workshops at emu

updated sun 30 mar 03

Diana Pancioli on sat 29 mar 03

Eastern Michigan University recently hosted Frank Martin in a one day
workshop. He was GREAT! The following week Xiao Ping Luo and his wife
Jun Ya gave a workshop for us. They too were GREAT! Just wanted you
to know. I am always amazed at how energizing it is to have potters
visit and show us their very personal ways of working. Thanks to the
three of them.
I recommend them highly.

Sincerely,

Diana Pancioli


Automatic digest processor wrote:


>There are 82 messages totalling 3433 lines in this issue.
>
>Topics of the day:
>
> 1. Fw: Paper Clay..Dangerous?
> 2. Ponder this
> 3. The Natural Life Cycle of Mailing Lists
> 4. Paper Clay..Dangerous? (6)
> 5. blue celadons
> 6. Rehydrating greenware (10)
> 7. You say chino, I say shino...(Taylor's curiousity, and some
digresive
> Apologia in the abstract...)
> 8. LINDA BLOSSOM WORKSHOP (2)
> 9. My "weary of the news" project.
> 10. Glaze problems (3)
> 11. Bailey's Green Breaking Ochre Cone6?
> 12. Working and war (4)
> 13. Lucie Rie's big feet
> 14. Colored Slip
> 15. You say chino, I say shino...( Offensive Terminology..)
> 16. Linda Blossom Workshop on Puget Saound
> 17. Oy and oops (2)
> 18. handle-ability, WAS Re: Rehydrating greenware (2)
> 19. bleach
> 20. discretion
> 21. ink jet ceramic decals- some success (3)
> 22. Kohler, Production, & Making Art (2)
> 23. Zinc Oxide in Reduction?
> 24. Suspicious Glaze Materials Wanted (2)
> 25. johnson kiln: plans
> 26. working and war (2)
> 27. "glaze test for...."
> 28. A show at Williamsburg Art & Hiostorical Center in NY
> 29. Workshops? Mackinac Island, Michigan
> 30. breasts, bellies and industrial production
> 31. Follow-Up: Rehydrating greenware
> 32. Art and War - hiding in the sand
> 33. Are we Potters or Protesters? - we are connected!
> 34. Venue for selling poured ceramics molds
> 35. trisodium phosphate
> 36. paperclay dangerous?
> 37. Moose Creek Spar and Blue Celadons
> 38. Of peace and war from the grip guy. (2)
> 39. job @ pewabic pottery
> 40. throwing dry - getting started
> 41. ClayArt IDs
> 42. Venting myself
> 43. Clay and silicone
> 44. Rehydrate or recycle
> 45. Glaze recipe books (2)
> 46. Niki de St.Phalle (2)
> 47. Canadian chalice makers
> 48. "You Might Be A Potter If....." poster
> 49. clay/bombs
> 50. Can I change my kiln's temp?
> 51. Paper Clay..Dangerous?--better than colodial Silver
> 52. Discussion on Clayart
>
>________________________________________________________________________
______
>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, 27 Mar 2003 08:28:56 +0200
>From: Ababi
>Subject: Re: Fw: Paper Clay..Dangerous?
>
>Hello Jean
>I will not try to be smart. When I worked with animals I knew, I should
consult from
>time to time with a laboratory.
>You better pay some Rands, and stay healthy, we have enough other ways
to be sick!
>About paperclay. I make my own If you want I shall E mail you my
booklet or you can
>see most of it in my site.
>I keep the fresh paperclay in the fridge and for long periods I dry
it. When you get
>answers from people try to find out where they live.
>My Canadian fellows might have a better paperclay-keeping weather.
>Your fungus is not necessarily the same as mine. One thing is sure when
the
>claybody stinks and blacken from the inside it is no longer paperclay
but garbage
>clay!
>Ababi Sharon
>Glaze addict
>Kibbutz Shoval Israel
>About paperclay :
>http://members4.clubphoto.com/ababi306910/803792/
>Similar in Hebrew
>http://members4.clubphoto.com/ababi306910/839502/
>
>---------- Original Message ----------
>
>>-----Original Message-----
>>From: Jean Mitton
>>To: CLAYART@CERAMICS.ORG
>>Date: Wednesday, March 26, 2003 8:53 PM
>>Subject: Paper Clay..Dangerous?
>
>
>> In our local ceramic magazine in an article on Paper Clay, the
following staement
>was made
>>
>> " Do not store Paper Clay for a long period, as it develops a
mould that is very
>dangerous"
>>
>> I have seen posts that advice the use of household bleach to combat
the odour,
>but I may have
>>
>>missed posts on the dangers. My question is..... Does anyone know how
danferous
>this is? ....
>>
>>And is bleach the cure, or can you not store Paper Clay?
>>
>>RON MITTON
>>SOUTH AFRICA
>
>------------------------------
>
>Date: Wed, 26 Mar 2003 21:06:28 -0800
>From: Mark Heimann
>Subject: Ponder this
>
>Here's some food for thought. Not an opinion or rant, just what
happened =
>:
>
>When in England at a fairly large conference, Colin Powell was asked by
=
>the Archbishop of Canterbury if our plans for Iraq were just an example
=
>of empire building by George Bush.
>
>He answered, "Over the years, the United States has sent many of its =
>fine young men and women into great peril to fight for freedom beyond =
>our borders. The only amount of land we have ever asked for in return is
>enough to bury those that did not return."
>
>.......It became very quiet in the room.
>
>
>
>-- Great to see so many of you at NCECA! Thanks to the Mayor and all
the =
>other folks that make Clayart happen..... =20
>
>Mark Heimann
>
>Estacada, OR
>
>p.s. I still like peanut butter=20
>
>www.oregonpotters.org/heimann.htm
>
>------------------------------
>
>Date: Wed, 26 Mar 2003 22:42:04 -0700
>From: Connie Christensen
>Subject: The Natural Life Cycle of Mailing Lists
>
>(Note: I found this while searching for life on the internet. It was
posted
>to a list in 1995 and had been taken from a post to Gleason Sackman's
>Net-Happenings. That's as close as I can get to it's origin.)
>
>-Connie
>
>
>THE NATURAL LIFE CYCLE OF MAILING LISTS
>
>Every list seems to go through the same cycle:
>
>1. Initial enthusiasm (people introduce themselves, and gush a lot
about how
>wonderful it is to find kindred souls).
>
>2. Evangelism (people moan about how few folks are posting to the list,
and
>brainstorm recruitment strategies).
>
>3. Growth (more and more people join, more and more lengthy threads
develop,
>occasional off-topic threads pop up)
>
>4. Community (lots of threads, some more relevant than others; lots of
>information and advice is exchanged; experts help other experts as well
as
>less experienced colleagues; friendships develop; people tease each
other;
>newcomers are welcomed with generosity and patience; everyone---newbie
and
>expert alike---feels comfortable asking questions, suggesting answers,
and
>sharing opinions)
>
>5. Discomfort with diversity (the number of messages increases
dramatically;
>not every thread is fascinating to every leader; people start
complaining
>about the signal-to-noise ratio; person 1 threatens to quit if *other*
>people don't
>limit discussion to person 1's pet topic; person 2 agrees with person 1;
>person 3 tells 1 & 2 to lighten up; more bandwidth is wasted complaining
>about off-topic threads than is used for the threads themselves;
everyone
>gets annoyed)
>
>6a. Smug complacency and stagnation (the purists flame everyone who
asks an
>'old' question or responds with humor to a serious post; newbies are
>rebuffed; traffic drops to a doze-producing level of a few minor
issues; all
>interesting discussions happen by private email and are limited to a few
>participants; the purists spend lots of time self-righteously
congratulating
>each other on keeping off-topic threads off the list)
>
>OR
>
>6b. Maturity (a few people quit in a huff; the rest of the participants
stay
>near stage 4, with stage 5 popping up briefly every few weeks; many
people
>wear out their second or third 'delete' key, but the list lives
contentedly
>ever after)
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 08:18:15 +0100
>From: Russel Fouts
>Subject: Re: Paper Clay..Dangerous?
>
>Jean
>
>>> "Do not store Paper Clay for a long period, as it develops a mould
that is very dangerous" <<
>
>I got some data from Health and Safety Consultant to the Arts Monona
>Rossol a few years back. There are some molds that grow on celulose that
>can be very dangerous. This can make the paperclay dangerous. Also, many
>people have allergies to molds, which paperclay grows a lot of.
>
>Bleach helps but the effect wears off. I've found that a product
>available here called "Thymol" works better. It's comes in crystal form,
>a couple of small crystals disolved in water will treat a LOT of
>paperclay for a long time.
>
>Thymol can also be hazardous, libraries use the crystals in a fumigation
>box to treat interlibrary loans for book damaging bugs.
>
>I'm pretty sure that comercially made paperclay must contain fungicides
>to prevent the mold because people report that it usually doesn't mold
>as quickly.
>
>The best thing is to make up and use the paperclay quickly so it doesn't
>have a chance to mold. Storing dry is better than storing wet. I've
>found that storing it and using it as a slop is best (for my purposes)
>
>Russel
>
>--
>
> Russel Fouts
> Mes Potes & Mes Pots
> Brussels, Belgium
> Tel: +32 2 223 02 75
> Mobile: +32 476 55 38 75
>
> Http://www.mypots.com
> Home of "The Potters Portal"
> Over 1800 Pottery Links!
> Updated frequently
>
> "Is the Hokey Pokey really what it's all about?"
>
>------------------------------
>
>Date: Wed, 26 Mar 2003 23:14:08 -0800
>From: Craig Martell
>Subject: blue celadons
>
>Hi:
>
>I'm trying to answer a lot of questions about my last post in one email
so
>I don't crash Clayart.
>
>Linda wanted to know if iron and titanium in a clay would make a celadon
>green instead of blue. If it's a good blue celadon some iron and
titanium
>in the body won't make the glaze green but it will grey the glaze where
it
>runs and thins out over an edge or raised texture. The main reason that
>many celadons are green instead of blue is that the potassium is too
low in
>the glaze.
>
>Matt wanted to know about the macaloid as a suspender. It works very
well
>and these glazes haven't developed into a hard mass at the bottom of the
>glaze bucket. Ball milling helps too because it homogenizes the
particle
>size to a certain degree. There's enough Al2O3 in this glaze to add
clay
>so that's why there isn't any, just macaloid.
>
>As for your question about wollastonite, I tried it in some of the
celadons
>because it has a very low LOI. Whiting is a little more than 44% LOI
and
>this will sometimes cause bubbles from CO2 escaping from the glaze.
It's
>not that big a deal though and the celadons with whiting will sometimes
>have small bubbles that actually enhance the glaze. It's a matter or
choice.
>
>Barbara wanted to know if it's OK to use bentonite instead of Macaloid.
It
>probably won't effect the blue too much but I've not used bentonite in
>these glazes so I can't say for sure. Try it and see what the glaze is
>like. This glaze has no clay so you want something that will give good
>suspension and macaloid, vee gum T, or vee gum cer will work a lot
better
>than bentonite. But, again, give it a try.
>
>I'll try and get to the "off list": posts I've received tomorrow. I had
>some trouble getting online today and I had to take time out to make
pots
>:>) so I'm a bit slow.
>
>regards, Craig Martell Hopewell, Oregon
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 00:33:09 -0800
>From: Michael Wendt
>Subject: Re: Rehydrating greenware
>
>Steven,
>Strange this comes up now. Three weeks ago, I forgot to put some
pitchers
>away that were ordered and on short deadline. I got out the spray
bottle and
>lightly sprayed the surfaces with a fine mist, left the pitchers and
came
>back for the next hour every 5-10 minutes, each time lightly misting
the dry
>pots. In about and hour, they were reasonably uniform in moisture, took
>handles beautifully and took far less time to mist than it would have
taken
>to make new ones. They went through bisque and glaze fine and the
handles
>were flawless too, so I have added this rescue option to my repertoire.
>Try it, you have nothing to lose.
>Regards,
>Michael Wendt wendtpot@lewiston.com
>Wendt Pottery
>2729 Clearwater Avenue
>Lewiston, Idaho 83501
>1-208-746-3724
>wendtpottery.com
>Steven wrote:
>I need help....
>
>I tried to rehydrate some pieces that I totally forgot to cover.
>They are bone dry. I wrapped them with damp newspaper and a towel,
>but overnight only the outside got sufficiently damp to do trimming.
>The inside is damp, but not as damp as the outside.
>
>Is there a trick to doing this or what?
>
>***************************************************
>Steven D. Lee
>
>------------------------------
>
>Date: Wed, 26 Mar 2003 23:45:20 -0800
>From: pdp1@EARTHLINK.NET
>Subject: Re: You say chino, I say shino...(Taylor's curiousity,
> and some digresive Apologia in the abstract...)
>
>Dear Taylor,
>
>Good mentions here - good logic.
>
>Maybe some of what got this slideing sideways, is that I had
>not refered 'to' the "Land of the Rising Sun" nor to the
>People...
>
>Rather, I had refered to the 'market' by the term it was
>usually called by the people in it.
>
>I was not in it, I knew people who were.
>
>The 'market'...not the Nation, or the People...
>
>The market was an abstraction, and little Love was 'lost' on
>either 'side' of it...or, less was 'found'.
>
>Anyway...
>
>Maybe sometimes the 'messenger' gets shot...or winged,
>anyway...or may be asked implicitly to give some
>account...that is fine.
>
>(...laughing...)
>
>Thanks for the fun...and for the well intended concern.
>
>This IS an engageing and curious topic, and I wish it were
>easier to deal with it in the deapth it deserves!
>
>Maybe in bits and pieces, now and then...we can.
>
>It is important...
>
>Your pal,
>
>Phil
>Las Vegas
>
>----- Original Message -----
>From: "Hendrix, Taylor J."
>To:
>Sent: Tuesday, March 25, 2003 5:52 PM
>Subject: Re: You say chino, I say shino
>
>
>Phillip,
>
>You gotta know b'now that I don't shortn' words unless
>Absolutely necess. BTW, Brits, Aussies, Canucks, Norskis,
>Hollanders,
>and others were not targets of such strong perjoration in
>our most
>recent past as were the Japanese. (Hey you Brits! Been over
>200 years
>now. Love ya.) Since you're my elder, you get to say
>whatever you want
>and I can't say notin' 'bout it. In my most humble of
>oppinions,
>however, reference to the land of the rising sun and the
>people thereof
>is best done with the full form of the word.
>
>Hehe
>
>By the by, very nice vest and tie at NCECA; saw some pics
>(not Picts!).
>
>Taylor, in Waco
>
>
>-----Original Message-----
>From: pdp1@EARTHLINK.NET [mailto:pdp1@EARTHLINK.NET]
>Sent: Tuesday, March 25, 2003 1:56 PM
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: You say chino, I say shino
>
>
>Dear Taylor,
>
>Why uncomfortable?
>
>...
>
>____________________________________________________________
>__________________
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your
>subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
>
>------------------------------
>
>Date: Wed, 26 Mar 2003 22:38:31 -0800
>From: terry sullivan
>Subject: Re: LINDA BLOSSOM WORKSHOP
>
>Re: ClaySpace on Puget Sound
>presents
>
>LINDA BLOSSOM
>"ARCHITECTURAL CERAMICS: TILES & SINKS"
>MAY 10-11, 2003
>9 am to 5 pm
>Fee: $150
>
>If you can get to this workshop, then do it ! Linda is a fantastic
>artist, especially with glazes and achitectural ceramics. The stuff she
>does with layered glazes it truely beautiful. She really knows her stuff
>when it comes to tiles, murals, sinks, and such.
>I've seen lots of her work and it is very good. Linda is a good teacher,
>a wonderful person, and a gifted ceramist.
>
>Terry Sullivan
>Nottingham Arts
>www.nottinghamarts.org
>
>------------------------------
>
>Date: Wed, 26 Mar 2003 23:45:56 -0800
>From: pdp1@EARTHLINK.NET
>Subject: Re: My "weary of the news" project.
>
>My 'weary-of-the-newz' projects..began around the time of
>the "Bi-Centennial" debacles
>('buy-centennial-sell-centennial' etc.,) which about cured
>me of
>these and kindred afflictions.
>
>...went on from there...
>
>
>Phil
>Las Vegas
>
>
>----- Original Message -----
>From:
>To:
>Sent: Wednesday, March 26, 2003 8:34 PM
>Subject: Re: My "weary of the news" project.
>
>
>> In a message dated 3/26/2003 7:57:09 PM Pacific Standard
>Time,
>> elizabeth01@ALLTEL.NET writes:
>>
>> > http://photos.yahoo.com/myhandsinclay>
>> > photos.yahoo.com/myhandsinclay
>> >
>>
>>
>____________________________________________________________
>__________________
>> Send postings to clayart@lsv.ceramics.org
>>
>> You may look at the archives for the list or change your
>subscription
>> settings from http://www.ceramics.org/clayart/
>>
>> Moderator of the list is Mel Jacobson who may be reached
>at melpots@pclink.com.
>
>------------------------------
>
>Date: Wed, 26 Mar 2003 23:17:14 -0800
>From: Snail Scott
>Subject: Re: Rehydrating greenware
>
>At 08:44 PM 3/26/03 -0000, you wrote:
>>I tried to rehydrate some pieces that I totally forgot to cover.
>>They are bone dry. I wrapped them with damp newspaper and a towel,
>>but overnight only the outside got sufficiently damp to do trimming.
>>The inside is damp, but not as damp as the outside.
>
>
>
>This can be really tough. It works better if the
>stuff's not completely dry. Otherwise, some clays
>(though not all) just fall apart when rehydrated.
>I have the best luck by wrapping any overly-stiff
>pieces in soft knit cloth, like cotton sweatshirt
>material. (Natural fibers hold the moisture best,
>knits conform well to the contours of the clay,
>and you want a cloth thick enough to hold a fair
>amount of water.) Tuck the damp fabric around the
>clay, getting maximum surface contact everywhere
>possible. Wrap the whole thing in plastic, and
>wait. Check the next day, and if the fabric had
>dried a bit, spray the whole thing with a squirt
>bottle. Repeat periodically until the clay is the
>consistency you need. Different clays will reabsorb
>water at different rates, and some clays tolerate
>rehydration better than others.
>
>For large sculpture, this can be the salvation of
>a month's work. Here in the desert climate a work-
>break of just a few days can leave some parts too
>dry to finish even if well-wrapped, and a day of
>unwrapped studio time can put a whole piece past
>the workable stages of dampness.
>
>For pottery, though, I question whether the effort
>would be the best use of your time, especially if
>they are truly bone-dry. Most clays can be brought
>back from the brink of stiff leather-hard, even if
>the color has started to change a bit, but some will
>lose their structural integrity when rewetted after
>they're fully dry. If it's just a few pieces, let
>'em go.
>
>Are these pieces just lacking the trimming? Try
>wetting just the relevant surface before you trim.
>Then trim off the softened areas, and re-wet just
>the areas that need more work. This will usually
>allow you to trim to the proper contour, though
>you won't be able to compress the surface as you
>would if it were leather-hard throughout.
>
> -Snail
>
>p.s. I've refrained from commenting for the past
>few days, to help reduce the total volume of posts.
>Then I decided it's stupid to let the political
>comments displace the ceramic ones. Surely those
>folks discussing the relative merits of off-topic
>threads never meant for them to elbow out the clay-
>related discussion, but it has happened, even so.
>
> -S.
>
>------------------------------
>
>Date: Wed, 26 Mar 2003 23:16:10 -0800
>From: Snail Scott
>Subject: Re: Rehydrating greenware
>
>At 05:47 PM 3/26/03 -0800, you wrote:
>> A student of mine used the wet rag/paper towel and plastic trick. The
>piece was relatively thin, but he re-wet it slowly so that it wouldn't
>crumble. It worked fine, except for one thing. Huge blisters appeared
all
>over the covered area. They looked like pockets of air.
>
>
>Sounds like the clay on the outside rehydrated and
>expanded, forcing it to split away from the still-
>dry layers underneath. I'll bet it was a thrown piece,
>or a slab piece made by folding and re-folding the
>clay, resulting in a very laminar structure.
>
> -Snail
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 07:34:14 -0500
>From: Valerie Hawkins
>Subject: Re: Glaze problems
>
>Are you using witness cones? My kiln overfires when using R&J's firing
>schedule. I've dropped back my top temp. Also, I found that some of my
>glazes look better when fast fired, so I've seperated my glazes into two
>groups for firing purposes.
>
>Valerie
>Charlotte
>
>
>
>-----Original Message-----
>From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG]On Behalf Of funkfamily
>Sent: Wednesday, March 26, 2003 9:27 PM
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Glaze problems
>
>
>Hi everyone- I'm a pretty new potter, still doing it mostly as a hobby,
with
>a "real" job to pay the bills. I just started mixing my own glazes last
>fall, and I one of the first I tried was "Blue Hare's Fur". It came out
>gorgeous the first few times I fired it. Then I tried a recipe for
>"Blueberry" that uses Randi's red base and colored with cobalt oxide and
>black nickel oxide. I had used it before with great results. I
thought I
>had two great glazes to work with. So, in the meantime, I had bought
>"Mastering Cone 6 Glazes" and was reading about programming the kiln for
>slower cooling.
> So, all of a sudden I have these problems. On slow cooling, Blue
hare's
>fur loses its beautiful deep blue variation and goes really pale blue
with
>poop green undertones. But also, the blueberry is showing blisters
like the
>worst case of acne you can imagine! I tried the next kiln with normal
>cooling after the pre-programmed cone 6 firing, blue hare's fur got
most of
>the color back, but now it's full of pinholes, and the blueberry is no
>better! There's one other variable to consider, that I got a different
>batch of gerstley from another source. Could that be the problem?
> To make matters worse, I have lost the Mastering Cone 6 Glazes
book, I
>had tried a few of the non-gerstley glazes and I know that I should be
going
>in that direction, but I liked these two glazes so much! Can anyone
offer
>any insight?
>
>________________________________________________________________________
____
>__
>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, 27 Mar 2003 06:27:42 -0500
>From: ranmcc
>Subject: Bailey's Green Breaking Ochre Cone6?
>
>Has anyone tried the above glaze? How did it turn out? How thick did
you
>apply?
>
>Randy
>South Carolina
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 07:24:10 -0500
>From: Valerie Hawkins
>Subject: Re: Rehydrating greenware
>
>I'm just getting back to the list, so I hope I'm not repeating a
solution
>already offered.
>
>Something I read somewhere but have not tried....
>
>You can make a 'rehydrating box' by pouring some plaster into the
bottom of
>a cooler (make sure the cooler can be sealed well). Once your plaser
has
>cured, super saturate it . - make sure there is no standing water. Set
your
>pieces in the cooler and seal.
>
>Supposedly, they will absorb the humidity in the cooler and return to a
>leather hard state.
>
>Valerie
>Charlotte
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 08:03:03 EST
>From: Susan Setley
>Subject: Re: Paper Clay..Dangerous?
>
>In a message dated 3/27/03 5:32:01 AM, russel.fouts@SKYNET.BE writes:
>
><< Bleach helps but the effect wears off. I've found that a product
>available here called "Thymol" works better. It's comes in crystal form,
>a couple of small crystals disolved in water will treat a LOT of
>paperclay for a long time. >>
>
>"Bleach helps but the effect wears off. I've found that a product
>available here called "Thymol" works better. It's comes in crystal form,
>a couple of small crystals disolved in water will treat a LOT of
>paperclay for a long time."
>
>Does that have mercury in it?
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 07:36:50 -0600
>From: Arnold Howard
>Subject: Re: Working and war
>
>I believe artists are especially empathetic. They pick up the feelings
>of others. If you listen to too much news, you can get dragged down
>needlessly.
>
>I had been listening to NPR, because it gave commercial-free, constant
>news of the war. But it dragged me down, so I stopped listening. It is
>amazing how the mind itself is like a radio. Whatever you tune into
>becomes very real for you. If the war is raising your anxiety level,
>then stop listening to the news.
>
>Sincerely,
>
>Arnold Howard
>Paragon Industries, L.P.
>www.paragonweb.com
>
>
>
>
>
>From: Elca Branman
>> In a convent, as I learned from "The Nun's Story", one of the tasks is
>to
>> be responsible for one's thoughts. When they are innappropriate, it is
>> important to monitor oneself, talk to oneself and say, if necessary
>>
>> "There is nothing I can do right now about this problem. right now.
>> Agoniizing is self indulgence.
>> I will think about this right after dinner.
>> Right now I am going to wedge some clay.
>> I will return to this matter. at 8:00clock".
>>
>> Otherwise you are just like a gerbil on a treadmill, lots of activity,
>no
>> progress... I am not suggesting you try a nunnery;I am suggesting you
>> discipline yourself otherwise your anxiety level simply feeds on
>itself.
>>
>> When there is something to be done, trust yourself to know when and
>> what.Handwringing is not useful for the world nor for you.
>>
>> Elca,(not a Mother Superior,but tough minded..)
>>
>> ..
>> Elca Branman,in Sarasota Florida
>> elcab1@juno.com
>> http://www.elcabranman.com
>>
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 08:26:58 -0500
>From: BRIAN GUFFEY
>Subject: Re: Rehydrating greenware
>
>sounds like a wet-ware-box. i heard the same sort of thing where it is
a=
> wooden box sealed with wax. without the plaster it acts like a
plastic =
>bag keeping the moisture in, with the plaster it was used to
reconstitute=
> the clay. hmm ... perked my interest again with that idea ... need to
ma=
>ke one now. =20
>
>Brian Guffey
>
>----- Original Message -----
>From: Valerie Hawkins
>Sent: Thursday, March 27, 2003 7:48 AM
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: Rehydrating greenware
>
>I'm just getting back to the list, so I hope I'm not repeating a
solution
>already offered.
>
>Something I read somewhere but have not tried....
>
>You can make a 'rehydrating box' by pouring some plaster into the
bottom =
>of
>a cooler (make sure the cooler can be sealed well). Once your plaser
has
>cured, super saturate it . - make sure there is no standing water. Set
y=
>our
>pieces in the cooler and seal.
>
>Supposedly, they will absorb the humidity in the cooler and return to a
>leather hard state.
>
>Valerie
>Charlotte
>
>________________________________________________________________________
_=
>_____
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
melpots@pclin=
>k.com.
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 08:19:26 -0500
>From: BRIAN GUFFEY
>Subject: Re: Rehydrating greenware
>
>How true is that! That would be a lot easier solution to your dilema
the=
>re steven.
>
>Brian Guffey
>
>----- Original Message -----
>From: Les
>Sent: Wednesday, March 26, 2003 10:41 PM
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Re: Rehydrating greenware
>
>Steven -
>
>I had the same problem last week. Tried a few things like you, got
some =
>advice from some "pros".
>I wound up getting a 20 litre (5 gal.) bucket and smashing them to
reclai=
>m. It's quicker and easier to do it that way and then sit down and
throw=
> some more pots. Don't sweat it!
>
>Les Crimp on Vancouver Island.
>lcrimp@shaw.ca
>www.arrowsmithpottersguild.bc.ca
>
>-----Original Message-----
>From: Steven D. Lee
>To: CLAYART@LSV.CERAMICS.ORG
>Date: Wednesday, March 26, 2003 1:54 PM
>Subject: Rehydrating greenware
>
>
>>I need help....
>>
>>I tried to rehydrate some pieces that I totally forgot to cover.
>>They are bone dry. I wrapped them with damp newspaper and a towel,
>>but overnight only the outside got sufficiently damp to do trimming.
>>The inside is damp, but not as damp as the outside.
>>
>>Is there a trick to doing this or what?
>>
>>***************************************************
>>Steven D. Lee
>>SD Pottery - The Little Texas Potter
>>http:\\www.sdpottery.com
>>millenial_age@yahoo.com
>>14341 FM 112
>>Thrall, TX 76578
>>512-898-5195
>>***************************************************
>>
>>________________________________________________________________________
=
>______
>>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@pcli=
>nk.com.
>
>________________________________________________________________________
_=
>_____
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
melpots@pclin=
>k.com.
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 08:15:53 -0500
>From: BRIAN GUFFEY
>Subject: Re: Rehydrating greenware
>
>Generally, you did the right thing. one of the things i ussually try
is,=
> i have this really old microwave. because some of my peices are thick
i=
>n some places, i dunk my pieces in water, wrap them in wet paper towels
a=
>nd triple bag it. i stick it in the microwave for a minute, maybe two.
=
>in effect i steam it. the water in steam form penetrates the bone dry
pi=
>ece alot easier and evenly. though i must warn you, watch the piece
and =
>don't use your regular one ... nasty nasty clay tasting food after
that. =
> works with plastilina as well, only ... the microwave is ONLY usable
for=
> plastilina clay after that ... since its oil based.
>
>Brian Guffey
>
>----- Original Message -----
>From: Steven D. Lee
>Sent: Wednesday, March 26, 2003 5:13 PM
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: Rehydrating greenware
>
>I need help....
>
>I tried to rehydrate some pieces that I totally forgot to cover.
>They are bone dry. I wrapped them with damp newspaper and a towel,
>but overnight only the outside got sufficiently damp to do trimming.
>The inside is damp, but not as damp as the outside.
>
>Is there a trick to doing this or what?
>
>***************************************************
>Steven D. Lee
>SD Pottery - The Little Texas Potter
>http:\\www.sdpottery.com
>millenial_age@yahoo.com
>14341 FM 112
>Thrall, TX 76578
>512-898-5195
>***************************************************
>
>________________________________________________________________________
_=
>_____
>Send postings to clayart@lsv.ceramics.org
>
>You may look at the archives for the list or change your subscription
>settings from http://www.ceramics.org/clayart/
>
>Moderator of the list is Mel Jacobson who may be reached at
melpots@pclin=
>k.com.
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 05:07:49 -0800
>From: Luke Mansell
>Subject: Lucie Rie's big feet
>
>Hi,
>
>One of the problems of the w.w.web is that you can't
>pick things up and see how they are put together - in
>particular a Lucie Rie bowl. How does that big foot
>work? Do you leave a big chunk of clay and turn it out
>after throwing or what?
>
>Any clues gratefully received.
>
>Luke
>
>__________________________________________________
>Do you Yahoo!?
>Yahoo! Platinum - Watch CBS' NCAA March Madness, live on your desktop!
>http://platinum.yahoo.com
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 09:11:06 -0500
>From: Lily Krakowski
>Subject: Re: Colored Slip
>
>Catherine:
>
>I've hesitated because I dislike "advertisements for myself" but if you
look
>at the Winter 1998 Pottery Making Illustrated, Vol 1 #1, you will find a
>long piece on slips. And I do not send this off list because slip is SO
>great, and others may be interested. ALSO PMI has had several articles
on
>slip recently---
>
>
>Catherine White writes:
>
>> Thanks to Chris, Martin, Jeremy, Snail, Lily, and others who gave info
about
>> slip. I made up three batches so far today. I've used washes but am
never
>> quite satisfied with the results. Tomorrow I want to make a large
>> rectangularish platter/dish/sculpture that's ragged, rugged, artistic,
>> slip-decorated. I want to do something unplanned and uninhibited. I've
>> planned my impulsivity very carefully. :-)
>>
>> Catherine in Yuma, AZ
>> Sign outside a church:
>> "About that Love Thy Neighbor thing.....
>> I meant it."
>> Signed: God
>>
>>
________________________________________________________________________
______
>> 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.
>
>
>
>Lili Krakowski
>P.O. Box #1
>Constableville, N.Y.
>(315) 942-5916/ 397-2389
>
>Be of good courage....
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 23:43:44 +0900
>From: Lee Love
>Subject: Re: You say chino, I say shino...( Offensive Terminology..)
>
>----- Original Message -----
>From:
>
>
>> Rather, I had refered to the 'market' by the term it was
>> usually called by the people in it.
>
> FYI: I assure you that economic references using the term "Jap" are
equally
>offensive. I'm on a Japanese-American list that has been petitioning
Ebay to
>stop allowing the use of the term "Jap" in reference to Japanese items
for sale
>(being 'marketed'.) Ebay has recently (within the last couple weeks)
agreed
>to stop using offensive terms and/or allowing the sale of offensive
items,
>related to African-Americans.
>
> Let me give you an example: "Nigger" used in reference to a
market is
>equally as offensive as if it is used related to a people or a place.
Since
>W.W.II, Japanese-Americans have seen the usage of the term "Jap" in a
similar
>way as others see "Nigger", "Chink" or "Gook."
>
> Related to these situations, it isn't so important what _you_
understand
>the term to mean, as it is how it is perceived by the majority of
people the
>term is related to.
>
> We especially need to be careful in these times when
a whole
>category of people (Arabs and Islamic) are not being treated equally.
>
>--
>Lee In Mashiko Ikiru@kami.com
>
>"It is not from ourselves that we learn to be better than we are. "
-Wendell
>Berry-
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 06:48:45 -0700
>From: Marcia Selsor
>Subject: Linda Blossom Workshop on Puget Saound
>
>Re: ClaySpace on Puget Sound
>presents
>
>LINDA BLOSSOM
>"ARCHITECTURAL CERAMICS: TILES & SINKS"
>MAY 10-11, 2003
>9 am to 5 pm
>Fee: $150
>
>Ditto with what Terry said. Linda is knowledgeable, patient, full of
>clever ideas. her glazes are beautiful and her production system is
>awesome.She is also fearless. Who else would solder their pyrometer?
>If you are interested in learning about Tiles and sinks and much more,
>Linda will provide you with the know-how.
>Marcia
>--
>Tuscany in 2003
>http://home.attbi.com/~m.selsor/Tuscany2003.html
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 08:59:42 -0500
>From: Lily Krakowski
>Subject: Oy and oops
>
>Welcome Newbie with open arms. Welcome to the real world of clay.
There is
>nothing anyone can do for you right now. Honest. What you need is a
great
>deal of study and a great deal of experience and then you get to the
point
>where experience+knowledge give you a kind of instinct.
>
>For one: how can you lose a book? No joking. How come? Your glaze
>notebooks and books are your most precious possessions. I have 55 year
old
>ones, and so do all the other long-timers. Get a new Mastering etc Get
it
>now, threaten the rest of FunkFamily with dire punishement if they
touch it.
>Get a good notebook, and know precisely what you did and when and how.
Keep
>notebook under bed.
>
>For two. ALWAYS ALWAYS ALWAYS and EVER--and I've said this endless
times to
>numerous people --keep a jar of every ingredient/material that comes
into
>your studio. Write on the jar: Whiting, 4/'99, Supplier name. These
are
>your controls. When glaze with NEWly acquired material misbehaves you
have
>a control to tell you whether it is that material that is &&^%$ you up.
>ALWAYS ALWAYS AND EVER keep a jar of the glaze you are using (old batch)
>till you have fired and tested the NEW batch. Mark jar "C11, 3/02" .
>Again. If something is amiss you have a control.
>
>As I do not have digital gismos I know nothing about them. Someone who
does
>will have to fine tune that for you.
>
>Be aware however that refiring is NOT innocuous. This is the ancient
law of
>our people: The Law of Reheated Stew. (Also known as The Pot Roast
Law)As
>you know, Stew changes in flavor with each reheating. And the reason is
>that some of the ingredients give up more flavor, or disintegrate/blend
>more thoroughtly, or lose all flavor or something. (Ask Grandma) Your
>glaze ingredients and the clay underneath will change slightly with each
>firing. For one--like the stew--the basic "cooking" no longer needs to
be
>done. The carrots and meat already have gone through the "cooking"
process.
>Whatever you wanted "rare" inevitably comes out well-done; because
initial
>phases of heating do not need to do what they originally needed to do.
>
>While you are ordering a new Mastering from The Potters Shop (no
relation,
>no commercial interest) get yourself BOTH Harry Fraser books. Esp.
Ceramic
>Faults.
>
>NB It may well be the Gerstley Borate. A nasty, ungrateful, wretched
>material as lamentable as faithless lovers. We ALL have shed more
>cursewords and tears on it and its evil cousin Colemanite than you can
>believe. I would go to a frit instanter....always do...
>
>
>
>
>
>
>funkfamily writes:
>
>> Hi everyone- I'm a pretty new potter, still doing it mostly as a
hobby, with a "real" job to pay the bills. I just started mixing my
own glazes last fall, and I one of the first I tried was "Blue Hare's
Fur". It came out gorgeous the first few times I fired it. Then I
tried a recipe for "Blueberry" that uses Randi's red base and colored
with cobalt oxide and black nickel oxide. I had used it before with
great results. I thought I had two great glazes to work with. So, in
the meantime, I had bought "Mastering Cone 6 Glazes" and was reading
about programming the kiln for slower cooling.
>> So, all of a sudden I have these problems. On slow cooling, Blue
hare's fur loses its beautiful deep blue variation and goes really pale
blue with poop green undertones. But also, the blueberry is showing
blisters like the worst case of acne you can imagine! I tried the next
kiln with normal cooling after the pre-programmed cone 6 firing, blue
hare's fur got most of the color back, but now it's full of pinholes,
and the blueberry is no better! There's one other variable to
consider, that I got a different batch of gerstley from another source.
Could that be the problem?
>> To make matters worse, I have lost the Mastering Cone 6 Glazes
book, I had tried a few of the non-gerstley glazes and I know that I
should be going in that direction, but I liked these two glazes so
much! Can anyone offer any insight?
>>
>>
________________________________________________________________________
______
>> 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.
>
>
>
>Lili Krakowski
>P.O. Box #1
>Constableville, N.Y.
>(315) 942-5916/ 397-2389
>
>Be of good courage....
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 06:18:26 -0800
>From: Ned Ludd
>Subject: handle-ability, WAS Re: Rehydrating greenware
>
>Michael Wendt wrote:
>>Three weeks ago, I forgot to put some pitchers
>>away that were ordered and on short deadline. I got out the spray
bottle and
>>lightly sprayed the surfaces with a fine mist, left the pitchers and
came
>>back for the next hour every 5-10 minutes, each time lightly misting
the dry
>>pots. In about and hour, they were reasonably uniform in moisture, took
>>handles beautifully and took far less time to mist than it would have
taken
>>to make new ones. They went through bisque and glaze fine and the
handles
>>were flawless too, so I have added this rescue option to my repertoire.
>>Try it, you have nothing to lose.
>>Regards,
>>Michael Wendt wendtpot@lewiston.com
>
>
>Whoa. I'm impressed. That is some claybody you have, Michael ;->
>Home grown, I'll bet.
>When a too-dry pot is rewetted, as you describe, and gives no problem
>with handles subsequently, it's a clay from heaven. Hosanna! It has
>passed one of the harder tests a mudman can give it. Many American
>commercial clays, in my experience, will give handle headaches if
>less than optimal conditions apply, such as the pot just that little
>bit too hard at handle application, or the drying too fast and not
>even enough, etc etc. By headaches I mean not blatant failures like
>separation from the pot, as much as the appearance of hairline cracks
>at the handle/pot join. They don't even weaken the bond - as I see
>when I break a fired pot - but they make it unsellable save as a
>second. Seconds suck! It can get so discouraging as to put you off
>wanting to make handled pots. I'm referring to pulled handles. Accept
>no substitutes!
>
>That's not even mentioning luting slip. I refuse to mention luting
>slip as I know from gruelling experience that umpteen clayarters with
>_that_ gleam in their eye will lunge for their keyboards and swamp us
>all with Lana Wilson's Magic Water. Again.
>
>Now hear this! I got a beef about claybody descriptions. They almost
>never mention handle-friendliness. Try ordering a clay you plan to
>make lots of handled pots with,from a company catalog with woefully
>short descriptions of their clays, and you'll see what I mean: no
>help at all. I get the impression that those formulating these clays
>and selling them are not concerned with handle performance but focus
>on throwability. Two different things.
>Jon Pacini and other potters in charge at clay companies - have you
>personally pulled handles from all your throwing clays? And joined
>them to pots and checked the results? Some of your customers would
>like to know - it is information that makes a big difference.
>
>best wishes,
>
>Ned in northern california, soon to make as many of his
>pulled-handled pots as he can, while temperate spring weather is here
>and before summer's grilling heat arrives - no friend to handles.
>I've already noticed fewer hassles with pulled handles using Tom
>Coleman porcelain than the commercial fine stoneware-porcelain I used
>till now.
>I gladly second Earl in applauding Tom's impressive porcelain: first
>rate throwability and good translucency at cone ten. Cheers to you,
>Tom!
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 09:41:13 -0500
>From: Lily Krakowski
>Subject: bleach
>
>Just a cautious note. When "we" speak of bleach, I assume it is
chlorine
>bleach, eau de Javelle? Chlorine bleach is not exactly a wonderful
>thing....I mention this ONLY because I haved NO idea how that stuff is
sold
>in far and foreign lands, what warnings are on the bottles etc.
>
>
>
>
>Lili Krakowski
>P.O. Box #1
>Constableville, N.Y.
>(315) 942-5916/ 397-2389
>
>Be of good courage....
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 06:50:03 -0800
>From: Elizabeth Priddy
>Subject: discretion
>
>I appreciate the welcome back from all who have written me off and on
list. Thanks for the support. I will say that my lurking has taught
me that there is usually someone else who will write in and say what I
think. I am more patient and am also exceptionally busy with both a
life, career, and a new website for wholesale supply only. I am back,
but semi-lurking. And I scan/read most all of the posts, digest form.
I agree with Vince that the list should stay free to be what it needs
to be. But I owe a nice brush painted tile to my champion, Taylor.
>
>And I stick by what I said before. Be kind to one another and treat
your fellow clay people with consideration for their personal
circumstance and possible pain of loss by keeping a civil tongue and
some personal discretion about what you "need" to say. Give them the
consideration you give to people you love dearly, because we do all
love each other...at least here...at least as potters...and as Burt
Bacherach so eloquently said "what the world needs now..."
>
>Yes, I am listening to hokey 70's music and playing it on the guitar.
I am looking through my music books for gently protesting songs to play
at our local music jam at the coffee shop. Helping my apprentice
figure out how to work and stay sane through this has helped me figure
it out for myself. The TV is off, the once a day newsreader is on.
And coming here is one damn good way to escape to sanity and peace.
>
>A little queezy in NC...
> Jeanie wrote:.... Who would want to endanger
that(at a time
>when so much is in danger) for the queezy pleasure of s eeing your own
>disembodied opinions dance across a computor screen?
>
>
>
>---------------------------------
>Do you Yahoo!?
>Yahoo! Platinum - Watch CBS' NCAA March Madness, live on your desktop!
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 08:52:28 -0500
>From: Sid Ham
>Subject: ink jet ceramic decals- some success
>
>Since following the thread some time ago about lackk of success using
ink
>jets for ceramic decals I've been working on the problem. I was unsable
>to duplicate the success withHP inks on my HP printer. I have ahd some
>recent sucess using a saturated cobalt sulfate in water solution
injected
>into a near empty black cartridge. It's a little tricky getting the
right
>amount of "ink" on the decal but the results are really pretty good with
>incredible detail available (one color of course). Be interested in
>hearing from anyone else chasing this idea.
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 10:22:12 -0500
>From: william schran
>Subject: Re: Glaze problems
>
>Funkfamily wrote about problems with "blue hare's fur" and
>"blueberry" glazes. Said source of gerstley borate had changed.
>Change of any material can often be problematic. Need to run tests
>any time a new material is introduced.
>I've found the hare's fur glaze (original with GB) performs better at
>cone 5 with a somewhat faster cooling. When fired in our 21/2" brick
>walled kiln it performs well. Fired in the 3" walled kiln, that cools
>slower, the glaze goes towards the greener colors.
>Bill
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 10:26:23 -0600
>From: george koller
>Subject: Kohler, Production, & Making Art
>
>Stephani,
>
>Want to mention to the group that Kohler company gives great (and free?)
>tours of the ceramic areas and more. I fairly recently did a tour and
>our guide (as is their practice) was a 30 plus year retired worker at
>"the company". Indeed Kohler is/was a "company owned" town if ever there
>is/was one.
>
>Kohler Company also has an ongoing Ceramic Art Apprentiship/Artis
>residency program which you can find out about by visiting their web
>site. It seemed to me to be a pragmatic and effective program for
>everybody concerned and the artists are often well respected and make
>friends with the production oriented folks.
>
>Much on the tour was impressive and most interesting. There is this
>continuos kiln that sinks and all such just keep moving through. There
>are robot arms spraying glaze over tubs. All large scale, you walk
>through row after row of stacked sinks, toilets, urinals, and all such.
>By the way, as I understand the history, it all started with an idea by
>a traveling salesman to make a tub for bathing from a something like a
>cast iron feed trough.
>
>One thing, however, really "disappointed" me as much as it rather gives
>me hope. Kohler company has a line of sinks on pedestals which are sold
>at higher prices as "art" objects. What I saw actually saw was a
>special room set off with persons clipping decals from pages and pasting
>them around on the sinks. Well, I gotta tell you this is not my idea
>of "making art" at all.
>
>That's my nickels worth... now back to making some art on my terms.
>
>Best,
>
>
>george k o L L e r (we got the 'H' outta there)
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 09:58:08 -0600
>From: Mondloch
>Subject: Re: Zinc Oxide in Reduction?
>
>The last time this was discussed, I was in the process of struggling to
get
>my ^10 high zinc rutile blue to work in a new gas kiln. I tried
removing
>the zinc ( didn't work) and then adjusting the firing schedule for that
and
>other considerations. It's working now (knock on wood) with the
following
>firing schedule.
>
>Overnight candle. Damper full open and slow up to ^08 with a one hour
soak.
>20 minute body redux at .65 oxy probe ( important I think- I do not let
the
>temp rise over 1740F during this reduction.) Damper out to .08 oxy probe
>until ^6 when I do another 20 minute redux. Damper out to .08 oxy until
^9.
>Turn burners down and soak for about an hour at lower temp until ^10
bends.
>During this soak time I stoke some wood sticks with resulting short
periods
>of reduction. Shut down with damper slightly open.
>
>I think the important thing for my zinc glaze is stopping the body
redux at
>1740F. According to my Hammer book, that's the temp when zinc metal
boils
>off . When I stayed in reduction after body reduction I had the
tell-tale
>yellowish powder on the underside of the metal damper. I don't get that
now.
>My guess on why I don't lose the zinc during reduction after ^6, is
that the
>zinc is held in the melt then.
>
>Sylvia
>
>---
>Mark & Sylvia Mondloch
>Silver Creek Pottery & Forge
>W6725 Hwy 144
>Random Lake ,Wi 53075
>HotArt@silvercreekpottery.com
>http://www.silvercreekpottery.com
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 11:06:39 -0500
>From: "Judith S. Labovitz"
>Subject: Re: Working and war
>
>my 'variation' on this theme: I use the CNN,BBC, Reuters etc
websites...I
>can quickly read thru, not have to listen to endless analyses, can
choose
>what to read and when, and still keep reasonably informed...or as
>'informed' as I can possibly stand to be. I somehow feel more 'in
control'
>.... yet just as helpless.....
>
>judy in sunny (for a nice change) mid-Michigan
>
>
>At 07:36 AM 3/27/03 -0600, you wrote:
>>I believe artists are especially empathetic. They pick up the feelings
>>of others. If you listen to too much news, you can get dragged down
>>needlessly.
>>
>>I had been listening to NPR, because it gave commercial-free, constant
>>news of the war. But it dragged me down, so I stopped listening. It is
>>amazing how the mind itself is like a radio. Whatever you tune into
>>becomes very real for you. If the war is raising your anxiety level,
>>then stop listening to the news.
>>
>>Sincerely,
>>
>>Arnold Howard
>>Paragon Industries, L.P.
>>www.paragonweb.com
>>
>>
>>
>>
>>
>>From: Elca Branman
>> > In a convent, as I learned from "The Nun's Story", one of the tasks
is
>>to
>> > be responsible for one's thoughts. When they are innappropriate, it
is
>> > important to monitor oneself, talk to oneself and say, if necessary
>> >
>> > "There is nothing I can do right now about this problem. right now.
>> > Agoniizing is self indulgence.
>> > I will think about this right after dinner.
>> > Right now I am going to wedge some clay.
>> > I will return to this matter. at 8:00clock".
>> >
>> > Otherwise you are just like a gerbil on a treadmill, lots of
activity,
>>no
>> > progress... I am not suggesting you try a nunnery;I am suggesting you
>> > discipline yourself otherwise your anxiety level simply feeds on
>>itself.
>> >
>> > When there is something to be done, trust yourself to know when and
>> > what.Handwringing is not useful for the world nor for you.
>> >
>> > Elca,(not a Mother Superior,but tough minded..)
>> >
>> > ..
>> > Elca Branman,in Sarasota Florida
>> > elcab1@juno.com
>> > http://www.elcabranman.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: Thu, 27 Mar 2003 10:17:24 -0500
>From: John Hesselberth
>Subject: Suspicious Glaze Materials Wanted
>
>Hi Everyone,
>
>I am interested in trying to track down low quality glaze materials
>that seem to be in our system. I am ordering small amounts of key
>materials from several suppliers, but I am also interested in hearing
>from you (off-list, please--I don't think the initial info will have
>much interest to the list--I will keep the list informed if I learn
>anything important) if you have recently purchased a material that does
>not seem to give the same results as your previous batch or is a
>different color. So far my interest is directed at cobalt carbonate,
>copper carbonate, rutile and whiting, but I may extend it as I get more
>information.
>
>What I need to know is where you bought it and what you know about it
>from 1) any markings on the bag 2) an analysis of it obtained from your
>supplier or 3) from discussions with the supplier. In a few cases I may
>want to buy a small sample of it from you for further testing including
>putting it in a standard glaze and, possibly, having it analyzed. to
>find out what it really is.
>
>If you have any information that you think would help please email me
>directly at
>
>john@frogpondpottery.com
>
>Thanks,
>
>John
>
>
>http://www.frogpondpottery.com
>http://www.masteringglazes.com
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 10:27:15 -0500
>From: mawright22@WAVE.NET
>Subject: johnson kiln: plans
>
>I recently bought a kiln and I have all the pieces and frame but no
plans.
>It is a Johnson kiln out of California and it looks like an updraft.
>Anyone have any info on these kilns?
>Mike
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 11:17:29 -0500
>From: "E.G. Yarnetsky"
>Subject: working and war
>
>Whether I am stressed about the world situation, worried about
>finances,or angry at someone (ect.) and it is affecting my work, I have
>a few strategies:
>
>-if I am angry I either throw anyhow and trash the bad results or do
>something more physical - wedging large amounts of clay, cleaning, or
>my favorite: breaking up bad pots. A big hammer and lots of noise!
>-if I need to create, and have accepted the day as a loss already
>(production wise) it's a good time to make something that I want to
>make regardless of the time involved. After 9/11, I spent a week
>making slab boxes with intricate lids.
>-take the radio, tv, any news source out of the studio if it is
>overwhelming. Make a certain time or place to follow the war, but
>limit that time. The studio can be a place to deal with it or escape
>it, but it should continue to be a space for art primarily - if the
>news has taken over, then it is time to give it (the news) it's own
>space for a while
>-get away for an hour or eight! I have been venting my frustrations
>with a long walk in the mornings, and often another in the afternoon!
>Those of you with young children may find it a good day to take them to
>the park or the zoo or whatever.
>-talk to others. Despite the disagreements among us all, I do believe
>that the majority of us harbor many of the same feelings about the
>situation in general - fear, apprehension, sorrow - we can all
>emphasize with each other in these ways.
>-above all keep healthy and keep living!!!!! When we are all too
>paralyzed to lead our lives, then evil (however you define it) has won!
>
>Keep up the fight!
>Darlene Yarnetsky
>
>darlene@mudcatpottery.com
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 11:04:09 -0600
>From: Jim Murphy
>Subject: Re: Paper Clay..Dangerous?
>
>Your question reminded me of a past Clay Times article (Sept/Oct '99)
by Ian
>Gregory. I believe Mr. Gregory is well-known for paperclay.
>
>In the article, Mr. Gregory reccommends adding "a spoonful of mild
>disinfectant similar to that used to disinfect diaper pails when you
mix the
>clay (but do not use bleach)."
>
>I don't know what's in the mild disinfectant he referenced.
>
>FWIW, I'm guessing bleach is not reccommended due to release of
Chlorine gas
>during firing - only my own guess though.
>
>Best wishes,
>
>Jim Murphy
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 14:25:05 -0500
>From: Eleanor
>Subject: "glaze test for...."
>
>In the process of trying to make order out of the chaos of my firing
>and glaze notes, I discovered that I was missing the formula for a
>glaze I want to use in my next firing. All I could remember was that
>Alisa had tested it.
>
>So I went to http://www.potters.org/categories.htm where posts are
>listed by topic and under "glazes ^4-6" I found what I was looking
>for.
>
>I noticed that she had posted a lot of test results and I started to
count.
>
>Since some time in 2000, Alisa has posted the test results for 167
glazes!
>
>Thanks, Alisa.
>
>Eleanor Kohler
>Centerport, NY
>crocuses in bloom
>--
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 12:16:21 -0800
>From: Les
>Subject: Re: Rehydrating greenware
>
>Michael/Steven -
>I am wondering if all this extra time and labour is worth it. Does it
make the piece worth more because of the additional work put into it?
The clay is recoverable. How many pots of the same type could you
throw in the time it took to go back time and again to trim little by
litttle?
>
>I'm not intending to be argumentative.... I guess I'm lazy (and old or
both) so I look for the easiest way to accomplish the task.
>
>Cheers,
>
>Les Crimp on Vancouver Island.
>lcrimp@shaw.ca
>
>-----Original Message-----
>From: Michael Wendt
>To: CLAYART@LSV.CERAMICS.ORG
>Date: Thursday, March 27, 2003 2:29 AM
>Subject: Re: Rehydrating greenware
>
>
>>Steven,
>>Strange this comes up now. Three weeks ago, I forgot to put some
pitchers
>>away that were ordered and on short deadline. I got out the spray
bottle and
>>lightly sprayed the surfaces with a fine mist, left the pitchers and
came
>>back for the next hour every 5-10 minutes, each time lightly misting
the dry
>>pots. In about and hour, they were reasonably uniform in moisture, took
>>handles beautifully and took far less time to mist than it would have
taken
>>to make new ones. They went through bisque and glaze fine and the
handles
>>were flawless too, so I have added this rescue option to my repertoire.
>>Try it, you have nothing to lose.
>>Regards,
>>Michael Wendt wendtpot@lewiston.com
>>Wendt Pottery
>>2729 Clearwater Avenue
>>Lewiston, Idaho 83501
>>1-208-746-3724
>>wendtpottery.com
>>Steven wrote:
>>I need help....
>>
>>I tried to rehydrate some pieces that I totally forgot to cover.
>>They are bone dry. I wrapped them with damp newspaper and a towel,
>>but overnight only the outside got sufficiently damp to do trimming.
>>The inside is damp, but not as damp as the outside.
>>
>>Is there a trick to doing this or what?
>>
>>***************************************************
>>Steven D. Lee
>>
>>________________________________________________________________________
______
>>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, 27 Mar 2003 12:38:45 -0500
>From: Aiko Ichimura
>Subject: A show at Williamsburg Art & Hiostorical Center in NY
>
>My potter friend Mr. Kaido of Japan wishes to let you all know that he
is
>participating a show (Characterizm) at Williamsburg Art & Hiostorical
Center
>in NY starting on April 5. You can visit their official site at
>http://www.wahcenter.org/ Enjoy.
>
>I owe so many potter friends calls and emails but I am so busy
preparing for
>Spring events for now.
>Hope to get to them as soon as I am done with the current project.
>
>Aiko in DC
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 10:35:42 -0800
>From: karen gringhuis
>Subject: Workshops? Mackinac Island, Michigan
>
>Kin -
>
>As a former and at-heart Michigander, I am dubious
>about any workshops on The Island. Galleries,
>perhaps, but.....the Straights are gorgeous and The
>Island is beloved but really pretty touristy. As you
>may know, the natives call them "Fudgies." Consider
>just soaking up the scenery, the Fort and the history
>of the place.
>
>If you are driving, perhaps people have other Michigan
>suggestions to visit on your way north - starting with
>Pewabic Pottery in Detroit.
>
>(If you're roaming around Up North, you might enjoy
>the Leland/Leelanau County/Sleeping Bear & the
>Manitous/Traverse City area.)
>
>
>
>
>=====
>Karen Gringhuis
>KG Pottery
>Box 607 Alfred NY 14802
>
>__________________________________________________
>Do you Yahoo!?
>Yahoo! Platinum - Watch CBS' NCAA March Madness, live on your desktop!
>http://platinum.yahoo.com
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 08:42:55 -0800
>From: Michael Wendt
>Subject: Re: handle-ability, WAS Re: Rehydrating greenware
>
>Ned wrote:
>"Now hear this! I got a beef about claybody descriptions. They almost
>never mention handle-friendliness. Try ordering a clay you plan to
>make lots of handled pots with,from a company catalog with woefully
>short descriptions of their clays, and you'll see what I mean: no
>help at all. I get the impression that those formulating these clays
>and selling them are not concerned with handle performance but focus
>on throwability. Two different things."
>Ned,
>I think most of the commercial clay bodies I have heard of are more
than 50%
>plastic clay by weight. My body throws and pulls handles fine. It is 39%
>Helmer with the rest non plastic materials ( 28% spar, 9% Neph Sye, 15%
125
>mesh silica, 9% 200 mesh silica). Shrinkage is 11.1% from wet to cone
10,
>and handles are forgiving but are still a problem unless you make what I
>call interference cuts on the joint surface. If you normally experience
>cracks at the top of the joint, carve the handle so that part of the
joint
>contacts the pot while the rest of the handle does not. We dip the
handle
>joint in deflocculated slip of the same clay and attach very lightly
making
>sure to get slip on the projected contact area on the cup, let stand a
few
>seconds, then agitate the joint (wiggle is more like it) until the gap
is
>completely closed. A quick wipe with a well wrung out damp sponge
followed
>by a day under wraps to let the joint normalize works wonders. We lose
less
>than 1% of the cups to joint failure and when people bring back broken
cups,
>it has never been because a handle joint failed, not even when they drop
>them.
>Regards,
>Michael Wendt
>Wendt Pottery
>2729 Clearwater Avenue
>Lewiston, Idaho 83501
>1-208-746-3724
>wendtpottery.com
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 10:37:23 -0600
>From: Mondloch
>Subject: Re: breasts, bellies and industrial production
>
>Stephani,
>Thanks for the laugh!
>
>> I saw part of an episode on TV other day. I think it was part of a
home
>> improvement show
>> a tour of how toilets are made at the Kohler plant in Wisconsin.
>
>If you ever get to Kohler, be sure to take the free
>factory/artists-in-industry tour at the plant. Their guides are retired
>workers.The first time we took it, I told them I was a potter so they
gave
>us a retired pottery worker guide for just the two of us. I took it
several
>more times as a chaperone and wouldn't mind doing it again. They also
have
>the buildings where they do the casting iron and other metal work which
is
>of course fascinating for Mark. Talk about drooling over equipment!
Doing
>their Artists-in-Industry program is sort of a fantasy for us.
>
>> so I couldn't help but but imagine, what if those were women? now that
>> was quite the vision.
>> big old Wisconsin women, some young: beefy, muscular or slender
>> But most middle aged or over.....
>> hearty and hale but starting to sag a bit, even a shamu or two.....
>> All swaggering , proud, efficient. Wearing jeans, wistlines low.....
>
>LOL. If all we had to do was frolic on a warm beach all the time like
svelte
>little California nymphs, maybe we wouldn't be so beefy. But Lake
Michigan
>gets pretty darn icy in winter so we have to console ourselves with
>bratwurst and beer.
>
>Sylvia- beefy Wisconsin woman
>
>---
>Mark & Sylvia Mondloch
>Silver Creek Pottery & Forge
>W6725 Hwy 144
>Random Lake ,Wi 53075
>HotArt@silvercreekpottery.com
>http://www.silvercreekpottery.com
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 11:37:21 -0600
>From: chris
>Subject: Re: Oy and oops
>
>Ack! i feel your pain in the lost book - Lily asked how you could lose
it,
>but i recently lost a copy of Ian Currie's book - and this is how - i
got
>the book in the mail i was so excited it was even signed, so i took at
to
>the studio at school where someone borrowed it out of my storage area
and
>left it in the glaze room, then someone else apparently dropped it in
the
>sink?how could this happen? I don't know but i came in the next day,
the
>book is so water damaged that it is sealed shut - argh! I had this book
>less than a week before it was "lost" but now can't bear to throw it
out so
>there it sits on the shelf until i can get a new copy - somedays are
better
>than others in shared studio space.
>
>chris massingill
>----- Original Message -----
>From: "Lily Krakowski"
>To:
>Sent: Thursday, March 27, 2003 7:59 AM
>Subject: Oy and oops
>
>
>> Welcome Newbie with open arms. Welcome to the real world of clay.
There
>is
>> nothing anyone can do for you right now. Honest. What you need is a
>great
>> deal of study and a great deal of experience and then you get to the
point
>> where experience+knowledge give you a kind of instinct.
>>
>> For one: how can you lose a book? No joking. How come? Your glaze
>> notebooks and books are your most precious possessions. I have 55 year
>old
>> ones, and so do all the other long-timers. Get a new Mastering etc
Get it
>> now, threaten the rest of FunkFamily with dire punishement if they
touch
>it.
>> Get a good notebook, and know precisely what you did and when and how.
>Keep
>> notebook under bed.
>>
>> For two. ALWAYS ALWAYS ALWAYS and EVER--and I've said this endless
times
>to
>> numerous people --keep a jar of every ingredient/material that comes
into
>> your studio. Write on the jar: Whiting, 4/'99, Supplier name. These
are
>> your controls. When glaze with NEWly acquired material misbehaves you
>have
>> a control to tell you whether it is that material that is &&^%$ you up.
>> ALWAYS ALWAYS AND EVER keep a jar of the glaze you are using (old
batch)
>> till you have fired and tested the NEW batch. Mark jar "C11, 3/02" .
>> Again. If something is amiss you have a control.
>>
>> As I do not have digital gismos I know nothing about them. Someone who
>does
>> will have to fine tune that for you.
>>
>> Be aware however that refiring is NOT innocuous. This is the ancient
law
>of
>> our people: The Law of Reheated Stew. (Also known as The Pot Roast
Law)As
>> you know, Stew changes in flavor with each reheating. And the reason
is
>> that some of the ingredients give up more flavor, or disintegrate/blend
>> more thoroughtly, or lose all flavor or something. (Ask Grandma) Your
>> glaze ingredients and the clay underneath will change slightly with
each
>> firing. For one--like the stew--the basic "cooking" no longer needs
to be
>> done. The carrots and meat already have gone through the "cooking"
>process.
>> Whatever you wanted "rare" inevitably comes out well-done; because
>initial
>> phases of heating do not need to do what they originally needed to do.
>>
>> While you are ordering a new Mastering from The Potters Shop (no
relation,
>> no commercial interest) get yourself BOTH Harry Fraser books. Esp.
>Ceramic
>> Faults.
>>
>> NB It may well be the Gerstley Borate. A nasty, ungrateful, wretched
>> material as lamentable as faithless lovers. We ALL have shed more
>> cursewords and tears on it and its evil cousin Colemanite than you can
>> believe. I would go to a frit instanter....always do...
>>
>>
>>
>>
>>
>>
>> funkfamily writes:
>>
>> > Hi everyone- I'm a pretty new potter, still doing it mostly as a
hobby,
>with a "real" job to pay the bills. I just started mixing my own glazes
>last fall, and I one of the first I tried was "Blue Hare's Fur". It
came
>out gorgeous the first few times I fired it. Then I tried a recipe for
>"Blueberry" that uses Randi's red base and colored with cobalt oxide and
>black nickel oxide. I had used it before with great results. I
thought I
>had two great glazes to work with. So, in the meantime, I had bought
>"Mastering Cone 6 Glazes" and was reading about programming the kiln for
>slower cooling.
>> > So, all of a sudden I have these problems. On slow cooling, Blue
>hare's fur loses its beautiful deep blue variation and goes really pale
blue
>with poop green undertones. But also, the blueberry is showing blisters
>like the worst case of acne you can imagine! I tried the next kiln with
>normal cooling after the pre-programmed cone 6 firing, blue hare's fur
got
>most of the color back, but now it's full of pinholes, and the
blueberry is
>no better! There's one other variable to consider, that I got a
different
>batch of gerstley from another source. Could that be the problem?
>> > To make matters worse, I have lost the Mastering Cone 6 Glazes
book,
>I had tried a few of the non-gerstley glazes and I know that I should be
>going in that direction, but I liked these two glazes so much! Can
anyone
>offer any insight?
>> >
>> >
>________________________________________________________________________
____
>__
>> > 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.
>>
>>
>>
>> Lili Krakowski
>> P.O. Box #1
>> Constableville, N.Y.
>> (315) 942-5916/ 397-2389
>>
>> Be of good courage....
>>
>>
>________________________________________________________________________
____
>__
>> 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, 27 Mar 2003 17:18:29 -0000
>From: "Steven D. Lee"
>Subject: Follow-Up: Rehydrating greenware
>
>There are some great suggestions that I received to my original post
>about rehydrating greenware. Here are some of them:
>
>1. Recycle it, the effort is not worth the end result.
>
> Trust me, there were plenty of times that I did just this.
>However, these four pieces are a great blend of two claybodies in one
>of my many attempts at agateware. I am loath to give up without a
>fight to rehydrate them.
>
>2. Use a heat source (the sun, a microwave, infared bulbs used in
>burger warmers, ect.) to create water vapor in an enclosed plastic
>bad with damp cloth fiber not much thicker than a t-shirt. The water
>vapor produced should equally hydrate the piece in question.
>
> This I will try. It sounds very uninvasive and potentially
>damaging to the pieces in question.
>
>3. Use a misting spray every 5-10 minutes over the entire piece
>until the clay body is rehydrated.
>
> Tried this before but the clay body (Armadillo Clay: Cinco
>Blanco) would not take attachments (handles, lugs, anything) without
>cracking.
>
>4. Submerging it for 10 seconds per 1/8 inch of clay wall
>thickness. Repeat every 30 minutes until hydrated!
>
> I will also try this on some test pieces before I let loose
>on my agateware. Sounds a little drastic?
>
>
>Anyhow. Thank you for your suggestions. I do appreciate it!!!!
>
>***************************************************
>Steven D. Lee
>SD Pottery - The Little Texas Potter
>http:\\www.sdpottery.com
>millenial_age@yahoo.com
>14341 FM 112
>Thrall, TX 76578
>512-898-5195
>***************************************************
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 09:28:35 -0800
>From: Brian O'Neill
>Subject: Re: Art and War - hiding in the sand
>
>Vince,
>
>I've followed all your posts on this topic and the responses generated
>back and forth. IMO, you should take some of your own medicine.
>
>Brian
>
>
>>
>> Jeese Taylor, if you had even read and thought about my message, yours
would
>> have been entirely unnecessary. You are out in left field.
>> - Vince
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 14:20:18 -0600
>From: Mary O'Connell
>Subject: Re: Kohler, Production, & Making Art
>
>Just a side note to anyone who might be interested. Kohler also has a
>fabulous museum in Sheboygan, WI a stone throw away from the factory
near
>Lake Michigan. I toured it a few years ago and it was a wonderful
>experience. Even the bathrooms are full room installations and each one
>designed by a different artist. Not all the exhibitions in the museum
are
>about clay in fact most are not. They exhibit a very diverse
collection of
>art and it is ever changing. A must see if you get out that way.
>
>Mary O.
>----- Original Message -----
>From: george koller
>To:
>Sent: Thursday, March 27, 2003 10:26 AM
>Subject: Kohler, Production, & Making Art
>
>
>> Stephani,
>>
>> Want to mention to the group that Kohler company gives great (and
free?)
>> tours of the ceramic areas and more. I fairly recently did a tour and
>> our guide (as is their practice) was a 30 plus year retired worker at
>> "the company". Indeed Kohler is/was a "company owned" town if ever
there
>> is/was one.
>>
>> Kohler Company also has an ongoing Ceramic Art Apprentiship/Artis
>> residency program which you can find out about by visiting their web
>> site. It seemed to me to be a pragmatic and effective program for
>> everybody concerned and the artists are often well respected and make
>> friends with the production oriented folks.
>>
>> Much on the tour was impressive and most interesting. There is this
>> continuos kiln that sinks and all such just keep moving through. There
>> are robot arms spraying glaze over tubs. All large scale, you walk
>> through row after row of stacked sinks, toilets, urinals, and all such.
>> By the way, as I understand the history, it all started with an idea
by
>> a traveling salesman to make a tub for bathing from a something like a
>> cast iron feed trough.
>>
>> One thing, however, really "disappointed" me as much as it rather gives
>> me hope. Kohler company has a line of sinks on pedestals which are
sold
>> at higher prices as "art" objects. What I saw actually saw was a
>> special room set off with persons clipping decals from pages and
pasting
>> them around on the sinks. Well, I gotta tell you this is not my idea
>> of "making art" at all.
>>
>> That's my nickels worth... now back to making some art on my terms.
>>
>> Best,
>>
>>
>> george k o L L e r (we got the 'H' outta there)
>>
>>
>________________________________________________________________________
____
>__
>> Send postings to clayart@lsv.ceramics.org
>>
>> You may look at the archives for the list or change your subscription
>> settings from http://www.ceramics.org/clayart/
>>
>> Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
>>
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 14:21:06 EST
>From: Neil Fallon
>Subject: Are we Potters or Protesters? - we are connected!
>
>As I read the multitude of messages posted under this thread, (I didn't
read
>them all) my brain thought backwards 32 years this coming May when four
Kent
>State students lost their lives protesting an action of our government.
Those
>were very dark days for the entire country and perhaps the world. The
nation
>was bitterly divided. People were angry on both sides of the issue.
Good
>soldiers lost their futures for a cause that proved to be wrong (the
domino
>effect of communism). Our political process was exposed as corrupt. The
>world questioned USA motives.
>
>I have known for many years that we have not progressed much past those
days.
> Better times have muted the realities. But our social interaction
skills
>remain undeveloped. Now, 32 years later, this reality is being shown
24/7 on
>every type of media. Our human progress has not pushed out bitterness,
greed,
>hubris, corruption, and yes, using a word I do think very inappropriate,
>evil. In my view, negotiations and diplomacy did fail to the sins
noted
>above. Our world is left in conflict. The conflict will change the
course
>of all of our futures. The impact to each of us is unknown.
>
>What does this have to do with clay? Very little. I use these
discussions
>to learn. I usually have questions for others on Clayart, but few
answers.
>And, trust me, I have no answers here either. But like the "flower
power"
>movement of the 60's (which was silly, but communicated a message
>effectively) I have another image. The image I have is the "power" of
clay if
>the world's human beings would collectively place both hands in a few
pounds
>of wet clay.
>
>I enjoy all discussion topics on Clayart. Those that hold no interest,
I do
>not read. Those that are relative to my work, get downloaded and saved.
>Opinions I do not agree with (clay or the world) challenge my own
perceived
>ideas.
>
>Peace to all of you,
>
>Neil Fallon
>Rock Pond Pottery
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 08:39:09 -0600
>From: chris
>Subject: Re: Venue for selling poured ceramics molds
>
>Deb -
>
>ebay is always a great solution for "recycling" things, but if for some
>reason that doesn't work out, you might want to check with your local
>schools before you turn your molds into raw materials. Our university
as
>well as another local school have just started using these kinds of
molds by
>putting them together in new ways to change the meaning of things.
>
>chris massingill
>----- Original Message -----
>From: "Brian Haviland"
>To:
>Sent: Wednesday, March 26, 2003 2:21 PM
>Subject: Re: Venue for selling poured ceramics molds
>
>
>> Deb , I had a bout 20 molds someone gave to me ...doll parts
>> ect...ect...Sold them all on ebay and made good money for them.give it
a
>try.
>> Brian
>>
>>
>>
>>
>>
>> At 12:20 PM 3/24/03 -0800, you wrote:
>> >Hello,
>> >Would any of you know of a list more focused on poured ceramics? I
>> >purchased a used kiln and, as a condition, all the ceramics "stuff"
that
>> >came with it. So, I would like to sell the molds as they are taking
up
>> >valuable space I need for my wedging slab, etc...
>> >Thank you!
>> >Deb Pratt fire4fr@yahoo.com
>> >
>> >
>> >
>> >
>> >
>> >---------------------------------
>> >Do you Yahoo!?
>> >Yahoo! Platinum - Watch CBS' NCAA March Madness, live on your desktop!
>> >
>>
>>________________________________________________________________________
___
>___
>> >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: Thu, 27 Mar 2003 08:51:43 -0800
>From: Gabriel Tejeda
>Subject: trisodium phosphate
>
>Hi everyone,
>
>I tried trisodium phosphate in a clear glaze with red stain and got a =
>nice red glaze with scatter white spots like snow flakes, but I have a =
>concern with the trisodium phosphate in my kiln. I use a gas kiln
that =
>has fiberglass in the inside walls and heard that sodium its bad for
the =
>inside walls of the kiln.
>Does anyone have any experience with this material?
>
>Thankyou!
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 14:56:47 EST
>From: Working Potter
>Subject: Re: paperclay dangerous?
>
>I would suggest a trip to a dermatologist is in order.
>Misty
>
>In a message dated 3/26/2003 11:50:17 PM Eastern Standard Time,
>lpskeen@LIVING-TREE.NET writes:
>
>
>> to molds, but am experiencing the following weird symptoms and the ONLY
>> thing I've changed or introduced to the environment recently has been
>> paperclay:
>>
>> 1. Red rash under both eyes, patches about the size of a nickel.
>> 2. When I'm using the clay, the outside of my nose itches like crazy
>> sometimes.
>> 3. A couple of fingers on both hands have developed some weird
symptoms.
>> Both pinkies have dried and cracked on the ends, can't get them to
heal.
>> One nail seems to be disappearing. A couple of other fingers have dry
>> nails.
>>
>> So, is paperclay dangerous? No idea; this stuff could be caused by the
>> weird iron-heavy water at the studio, but it din't start until after I
got
>> the paperclay. Go figure.
>>
>> A question I have for other paperclay folks is, how long have you
stored
>> WET paperclay and still used it? Another clayart person expressed
concern
>> to me offlist about the paper rotting before he could use up all the
>> pclay......I hadn't even THOUGHT of that until he said it.
>>
>>
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 09:17:18 -0800
>From: Craig Martell
>Subject: Moose Creek Spar and Blue Celadons
>
>Hi:
>
>I dumped a post accidentally so I've forgotten who axed but Moose Creek
>spar is perfect for blue celadons. I've tested it and have gotten very
>nice blues and no crazing if the silica and alumina balance is on the
>money. I'm very much looking forward to Moose Ck being available on the
>market. It's a very good potash spar.
>
>regards, Craig Martell Hopewell, Oregon
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 13:30:19 -0700
>From: Brian Giffin
>Subject: Of peace and war from the grip guy.
>
>I was bitten by the clay bug early in life. I learned to throw from my
>mother and sister in the Berea College pottery about age 10. My Dad
taught
>sociology at Berea in Kentucky, and was the resident town radical, we
were
>Quakers. He was heavily involved in the integration movement and
nuclear
>disarmament work. The sheriff in our dry county, would get drunk and
cruise
>my families house, shotgun out the window, til' late in the evening
back in
>the 50's. I had the run of the college workshops, insurance barriers
to
>children all came later. Rudi Osolnik taught me wood bowl turning on a
>college lathe when I still needed a box to stand on, age 6.
>
>Berea was a radical island of integration in the segregated south, and
we
>did crafts like nobody else. My associations with craft are tinged with
>this very heavily. In the sixties, clay and being a potter could
usually
>be accurately assumed to be part of a radical, organic and anti-war
>lifestyle. I worked "two years in the national interest" for refusing
to
>register for the draft, I'm a felon from back then and proud of it. I
>threw just mugs for a year, on a plywood and bricks kickwheel in a North
>Carolina crafts commune, we sold only untrimmed dinnerware. We needed
the
>money fast and trimming was too slow.
>
>Most of the clay business owners of today, come from a somewhat similar
Viet
>Nam War era environment. It's amusing that my product gets banned from
time
>to time as a discussion topic and a relief, thanks Mel. But I'd like to
>feel free to speak my personal voice along with Howard's.
>
>Finding that my posts get censored on Clayart for political content, has
>come as a huge shock. It feels like another rightwing takeover. I
don't
>care to go trade insults in chat rooms with ditto heads. This is the
>community that matters to me. Reading Clayart, I've had to accept that
a
>few people who love clay, are not all old radicals like I thought.
I've
>also read several racist comments here that made my hair stand on end,
get
>lost. I was an integrating white student at all black Howard
University in
>1967. A brave Howard contingent integrated NCECA this year.
>
>I learn so much trying to read this thing, mostly off subject, about
>dreamweaver, sunrises, even ticks, and the AG's very political breast
>problems. Keep Clayart respectful, but open please, and shorter posts
than
>this!
>Love you all,
>Brian Giffin
>Giffin Tec Inc.
>Boulder, Colorado
>www.giffingrip.com
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 15:38:19 -0500
>From: scott lykens
>Subject: job @ pewabic pottery
>
>heres a job everyoine should know about
>
>new managment position @ pewabic pottery
>
>director of retail sales
>
>manage on and off site operations at historic pewabic pottery. oversee
>orderfullfillment, e-commerce for off-site retailers and museum store.
>responsible for staff management display merchandising,pos, daily
>reconciliation and inventory managment
>
>strong leader, team [player, knowledge of ceramics preffered.
>fax or e-mail resume with salary requirments to 313-822-6266 or e-mail
>pewabic@pewabic.com
>
>
>
>
>
>
>
>>From: Vince Pitelka
>>Reply-To: Clayart
>>To: CLAYART@LSV.CERAMICS.ORG
>>Subject: Re: Art and War - hiding in the sand
>>Date: Wed, 26 Mar 2003 18:18:52 -0600
>>MIME-Version: 1.0
>>Received: from mc4-f32.law16.hotmail.com ([65.54.237.167]) by
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>>Mar 2003 19:34:25 -0800
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>>Wed, 26 Mar 2003 22:30:45 -0500
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>>Wed, 26 Mar 2003 18:18:55 -0600 (CST)
>>X-Message-Info: uAlIf6yzHjxaMmBj7FB0klRDH4SITvCv
>>Approved-By: melpots2@PCLINK.COM
>>References:
>>
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>>Message-ID: <000901c2f3f6$730f92a0$4eef6b0c@DHBQ1B21>
>>Sender: Clayart
>>Return-Path: owner-clayart@LSV.CERAMICS.ORG
>>X-OriginalArrivalTime: 27 Mar 2003 03:33:06.0373 (UTC)
>>FILETIME=[948DAF50:01C2F411]
>>
>>Hendrix Taylor wrote:
>>"We get it. You're right. Elizabeth is wrong. What a crime for her to
>>have a desire contrary to others on the list. Ho hum. This list in now
>>almost 2000 strong. Most of those people you don't know and will never
>>know, Vince. Better to speak for yourself rather than dictate what's
>>good for a group of 2000. Certainly it makes more sense to allow the
>>discourse to range far and wide and allow the individuals of the list
>>the opportunity to filter out what they do not want to hear (or read)."
>>
>>Jeese Taylor, if you had even read and thought about my message, yours
>>would
>>have been entirely unnecessary. You are out in left field.
>>- Vince
>>
>>Vince Pitelka
>>Appalachian Center for Craft
>>Tennessee Technological University
>>1560 Craft Center Drive, Smithville TN 37166
>>Home - vpitelka@dtccom.net
>>615/597-5376
>>Office - wpitelka@tntech.edu
>>615/597-6801 x111, FAX 615/597-6803
>>http://iweb.tntech.edu/wpitelka/
>>
>>______________________________________________________________________________
>>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.
>
>
>_________________________________________________________________
>The new MSN 8: advanced junk mail protection and 2 months FREE*
>http://join.msn.com/?page=features/junkmail
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 18:37:37 -0000
>From: Pat Southwood
>Subject: Re: throwing dry - getting started
>
>Bob,
>Wear white and have no running water. Cold turkey doesn't last long!
>Best,
>Pat.
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 09:20:24 -0800
>From: Les Haworth
>Subject: Re: ClayArt IDs
>
>I have a California License that reads "THROWIN". I wonder if anyone
else
>out there has clay related Licensees?
>
>
>
>Lester R. Haworth III
>Sales and Technical Support
>Laguna Clay Co.
>14400 Lomitas ave
>City of Industry, CA 91746
>(626)330-0631 ext. 229
>les@lagunaclay.com
>www.lagunaclay.com
>
> If you can dream it, you can do it! ~~ Walter E. Disney
>
>
>-----Original Message-----
>From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG]On Behalf Of Maid O'Mud
>Sent: Wednesday, March 26, 2003 10:22 AM
>To: CLAYART@LSV.CERAMICS.ORG
>Subject: ClayArt IDs
>
>
>My licence is "IMAPOTTR". If you see it, Honk!
>
>Sam - Maid O'Mud Pottery
>Melbourne, Ontario CANADA
>
>"First, the clay told me what to do.
>Then, I told the clay what to do.
>Now, we co-operate."
>sam 1994
>
>http://www.ody.ca/~scuttell/
>
>:
>>
>> > I thought of how nice it would be to have a license-plate holder that
>boldly
>> > proclaimed me as a ClayArt person.
>>
>> How about a "vanity" plate? Our van license plate is "CLAYART". Sure
makes
>it
>> easy to remember the "number" too.
>>
>> Bobbi in Central PA
>>
>>
>________________________________________________________________________
____
>__
>> 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: Thu, 27 Mar 2003 15:33:33 -0500
>From: John Hesselberth
>Subject: Re: Glaze problems
>
>On Wednesday, March 26, 2003, at 09:26 PM, funkfamily wrote:
>
>> There's one other variable to consider, that I got a different batch
>> of gerstley from another source. Could that be the problem?
>
>Hi funkfamily,
>
>I'd address you by your real name, but couldn't find one in your
>message. Yes, a different batch of Gerstley Borate could very
>definitely be part or all of your problem. It has an extremely variable
>composition lot to lot--sometimes even bag to bag. That was the
>primary reason we don't have it as an ingredient in any of our glazes
>in Mastering Cone 6 Glazes.
>
>Regards,
>
>John
>
>http://www.frogpondpottery.com
>http://www.masteringglazes.com
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 16:13:28 -0500
>From: Tom Sawyer
>Subject: Re: Working and war
>
>I know this may sound crazy but in some respects the present war
>energize me. I see it as an opportunity to bring an end to a villanous
>despot and to provide opportunities for tens of thousands of persons
>including unborns and budding artists that had to make thousands of
>Sadam statutes and busts. I volunteered for service during the Korean
>Conflict - saw combat - and re-enlisted during the Viet Nam war but
>stayed stateside. Yep if I weren't so damn old I'd volunteer again.
>Freedom and self expression without censorship is one of the most
>wonderful gifts that man/woman can realize. As artists it is priceless.
>Certainly I feel bad for the thousands that are dying. And no I am not a
>Bush fan; in fact I am an unabashed liberal. I love freedom.
>Tom Sawyer
>Orlando, Florida
>e-mail address: tsawyer@cfl.rr.com
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 16:25:57 -0500
>From: Bob Santerre
>Subject: Re: ink jet ceramic decals- some success
>
>Hmmmm, if this is working, why couldn't you just fill another cartridge
>with a chrome solution and then print over the first decal image adding
>new parts to the image with a second color, and/or then a mixture to get
>a 3rd color?
>
>Bob
>
>////////////////////////////////////////////////////////////////////////
////////////////////////////////////////////////////////////////////
>
>Sid Ham wrote:
>
>>Since following the thread some time ago about lackk of success using
ink
>>jets for ceramic decals I've been working on the problem. I was unsable
>>to duplicate the success withHP inks on my HP printer. I have ahd some
>>recent sucess using a saturated cobalt sulfate in water solution
injected
>>into a near empty black cartridge. It's a little tricky getting the
right
>>amount of "ink" on the decal but the results are really pretty good with
>>incredible detail available (one color of course). Be interested in
>>hearing from anyone else chasing this idea.
>>
>>________________________________________________________________________
______
>>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, 27 Mar 2003 21:09:36 +0000
>From: Rick Hamelin
>Subject: Re: Rehydrating greenware
>
>The experience of learning something new is always valuable unless it
prevents
>the progress of more importance. If he had never done it before, it
certainly
>would teach him something new. If it distracts, then it is best in the
bucket.
>I tell my new students to be honest about to themselves about their
pots, to
>keep the best and not waste time with the questionable ones. They must
realize
>that when they release themselves from the guilt of "I made it with my
hands,
>so every pot must be kept" , another ball of clay is always at the
ready. You
>do know of those pots that need to be rescued. If you don't you haven't
made
>enough pots. If you can toss them, then you are making enough.
Sometimes it is
>so hard to find center.
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 21:31:01 +0000
>From: Rick Hamelin
>Subject: Venting myself
>
>My wife and I have worked hard towards researching the restoration of
four
>lane 18000 square feet hall in our town for the last eleven months.
Together
>we went through the process of forming a committee, getting recognized
as an
>ad-hoc committee then being voted in as a true town committee. Our
vision was
>to save the town $2million by converting it into a multiuse building as
>opposed to building five other structures. It is at
www.restorethehall.com. We
>resigned two days ago because of egomaniacal personalities who
destroyed the
>dream. Too much petty fighting. Got really exhausting. Now it is back
to the
>wheel, keep sending out the orders. We are building a new studio and we
break
>ground in two weeks. I don't feel excited because it so pains me that
friends
>can become so deadly self-serving and can corrupt others to go along
with
>them. They have realized the wrongs they did and apologized. But we
cannot
>forgive. Which goes against our dream for improving our world and
community. I
>have a pint of homebrew IPA, pots to handle, orders to throw. Time to
go get
>lost. Time to say a little prayer for the world. If we can't make a
town of
>4500 a better place to live, then how can the world change?
>When the newspaper called to asked why we quit, I explained it this way:
>There are some pottery orders that go from wheel to kiln to box. The
pots
>shine and everything is good. Occasionally, one order will get a pot
that is
>stubborn and repeatedly gets kiln dust or a crack in firing. It takes
only one
>crackpot to destroy order.
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 16:45:43 -0500
>From: Valerie Hawkins
>Subject: Clay and silicone
>
>We had a thread a while back on using clay with silicone as an additive
to
>increase plasticity for fine detailed work. I'm at a point where I
would
>like to test that a bit. But I was concerned that the burining of the
>silicone in my electric kiln might be detrimental to my elements. Also
and
>input on silicone products to try would be great.
>
>Is anyone one else testing this?
>
>Valerie
>Charlotte
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 16:51:09 -0500
>From: Bob Santerre
>Subject: Re: Paper Clay..Dangerous?
>
>Have a look at these sites:
>Medical use: http://www.dermadoctor.com/product.asp?productID=701
>Tox info: http://ptcl.chem.ox.ac.uk/MSDS/TH/thymol.html
>
>////////////////////////////////////////////////////////////////////////
////////////////////////////////////////////////////////////////////////
/////
>
>Susan Setley wrote:
>
>>In a message dated 3/27/03 5:32:01 AM, russel.fouts@SKYNET.BE writes:
>>
>><< Bleach helps but the effect wears off. I've found that a product
>>available here called "Thymol" works better. It's comes in crystal form,
>>a couple of small crystals disolved in water will treat a LOT of
>>paperclay for a long time. >>
>>
>>"Bleach helps but the effect wears off. I've found that a product
>>available here called "Thymol" works better. It's comes in crystal form,
>>a couple of small crystals disolved in water will treat a LOT of
>>paperclay for a long time."
>>
>>Does that have mercury in it?
>>
>>________________________________________________________________________
______
>>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, 27 Mar 2003 22:11:17 +0000
>From: Rick Hamelin
>Subject: Re: Working and war
>
>"Men who dance most beautifully for the gods are also finest on the
field of
>War."
>
>Socrates, 5th century bce
>
>
>> I know this may sound crazy but in some respects the present war
>> energize me. I see it as an opportunity to bring an end to a villanous
>> despot and to provide opportunities for tens of thousands of persons
>> including unborns and budding artists that had to make thousands of
>> Sadam statutes and busts. I volunteered for service during the Korean
>> Conflict - saw combat - and re-enlisted during the Viet Nam war but
>> stayed stateside. Yep if I weren't so damn old I'd volunteer again.
>> Freedom and self expression without censorship is one of the most
>> wonderful gifts that man/woman can realize. As artists it is priceless.
>> Certainly I feel bad for the thousands that are dying. And no I am not
a
>> Bush fan; in fact I am an unabashed liberal. I love freedom.
>> Tom Sawyer
>> Orlando, Florida
>> e-mail address: tsawyer@cfl.rr.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: Thu, 27 Mar 2003 12:05:56 -1000
>From: Rick Monteverde
>Subject: Re: Paper Clay..Dangerous?
>
>RE: paper clay molds & bacteria -
>
>I mentioned sometime before that colloidal silver had worked well in my
wet=
> paper clay batches. Very small amounts of silver are deadly to many=
> microbes, and the effect is long lasting. Do google on colloidal
silver,=
> but watch out for a quack attack. Despite all the newage sewage, it
really=
> does work. ; )
>
>- RM
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 17:21:20 -0500
>From: "L. P. Skeen"
>Subject: Re: LINDA BLOSSOM WORKSHOP
>
>Yeah, yeah, what HE Said. :) I had Linda here last fall for a
workshop,
>and she did a great job (but the surround is still not
installed......yet.)
>Don't miss this if you're interested in doing tilework and sinks. :)
>
>L
>----- Original Message -----
>From: "terry sullivan"
>
>> Re: ClaySpace on Puget Sound
>> presents
>>
>> LINDA BLOSSOM
>> "ARCHITECTURAL CERAMICS: TILES & SINKS"
>> MAY 10-11, 2003
>> 9 am to 5 pm
>> Fee: $150
>>
>> If you can get to this workshop, then do it ! Linda is a fantastic
>> artist, especially with glazes and achitectural ceramics. The stuff she
>> does with layered glazes it truely beautiful. She really knows her
stuff
>> when it comes to tiles, murals, sinks, and such.
>> I've seen lots of her work and it is very good. Linda is a good
teacher,
>> a wonderful person, and a gifted ceramist.
>>
>> Terry Sullivan
>> Nottingham Arts
>> www.nottinghamarts.org
>>
>>
>________________________________________________________________________
____
>__
>> Send postings to clayart@lsv.ceramics.org
>>
>> You may look at the archives for the list or change your subscription
>> settings from http://www.ceramics.org/clayart/
>>
>> Moderator of the list is Mel Jacobson who may be reached at
>melpots@pclink.com.
>>
>>
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 15:11:30 -0800
>From: Mark Heimann
>Subject: Rehydrate or recycle
>
>My first teacher, Toshiko Takaezu, kept a hammer at the ready to =
>critique pots that "didn't cut it". Sometimes a tough discipline, but =
>not becoming excessively attached to every piece is an important lesson
=
>for any potter (not just beginners either, by golly). Stuff happens, =
>yah.=20
>IMHO, there are really positive benefits to making pots in a series =
>[like 5-10 pitchers, etc. or, in the case of traditional Japanese =
>apprenticeships, 5000 - 10,000 teabowls %>) ]. You can often see a =
>progression and improvement (hopefully) in design, proportion, balance =
>and good 'ol technical proficiency, even with a relatively small number
=
>of pots. .=20
>"Break all you want, we'll make more".
>Cheers,
>Mark Heimann
>Estacada, OR
>
>www.oregonpotters.org/heimann.htm
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 17:01:59 -0500
>From: "L. P. Skeen"
>Subject: Re: Suspicious Glaze Materials Wanted
>
>John,
>
>Have you seen this new kind of copper carb that is dark green (almost
like
>chrome) and gritty instead of mint green and fluffy? It's a PITA. :(
>
>L
>----- Original Message -----
>From: "John Hesselberth"
> So far my interest is directed at cobalt carbonate,
>> copper carbonate, rutile and whiting, but I may extend it as I get more
>> information.
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 16:57:02 -0500
>From: "L. P. Skeen"
>Subject: Re: Paper Clay..Dangerous?
>
>Could be that industrial strength stinky LYSOL in the brown
>bottle.........but that assumes that one is making one's own pclay. Now
>that clay makers have figured out the excellence of pclay, we can buy it
>ready made. :)
>
>L
>----- Original Message -----
>From: "Jim Murphy"
>> In the article, Mr. Gregory reccommends adding "a spoonful of mild
>> disinfectant similar to that used to disinfect diaper pails when you
mix
>the
>> clay (but do not use bleach)."
>>
>> I don't know what's in the mild disinfectant he referenced.
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 17:16:39 -0500
>From: "L. P. Skeen"
>Subject: Glaze recipe books
>
>Lily makes a point about keeping the glaze recipe book safe from =
>marauders. Sometimes you have to keep it safe from yourself! :)=20
>
>How to make a glaze recipe book:
>
>Go to Office Despot. Look in the 3-ring binder department for a black =
>and gray speckled binder that's about 1.5" wide and has a crease =
>HORIZONTALLY about 2/3 down the spine and both covers. This is a self =
>supporting binder; when open, it will stand up off the table by itself.
>
>Go to the page protector department and buy a box o' page protectors
for =
>3-ring binders.
>
>Go to the divider tabs department and get one set of tabs for a 3-ring =
>binder.
>
>Go home and type each recipe in LARGE, BOLD ARIAL FONT (at least 18 =
>point). You might be able to get two per page. When you've got all =
>your recipes typed, put them in the page protectors (2 pages per =
>protector, back to back) according to firing temperature. IE: don't =
>put a ^10 glaze in the same protector with a ^6 glaze.
>
>Get out the divider tabs. Mark one LOW FIRE GLAZES. To me, that's =
>anything less than ^4. Put the tab in the stand-up-notebook, place all
=
>low fire glazes behind that. Mark the next tab MID RANGE GLAZES, and =
>put recipes for ^ 4-8 in there. Mark the next one HIGH FIRE GLAZES and
=
>put the recipes ^9 and above behind that one.
>
>Mark your next divider tab CLAYBODY RECIPES, if you use 'em, and put =
>body recipes behind that one. =20
>
>Mark the next one FIRING CHART and put your firing charts (dated!!!) =
>behind that. These don't have to be in page protectors unless you're =
>just into it by then. ;0)
>
>Mark the next one NOTES, and put some notebook paper in there.
>
>The recipes are writ large so that you can read them from across the =
>room, because sometimes your ingredients are not located beside the =
>table where the recipe book is sitting. They are in page protectors =
>because you WILL splash stuff all over the place. Also, when you find
a =
>recipe that looks like crap on a cracker, you can pitch it with ease.
:) =
> If you only put one glaze per page, you can put notes about the glaze =
>at the bottom of the page. I set my recipe book up like this when I
was =
>in college, and have been using it since. :) **If you're a cook, you =
>can make your homemade cookbook like this, too. Translate all
Grandma's =
>recipes into large font! :)
>
>L
>
>L. P. Skeen www.living-tree.net
>Living Tree Pottery, Summerfield, NC
>Get your copy of the 2003 Clay Lover's Calendar
>at my website above! :)
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 18:44:28 EST
>From: "Martin A. Arkowitz"
>Subject: Niki de St.Phalle
>
>on mar 25, 2003 stephani stephenson wrote about a sculture garden that
was
>presented to a city in calif. by niki. niki de saint phalle died in, i
believe,
>2002. i was living in nice, france when they did a wonderful
exhibition of her
>works. she donated 170 peces of her work to the nice museum of
contemorary
>art. most of the pieces were exhibited in the museum but some of the
larger
>pieces which are similar in style to that of the california project,
were placed
>on the promenade d'anglais facing the mediterranean. it was a great
experience
>seeing these large and very impressive pieces. and especially
wonderful to see
>little children climbing in and around them and enjoying art. if
anyone ever
>gets to nice, france they should go into the contemorary art museum to
check it
>out.
>
>eleanor arkowitz
>
>hanover n.h. in the sunshine and warmth of spring-finally
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 16:27:21 -0700
>From: Sid Ham
>Subject: Re: ink jet ceramic decals- some success
>
>Bob
>
>Cobalt sulfate works well and I assume cobalt nitrate would work even
>better. I haven't found a water soluble chrome salt that is
neutralized for
>use in the cartridge. If you take chrome oxide and put it into
solution in
>hydrocloric acid or nitric acid to produce a more water soluble form the
>acidity destroys the jets. Neutralizing the solution then gives you a
>problem with particle size too large for the jets. Thanks for the
feedback.
>
>Sid Ham
>
>
>----- Original Message -----
>From: "Bob Santerre"
>To:
>Sent: Thursday, March 27, 2003 2:25 PM
>Subject: Re: ink jet ceramic decals- some success
>
>
>> Hmmmm, if this is working, why couldn't you just fill another cartridge
>> with a chrome solution and then print over the first decal image adding
>> new parts to the image with a second color, and/or then a mixture to
get
>> a 3rd color?
>>
>> Bob
>>
>>
>////////////////////////////////////////////////////////////////////////
////
>////////////////////////////////////////////////////////////////
>>
>> Sid Ham wrote:
>>
>> >Since following the thread some time ago about lackk of success using
ink
>> >jets for ceramic decals I've been working on the problem. I was
unsable
>> >to duplicate the success withHP inks on my HP printer. I have ahd
some
>> >recent sucess using a saturated cobalt sulfate in water solution
injected
>> >into a near empty black cartridge. It's a little tricky getting the
>right
>> >amount of "ink" on the decal but the results are really pretty good
with
>> >incredible detail available (one color of course). Be interested in
>> >hearing from anyone else chasing this idea.
>> >
>>
>>________________________________________________________________________
___
>___
>> >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, 28 Mar 2003 06:17:43 -0500
>From: clennell
>Subject: Re: Of peace and war from the grip guy.
>
>Sour Cherry Pottery
>
>> Finding that my posts get censored on Clayart for political content,
has
>> come as a huge shock. It feels like another rightwing takeover. I
don't
>> care to go trade insults in chat rooms with ditto heads. This is the
>> community that matters to me. Reading Clayart, I've had to accept
that a
>> few people who love clay, are not all old radicals like I thought.
I've
>> also read several racist comments here that made my hair stand on end,
get
>> lost. I was an integrating white student at all black Howard
University in
>> 1967. A brave Howard contingent integrated NCECA this year.
>>
>> I learn so much trying to read this thing, mostly off subject, about
>> dreamweaver, sunrises, even ticks, and the AG's very political breast
>> problems. Keep Clayart respectful, but open please, and shorter posts
than
>> this!
>> Love you all,
>> Brian Giffin
>> Giffin Tec Inc.
>> Boulder, Colorado
>> www.giffingrip.com
>
>Dear Brian: I'm not a gripper, but I do have a good source on you! We
need
>guys like you north of 49. You'd be welcome anytime to move your
family to
>British Columbia where I've heard your heart resides. There is room
here for
>oddballs, old radicals and dreamweavers.
>I hope you get the message and that my post was short enough!
>Keep centered without a grip!
>Tony
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 18:27:39 -0500
>From: Chris Schafale
>Subject: Canadian chalice makers
>
>I had an inquiry from someone in Vancouver who is looking for
>communion ware (chalice and paten set). After telling him my
>prices and the cost of shipping, he decided that he'd better find a
>Canadian potter. Anyone out there do communion ware? Let me
>know and I will put you in touch.
>
>Chris
>
>--
>Light One Candle Pottery
>Fuquay-Varina, North Carolina, USA
>(south of Raleigh, NC)
>www.lightonecandle.com
>candle@intrex.net
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 15:10:58 -0800
>From: Hannah Brehmer
>Subject: "You Might Be A Potter If....." poster
>
>To all who have sent me checks - I'm sorry for the delay, but the =
>printer has had one crisis after another. He promises them (again) =
>next week. I haven't cashed any of the check you sent and won't
until =
>I mail the posters. To the person who sent me $24 for two, I spent
=
>that. ;-)
>
>Good potting to all,
>Hannah
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 19:04:45 EST
>From: Dean Walker
>Subject: Re: working and war
>
>I have gotten more work done listening to Rush in three hours than many
8
>hour days. If you are listening to something stimulating you get busy.
>Nothing like a war to remind one of how short time is. No time to be
>paralyzed or depressed...work it ...work it into the fabric of your
creative
>outlet...whatever it is. Use it as fuel for your fire. Get fired up and
slap
>some clay or paint around in some way you never were moved to express
up to
>this point. We are all going to be dead someday; try to keep your
spirit from
>death as long as possible. Years after you are gone and this war is
history
>like all the other wars throughout the centuries, folks will look at
your art
>and say....."What the HELL is this all about ?"
>Dean
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 20:13:47 -0500
>From: "L. P. Skeen"
>Subject: clay/bombs
>
>Just walked through the living room where CNN was reporting that the =
>coalition (sp?) just dropped a 5000lb bomb on Iraq. When they tell the
=
>sizes of these things, does anyone else out there do the math and =
>compare it to boxes of clay? I said to Ginny, "They just dropped the =
>equivalent of 100 boxes of clay on Iraq. Doesn't sound like much, does
=
>it?" =20
>
>L
>
>
>
>L. P. Skeen www.living-tree.net
>Living Tree Pottery, Summerfield, NC
>Get your copy of the 2003 Clay Lover's Calendar
>at my website above! :)
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 17:32:02 -0800
>From: Michael Wendt
>Subject: Re: Rehydrating greenware
>
>Les,
>Normally I throw such things away if they get dry but this was a wedding
>present which had to be at a wedding by a specific date. To get the
piece in
>the next bisque load would have made it a week late and I was able to
>fulfill an order that might well have been cancelled had I called the
>customer to explain that I goofed. I couldn't hold up the rest of my
order
>work for this one pot to be made over plus the time to dry it too, so I
>tried something new. Result: in an emergency, I can save a critical
order by
>misting. Bottom line... it took no longer to mist the pot for a few
sprays
>every now and then than it would have taken to weigh out, wedge, center,
>throw and wire another pitcher plus it put me back on schedule.
>Regards,
>Michael Wendt
>Wendt Pottery
>2729 Clearwater Avenue
>Lewiston, Idaho 83501
>1-208-746-3724
>wendtpottery.com
>Les wrote:
>"Michael/Steven -
>I am wondering if all this extra time and labour is worth it. Does it
make
>the piece worth more because of the additional work put into it? The
clay
>is recoverable. How many pots of the same type could you throw in the
time
>it took to go back time and again to trim little by litttle?
>
>I'm not intending to be argumentative.... I guess I'm lazy (and old or
both)
>so I look for the easiest way to accomplish the task.
>
>Cheers,
>
>Les Crimp on Vancouver Island."
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 17:50:26 -0700
>From: Marcia Selsor
>Subject: Re: Niki de St.Phalle
>
>The Tarot Garden in southern Tuscany is also by Niki de Saint Phalle and
>is still under construction after her death last year. It sits on 50
>acres. The theme is based on images of the Tarot Cards with writing on
>the paths commenting on emotions such as Joy. There are huge sculptures
>with mosaics. She lived in the Empress while directing the construction
>of many of the pieces. I love the place. I hope to see the other sites
>in Nice and San Diego.
>
>Martin A. Arkowitz wrote:
>> on mar 25, 2003 stephani stephenson wrote about a sculture garden that
>> was presented to a city in calif. by niki. niki de saint phalle died
in,
>> i believe, 2002. i was living in nice, france when they did a wonderful
>> exhibition of her works. she donated 170 peces of her work to the nice
>> museum of contemorary art. most of the pieces were exhibited in the
>> museum but some of the larger pieces which are similar in style to that
>> of the california project, were placed on the promenade d'anglais
facing
>> the mediterranean. it was a great experience seeing these large and
very
>> impressive pieces. and especially wonderful to see little children
>> climbing in and around them and enjoying art. if anyone ever gets to
>> nice, france they should go into the contemorary art museum to check it
>> out.
>> eleanor arkowitz
>> hanover n.h. in the sunshine and warmth of spring-finally
>>
________________________________________________________________________
______
>> 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.
>
>
>--
>Tuscany in 2003
>http://home.attbi.com/~m.selsor/Tuscany2003.html
>
>------------------------------
>
>Date: Fri, 28 Mar 2003 09:32:48 +0800
>From: Culling
>Subject: Re: Glaze recipe books
>
>Lily makes a point about keeping the glaze recipe book safe from
>marauders. Sometimes you have to keep it safe from yourself! :)
>
>I was taught to re-write the recipe -in the office- then tick off the
>ingredients as thyey are added - doesn't damage the original or get
lost and
>doesn't leave the office to get damaged. Has stood me in good stead. I
also
>date them and kep them (the copies) in the glaze room so as to be able
to
>check the materials if there is a problem with the firing
>steph
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 20:00:10 -0600
>From: Martin Rice
>Subject: Can I change my kiln's temp?
>
>Hi,
>
>My electric kiln, which was made here in Costa Rica for me with the
elect=
>ric
>components imported from the U.S. only reaches temperatures of about
1200=
>C,
>so I guess it's a cone 5. Originally the fellow who made it told me it
wa=
>s
>going to be a cone 6 but when I picked it up, he said "bueno...mas o
meno=
>s,"
>(well, more or less). So that's why I'm treat it as a cone 5. I don't
fir=
>e
>to cone 5 because I didn't want to burn out the elements too quickly.
>
>What I'd like to do is have a cone 10 kiln and fire at cone 6. It's a
220=
>,
>of course, and draws, I believe, 65 amps. It's on it's own dedicated
line.
>It has 3 elements and three infinite switches, no computer control, no
ki=
>ln
>sitter. My question is, can I get 3 different elements that will go to
co=
>ne
>10 and replace the elements that are in the kiln now?
>
>Thanks,
>Martin
>Lagunas de Bar=FA, Costa Rica
>http://www.rice-family.org
>
>------------------------------
>
>Date: Thu, 27 Mar 2003 19:47:06 -0600
>From: Tony Ferguson
>Subject: Re: Paper Clay..Dangerous?--better than colodial Silver
>
>For anyone who is interested in angstrom sized ionic silver (10,000
times
>smaller partical size than colodial), I sell the best stuff I have
found.
>Email me off list for information.
>
>Thank you.
>
>Tony Ferguson
>On Lake Superior, where the sky meets the Lake
>
>Stoneware, Porcelain, Raku and more
>by Coleman, Ferguson, Winchester...
>www.aquariusartgallery.com
>218-727-6339
>315 N. Lake Ave
>Apt 312
>Duluth, MN 55806
>
>
>----- Original Message -----
>From: "Rick Monteverde"
>To:
>Sent: Thursday, March 27, 2003 4:05 PM
>Subject: Re: Paper Clay..Dangerous?
>
>
>> RE: paper clay molds & bacteria -
>>
>> I mentioned sometime before that colloidal silver had worked well in my
>wet paper clay batches. Very small amounts of silver are deadly to many
>microbes, and the effect is long lasting. Do google on colloidal
silver, but
>watch out for a quack attack. Despite all the newage sewage, it really
does
>work. ; )
>>
>> - RM
>>
>>
>________________________________________________________________________
____
>__
>> 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, 27 Mar 2003 21:18:13 EST
>From: Neil Fallon
>Subject: Re: Discussion on Clayart
>
>In a message dated 3/24/2003 6:11:00 AM Eastern Standard Time,
>gayle@CLAYBAIR.COM writes:
>
>> So Earl.... with our discussion about discussing war instead of a
discussion
>> about war... we get you disgustin' our discussion! Do I have that
right??
>> :-)
>> I love Clayart!
>
>
>OK ... that was a good laugh. Thank you Gayle!
>
>Neil Fallon
>
>------------------------------
>
>End of CLAYART Digest - 26 Mar 2003 to 27 Mar 2003 (#2003-87)
>*************************************************************
>
>