Tracy Shea on thu 27 nov 03
Leslie-
Sorry to hear you've had those probs. This ovenware problem is the first
I've had using Mstring ^6 glazes. I have made 2 sets of dishes (8 place
settings each, and mugs) with oatmeal- i believe that is the same base
glaze as raw sienna- and i have used variegated blue on many mugs- all
without a problem. My own dishes which have been in use since last sprin=
g-
through the dishwasher and microwave a thousand times- have all been
great!!! no sign of problems yet, and all made with standard 225. i have
also used standard 112 with no problems. The first problems I have
encountered have just been in the oven. And, I was not aware that Standar=
d
didn't consider their clay "ovenware safe" until I checked with them,
although they did say that they have people using this clay for ovenware
successfully. So, I'm thinkin' it must be me. I've just got to keep
experimenting and learning to find the answer.
But, as far as the Mstring ^6 glazes- I am loving that book! - I have rea=
d
(or tried to read) Hopper, Ian Currie, D. Rhoades- and many articles try=
ing
to get glazemaking to "sink in"- testing, failing, failing, testing- gett=
ing
recipes that i can't make work-
So far, I have had great success with Ron and John's glazes, and have
ventured into some variations of my own- pretty elementary for the glaze
gurus out there, but huge for me. i've been ruining good pots with bad
glazes for years- this book has really helped and inspired me.
tracy shea
----- Original Message -----
From: "Automatic digest processor"
To: "Recipients of CLAYART digests"
Sent: Thursday, November 27, 2003 12:00 AM
Subject: CLAYART Digest - 25 Nov 2003 to 26 Nov 2003 (#2003-331)
> There are 99 messages totalling 4216 lines in this issue.
>
> Topics of the day:
>
> 1. After show blues (6)
> 2. kiln vent project (4)
> 3. gas kiln (2)
> 4. My subscription (4)
> 5. drooling over pg.18 (2)
> 6. Casting Slips and Deflocculation
> 7. : Question for Ivor (3)
> 8. toxicity of polymer clay
> 9. Throwing off the hump
> 10. Ancient Pottery
> 11. Australia
> 12. ATTENTION CRYSTALLINE GLAZE POTTERS (3)
> 13. raku & wax or latex resist (3)
> 14. Pot mill vs. Ball Mill. Do you mean a Jar Mill?
> 15. Off the Hump, professors and thanksgiving (4)
> 16. Math/clay shrinkage question
> 17. New York Ceramics (was Re: Off the Hump, professors and thanksgivi=
ng
> 18. in the pink
> 19. CM December, cover
> 20. Black Glaze question
> 21. naturally occurring clay (3)
> 22. Have you worked with a Crucible Kiln? (3)
> 23. clay softness test fo SP850 (Kenzan Porcelain) (2)
> 24. THE SURVEY-one more chance (2)
> 25. ^6 ovenware revisited- Standard Clay (2)
> 26. clay shrinkage
> 27. CUSHING HANDBOOK - Readily Available
> 28. Thanksgiving/cooking/firing (3)
> 29. pots shearing oddly when breaking (3)
> 30. New Shimpo wheel (2)
> 31. Toxicity of Polymer Clays (2)
> 32. photography background (2)
> 33. stndard 225 and cracking
> 34. polymer clay (2)
> 35. figuring clay shrinkage for the mathmatically challenged (2)
> 36. Alkalis in Unity Formula
> 37. After Show Blues (2)
> 38. What cone for turkey? (3)
> 39. [0.0] in the pink
> 40. A surprise gift in my red iron oxide
> 41. re ; ball mill caking up
> 42. low fire,matte/satin glazes for dishware
> 43. Glaze pinholes
> 44. newbie questions
> 45. turkey cones
> 46. help needed with stoneware formula
> 47. gift in red iron oxide
> 48. thanksgiving
> 49. the Blues
> 50. turkey cones (scary)
> 51. tony/cure the blues
> 52. selling at universities
> 53. Drooling over images and stuff in magazines
> 54. OT Peas (was Thanksgiving/cooking/firing)
> 55. ball mill caking up
> 56. incompetent professor, but do not call the fire marshal
> 57. clay softness test fo SP850 -Chapel of Art Tiles
> 58. thanksgiving (vegetarians please delete)
>
>
_________________________________________________________________________=
___
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
> ----------------------------------------------------------------------
>
> Date: Tue, 25 Nov 2003 22:09:10 -0500
> From: Jennifer Boyer
> Subject: Re: After show blues
>
> Post show blues is SO common! I dread the adjustment period I go
> through in January when my crazy studio schedule slows down. The
> production "zone" is sort of addicting since you don't have to think
> and barely have to make a decision. Your list is a mile long and you're
> going down it from dawn til dusk.........Then when your list is done
> and you have to think what the next stage is, you're at a loss. One
> answer sometimes is to think of something non-clay that you've been
> wanting to do, and do that. It uses up your residual obsessive work
> energy, but gets you out of the studio. I made a quilt in January once.
>
> Jennifer, who's survived post holiday blues every year so far..... you
> will too.
>
> On Tuesday, November 25, 2003, at 03:45 PM, Suzanne Botello wrote:
> > . Anyway, I =3D
> > have been feeling out of sorts the past 3 days, even moved into self =
=3D
> > pity (I have no friends, I'm too far away from my friends and family
> > and =3D
> > no one who knows me special came to my show, I still have some pots =3D
> > left, what am I going to do with them, I'm sad, I'm a terrible artist=
,
> > =3D
> > I'm not even an artist, I'm an artist, but not a business person,
> > blah, =3D
> > blah, blah...)...It came to a head in the middle of last night when I=
=3D
> > woke up and felt like crying. My poor husband tried to soothe me wit=
h
> > =3D
> > the logical stuff: ***********************************************
> > never pass on virus warnings or emails with checking them at:
> http://snopes.com
>
> Jennifer Boyer - Thistle Hill Pottery
> Montpelier, VT 05602
> http://thistlehillpottery.com
> ***********************************************
>
> ------------------------------
>
> Date: Tue, 25 Nov 2003 21:47:46 -0600
> From: Libby Krause
> Subject: Re: After show blues
>
> Suzanne,
>
> I think we all go through something like you experienced to a greater =3D=
20=3D
>
> or lesser degree after a show. Here's food for thought. It was in a =3D=
20=3D
>
> post from Edouard Bastarache a few days ago, and, by the way, thanks =3D=
20
> Edouard for sharing this.
>
> Libby Krause
>
>
> LIFE AND A CAN OF BEER
>
> When things in your life seem almost too much to handle, when 24 hour=
s =3D
> =3D20
> in
> a day are not enough, remember the mayonnaise jar...and the beer.
> A professor stood before his philosophy class and had some items in =3D=
20=3D
>
> front
> of him. When the class began, wordlessly, he picked up a very large =3D
> and
> empty mayonnaise jar and proceeded to fill it with golf balls. He the=
n
> asked the students if the jar was full.
>
> They agreed that it was. So the professor then picked up a box of =3D20
> pebbles
> and poured them into the jar. He shook the jar lightly. The pebbles =3D=
20
> rolled
> into the open areas between the golf balls. He then asked the students
> again if the jar was full.
>
> They agreed it was.
>
> The professor next picked up a box of sand and poured it into the jar.
> Of course, the sand filled up everything else. He asked once more if =3D=
20
> the jar
> was full. The students responded with a unanimous "yes." The professor
> then produced two cans of beer from under the table and poured the =3D2=
0
> entire
> contents into the jar, effectively filling the empty space between the
> sand. The students laughed. "Now," said the professor, as the laughter
> subsided, "I want you to recognize that this jar represents your life.
=3D20=3D
>
> The
> golf balls are the important things--your family, your children, your
> health, your friends, and your favorite passions--things that if
> everything else was lost and only they remained, your life would still
=3D20=3D
>
> be
> full.
>
> "The pebbles are the other things that matter like your job, your house=
,
> your car.
>
> The sand is everything else--the small stuff.
>
> If you put the sand into the jar first," he continued, "there is no roo=
m
> for the pebbles or the golf balls. The same goes for life. If you spend
> all your time and energy on the small stuff, you will never have room =3D=
20=3D
>
> for
> the things that are important to you. Pay attention to the things that
=3D20=3D
>
> are
> critical to your happiness. Play with your children. Take time to get
> medical checkups. Take your partner out to dinner. Play another 18. =3D=
20
> There
> will always be time to clean the house, and fix the disposal. "Take car=
e
> of the golf balls first, the things that really matter. Set your =3D20
> priorities.
> The rest is just sand."
>
> One of the students raised her hand and inquired what the beer
> represented. The professor smiled. "I'm glad you asked. It just goes
> to show you that no matter how full your life may seem, there's always
> room for a couple of beers."
>
> On Tuesday, November 25, 2003, at 02:45 PM, Suzanne Botello wrote:
>
> > I have been experiencing something I hadn't felt in awhile and =3D20
> > wondered if any of you ever have this experience? I did a show this
=3D20=3D
>
> > past weekend that I'd been preparing for the past 2 =3DBD months. Al=
l
=3D20=3D
>
> > I've thought about are shapes, forms, colors, glazes, decoration, get
=3D20=3D
>
> > new display shelves made...
>
> > Suzanne Botello
> >
> > Mudpie Studios
> >
> > Flagstaff, Az
> >
> >
> >
> > =3D
>
_______________________________________________________________________=3D=
20=3D
>
> > _______
> > 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 =3D20
> > melpots@pclink.com.
> >
>
> ------------------------------
>
> Date: Tue, 25 Nov 2003 23:37:40 -0500
> From: gordon jones
> Subject: kiln vent project
>
> hello all, i am going to attempt my own low cost kiln vent and need to
know
> some specs on under kiln type system. if someone could let me know the =
cfm
> rating on the motor, dont want to suck all the heat out of the kiln ,fu=
mes
> only. i have only found ratings printed for the hood type. i will be us=
ing
> an industrial supplier catalog for parts fan motors range from about 4=
0
> dollars sheet metal boxwoek and all i think can be done for 65 75 doll=
ars
> total cost. i will be happy to post part numbers and project designs if=
it
> works, if it dont i can put a silly picture of my face with that look
you
> know the one where i've drilled holes in the kiln and spent the afterno=
on
> building this thing only to throw it away and drop the big list price f=
or
> the vent. checked the archives and could not find .
>
> gordon jones earthbound arts.
>
> _________________________________________________________________
> Say "goodbye" to busy signals and slow downloads with a high-speed
Internet
> connection! Prices start at less than $1 a day average.
> https://broadband.msn.com (Prices may vary by service area.)
>
> ------------------------------
>
> Date: Tue, 25 Nov 2003 23:41:18 EST
> From: HOC Studio
> Subject: gas kiln
>
> is there anybody out there who is getting rid of a gas kiln or has any
ideas
> where i can find one for less than four thousand dollars? please send a=
ll
> e-mail to claylady128@aol.com
>
> ------------------------------
>
> Date: Tue, 25 Nov 2003 23:46:47 EST
> From: "Jan L. Peterson"
> Subject: Re: My subscription
>
> Just curious, Rick. Did you get your issue of the Journal you so desire=
d?
> Jan, the Alleycat
>
> ------------------------------
>
> Date: Tue, 25 Nov 2003 21:00:25 -0800
> From: logan johnson
> Subject: drooling over pg.18
>
> Hi everyone!
> would anybody like to join me in drooling over Ivar Mackay's "Lidded
Jar"on page 18 of the latest C. M.? Of course there are other equally
wonderful pieces but I didn't want to hog the whole issue! =3Do] I wan=
t
that piece, I want that glaze, I want his kiln, I want his hands &
talent....... My wants are simple, I want it all! YESTERDAY!!! =3Do>
> Happy Thanksgiving Everybody!!! I know this year when we all tell wha=
t
we're thankufll for, you folks on clayart will be high on MY list.( Who
wants white meat & who wants dark?????) OOOPS! sorry, more demographics =
!
>
>
> Logan Johnson
> Audeo Studios
> "Carpe Argilla!!"
>
>
> ---------------------------------
> Do you Yahoo!?
> Free Pop-Up Blocker - Get it now
>
> ------------------------------
>
> Date: Tue, 25 Nov 2003 17:17:36 +1030
> From: iandol
> Subject: Casting Slips and Deflocculation
>
> Dear Friends,
> A lot is said about additives for deflocculation.
> Science books tell us that this phenomenon is due to the affects the =3D
> alkalies have, neutralising electrostatic charges on clay particles. We=
=3D
> are also told that Cations with large radii disrupt the water structure=
s =3D
> of plastic clay.
> But has anything been written about the effects of the anions which are=
=3D
> added. These include Carbonate, Phosphate and Silicate substances and =3D
> all of them seem to have ions whose sizes are double those of the =3D
> cations.=3D20
> So, what is known ? and if it is not known, is it important?
> Best regards,
> Ivor Lewis. Redhill, South Australia
>
> ------------------------------
>
> Date: Tue, 25 Nov 2003 17:05:24 +1030
> From: iandol
> Subject: : Question for Ivor
>
> Dear Taylor J. Hendrix,
>
> <>
>
> What a question to ask !! One for which I cannot provide an answer.
>
> But to bring you nearer a resolution of the phenomenon of "Plasticity",=
=3D
> try reading about Primary, Secondary and Tertiary Creep. I quote "In =3D
> order for a polycrystalline solid to deform homogeneously into an =3D
> arbitrary shape, with no volume change and maintain strain compatibilit=
y =3D
> it must have at lease five independent slip systems" (Taylor 1938)
>
> Do a Google search for Ice and Plasticity.
>
> Best regards with your continuing studies,
>
> Ivor Lewis. Redhill, South Australia=3D20
>
> ------------------------------
>
> Date: Tue, 25 Nov 2003 23:30:06 -0800
> From: Tim McCracken
> Subject: Re: After show blues
>
> Suzanne,
>
> I am about to have my first sale, so I can=3D92t comment on the after-s=
ale
> blues, but... Another passion of mine has been auto racing. Some
> similarities in that it takes ridiculous amounts of time and energy to
> get prepared for the event. The event itself, and the people involved,
> are intense and invigorating, and then there is all of a sudden...
> nothing, or your day job, or whatever else you have been neglecting.
> Post-race blues.
>
> One thing that has helped has been getting together with friends that
> were involved in the race to watch the in-car videos. Basically, we
> celebrate the successes, laugh at the failures, and talk about the next
> time. Maybe the same thing can be done in ceramics - what went well,
> not well, could be different next time... Maybe it starts you on a new
> path in your ceramic work. Maybe it is just a good time with friends.
>
> Good luck preparing for your next race.
>
> Tim
>
> Tim McCracken
> timsmccracken@yahoo.com
>
>
> -----Original Message-----
> From: Suzanne Botello [mailto:Suzanne.Botello@COCONINO.EDU]=3D20
> Sent: Tuesday, November 25, 2003 12:45 PM
> Subject: After show blues
>
> I have been experiencing something I hadn't felt in awhile and wondered
> if any of you ever have this experience? I did a show this past weeken=
d
> that I'd been preparing for the past 2 =3DBD months. All I've thought =
=3D
> about
> are shapes, forms, colors, glazes, decoration, get new display shelves
> made... I had lots of pots and did quite well for the kind of show it
> was (lots of crafty things in some of the booths). Anyway, I have been
> feeling out of sorts the past 3 days, even moved into self pity (I have
> no friends, I'm too far away from my friends and family and no one who
> knows me special came to my show, I still have some pots left, what am =
I
> going to do with them, I'm sad, I'm a terrible artist, I'm not even an
> artist, I'm an artist, but not a business person, blah, blah,
> blah...)...It came to a head in the middle of last night when I woke up
> and felt like crying. My poor husband tried to soothe me with the
> logical stuff: "You had a good show. You worked so hard over the past
> couple months that you haven't thought about anything else, and now
> you're just coming down. Relax. You're loved. You have 3 really good
> friends here and two of them were in the show, too. Relax.".....But I
> still felt, as Charles Dickens put it, if I can quote him correctly,
> "...like a lone, lost creature, and everything goes contrary to me..."
> I had a death in my family last week, my aunt who embodied my childhood=
.
> I couldn't make the funeral-too far to travel in too little time, and m=
y
> son turned 30 on Sunday, also 1000 miles away. Lots of things were
> going on while I was working on my production schedule but I was in tha=
t
> Zone and didn't let myself get off schedule. The show was fine, but
> boy, did it hit me last night. I'm better already, but WOW. This was m=
y
> first real show since I moved to this area 3 years ago, and I don't kno=
w
> if I'm just not remembering this After Show Blues or if it is common.
> Does anyone else go through these swings after an event, or did I just
> lose it for a few days? Thanks for any feedback.
>
> =3D20
>
> Suzanne Botello
>
> Mudpie Studios
>
> Flagstaff, Az
>
> =3D20
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 08:27:05 +0200
> From: Ababi
> Subject: Re: toxicity of polymer clay
>
> Hello Vince
> I was asked to test "cold clay" for summer circle where they did not
> have a kiln-white and red types. Kind of red clay and ball clay perhaps
> with some bentonite and a binder that in +- 170C 340 F become firm.
> The first thing that shocked me when I opened the package was the
> terrible smell of the binder. I tested it in my kiln. I doubt if I woul=
d
> use it at home.
>
> Ababi
>
>
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Vince
> Pitelka
> Sent: Wednesday, November 26, 2003 3:24 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: toxicity of polymer clay
>
> Well, in all seriousness Susan, what do you really know about this? It
> is
> very likely that polymer clay emits toxic fumes during firing, and it i=
s
> likely that those fumes can deposit residual compounds on the oven
> walls,
> which could revolatilize and contaminate food. Do you have any good
> reason
> at all to be sceptical of this?
>
> You are making assumptions that you have no right to make, especially
> when
> people's health is at risk. Please leave such judgements to the
> experts.
> - 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/
> http://www.tntech.edu/craftcenter/
>
> _______________________________________________________________________=
_
> ______
> 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 Nov 2003 01:07:15 -0700
> From: Dave Finkelnburg
> Subject: Re: Throwing off the hump
>
> Taylor,
> All I can tell you is what my daddy always told me. "Dave," he wou=
ld
> say with a grin, as I complained about not being able to do something, =
"a
> good carpenter never blames his tools."
> Good potting!
> Dave Finkelnburg
>
> ----- Original Message -----
> From: "Hendrix, Taylor J."
> Sent: Tuesday, November 25, 2003 4:13 PM
> Dave,
> You may be right about this and you know that I love ya,
> but I tried using some kitchen scissors to cut my forms
> off the hump. They didn't do so well. What's up with
> that?
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 03:13:08 EST
> From: Kevin Ritter
> Subject: Ancient Pottery
>
> Last Sunday, we went to the Machu Pichu exhibit at the Carnegie Museum =
of
> Natural History in Pittsburgh. It proved once again that the story of =
a
culture
> will be told mostly through it's pottery. Apparently much of life in t=
he
lost
> city revolved around making, storing consuming or moving corn beer, lif=
e
> couldn't have been too bad. Many varied examples of ceremonial pottery
also
> represented. Worth a visit if anyone is in the Pittsburgh area, the sh=
ow
runs
> through January 4 I think. Be sure to check out the sculpture balcony =
to
see a
> couple Warren Mackenzie and Peter Voulkous pieces along with other big
named
> potters.
>
> Kevin
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 03:02:45 -0600
> From: =3D?iso-8859-1?q?Marilu=3D20Tejero?=3D COM>
> Subject: Re: Australia
>
> Olga: try www.ceramicarts.asn.au/gallery
>
> http://angelamellor.com.au
>
> www.sandrablack.com.au
>
> www.perthgalleries.com
>
> www.potteryinaustralia.com
>
>
>
>
>
> www.geocities.com/SoHo/Exhibit/3051
>
>
>
>
>
>
> ---------------------------------
> Do You Yahoo!?
> Todo lo que quieres saber de Estados Unidos, Am=E9rica Latina y el rest=
o del
Mundo.
> Vis=EDta Yahoo! Noticias.
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 19:12:06 +0900
> From: Rick
> Subject: Re: My subscription
>
> YOU ARE RIGHT! I was surprised to see it on Clayart. Sigh. Give me
> time and I'll eventually get it right.
> Sorry everyone.
>
> Rick
>
>
> On Nov 26, 2003, at 10:58 AM, Marta Matray Gloviczki wrote:
>
> > i dont really understand, but my guess is, that rick wanted to send
> > his e-
> > mail to ceramics monthly magazine.
> > he is missing the june-july-august issue. am i right?
> > rick, this is clayart, an internet discussion group.
> > we are not ceramics monthly magazine.
> > you should send e-mail to:
> > circulation@ceramicsmonthly.org
> >
> > hope this helps,
> > marta
> >
> > On Wed, 26 Nov 2003 07:53:57 +0900, Rick wrote:
> >
> >> Hello again,
> >> I can't figure it out. Is there something about the J/J/A issue tha=
t
> >> would prompt someone to do a light finger job on it. I'm sure you
> >> have
> >> sent my copy on to me (a couple of times), but to date it hasn't
> >> arrived. November's issue arrived the other day. Thank you for the
> >> fast delivery of it. This missing issue is the only one I haven't
> >> gotten since 1985 and it is causing me to develop a nervous tic,
> >> glazed
> >> over eyes, hair loss, sleepless nights, etc, etc. etc. What would y=
ou
> >> recommend doctor?
> >>
> >> Sighing Rick
> >>
> >> On Oct 3, 2003, at 12:10 AM, Rick wrote:
> >>
> >>> Hi,
> >>> It's me again. Sorry to be such a pest, but.....
> >>>
> >>> The last time I wrote it was about not receiving the May issue, whi=
ch
> >>> eventually got here. And so I waited for the J/J/A one to follow
> >>> close
> >>> on its heels. And wait is what I am still doing. I guess the crac=
ks
> >>> in the postal system have widened. The good news is that the Sept
> >>> issue arrived today. Actually, I was curious to see which would
> >>> arrive first --- and now we know, don't we? It has been a long
> >>> lonely summer without the J/J/A issue. Do you think something can b=
e
> >>> done --- even this late in the year --- to dispel my loneliness?
> >>>
> >>> Thanks for all your great service over all these years.
> >>>
> >>> Rick Hugel
> >>> 2849-1 Kawaguchi cho
> >>> Hachioji Shi, Tokyo, Japan
> >>> 193-0801
> >>>
> >>
> >> ____________________________________________________________________=
__
> >> ____
> > ____
> >> Send postings to clayart@lsv.ceramics.org
> >>
> >> You may look at the archives for the list or change your subscriptio=
n
> >> 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: Tue, 25 Nov 2003 23:28:23 -0500
> From: Wilton Pottery
> Subject: ATTENTION CRYSTALLINE GLAZE POTTERS
>
> ATTENTION CRYSTALLINE GLAZE POTTERS:
>
> I have been asked by A & C Black, Publishers of my book Crystalline =3D
> Glazes to do a second edition. This book will have a new cover, new =3D
> photographs in full colour, and I will update with new information. In =
=3D
> order to get the book out by the fall of 2004, I need to send the =3D
> publishers my information by the end of January. I realize this is not =
=3D
> much time, but I am requesting crystalline glaze potters to please send=
=3D
> me either slides of your work or photos on a CD that I may use in my =3D
> book. I need top quality photos of only one pot at a time on a plain =3D
> background with no shadows. Please list height, glaze colorant used and=
=3D
> the photo credit. I am also looking for interesting glaze recipes and =3D
> unusual results or comments. I would also like your name, address and =3D
> e-mail address. You may get in touch with me at wppotter@kos.net or =3D
> write to Diane Creber, 239 Simmons Road, RR 2, Odessa, Ontario K0H 2H0 =
=3D
> CANADA.
> =3D20
>
> ------------------------------
>
> Date: Tue, 25 Nov 2003 22:06:54 -0700
> From: Gary Ferguson
> Subject: Re: raku & wax or latex resist
>
> Charles:
>
> How does this work differently that just glazing over glaze? Does the
tape
> keep the two glazes from interacting until later in the firing?
>
> Gary Ferguson
> Raku Clay Artist
> Nampa, ID 83687
> Raku Gallery and Glaze Collection at: http://www.garyrferguson.com
> Subscribe to Just Raku Newsletter at http://www.JustRaku.com
> Just Raku Logowear at: http://www.cafepress.com/justraku
>
>
> ----- Original Message -----
> From: "Charles Moore"
> To:
> Sent: Tuesday, November 25, 2003 9:47 AM
> Subject: Re: raku & wax or latex resist
>
>
> > I have even had success with Scotch tape (or some house brand) over r=
aw
> > glazes to separate one glaze from another on a piece.
> > Charles
> > Sacramento
> >
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 00:26:48 -0500
> From: Graeme Anderson
> Subject: Re: Pot mill vs. Ball Mill. Do you mean a Jar Mill?
>
> Hi Janet,
> A pot mill is a ball mill is a tumbler is a jar mill. All work on the
same
> principle. I have a triple decker jar mill (rarely use it !), which wa=
s
> used in the paint industry to break up coarse material. Top rollers we=
re
> large enough to hold a 44 gal/200 litre drum. Same as a ball mill, for
> grinding glazes. The tumbler is generally used in the lapidary industry=
,
> for polishing semi-precious gemstones, with various grades of grit, and
> polishes. There is the tumbler which revolves on the rollers, and ther=
e
is
> the vibrating tumbler, which is similar in motion to a vibratory sieve.
>
> Cheers. Graeme.
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 06:36:37 EST
> From: Milla Miller
> Subject: Re: gas kiln
>
> In a message dated 11/26/2003 6:06:26 AM Eastern Standard Time,
> HOCceramic@AOL.COM writes:
>
>
> > is there anybody out there who is getting rid of a gas kiln or has an=
y
ideas
> > where i can find one for less than four thousand dollars? please send
all
> > e-mail to claylady128
> >
> Not advertised,I personally have a brick gas kiln unmortared with burne=
rs
in
> South Carolina.that was not advertised.my studio 13 miles away from it
> burned in Augusy and would consider selling but you would need to
deconstruct and
> move.It is very efficient and fires off a 500 propane tank or 3 in tan=
dem
or
> natural gas probably a commercial line as pressure needs to be
consistantly
> adequate .12'' X 24'' shelves in near perfect condition available..fob
> Columbia,SC very near freeway access
> Margaret in SC
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 06:38:45 -0500
> From: Chris Clyburn
> Subject: Off the Hump, professors and thanksgiving
>
> I want to thank everyone for advice on throwing off the hump thinly. I =
am
> finding that the method of placing paper on top before removing with a
wood
> tool is working best.
>
> The situation with the kiln and the professor has been resolved. Someon=
e
> else apparently had concerns and called the fire marshal before I could
even
> decide to. The kiln has been shut down, and cannot be restarted until t=
he
> fire marshal inspects it and they get it up to code.
>
> Having read all the posts, and doing some soul-searching of my own, I h=
ave
> come to the conclusion that while the professor in question is severely
> underqualified for the job, I am not being fair to him by complaining t=
o
> others about this. He has the job and while he may never have had any
studio
> experience or teaching experience (his clay experience has been limited=
to
> classes taken in a BA program 25-20 years ago and making a pot every fe=
w
> months.) given time he could become a somewhat decent professor once he
> quits trying so hard to cover up holes in his knowledge with BS and fal=
se
> bravado. So at least while I am here I will try and give him as much
support
> as he will let me, hopefully he'll learn how to do a bique load soon so=
we
> don't have to keep leaving him instructions .
>
> I do appreciate everyone who offered advice, and even those who griped,
they
> all contributed to giveing me a better perspective and to help let go o=
f
> most of the anger and frustration I was feeling.
>
> Also, for all those who helped me with the green oxidation glaze, thank=
s.
I
> will be testing all of them either Sunday or Monday as soon as I can ge=
t
the
> cone 10 electric kiln free. Next trimester I will be busy trying to
develop
> my own cone 9 ox glazes like I did for reduction, possibly figuring out
how
> to just convert my reduction glazes over to ox with similar results.
>
> So anyway, next week I have finals and pack for Jersey to stay with the
> in-laws for a month of no clay and lots of mother in-law nagging and
people
> speaking Russian when I can't understand more than a phrase or two. The
> upside is I will be 1 hour from Manhattan and can take the bus to go to
> galleries and museums when I finally get fed up . Anyone know of any
good
> galleries or museums with a ceramics collection in New York? I look eve=
ry
> year (with the exception of this summer when I was stuck on the subway
> during the blackout) but on foot without a reference I have had little
luck.
>
>
> Everyone have a happy Thanksgiving,
>
> Chris Clyburn
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 22:17:06 +0900
> From: Lee Love
> Subject: Re: kiln vent project
>
> ----- Original Message -----
> From: "gordon jones"
>
>
> >hello all, i am going to attempt my own low cost kiln vent and need to
> >know some specs on under kiln type system.
>
> One thing to remember: suck, don't blow. :^)
>
> Use the blower to draw the fumes at the exit end. This way, if your
> tubing gets a leak or a hole, you'll still be drawing the fumes out. =
If
> the blower is near the kiln exit hole, then you are mostly pushing. =
If
> there are any leaks, you will push the fumes out the leaks.
>
> --
> Lee In Mashiko, Japan
> http://Mashiko.org
> Web Log (click on recent date):
> http://www.livejournal.com/users/togeika/calendar
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 05:35:12 -0800
> From: Alex Solla
> Subject: Re: After show blues
>
> Suzanne-
>
> You certainly arent alone. I would guess it to be pretty common. I know
that when I did my first show in UT (this was about 8 yrs ago) I was so
psyched up. Everyone had told me what a great show it was. I cranked and
cranked and made tons of pots. Put them out there on the day of the show.
Sold okay. But I wasnt fulfilled. No one stopped by to say that they were
amazed by my work. Like you said, none of my friends showed up (but then
again it was 8 hours away from where we lived).
>
> Was it a bad show? no. Was I dissappointed? oh yeah. We put so much of
ourselves into our expectations... sometimes it just isnt realistic. Does=
nt
mean it doesnt bring us down though. Dont we deserve to feel great??!! Ev=
en
if the show sucks, we should still get a cookie right? Hmm.
>
> Part of what I have gathered from people like Dick Aerni and Tony C and
David H is that if you are going to sell pots and follow the path of
self-promotion... something to remember that no matter how much you need
that reaffirmation that you are indeed a good potter, good provider, good
parent/spouse whatever,.... that reaffirmation needs to come from INSIDE
first before looking for it from outside. In short, at the end of the sho=
w,
take stock, make plans and look ahead, not down. It isnt easy, but it sur=
e
beats the alternative!
>
> Keep the faith ! There are always better shows ahead and better pots in
the next kiln load.
>
> Alexander Solla
>
> Cold Springs Studio
> 4088 Cold Springs Road
> Trumansburg, NY 14886
>
>
> Suzanne Botello wrote:
> I have been experiencing something I hadn't felt in awhile and wondered=
if
any of you ever have this experience? I did a show this past weekend that
I'd been preparing for the past 2 =BD months. All I've thought about are
shapes, forms, colors, glazes, decoration, get new display shelves made..=
. I
had lots of pots and did quite well for the kind of show it was (lots of
crafty things in some of the booths). Anyway, I have been feeling out of
sorts the past 3 days, even moved into self pity (I have no friends, I'm =
too
far away from my friends and family and no one who knows me special came =
to
my show, I still have some pots left, what am I going to do with them, I'=
m
sad, I'm a terrible artist, I'm not even an artist, I'm an artist, but no=
t a
business person, blah, blah, blah...)...It came to a head in the middle o=
f
last night when I woke up and felt like crying. My poor husband tried to
soothe me with the logical stuff: "You had a good show. You worked so har=
d
over the past couple months
>
> that you haven't thought about anything else, and now you're just comi=
ng
down. Relax. You're loved. You have 3 really good friends here and two of
them were in the show, too. Relax.".....But I still felt, as Charles Dick=
ens
put it, if I can quote him correctly, "...like a lone, lost creature, and
everything goes contrary to me..." I had a death in my family last week, =
my
aunt who embodied my childhood. I couldn't make the funeral-too far to
travel in too little time, and my son turned 30 on Sunday, also 1000 mile=
s
away. Lots of things were going on while I was working on my production
schedule but I was in that Zone and didn't let myself get off schedule. T=
he
show was fine, but boy, did it hit me last night. I'm better already, but
WOW. This was my first real show since I moved to this area 3 years ago, =
and
I don't know if I'm just not remembering this After Show Blues or if it i=
s
common. Does anyone else go through these swings after an event, or did I
just lose it for a few days?
> Thanks for any feedback.
>
>
>
> Suzanne Botello
>
> Mudpie Studios
>
> Flagstaff, Az
>
>
>
>
_________________________________________________________________________=
___
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
> ---------------------------------
> Do you Yahoo!?
> Free Pop-Up Blocker - Get it now
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 13:36:49 -0000
> From: Roly Beevor
> Subject: Re: Math/clay shrinkage question
>
> Maid O'Mud wrote: I need to know what to multiply by so if I want a 6"
> finished piece, what size I need to start with.
>
> Sam
>
> If you don't like formulas don't use them. My apologies if you know
> perfectly well how to draw a line graph, but there certainly are people
who
> find this an even more frightening prospect than a formula. Lots of
people
> were put off graphs because you had to scale them at school to fit the
paper
> neatly, in this case you can use the actual size, so as long as you can
find
> a piece of squared paper at least 6" in both directions you have no
> problems.
>
> I would:
>
> Get a piece of squared paper, and a pencil, and a ruler.
>
> Mark one side "Before Firing" and an adjacent side "After Firing". Put=
a
> spot in the corner between the sides you have marked, or if your square=
s
go
> all the way to the edge of the paper use the corner of the paper.
>
> Measure six inches along the "Before Firing" direction, and mark; measu=
re
> 5.37 inches along the "After Firing" direction, make your mark.
>
> Follow the grid lines into the middle of the paper to the point where t=
he
6"
> before meets the 5.37" after, make another mark. Is this clear? I mea=
n
> draw a line perpendicular to the edge of the paper, from 6" on the befo=
re
> edge, and another fron 5.37" on the after edge, to the point where they
> cross, this is your point.
>
> Draw a line from (the dot in) the corner to the point you have just
marked.
> This line will go diagonally across the page.
>
> Measure six inches along the after side and follow the grid from here o=
ut
to
> the diagonal line and back down to the before line. There is your answ=
er,
> six and a bit. To me its easier because I can see it and measure it. =
If
> you have a pair of callipers or a stick you can mark you don't need to
> measure.
>
> Now you can relate any length final size to the appropriate length befo=
re
> firing, as well as any starting size to the fired size, simply by
following
> from the appropriate length on one edge up (or across) to the diagonal
line,
> and, having turned through a right angle across (or down) to the
> corresponding measurement.
>
> If you pin the page to the wall you need never worry about the formula =
or
> percent shrinkage, or the actual measurement again. Works so long as y=
ou
> keep the same clay and firing temperature, no batteries, environmentall=
y
> friendly.
>
> If the whole business seems too simple write "Analogue Shrinkage
Calculator"
> at the top.
>
> Roly Beevor
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 09:23:41 -0500
> From: Christy Pines
> Subject: New York Ceramics (was Re: Off the Hump, professors and
thanksgiving
>
> The Manhattan Art & Antiques Center 1050 Second Avenue at 55th Street =
has
over 100 galleries. Their ad in Art & Antiques magazine summer issue show=
ed
an unglazed pottery horse sculpture supposedly Tang dynasty. They always
show at least one piece of ceramic in their ads. The most recent shows a
japanese crackled glazed porcelain elephant, showing in the Hoffmantiques
gallery at the center.
>
> Not sure where in NJ you'll be, but in Princeton, until the 18th of
January, you can see "The Centaur's Smile: The Human Animal in Early Gree=
k
Art", featuring 100 objects in various media including painted ceramic
vases, sculptural relief in stone and clay, bronze and terracotta
statuettes. This is at the Princeton University Art Museum.
>
> TriBeCa Potters is a working studio at 443 Greenwich Street, downtown N=
YC.
THeir holiday show is the 11th through the 14th of December.
>
> If you want to see the largest collection of Wedgewood in the United
States, comprised of pieces from the 18th through the 20th century, go ou=
t
to Port Washington/Sands Point on Long Island. Hempstead House mansion h=
as
their Holiday House from November 28 to December 14, but the house is ope=
n
other times and a tour of the collection can always be arranged. Call 516
767 5677. It's a great place - overlooking Long Island Sound, a huge mans=
ion
built in 1912.
>
> The Japan Society (333 East 47th Street) current exhibit is Isamu Noguc=
hi
and Modern Japanese Ceramics. Runs through Jan 11. Open every day except
Monday.
>
> Check this link for a listing of galleries -
http://www.artincontext.org/listings/gallery/discipl/ceramics.htm
>
> Dai Ichi Arts Gallery Building is at 24 West 57th Street. They handle a
dozen or so potters.
>
> If you're still around in January, the National Academy of Design spons=
ors
the 5th annual New York Ceramics Fair at 1083 Fifth Avenue
>
> Enjoy!
>
> christy in connecticut, a native new yorker
>
>
>
>
> -----Original Message-----
> From: Chris Clyburn
> Sent: Nov 26, 2003 6:38 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Off the Hump, professors and thanksgiving
>
> I want to thank everyone for advice on throwing off the hump thinly. I =
am
> finding that the method of placing paper on top before removing with a
wood
> tool is working best.
>
> The situation with the kiln and the professor has been resolved. Someon=
e
> else apparently had concerns and called the fire marshal before I could
even
> decide to. The kiln has been shut down, and cannot be restarted until t=
he
> fire marshal inspects it and they get it up to code.
>
> Having read all the posts, and doing some soul-searching of my own, I h=
ave
> come to the conclusion that while the professor in question is severely
> underqualified for the job, I am not being fair to him by complaining t=
o
> others about this. He has the job and while he may never have had any
studio
> experience or teaching experience (his clay experience has been limited=
to
> classes taken in a BA program 25-20 years ago and making a pot every fe=
w
> months.) given time he could become a somewhat decent professor once he
> quits trying so hard to cover up holes in his knowledge with BS and fal=
se
> bravado. So at least while I am here I will try and give him as much
support
> as he will let me, hopefully he'll learn how to do a bique load soon so=
we
> don't have to keep leaving him instructions .
>
> I do appreciate everyone who offered advice, and even those who griped,
they
> all contributed to giveing me a better perspective and to help let go o=
f
> most of the anger and frustration I was feeling.
>
> Also, for all those who helped me with the green oxidation glaze, thank=
s.
I
> will be testing all of them either Sunday or Monday as soon as I can ge=
t
the
> cone 10 electric kiln free. Next trimester I will be busy trying to
develop
> my own cone 9 ox glazes like I did for reduction, possibly figuring out
how
> to just convert my reduction glazes over to ox with similar results.
>
> So anyway, next week I have finals and pack for Jersey to stay with the
> in-laws for a month of no clay and lots of mother in-law nagging and
people
> speaking Russian when I can't understand more than a phrase or two. The
> upside is I will be 1 hour from Manhattan and can take the bus to go to
> galleries and museums when I finally get fed up . Anyone know of any
good
> galleries or museums with a ceramics collection in New York? I look eve=
ry
> year (with the exception of this summer when I was stuck on the subway
> during the blackout) but on foot without a reference I have had little
luck.
>
>
> Everyone have a happy Thanksgiving,
>
> Chris Clyburn
>
>
_________________________________________________________________________=
___
__
> 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 Nov 2003 14:51:07 -0000
> From: kruzewski
> Subject: Re: in the pink
>
> ----- Original Message -----
> From: "Carole Fox"
> To:
> Sent: Tuesday, November 25, 2003 12:33 PM
> Subject: Re: in the pink
>
>
> thought it was iron, but then
> > what happens to the iron at higher temperatures when the clay loses i=
ts
> > pinkness and becomes whiter?
>
> Well, all the clays I've used that turn pink at bisc are a toastier col=
our
> when fired to maturity - the iron gets browner. I use clays that don't =
go
> pink when bisced and are light buff to white (depending on clay) all th=
e
way
> through. If I do use an iron bearing clay it definately shows up in the
> glaze colour, as you'd expect.
>
> Jacqui
>
> North Wales
> ----- Original Message -----
> From: "Carole Fox"
> To:
> Sent: Tuesday, November 25, 2003 12:33 PM
> Subject: Re: in the pink
>
>
> > Thanks Jacqui, Sam, MarjB, and Paul. I, too, thought it was iron, but
then
> > what happens to the iron at higher temperatures when the clay loses i=
ts
> > pinkness and becomes whiter? (The clay I am talking about is Standard
239
> > raku clay.)
> > Carole Fox
> > Silver Fox Pottery
> > Elkton, MD
> > thesilverfox@dol.net
> > ----- Original Message -----
> > From: "kruzewski"
> > To:
> > Sent: Monday, November 24, 2003 5:37 PM
> > Subject: Re: in the pink
> >
> >
> > > > What is it that makes some clays turn pink in a bisque firing?
> > > >
> > > > I have always wondered.
> > > > Carole Fox
> > >
> > >
> > > I think it's iron, Carole, but I could be wrong.
> > >
> > > Jacqui North Wales.
> >
> >
>
_________________________________________________________________________=
___
> __
> > 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 Nov 2003 09:51:40 -0500
> From: Marta Matray Gloviczki
> Subject: Re: CM December, cover
>
> well, i didnt get mine yet, but i checked on their website,
> ceramicsmonthly.org
> where the cover picture is already on!
> makes you feel like waiting and waiting and waiting for
> the december issue...
> congratulations to your wife, anthony!
> and congrats to you too for the beautiful cover
> picture on the clayart calendar!
>
> cheers,
> marta
>
> >> Apropos of nothing, I want to let folks know that the cover article =
in
> >> December's Ceramics Monthly
> >> is written by my wife, Marilyn. It is an article about Neil Patters=
on,
> >> who was my first throwing teacher, and the
> >> person who introduced me to woodfiring. The article focuses on how N=
eil
> >> integrates his teaching and potting
> >> activities.
>
> =3D=3D=3D=3D=3D
> marta matray gloviczki
> rochester,mn
>
> http://www.angelfire.com/mn2/marta/
> http://users.skynet.be/russel.fouts/Marta.htm
> http://www.silverhawk.com/crafts/gloviczki/welcome.html
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 07:08:21 -0800
> From: jeremy Kaiser
> Subject: Black Glaze question
>
> Recently, i have been experimenting with trying to create the ultimate
black. I took Binns Clear and Opalescent White and added to both of them
copper oxide black, black iron oxide and Manganese dioxide, anyone have a=
ny
idea of how that will turn out.
>
> Jeremy Kaiser
>
>
> ---------------------------------
> Do you Yahoo!?
> Free Pop-Up Blocker - Get it now
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 07:21:33 -0800
> From: konstantin gortinsky
> Subject: naturally occurring clay
>
> As one of you pointed out I live in Sonoma county , not Sonora.
> Thank you all for your suggestions. Many of them I have tried already
> but others I have not such as contacting a geologist at some local
> University.
> I am surprised however by how few ( and I asked this question of many
> potters before posting here on this list) have dug and prepared their o=
wn
> clay.
> What a wonderful resource Clayart is!
> Konstantin
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 10:22:57 EST
> From: Teresa Testa
> Subject: Have you worked with a Crucible Kiln?
>
> I am purchasing a 12' cubic Crucible Kiln from Seatlle Pottery. I was
> wondering if anyone has used one before and could give me some feedback
about the
> performance of the kiln. It is electric and I will be using it for cone=
10
> firings.
>
> Tess
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 10:51:21 -0500
> From: Gene and Dolita Dohrman
> Subject: Re: drooling over pg.18
>
> Logan, I am with you! It is indeed a beautiful jar. The glaze is
> spectacular. I am wondering if anyone has a recipe for 'bronzed russet
iron
> glaze'. I occasionally have access to firing ^10 reduction and would l=
ove
> to try this.
> Happy Thanksgiving to you!
> Dolita
>
> dohrman@insightbb.com
> Louisville, KY
>
>
> > would anybody like to join me in drooling over Ivar Mackay's "Lidded
> Jar"on page 18 of the latest C. M.?
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 08:00:09 -0800
> From: Michael Wendt
> Subject: clay softness test fo SP850 (Kenzan Porcelain)
>
> In the tradition of Alisa, here is the clay softness test that will be
> summarized soon with the others at:
http://www.wendtpottery.com/claytest.htm
> .
> This product is Seattle Pottery's SP 850 Kenzan Porcelain # 1, a ^8-10
body.
> The standard core 1" dia x 1" tall was taken from the freshly cut face =
of
a
> pug left undisturbed for several months.
> Yield force required to reach 30% deformation was 14.85 PSI ( 1.024 x 1=
0^5
> N/meter^2)
> After wire wedging using the laminar technique 2^30, yield was 10.4 PSI
> 7.17 x 10^4 N/meter^2)
> the samples weighed 28 g wet, 23 g air dried over night.
> Regards,
> Michael Wendt
> Wendt Pottery
> 2729 Clearwater Ave
> Lewiston, ID 83501
> wendtpot@lewiston.com
> www.wendtpottery.com
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 11:11:55 -0500
> From: Gene and Dolita Dohrman
> Subject: THE SURVEY-one more chance
>
> Hello Dear Claybuds, I have had 138 responses to the survey. Not quite=
=3D
> as many as I had hoped. If we have approximately 3000 Clayarters, then=
=3D
> that is a very low percentage. Kind of like our national elections, =3D
> right?
> Anyway, I thought I would post it again in case many of you didn't see =
=3D
> it the first time around. =3D20
> Here is what was sent out:
>
> Here is the survey. It is very simple and should give us a basic =3D
> picture of our make-up. Please be assured that your privacy will be =3D
> protected-no one will get your email address. I will delete your email=
=3D
> after transferring your answers to the spreadsheet. Also, please stick=
=3D
> with simple answers-not sentences or paragraphs. I cannot put =3D
> explanations in a spreadsheet. Thanks for your input. Looking forward=
=3D
> to hearing from all of you!
> =3D20
> Age (Teens, 20s, 30s, 40s, etc.)
> Male/Female
> Years of Experience (<5, 5-10, 11-15, 16-20, 21-25, 26-30, 31-35, etc.)
> Location (NW, SW, NE, SE, or country)
> Where do you do your claywork? (studio, closet, co-op, school...)
> Formal training (university, art center, self-taught...)
> Full Time/Part time=3D20
> Type of clay preference (porcelain, stoneware, paper...)
> Firing preference (^6 oxidation, ^10 reduction, raku, wood...)
> Self-Supporting from clay (please include teaching) (Yes/No)
>
> Just email me directly. Dolita
>
> dohrman@insightbb.com
> Louisville, KY
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 11:08:59 -0500
> From: Tracy Shea
> Subject: ^6 ovenware revisited- Standard Clay
>
> I have made some casseroles and shallow baking dishes from Standard Cla=
y =3D
> #225 and have had problems with 2 "crackpots" in the oven. They were =3D
> glazed with Ron & John's "oatmeal" and "burnt sienna" glazes from =3D
> mstring^6. The bottom and side walls of each piece were approx. 3/8 o=
f =3D
> an inch- one of the pots had about a 45 degree angled wall , the other =
=3D
> was more gradual and wide open- both had flat, unglazed bottoms. The =3D
> cracks in both cases start from about the middle/bottom and run =3D
> straight up the side. Each dish was baking in my own 350 degree oven =3D
> and I heard each crack when it happened. -Anyway, I emailed =3D
> standard clay co. for some suggestions, and part of their answer was =3D
> "Although we do not advertise the #225 clay as an ovenware body a lot o=
f =3D
> our customers use it as such. Since the clay does not have materials =3D
> that are used in ovenware bodies, you will have occasional cracking. T=
o =3D
> help keep this to a minimum you can make your pots a little thicker if =
=3D
> they have large bottoms, and kept your wall and bottom somewhat the sam=
e =3D
> thickness." =3D20
> Pray, tell, what are these elusive materials that are in the ovenware =
=3D
> clay of which he speaks??? I don't really want to make casseroles that=
=3D
> have to be removed from the oven with a towmotor...:) Is there anyone =
=3D
> out there using Standard clay as ovenware successfully??? Is there a =3D
> magic material I can just wedge in to improve my clay???? sand? grog? =
=3D
> I read through the Clayart archives and saw such suggestions as perhaps=
=3D
> underfiring, making thicker pots- I have not sold anything claiming =3D
> it's ovenware yet- thank the kiln gods- maybe a footring and a glazed =
=3D
> bottom is the answer??=3D20
> Thanks for your kind consideration- have a warm and filling turkey day!=
!
>
> Tracy Shea in OH -=3D20
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 08:20:42 -0800
> From: Michael Wendt
> Subject: clay shrinkage
>
> You need a scaling factor which is a number greater than 1 such as 1.13=
.
> Many people have trouble with this. I recommend you ignore the values
given
> by the clay supplier. You need to make carefully measured sample pieces
> using your forming techniques and drying conditions since these also
affect
> the finished size.
> Once dry, note the size and record that. After bisque, note the size ag=
ain
> and record that. After glaze fire to the desired cone, record the finis=
hed
> size too.
> Make a chart of these values in inches for the particular clay body.
> Now, to create a scaling factor chart:
>
> divide the original wet size in inches by the various smaller (finished=
)
> sizes in inches.
>
> This is more useful to a potter since it gives you a scaling factor tha=
t
> lets you instantly identify the required wet size for any desired finis=
hed
> size.
>
> Example: I make a 10 inch plate (the wet size). By the time it has been
> fired to cone 10, it is 8.85 " across (the finished size). I divide the
wet
> size by the finished size to get 10/8.85 =3D 1.13.
> Now, any time I want a piece to finish a particular size, I multiply th=
e
> desired finished size by the scaling factor 1.13.
>
> Suppose my customer wants 12" plates. 12" x 1.13 gives 13.56" so I know=
to
> make the plates 13.56" across wet.
> The other values listed help me to identify the size of a piece in gree=
n
or
> bisque if I need it later and forget how big I made it wet.
> Test every batch of clay before you do sets to be sure the shrinkage is
> still the same. Nothing nastier than doing a $400 dinnerware set all wr=
ong
> because the clay shrinks more this time.
> Regards,
> Michael Wendt
> Wendt Pottery
> 2729 Clearwater Ave
> Lewiston, ID 83501
> wendtpot@lewiston.com
> www.wendtpottery.com
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 08:02:45 -0800
> From: Tig Dupre
> Subject: CUSHING HANDBOOK - Readily Available
>
> ---------------------------<>-----------------------------
> Karen Gringuis wrote:
>
> If you want a BRIEF run down of what it includes and
> why people like Tig & I are so enthusiastic, check the
> ClayArt archive or write me back off list.
> ---------------------------<>-----------------------------
>
> Let me add to Karen's comment... If I were a full-time teacher at any
institution of higher learning, and I wanted my students to have a GOOD,
comprehensive text from which to work, I'd try to get a license to print
Professor Cushing's Handbook. In his many decades of teaching, Val has
advanced the knowledge base of the pottery world by infinite measures. I
envy Karen for having had the opportunity to work with him.
>
> I had the extremely good fortune to meet Val more than thirty years ago=
,
when he came to my university for a workshop. I was hypnotized by the ea=
se
with which he did things, by the depth of his knowledge, and with his
generosity in sharing his knowledge with us.
>
> And, just a few months ago, I again had the great fortune to see him
again, at the Cub Creek Pottery workshop in Virginia. I got him to
autograph my copy of his HANDBOOK, talked with him, and wished for the
umpteenth time that I could be a lab assistant in his studio.
>
> If you ever have a chance to attend one of his workshops, borrow the mo=
ney
if you have to, but GET THERE! Take a camera, take a tape recorder, take
notes. Learn.
> Recycle all your beer cans, make more pots, mow lawns, wash cars, sell
muffins, but get the money and buy a copy of Val Cushing's HANDBOOK. I r=
ate
it up there with "A Potter's Book," by Bernard Leach.
>
> There are many good books and most available. The point is to get them=
,
borrow them, share them, but READ them and practice, practice, practice.
>
> DISCLAIMER: By the way, I get no profits, no royalties, no kickback, an=
d
no credit for plugging Professor Cushing's book. I just have the greates=
t
of respect and admiration for the man and his life's work.
>
> Happy holidays to all,
>
> Tig
> in Port Orchard, WA
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 18:43:23 +0200
> From: Ababi
> Subject: Re: ATTENTION CRYSTALLINE GLAZE POTTERS
>
> Hello Diane Creber.
> I am glad I have the chance to thank you for your book.
> It was pleasant to - none English speaking person to read your book
> relatively easy.
> Please enter to my site to the two crystal pages.
> If you like any of the images I shall add the details.
>
>
> Ababi Sharon
> Glaze addict
> Kibbutz Shoval Israel
> ababisha@shoval.org.il
>
> http://ababi.active.co.il
>
> http://www.matrix2000.co.nz/Matrix%20Demo/Ababi.htm
>
>
>
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Wilton
> Pottery
> Sent: Wednesday, November 26, 2003 6:28 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: ATTENTION CRYSTALLINE GLAZE POTTERS
>
> ATTENTION CRYSTALLINE GLAZE POTTERS:
>
> I have been asked by A & C Black, Publishers of my book Crystalline
> Glazes to do a second edition. This book will have a new cover, new
> photographs in full colour, and I will update with new information. In
> order to get the book out by the fall of 2004, I need to send the
> publishers my information by the end of January. I realize this is not
> much time, but I am requesting crystalline glaze potters to please send
> me either slides of your work or photos on a CD that I may use in my
> book. I need top quality photos of only one pot at a time on a plain
> background with no shadows. Please list height, glaze colorant used and
> the photo credit. I am also looking for interesting glaze recipes and
> unusual results or comments. I would also like your name, address and
> e-mail address. You may get in touch with me at wppotter@kos.net or
> write to Diane Creber, 239 Simmons Road, RR 2, Odessa, Ontario K0H 2H0
> CANADA.
>
>
> .
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 11:57:54 -0500
> From: william schran
> Subject: Thanksgiving/cooking/firing
>
> A quick note wishing everyone a happy Thanksgiving - yeah, I know,
> it's only here in the US - so for all the folks around the globe, I
> give my thanks for sharing you time and insights with everyone else.
>
> Instead of firing the kiln, I've fired up the oven to cook the turkey
> with orange rosemary butter - yum! Tomorrow I'll fix a southern
> cornbread stuffing and brussel sprouts with a garlic cream sauce.
> It'll be my better half, a 70 something friend, formally of the UK,
> with her 90 something year old "mum". It's a riot with the two of
> them together - guess I better go get the tea brewing.
>
> Bill, in Fredericksburg, Va., where it just started getting cold a
> couple of days ago.
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 09:08:46 -0800
> From: Kristin
> Subject: pots shearing oddly when breaking
>
> I'm not sure how to describe this correctly, but ...
>
> Today I dropped a mug from a tabletop to a carpeted
> office floor. When it broke into a few large pieces,
> I noticed that the wall of the cylinder almost looks
> like two walls stuck together, sometimes with air
> pockets in between. When the mug broke, the outside
> wall and inside wall stayed together, but the inside
> chunk was not necessarily the same shape as the
> outside chunk stuck to it. Leaving this sheared inner
> plane.
>
> Does this make sense? I can take a pic if necessary.
>
> Sound familiar? Any thoughts on the cause? (This
> piece was single-fired to a ^6. I'm pointing that
> direction.)
>
> Thanks, ClayArters who are always so patient with my
> newbie queries.
>
> - Kristin
>
>
> -------------------------
> Kristin Gail Schnelten
> http://www.kgspottery.com
> kgs@kgspottery.com
>
> __________________________________
> Do you Yahoo!?
> Free Pop-Up Blocker - Get it now
> http://companion.yahoo.com/
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 12:16:58 -0500
> From: william schran
> Subject: Re: kiln vent project
>
> Gordon wrote:>hello all, i am going to attempt my own low cost kiln
> vent and need to know
> some specs on under kiln type system. if someone could let me know the =
cfm
> rating on the motor, dont want to suck all the heat out of the kiln ,fu=
mes
> only.<
>
> I checked the Bailey vent I have and there is no CFM rating listed on
> it. The motor is 1/125 HP, 3030 RPM. The squirrel cage blower looks
> to be about 6" diameter. I like this system. L&L also has a similar
> system. Rather than drilling holes in bottom and/or top, one 1/4"
> hole is drilled near the bottom of the wall opposite the spy hole
> side. A flexible metal vent is attached to the exterior wall leaving
> a little space around the edges to introduce secondary air. The motor
> is away from the kiln and stays relatively cool. While the vent is
> on, the top spy hole plug is left out creating a downdraft in the
> kiln. I have found this actually helps to even out the firing.
>
> I previously had a hood type vent but found the motor overheated and
> shut itself off, as it was designed to do.
>
> Bill
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 12:19:17 EST
> From: Susan Setley
> Subject: Re: Off the Hump, professors and thanksgiving
>
> With the fire marshall involved, if the problem was lack of funds, they
will
> probably find the funds now. For a university, ignoring such problems
could
> cost them their liability insurance. That could shut them down complete=
ly.
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 12:37:05 -0500
> From: william schran
> Subject: Re: Off the Hump, professors and thanksgiving
>
> Chris wrote:> He has the job and while he may never have had any studio
> experience or teaching experience (his clay experience has been limited=
to
> classes taken in a BA program 25-20 years ago and making a pot every fe=
w
> months.) given time he could become a somewhat decent professor.....<
>
> Chris - Is this a situation where the instructors teach more than one
subject?
>
> Where I teach, all of the fine art faculty are required to have a MFA
> and must be able to and do teach all foundation courses: drawing &
> design. This includes myself, though I usually teach only ceramics
> classes because there is enough to fulfill my contract. About every
> other summer I put myself down to teach a drawing class. This wasn't
> true before I took over as Program Head - now Asst. Dean. I made it
> my first priority that all studio faculty be able to teach all these
> courses - no matter their area of expertize. I think it absolutely
> necessary that students in our program take courses from all the
> faculty.
>
> Perhaps your new professor has expertise in another visual arts area
> and you might benefit from taking a course in that discipline from
> this individual.
>
> Bill
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 08:29:59 -0800
> From: Nick Molatore
> Subject: New Shimpo wheel
>
> I am considering a new wheel. (My 30 year old Brent is showing its =3D
> age). Has anyone used the new Shimpo VL-Whisper? =3D
> (http://www.shimpoceramics.com/). =3D20
> -Nick
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 09:21:14 -0800
> From: Brian Mittelstaedt
> Subject: Toxicity of Polymer Clays
>
> A search in Google of "polymer clay health" gave a number of references=
.
This was the
> first and most interesting of those I found. It is published by Susanne
Miller, Environmental Health Advocate, Vermont Public Interest Research
Group, Inc.
>
>
http://www.mindfully.org/Plastic/Plasticizers/Polymer-Clays-Hazard-VPIRGJ=
ul0
2.htm
>
> I've included the executive summary below.
>
> Executive Summary
>
> Polymer clays are a form of modeling clay that have become popular in
recent years among children, adolescents and adult craftspeople. They are
inexpensive, come in a variety of colors, are soft at room temperature, c=
an
be molded by hand into small or large items, and can be baked in a
conventional oven at low heat, resulting in a permanent hard object. Fimo
and Sculpey are the most common brand names of polymer clays in the U.S.,
but other different product lines exist. Unfortunately, these clays conta=
in
polyvinyl chloride (PVC) mixed with phthalate (pronounced tha- late)
plasticizers. While the phthalate plasticizers make the clay soft and
workable, they are also associated with potential health risks. Phthalate=
s
as a class of chemicals have been implicated in birth defects, reproducti=
ve
problems, nerve system damage and other negative health effects.
>
> VPIRG's research indicates that children and adults using polymer clays
may be exposed to phthalates at harmful levels. Even when clays are prepa=
red
following proper package directions, children and adults can breathe or
ingest high levels of phthalates. In addition to phthalate exposure the
research indicates that when polymer clay is overheated enough or
accidentally burned, the PVC will break down and release highly toxic
hydrochloric acid gas.
>
> The potential for exposure to phthalates from normal use of polymer cla=
ys
is troubling given the popularity of the clays both at home and at school=
s,
the inadequacy of consumer warnings about the effects of these chemicals,
and the effects phthalates may have on children. Moreover, since the Fede=
ral
Toxic Substances Control Act does not require pre-market testing for new
industrial chemicals, and because it is difficult to restrict the use of
existing chemicals in commercial products, exposure to phthalates is caus=
e
for concern. VPIRG recommends that consumers avoid using polymer clays an=
d
calls on the Consumer Products Safety Commission (CPSC) to recall or susp=
end
sale of polymer clays until they are shown to be safe for use by children
and pregnant women. If the products remain on the market - VPIRG calls on
manufacturers to provide adequate warnings to consumers as to why they
should avoid use of the products or take special precautions when using
them. Finally, state Attorneys
> General should investigate the claims by manufacturers that the clays =
are
"non-toxic."
>
> ***************************************************
>
> As a father of three craft-minded children and a potter myself, I found
the article disconcerting...
>
> Brian Mittelstaedt
>
> bemittelstaedt@yahoo.com
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 09:56:07 -0800
> From: "Mr. and Mrs. Overall"
> Subject: Re: Thanksgiving/cooking/firing
>
> Better have a large package of frozen peas. Those Brits just love thos=
e
green peas. And not canned. If you really want to make an impression,
custard will bring a smile to her face, too I bet. My husband is English
and he has to have his peas for Thanksgiving.
>
> Kim Overall
> Overall Studio
> Houston, TX
>
> william schran wrote:
> A quick note wishing everyone a happy Thanksgiving - yeah, I know,
> it's only here in the US - so for all the folks around the globe, I
> give my thanks for sharing you time and insights with everyone else.
>
> Instead of firing the kiln, I've fired up the oven to cook the turkey
> with orange rosemary butter - yum! Tomorrow I'll fix a southern
> cornbread stuffing and brussel sprouts with a garlic cream sauce.
> It'll be my better half, a 70 something friend, formally of the UK,
> with her 90 something year old "mum". It's a riot with the two of
> them together - guess I better go get the tea brewing.
>
> Bill, in Fredericksburg, Va., where it just started getting cold a
> couple of days ago.
>
>
_________________________________________________________________________=
___
__
> 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 Nov 2003 13:09:23 EST
> From: Susan Setley
> Subject: Re: New Shimpo wheel
>
> In a message dated 11/26/03 12:01:31 PM, nickmol@COMCAST.NET writes:
>
> << I am considering a new wheel. (My 30 year old Brent is showing its
age).
> Has anyone used the new Shimpo VL-Whisper?
(http://www.shimpoceramics.com/).
>
> -Nick
>
> >>
>
> I have a friend who has the very smallest Shimpo and she raves about it=
.
The
> local dealer raves about Shimpos and says they really are very quiet.
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 13:09:40 -0500
> From: MarjB
> Subject: photography background
>
> I am considering the idea of using a painted masonite panel for my =3D
> background for photos.
>
> My question is about the paint colour. If I use my Kodack Grey card, i=
s =3D
> that the right shade of grey, in a flat latex that would be appropriate=
? =3D
> Lighter ?
>
> Thank you, MarjB
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 11:25:40 -0700
> From: Zoe Johnson
> Subject: Re: naturally occurring clay
>
> As a young archaeologist working in california more than 30 years ago, =
it
> was always noted that the local native americans did not produce potter=
y.
> One of the theories thrown about was lack of locally occuring clay. I
find
> this hard to believe, but maybe it is true, and that explains why you h=
ave
> no one who knows about local clay...
> ZoeJ
>
> --On Wednesday, November 26, 2003 7:21 AM -0800 konstantin gortinsky
> wrote:
>
> > As one of you pointed out I live in Sonoma county , not Sonora.
> > Thank you all for your suggestions. Many of them I have tried alread=
y
> > but others I have not such as contacting a geologist at some local
> > University.
> > I am surprised however by how few ( and I asked this question of man=
y
> > potters before posting here on this list) have dug and prepared their
own
> > clay.
> > What a wonderful resource Clayart is!
> > Konstantin
> >
> >
_________________________________________________________________________
> > _____ 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 Nov 2003 10:36:36 -0800
> From: Laurie Kneppel
> Subject: Re: kiln vent project
>
> I have a Bailey vent, too. I got it for my old Cress kiln. When I got
> my Skutt it came pre-drilled for, presumably, their EnviroVent system,
> so it had holes in the lid and in the floor. So I adapted my Bailey to
> go under the kiln stand by attaching the flexible metal vent to a piece
> of sheet metal flashing that was the same size as the kiln stand. (I
> think - it's been a few years since I put it together and have actually
> seen it with my own eyes) I cut out the center and put in what I think
> is called a reducer, so it fit snug and the outside of that is what the
> metal vent that goes to the Bailey's motor is attached to. Also the
> opening in the flashing is wide enough to be able to suck air from all
> the pre-drilled holes. It all seems to work just fine. I don't leave
> the top spy hole plug out since the lid was already drilled.
>
> But that is a way you can make an under the kiln type vent.
>
> Laurie
> Sacramento, CA
>
> On Wednesday, November 26, 2003, at 09:16 AM, william schran wrote:
>
> > Gordon wrote:>hello all, i am going to attempt my own low cost kiln
> > vent and need to know
> > some specs on under kiln type system. if someone could let me know th=
e
> > cfm
> > rating on the motor, dont want to suck all the heat out of the kiln
> > ,fumes
> > only.<
> >
> > I checked the Bailey vent I have and there is no CFM rating listed on
> > it. The motor is 1/125 HP, 3030 RPM. The squirrel cage blower looks
> > to be about 6" diameter. I like this system. L&L also has a similar
> > system. Rather than drilling holes in bottom and/or top, one 1/4"
> > hole is drilled near the bottom of the wall opposite the spy hole
> > side. A flexible metal vent is attached to the exterior wall leaving
> > a little space around the edges to introduce secondary air. The motor
> > is away from the kiln and stays relatively cool. While the vent is
> > on, the top spy hole plug is left out creating a downdraft in the
> > kiln. I have found this actually helps to even out the firing.
> >
> > I previously had a hood type vent but found the motor overheated and
> > shut itself off, as it was designed to do.
> >
> > Bill
> >
> > _____________________________________________________________________=
__
> > _______
> > 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 Nov 2003 07:47:49 +1300
> From: Geoffrey Gaskell
> Subject: Re: : Question for Ivor
>
> If Taylor's head is indeed hurting, it will of course require immediate
> treatment to ensure that the condition is alleviated rather than
> aggravated. For which purpose the capeline bandage will do nicely:
> "Bandage (double-headed roller), 2 inches wide, 6 yards long. Method:
> Stand at the back of the patient. Place the centre of the bandage in th=
e
> middle of the brow and bring the heads round to the nape of the neck or
> as low as practicable. Cross one roll over the other, transferring them
> to the opposite hands, and pull them tight. Carry one roll upwards alon=
g
> the middle line over the head and down to the root of tthe nose
> (vertical bandage). Bring the other roll (horizontal bandage) round the
> head above the tip of the ear, making it cross, and thus fixing the
> vertical bandage at the roott of the nose. Take the vertical bandage
> back across the head a little to the left of the middle line, fixing it
> as before with the horizontal bandage. Bring the vertical bandage over
> the head again to the right of the middle line and fix as before.
> Continue carrying the vertical bandage from before backwards on the
> left, and from behind towards on the right, diverging each time from th=
e
> middle line until the ears are reached. Cut off the vertical bandage an=
d
> finish by taking one horizontal turn round the head and pin it in front=
.
> When only half the scalp is to be covered, the first turn of the
> vertical bandage is applied across the middle of the head, the second
> and succeeding turns being made to diverge from the middle across the
> half of the scalp to be covered. The horizontal bandage is applied as
> described for the capeline bandage. It is importantt in these bandages
> to bring the horizontal turns as far into the nape of the neck as
> possible to prevent it from slipping."
>
> From "A Complete System of Nursing" by A. Millicent Ashdown, 1922
>
> I'm sure Taylor's wife will oblige with the provision of this treatment
> while he is doing the suggested Google search for Ice and Plasticity :-=
)
>
> Geoffrey Gaskell (Just determined to add to all the confusion, I'm sure=
)
> http://www.homepages.paradise.net.nz/ggaskell/
>
>
> iandol wrote:
>
> >Dear Taylor J. Hendrix,
> >
> ><>
> >
> >What a question to ask !! One for which I cannot provide an answer.
> >
> >But to bring you nearer a resolution of the phenomenon of "Plasticity"=
,
try reading about Primary, Secondary and Tertiary Creep. I quote "In orde=
r
for a polycrystalline solid to deform homogeneously into an arbitrary sha=
pe,
with no volume change and maintain strain compatibility it must have at
lease five independent slip systems" (Taylor 1938)
> >
> >Do a Google search for Ice and Plasticity.
> >
> >Best regards with your continuing studies,
> >
> >Ivor Lewis. Redhill, South Australia
> >
>
>________________________________________________________________________=
___
___
> >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 Nov 2003 10:51:34 -0800
> From: Earl Brunner
> Subject: Re: Thanksgiving/cooking/firing
>
> British peas aren't really peas unless they are out of a can or dried
> and then reconstituted. When I lived there, they were called "processe=
d
> peas" and they were truly nasty. Not sure what the "process" was, but
> it succeeded in removing any and all good qualities of peas. I wondere=
d
> if they were from Cornwall and made out of chalk? Often they were even
> artificially coloured. Yuck.
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Mr. and
> Mrs. Overall
> Sent: Wednesday, November 26, 2003 9:56 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: Thanksgiving/cooking/firing
>
> Better have a large package of frozen peas. Those Brits just love thos=
e
> green peas. And not canned. If you really want to make an impression,
> custard will bring a smile to her face, too I bet. My husband is
> English and he has to have his peas for Thanksgiving.
>
> Kim Overall
> Overall Studio
> Houston, TX
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 10:52:39 -0800
> From: "Leslie St. Clair"
> Subject: stndard 225 and cracking
>
> I was testing standard 225 clay recently and glazed
> pieces with John & Ron's raw sienna and varigated
> blue. Both pices dunted the day after I took them out
> of the kiln. They were not being used in the oven. My
> guess is that maybe those glazes don't fit the 225
> body, and that could be the problem, not oven use.
> but that's as far as I went with my testing, and I'm
> wondering if anyone else has had the same problem.
> Leslie St. Clair in Cincinnati, OH
>
> __________________________________
> Do you Yahoo!?
> Free Pop-Up Blocker - Get it now
> http://companion.yahoo.com/
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 14:05:44 -0500
> From: Carole Fox
> Subject: Re: polymer clay
>
> I'll be the first to say I don't know much about polymer clay. I'd like=
to
> refer you to the Jan/Feb 2003 issue of Clay Times. There is an article =
by
> Monona Rossol called "Polymer Clays: A Different Kind of Hazard". In it=
,
she
> reports that subjects using polymer clay for 5 minutes with gloved hand=
s
> tested for phthalates on their skin after rinsing with distilled water =
for
> 30 seconds. Apparently, polymer clays contain phthalates, which have be=
en
> shown to cause cancer, damage to the reproductive system...yada, yada..
not
> much is really known about them.
>
> When polymer clay is baked per manufacturer's instructions, research sh=
ows
> that it gives off 2 milligrams of mixed phthalates per cubic meter of a=
ir.
>
> What does this mean? Sheesh- I don't know! But it certainly makes me w=
ant
> to be cautious. Sometimes, what you don't know CAN hurt you.
> Carole Fox
> Silver Fox Pottery
> Elkton, MD
> thesilverfox@dol.net
> ----- Original Message -----
> From: "Susan Setley"
> To:
> Sent: Tuesday, November 25, 2003 11:10 AM
> Subject: Re: polymer clay
>
>
> > In a message dated 11/25/03 10:08:37 AM, thesilverfox@DOL.NET writes:
> >
> > << And I am surprised that the manufacturer suggests you bake it in t=
he
> same
> > oven that you will later cook your dinner in. I >>
> >
> >
> > In all seriousness, why? Do the fumes cause some solid substance on t=
he
> walls
> > of the oven that will re-fume when the oven is used again? Turn the f=
an
on
> > and air the oven out. Such fumes are typically volatile and will esca=
pe
> the
> > toaster oven just as they would the regular oven.
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 14:15:30 EST
> From: Alycia Goeke
> Subject: After show blues
>
> hi suzanne,
> i think it might very well be that you are coming down somewhat from th=
e
show
> you worked so hard to prepare for but i think it is much more likely th=
at
you
> are experiencing some feelings that you were too busy to feel earlier i=
n
the
> month.
> the two incidents you mentioned, your childhood auntie's passing and yo=
ur
son
> turning 30, well, those two things are big....they mark passages and
whenever
> we have those kinds of occurrences in our lives, they not only mark the
> passage for the individual involved but they also mark them for us
personally.
> i have three children. two of them are close to 30 and the other one is
18. i
> have been aware of the changes going on inside of them and inside of
myself.
> there is some grief involved there because i no longer play the role in
their
> lives that i once did. i loved being a mom and my roles are changing. m=
y
> mother of 76 is still living. i am able to observe how that has been fo=
r
her and am
> now understanding her much better than i used to.
> i am so grateful that i have clay in my life. i can feel myself moving
deeper
> into making it what i do full time instead of doing whenever i could st=
eal
a
> minute here and there.
> of course, this may not be what is going on with you but it's what came=
to
my
> mind when i read your post. also, don't rule out hormone fluctuations
> ....they can reek havoc!!!
> take care and rest.
> happy thanksgiving.
> alycia
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 13:44:06 -0600
> From: David Hendley
> Subject: figuring clay shrinkage for the mathmatically challenged
>
> If doing math problems is not your favorite activity, here is how to
> accurately size your pottery without ever doing a single math
> operation:
>
> 1. Buy a plastic ruler with raised lines for the scale.
> 2. Make a slab of clay the same size as the ruler, about 3/8" thick.
> 3. Press the ruler into the slab.
> 4. Repeat 2 & 3.
> 5. When dry, bisque fire the slabs.
> 6. Glaze fire one slab.
>
> You now have shrink rules specifically for your claybody and your
> firing temperatures.
> If you need to match a fired piece or a certain opening, just measure
> the piece with the glaze-fired shrink rule. Whatever it measures
> is how big to make the new piece. Of course, the number on
> your shrink rule will be backwards, but it is not to hard to figure
> that out. If, for example, you measure a plate using the shrink
> rule and it is 7", you will set your calipers at 7", using a standard
> ruler as a guide.
>
> If your assignment is to make a 10 1/2" diameter plate, just hold
> your shrink rule next to a ruler and see what it reads at 10 1/2"
> on the standard ruler.
>
> If you break a lid after bisque firing, get out your bisque-fired
> shrink rule, measure the opening of the bisque-fired pot, and you
> will know how big to make a replacement lid.
>
> David Hendley
> david@farmpots.com
> http://www.farmpots.com
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 11:04:53 -0800
> From: Laurie
> Subject: Re: naturally occurring clay
>
> heheheheh, I don't dig my own clay because I am spoiled by living
> within five miles of Industrial Minerals (IMCO). I let them do it!
> Although I keep thinking the sticky heavy clay soil in my flowerbeds
> would probably make a good sculpture body "as is"!
>
> laurie
> Sacramento, CA
> On Wednesday, November 26, 2003, at 10:25 AM, Zoe Johnson wrote:
>
> > As a young archaeologist working in california more than 30 years ago=
,
> > it
> > was always noted that the local native americans did not produce
> > pottery.
> > One of the theories thrown about was lack of locally occuring clay. =
I
> > find
> > this hard to believe, but maybe it is true, and that explains why you
> > have
> > no one who knows about local clay...
> > ZoeJ
> >
> > --On Wednesday, November 26, 2003 7:21 AM -0800 konstantin gortinsky
> > wrote:
> >
> >> As one of you pointed out I live in Sonoma county , not Sonora.
> >> Thank you all for your suggestions. Many of them I have tried alrea=
dy
> >> but others I have not such as contacting a geologist at some local
> >> University.
> >> I am surprised however by how few ( and I asked this question of ma=
ny
> >> potters before posting here on this list) have dug and prepared thei=
r
> >> own
> >> clay.
> >> What a wonderful resource Clayart is!
> >> Konstantin
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 19:56:14 +0000
> From: David Hewitt
> Subject: Re: Alkalis in Unity Formula
>
> May,
>
> This is an interesting question with more than one answer.
>
> Mike Bailey in his book 'Glazes Cone 6' illustrates one usage very
> clearly.
>
> If you are seeking to produce a Cone 6 shiny transparent glaze without
> using boron, then the Seger formula wants to be 1:.2 to .4:2.5 to 3.5,
> fluxes alumina, silica.
> It is also important to get the fluxes right - alkalis/alkaline earths.
> The alkalis should not exceed .5 parts and the alkaline earths should
> not exceed .75 parts.
>
> He shows two recipes:-
>
> T10
> China clay 30
> Whiting 30
> Quartz 40
>
> fluxes alumina silica
> 0.02 K2O 0.34 Al2O3 2.93 SiO2
> 0.01 Na2O
> 0.97 CaO
>
> alkaline earths are 97 parts
> At cone 6 this is semi-opaque matt
>
> T11
> High alk frit 60
> China clay 20
> Quartz 20
>
> fluxes alumina silica
> 0.34 K2O 0.30 Al2O3 2.92 SiO2
> 0.50 Na2O
> 0.16 CaO
>
> alkalis are 84 parts
> At cone 6 this runs on vertical surfaces and crazes badly
>
> The more you go above cone 6 the greater the fluxing power of the
> alkaline earths. T10 might be quite a good cone 9 glaze.
>
> There is also the question of colour response, the alkalis giving
> brighter colours.
>
>
>
>
> In message , May Luk writes
> >Hi all;
> >
> >I am comparing a few Tin Chrome Glaze in my computer. What is the
subtotal
> >alkalis number in relation to total fluxes? It's the percentage of
alkalis
> >in the total fluxes? I suppose it's a quick glance guide to see if it'=
s
> >within limits [0.25 % in unity?]
> >
> >Other than that, what's the purpose of seeing different values of tota=
l
> >alkalis in different recipes? To predict colour responses?
> >
> >I'm getting potter's dictionary in the post [a thanksgiving present to
> >myself] I'll look it up in the book when I get it. Meanwhile, I
appreciate
> >any input to this premature question.
> >
> >Many thanks
> >May
> >London, UK
> >
> >P.S. I was reading the recipes and the calculated numbers of different
> >tin-chrome glaze before I went to sleep. In my dream, I tested 4 recip=
es
and
> >they all come out green in my sleep.
> >
> >P.S.S. My pots are not in the Morley Exhibition with Russel, but my
"work"
> >is with every pots in the show. I made all the labels that went on the
pots.
> >eheh!
>
> --
> David Hewitt
> David Hewitt Pottery
> South Wales UK
> Web:- http://www.dhpot.demon.co.uk
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 15:29:06 EST
> From: Susan Setley
> Subject: Re: polymer clay
>
> In a message dated 11/26/03 2:10:37 PM, thesilverfox@DOL.NET writes:
>
> << she
>
> reports that subjects using polymer clay for 5 minutes with gloved hand=
s
>
> tested for phthalates on their skin after rinsing with distilled water =
for
>
> 30 seconds >>
>
>
> I'm sure it takes soap to get it off. :) Rinsing your hands wouldn't
pass
> most "Mom" tests.
>
> Are they absorbed by the skin? In that case there would be concerns.
Without
> that knowledge, and given that this was not an adequate hand-washing
> challenge, it's too soon to make any assumptions. Sorry, that's the
scientist in me.
>
> "
> When polymer clay is baked per manufacturer's instructions, research sh=
ows
>
> that it gives off 2 milligrams of mixed phthalates per cubic meter of
air."
>
> Is that a dangerous level?
>
> The one thing I objected to in the original post was the statement that
she
> wouldn't want to use her oven after baking polymer clay. Unless there's
some
> evidence that the chemicals stick to the sides of the oven and then
release into
> food...
>
> That's what I want to know -- not that chemical changes and reactions
occur,
> but whether they actually represent a risk.
>
> If I were going to cower every time I came across a chemical I surely
> wouldn't be doing pottery. :) It makes sense to be cautious, but I thi=
nk
it should
> be informed caution. I'm not faulting anyone here. It's just that witho=
ut
> further evidence, a lot of these risks are assumed.
>
> Of all of them -- since most kitchens are vented -- I would worry about
> residue on hands -- with good handwashing is it removed? I think it
probably is.
> Can it be absorbed through the skin? If so, handwashing might not be an
adequate
> solution.
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 15:48:56 -0500
> From: Hollis Engley
> Subject: Re: photography background
>
> ----- Original Message -----
> From: MarjB
> Subject: photography background
> I am considering the idea of using a painted masonite panel for my
> background for photos.
> My question is about the paint colour. If I use my Kodack Grey card, i=
s
> that the right shade of grey, in a flat latex that would be appropriate=
?
> Lighter ?
> Thank you, MarjB
>
> Marj: The Kodak gray card shade would probably be fine, but you'd still=
be
> dealing with a flat background panel and a flat tabletop ... or whateve=
r
> horizontal surface you set the pot on. That gives you a right angle joi=
nt
to
> deal with in the background. That's fine if you want it that way. But y=
ou
> might also go to the Porter's Camera Store website
> (www.porterscamerastore.com) and look at their graduated backgrounds. T=
hey
> fade from a light color where the pot sits to a darker gray behind and
above
> the pot, much like many of the photos you see on the cover of CM and in
> other ceramics and art-related magazines. They make the pot stand out,
> assuming you light it well.
> Hollis Engley
> Hatchville Pottery
> hengley@cape.com
> Falmouth, Mass., where the traditional Thanksgiving Day clouds are
> gathering.
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 12:32:11 -0800
> From: logan johnson
> Subject: Re: Have you worked with a Crucible Kiln?
>
> Hey There Tess!
>
> This is Logan in Smokey Point and YES I do have a Crucible Kiln . In
fact, I have two of them .Is that enough recomendation for you? No? then
read on.First off, I have to say I don't work for S.P.S. That being said=
,
I LOVE S.P.S.! They couldn't have been more helpfull to me when it cam=
e
to answering all the questions i've ever had about setting up my studio
equipment. Jim the owner is a doll! My two kilns (both 6 yrs old) run lik=
e a
dream ( as they SHOULD being only 6 yrs. old) I even took an OLD skutt k=
iln
I was given for a MAJOR overhaul. Not only didn't they try to sell me mor=
e
than I needed but it was finished in a timely manner. Yes, that should be
how things work but sadly too often don't. ALL the people who work at S.P=
.S.
at one time or another have gone out of their way to be as helpfull as th=
ey
could and they know what there talking about when it comes to product or
technique. I haven't been given a bum steer yet!!! Sorry for the LOOOON=
G
rant about S.P.S. Hope this
>
> helps you out. My vote is YES for S.P.S!
> & crucible kilns! best of luck!
>
>
> Teresa Testa wrote:
> I am purchasing a 12' cubic Crucible Kiln from Seatlle Pottery. I was
> wondering if anyone has used one before and could give me some feedback
about the
> performance of the kiln. It is electric and I will be using it for cone=
10
> firings.
>
> Tess
>
>
_________________________________________________________________________=
___
__
> 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.
>
> Logan Johnson
> Audeo Studios
> "Carpe Argilla!!"
>
>
> ---------------------------------
> Do you Yahoo!?
> Free Pop-Up Blocker - Get it now
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 15:40:26 -0500
> From: Lois Ruben Aronow
> Subject: Re: Toxicity of Polymer Clays
>
> There was a response posted to that report by the ACMI (information
> below) that was not included in the previous post. I think it's only
> fair to post both sides. The link is
> http://www.acminet.org/ACMI_Response_Polymer.htm, and the article is
> reprinted below.
>
> Even though the materials are considered "non-toxic", I would never
> allow my children to put it in their mouths, just as I wouldn't allow
> them to put crayons or dirty fingers in their mouths. Sculpey says
> explicitly in their instructions not to let the clay touch eating
> surfaces, not to use eating implements as tools, and to wash hands and
> surfaces well after using the clay. They even recommend you use a
> glazed tile or a cutting board as a work surface. =3D20
>
> Like any other art material (or non-food material, for that matter)
> one should be mindful about it's use, read the directions, wash your
> hands, don't put it in your mouth - and don't forget to have a little
> fun with it. =3D20
>
>
> PHTHALATES IN ACMI-CERTIFIED POLYMER CLAYS
>
> Polymer clays in the ACMI certification program were
> re-evaluated in October 2000 and continue to receive ACMI=3D92s non-tox=
ic
> designation, said Deborah Fanning, Executive Vice President of The Art
> & Creative Materials Institute, Inc. (ACMI). This re-evaluation took
> place at the request of the polymer clay manufacturers because of
> questions raised at that time about phthalates in toys. =3D20
> =3D20
> ACMI members do use phthalates in polymer clays but these
> phthalate esters do not present acute or chronic toxicity concerns.
> ACMI=3D92s consulting toxicological team at Duke University Medical Cen=
ter
> (DUKE) has evaluated these polymer clays for acute and chronic hazards
> by all potential routes of exposure and have found none. A DUKE study
> revealed that you would need to overheat and destroy the clay product
> in the oven-heating process to release hydrogen gas, and <0.1% of the
> phthalate esters would be released with no breakdown of the polyvinyl
> chloride. =3D20
>
> Woodhall Stopford, M.D., principal toxicologist of the ACMI
> Certification Program, stated that =3D93Phthalate esters found in these
> polymer clays offer little or no acute toxicity concerns and are not a
> chronic hazard concern even assuming a large (24 mg) daily ingestion
> of these clays. Dr. Stopford=3D92s risk assessment, as well as an
> executive summary, are available on the DUKE website at
> http://duketox.mc.duke.edu. Simply click on =3D93Recent Toxicological
> Issues=3D94 on the home page and then polymerclays1.doc for the risk
> assessment or polymerclaysummary.doc for the executive summary. The
> Consumer Product Safety Commission (CPSC) has extensively tested
> samples of polymer clay for safety concerns. They found that the
> polymer clay tested did not contain any volatile organic compounds and
> that no acid gases were released if the clay was baked to 163o C
> (325o F). They found that hydrogen gas was released only if the clay
> was heated to the point of turning black, 180o C (356o F). =3D20
>
> Mrs. Fanning said that ACMI would welcome another review of the
> issue by CPSC. As recently as last year, a CPSC Chronic Hazard
> Advisory Panel concluded that DINP, a phthalate, presented =3D93an
> extremely low or non-existent=3D94 risk to reproductive and development=
al
> processes in humans due to DINP exposure. And, she noted, the U.S.
> =3D46ood and Drug Administration in an April 19, 2001 fact sheet stated=
,
> =3D93FDA believes that at the present time there is no reason for
> consumers to be alarmed at the use of cosmetics containing
> phthalates,=3D94 although the agency continues to study the issue.
> =3D20
> It is not possible on such short notice to address the specific
> test results described in a USPIRG report issued today, but the
> inhalation report is clearly not in accord with that conducted by Dr.
> Stopford. Nor has there been time to address in detail the
> inaccuracies in the report about ACMI=3D92s certification program and t=
he
> independent evaluation of health risks conducted by the consulting
> toxicological team at DUKE.
>
> No hazardous level of any ingredient is permitted in any art
> material product evaluated as non-toxic in the ACMI program, whether a
> children=3D92s or an adult=3D92s product. ACMI=3D92s toxicological tea=
m takes
> into account the metabolism and size of a small child when evaluating
> materials that will be used by children. Thus, even children can use
> polymer clays that are evaluated as non-toxic in the ACMI program;
> however, supervision in the oven-baking process is recommended for
> very young children. Parents, educators and others are urged to read
> the labels on polymer clays and other art products to better
> understand which have been evaluated by ACMI and which are non-toxic.
> Some art materials meant for adults may need special handling as
> indicated in the safe-use instructions on the labels.
>
> Since the enactment of the Federal Labeling of Hazardous Art
> Materials Act in 1988, currently administered by CPSC, not one
> ACMI-certified product has had to be recalled by its member companies.
> Mrs. Fanning noted, =3D93We believe this is an extraordinary record of =
the
> effectiveness of the ACMI=3D92s certification program in protecting
> children and other consumers.=3D94
> =3D20
>
> ***********************************************************************=
**=3D
> *************
> =3D20
> The Art & Creative Materials Institute, Inc. is an international
> association, composed of a diverse and involved membership, and is
> recognized as the leading authority on art and craft materials.
> ACMI=3D92s members are art and craft material manufacturers, and curren=
tly
> there are over 210 members. Since its inception, ACMI=3D92s certificat=
ion
> program has certified that products in the program are either
> non-toxic or appropriately labeled with any cautionary language and
> safe use instructions. Of the 60,000 art materials in the program,
> 100% of the children=3D92s products and 85% of those meant for the adul=
t
> artist are certified as non-toxic. This certification program has
> received the endorsement of experts in the field of toxicology and is
> one of the finest industry programs in existence. ACMI seeks to
> create and maintain a positive environment for art and craft materials
> usage; to promote safety in art and craft materials; and to serve as
> an information and service resource on art and craft materials. Press
> kits are available from ACMI.
>
>
>
> ************
> Lois Ruben Aronow
>
> www.loisaronow.com
> Modern Porcelain and Tableware
>
> The Tattoo is back!
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 15:47:49 -0500
> From: Dorie Mickelson
> Subject: After Show Blues
>
> Thanks so much for your post, Suzanne. I don't know about others, but =
I
> have definitely experienced some after show blues and am in a pretty
> serious post show funk myself right now. I think the depth of my
> depression is also related to the losses I suffered right before my las=
t
> show -- my precious 16 year old cat died in my arms six days before my
> show, I buried her five days before my show (cremation in general
> totally creeps me out and the whole kiln cremation idea is way too much
> for me), and then a beloved aunt of mine died three days before my show
> and I was unable to make the funeral or to sit shiva with my family, so
> I did not even get to be with my family for any sense of closure or
> support around this loss. And I was so overwhelmed with final pre-show
> preparations that I really had to put my grief on the back burner. So
> now the show is over and I am left with my grief over my cat and the
> loss of my aunt and have spent a lot of time sleeping and crying and
> feeling out of sorts. And since I am still fairly new to pottery as a
> means of making a living, I have some ongoing anxiety as to whether I
> can really make it as a professional potter/artist anyway, and when I a=
m
> in a bad state of mind over other things, it tends to seep over onto my
> artwork as well and make me question everything I am doing. So I think
> you are totally normal, or perhaps we are both abnormal , but in any
> event, you are not alone!
>
> On the sales front, one pottery teacher of mine who has been teaching
> and doing shows for some 30 years or so said that in a GOOD show you
> might expect to sell one third to one half of your stuff max. Also, th=
e
> economy sucks right now and I've talked to potters who have not even
> covered their costs at shows this past year, so I try to keep all of
> that in mind when I look at my own expectations for any given show. I
> certainly would have liked to have sold a lot more at my last show, but
> all things considered, I think I actually did fairly well. And the
> experience, feedback, networking with other artists, etc., is invaluabl=
e
> to me right now, so it was well worth it. Ultimately, I have to figure
> out what combination of shows, galleries, commissions, side work, etc.,
> I need to do to make this all work financially, but I am still sorting
> that out.
>
> A great remedy for me when I am feeling so down is to weigh out some
> clay, sit down at my wheel, crank up the jams, and start throwing, as
> that always helps to ground/center me and seems to make me feel better,
> no matter what else is going on in the world or in my life.
>
> Best Wishes,
> Dorie, in Ann Arbor, Michigan, where it is cold but the sky is blue and
> the sun is shining
>
> ***********************************************************************=
*
> *********************************
>
> Date: Tue, 25 Nov 2003 13:45:12 -0700
>
> From: Suzanne Botello
>
> Subject: After show blues
>
> I have been experiencing something I hadn't felt in awhile and wondered
> if any of you ever have this experience? I did a show this past weekend
> that I'd been preparing for the past 2 months. All I've thought about
> are shapes, forms, colors, glazes, decoration, get new display shelves
> made... I had lots of pots and did quite well for the kind of show it
> was (lots of crafty things in some of the booths). Anyway, I have been
> feeling out of sorts the past 3 days, even moved into self pity (I have
> no friends, I'm too far away from my friends and family and no one who
> knows me special came to my show, I still have some pots left, what am =
I
> going to do with them, I'm sad, I'm a terrible artist, I'm not even an
> artist, I'm an artist, but not a business person, blah, blah,
> blah...)...It came to a head in the middle of last night when I woke up
> and felt like crying. My poor husband tried to soothe me with the
> logical stuff: "You had a good show. You worked so hard over the past
> couple months that you haven't thought about anything else, and now
> you're just coming down. Relax. You're loved. You have 3 really good
> friends here and two of them were in the show, too. Relax.".....But I
> still felt, as Charles Dickens put it, if I can quote him correctly,
> "...like a lone, lost creature, and everything goes contrary to me..." =
I
> had a death in my family last week, my aunt who embodied my childhood. =
I
> couldn't make the funeral-too far to travel in too little time, and my
> son turned 30 on Sunday, also 1000 miles away. Lots of things were goin=
g
> on while I was working on my production schedule but I was in that Zone
> and didn't let myself get off schedule. The show was fine, but boy, did
> it hit me last night. I'm better already, but WOW. This was my first
> real show since I moved to this area 3 years ago, and I don't know if
> I'm just not remembering this After Show Blues or if it is common. Does
> anyone else go through these swings after an event, or did I just lose
> it for a few days? Thanks for any feedback.
>
> Suzanne Botello
>
> Flagstaff, Az
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 12:49:22 -0800
> From: logan johnson
> Subject: Re: Off the Hump, professors and thanksgiving
>
> Hey chris !
>
> Don't apologize for needing to vent. we ALL need to do it at one time o=
r
other! ( especially in the quasi-anonomus way you did it: using no names =
but
your own)
> That's what even clay familys are for isn't it? To give support when
someone is having a hard time ! Glad things worked out for you! Happy
Turkey day!!! gobble gobble
> Chris Clyburn wrote:
> I want to thank everyone for advice on throwing off the hump thinly. I =
am
> finding that the method of placing paper on top before removing with a
wood
> tool is working best.
>
> The situation with the kiln and the professor has been resolved. Someon=
e
> else apparently had concerns and called the fire marshal before I could
even
> decide to. The kiln has been shut down, and cannot be restarted until t=
he
> fire marshal inspects it and they get it up to code.
>
> Having read all the posts, and doing some soul-searching of my own, I h=
ave
> come to the conclusion that while the professor in question is severely
> underqualified for the job, I am not being fair to him by complaining t=
o
> others about this. He has the job and while he may never have had any
studio
> experience or teaching experience (his clay experience has been limited=
to
> classes taken in a BA program 25-20 years ago and making a pot every fe=
w
> months.) given time he could become a somewhat decent professor once he
> quits trying so hard to cover up holes in his knowledge with BS and fal=
se
> bravado. So at least while I am here I will try and give him as much
support
> as he will let me, hopefully he'll learn how to do a bique load soon so=
we
> don't have to keep leaving him instructions .
>
> I do appreciate everyone who offered advice, and even those who griped,
they
> all contributed to giveing me a better perspective and to help let go o=
f
> most of the anger and frustration I was feeling.
>
> Also, for all those who helped me with the green oxidation glaze, thank=
s.
I
> will be testing all of them either Sunday or Monday as soon as I can ge=
t
the
> cone 10 electric kiln free. Next trimester I will be busy trying to
develop
> my own cone 9 ox glazes like I did for reduction, possibly figuring out
how
> to just convert my reduction glazes over to ox with similar results.
>
> So anyway, next week I have finals and pack for Jersey to stay with the
> in-laws for a month of no clay and lots of mother in-law nagging and
people
> speaking Russian when I can't understand more than a phrase or two. The
> upside is I will be 1 hour from Manhattan and can take the bus to go to
> galleries and museums when I finally get fed up . Anyone know of any go=
od
> galleries or museums with a ceramics collection in New York? I look eve=
ry
> year (with the exception of this summer when I was stuck on the subway
> during the blackout) but on foot without a reference I have had little
luck.
>
>
> Everyone have a happy Thanksgiving,
>
> Chris Clyburn
>
>
_________________________________________________________________________=
___
__
> 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.
>
> Logan Johnson
> Audeo Studios
> "Carpe Argilla!!"
>
>
> ---------------------------------
> Do you Yahoo!?
> Free Pop-Up Blocker - Get it now
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 12:57:46 -0800
> From: logan johnson
> Subject: What cone for turkey?
>
> Hey There All!,
>
> Anybody know what cone to use to fire a turkey? Unstuffed of course! (=
in
oxidation)
> HAPPY THANKSGIVING ALL!!!! GOBBLE! GOBBLE!
>
>
> Logan Johnson
> Audeo Studios
> "Carpe Argilla!!"
>
>
> ---------------------------------
> Do you Yahoo!?
> Free Pop-Up Blocker - Get it now
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 13:12:43 -0800
> From: Michael Wendt
> Subject: Re: pots shearing oddly when breaking
>
> This sounds like partial delamination caused by green glazing. The glaz=
e
> soaks in, causes one surface to expand slightly and results in a
> discontinuity inside the clay body not apparent until you broke it apar=
t.
> Regards,
> Michael Wendt
> Wendt Pottery
> 2729 Clearwater Ave
> Lewiston, ID 83501
> wendtpot@lewiston.com
> www.wendtpottery.com
> You wrote:
> I noticed that the wall of the cylinder almost looks
> like two walls stuck together, sometimes with air
> pockets in between. When the mug broke, the outside
> wall and inside wall stayed together, but the inside
> chunk was not necessarily the same shape as the
> outside chunk stuck to it. Leaving this sheared inner
> plane.
>
> Does this make sense? I can take a pic if necessary.
>
> Sound familiar? Any thoughts on the cause? (This
> piece was single-fired to a ^6. I'm pointing that
> direction.)
>
> Thanks, ClayArters who are always so patient with my
> newbie queries.
>
> - Kristin
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 13:46:51 -0800
> From: Kristin
> Subject: Re: pots shearing oddly when breaking
>
> Don't you just hate it when newbies ask questions
> before trying to figure it out on their own?
>
> Okay, actually I did try to figure it out first. But
> not for long enough before asking.
>
> I realize now this is truly from the single-fire trial
> I did. I had a lot of pieces come out of that firing
> with large (up to 1.5") bubbles. I had thought these
> bubbles were a result of the glaze not soaking into
> the clay, and therefore the air was trapped between
> the clay and glaze. But now that I see a cross
> section of one of these pieces, I see that it looks
> like the bubble was inside of the wall of the piece.
>
> But why, oh wise potters, why?
>
> - Kristin, humble newbie (I wonder just how long I get
> to fall back on this newbie excuse ...)
>
> __________________________________
> Do you Yahoo!?
> Free Pop-Up Blocker - Get it now
> http://companion.yahoo.com/
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 17:05:09 -0500
> From: Tom Buck
> Subject: Re: [0.0] in the pink
>
> hey:
> many many clays and claybodies always contain small/trace
> amount of iron oxide in one of its many forms. so in most cases the
> iron oxide becomes iron-3 oxide (red iron oxide, Fe2O3) and this colopu=
rs
> the body
> happy potting. peace tom b
>
> Tom Buck ) -- primary address. >
> "alias" or secondary address.
> tel: 905-389-2339 (westend Lake Ontario, province of Ontario, Canada).
> mailing address: 373 East 43rd Street, Hamilton ON L8T 3E1 Canad=
a
>
> ------------------------------
>
> Date: Thu, 27 Nov 2003 07:07:59 +0900
> From: Mike Martino
> Subject: A surprise gift in my red iron oxide
>
> So I get up at 5:30 and go for my morning walk. On the way out I notice
that
> the side door to the garage is open and the light is on. Oh yeah, I for=
got
> to shut everything up last night in my rush to pick up the kids from da=
y
> care. No big deal. I take a path along the dark roads on the outskirts =
of
> town and back around through the small shrine grounds behing my house. =
No
> sounds but the early birds, and a very light mist falls for about 5
minutes.
> It's a very quiet morning, peaceful with less early cars out than usual=
. I
> feel good, thinking about the glaze mixing I'm going to do today in
> preparation for my first ever firing. I come back to my garage and open
the
> main door with the intention of checking on the clay I made yesterday a=
nd
> turning out the light. Looking down into my clay bucket I notice a coup=
le
of
> footprints, cat I think. "Ha, ha, the cat's were in here playing around=
,
how
> cute" I think. At about the same time I notice a strange unpleasant sme=
ll.
> I've smelled it before but can't quite place it. I look over to my larg=
e
> stone mortar where I crush the iron oxide that I collect from the mount=
ain
> across town and pick up the wooden fence post to give the crushed iron =
a
few
> more loving whunks. My eyes move over to the bin where I keep the half
> finished crushed iron. It's canted over at an odd angle and a little ha=
s
> spilled out onto some of my other collected glaze ingredient, known onl=
y
to
> the local potters as 'that grey stuff'. I remember the cat and chuckle =
as
I
> imagine it jumping up and avoiding a fall as the bin tilted, then I
> see.......
>
>
>
>
>
>
>
>
>
> can you guess?.....
>
>
>
>
>
>
>
>
>
> keep going.....
>
>
>
>
>
>
>
>
>
>
>
> THE BIGGEST CAT TURD I'VE EVER SEEN IN MY LIFE! OH MY GOD ITS HUGE. And
with
> that sight the smell comes back to my attention and the realization hit=
s
me.
> A cat has used my precious red iron oxide, my iron oxide long searched =
for
> on the mountain, lovingly collect by pick and shovel and ground down fo=
r
my
> glaze with my own blood, sweat and blistered hands! I grab the nearest
tool
> I see, a pair of large tin snips, to fish out the offending cat bisuit =
(a
> beautiful dark red, I might add) and notice there is a large wet spot i=
n
my
> precious mineral as well. My next thought is: I wonder if cat piss will
add
> any interesting characteristics to the glaze? And if so, how do I get
more?
>
>
> Mike
> in Taku, Japan
>
> ------------------------------
>
> Date: Thu, 27 Nov 2003 09:17:31 +1100
> From: steve harrison
> Subject: re ; ball mill caking up
>
> Logan Oplinger
> Dear Logan,
> I 'm no expert on ball milling but I've done quite a bit and I think
> that you are correct in assuming that the caking up is due to high
> moisture content. I think when you dry the sample before milling the
> problem will go away.
>
> Best wishes
> Steve Harrison
>
> Hot & Sticky Pty Ltd
> 5 Railway Pde
> Balmoral Village
> NSW 2571
> Australia
>
> http://ian.currie.to/sh/Steve_Harrisons_books.html
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 14:22:25 -0800
> From: Hank Murrow
> Subject: Re: After show blues
>
> On Nov 26, 2003, at 11:15 AM, Alycia Goeke wrote:
> > the two incidents you mentioned, your childhood auntie's passing and
> > your son
> > turning 30, well, those two things are big....they mark passages and
> > whenever
> > we have those kinds of occurrences in our lives, they not only mark t=
he
> > passage for the individual involved but they also mark them for us
> > personally.
> > i have three children. two of them are close to 30 and the other one
> > is 18. i
> > have been aware of the changes going on inside of them and inside of
> > myself.
> > there is some grief involved there because i no longer play the role
> > in their
> > lives that i once did.
>
> Dear Alycia;
>
> Grief is the other side of praise......that is, you are praising your
> children by grieving their diminishing presence in your life.
> Correspondingly, have you noticed that in moments of joy there is a
> note of grief present too. As humans, we are always aware of the
> possibility of loss, even as we are realizing tremendous gain. I
> imagine 'that's the way it's s'posed to be'.
>
> Regards to a wise woman,
>
> Hank
> www.murrow.biz/hank
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 14:22:33 -0800
> From: Michele Jurist
> Subject: Re: low fire,matte/satin glazes for dishware
>
> Regards, Michele
> ----- Original Message -----
> From: "Valice Raffi"
> To:
> Sent: Monday, November 24, 2003 2:30 PM
> Subject: Re: low fire,matte/satin glazes for dishware
>
>
> > >Someone told me there is a company that makes low fire (06) glazes t=
hat
> > >are matte or satin finish, that are safe for functional use
> (dishes/bowls)
> > >?
> >
> > Stacey,
> >
> > Although the satin & matt low fire glazes may be food safe, they don'=
t
> hold
> > up with use, the glaze is too soft. I have a bowl made years ago, is=
n't
> > used often, but has scratches from the utensils. It's also very dull=
.
It
> > was handwashed and went through the dishwasher. I wouldn't recommend
> those
> > glazes on functional ware.
> >
> > Valice
> > in Sacramento
> >
> >
>
_________________________________________________________________________=
___
> __
> > 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 Nov 2003 17:37:43 -0500
> From: Mert & Holly Kilpatrick
> Subject: Re: ^6 ovenware revisited- Standard Clay
>
> I am surprised at this, and I have similar questions. I just went to t=
he
> Standard Clay website, and looked at the listings for all their mid and
high
> fire stonewares. Not one of them says anything about "ovenware". They
> don't even talk about end usage, they talk about what techniques they a=
re
> good for, like slab work or production throwing. What bodies do they
> advertise as ovenware, I wonder, and where do they advertise them as su=
ch?
>
> They won't tell us what is in their claybodies, and they certainly don'=
t
> make it clear in their brief descriptions whether or not they are
> recommended as ovenware bodies. It is frustrating trying to find out
> something about Standard clay bodies. I am interested to hear other
> people's input on this.
>
> We have had trouble with 112 and s-cracking, it seems to be much touchi=
er
> than some other claybodies, requiring much more TLC, and 225 is suppose=
dly
> the same recipe without manganese. But your situation (Tracy's) is eve=
n
> beyond s cracks.
>
> Holly
> East Bangor, PA
>
>
> ----- Original Message -----
> From: "Tracy Shea"
>
>
> I have made some casseroles and shallow baking dishes from Standard Cla=
y
> #225 and have had problems with 2 "crackpots" in the oven.
> .. -Anyway, I emailed standard clay co. for some suggestions, and
part
> of their answer was "Although we do not advertise the #225 clay as an
> ovenware body a lot of our customers use it as such. Since the clay do=
es
> not have materials that are used in ovenware bodies, you will have
> occasional cracking. To help keep this to a minimum you can make your
pots
> a little thicker if they have large bottoms, and kept your wall and bot=
tom
> somewhat the same thickness." ............Pray, tell, what are these
> elusive materials that are in the ovenware clay of which he speaks???
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 14:28:49 -0800
> From: Michele Jurist
> Subject: Re: Have you worked with a Crucible Kiln?
>
> Hi Tess:
>
> I have had a Crucible Kiln bought at SPS for the past 6 or 7 years. I
fire
> mostly to ^6 or lower, but do take it up to ^10 sometimes. I had a few
> problems early on with the electronic controller, but that was remedied=
by
> the company that made them. I've had no problems otherwise with the ki=
ln.
> Hope you have the same good fortune.
>
> Regards, Michele
> ----- Original Message -----
> From: "Teresa Testa"
> To:
> Sent: Wednesday, November 26, 2003 7:22 AM
> Subject: Have you worked with a Crucible Kiln?
>
>
> > I am purchasing a 12' cubic Crucible Kiln from Seatlle Pottery. I wa=
s
> > wondering if anyone has used one before and could give me some feedba=
ck
> about the
> > performance of the kiln. It is electric and I will be using it for co=
ne
10
> > firings.
> >
> > Tess
> >
> >
>
_________________________________________________________________________=
___
> __
> > 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 Nov 2003 15:50:45 -0700
> From: Zoe Johnson
> Subject: Re: What cone for turkey?
>
> When my son was younger, he baked food a couple of time by inserting a =
l
> twig into the kiln sitter instead of a cone (mini-bar) and setting the
kiln
> on low. When the twig burned out, dinner was done. I think he referre=
d
to
> it as cone047.
> zoej
>
> --On Wednesday, November 26, 2003 12:57 PM -0800 logan johnson
> wrote:
>
> > Hey There All!,
> >
> > Anybody know what cone to use to fire a turkey? Unstuffed of course!=
(
> > in oxidation) HAPPY THANKSGIVING ALL!!!! GOBBLE!
> > GOBBLE!
> >
> >
> > Logan Johnson
> > Audeo Studios
> > "Carpe Argilla!!"
> >
> >
> > ---------------------------------
> > Do you Yahoo!?
> > Free Pop-Up Blocker - Get it now
> >
> >
_________________________________________________________________________
> > _____ 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 Nov 2003 08:19:18 +0900
> From: Rick
> Subject: Re: My subscription
>
> Not yet. Still working on it.
> On Nov 26, 2003, at 1:46 PM, Jan L. Peterson wrote:
>
> > Just curious, Rick. Did you get your issue of the Journal you so
> > desired?
> > Jan, the Alleycat
> >
> > _____________________________________________________________________=
__
> > _______
> > 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 Nov 2003 19:11:33 -0500
> From: Marianne Lombardo
> Subject: Re: figuring clay shrinkage for the mathmatically challenged
>
> David,
>
> Thanks for the post on making the clay shrink rulers! What a good idea=
,
and
> so easy. Since I use 3 different claybodies, I'm going to make a set f=
or
> each one, and carve the name of the claybody into the ruler as well. G=
ood
> post!
>
> Marianne Lombardo
> Omemee, Ontario, Canada
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 18:18:13 -0600
> From: Gay Judson
> Subject: Re: After Show Blues
>
> Alycia,
>
> Today, reading in Susan Peterson's book "The Craft and Art of Clay", I =
=3D
> read
> the following and thought of your post to the group. Ms. Peterson is
> quoting from Bernard Leach's "A Potter's Book."
>
> =3D20
>
> "Altogether it was one of those days which make a potter's existence
> worthwhile; nevertheless at the end of it, when the pots were all out =3D
> and
> best of them assembled in groups, I experienced a sudden depression. =3D
> This
> may have been partly due to enervation from the heat and general =3D
> tiredness,
> but I think every artist and potter will know what I mean. At any rate=
=3D
> it
> is counterbalanced by realistic self-criticism and various practical
> suggestions as to future efforts, which always arise during the =3D
> unpacking."
>
> =3D20
>
> So it seems you are in good company-along with all the other clayarters=
=3D
> who
> have shared their own similar experiences. Happy Holiday, Gay Judson i=
n =3D
> San
> Antonio
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 16:29:00 -0800
> From: Mary White
> Subject: Glaze pinholes
>
> Glaze Gurus--
>
> I just unloaded my kiln this morning and a few items had pinholes,
> not a whole cluster but just the odd tiny hole here and there. I read
> in Ron & John that this is caused by gas escaping, often because the
> bisque was underfired. My bisque was fired to 06, which should be
> okay, but it's ^10 clay that was fired to ^6. Could that cause a
> situation similar to underfiring a ^6 clay?
>
> Mary
>
>
> --
>
> Mary White
> HARBOUR PUBLISHING
> Box 219
> Madeira Park, BC
> V0N 2H0
> ------------------
> Publishers of the Encyclopedia of British Columbia.
> For current news and complete book & author information, visit our
> website, http://www.harbourpublishing.com.
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 00:33:50 -0000
> From: Pat Southwood
> Subject: newbie questions
>
> Hi,
>
> With regard to the above discussion, I am not sure that I am aware of =3D
> all the various facilities of clayart.=3D20
> Would it be possible to post a general clayart info e-mail, like the =3D
> conditions one? Perhaps once every couple of months or so, then it =3D
> should catch most, it would help communications , perhaps?
> pat southwood
> pat@southwood4.fsnet.co.uk
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 19:12:27 -0600
> From: =3D?iso-8859-1?q?Marilu=3D20Tejero?=3D COM>
> Subject: Re: ATTENTION CRYSTALLINE GLAZE POTTERS
>
> I would suggest you to contact TED SECOMBE from Victoria Australia. =
He
has taken crystaline glazes to the limits and created the most beautiful
pots.
>
> http://www.arts-exclusive.com/html/secombe.htm
>
> the oly e-mail I can find is of his guest house.
>
> enquiries@valleyguesthouse.com.au
>
>
>
>
>
>
> www.geocities.com/SoHo/Exhibit/3051
>
>
>
>
>
>
> ---------------------------------
> Do You Yahoo!?
> Todo lo que quieres saber de Estados Unidos, Am=E9rica Latina y el rest=
o del
Mundo.
> Vis=EDta Yahoo! Noticias.
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 19:23:42 -0600
> From: mel jacobson
> Subject: turkey cones
>
> bake turkey in kiln:
>
> stuffed/ 5 hours to cone 032
> unstuffed 4 3/4 hours to cone 030
>
> use only the low setting on the kiln.
>
> when done, turn kiln to high for
> three hours.
> all goober and stink will be gone.
> mel
> From:
> Minnetonka, Minnesota, U.S.A.
> web site: my.pclink.com/~melpots
> or try: http://www.pclink.com/melpots
> new/ http://www.rid-a-tick.com
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 17:38:59 -0500
> From: Rudy Tucker
> Subject: Re: help needed with stoneware formula
>
> I use a body that is similar, same clays anyway. Shown below in
percentages.
> Yours on the left/ mine on the right. I fire cone 10-11 wood and salt. =
I'm
> well pleased with both it's plasticity and green strength.
>
> 28 goldart 62.5
> 32.7 hawthorne 15.6
> 20 OM 4 15.6
> 7.5 spar 1.6
> 3.7 grog 4.7(silica sand)
> 9.3 silica 0
>
> Two biggest differences are that you have 16.8% fine particle material =
to
my
> 1.6%. And that you use twice the fireclay although I don't think is you=
r
> problem. I'd cut back on the spar and silica unless you really need the
spar
> to
> flux the body. You didn't say how hot you fire. Also i would think that=
if
> you cut back on the fireclay you could use less flux.
>
>
> Rudy
> in the Shenandoah Valley of Virginia
>
>
> ----- Original Message -----
> From: "Paul"
> To:
> Sent: Monday, November 24, 2003 12:04 PM
> Subject: help needed with stoneware formula
>
>
> > Hello,
> > i recently switched from a commercial stoneware to a body i mix mysel=
f
> which
> > is generally working well for me. The only problem is that it is a
little
> > harder to throw with, especially for thinner-walled pots, which i thi=
nk
is
> > because it is a more coarse body. It tends to snag on my fingers a lo=
t
> while
> > pulling. Could the relative difficulty in throwing have to due with t=
he
> > fairly high fire clay content? My next test is to cut down the fire c=
lay
> and
> > up the ball clay and goldart slightly. If anyone has any advice i wou=
ld
be
> > thankful to hear it. thanks.
> > here is the recipe:
> > goldart 30
> > hawthorne fireclay 35
> > om-4 ball clay 20
> > silica 10
> > g-200 8
> > grog 4
> >
> > Paul B
> > Falmouth, KY
> >
> >
>
_________________________________________________________________________=
___
> __
> > 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 Nov 2003 17:57:10 -0500
> From: Josie Norman
> Subject: gift in red iron oxide
>
> Mike, I don't know what effect it will have on your glaze, but I'd thi=
nk
the best way to get more is just leave the door open. If you want an ev=
en
bigger supply leave out some treats and lots of water. Happy firing.
> Josie Norman
> crackedpot933@earthlink.net
> Why Wait? Move to EarthLink.
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 18:30:53 -0500
> From: Josie Norman
> Subject: thanksgiving
>
> As I reflect on all I have to be thankful for this last year, I want t=
o
wish all a Happy Thanksgiving, and to encourage you to hold those to who=
m
this last year has not been so kind close to your hearts this holiday
season. Josie in the Village of the Arts in sunny Bradenton, Florida
> Josie Norman
> crackedpot933@earthlink.net
> Why Wait? Move to EarthLink.
>
> ------------------------------
>
> Date: Thu, 27 Nov 2003 00:01:29 -0000
> From: Wally
> Subject: Re: raku & wax or latex resist
>
> Ellen,
>
> Quite enjoyed reading all interesting replies to your question.
> I personally prefer masking tape but occasionally switch to
> waxresist for free designs, but I can not recall ever having had any
> problem with blacks.
>
> One of the answers mentionned that a strong reduction is very
> important to get a profound dark black. Fully agree to that.
> Some clays will also absorb more carbon than others. Also related
> to bisque temperature. Different reduction materials can also create
> different shades of black. Again, very true.
> Speed of transferring those hot devils from the kiln to the
> reduction container is also important. And I experienced that the
> relation between object and "free space" in smokebin is also a very
> determining factor.
>
> But actually your point was, basically, you get black on bisque, and
> grey on bisque covered with waxresist. All on the same object.
> So none of any above can explain this difference.
>
> I agree that the bisque sucks up part of the waxresist.
> But this should have burnt away completely by the time the kiln
> reaches raku glaze temperature.
> So one possible explanation might be that, presuming your firing is
> extremely short, not all waxresist has burnt away.....Very unlikely.
>
> Pure "Wax" normally does not leave behind any residue that might
> reject the carbon afterwards.
> But "waxresist" comes in various brands, and most probably these
> mixtures are all different. Most manufacturers do have that evil
> tendency to keep their formulae secret. Anything could be mixed
> with the wax, including leftovers from McDonalds......
>
> So my point (and possible explanation) is that some of these
> waxresist mixtures contain materials that do leave behind some kind
> of deposit inside the clay, and form a kind of barrier, rejecting
> the smoke and tar-fumes in the reduction container.
> Thus creating a grey-black pattern instead of the nice black you get
> on adjacent areas which are virgin bisque.
>
> Just my 2 Eurocents worth, hoping above makes any sense.
>
> Take care,
> Wally Asselberghs
> Flanders, Europa.
> www.student.kuleuven.ac.be/~m9822918
>
> -- In clayart@yahoogroups.com, ellen wrote:
> > A question for the raku guru's........
> >
> > I want to keep the rich blacks on the unglazed areas and have
> found that
> > wax resist actually penetrates the bisque. The areas where I used
> the wax
> > do not come out rich black after reduction, they are more of a dark
> > charcoal grey. We are firing to 1850 and getting great blacks
> except
> > where the wax was and it is noticeable.
> >
> > Is anyone using a paintable resist, that will burn away 100% in the
> > firing, and allow the blacks to be the same as the virgin bisqued
> area???
> > I am going to try rubber cement....... Any other ideas???
> >
> > thanks
> >
> > ellen
> >
> >
> _____________________________________________________________________
> _________
> > Send postings to clayart@l...
> >
> > 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@p...
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 17:36:19 -0800
> From: Earl Krueger
> Subject: Re: clay softness test fo SP850 (Kenzan Porcelain)
>
> Michael,
>
> Are your results from one test or
> the averages of multiple tests?
>
> My son-in-law will be here for the weekend.
> Need something to keep him occupied.
> I'll try and talk him into making up one of your
> testers. Ought to keep him busy for most of
> one day. Whew!!!!
>
> Earl...
> Bothell, WA, USA
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 20:51:51 -0500
> From: william schran
> Subject: Re: What cone for turkey?
>
> Logan wrote:>Anybody know what cone to use to fire a turkey? <
>
> Not sure, but in grad school we did pizzas for 90 seconds at 1200=3DB0F=
-
> course that was after a bit of wine.
> Bill
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 08:56:27 -0500
> From: clennell
> Subject: the Blues
>
> I said this before on clayart but for those of you suffering the blues
ought
> to get yourself "Art and Fear'David Bayles and Ted Orland ISNB
0-9614547-3-3
> $12.95
> full of good stuff about the difficulties that cause so many artists to
give
> up.
>
> Hows this one-" If ninety-eight percent of our medical students were no
> longer practicing medicine five years after graduation, there would be =
a
> Senate investigation, yet that proportion of art majors are rountinely
> consigned to an early professional death."
> The statistics 10 years later are not available.
> On that cheery note . I hope you're the other 2%. I wonder what percent=
of
> that 2% have trust funds?
> Best,
> Tony
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 21:06:17 EST
> From: "Jan L. Peterson"
> Subject: Re: My subscription
>
> Keep writing them. They just might get repentant and send you a free ye=
ar
> subscription, Rick. Happy Turkey Day! Jan, the Alleycat
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 19:13:03 -0700
> From: BJ Clark
> Subject: Re: raku & wax or latex resist
>
> At my college we use a combination of bees wax (yellow-clear) and
> transmission fluid(castrol), heated to about 180 in a fondu pot. Be
> careful, it will catch on fire and keep it in only well ventilated
> areas (we have an exhaust hood).
> It however burns off very nice and doesn't seem to leave any marks on
> any of the raku pieces I've done so far.
> Just a thought.
> -----
> BJ Clark
> Blazing Media
> bjclark@blazing-media.com
> www.blazing-media.com
>
> On Nov 24, 2003, at 3:32 PM, ellen wrote:
>
> > A question for the raku guru's........
> >
> > I want to keep the rich blacks on the unglazed areas and have found
> > that
> > wax resist actually penetrates the bisque. The areas where I used the
> > wax
> > do not come out rich black after reduction, they are more of a dark
> > charcoal grey. We are firing to 1850 and getting great blacks excep=
t
> > where the wax was and it is noticeable.
> >
> > Is anyone using a paintable resist, that will burn away 100% in the
> > firing, and allow the blacks to be the same as the virgin bisqued
> > area???
> > I am going to try rubber cement....... Any other ideas???
> >
> > thanks
> >
> > ellen
> >
> > _____________________________________________________________________=
__
> > _______
> > 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 Nov 2003 21:21:54 -0500
> From: Penelope
> Subject: Re: turkey cones (scary)
>
> You know what scares me?
> Not just the fact that people seriously consider doing a turkey in thei=
r
> kiln but that some have actually done it! AND know the time, cone, etc.=
to
> get it right!!!
>
> You people just freak me out sometimes.
>
> =3Do)
>
> Penni
> in "getting colder" London Ont. where I don't make turkey (in a kiln or
> other wise) 'cause my house is too small for all the in-laws so we go =
to
> their place!!!!
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 20:58:20 -0600
> From: mel jacobson
> Subject: tony/cure the blues
>
> well, i have the cure.
>
> open a kiln like i did today.
> 80 pots.
> no seconds. racers all.
> one crack.
>
> fired down for three hours.
> iron red to die for.
> rhodes just at cone 11...a bit runny.
> just the way i like it.
> makes me dance.
> smile.
> hug the dog.
> all four cone packs the same. cone 11 half way down.
> top, bottom, front, back.
> reduction the same on every pot.
>
> thanks to those that are still teaching me to fire.
> new glazes, new idea...and, almost 69.
> this holiday show will be 5 kiln loads.
> never had so many pots in one place in my life.
> things are good.
> i am very thankful.
> mel/ things here are pink and gold/not a bit of blue.
> From:
> Minnetonka, Minnesota, U.S.A.
> web site: my.pclink.com/~melpots
> or try: http://www.pclink.com/melpots
> new/ http://www.rid-a-tick.com
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 18:19:08 -0800
> From: "Mr. and Mrs. Overall"
> Subject: selling at universities
>
> This past Tuesday, another potter from school and I paid for a table to
sell our wares amongst a sea of jewelers within the student center of a
major university. Sales were sucky. Not even the faculty came out to
investigate much. Students; forget it.
>
> Is there an unwritten code of places to NOT attempt to sell anything? =
Are
there places where sales are in better odds for potters? I guess I'm ask=
ing
a lot here.
>
> I'll always remember reading what David Hendley said about his best
customers are potters. Why does it seem we're the only ones who apprecia=
te
it so much more?
>
> Kim
>
> ------------------------------
>
> Date: Thu, 27 Nov 2003 03:42:16 +0000
> From: Janet Kaiser
> Subject: Drooling over images and stuff in magazines
>
> I have a BIG FAVOUR to ask of some willing and kind soul who has
> (a) access to a scanner (b) subscribes to Ceramics Monthly,
> Pottery Making Illustrated, or any other ceramic magazines which
> regularly crop up "in conversation" (c) capability/ability to set
> up a "bulk E-mail account" and last but by no means least (d)
> time and patience... Or a pet slave to do the work!
>
> Would you then like to volunteer to send a few of the "out of
> state/country" Clay buddies an image of what is being talked
> about? Including me?!? I would be really obliged, as I know a
> couple of others would too.
>
> I do not currently subscribe to any magazine except CRAFTS
> (published by the Craft Council of Great Britain), but would be
> willing to scan and send any (past, present & future) "images
> under discussion" should they take place via Clayart, to anyone
> who cares to send me a request to do so. This will NOT include
> any "outsider" who picks up on this message via a search or who
> posts to the list with a one-off request for this or that (been
> there, done that, got the T-shirt, but not even a civil thank you
> note).
>
> I cannot imagine sending images to a circle of friends would be
> some dreadful breach of copyright either, as the images would not
> be used for anything other than "private use", not publishing or
> reselling. Neither would it affect sales of the publications in
> question as it would be to those who cannot or do not subscribe
> or have access to single copies. Given enough interest, it could
> even INCREASE sales as people realise the quality of work
> published. Yes? No?
>
> Anyway, it is a thought. If anyone is willing to fit the bill on
> various other magazines, please let me know. Maybe just a
> reciprocal one-to-one arrangement would be a start? Many thanks!
>
> Sincerely
>
> Janet Kaiser -- Where an inch of rain fell overnight and snow is
> forecast for high the ground tomorrow! No wonder my feet are cold
> as ice sitting here...
> ***********************************************************
> The top posted mail was sent by Janet Kaiser
> The Chapel of Art : Capel Celfyddyd
> 8 Marine Crescent : Criccieth : Wales : UK
> Centre of Excellence for The Arts
> Home of The International Potters' Path
> Tel: ++44 (01766) 523570 http://www.the-coa.org.uk
> Open: 13.00 to 17.00hrs : Tuesday to Saturday
> ************** AVG Virus Protected ********************
>
> ------------------------------
>
> Date: Thu, 27 Nov 2003 03:42:21 +0000
> From: Janet Kaiser
> Subject: OT Peas (was Thanksgiving/cooking/firing)
>
> Q: When is a pea not a pea?
> A: When it is a relief!
>
> It is a shame you only experienced UK cuisine from the
> perspective of a Fish & Chips shop counter or some greasy spoon
> caf=3DE9 back in the 70s, Earl. It is rather like passing
> judgement on US culinary skills and tastes from what Mcdonalds
> regurgitates.
>
> FYI "processed peas" are dried peas which have been reconstituted
> and then canned, so that they can be quickly heated and are more
> or less ready to serve. It is similar to the "process" used to
> manufacture "baked beans", just that the adjective used is more
> accurate, if somewhat less romantic (sounding). Or do you really
> believe that all beans are tenderly removed from their pods,
> carefully dried, then laid to soak and finally "baked" with
> loving care by Mr. Heinz?
>
> Colouring is par for the course in all canned foods as far as I
> know. Just as the addition of unhealthy and unnecessary
> quantities of preservatives, salt and sugar are too... Don't tell
> me it is any different on your side of the pond, because I would
> simply not believe you.
>
> Large dried or marrowfat peas as we call them, need soaking
> overnight and then boiling to achieve the same result as the
> canned or processed variety. To avoid confusion, the smaller,
> partially cooked and tinned "fresh" peas are called "garden peas"
> and the tiny ones are "petite pois".
>
> Over-cook dried marrowfat peas (either canned or diy) and they
> become what is known colloquially as "mushy peas". They are
> simply the result of stewing or more correctly "keeping warm" on
> the hob for many hours, so they break down into a thick
> consistency, rather like baked beans do too if over-cooked or
> re-heated. Pea "flour" is the main constituent of dhal without
> the shells which distinguish it from "mushy peas" and they are
> both close relatives of refried beans and other similar pea, bean
> and lentil-based dishes around the world. I remember how I always
> resorted to Erbsensuppe (pea soup) and Linsensuppe (lentil soup)
> towards the lean end of the month during my early days in
> Germany. Both were remarkably similar to some of the experimental
> meals we made as really poor students "back home" when suddenly
> provided with a huge variety of pulses quite unknown to us up to
> then... Imported black-eyed beans, brown lentils, chick peas,
> flagelots, etc. may be familiar to everyone nowadays, but they
> were very exotic back 1960s and 70s Britain.
>
> "Fish, chips and peas" is naturally looked upon as a British
> institution, but it originated in very poor urban areas where the
> majority were unskilled labourers, factory and dockland workers
> and their families. And it was only the drunks going home at
> closing time and popping in for a Fish & Chip Supper to take home
> who would get the last batch of peas of the night. Yes, when they
> had inevitably become more like a "pea porridge". Other customers
> earlier in the evening would enjoy whole peas, which are very
> tasty indeed, especially if sugar and mint are added as tradition
> demands of any self-respecting pea! Peas not only added colour to
> the fish & chip supper, they were an additional,
> readily-available and cheap food-source vital to a poor,
> malnourished urban population during the winter when green
> vegetables were rare and/or prohibitively expensive and
> especially through the food shortages and rationing during and
> following the Depression and WWII respectively (rationing only
> ended in 1954).
>
> I am actually old enough to remember the excitement of dehydrated
> American "Surprise peas" hitting the market and everyone rushing
> out to buy a packet. I was once invited to our neighbours' house
> for a "special treat" supper, which consisted of a portion of
> these peas, sprinkled with sugar, served with wafer-thin bread
> and butter, followed by a cup of tea. However, everyone soon
> returned to our own traditional dried variety, because they were
> far better value for money and some (like my mother) were never
> tempted away in the first place.
>
> The widespread introduction of refrigeration both in the shops
> and in homes since the 1960s, has made frozen food accessible to
> "the masses", so nowadays canned or home-made "mushy peas" are
> generally an indication of family and social background having
> influenced personal preferences and tastes.
>
> In my case, it only harks back to poor student days when I was
> first introduced to the (urban) concepts of take-away food and
> then the wasteful "sin" of buying a tin of peas!?!? Unlike canned
> potatoes (which I have never bought in my life) I did try
> "processed" peas, but cannot say I became addicted. However, on
> the very odd occasion we eat bought Fish & Chips, the "mushy
> peas" are essential as "the sauce" more than any deep reverence
> for gastronomic authenticity.
>
> As with any food, it is easy to disparage the taste of others,
> especially the poor, but something of a cheap swipe in this case,
> where the "food of drunks" (as mushy peas were known to my
> grandmother's generation) has become the accepted "norm". But
> rest assured that every deep-freeze cabinet and fridge freezer
> compartment in the UK is kitted out with a packet of frozen peas
> these days, if only to use as an cold compress or to whack in a
> pan in an emergency (i.e. unexpected guests or depleted vegetable
> rack the day before the weekly shop). Fresh peas in a pod remain
> a great and coveted luxury to this day and the source of much
> envy to those looking over the fence into any vegetable garden.
> The supermarkets even fly them thousands of miles from Kenya and
> Zimbabwe, but they are a poor substitute for the sweet and
> succulent peas of that other great institution: the English
> Country Garden!
>
> Sincerely
>
> Janet Kaiser - who cannot believe I am sitting here writing about
> peas until almost 3.30 a.m..!?!?! Talk about "get a life"... And
> all Earl`s fault for being rude about mushy peas... Sheesh...
> ***********************************************************
> The top posted mail was sent by Janet Kaiser
> The Chapel of Art : Capel Celfyddyd
> 8 Marine Crescent : Criccieth : Wales : UK
> Centre of Excellence for The Arts
> Home of The International Potters' Path
> Tel: ++44 (01766) 523570 http://www.the-coa.org.uk
> Open: 13.00 to 17.00hrs : Tuesday to Saturday
> ************** AVG Virus Protected ********************
>
> ------------------------------
>
> Date: Thu, 27 Nov 2003 03:42:18 +0000
> From: Janet Kaiser
> Subject: Re: : Question for Ivor
>
> Very good, Geoffrey! I do not doubt what they upstart A.
> Millicent Ashdown has to say, but that is all for when his head
> HURTS. According to older and much more experienced Mrs. Beeton,
> what he needs to do for head ACHE is, "Take 10 grains of
> salicylate of sodium every hour for 2 or 3 hours, or 7 grains of
> phenacetin every half-hour for an hour-and-a-half. A drachm of
> potassium bromide at night will often relieve headache and
> sleeplessness. More "natural" cures are to lie down in a dark
> room and fast, or to sip a glass of cold water slowly An apeient
> is often all that is needed".
>
> We can suppose that Taylor is in the first stage of sickness, in
> which case the redoubtable Mrs. Beeton says; " while doubt and a
> little perplexity hang over the household as to the nature of the
> sickness, there are some things about which no doubts exist: the
> patient`s room must be kept in a perfectly pure state, and
> arrangements made for proper attendance; for the first canon of
> nursing, according to Florence Nightingale, its apostle, is to
> "keep the air the patient breathes as pure as external air,
> without chilling him". This can be done without any preparation
> which might alarm the patient; with proper windows, open
> fireplaces, and a supply of fuel, the room may be as fresh as it
> is outside, and kept at a temperature suitable for the patient's
> state."
>
> "Arrangement of the sick room", according to Mrs. B is simplicity
> itself to achieve: "Windows must be opened from above, and not
> from below, and draughts avoided; cool air admitted below the
> patient's head chills the lower strata and the floor. The careful
> nurse will keep the door shut when the window is open ; she will
> also take care that the patient is not placed between the door
> and the open window, nor between the open fireplace and the
> window. If confined to bed, she will see that the bed is placed
> in a thoroughly ventilated part of the room, but out of the
> current of air which is produced by the momentary opening of
> doors, as well as out of the line of draught between the window
> and the open chimney, and that the temperature of the room is
> kept about 60=3DB0. (The "cool bedroom" temperature is 56=3DB0; the
> "warm bedroom" 64=3DB0). When it is necessary to admit air by the
> door, the windows should be closed; but there are few
> circumstances in which good air can be obtained through the
> sickroom door; on the contrary, the gases generated in the lower
> part of the house are likely to be drawn through into the
> invalid's room. When these precautions have been taken, and
> plain, nourishing diet, such as the patient desires, supplied to
> him, probably little more can be done, unless more serious
> symptoms present themselves.; in which case medical advice should
> be sought."
>
> This is all opposite the page upon which there is a useful series
> of illustrations for bandaging the head as you described... "1.
> Bandage for pressure in region of the temple 2. Application of
> Four-tailed Bandage for fracture of the lower jaw 3. To commence
> a Capeline Bandage 4. Capeline Bandage complete." Please note
> that Capeline Bandage is written in capital letters.
>
> Personally I think Taylor should take more notice of the
> advertisements at the back of "Mrs. Beeton's Book of Household
> Management", that great work published in 1861. Taylor could
> chose one of two products:
>
> "Natural
> ENO'S
> health-giving
> FRUIT
> refreshing
> SALT
> invigorating"
>
> or "INDIGESTION IS THE PRIMARY CAUSE OF MOST OF THE ILLS TO WHICH
> WE ARE SUBJECT: Hence a Medicine that stimulates the digestive
> organs will relieve quite a number of complaints. WHELTON'S
> VEGETABLE PURIFYING PILLS arouse the stomach in action, promote
> the flow of gastric juice, and give tone to the whole system.
> Headache, Biliousness, Kidney Disorders and Skin Complaints
> disappear, while cheerful spirits and clear complexions follow in
> due course. ASK FOR WHELPTON'S PURIFYING PILLS And remember,
> there is NO PILL "JUST AS GOOD".
>
> Sincerely
>
> Janet Kaiser -- now swiftly looking up what to do about tongue in
> cheek...
>
> *** IN REPLY TO THE FOLLOWING MAIL:
> *** From: Geoffrey Gaskell
> *** E-address: g-gaskell@PARADISE.NET.NZ
> *** Sent: 27/11/2003 Time: 07:47
>
> >If Taylor's head is indeed hurting, it will of course require
> immediate
> >treatment to ensure that the condition is alleviated rather than
> >aggravated. For which purpose the capeline bandage will do
> nicely:
> >>snip<<
> > From "A Complete System of Nursing" by A. Millicent Ashdown,
> 1922
> >
> >I'm sure Taylor's wife will oblige with the provision of this
> treatment
> >while he is doing the suggested Google search for Ice and
> Plasticity :-)
> >
> >Geoffrey Gaskell (Just determined to add to all the confusion,
> I'm sure)
>
> *** THE MAIL FROM Geoffrey Gaskell ENDS HERE ***
> ***********************************************************
> The top posted mail was sent by Janet Kaiser
> The Chapel of Art : Capel Celfyddyd
> 8 Marine Crescent : Criccieth : Wales : UK
> Centre of Excellence for The Arts
> Home of The International Potters' Path
> Tel: ++44 (01766) 523570 http://www.the-coa.org.uk
> Open: 13.00 to 17.00hrs : Tuesday to Saturday
> ************** AVG Virus Protected ********************
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 21:54:45 -0600
> From: David Hendley
> Subject: Re: ball mill caking up
>
> I'm not sure about this, but remember when Taylor was asking
> about ball mills a few weeks ago? I told him that when I got my
> ball mill I was given spherical porcelain grinding media, as
> well as cylindrical, with the instruction that the balls were for
> wet grinding and the cylinders were for dry grinding.
>
> My experience has been that, indeed, the porcelain cylinder-
> shaped media helps prevent caking of material when dry grinding.
>
> David Hendley
> david@farmpots.com
> http://www.farmpots.com
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 21:54:22 -0600
> From: Vince Pitelka
> Subject: Re: incompetent professor, but do not call the fire marshal
>
> > With the fire marshall involved, if the problem was lack of funds, th=
ey
> will
> > probably find the funds now. For a university, ignoring such problems
> could
> > cost them their liability insurance. That could shut them down
completely.
>
> Susan -
> Please don't think I am picking on you, because I am not, but once agai=
n,
> you have to be more careful about giving out such advice. In such a
> situation one should NEVER EVER call the fire marshal if they want to
> preserve the ceramics program. Calling the fire marshal would not
adversely
> affect the university's liability insurance, because the administration
> would simply shut down the ceramics program in a flash, thus no more
> problem. That is not my opinion, but rather an unfortunate truth.
>
> Most universities have a department of environmental health, and the
> unfortunate reality is that inspectors in that department often tend to=
be
> very alarmist, and are often given almost unchecked powers. Whenever
there
> is the SLIGHTEST question, in this "age of litigation," the easiest
solution
> for them is to just shut down the offending program, and they will do t=
hat
> without the slightest hesitation, thinking that they are acting in the
best
> interests of the students. But the reality is that they are ONLY actin=
g
in
> the best interests of the Universities liability and avoiding lawsuits.
> Best wishes -
> - 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/
> http://www.tntech.edu/craftcenter/
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 20:22:59 -0700
> From: Bonnie/Jeremy Hellman
> Subject: clay softness test fo SP850 -Chapel of Art Tiles
>
> How about having them make 4" square tiles (finished size)
decorated/carved
> for Janet Kaiser's Chapel of Art in North Wales, UK where the Potters'
Walk
> is asking for more tiles? That's what I'm doing. All guests are being
asked
> to make several. The non-potters are finding this to be an enjoyable
> experience, and several have already proclaimed, "Hey, this is fun!"
People
> also like the idea that their tile will join many thousands more in an
> international venture.
>
> See http://www.the-coa.org.uk/ and click on Enter, choose the flag for =
the
> language of your choice, Next, The Potters' Path, Technical Specificati=
ons
> (for tile makers), and other windows to see other tiles, an explanation=
of
> what Janet and her husband are doing, etc.
>
> I've told our guests that the tiles will be mostly be seen at an averag=
e
> distance of at least 5-6 feet so patterns work well, and their design
> doesn't need to be elaborate or "perfect". I've offered them as much cl=
ay
as
> they want and encouraged them not to fuss with the tiles so they don't
look
> overworked.
>
> I'm really excited at the ones I've gotten so far, and more people are
> coming to visit tomorrow, Turkey Day. I know I should not fall in love
with
> any ceramics until they come out of the glaze kiln, but so far they loo=
k
> really nice, and everyone's is different.
>
> It's a good way to spend time until the turkey is done. And a fun
thing
> to do for the holidays and year end.
>
> Bonnie
> Bonnie Hellman
> Enjoying the last few days of a SW CO vacation with enough snow this we=
ek
> for good cross country skiing
>
> ----- Original Message -----
> From: "Earl Krueger"
> To:
> Sent: Wednesday, November 26, 2003 6:36 PM
> Subject: Re: clay softness test fo SP850 (Kenzan Porcelain)
>
>
> > Michael,
> >
> > Are your results from one test or
> > the averages of multiple tests?
> >
> > My son-in-law will be here for the weekend.
> > Need something to keep him occupied.
> > I'll try and talk him into making up one of your
> > testers. Ought to keep him busy for most of
> > one day. Whew!!!!
> >
> > Earl...
> > Bothell, WA, USA
> >
> >
>
_________________________________________________________________________=
___
> __
> > 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 Nov 2003 19:39:52 -0800
> From: primalmommy
> Subject: thanksgiving (vegetarians please delete)
>
> What I know about thanksgiving is that half the pilgrims had died of
> disease and starvation, and the remaining ones were giving thanks just
> to be alive...
>
> that the original thanksgiving meal was mostly provided by the "indians=
"
> and was mostly venison....
>
> yesterday my father and I cut up a jeff's deer carcass on a plastic tar=
p
> on my kitchen table, the reality of meat whether it's square, shrink
> wrapped packages or mcnuggets: muscle, blood, and a bone saw through th=
e
> breastbone. We worked together as master and apprentice, two sharp
> knives, his burly arms and massive hands, me on the other side mirrorin=
g
> his careful deliberate dissection... rendering carcass into eye of
> round, sirloin, tenderloin, chops, roasts, to be vacuum-packaged in bag=
s
> for the freezer, a year's worth of lean, organic meat for a family with
> a meager budget. Bones into the stew pot, suet rendered for birds, ever=
y
> scrap ground for burger. The native tribes would be proud.
>
> This morning, hours before dawn, my mom and dad picked me up and we
> drove to the hospital to check dad in for open heart surgery: one
> carotid artery, a triple bypass, and a valve in his heart to be replace=
d
> by a pig valve. The day seemed a week long, waiting in a room with
> families -- women mostly, older, and their grown kids -- waiting for
> news like we were. Some of them got bad news; we knew them, after the
> hours there, wept for them, waited for our news, forgetting sometimes
> how to breathe. I sat stitching; repairing a stuffed toy, sewing badges
> on scout uniforms, repairing torn jammies, trying to keep it all
> together and make it right.
>
> Five hours of surgery. Surgeons who go to work every day like any
> mechanic, who know how to split the breastbone with a bone saw, hold a
> man's heart in their hands and repair it like a swiss watch. Blood, and
> muscle, and sharp knives; I was once told by a hunter-surgeon that the
> smell is the same.
>
> My mom, my brother and I, waiting. Waiting for the surgery to be over,
> to hear he's ok. Waiting for him to revive enough to know if he's had
> stroke damage.
>
> An hour ago I stood by my dad in ICU, a big bull of a man. Swollen and
> pale, stitched and stapled, and full of tubes/on a respirator, alive...
> I cried tears of thanksgiving that he could -- drugged as he was --
> wiggle his toes, blink his eyes. Tears, for Joyce Lee, for the new
> widows in the ICU waiting room today, for Phillis Tilton's courage.
> Tears for all who survive, for skilled hands that save lives (or,
> despite all, fail to) every day. Tears that were held back all day to
> keep my mom chatty, diverted, distracted.
>
> This year nobody has the heart for thanksgiving dinner, the turkey and
> stuffing, high cholesterol gravies, salty treats and butter-rich Ohio
> tomato pudding. Instead it may be something on a tray in the hospital
> cafeteria, or whatever my amazing, supportive husband will put together
> tomorrow, home with the kids while we're with dad. It doesn't matter,
> this year. It matters that my father will still be here next
> thanksgiving, that my husband is healthy and alive, that we are all
> blessed with every day that is given to us...
>
> and blessed by the invisible web of love, friendship, support that link=
s
> us by family and community, by phone and computer, by prayer and good
> thoughts, sympathy and support, all over the world.
>
> My lovely bowl says.. be useful -- be hopeful -- be grateful -- be
> present. Those of you feasting with family this year .. tell them you
> love them, squeeze them tight. Sometimes now is all we have.
>
> off to bed, weepy and in need of sleep...
>
> kelly in ohio
>
>
>
>
>
> _______________________________________________________________
> Get the FREE email that has everyone talking at
> http://www.mail2world.com
>
> ------------------------------
>
> Date: Wed, 26 Nov 2003 21:04:19 -0700
> From: buxton taylor
> Subject: Re: THE SURVEY-one more chance
>
> Age 40s
> Female
> Years of Experience 20
> Location SW, (utah), though currently 1/2 time in Korea
> Where do you do your claywork? Utah-personal studio, Korea University
studio
> Formal training university
> Full Time - 15 years
> Type of clay preference - earthenware for many years, now porcelain an=
d
> celadon clay
> ,Firing preference low-fire oxidation, ^8 reduction, Wood, Soda
> Self-Supporting from clay (please include teaching) Yes-for 15+ years, =
now
> some teaching
> Just email me directly. Dolita
>
> dohrman@insightbb.com
> Louisville, KY
>
>
_________________________________________________________________________=
___
__
> 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.
>
> _________________________________________________________________
> Say "goodbye" to busy signals and slow downloads with a high-speed
Internet
> connection! Prices start at less than $1 a day average.
> https://broadband.msn.com (Prices may vary by service area.)
>
> ------------------------------
>
> End of CLAYART Digest - 25 Nov 2003 to 26 Nov 2003 (#2003-331)
> **************************************************************
> =01=01
| |
|
