallery.right now this
> is the only thing we have going and we make a house payment,shop rent,
> utilities etc.
> i was told long ago if you wait til your ready you will never be ready,you
> do it and that makes you ready,i can fail and i am not a failure.
> we are just now getting the stuff on this website and hope it will be good
> adverting,i am not goimg to expect sales from it so i can be surprised when
> it comes,alresdy sold some wood work pieces that had sat os thshelf for
> months.
> take a chance ,they can't eat me til i'm dead anyway.
> gordon earthbound arts@hotmail.com
>
> _________________________________________________________________
> MSN Photos is the easiest way to share and print your photos:
> http://photos.msn.com/support/worldwide.aspx
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 18:32:56 -0500
> From: Jim Cullen
> Subject: Re: Slips & Engobes Book Wanted (Was: cone 6 reduction/Michael
> Bailey)
>
> Try "The Complete Potter"-"Slips and Slipware" by Anthony Phillips
> It has a little of everything and some nice pots too!
>
> I bought mine at the Smithsonian for $19.95 It's a B. T. Batsford Ltd.
> book.
>
> KEEP CENTERED
> Cullen
> Naperville, Illinois
> mail to: jcullen845@ameritech.net
>
> ----- Original Message -----
> From: "Marianne Lombardo"
> To:
> Sent: Tuesday, August 13, 2002 8:22 PM
> Subject: Slips & Engobes Book Wanted (Was: cone 6 reduction/Michael Bailey)
>
> > I wish someone would put out a book on slips and engobes for cone 6
> > electric. Not the usual stuff that's already published that is basically
> > just decorating techniques which are totally useless if you can't make and
> > fire a good slip or engobe in the first place.
> >
> > In such a book I would like to see:
> >
> > Ready-to-use complete recipes for both porcelain, and an iron-bearing
> > stoneware claybody
> > Recipes for both clays for application to soft leather, leather hard and
> > greenware and bisque
> > What makes matte, satin or glossy surfaces
> > In-depth *learning* of the making of the above
> > Use of the usual oxides for a variety of different colors and learning
> > *why* such an such oxide combination does this color
> > Use of layering techniques if possible with slips and engobes
> > Firing information such as regular cooldown, slow cooldown, etc.
> > Durability and food safe issues
> > Some decorating techniques, whatever is most useful
> >
> > Hello out there... Anyone up to the challenge? I think it would sell
> quite
> > well. I'll buy one, right now!
> >
> > My latest experiment applying an engobe on greenware turned out awful.
> > Horrible dry very matte surface, color much too dark, cracks and flaking
> off
> > after firing. And all I wanted was a nice slightly-satin-matte sky blue
> > with white slip trailings. No such luck.
> >
> > > Michael bailey will have a new book out soon on Cone 6 reduction glazes.
> >
> >
> ____________________________________________________________________________
> __
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 22:26:32 EDT
> From: Donn Buchfinck
> Subject: Re: hot wax: what the oil does
>
> the cobination of the motor oil and the kerosene or lamp oil cuts the wax and
> makes it so the wax goes on smooth, and not clump up like straight parifin
> will.
>
> please oh please be carefull
> this stuff is napalm, and do not I mean DO NOT get it smoking,
> and turn the thing off, when you leave the studio
>
> please
>
> thanks
> have a great day
> Donn Buchfinck
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 20:10:14 -0700
> From: terry sullivan
> Subject: NCECA / Clayart stuff at Nottingham
>
> I've gotten lots of very positive response to the idea of having a post
> conference Clayart party at the Nottingham Center. We will provide a
> van to transport you to San Marcos from the conference in San Diego and
> also assist in getting folks back to the San Diego airport in the
> fallowing week.
>
> Right now we have over 40 Clayart folks who want to come for the
> saturday party and the open ceramics lab fun on sunday.
>
> The lodging in San Marcos is about $ 60 for dbl. occ. within a block or
> so of the center. Also there is a wonderfull restaurant facillity with
> 20 places a block from the center. For those who do not want to leave
> the fun, we will have bbq.s set up with hot dogs, burgers, and such on
> site. Many of our friends will be showing slides of their work in the
> evenings.
>
> Over the next few months we will firm up these arrangements for
> lodging, food, transportation, etc.
>
> What I need is your communication that you will be comming and
> what your needs are.
>
> Yours, Terry Sullivan
> Director ( and Chief Gofer )
> Nottingham Center for the Arts
> San Marcos, CA
> www.nottinghamarts.org
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 16:03:40 -0600
> From: Jeremy McLeod
> Subject: Re: article and finally THAT PICTURE!!!
>
> > You can see the photograph (well, one of them) on an
> > article on me on my alma mater's website:
> > http://www.wfu.edu/wowf/2002/081202.html
> >
>
> Jonathan, dear Jonathan! What WERE you thinking about
> at the moment that shot was snapped??? "Interesting" grin.
>
> :->
>
> Jeremy McLeod
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 09:07:03 -0500
> From: Chris and Nissa
> Subject: Drying with Microwave
>
> A couple of posts mention drying with a microwave particularly for short
> workshops. Anyone doing this that has any pointers or input..I'd like to do
> once fire Raku.
>
> Thanks,
> Chris Koivisto
> Duluth, MN
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 08:45:04 -0600
> From: Marcia Selsor
> Subject: off to the Bray
>
> Dear Clayarters,
> I am signing off for a while while I go to work during a residency at
> the Bray in Helena. I also hope to get a new website done for next
> years workshop in Italy AND I have promised Bill Jones some articles
> which are half finished.
> So you can reach me at this email address if anyone wants to contact me.
> I won't be checking often but I will check in once on a while.
> best wishes,
> Marcia
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 17:46:11 +0200
> From: Ababi
> Subject: Re: Abadi, Abadi, Abadi
>
> Yes, now I understand
> Sorry
> Ababi
> ---------- Original Message ----------
>
> >you wrote:
> >What is the matter with you?
> >What is this attack for?
>
> >Hi ya Abadi:
> > What???...Are you still translating everything with Babel.com?....I would never
> attack
> >you ....I think your work is probably the most important going on in that whole
> struggling
> >part of the world...I suggest you join me in making "Peace Vases"....I know it is
> simplistic
> >but doing what potters do may be the first small step toward some sort of normalcy
> to gain
> >hold around you.....I wish you nothing but the best
> > If you don't know the names I was spouting...they are names of American
> potteries
> >from about 1890 to 1940....Their work was often slipcast and somewhat massed
> >produced.....Millions of people over here collect examples of their great shapes and
> >glazes....The fact that they have stood the test of time has added much to their
> value....I
> >was not expecting you to actually try to develope them...I was bemoaning the fact
> that
> >there is so little knowledge of their techniques and glazes out for public
> >appropriation...Even in OHIO, where many of the old potteries were, if you ask, "What
> >exactly goes into Weller's ivory glaze and what temp did they fire to???".....You would
> likely
> >get a blank stare back as an answer....Trade secrets that must have died with their
> >makers I guess...
> > As for me telling you to write a book....I wasn't; I was telling Kelly to write it....not
> >you...She writes really well and lives in OHIO so maybe she could dig up some real
> info for
> >usHEHEHE.....
> > I always read your posts and check out the pics you show us...I really liked the
> square
> >plate with the tree and the spiral and Greek key patterns down one side....You can
> tell the
> >artist was young....Lots of joy in doing that piece, I bet....It shows...I don't do much
> with
> >your very precise glaze information, because I seem to be happy with a bunch of
> glazes
> >we use, so I just keep using the ones we got.....I try about one new one a year, and I
> >always say..."I wish I'd just done that in celedon"HEHEHE....Many CLAYART glaze
> addicts
> >are out there though, and I'm sure they make good use of all your great tests....You
> >COULD write a book already.......
> > If you are not busy enough, see if you can get Phil to send you a couple of them
> Bison
> >carving tools and you will have another big can of worms to open....See my website if
> you
> >want to see how crazy carving can make you....
> > If you have written me and not got a response, I'm sorry..It's no excuse but
> sometimes I
> >want to see if my computer can fly......When I get around to choosing heroes you are
> on
> >my list.....Also don't slight yourself for lack of years in the business...I think it only
> takes one
> >day of your hands in the mud to make a professional potter....It takes the rest of your
> life to
> >know a little about it....You just keep making use of what you got and looking for
> >more....You are doing fine...If you ever make it to America look me up: I'd like to shake
> your
> >hand....
> >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
>
> >______________________________________________________________________________
> >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: Fri, 16 Aug 2002 17:46:25 +0200
> From: Ababi
> Subject: Re: Rice in clay
>
> When I wanted to try adding rice, before I had Zakin's book with the explanations of
> Lewis Katz about slowing the bisque, I had in my mind to cook first the rice. This way
> it should bloat a little . While drying so I hoped, it would shrink when the clay shrinks. I
> don't remember If i have done it, just remember cooking macaronies for this kind of
> work. ( If you cannot beat them eat them!)
> Ababi
> ---------- Original Message ----------
>
> >Speaking of putting rice grains, popcorn and other exploding foods in
> >clay.............. would anyone have any idea what Anne Goldman puts in her
> >pieces to achieve the heavily textured surfaces shown at this web site?
>
> >
>
> >Jennifer
>
> >Jennifer G. Buckner jenniverre@pgtv.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.
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 17:46:28 +0200
> From: Ababi
> Subject: Re: Raku refiring from ^6
>
> Today was "cooler" some clouds in the sky and I made my raku firing. For the test I
> added to the fire ( the first session) some ^6 glazed paperclay wares. I choose of
> course these I did not care so much about.
> The result: Two that had thin walls survived good one with thicker walls broke a little.
> I do not see any advantage of firing to ^6 and refiring to raku, perhaps you might get a
> stronger body. In this case you should applied before the first ^6 firing a glaze that will
> be crackled at ^6 - perhaps John and Ron's Glaze 5# High expansion (from "The
> Book" page 80). If the glaze is durable it will stay in one piece.
> My conclusion: If your ^6 glaze turns out afoul and you don't want to dump it cover it
> with another glaze and refire to ^6.
> Lichen and crawling glazes, all over or partly, will do the job!
> Ababi Sharon
> Glaze addict
> Kibbutz Shoval Israel
> ababisha@shoval.org.il
> http://members4.clubphoto.com/ababi306910/
> http://www.milkywayceramics.com/cgallery/asharon.htm
> ---------- Original Message ----------
>
> >I work in a studio where there are a number of potters, and recently one did a
> >cone 5 firing, and I unwittingly bisqued my most recent 2 loads before a show,
> >-paper clay cone 10 - work and didn't know he had done the cone 5 firing.
> >Suprisingly most of the pots turned out ok. I used lowfire commercial glazes
> >which went on quite well, and luster fired some and raku fired the others, and
> >they all turned out fairly well. Those that had multiple firings actually
> >turned out the best, as the overlap of glazes turned out to be very
> >interesting. Only one of the raku pieces actually broke. I expected quite a
> >bit more breakage with the raku, but I did fire up quite slowly. Patricia
> >Dailey
>
> >On Tue, 13 Aug 2002 22:06:20 +0200 Ababi wrote:
>
> >> Paperclay might do it
> >>
> >> It is to hot to raku now
> >> if the temp will go lower I willtry to refire
> >> ^6 in raku, just for the test.
> >> Ababi
> >>
> >>
> >______________________________________________________________________________
> >> 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: Fri, 16 Aug 2002 11:06:14 -0400
> From: Kay Howard
> Subject: Randy's Red, electric blue, neph syn,-rurtile etc.
>
> Hi--packing to go to Columbus-Worthington Square Fine Art show booth =
> #98--any clayarters please stop and stay Hi--will respond to Randy's Red =
> inquiries when I return--Where is clayart? No messages for 1 1/2 =
> days--Jackson Pottery and Clay Guild people, see you Monday with =
> Minutes. You all have a good week-end.
>
> Kay In beautiful-although wet-Grass Lake Mi
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 10:28:11 -0700
> From: Gary McCray
> Subject: refiring glazed pieces
>
> Hi,
> I have been reading about refiring and have a couple of questions.
> I thought that if I fired at cone 5 and wasn't happy about the results =
> that I could refire at a lower temperature like cone 04 with low fire =
> glazes. Will the low fire glazes sink into the cone 5 glazes and not =
> really cover?
> However, some of the postings have indicated that it would be better to =
> refire at cone 5 again.=20
> If I refire at cone 5, then do I still put on the three coats (brushed =
> on commercial glazes) over the hairspray or other material to get the =
> glaze to stick?
> Can I leave part of the previous glaze showing or will it be overcooked =
> in two glaze firings?
> Any recommendations?
>
> Thanks
>
> Barbara (up in the woods near Clearlake, Ca)
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 14:32:19 -0400
> From: Lisa Rankin
> Subject: NCECA - San Diego Shared Accomodation
>
> ----- Original Message -----=20
> From: Lisa Rankin=20
> To: clayart@csv.ceramics.org=20
> Sent: Thursday, August 15, 2002 1:49 PM
> Subject: NCECA - San Diego Shared Accomodation
>
> I have a non-smoking room with 2 queen beds to share with another woman =
> at a Super 8 that is only 1 1/2 miles from the convention centre. I am =
> renting a car to get from the hotel to the convention each day and will =
> share the drive as well. The average price per night for 8 nights =
> beginning March 11th is only US$50 (share only has to pay 1/2 of that). =
> Please send expressions of interest to lcrankin@amazingclayworks.on.ca.
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 06:34:46 -0700
> From: Jon Faber
> Subject: Gerstley Borate
>
> I heard that Gerstley borate was being mined again.
>
> Any one else catching similar talkings?
>
> Thanks
> jon in cleveland
>
> __________________________________________________
> Do You Yahoo!?
> HotJobs - Search Thousands of New Jobs
> http://www.hotjobs.com
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 11:07:00 -0400
> From: Lisa Harrington
> Subject: Can I fire it?
>
> So I made this torso sculpture out of solid (except for the armature)
> stoneware clay (cone 6) with the intention of making a mold for bronze
> casting. To make the mold, I had to coat the wet clay with shellac to
> prevent the sulfer content of the clay from lousing up the mold rubber.
> After I removed the rubber mold, the clay piece was still intact. Some
> of the shellac stuck to the rubber, but some also stuck to the clay. So
> my question is: Is there any reason why I can't hollow this thing out
> and pop it in the kiln? Would the remaining shellac be a problem, or
> would it just burn off?
>
> Also, If I don't intend to glaze the finished piece, should I fire to
> maturity, or just bisque?
>
> Thank you again!
>
> Lisa
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 11:13:39 -0400
> From: Wendy Rosen
> Subject: Colorful Slipware Trends...
>
> I've just returned from New York Gift and
> discovered that there was more colorful slipware in the import
> section of the show than in the handmade section of the show.
> Some of the lines shown as imported, just last year were
> US or Canadian studio art lines in our show.
>
> We've been avoiding adding slipcast work to the show because of this trend...
> But it's been difficult to find potters who are willing to participate in a
> wholesale fair. The potters we do find do one show and fill up their
> production.
> After just one show they don't need us for those reorders the following year.
> Success has become our biggest problem as the ceramic artists in the show
> turn over more than other categories with higher production and growth ability.
>
> Now the question is... where will we find new potters with glazes that
> don't come out of a jar and forms that don't come from a commercial mold?
>
> Galleries have finally seen the light and are willing to carry
> ceramic sculpture
> and limited edition pieces... but now we can't find the potters. They now
> understand and want "potters pots"... but schools are teaching every student to
> become a sculptor (2% of the ceramics market)...
>
> Will those of you who are really running a business pleas step forward?
> I have thousands of great high end shops and galleries who need your work.
> Wholesale price range $50-$1,500.
>
> Please reply to:
>
> Thanks,
> Wendy
> --
> Wendy Rosen
> President, The Rosen Group
>
> 3000 Chestnut Ave #304 Baltimore, Maryland 21211
> 410.889-3093 phone 410.243.7089 fax
>
> AmericanStyle Magazine http://americanstyle.com
>
> Niche Magazine and Awards http://nichemag.com
>
> Career Services & Mentors http://americancraft.com
> The Buyers Markets of American Craft
> Internships/Scholarships
> Market Insider Newsletter (FREE)
>
> Founders of...
> Arts Business Institute http://artsbusinessinstitute.org
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 08:45:39 -0700
> From: Les Haworth
> Subject: Re: need adjustable regulator
>
> Go to http://www.wardburner.com/burner.cfm and read this page. This web site
> is an Excellent reference for kiln burners, parts, & accessories. Many good
> technical articles as well. Enjoy! Les H.
>
> Lester R. Haworth III
> Sales and Technical Support
> Laguna Clay Co.
> 14400 Lomitas ave
> City of Industry, CA 91746
> 1(800) 4-LAGUNA ext. 229
> (626)330-0631 ext. 229
> les@lagunaclay.com
> www.lagunaclay.com
> The fire is my faithful servant and my demanding master. My most brilliant
> collaborator and my harshest critic.
> ~David Hendley
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 11:52:24 EDT
> From: "Kenneth J. Nowicki"
> Subject: Re: Appliance Timer for safety? (Was: waxing feet vs the sponge)
>
> Thank you Vince for your insight and thoughts about this. I hadn't realized
> or thought about the difference in wattage. You make a good point here. No
> sense in trading an unsafe situation for one that has a false sense of
> security. You'd think thought that there would at least be a timer device
> that would work without being too cost prohibitive... hmmm... Oh well...
> maybe someone else can take this idea a step further? I see an opening here
> for an inventor-type person to develop an electric skillet specifically for
> waxing pots... complete with a safety shut off, etc... etc.. anyone?
>
> Ken
>
> Kenneth J. Nowicki
> Port Washington, NY
> RakuArtist@aol.com
> .............................................................................
> > The trouble here is that appliance timers are meant for very low-wattage
> > devices, and would not handle the load of an electric skillet. You might
> be
> > creating a much greater fire danger. Generally when a higher-wattage
> > appliance is controlled by a timer, it involves an industrial interval
> timer
> > and a relay switch, and that gets into considerable investment.
> > Good luck -
> > - Vince
> ..............................................................................
> > >Here's a thought... why not plug that old electric skillet into an
> > appliance
> > >timer then plug the timer into your outlet? You could set the timer for
> any
> > >length of time... how about just for the hours you are in your studio...
> or
> > >even less? A variety of these timers can be found at most hardware stores.
> > >Just me two cents worth. (hmmm... maybe I'll send this one to CM for my
> > ten
> > >bucks... lol)
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 11:57:33 EDT
> From: "Kenneth J. Nowicki"
> Subject: A response to "Do your raku pots "ring" when thumped (longish)
>
> Hi friends...
>
> Don't mean to beat a dead horse into the ground on this thread again... but I
> hadn't had a chance to really respond to all the great comments that I
> received on this... so I'll attempt to do it in a concise manner below... (by
> the way, thanks again for your input)
> ............................................................................
> Snail wrote:
>
> > I have to admit, I also tend to take 'ring' as an indication
> > of the strength of a piece. It indicates a higher level of
> > vitrification, which is often (though not always) a sign of
> > hardness. It also indicates that the piece is not cracked. <>
>
> I agree that such a piece would probably indicate a higher level of
> vitrification, but in a raku piece that is strictly decorative, I think it's
> a moot point. I don't think something that is purely decorative needs to be
> vitrified or especially strong. I'm not saying that the work should be
> cracked or flawed, but just because it doesn't "ring" when thumped shouldn't
> make a difference in my opinion.
>
> > <> Others avoid the problem by using clay which contains
> > materials resistant to thermal shock, which allows the clay
> > to be fired closer to its vitrification point.
>
> The manner in which I use my white stoneware raku vessels to decorate on,
> requires that I keep a fairly smooth surface. The designs that are hand drawn
> in pencil in the bisque state work much better on a smoother surface for me.
> (I suppose I could do a terra sig to smooth the surface, but to me it's just
> one more step) Additionally, I think there is less pinholing of the glazes
> when the piece doesn't have those little holes from the grog that were caused
> from trimming, which leave little black carbon spots in raku... an effect I
> don't particularly like on my work. These are some of the reasons I don't
> like my clay body heavy with so many materials in it like grog or sand. Just
> personal preference for me.
>
> .............................................................................
> Paul Gerhold wrote:
>
> > Given two pots of equal esthetic value I would probably say that the pot
> > that rang was the better pot since it was most likely more vitrified and
> thus
> > more likely to survive the test of time.
>
> You really think this is true in a raku situation here? These pots are being
> placed on peoples mantles, tabletops, niches, and bookshelves... they are not
> being used in the kitchen or being put in the dishwasher here.
>
> > I would also say that since no two artists work is the same that your
> > competitor was way out of line, probably not very honest and that the
> gallery
> > person should learn something about pottery if he is going to be in the
> > business.
>
> On this point, I wholeheartedly agree. :-)
>
> > On the other hand if you are really using a cone 10 body for raku your pots
> > could be a lot more fragile than they have to be.
>
> Forgive me if I'm misunderstanding something here, but from what a few have
> said... that if I use a clay body closer to my firing range... for example a
> cone 6 body... that the clay will in fact be closer to vitrification... but
> will also suffer the consequences of thermal shock worse... unless I use a
> clay body impregnated with thermal resistant materials... correct?
> ............................................................................
> Marta Gloviczki wrote:
>
> > ken,
> > if i walk into that gallery and want to buy a raku pot, i am going to buy
> > one which i like the most. i look for its form and color-
> > it can ring or sing or do whatever tricks, if i dont like its looks, i am
> > not going to buy it.
> > i can understand the importance of proper vitrification in a functional
> > pot, but i dont see much reason for it when talking about a raku piece.
> > dont worry, if people will prefer your raku vessels, they will choose them
> > over your colleauge`s. marta
>
> Thank you Marta for echoing my sentiments exactly. :-)
> ............................................................................
>
> Leland Hall wrote:
>
> > Since reading your post, I've found myself wandering around the house
> > and studio wacking pot rims with a fingernail.
>
> This made me chuckle... lol... sorry...
>
> > Most of them ring, but not all. <>> Raw deal this guy
> > shooting off his mouth. If he's new in the business, maybe he just needs
> > educated. If he's been around a while, might just be a jerk, and
> unteachable.
> > (though you never know till you try) <> I think it's true that as you
> > get closer to vitrification, there is more breakage. This can be handled
> > to some degree with more finnesse in postfireing reduction techniqe
> > and slower turn aroun in kiln loading. It's always a trade off some way
> > or another. Also vitrified clay takes raw glaze differently.
>
> Good response... thanks Leland.
> ..............................................................................
>
> Craig wrote:
>
> > Ken, some of my pots ring a bit and others don't. I'm not overly
> > concerned either way as long as they are structurally sound. Of more
> concern
> > to me is whether or not the glazes that I use will fade.
>
> I agree.
>
> > Now I'm not saying that one that gives off a dull thud when subjected to
> > the thump test will make it to market either. I believe that there is a
> > considerable amount of leeway when it comes to Raku. The pieces are not
> ever
> > to be used for utilitarian purposes (meaning as service for food or drink)
> > and because of this vitrification of the clay body is not crucial. <>
> > Craig Dunn Clark
>
> I should've probably clarified that my pieces when thumped didn't really give
> off a "dull" thud... I guess I meant that they just didn't ring... and gave
> off more of a non-ringing quality. (whatever that is) I know what you mean
> though by a raku pot giving off a dull thud... as I have had a few sound as
> such that in fact had some cracks that kept me from shipping them off to the
> galleries or putting them up for sale. Thankfully, this percentage is very
> low for me. I kind of laugh to myself when I look around my house and just
> about the only pots of my own displayed are the "rejects" that are too
> fractured to send to my galleries... sad eh? Kind of like the mechanic that
> drives the noisy beat up ol car to work everyday... eh? ...lol
> .............................................................................
> Mike Gordon wrote:
>
> > After reading this thread, I tested all my raku pieces. They all ring.
> > All are thrown with Laguna " Rods Bod" or "Soldate 60" , cone 10 clays.
> > All were bisqued at C/04. <> Mike Gordon
>
> Hmmm... I wonder if I have been bisquing too low in the past. Might try
> jumping up to ^04 next time and see what happens. Thanks.
> ...........................................................................
> Gayle Bair wrote:
>
> > My Laguna ^6 B-mix ^06 bisqued pieces ring unless I have a crack.
> > I am not a raku maven but I think a higher bisque firing might help???
> > Gayle Bair
> > Bainbridge Island, WA
>
> Sounds like you and Mike Gordon are on the same wavelength! :-) I think you
> guys are right... a higher bisque may solve the problem! Thanks!
> ..............................................................................
>
> Okay... sorry for the long long response, but it was easier than addressing
> each of you separately. Thanks for your reading patience and to all that
> responded with their 2 cents... I appreciate it. I just love this list! :-)
>
> Best wishes,
>
> Ken
>
> Kenneth J. Nowicki
> Port Washington, NY
> RakuArtist@aol.com
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 12:01:26 -0400
> From: Gavin Stairs
> Subject: Re: Insulating the outside of an electric kiln.
>
>
> Dear Elanora,
> All that advice comes from very good understanding of what is involved,
> and I'm very sure that some people have had bad experiences trying just
> this sort of thing.
> The theory is very simple: you add insulation to the outside of a kiln,
> and the hot zone moves outward. If you add enough insulation, the
> temperature of the metal skin will rise well above its comfort level, and
> two things will occur: the tension in the straps will relax, making it
> easier for the inner bricks to shift and loosen, and the skin itself may
> suffer heat damage of one sort or another.
> If you have not experienced these symptoms, it is because a) your kiln is
> never fired to equilibrium, and the hot zone never moves out. This
> may be because you don't fire above cone 4, or some similar restriction,
> and the kiln is made to fire much higher (ie., it is already well
> insulated), or your firing profile is very rapid. b) your outer
> insulation layer isn't very effective. In either case, I doubt you
> are getting much benefit from your wrap.
> It is a peculiarity of most so-called hobby kilns made for studio potters
> that they never actually reach thermal equilibrium when firing to the
> bisque and lower stoneware temperatures. In terms of insulation,
> this means that the brick never gets as hot as the equilibrium
> calculation would suggest. It also means that any outer insulation
> layers are very underutilized during the firing. What they mainly
> do is slow the cooling slightly, but not really in a useful way, since
> the initial rapid cooling down from the peak temperature is not much
> affected. It is for this reason that many of the cheaper designs
> are very skimpy with the fire brick. This cuts the cost
> considerably, but means that the kiln is under-designed for longer firing
> cycles and higher temperatures, and it will cool rapidly even after the
> brick has reached thermal equilibrium.
> The warnings are directed toward these firing conditions. If you
> will never suffer from the deleterious effects of the outer insulation,
> then I doubt strongly that you will derive any significant benefit from
> it either.
> Elanora, if you are happy with your outer insulation, then I wish you
> well, and I have no objection. However, your experience will not be
> universally enjoyed by anyone who tries the same trick. If anyone
> else wants to try it, then caveat emptor. If you understand
> clearly what you are doing and what you are risking, I say go
> ahead. But if you are desperately trying to reach cone 10 in an
> under-designed kiln, this is not the way to proceed.
> Gavin
> At 12:48 PM 15/08/2002 +0100, Elanora wrote:
> Twelve or thirteen years ago we
> wrapped my L&L kiln with kaowool and tin
> foil and wire. At the time I was told in no uncertain terms the
> same
> mantra that all the posts responding to Martin, ie it will wreck
> the
> stainless steel shell. Well we did it anyway because, frankly, that
> made
> no sense to me.
> Well, about 3 years ago we took all that off as the top area of kaowool
> had
> been degrading (it is a top-loader) and, no surprise at all, the
> stainless
> steel shell is still in perfect condition. ...
>
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 09:01:52 -0700
> From: Earth and Fire Pottery
> Subject: working ways
>
> Hello everyone-
>
> Have been following with interest the threads about
> making $$ and finding one's own style.
> I'm about a week behind in reading the posts, and I
> thought I would throw my two cents worth in.
> Since I compete against myself, I keep an
> awareness of what I am doing and why at all times. My
> rule of thumb is if I am doing what I want, I am
> happy. If I am doing what I want, others feel and see
> and experience that, and learn that with a lot less
> courage than they think they might need, they too can
> do what they want. (with the consideration 'do no
> harm' in mind). I cannot tell others that it is
> possible, I can only show them. (Think of teenagers).
> Why do I throw pots? Because I cannot not throw
> pots. I am infected, and hopefully contagious.
> After many years of trying to effect social change,
> from marching on Washington DC, to planning and
> participating in underground anti social behavior
> from my pulpit as editor of my college paper, (late
> 60's as you might have guessed), to forming 6 business
> based on a zero-profit philosophy and actively and
> heavily informing corporate America of the success and
> wisdom of doing this, (to the thunderous reaction of
> silence), to trying for social change by seeking to
> work and share intimately with 30 other people on one
> piece of property, (there is a real reason we live in
> two's in separate dwellings all over the world, and
> even then, do we really get along?). Then, there was
> the four year period of 24/7 ashram living studying
> and living, Indian Hindu philosophy, until I realized
> I wasn't Indian and that it really did matter! And so
> on.
> All this is to say that out of all of these
> activities, I have found that, as has been said, right
> living, right thought, right work is a valid and
> comfortable way of life.
> I work with clay because it is immensely
> satisfying, on a gut level, and because it makes
> others happy. Because I am a potter in a technological
> age, I am seen as a marvel. I have witness others
> beginning to re-touch their creative selves because of
> it. I feel this is very important. We are all
> creative, we all played as children. How many of us
> had it beaten out of us as we grew up? I know I have
> to face this every time I decorate a pot.
> The longer I have worked in clay, the more
> important it has become to me to work to have this
> wonderful and profound work continue into the future.
> In this age of computers and service jobs, I fear this
> wonderful craft, which takes years to develop, will be
> lost. Another internal voice says, hey! It's
> contagious, remember?
> So what do I make? What I like. My style is defined
> as what it is I am doing at the moment. Right now, it
> is tight functional objects for the kitchen and home.
> It is also Raku and Funeral Urns. My style changes all
> the time, as my understanding of this craft and my
> skill level change. Remember, I compete only against
> myself. I learn from others. When I see a potter doing
> something I can't do, I ask permission to learn to do
> it. It is always in my own way, because I cannot do it
> in exactly the same way. It will have my skill level
> and understanding all over it. I have yet been
> refused the opportunity to learn.
> Money? Like Chris C., I live simply and know what
> I have to make each month. I am not overly
> materialistic, and practice wanting what I have.
> I still have a desire to help others to advance and
> grow, and have come to the conclusion that a wonderful
> way to do that is to live what you do, and be sure
> that it is what your heart really wants to do. If your
> heart changes, cool. The only constant I know of is
> change.
> As for the work, there aren't enough hours in he
> day. LIke Chris, there are periods of time where I
> don't go near the wheel, when the other demands of the
> pottery must be met. For instance, I spent all last
> week on a marketing project. You'll be able to see it
> in a few weeks on the web site. Didn't touch clay at
> all! But, marketing is vital.
> I live in a rural area because I choose to. After
> living on a remote piece of land in upstate NY, where
> the winters get so bad you know in advance you are not
> going anywhere for five months , (and if you do, it
> will be on skis), I am deeply in love with the rhythm
> of un-crowded life. (Now, it's not a drop of rain for
> 5 months).
> In my potting life, I am making what I make now,
> and am content. The drive to be better and to increase
> my understanding of this work is as driving as ever,
> and in six months, I will be a different potter. In a
> year from now, a different potter still. and in ten
> years, different still. Some will say I found my
> style. I say, I never lost it, it just kept changing.
>
> Gregg Allen Lindsley
> Earth and Fire Pottery
> Whispering Pines, CA 95426
>
> __________________________________________________
> Do You Yahoo!?
> HotJobs - Search Thousands of New Jobs
> http://www.hotjobs.com
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 09:20:57 -0700
> From: Snail Scott
> Subject: Re: clay mixing question
>
> At 12:10 PM 8/15/02 -0400, you wrote:
> >I am having trouble finding a clay supplier who sells 50 lb bags of
> >"stoneware" clay.
>
> I know that Laguna sells Goldart, which some
> people categorize as a stoneware. They also
> sell premixed dry claybodies in 50# bags.
>
> -Snail
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 12:27:03 EDT
> From: Glenn Allenspach
> Subject: Re: need adjustable regulator
>
> A 0-15 lb. regulator shoud be plenty of pressure. I fire a similar size kiln
> on propane, and find that 2-3 lbs. of pressure easily gets me from cone 09 to
> cone 10, with lots of reduction (If I'm not careful, my copper reds turn
> liver-brown). If you need more pressure than that, you might want to look at
> your burner sizes vs. kiln size, or inlet flus vs. exit flus.
>
> Glenn Allenspach
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 09:34:50 -0700
> From: Joyce Lee
> Subject: Jonathan's Picture
>
> Thanks for the picture and the copy of
> the article...... slick picture; you look like a movie star ..... great
> article. I did send it on to several charitable minded friends (16) =
> who,
> though not potters, include many artists.
> Several very positive comments were
> received.... definitely sparked an interest in the right direction. =
> Next time you'll get bowls from me ... they'll at least be humorous and =
> may actually be nice. =20
>
> My attitude toward my pottery ... among
> other things..... is going through some sort of change as a result of =
> reading your little Zen book.... read it in snatches here
> and there. Monday I felt slightly down..... for me, keeping in mind =
> that I'm normally pretty up.... maybe it was the smoke and
> the obscured mountains, the smells,
> hearing #1 Support Person hacking away because of it,
> the puppy getting overly heated from her
> love of being "outside," not being able to
> work more than a couple hours a day in the studio (smoke/heat) ....... =
> whatever.................. I thought that I'd just read a little Zen ... =
> couldn't find my book anywhere .... many, many books in this household =
> ...... but still, it should be SOMEWHERE...... nope. Gave up. Came back =
> in a few hours later to take a nap ...... and there was my book .... not =
> only there where I'd looked over and over.... but out in the open, on =
> top of a small stack, opened facedown to a page
> which was very meaningful to me at the time. =20
>
> Your gift works wonders.
>
> J
>
> =20
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 22:26:01 EDT
> From: Laura Efthim
> Subject: Re: logs
>
> OK, tried it, got about 1/3 log of nice texture but the rest was finger marks
> and seam. How do you peel it back without leaving indents of your fingers in
> the log?
> On a similar vein, I've seen pots with the same type of texture made by
> shaping the pots on the wheel from the inside only. I have not been
> successful at trying this. Can anyone give me any tips? Thanks.
> - Laura
> LauEft@aol.com
>
> <> long.Lay it before you running vertically...... up and down.....with that
> triangular blade tool slit from top to bottom going about halfway through the
> depth of the log all the way down.Now make a flap to each
> side,opening the log as though it had 2 doors or you were peeling a banana
> sideways.Voila,beautiful rugged bark looking texture.Close the coil to the
> back,you have essentially turned it inside out.>>
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 10:02:48 -0700
> From: Snail Scott
> Subject: Re: recycling clay and glaze
>
> At 04:10 PM 8/15/02 -0400, you wrote:
> I have learned that if you rinse the glaze off the bottoms of your pots
> (and for whatever else) and use a continual water bucket for this, the
> glaze accumulates. Then can you add some sort of chemicals to make a new
> glaze? I'm using Minnesota Clay Glazes to ^6 oxidation.
>
> If all your glazes are ^6, then the resulting 'scrap glaze'
> will be, too. Just test some on a tile, to get some idea of
> how it will act. Sometimes scrap glazes look great! I
> wouldn't do a line of production ware with the stuff,
> though, since the composition will vary depending on what
> goes into it.
>
> -Snail
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 13:06:01 -0400
> From: Garry Moon
> Subject: Clayart
>
> During the past week ACerS has been undergoing network changes, causing=
> Clayart to be unavailable at times. All network changes have been=
> completed and there shouldn't be any additional problems. Please contact=
> IT Director Randy Barnhart (rbarnhart@acers.org) if you continue to=
> experience problems.
>
> Thank you for your patience.
>
> Sincerely,
>
> Garry Moon
> ACerS Membership Manager
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 10:06:29 -0700
> From: Janis Young
> Subject: 100 Mugs
>
> For those of us who weren't here then, what's Mel's
> 100 mug exercise?
>
> Janis
>
> --- Valerie Hawkins wrote:
> > Ruth,
> >
> > Thank you for responding to my note. I've been
> > using this excercise and
> > think I'm making some progress. I think this
> > approach will work for surface
> > decoration as well. I love when folks post these
> > 'student' exercises. I
> > haven't had the benefit of a great deal of classroom
> > exposure. I did Mel's
> > 100 mug exercise a year ago. It was a tremendous
> > help. But at that time, I
> > just wanted to make a decent mug and wasn't
> > considering style and attitude
> > aspects.
> >
> > Where would I be without clayart!
> >
> > Anyway, thanks again and have a great day.
> >
> > Valerie
>
> __________________________________________________
> Do You Yahoo!?
> HotJobs - Search Thousands of New Jobs
> http://www.hotjobs.com
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 10:05:37 -0700
> From: Snail Scott
> Subject: Re: Insulating the outside of an electric kiln.
>
> At 12:48 PM 8/15/02 +0100, you wrote:
> >Twelve or thirteen years ago we wrapped my L&L kiln with kaowool and tin
> >foil and wire. At the time I was told in no uncertain terms the same
> >mantra that all the posts responding to Martin, ie it will wreck the
> >stainless steel shell.
>
> I recall that Martin has a front-loading kiln with a
> welded frame and such. It was the thought of the steel
> getting warmer than usual and allowing the roof bricks
> to shift which was my main source of concern. Having
> witnessed the corrosion of the spot-welded hose clamps
> on my standard top-loader, I'm not too sure I'd want to
> wrap the outside of it, either, but the structural
> issues for a top-loader are much less critical, IMHO.
> I'm glad to hear that your experiments with outside-
> the-jacket insulation have been successful, though. I
> will keep it in mind.
>
> -Snail
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 10:08:52 -0700
> From: Snail Scott
> Subject: Re: refiring glazed pieces
>
> At 10:28 AM 8/15/02 -0700, you wrote:
> >I have been reading about refiring and have a couple of questions.
> >I thought that if I fired at cone 5 and wasn't happy about the results
> that I could refire at a lower temperature >like cone 04 with low fire
> glazes. Will the low fire glazes sink into the cone 5 glazes and not really
> cover?
>
> Depends on both the glazes involved. Test!
>
> > However, some of the postings have indicated that it would be better to
> refire at cone 5 again.
>
> Depends on what you want. In what way was the original firing
> unacceptable? If the glaze ought to have looked better, but
> didn't look right this time, you can try refiring at ^5. This
> will only help if it was a firing deficiency that made it come
> out poorly the first time (like underfiring, or too-fast cool).
> If it's butt-ugly at its best, or was mismixed, I suppose you
> could try to hide it (sort of) with a coat of low-fire glaze.
>
> >If I refire at cone 5, then do I still put on the three coats (brushed on
> commercial glazes) over the hairspray or >other material to get the glaze
> to stick?
>
> Eek! Don't do that! If it had the right amount of glaze on it
> to start with, it's still on there, and adding more will make
> it a double-thick glaze coating. If it was too thin the first
> time, by all means add more, but a double-thick coating
> (depending on the glaze,) could really run badly.
>
> Please note, though, that when most people talk about refiring
> to low-fire temperatures, they mean refiring the same ^5 glaze
> coating to low-fire, to simulate the effects of a longer cool-
> down cycle. They aren't actually applying any low-fire glaze.
>
> -Snail
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 13:15:43 -0400
> From: Christena Schafale
> Subject: Re: recycling clay and glaze
>
> Barbara,
>
> For recycling clays, I find it works best to dry the scraps out, then cover
> with water to rehydrate. Then I leave the mixture to dry uncovered in a
> shallow container, piling it up as it gets stiff enough. When it is
> approaching throwing consistency, I wedge and bag it.
>
> I also recycle glazes. I have three glaze rinse buckets in my studio --
> one for high-iron glazes, one for blues and greens, and one for
> clear/white. I rinse all my glaze-covered tools, sponges, hands, etc. in
> these buckets. Every so often, I decant the clear water, and put the
> settled glaze material into a bucket. When the mood strikes, I sieve and
> test the recovered glazes. I've gotten some very nice glazes this way,
> without adding anything extra. It depends what you put in, of course, but
> sorting the recycle by color this way prevents me from getting the yucky
> mud brown-green that can happen when you put it all in the same bucket.
>
> Chris
>
> At 04:10 PM 8/15/02 -0400, you wrote:
> >Hello to all-
> >Without a pugmill, can someone tell me what the best way to recycle clay
> >is? To let it dry out and then add water, and then what?
> >And on that note, does anyone recycle glaze? I have learned that if you
> >rinse the glaze off the bottoms of your pots (and for whatever else) and
> >use a continual water bucket for this, the glaze accumulates. Then can you
> >add some sort of chemicals to make a new glaze? I'm using Minnesota Clay
> >Glazes to ^6 oxidation.
> >Thanks for your feedback. Have fun potting!
> >-Barbara (:
> >
> >______________________________________________________________________________
> >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.
>
> Consultation and Referral Specialist
> Resources for Seniors
> christenas@rfsnc.org
> http://www.resourcesforseniors.com
> Phone: (919) 713-1537
> FAX: (919) 872-9574
> 1110 Navaho Dr, Suite 400
> Raleigh, NC 27609
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 13:28:41 -0400
> From: islandplace
> Subject: Re: need adjustable regulator
>
> Have you tried your local gas supplier? Our local supplier provided the
> regulator when the tank was set up.
> Mike
> ----- Original Message -----
> From: "Phil Jaren"
> To:
> Sent: Wednesday, August 14, 2002 12:18 PM
> Subject: need adjustable regulator
>
> I'm having some trouble getting an adjustable regulator to put on the LP
> tank so I can get a 27 cu ft kiln to cone 10. I have located a 0-15 lb.
> regulator, but am not sure if this will be enough to do the job. In the past
> I had a 0-40 lb model which worked great (didn't really need it, but it was
> good to have a little extra in case of a stall. So, if anyone out there has
> a spare or new I'd appreciate a post.
>
> Thanks to everyone who contributes to this group! What a great bunch!
>
> Take care
>
> Phil
>
> ____________________________________________________________________________
> __
> 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: Fri, 16 Aug 2002 14:31:12 -0300
> From: Frances Howard
> Subject: Re: Spain and Portugal
>
> Dear Jose Velez,
> Here is a little info for you about pottery in Portugal. I visited
> the Algarve in March and was surprised and happy to see so much. Take the
> EN 125, starting at Porches and continue along to Henry the Navigator's
> fortress at Sagres. There are lots of large pottery shops on both sides of
> the road. Stop at all of them, as although there is much sameness, each
> has some different pieces. Prices vary a little also, especially for the
> tiles, azuleros in Portuguese. (There has been some discussion about this
> word on Clayart, it just means tiles in Portuguese). I liked the blue and
> white tiles with old ship paintings. You will see tiles everywhere, on both
> new and old buildings. You can buy huge pictures or single tiles. There
> are vast quantities of terra cotta pots for gardens etc. Some are enormous,
> sadly not aeroplane friendly. There is also a lovely line of mugs, bowls,
> casseroles etc in glazed earthenware with minimal decoration which are very
> pleasing; you can also get the same line in the supermarkets, but again
> large and difficult for a plane. I liked this, as the other pottery is
> enormously decorated with underglaze and one appreciates this no decoration
> restraint. This pottery turns up in all the restaurants as a matter of
> course. It crazes a lot, but noone seems to take any notice.
> The most original pottery by far is the Olaria Pottery in Porches (left
> hand side going west). This was started by an Englishman, Roger (?) Swift
> in the 1960s, who saw the decline in traditional pottery and was determined
> to resurrect and preserve it. One of his daughters' Juliet, runs this and
> another, Kate, has a pottery in the beautiful old town of Silves nearby. If
> you go to no other, this should be it. They have some large and very
> beautiful wall plates with local birds etc. I thought I could detect a bit
> of Bernard Leach, but was assured that this was entirely Portuguese. It was
> nice to be able to ask and receive answers in English, e.g. they used to use
> local clay but now don't etc.
> All the museums have local pottery, starting with Roman. There is a
> large Roman villa just north of Faro at Milreu with lovely mosaics, some are
> in the Faro museum, but not all. There is a ruined swimming pool decorated
> with lots of stubby fish which turn into elegant creatures when distorted
> underwater. There is a wonderful mosaic in Lisbon on the river front
> commemorating Vasco de Gama. It is a 100ft compass rose surrounded by waves
> which go up and down and heave at you. Enough to make you feel quite
> seasick!
> The tourist office puts out a booklet called Museums and Palaces which
> is well worth having, though it's worth remembering that Portugal lost the
> greater part of its old buildings in the earthquake of 1750. A museum I
> would have liked to visit but didn't is at Mertola inAlentejo province with
> "one of the most important collections of Islamic ceramics in the world
> (9-13C)".
> The most startling thing about Portugal is that pottery is all around
> you, all the time. Hope this helps.
> Frances Howard
> ----- Original Message -----
> From: "Jose A. Velez"
> To:
> Sent: Wednesday, August 07, 2002 11:38 PM
> Subject: Spain and Portugal
>
> Gentlepersons:
>
> I will be traveling to Spain and Portugal, any recommendations as to ceramic
> related exhibitions/sites I should try to see.
>
> Thanks in advance, Jose A. Velez
>
> ____________________________________________________________________________
> __
> 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: Fri, 16 Aug 2002 13:40:20 EDT
> From: Timakia@AOL.COM
> Subject: Re: Slipping bisque
>
> That sounds fair Martin. If your slip and glaze becomes one it can work. The
> fluxes in your glaze is probably also very active. I am wondering what
> reaction you will get if you mix your glaze and slip. I do not know much
> about slip glazes, but depending on what results you need, I would do some
> more tests for incase you run into trouble again. Years ago I used
> transparent glaze in some of my colorings. That was before I had receipes to
> mix slips and englobes. It worked well then.
> Take care.
>
> Antoinette Badenhorst
> http://hometown.aol.com/timakia
> 105 Westwood circle
> Saltillo, MS
> 38866
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 20:37:29 +0200
> From: Ababi
> Subject: Some ideas about floating blue ( in a well isolated kiln)
>
> Hi!
> When there were the answers about the floating blue describing possible failure of the
> glaze because of the cooling speed of the kiln, I said to myself! Yes my kiln cools
> slowly too!
>
> This is the Floating blue RR version
> FLOATING BLUE RR
> ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
>
> Cone 6 1220 deg.C. -
> ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
>
> Nepheline Syenite 41.00
> GB Average 17.00
> FRIT 3134 13.00
> EPK Kaolin 11.00
> SILICA 18.00
> Red Iron Oxide 2.00
> Cobalt Carbonate 1.50
> Rutile 3.00
> ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
>
> Seger Weight%
> KNO 0.470 8.70%
> CaO 0.467 7.18%
> MgO 0.063 0.70%
> Al2O3 0.534 14.91%
> P2O5 0.001 0.03%
> B2O3 0.449 8.56%
> SiO2 3.635 59.87%
> TiO2 0.002 0.04%
> K2O 0.082 2.11%
> Na2O 0.388 6.59%
> Al:Si 6.81
> Expan. 7.89
> ST 331.63
> ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
>
> This is my converting RR FB to 0.25 mol Al2O3!
> FLOATING BLUE RR 0.25 AL2O3
> ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
>
> Cone 6 1220 deg.C. -
> ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
>
> FRIT 3110 39.00
> GB Average 22.00
> FRIT 3134 12.00
> EPK Kaolin 17.00
> SILICA 10.00
> Red Iron Oxide 2.00
> Cobalt Carbonate 1.50
> Rutile 3.00
> ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
>
> Seger Weight%
> KNO 0.426 10.18%
> CaO 0.516 10.75%
> MgO 0.058 0.87%
> Al2O3 0.235 8.89%
> P2O5 0.001 0.04%
> B2O3 0.434 11.22%
> SiO2 2.599 57.98%
> TiO2 0.002 0.07%
> K2O 0.032 1.12%
> Na2O 0.394 9.06%
> Al:Si 11.06
> Expan. 8.80
> ST 307.68
> ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
>
> Good days no one knows what is cadycal, so I am not removing the GB.
> I made a line blend.
> I have some suggestions.
>
> 1) Try the line blend. Of course add the colorants.
> http://members4.clubphoto.com/_cgi-bin/getImage.pl?imgID=12052222-b4a9&trans=
>
> Please note the first frit is 3134 (left) the second 3110 (right)
> 2) Try it over several colored claybodies. If you use only one kind try to paint or spray
> with an engob with different amounts of red iron oxide from 4%-10% on the
> greenware.
>
> 3)Try the higher alumina above this recipe:
>
> FOLLOW KOREN 27 2#
> ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
>
> Cone 6 1220 deg.C. -
> ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
>
> SILICA 31.50
> Calcium Carbonate 12.00
> KAOLIN 13.50
> ZINC OXIDE 10.00
> Nepheline Syenite 10.00
> STRONTIUM CARBONATE 7.00
> FRIT 3110 16.00
> ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,
>
> Seger Weight%
> KNO 0.182 5.13%
> CaO 0.364 8.48%
> MgO 0.002 0.04%
> ZnO 0.326 11.02%
> SrO 0.126 5.41%
> Al2O3 0.203 8.61%
> B2O3 0.016 0.46%
> SiO2 2.438 60.85%
> K2O 0.034 1.34%
> Na2O 0.147 3.80%
> Al:Si 11.99
> Expan. 7.74
> ST 367.72
>
> The way I have it here is with a similar glaze is the reason why I do not try hard to float
> the blue
>
> http://members4.clubphoto.com/_cgi-bin/getImage.pl?imgID=11722598-2b22&trans=
>
> And here.
> http://members4.clubphoto.com/ababi306910/679354/
> Please note: the recipe I send here is better than the one on my site.
>
> Here is my renewed page at Fabienne Cassman's site
> http://www.milkywayceramics.com/cgallery/asharon.htm The same story!
>
> Ababi Sharon
> Glaze addict
> Kibbutz Shoval Israel
> ababisha@shoval.org.il
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 12:39:08 -0500
> From: "H.M. Buchanan"
> Subject: floppy handles
>
> I'm a little late gettng in on this discussion but here is my hint for =
> supporting handles and other loopy pot additions.
> Try making a sling from damp newspaper to support it in the right curve.
> Dip a strip of newspaper in the throwing water so it has a little =
> clayon it to hold it to the wet pot.Standing behind the handle, gripping =
> eachend of the strip use it to push the curve up and into the right =
> shape . Thenwrap the ends onto the pot at an angle that holds the shape. =
> The paper will
> stick until it drys then fall away without marking the pot.
> Judi Buchanan
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 20:52:10 +0200
> From: Ababi
> Subject: Re: BLACK IRON OXIDE
>
> Hello David.
> Thank you for the article about the black iron oxide.
> If i understood you correctly, by weighing the material the way you describe in you
> site i can learn if I have pure black iron oxide or black iron oxide with manganese?
> I use black iron oxide in claybodies, up to 5%. How much manganese might be in the
> mix. Is it a mix or is it kind of truck element?
> Ababi
> ---------- Original Message ----------
>
> >Paul
>
> >If you know the composition of your black iron oxide, then I am sure you
> >can substitute it for red iron oxide.
>
> >From my own experience black iron oxide can be very variable and may in
> >fact be largely Fe3O4.
>
> >If you care to visit my web site and go to Pottery Techniques / Raw
> >Materials - Do you know what you are buying? You will see what I came
> >across with different composition black iron oxides.
> >http://www.dhpot.demon.co.uk
>
> >David
> >In message , Paul writes
> >>Does anyone know if black iron oxide can be used in place of red iron oxide?
> >>Or is there some ratio that can be applied when substituting? A friend of
> >>mine got a whole bucket of it for free somehow and we are trying to figure
> >>out how to use it. thanks.
> >>Paul Borian
>
> >--
> >David Hewitt
> >David Hewitt Pottery ,
> >7 Fairfield Road, Caerleon, Newport,
> >South Wales, NP18 3DQ, UK. Tel:- +44 (0) 1633 420647
> >FAX:- +44 (0) 870 1617274
> >Web site http://www.dhpot.demon.co.uk
>
> >______________________________________________________________________________
> >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: Fri, 16 Aug 2002 15:41:49 -0400
> From: "bruec@anv.net"
> Subject: Pottery Fiction
>
> "I stood mesmerized as the potter turned out several cereal bowls in a
> row without a hair's worth of difference between them=2E
> "Practice does make perfect, doesn't it?" I marveled=2E "I don't see
> how you can make them so uniformly=2E"
> The potter chuckled and wet his hands again before cupping them
> around the next ball of clay=2E "Things don't always come out of the kiln=
> =20
> as identical as they go in=2E I've had many a customer fuss 'cause they
> couldn't find six juice cups that matched precisely=2E One woman was so
> picky, I finally told 'er to go on over to K mart=2E Every one of their
> cups match=2E"
> -----from "Uncommon Clay" by Margaret Maron, a mystery set in the
> pottery community of Seagrove, North Carolina, copyright, 2001=2E
>
> Pretty good fiction and technically like the author knows clay and pottery=
>
> techniques=2E
>
> Earl Brunner
>
> --------------------------------------------------------------------
> mail2web - Check your email from the web at
> http://mail2web=2Ecom/ =2E
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 12:48:29 -0700
> From: Wood Jeanne
> Subject: Re: Porcelain in Ancient Rome?
>
> Greetings,
> Some of my research suggests the reason the Romans
> didn't increase their pottery technology...and
> possibly the artistic accomplishment... may have been
> because many of the Roman potters were Roman soldiers
> who were constantly on the move with the troops.
> Potters were conscripted, as were other craftsmen,
> from the places Rome conquered and continued to
> practice their crafts for their legion when they
> weren't fighting or traveling.
>
> Temporary potteries and temporary kilns were set up
> where the army was stationed and would have to be
> abandoned when orders came in.
>
> Of course this doesn't address the pottery in the more
> settled lifestyle of the city itself.
> But, I find it interesting.
> Regards,
> Jeanne W.
>
> --- vince pitelka wrote:
>
> > Roman pottery synthesized influenced from diverse
> > cultures, exhibiting one
> > of the most remarkable aspects of Roman culture -
> > their ability to
> > assimilate some of the better qualities of every
> > culture they absorbed or
> > conquered. Roman pottery never shows the degree of
> > artistic accomplishment
> > found in Classical Greek pottery, but it certainly
> > shows some remarkable
> > ingenuity,
>
> __________________________________________________
> Do You Yahoo!?
> HotJobs - Search Thousands of New Jobs
> http://www.hotjobs.com
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 11:00:00 -0500
> From: Karen Terpstra
> Subject: back on Clayart mates
>
> What I did on my summer vacation...
>
> Joyce must have thought I was eaten by crocodiles while "down under" in =
> June. I received a panicky email frantically asking about where I've =
> been all summer. Talking with her the past few days has made me =
> homesick for clayart so I'm back.
>
> The trip to Australia in June was too good to be true. Did some sight =
> seeing of course and saw our oldest son who was going to school in =
> Newcastle for the semester. Then off to Bendigo.
>
> Visited our exchange school, Latrobe University, Bendigo. What a =
> phenomenal program, facility and staff! An article will be coming out =
> about David Stuchbery, his work, and the program sometime in the near =
> future so can't give it all away here.=20
>
> A few thoughts though: Students work blew me away. Really made me =
> think about grade inflation here in the US. Of course I feel caught =
> between a rock and a hard place on that subject as I'm sure other =
> educators do. It was refreshing to see the focus of both the graduate =
> and undergraduate programs dealing with sound traditional values and =
> concepts. The program is highly structured but with enough freedom for =
> the students to experiment and learn a personal contemporary way of =
> working with a Leach tradition/theory background. We have waaaaay more =
> vacation here than they do. Almost makes me feel guilty but I won't =
> tell the Dean that.
>
> Bendigo is an old gold mining town of about 50,000 that was very =
> prosperous in its day. The architecture is exquisitely English. =
> Verandas everywhere. I now call my porch on the front of our log home a =
> "verandah". Rather silly to do that up here in Wisconsin but who cares.
>
> I can tell you about all the fun I had that won't be mentioned in the =
> article. I had a couple good lessons in "pub crawls." My favorite was =
> on a Sunday afternoon when we drove around in the "Ute" to little gold =
> mining towns of anywhere from 100 to 400 people. Each little town had a =
> unique pub. Drove by winerys and old mines. (yes, loved the wine too)=20
>
> The landscape was like a tame Jurassic park. I was in kangaroo country =
> for sure. I stayed a few days at the Stuchbery home which was located a =
> few miles outside of Bendigo out in the bush. In the morning I would =
> drink coffee on the verandah and watch the mob of kangaroos come out of =
> the stand of eucalyptus trees. In the evening I would sit on the =
> verandah and watch the 'roos again. The little ones would be hopping =
> and playing all over the place while the parents grazed. Wallabies and =
> the kangaroos would sleep and graze next to David's house and studio. =
> Had to watch for "roo poo" everywhere you stepped on the yard. what an =
> experience for me! Surreal at times.
>
> Another highlight of Bendigo was the Bendigo Pottery factory which I =
> visited. An article came out of that too and sent off to Ceramics =
> Monthly on that experience so won't elaborate too much on that either. =
> But I have to tell you they have the best pumpkin soup in the world =
> available in the cafe.
>
> Along with the 2 articles after the trip, I've been working on my solo =
> exhibition which will be here in La Crosse in September. So as they say =
> in Oz, "I've been flat out like a lizard drinking." love that =
> expression! email me if you would like to be on the mailing list. =
> working on it now.
>
> regards,
> Karen Terpstra
> La Crosse, WI
> kterpstra@charter.net (new email address at home)
>
> ps. good to know Joyce that Princess Mojo is as spoiled as ever! and I =
> know about you calling my horse a nag. I'm sensitive about those =
> things! good thing you made up for it. :)
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 22:20:43 +0520
> From: BVCuma
> Subject: Re: Copying
>
> >>`we all copy, all of the time,=20
>
> >> the copying becomes the habit, not the tool for learning.<<
> _____________________
> =20
> Copying IS a tool for learning,
> a mechanism for comprehension,
> when it is no longer needed...
> it is just a bad habit.
>
> I honestly never copied a pot.
> =20
> I like Monica Young's form.
> Marguerite Wildenhain's ideal.
> Hans Copers dedication.
> and Lucie Rie's commitment.
>
> But I never copied their pots,
> I never even copied one of my own...
> cept lately when looking at one work.
> I realized if I cut the pots top off
> and turned it upside down...
> the neck, handles and "bowl"
> made great candle holders.
> Made two..one was a copy...
> identical.
>
> Never made a teapot..
> doubt I ever will.
> I imagine they would be more
> of an engineering problem
> and copying might be required.
>
> Studying the human form..
> I have done a lot of copying
> of master works etc.
> Would have done fine with a model
> if I had one on call...
> guess that would still be copying.
>
> Survival instincts are basic
> Aesthetic sense is more evolved.
> We all carry within us "archtypes"
> basic forms related to psychic centres.
> Different cultures interpret these
> clusters of energy phenomena
> in different ways...
> therefore recognition does require sensitivety...
> but essential qualities are none the less apparent.
> Thus "deficient" shape forms are culled
> as nonessential and contrived works..
> or mere "imitations" lacking in conviction, with no creativity.
>
> Sophisticated art forms... "cultured" per se
> do require extended periods of copying.
> But pots are essential forms with
> rather strict functional parameters...
> I never found the need to copy.
> =20
> Even before studying the human form
> or looking at a lot of ceramics...
> I knew how to make a good pot.
>
> Bruce
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 22:21:00 +0520
> From: BVCuma
> Subject: Photo..JPGS
>
> Here are a couple of small chai cups..
> I made these after about 75 "works" on the wheel
> Top pic, glaze #1 Currie grid number #19..second firing
> bottom jpg, glaze #1 tile number #17..third firing.
>
> http://www.geocities.com/bvcuma/index5.html?1029391120820
>
> These cups were not created as an end in themselves..
> but as an exploration of the dynamic interplay=20
> between soft clay, wet hands and the momentum of a spinning
> flywheel slowly terminated by the drag of a sensitive toe...
> Hence the lack of "finish" on the rim.
> early wheel work..recent glaze tests
>
> http://www.geocities.com/bvcuma/index9.html?1029433319800
>
> These two pots clock in at around 125th
> in number of forms made on the wheel...
> You can tell... they are both a bit unrefined
> The first one came out of the second firing.
> And the bottom one has been fired twice... the first and the fourth =
> firing.
>
> http://www.geocities.com/bvcuma/index3.html?1029391323330
>
> Here are a couple of sculptures made in Canada 1996
> First is a replica of the Easter Island Monoliths.
> I studied as much as I could the best examples..
> unifyied the essential elements into this facial fragment...
>
> The second is "Dancing Girl"=20
> an ancient Mohenjo-Daro sculpture (Sindh-Pakistan)
> The original had a head and left arm
> (you can see the ghost palm print on her thigh)
> I broke these off in an attempt to=20
> create a less cerebral impact.( literally ; )
> and connect on a deeper level...
> face and hands "speak" too much...I think
> Thats why I like fragments..
> I also reduced the full upper arm length of bangels
> and made only two at the elbow...
> better balance and tension to the piece on the whole.
>
> http://www.geocities.com/bvcuma/index4.html?1029347751380
>
> These are my sculptures...
> the first is an original from which a mould has been taken...
> the second a paste epoxy positive taken as an experiment from a mould.
>
> http://www.geocities.com/bvcuma/index6.html?1029435065610
>
> Finally..from the kiln this morning...
> early works..
> I still don't trust my refined forms to the glost fire yet...
> inconsistancy in predicting glaze response.
>
> http://www.geocities.com/bvcuma/index8.html?1029394490940
>
> I do hope you all have enjoyed these works!
>
> Bruce
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 14:07:25 -0600
> From: Martin Rice
> Subject: Drinking clay
>
> Rush wrote:
>
> "Ever tried acrylic gloss medium instead of wax?.....you can mask, =
> paint,
> cut, peel and remask, cut, peel, paint and do it again....go ten colors =
> with
> presision control if you want.....And you can drink it if you =
> want.....goes
> good with a little clay and strawberries...."
>
> Actually, there's a potter I ran into here in Costa Rica who does drink
> clay! I was in his studio early one morning shortly after he got up. =
> He'd
> been out partying the night before and had a very upset stomach. He told =
> me
> he was going to drink some clay to get rid of it. And sure enough, he =
> took
> some ball clay, mixed it with water in a mug, and chug-a-lugged it. =
> About
> 1/2 hour later he said he felt great and had been doing this for years!
>
> Anybody else ever try this?
>
> Martin
> Lagunas de Bar=FA, Costa Rica
> http://www.rice-family.org
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 14:00:10 -0600
> From: Martin Rice
> Subject: When to handle?
>
> Apropos of the thread about handles: Until now, I haven't done any =
> handles
> because I couldn't make a mug shape that was worth the bother. But
> now I'd like to do so. My question has to do with when to do this. In =
> other
> words, I know that I can't attach the handle until I trim the mug. So =
> that's
> usually, for me, medium leather hard. So when do I make the handle? Does =
> it
> have to be medium leather hard as well when I attach it? I can certainly
> experiment to see how long it will take a handle to get to that stage, =
> so I
> guess the real question is, do they (mug and handle) have to be at the =
> same
> degree of dryness when one is attached to the other?
>
> Thanks,
> Martin
> Lagunas de Bar=FA, Costa Rica
> http://www.rice-family.org
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 16:15:50 -0400
> From: Evan Clifford
> Subject: Re: recycling clay and glaze
>
> What you can do is let the clay dry out in buckets. Then add water.
> The clay will turn into kind of a pulpy mess. Take this slip and pour
> it onto a big plaster tile (Ours is a 2.5 inch thick, 2 foot wide disk).
> When it thickens up, take it off of the tile and wedge it.
> -Evan
>
> -----Original Message-----
> From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG] On
> Behalf Of barbara arner
> Sent: Thursday, August 15, 2002 4:11 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: recycling clay and glaze
>
> Hello to all-
> Without a pugmill, can someone tell me what the best way to recycle clay
> is? To let it dry out and then add water, and then what?
> And on that note, does anyone recycle glaze? I have learned that if you
> rinse the glaze off the bottoms of your pots (and for whatever else) and
> use a continual water bucket for this, the glaze accumulates. Then can
> you add some sort of chemicals to make a new glaze? I'm using Minnesota
> Clay Glazes to ^6 oxidation.
> Thanks for your feedback. Have fun potting!
> -Barbara (:
>
> ________________________________________________________________________
> ______
> 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: Fri, 16 Aug 2002 16:56:24 -0400
> From: Judy Musicant
> Subject: Randy's Red as base glaze
>
> Ann,
>
> A friend of mine tested Randy's with a few mason stains and, I believe, a few other oxides. Some were quite nice, although the color was rather flat - nothing like the great variation you get with RIO. But the glaze is delightful as far as feel and very stable - doesn't run even when on thick and fired hot, in my experience. Worth testing with other oxides. I bet it'd make a lovely white liner glaze.
>
> Judy
>
> Ann Brink wrote:
>
> "Next firing I will try it with other
> oxides. Have any of you used this as a base glaze for cone 6? Ahhhh, so
> many glazes, and I really don't want to have a whole lot....too many
> options!"
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 17:35:26 EDT
> From: OWLPOTTER@AOL.COM
> Subject: Jackson Pottery and Clay Guild people
>
> In a message dated 8/16/2 03:16:53 PM, you wrote:
>
> >Jackson Pottery and Clay Guild people, see you Monday with Minutes. You all
> have
> >a good week-end.
> >Kay In beautiful-although wet-Grass Lake Mi
> >
> Kay, I am not aware of this entity. How long has it existed? Please tell me
> all about it.
>
> Hope you have a great week end in Worthington. We usually do Worthington
> with Howard Alan, but opted for Norton Shores over by Muskegon for a change
> of pace. And Muskegon's weather is supposed to be just awful stormy on
> Saturday!
> -Carolynn Palmer, Somerset Center, Michigan
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 14:38:19 -0700
> From: Anji Henderson
> Subject: Northumberland
>
> Anyone heard of it?? Anyone live in or near it?? We
> are going camping next week and I would like to
> visit..
>
> Anji
>
> =====
> Good art does not have to match your sofa!!
> -Fred Babb
>
> __________________________________________________
> Do You Yahoo!?
> HotJobs - Search Thousands of New Jobs
> http://www.hotjobs.com
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 17:41:08 -0400
> From: ranmcc
> Subject: Amount of clay for coffee mugs?
>
> Does anyone have a standard number of lbs of clay for a regular coffee mug,
> and say a double coffee mug?
>
> Randy
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 15:47:35 -0600
> From: Llewellyn Kouba
> Subject: Glaze search for Flambe
>
> I am searching for some 'red & blue' Flambe' glaze formula's. Does anyone
> have something I might try in an upcoming firing (cone 9-10) reduction?
>
> Llewellyn
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 14:48:08 -0700
> From: Hank Murrow
> Subject: Shinos en =?iso-8859-1?Q?Fran=E7ais?=
>
> Bon Soir Claybuds;
>
> Say folks, "Smart" translated my Shino article into French.
> If you want to brush up on your potting French, or haven't seen the
> pictures yet, visit: http://perso.wanadoo.fr/smart2000/shinos.htm for
> a mindstretch. His site index is at
> http://perso.wanadoo.fr/smart2000/index.htm where there is an amazing
> array of info and articles. Thanks to Ruth Butler of Ceramics
> Monthly, whose Board generously gave permission for a French version
> of the article.
>
> Aimiti=E9s, Onque en Eug=E8ne
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 14:55:16 -0700
> From: Ned Ludd
> Subject: Re: slipping up
>
> Snail Scott wrote
>
> >Martin had said
> >that his pots, when slipped leather-hard, were still
> >absorbing enough water to destroy the handles and
> >such. Well, it occurred to me that Martin lives in
> >a very damp place (England)
>
>
>
> ....Fiddlesticks! In fact England is no damper than, say,
> Vermont, and gets much less annual rainfall than Puget Sound or
> Maine, I believe. The idea that Britons go around in the fog in a
> constant downpour is one of those strange but amusing ideas about the
> UK often found this side of the Atlantic.
>
> I suggest Martin try other claybodies and see if the issue clears up
> with one or more of them. In England I potted with more than a few
> clays, from smooth red earthenware to grogged stoneware, and seldom
> saw handle problems. Certainly never as a matter of course. Yes, they
> included pots with pulled handles, slipped at leatherhard or drier.
>
> My two cents .... rule number one for handled pots that get slipped
> is Pot Generously. No thin walls, no thin or thick handles. Make them
> ample and comely. When you make handles, think of pleasure,
> groundedness and grace.
> Don't worry. Nervousness or struggle makes for weak pots.
>
> Some clay bodies _are_ better than others for doing pulled handles
> which stand up well to the slip treatment. How to find out? Look for
> potters who do slipped handles well, and ask them about their clay
> and process. Something they may tell you might help. Else, it's trial
> and error - and doggedness.
> If you find the same problem with all the clays, either the standard
> of commercial clays for studio potters in Britain has gone to the
> dogs, or you need to change your technique.
>
> good luck
>
> Ned
>
> ------------------------------
>
> Date: Thu, 15 Aug 2002 10:33:01 -0700
> From: Tony Ferguson
> Subject: Wincester Workshop in Duluth, MN
>
> Tony Winchester, Potter & Sculptor
> Workshop, Duluth, MN
>
> September 19th, Free Slide Show 8:00p.m.
> September 20, Workshop Day 1 9:00-5:00
> September 21, Workshop Day 2 9:00-5:00
>
> Tony Winchester was recently featured in Ceramics Monthly November 2001
> You can see workshop information at:
> http://www.aquariusartgallery.com/winchester.htm
>
> and his website to learn about his work:
> http://www.angelfire.com/wi2/winchesterpottery/
>
> Location:
>
> ArtSpace Performance Space, 2nd floor
> 315 N. Lake Ave.
> Call 218-727-6339 for details and pre-registration
> Or email fergy@cpinternet.com
> Cost: $75 for the 2 day workshop or $50 day. Students may inquire about
> scholarships or workstudy.
> This workshop is underwritten by a private party and has thus allowed the
> reduction of the workshop fee.
>
> >From his website "Tony's work consists of wheel-thrown, faceted, altered and
> assembled stoneware forms. He concentrates on cone 10 reduction stoneware
> because of its durability, functionality, and the warmth and diversity of
> the glazes. Wheel throwing is his chosen method due to the immediacy of the
> form in space, and the potential through out the process to express gesture,
> fluidity and arrested motion. Most of his work has been faceted or fluted.
> He chooses to cut the clay in this manner to express the essence of the
> process. Process is his passion. From first centering the clay on the wheel
> to pulling the piece from the kiln, Tony personally completes each step.
>
> Tony's glazing techniques stem back to his beginnings with airbrush. His
> pieces are liner glazed and sprayed with a variety of contrasting glazes,
> searching for rich surfaces, depth of color and contrast of texture . By
> overlapping with spraying, the color changes are much more subdued, with
> soft, subtle transitions.
>
> In his work Tony looks for craftsmanship, refinement and attention to
> detail. Pots are made to be used and enjoyed, and we encourage people to
> touch and handle our pots."
>
> Thank you.
>
> Tony Ferguson
> Stoneware, Porcelain, Raku
> www.aquariusartgallery.com
> 218-727-6339
> 315 N. Lake Ave
> Apt 312
> Duluth, MN 55806
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 15:07:53 -0700
> From: Joyce Lee
> Subject: Bamboo
>
> Is there anybody out there who knows how to bend
> bamboo ..... and is willing to share that
> knowledge.... or point me to appropriate literature, please. In the =
> meantime, thank you for reading this and thinking about it.
>
> Joyce
> In the Mojave
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 18:17:06 -0400
> From: Bonnie/Jeremy Hellman
> Subject: Insulating the outside of an electric kiln.
>
> Eleanora,
>
> What cone are you firing to? Do you go to ^04, ^6 or ^10? I wonder if your
> final firing temp would make a differences in the survival of the metal
> jacket on the kiln.
>
> Bonnie
>
> ----- Original Message -----
> From: "Eleanora Eden"
> To:
> Sent: Thursday, August 15, 2002 7:48 AM
> Subject: Re: Insulating the outside of an electric kiln.
>
> > Hi Martin and all,
> >
> > Determined today to use some clayart time doing more than deleting
> > thousands of messages. And here is something I know something about and
> > that something is contrary, of course and as usual, to all other comments.
> >
> > Twelve or thirteen years ago we wrapped my L&L kiln with kaowool and tin
> > foil and wire. At the time I was told in no uncertain terms the same
> > mantra that all the posts responding to Martin, ie it will wreck the
> > stainless steel shell. Well we did it anyway because, frankly, that made
> > no sense to me.
> >
> > Well, about 3 years ago we took all that off as the top area of kaowool
> had
> > been degrading (it is a top-loader) and, no surprise at all, the stainless
> > steel shell is still in perfect condition. We replaced it with a new
> > kaowool layer and this time we used masonry cement to make an impervious
> > outer shell. So my kiln looks like a little missile silo.
> >
> > So, Martin, GO FOR IT!!!!!! If you want specifics let me know and maybe
> > Fred, who actually did it, can talk with you on the horn.
> > This was relatively easy to do and the fuel savings have got to be
> > enormous, and less heat in the studio of course. BTW I also use several
> lids.
> >
> > And, BTW, sometimes I wonder at the myths people spout. I wonder if
> > anybody ever actually saw a kiln degraded by adding insulation or if
> > somebody's theoretical prognosis eventually became commonly accepted fact.
> >
> > Eleanora
> >
> > PS There was a time when I shared with open heart on this list. The
> > endless and sometimes nasty criticisms shoved at me cured me of that quite
> > a long time ago. It is too bad, I have alot to offer. Maybe the current
> > batch of knee-jerk critics will think one second before just tripping over
> > themselves to loudly proclaim I don't know what I am talking about.
> >
> > At 08:41 PM 7/16/02 +0100, you wrote:
> > >From: Martin Howard
> > >Subject: Insulating the outside of an electric kiln.
> > >
> > >
> > >My kiln room gets hot when the kiln is on.
> > >During winter I let the heat out a little at a time to keep me warm in
> the
> > >rest of pottery.
> > >
> > >I could install a sauna, but really want the space for extra shelving:-)
> > >But in summer, even the bit of UK summer we are now experiencing, it
> means
> > >the kiln room is not usable for anything else when the kiln is on. And
> the
> > >electricity bill is a little higher than I would like; up by 25% over
> > >figures I got when I first had the kiln 3 years ago.
> > >
> > >Has anyone on list put an outside coating of insulation around such a
> kiln?
> > >It is a large front loader with metal frame and block infill.
> > >For example, would the packages that we put around hot water tanks in the
> UK
> > >be OK for this kind of job?
> > >
> > >Martin Howard
> > >Webbs Cottage Pottery
> > >Woolpits Road, Great Saling
> > >BRAINTREE, Essex CM7 5DZ
> > >01371 850 423
> > >martin@webbscottage.co.uk
> > >http://www.webbscottage.co.uk
> > >Updated 6th July 2002
> > >
> >
> >___________________________________________________________________________
> ___
> > >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.
> >
> >
> >
> > Eleanora Eden 802 869-2003
> > Paradise Hill eeden@vermontel.net
> > Bellows Falls, VT 05101 www.eleanoraeden.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.
> >
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 18:18:14 EDT
> From: OWLPOTTER@AOL.COM
> Subject: Wholesale Shows/was Colorful Slipware Trends...
>
> "Will those of you who are really running a business pleas step forward?
> I have thousands of great high end shops and galleries who need your work.
> Wholesale price range $50-$1,500." -Wendy Rosen
>
> I am one of those potters who have run a real business for over 30 years.
>
> We had a most disappointing experience at the Philadelphia Buyers Market in
> February 2000.
>
> It was our goal to sell more wholesale rather retail by the year 2000.
> Having successfully retailed my pots and windchimes at over 40 retail fairs
> each year; we sorted out my very best sellers and went to the Chicago Gift
> Show with George Little. Wholesale orders were extremely slow for us. "What
> is your minimum?" was the first thing out of every single buyer's mouth and
> it was downhill from there.
>
> After talking with Ms Rosen at a retail show, we applied for the Buyers
> Market, and re-thought our sales approach.
>
> We asked for and received much advice from veterans of the show. We had
> impressive brosures printed up with photos of our work, along with detailed
> price lists and order blanks. We borrowed a second bank of Halogen lights to
> spotlight our work and tried to incorporate all of the advice we possibly
> could.
>
> We had never seen such a large facility with so few buyers. Most of the time
> our aisle was so empty, it was like the show had never opened its doors.
>
> We took $2200 in orders. Three of these were from our own long-time buyers
> to whom we had sent post cards.
>
> So actually we took only 4 new orders totalling less than $1000. AND only
> one of them re-ordered.
>
> When I called the other two to find out if our pots were selling for them,
> they explained that they had indeed sold them already, but didn't wish to
> re-order, because they had a limited clientelle and liked to have something
> NEW in their shops instead of re-ordering from artists they had already sold!
>
> Even though we still want to wholesale a larger percentage of our work, we
> had to scrap our plan to attend the Buyers Market for at least three years in
> a row; we just couldn't afford to pour any more money into a losing venue.
>
> Because these experiences were so-o-o awful for us, we are reluctant to
> invest any more money in wholesale shows.
>
> We do have some wonderful wholesale accounts, but every single one was picked
> up at a 'retail' show!
>
> -Terry and Carolynn Palmer
> Somerset Center, Michigan
> -Just one "Real Business's" experience!
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 15:47:23 -0700
> From: Philip Poburka
> Subject: Re: hot wax, an' yer scarin' me, too...!
>
> Well...
>
> One thought...would be to keep the 'wax' or what in a Can or a smallish
> saucepan, have a little something under it as keeps it just off the bottom
> of the fryer...and have water
> 'in' the "electric-fryer" so as to achieve a sort of poor-man's
> Double-Boiler...
>
> If it ran 'dry', if accidently neglected or left 'on', if the little cheepie
> 'thermostat' took a dumpskie to the 'hot' side...if the wax got a-fire...you
> could allways just put a lid...on the 'can' or saucepan...alot
> easier than messin' with the 'fryer' and it's wide self...
>
> Or the fire IN a can, would maybe just stay there 'in' the can...and just
> smoke the joint up...
>
> Otherwise...
>
> Yer scarin' me!
>
> Phil
> ell vee
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 20:05:46 EDT
> From: Jeff Tsai
> Subject: odd request for help to those with access to Voulkos' work
>
> hi,
>
> I thought I'd throw this out to the group, though I know it's not really
> something most of us can help with.
>
> Howard Costantino has put together the first annual Ceramics Fine Art Show at
> the Fallbrook Art Center. He asked Paul Soldner, Otto Heino, John Conrad and
> several others to participate and then juried in about ten less well known
> artists. A Museum also was going to loan a few Voulkos pieces from their
> collection.
>
> The show opens in about a month on Sept. 15 and the announcements have
> already been made, but now the museum doesn't want to loan the pieces. It's
> not so big a deal, they plan to just put a sticker on the announcements over
> the portion stating work by Peter Voulkos, but they are trying to find a way
> to bring some Voulkos pieces in from another source.
>
> If you can help out at all, I'm sure Mary Perhacs, the exhibition director,
> would love to hear from you.
>
> (760) 728-1414
>
> -jeff
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 20:10:35 -0500
> From: Ron Roy
> Subject: Frit 3304
>
> Being aware of the health hazards of lead has nothing to do with political
> correctness. Lead contamination is insidious and lead builds up (is stored)
> in our bodies. Lead dust in our studios and fumes of lead from our firings
> present real dangers to us as potters and those that share our work and
> living spaces.
>
> Lead leaching from glazes can also be a hazard to anyone using them - the
> younger those people and pets are the more danger there is.
>
> There are laws about how much lead can leach from any ware that can be used
> for food.
>
> If you use lead make sure you have your blood lead levels checked at
> appropriate intervals - and know what the symptoms of lead poisoning are.
>
> RR
>
> >Whoever wants to use lead....well, .....USE LEAD. There's a legitimate
> >place for it in some ceramic arts.
> >No matter how much some people whine and try to brow beat others by
> >intimidation with their "political correctness".
>
> Ron Roy
> RR#4
> 15084 Little Lake Road
> Brighton, Ontario
> Canada
> K0K 1H0
> Phone: 613-475-9544
> Fax: 613-475-3513
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 20:10:37 -0500
> From: Ron Roy
> Subject: Cone 6 Glazes
>
> Probably the clay will leak - not be vitrified - although - with some clay
> companies it is possible it would be sevicable - you can test the clay at 6
> to see if it will be tight enough - but why not get some cone 6 clay?
>
> RR
>
> >I am tempted to get both Cone 6 glaze books after all
> >I've read here, but I only have ^10 clay. What would
> >happen if I fired it only to ^6?
> >
> >Janis
>
> Ron Roy
> RR#4
> 15084 Little Lake Road
> Brighton, Ontario
> Canada
> K0K 1H0
> Phone: 613-475-9544
> Fax: 613-475-3513
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 20:29:10 -0400
> From: Evan Clifford
> Subject: Looking for crystalline glazes and firing info.
>
> Hello Everyone,
> I am still looking for some more crystalline glaze recipes to work with.
> I am firing to ^6. When firing these pieces, what is the best way to
> catch the run-off glaze? Do I have to throw an extra pedestal with a
> catch basin for each pot? Or could I just use well washed shelves?
> Thanks a lot.
> -Evan
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 20:26:44 -0400
> From: "Leland G. Hall"
> Subject: throwing upside-down
>
> Greetings all.
>
> I've been throwing some 18 to 26 inch pots for raku lamps. They sell
> well. I am by no stretch of the imagination a "master potter". Only been
> doing this for a while. The big stuff is still a struggle for me, and I
> can only pull it off by throwing two seprate pieces, then joining them. I
> read a facinating article in Jan/Feb Clay Time about Ramon Camarillo. What
> a potter! What a guy! Any way, I see that he is throwing pots this size
> by "throwing upside-down"! This amazes me!! I've got to try this. Any
> one else have experience with this technique? Tips? Pros and Cons?
> Thanks in advance for any input. Another question is what should my
> expectations be of myself as far as height. I mean I understand that it
> takes practice and skill, but I'm too new to this to know what the natural
> limits are, as far as pulling up tall cylinders. Or are there any? I
> can't seem to manage any more that about 13 pounds of clay, and still keep
> a narrow foot. Does this make sense or do I just not know what the heck
> I'm doing? In other words, should I set as a goal for myself, learning to
> throw 20 and 25 pound tall, narrow footed vessels in one piece, or is this
> beyond the natural limitations of the process?
>
> Leland Hall
> Before The Wheel Enterprises
> La Pine, Oregon
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 17:38:05 -0700
> From: Snail Scott
> Subject: Re: Can I fire it?
>
> At 11:07 AM 8/16/02 -0400, you wrote:
> >So I made this torso sculpture out of solid (except for the armature)
> >stoneware clay (cone 6) with the intention of making a mold for bronze
> >casting. To make the mold, I had to coat the wet clay with shellac to
> >prevent the sulfer content of the clay from lousing up the mold rubber.
>
> Your waterbased stoneware clay has that much sulfur
> in it? Are you sure? Many types of plasticine
> (oil-based) clay contain enough sulfur to mess up
> mold rubber, (it's added to improve its handling
> characteristics,) but I never heard of a 'regular'
> clay having anything but trace amounts. Weird!
>
> >After I removed the rubber mold, the clay piece was still intact. Some
> >of the shellac stuck to the rubber...
>
> That shouldn't have happened. Did you use a mold
> release over the shellac?
>
> >So
> >my question is: Is there any reason why I can't hollow this thing out
> >and pop it in the kiln? Would the remaining shellac be a problem, or
> >would it just burn off?
>
> No problem, go right ahead. It'll burn off.
>
> >Also, If I don't intend to glaze the finished piece, should I fire to
> >maturity, or just bisque?
>
> Fire to maturity whenever possible. The piece will
> be stronger, and most bare clays are more attractive
> when fired to vitrification. I've occasionally fired
> pieces only to bisque, when the final surface was a
> non-fired one, but I've always regretted it when it
> came time to ship the damn things.
>
> -Snail
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 17:19:43 -0500
> From: artimater
> Subject: drinking clay
>
> Martin,
> How's paradise going?.....(someday).....Anyway....sure, people eat =
> clay, in many forms....The kao in kaopectate is kaolin....That's one of =
> the things I like about clay is that it is non-toxic(just don't dry it =
> and snort it).....I use porcelain mainly so my clothes don't even =
> stain....It's completely harmless as far as I know....I've heard that =
> some people in Louisiana actually eat the stuff on a regular basis....Of =
> course the glazes are a bit of a different subject =
> alltogether....HEHEthere are also people who pee in the clay to make it =
> more plastic....I don't think I go for eating that =
> clayHOHOHO....ahhhhh...Almost every day I work I come home with my =
> mustache full from blowing covered pots up fat and full before I close =
> them off.....Clay also makes a great facial...Though most women I know =
> would rather pay more and get some fancy-ass perfume in there....I got =
> Gloria to try pocelain as a facial once....Like I said....She would =
> rather have her clay with a fancy name and perfume...Maybe cucumbers and =
> aloe and other stuff too, but the clay works fine AND I betcha that it =
> would work almost as good as tobbaco juice on bull nettle stings...
> Mud, wonderful mud........
> 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
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 19:46:34 -0400
> From: Tim Welch
> Subject: Re: woodfire glazes and claybodys?
>
> It is my understanding that ash heated to a high temperature such as the
> typed produced in a wood kiln is worthless for use in ash glazes. That is
> just my understanding though, it is worth a shot. My choice is hardwood
> ash from my fireplace or creating it using the ash from the branches of a
> hardwood such as oak. The composition of the ash produced from branches
> is supposed to be better suited for ash glazes, perhaps a matter of
> opinion. Take care then.
>
> Tim Welch - Oregon
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 18:11:28 -0700
> From: Philip Poburka
> Subject: Re: Bamboo
>
> Dear Joyce,
>
> "Heat"...
>
> Are you bending strips taken from the 'round', or the full 'round'?
>
> Well...either way...'heat' is what I recall to be the regimine.
>
> Now you can clamp say a short length of hefty Iron pipe in a Vice or
> other...and play a small Propane Torch on it, or into the away 'end' of
> it...and use that as a bending mandril...
>
> Or similar...
>
> Also, you may try soaking the Bamboo and see how that behaves verses
> whatever be it's otherwise dryness...
>
> I'd guess soaking or boiling it even may prove helpful...yea...Boil it, I'd
> think...then work it over a Hot mandril...that ought to do it.
>
> Good luck!
>
> Phil
> Las Vegas
>
> ----- Original Message -----
> From: "Joyce Lee"
> To:
> Sent: Friday, August 16, 2002 3:07 PM
> Subject: Bamboo
>
> Is there anybody out there who knows how to bend
> bamboo ..... and is willing to share that
> knowledge.... or point me to appropriate literature, please. In the
> meantime, thank you for reading this and thinking about it.
>
> Joyce
> In the Mojave
>
> ____________________________________________________________________________
> __
> 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: Fri, 16 Aug 2002 18:47:31 -0700
> From: Philip Poburka
> Subject: Re: of the Re: Bamboo - as to 'working it'...
>
> I mean, to slide and bend it in one motion over the mandril...don't just
> bend it, but slide it as ye 'bend'...that is to 'work it'...as that...
>
> Otherwise it may scorch...or regardless, keep it moveing over the
> hot...maybe wear some Gloves...
>
> See how it go...
>
> Phil
> ell vee
>
> > ----- Original Message -----
> > From: "Philip Poburka"
> > To:
> > Sent: Friday, August 16, 2002 6:11 PM
> > Subject: Re: Bamboo
> >
> >
> > > Dear Joyce,
> > >
> > > "Heat"...
> > >
> > > Are you bending strips taken from the 'round', or the full 'round'?
> > >
> > > Well...either way...'heat' is what I recall to be the regimine.
> > >
> > > Now you can clamp say a short length of hefty Iron pipe in a Vice or
> > > other...and play a small Propane Torch on it, or into the away 'end' of
> > > it...and use that as a bending mandril...
> > >
> > > Or similar...
> > >
> > > Also, you may try soaking the Bamboo and see how that behaves verses
> > > whatever be it's otherwise dryness...
> > >
> > > I'd guess soaking or boiling it even may prove helpful...yea...Boil it,
> > I'd
> > > think...then work it over a Hot mandril...that ought to do it.
> > >
> > > Good luck!
> > >
> > > Phil
> > > Las Vegas
> > >
> > >
> > > ----- Original Message -----
> > > From: "Joyce Lee"
> > > To:
> > > Sent: Friday, August 16, 2002 3:07 PM
> > > Subject: Bamboo
> > >
> > >
> > > Is there anybody out there who knows how to bend
> > > bamboo ..... and is willing to share that
> > > knowledge.... or point me to appropriate literature, please. In the
> > > meantime, thank you for reading this and thinking about it.
> > >
> > > Joyce
> > > In the Mojave
> > >
> > >
> >
> ____________________________________________________________________________
> > > __
> > > Send postings to clayart@lsv.ceramics.org
> > >
> > > You may look at the archives for the list or change your subscription
> > > settings from http://www.ceramics.org/clayart/
> > >
> > > Moderator of the list is Mel Jacobson who may be reached at
> > > melpots@pclink.com.
> > >
> > >
> >
> ____________________________________________________________________________
> > __
> > > Send postings to clayart@lsv.ceramics.org
> > >
> > > You may look at the archives for the list or change your subscription
> > > settings from http://www.ceramics.org/clayart/
> > >
> > > Moderator of the list is Mel Jacobson who may be reached at
> > melpots@pclink.com.
> >
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 18:59:07 -0700
> From: Joyce Lee
> Subject: Bruce/Gregg/Jonathan
>
> It's a good idea to keep in mind, when offering pictures of our pots for =
> viewing,=20
> that claybuds are as crazy about looking at pots as we are about making =
> them. So naturally when we click in ...... even=20
> shortly after the List flies .... we get the
> message "the website you're trying
> to access has exceeded its whatever" and we
> can't access that site, can't see the pics. However, to all those who
> have tried and failed .... several times.....
> keep trying. I did and managed to be accepted. Don't give up.
> -------------------------------------------------------
> This is what Gregg said:
> "In my potting life, I am making what I make now,
> and am content. The drive to be better and to increase
> my understanding of this work is as driving as ever,
> and in six months, I will be a different potter. In a
> year from now, a different potter still. and in ten
> years, different still. Some will say I found my
> style. I say, I never lost it, it just kept changing."
>
> Resonates with me. Worth repeating.
> ----------------------------------------------------
> My post to Jonathan was meant to be
> a private post. I had already sent him=20
> a copy and intended to delete. I hope I
> didn't embarrass my friend.
>
> Joyce
> In the Mojave where the Dumb Doves
> are not only nesting on the ground, but
> immediately outside the doors ... all around the house .... must think =
> this is
> a condo..... their condo...... we tiptoe=20
> around them; they look at us with those
> unblinking eyes; we all say "excuse me".... they think we're uncouth; we =
> think they're dumb.. But we're the ones tiptoeing.......
>
> ------------------------------
>
> Date: Sat, 17 Aug 2002 09:57:57 +0800
> From: Irene Poulton
> Subject: Re: Dictionary
>
> Hello Again
>
> Just thought I would let you all know that there is a book called
> The Potters Dictionary of Materials and Techniques by Frank and Janet Hamer
> ISBN 0 -7136 -2713-1 by A & C Black (Publishers) I have the Second Edition
> there is probably another one out by now?
>
> Another very good book is
> The Encyclopedia of Pottery Techniques by Peter Cosentino ISBn 1 -85348-270 -6
> I have been using both of these books since Uni, and have found them to be of great help.
>
> I think if you can get this Dictionary up and running on the web it would be of enormous help to a lot of people,
> I would be very happy to help out the person who would take it on.
>
> Best wishes
>
> Irene Poulton
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 20:48:30 -0500
> From: vince pitelka
> Subject: Re: Slipping bisque
>
> > I fire to cones 1-3. The white clay used for the slips matches the base
> > earthenware clay.
> > By putting the glaze straight on top of the slip, both are firing together
> > and in effect, forming an engobe within the kiln.
> > This may be the logical reason for me not finding problems with this
> method,
> > so far.
>
> Martin -
> I really have no idea why you are not encountering problems with that slip,
> because the above logic does not necessarily work. A properly formulated
> engobe will have higher percentages of non-plastics to reduce drying
> shrinkage, plus some low-melting fluxes (particularly borax) that bond to
> the claybody early in the firing. There is no way that a glaze over the
> slip will accomplish the same thing.
>
> Slips can be fickle. A recipe that works great on one claybody may not
> necessarily work at all for a very similar claybody. It is apparent that
> you have been lucky, but you must keep in mind that a straight clay slip
> simply cannot produce as strong a slip-body interface when applied to
> bone-dry or bisque-ware. You may encounter problems at any time. If it
> were me, I would adjust the slip recipe to a proper engobe for application
> to bisqueware.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> Home - vpitelka@worldnet.att.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 20:57:27 -0500
> From: vince pitelka
> Subject: Re: clay mixing question
>
> > I am having trouble finding a clay supplier who sells 50 lb bags of
> > "stoneware" clay. In most catalog listings under raw materials.."clay"
> > there are of course categories for ball clays, fire clays, Kaolins, red
> > earthenware... but not "stoneware".
>
> Fred -
> One of the most common dry stoneware clays is Cedar Heights "Goldart" clay,
> and it is available from almost any clay supplier. Others are available as
> well, and your clay supplier should be able to tell you which ones they
> have.
>
> When we talk about a "stoneware claybody," we are referring to a blended
> claybody for making stoneware pottery, that fires dense, durable, and
> low-porosity at high-fire temperatures. That usually involves a mix of
> different kinds of raw clays, feldspar, grog or sand, and sometimes flint.
> But when you are talking about dry raw materials, "stoneware clay" refers to
> a variety of secondary clays (clays which have been transported by wind or
> water away from the site of the parent rock), which contain a high
> percentage of kaolinite, the essential clay mineral, plus some flux and
> other contaminants. They usually have a fairly broad distribution of
> particle sizes, giving high plasticity, and in firing they mature at
> high-fire temperatures. But they rarely produce an ideal claybody without
> other additions, as mentioned above.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> Home - vpitelka@worldnet.att.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 20:35:38 -0500
> From: vince pitelka
> Subject: Re: recycling clay and glaze
>
> > Without a pugmill, can someone tell me what the best way to recycle clay
> is? To let it dry out and then add water, and then what?
>
> Barbara -
> If you can find a copy of my September 2001 Claytimes column, called "Mixing
> Metaphors," I give the complete rundown on how to recycle clay or mix clay
> from raw materials on a budget. You can set yourself up with a hell of a
> claymixing operation for a few hundred bucks, and you will end up with clay
> that is much more plastic than when produced with an expensive claymixer.
> If you cannot find a copy, email me and I will send it as an attachment.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> Home - vpitelka@worldnet.att.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 21:12:40 -0500
> From: vince pitelka
> Subject: Re: Colorful Slipware Trends/HANDMADE wares
>
> > Galleries have finally seen the light and are willing to carry
> > ceramic sculpture
> > and limited edition pieces... but now we can't find the potters. They now
> > understand and want "potters pots"... but schools are teaching every
> student to
> > become a sculptor (2% of the ceramics market)...
>
> Wendy -
> I know that many clay programs across the country have turned to sculpture
> as a matter of survival. It is an incredibly short-sighted move, when one
> views the history of world art, but it is designed to please the art-world
> mainstream power structure which controls so many art programs. Money is
> tight, and when the department is controlled by painting, drawing,
> sculpture, printmaking, and art history, the first things to get cut are
> craft media traditionally associated with utility - jewelry/metals, fibers,
> and clay. So clay programs have gone sculptural, or have been absorbed into
> a generic "3-D" area, in order to survive.
>
> But that is not the case in our clay program and in many other universities
> clay programs. Our mission specifically states a commitment to the finest
> professional fine craft education. We certainly do not exclude sculptural
> approaches, but I am a potter, and the majority of my students are potters.
> I have several very strong potters close to graduation, and they will do
> well out there. It is good to hear that such work is in high demand.
>
> This could easily evolve into another dialogue defaming or defending
> assisted technologies, but that is an inevitable cyclical dialogue anyway.
> It is great to hear from Wendy that there are galleries that want genuine
> one-of-a-kind handmade pots that are not slip-cast, jiggered, or
> ram-pressed. I am supportive of any potter that wants to do high
> production, and I do not condemn assisted technologies when the maker is
> completely honest about the processes used in the making. But face it,
> individually handmade wares are special, and they are a tier above any wares
> mass-produced via assisted technologies.
> Best wishes -
> - Vince
>
> Vince Pitelka
> Appalachian Center for Crafts
> Tennessee Technological University
> 1560 Craft Center Drive, Smithville TN 37166
> Home - vpitelka@worldnet.att.net
> 615/597-5376
> Work - wpitelka@tntech.edu
> 615/597-6801 ext. 111, fax 615/597-6803
> http://www.craftcenter.tntech.edu/
>
> ------------------------------
>
> Date: Fri, 16 Aug 2002 19:11:19 -0800
> From: Paul Lewing
> Subject: Re: Randy's Red as base glaze
>
> on 8/16/02 12:56 PM, Judy Musicant at huju01@COMCAST.NET wrote:
>
> > Worth testing with other oxides. I bet it'd make a lovely white liner glaze.
>
> Actually, Judy, I'd bet it wouldn't. These iron red recipes tend to be VERY
> low in alumina. I have seen some analyses that, because of the particular
> analysis of Gerstley Borate that that particular calculation database was
> using, had a SiO2:Al2O3 ratio that was infinite. In their analysis, the
> glaze had no Al2O3 whatsoever! Most software databases won't quite tell you
> that, but all of these iron red recipes I've ever seen have very low alumina
> levels and a ratio of 18:1 or more. Consequently, I wouldn't think they'd
> be very durable for use as liner glazes. There are certainly far better
> ones out there.
> Paul Lewing, Seattle
>
> ------------------------------
>
> End of CLAYART Digest - 14 Aug 2002 to 16 Aug 2002 (#2002-225)
> **************************************************************
> owne
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