Alisa Liskin Clausen on mon 28 oct 02
Dear Clayart,
Life the last month has been non stop on the go. A sudden trip to NY. =
When things there with my father got better, I came home time to go on =
our family vacation. It is nice to be home to the everyday again.
It is now full gas up to Christmas in the studio/shop. I needed more =
space but my income cannot support more rent. It seems that necessity =
is the mother of invention! People sometimes comment that my studio is =
so small. It is bigger now since I have moved, but still modest. My =
standard comment (usually to myself) is better to have a small studio =
and big inspiration than a big studio and no inspiration.
My wheel and kiln were always very much revered as having the function =
that they were purchased for, taking up the space they require. Throw on =
the wheel and fire in the kiln. All that is changed now until quieter =
times. Putting the splash pan on the wheel makes a very nice support =
for a wooden board. A covered wheel has many good uses and is a great =
use of otherwise limited space. Instead of using my table (which is now =
gone for the season) I wedge clay on my covered wheel. Since the wheel =
is low, I sit down. Never sat and wedged before. But it is =
comfortable. I assume my "throwing back" and wedge. No stress on my =
back. It seems that I am wedging the clay more thoroughly these days, =
because it is as comfortable as sitting down to throw. I also use the =
covered wheel to work on additions to pots, like handles, decorating, =
etc. Nice height as well when sitting on throwing stool.
Covering the wheel this way also leads to less temptation from the =
public to may be turn the powerless wheel head or whatever they may do =
when I am not in the studio. =20
My kiln is a top loader. The diameter is quite big and the top of the =
kiln is at a good height to easily lift off a board of pots. When the =
kiln is cool, I put a board up there also and let pots stiffen up over =
night. Presto, more shelf space.
Now, all this sounds of course nuts if you have a lot of space. But if =
space is limited and the activity in the studio suddenly increases for a =
couple of months, you may be able to cope with some extra moving of =
boards around to create the temporary space needed. I have worried that =
somehow I am damaging my wheel and kiln by using them as work and pot =
resting areas. But the splash pan keeps the board off the wheel head. =
The boards on top of the kiln lid are just sitting there. So, I would =
appreciate if anyone has any reasons for me not to do this! Please =
before I wreck anything.=20
Otherwise, I am sort of pleased that with a little more physical effort, =
I have the space I need for now.
Another topic..
Greece. A lot of inspiration. =20
We rented a sail boat and sailed around the Cyclades. Claus skippered =
and Helene and I did everything else like
rest, eat a lot, swim, go into port. The hard stuff.
There were so many pottery shops. Every tiny island had lots and lots =
of ceramics. Most earthenware, very colorful majolica. Here and there =
I found some tiny shops like my own. The work was really great, lots of =
variety of stoneware. Nice people to talk to and I brought home a =
couple of things that I liked and liked the people who made them. It is =
great to get out there sometimes and see work made by people with =
completely different backgrounds than myself. There are many =
inspirational ideas not only in the pottery, but in the architecture and =
general surroundings. The roof tops often have terracotta figures and =
heads on the them. The churches have an enormous variety of cutouts in =
the clock towers and windows of all shapes. Many ideas for decorating.
I have visited many of the Greek islands when I worked on big ships, =
going ashore as "crew". That usually meant the nearest beach and coffee =
shop. This was a totally different experience, sailing on a boat and =
looking at Greece through a potter's eyes. =20
So, back to work.
regards from Alisa in Denmark
A true Danish homecoming with rain and wind.
But glad to get back.
Catherine White on mon 28 oct 02
Alisa, thanks to you and all the other ClayArt members who share their lives
and environment with us. And, congratulations on expanding your limited
space. I use the tops of the washer and the dryer even though the 13 year
old daughter has almost nightly washing.
Best wishes,
Catherine in Yuma, AZ
My inability to emulate ends up in originality.
----- Original Message -----
From: "Alisa Liskin Clausen"
To:
Sent: Monday, October 28, 2002 12:52 PM
Subject: Compromising the studio/Greece trip
Dear Clayart,
Life the last month has been non stop on the go. A sudden trip to NY. When
things there with my father got better, I came home time to go on our
family vacation. It is nice to be home to the everyday again.
It is now full gas up to Christmas in the studio/shop. I needed more space
but my income cannot support more rent. It seems that necessity is the
mother of invention! People sometimes comment that my studio is so small.
It is bigger now since I have moved, but still modest. My standard comment
(usually to myself) is better to have a small studio and big inspiration
than a big studio and no inspiration.
My wheel and kiln were always very much revered as having the function that
they were purchased for, taking up the space they require. Throw on the
wheel and fire in the kiln. All that is changed now until quieter times.
Putting the splash pan on the wheel makes a very nice support for a wooden
board. A covered wheel has many good uses and is a great use of otherwise
limited space. Instead of using my table (which is now gone for the season)
I wedge clay on my covered wheel. Since the wheel is low, I sit down.
Never sat and wedged before. But it is comfortable. I assume my "throwing
back" and wedge. No stress on my back. It seems that I am wedging the clay
more thoroughly these days, because it is as comfortable as sitting down to
throw. I also use the covered wheel to work on additions to pots, like
handles, decorating, etc. Nice height as well when sitting on throwing
stool.
Covering the wheel this way also leads to less temptation from the public to
may be turn the powerless wheel head or whatever they may do when I am not
in the studio.
My kiln is a top loader. The diameter is quite big and the top of the kiln
is at a good height to easily lift off a board of pots. When the kiln is
cool, I put a board up there also and let pots stiffen up over night.
Presto, more shelf space.
Now, all this sounds of course nuts if you have a lot of space. But if
space is limited and the activity in the studio suddenly increases for a
couple of months, you may be able to cope with some extra moving of boards
around to create the temporary space needed. I have worried that somehow I
am damaging my wheel and kiln by using them as work and pot resting areas.
But the splash pan keeps the board off the wheel head. The boards on top of
the kiln lid are just sitting there. So, I would appreciate if anyone has
any reasons for me not to do this! Please before I wreck anything.
Otherwise, I am sort of pleased that with a little more physical effort, I
have the space I need for now.
Another topic..
Greece. A lot of inspiration.
We rented a sail boat and sailed around the Cyclades. Claus skippered and
Helene and I did everything else like
rest, eat a lot, swim, go into port. The hard stuff.
There were so many pottery shops. Every tiny island had lots and lots of
ceramics. Most earthenware, very colorful majolica. Here and there I found
some tiny shops like my own. The work was really great, lots of variety of
stoneware. Nice people to talk to and I brought home a couple of things
that I liked and liked the people who made them. It is great to get out
there sometimes and see work made by people with completely different
backgrounds than myself. There are many inspirational ideas not only in the
pottery, but in the architecture and general surroundings. The roof tops
often have terracotta figures and heads on the them. The churches have an
enormous variety of cutouts in the clock towers and windows of all shapes.
Many ideas for decorating.
I have visited many of the Greek islands when I worked on big ships, going
ashore as "crew". That usually meant the nearest beach and coffee shop.
This was a totally different experience, sailing on a boat and looking at
Greece through a potter's eyes.
So, back to work.
regards from Alisa in Denmark
A true Danish homecoming with rain and wind.
But glad to get back.
____________________________________________________________________________
__
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.
claybair on mon 28 oct 02
Alisa,
At a Lana Wilson workshop one of her
tips was to never put anything on the kiln lid.
She talked about how easy it is to damage it
by placing any weight on it.
So I don't anymore.
Gayle Bair
Bainbridge Island, WA
http://claybair.com
-----Original Message-----
From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
Behalf Of Alisa Liskin Clausen
Sent: Monday, October 28, 2002 11:53 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Compromising the studio/Greece trip
Dear Clayart,
Life the last month has been non stop on the go. A sudden trip to NY. When
things there with my father got better, I came home time to go on our
family vacation. It is nice to be home to the everyday again.
It is now full gas up to Christmas in the studio/shop. I needed more space
but my income cannot support more rent. It seems that necessity is the
mother of invention! People sometimes comment that my studio is so small.
It is bigger now since I have moved, but still modest. My standard comment
(usually to myself) is better to have a small studio and big inspiration
than a big studio and no inspiration.
My wheel and kiln were always very much revered as having the function that
they were purchased for, taking up the space they require. Throw on the
wheel and fire in the kiln. All that is changed now until quieter times.
Putting the splash pan on the wheel makes a very nice support for a wooden
board. A covered wheel has many good uses and is a great use of otherwise
limited space. Instead of using my table (which is now gone for the season)
I wedge clay on my covered wheel. Since the wheel is low, I sit down.
Never sat and wedged before. But it is comfortable. I assume my "throwing
back" and wedge. No stress on my back. It seems that I am wedging the clay
more thoroughly these days, because it is as comfortable as sitting down to
throw. I also use the covered wheel to work on additions to pots, like
handles, decorating, etc. Nice height as well when sitting on throwing
stool.
Covering the wheel this way also leads to less temptation from the public to
may be turn the powerless wheel head or whatever they may do when I am not
in the studio.
My kiln is a top loader. The diameter is quite big and the top of the kiln
is at a good height to easily lift off a board of pots. When the kiln is
cool, I put a board up there also and let pots stiffen up over night.
Presto, more shelf space.
Now, all this sounds of course nuts if you have a lot of space. But if
space is limited and the activity in the studio suddenly increases for a
couple of months, you may be able to cope with some extra moving of boards
around to create the temporary space needed. I have worried that somehow I
am damaging my wheel and kiln by using them as work and pot resting areas.
But the splash pan keeps the board off the wheel head. The boards on top of
the kiln lid are just sitting there. So, I would appreciate if anyone has
any reasons for me not to do this! Please before I wreck anything.
Otherwise, I am sort of pleased that with a little more physical effort, I
have the space I need for now.
Another topic..
Greece. A lot of inspiration.
We rented a sail boat and sailed around the Cyclades. Claus skippered and
Helene and I did everything else like
rest, eat a lot, swim, go into port. The hard stuff.
There were so many pottery shops. Every tiny island had lots and lots of
ceramics. Most earthenware, very colorful majolica. Here and there I found
some tiny shops like my own. The work was really great, lots of variety of
stoneware. Nice people to talk to and I brought home a couple of things
that I liked and liked the people who made them. It is great to get out
there sometimes and see work made by people with completely different
backgrounds than myself. There are many inspirational ideas not only in the
pottery, but in the architecture and general surroundings. The roof tops
often have terracotta figures and heads on the them. The churches have an
enormous variety of cutouts in the clock towers and windows of all shapes.
Many ideas for decorating.
I have visited many of the Greek islands when I worked on big ships, going
ashore as "crew". That usually meant the nearest beach and coffee shop.
This was a totally different experience, sailing on a boat and looking at
Greece through a potter's eyes.
So, back to work.
regards from Alisa in Denmark
A true Danish homecoming with rain and wind.
But glad to get back.
____________________________________________________________________________
__
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.
Catherine White on mon 28 oct 02
I do place things on top of my electric kiln, but I have a 1" thick circle
of plywood that extends fully to the edges setting atop it. I would not pile
excessively heavy loads atop it such as 50# bags of chemicals, etc.
Best wishes,
Catherine in Yuma, AZ
My inability to emulate ends up in originality.
----- Original Message -----
From: "claybair"
To:
Sent: Monday, October 28, 2002 2:51 PM
Subject: Re: Compromising the studio/Greece trip
> Alisa,
> At a Lana Wilson workshop one of her
> tips was to never put anything on the kiln lid.
> She talked about how easy it is to damage it
> by placing any weight on it.
> So I don't anymore.
>
> Gayle Bair
> Bainbridge Island, WA
> http://claybair.com
>
> -----Original Message-----
> From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
> Behalf Of Alisa Liskin Clausen
> Sent: Monday, October 28, 2002 11:53 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Compromising the studio/Greece trip
>
>
> Dear Clayart,
> Life the last month has been non stop on the go. A sudden trip to NY.
When
> things there with my father got better, I came home time to go on our
> family vacation. It is nice to be home to the everyday again.
>
> It is now full gas up to Christmas in the studio/shop. I needed more
space
> but my income cannot support more rent. It seems that necessity is the
> mother of invention! People sometimes comment that my studio is so small.
> It is bigger now since I have moved, but still modest. My standard
comment
> (usually to myself) is better to have a small studio and big inspiration
> than a big studio and no inspiration.
>
> My wheel and kiln were always very much revered as having the function
that
> they were purchased for, taking up the space they require. Throw on the
> wheel and fire in the kiln. All that is changed now until quieter times.
> Putting the splash pan on the wheel makes a very nice support for a wooden
> board. A covered wheel has many good uses and is a great use of otherwise
> limited space. Instead of using my table (which is now gone for the
season)
> I wedge clay on my covered wheel. Since the wheel is low, I sit down.
> Never sat and wedged before. But it is comfortable. I assume my
"throwing
> back" and wedge. No stress on my back. It seems that I am wedging the
clay
> more thoroughly these days, because it is as comfortable as sitting down
to
> throw. I also use the covered wheel to work on additions to pots, like
> handles, decorating, etc. Nice height as well when sitting on throwing
> stool.
>
> Covering the wheel this way also leads to less temptation from the public
to
> may be turn the powerless wheel head or whatever they may do when I am not
> in the studio.
>
> My kiln is a top loader. The diameter is quite big and the top of the
kiln
> is at a good height to easily lift off a board of pots. When the kiln is
> cool, I put a board up there also and let pots stiffen up over night.
> Presto, more shelf space.
>
> Now, all this sounds of course nuts if you have a lot of space. But if
> space is limited and the activity in the studio suddenly increases for a
> couple of months, you may be able to cope with some extra moving of boards
> around to create the temporary space needed. I have worried that somehow
I
> am damaging my wheel and kiln by using them as work and pot resting areas.
> But the splash pan keeps the board off the wheel head. The boards on top
of
> the kiln lid are just sitting there. So, I would appreciate if anyone has
> any reasons for me not to do this! Please before I wreck anything.
>
> Otherwise, I am sort of pleased that with a little more physical effort, I
> have the space I need for now.
>
> Another topic..
> Greece. A lot of inspiration.
> We rented a sail boat and sailed around the Cyclades. Claus skippered and
> Helene and I did everything else like
> rest, eat a lot, swim, go into port. The hard stuff.
>
> There were so many pottery shops. Every tiny island had lots and lots of
> ceramics. Most earthenware, very colorful majolica. Here and there I
found
> some tiny shops like my own. The work was really great, lots of variety
of
> stoneware. Nice people to talk to and I brought home a couple of things
> that I liked and liked the people who made them. It is great to get out
> there sometimes and see work made by people with completely different
> backgrounds than myself. There are many inspirational ideas not only in
the
> pottery, but in the architecture and general surroundings. The roof tops
> often have terracotta figures and heads on the them. The churches have an
> enormous variety of cutouts in the clock towers and windows of all shapes.
> Many ideas for decorating.
>
> I have visited many of the Greek islands when I worked on big ships, going
> ashore as "crew". That usually meant the nearest beach and coffee shop.
> This was a totally different experience, sailing on a boat and looking at
> Greece through a potter's eyes.
>
> So, back to work.
> regards from Alisa in Denmark
> A true Danish homecoming with rain and wind.
> But glad to get back.
>
>
____________________________________________________________________________
> __
> 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.
Catherine White on mon 28 oct 02
Not entirely on topic, but we are placing heavy steel circles (the diameters
of the kilns) underneath both of them between the kiln and stand to better
support the bottoms.
Best wishes,
Catherine in Yuma, AZ
My inability to emulate ends up in originality.
----- Original Message -----
From: "claybair"
To:
Sent: Monday, October 28, 2002 2:51 PM
Subject: Re: Compromising the studio/Greece trip
> Alisa,
> At a Lana Wilson workshop one of her
> tips was to never put anything on the kiln lid.
> She talked about how easy it is to damage it
> by placing any weight on it.
> So I don't anymore.
>
> Gayle Bair
> Bainbridge Island, WA
> http://claybair.com
>
> -----Original Message-----
> From: Ceramic Arts Discussion List [mailto:CLAYART@LSV.CERAMICS.ORG]On
> Behalf Of Alisa Liskin Clausen
> Sent: Monday, October 28, 2002 11:53 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Compromising the studio/Greece trip
>
>
> Dear Clayart,
> Life the last month has been non stop on the go. A sudden trip to NY.
When
> things there with my father got better, I came home time to go on our
> family vacation. It is nice to be home to the everyday again.
>
> It is now full gas up to Christmas in the studio/shop. I needed more
space
> but my income cannot support more rent. It seems that necessity is the
> mother of invention! People sometimes comment that my studio is so small.
> It is bigger now since I have moved, but still modest. My standard
comment
> (usually to myself) is better to have a small studio and big inspiration
> than a big studio and no inspiration.
>
> My wheel and kiln were always very much revered as having the function
that
> they were purchased for, taking up the space they require. Throw on the
> wheel and fire in the kiln. All that is changed now until quieter times.
> Putting the splash pan on the wheel makes a very nice support for a wooden
> board. A covered wheel has many good uses and is a great use of otherwise
> limited space. Instead of using my table (which is now gone for the
season)
> I wedge clay on my covered wheel. Since the wheel is low, I sit down.
> Never sat and wedged before. But it is comfortable. I assume my
"throwing
> back" and wedge. No stress on my back. It seems that I am wedging the
clay
> more thoroughly these days, because it is as comfortable as sitting down
to
> throw. I also use the covered wheel to work on additions to pots, like
> handles, decorating, etc. Nice height as well when sitting on throwing
> stool.
>
> Covering the wheel this way also leads to less temptation from the public
to
> may be turn the powerless wheel head or whatever they may do when I am not
> in the studio.
>
> My kiln is a top loader. The diameter is quite big and the top of the
kiln
> is at a good height to easily lift off a board of pots. When the kiln is
> cool, I put a board up there also and let pots stiffen up over night.
> Presto, more shelf space.
>
> Now, all this sounds of course nuts if you have a lot of space. But if
> space is limited and the activity in the studio suddenly increases for a
> couple of months, you may be able to cope with some extra moving of boards
> around to create the temporary space needed. I have worried that somehow
I
> am damaging my wheel and kiln by using them as work and pot resting areas.
> But the splash pan keeps the board off the wheel head. The boards on top
of
> the kiln lid are just sitting there. So, I would appreciate if anyone has
> any reasons for me not to do this! Please before I wreck anything.
>
> Otherwise, I am sort of pleased that with a little more physical effort, I
> have the space I need for now.
>
> Another topic..
> Greece. A lot of inspiration.
> We rented a sail boat and sailed around the Cyclades. Claus skippered and
> Helene and I did everything else like
> rest, eat a lot, swim, go into port. The hard stuff.
>
> There were so many pottery shops. Every tiny island had lots and lots of
> ceramics. Most earthenware, very colorful majolica. Here and there I
found
> some tiny shops like my own. The work was really great, lots of variety
of
> stoneware. Nice people to talk to and I brought home a couple of things
> that I liked and liked the people who made them. It is great to get out
> there sometimes and see work made by people with completely different
> backgrounds than myself. There are many inspirational ideas not only in
the
> pottery, but in the architecture and general surroundings. The roof tops
> often have terracotta figures and heads on the them. The churches have an
> enormous variety of cutouts in the clock towers and windows of all shapes.
> Many ideas for decorating.
>
> I have visited many of the Greek islands when I worked on big ships, going
> ashore as "crew". That usually meant the nearest beach and coffee shop.
> This was a totally different experience, sailing on a boat and looking at
> Greece through a potter's eyes.
>
> So, back to work.
> regards from Alisa in Denmark
> A true Danish homecoming with rain and wind.
> But glad to get back.
>
>
____________________________________________________________________________
> __
> 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.
Elca Branman on mon 28 oct 02
I ONLY put pots around the edges of the lid, never in the center. The
edges are well supported, dry out those pots you are dying to get into
the bisque the next day, and dry them from the bottom up..
Okay, I'm bad, but I was born impatient.
Elca
On Mon, 28 Oct 2002 13:51:44 -0800 claybair writes:
> Alisa,
> At a Lana Wilson workshop one of her
> tips was to never put anything on the kiln lid.
> She talked about how easy it is to damage it
> by placing any weight on it.
> So I don't anymore.
>
> Gayle Bair
> Bainbridge Island, WA
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