Eva Gallagher on wed 7 jan 04
Hi,
Anyone with porcelain crowns or dentures, the colorant used is uranium. T=
he
whiter your teeth are, the less U is needed in the crown/denture to match
your teeth. An good example of a very stable porcelain body/glaze. Don't
think that dentures are glazed, but I guess the body is vitrified enough
that it gets semimatte.
I first read this in an older book on radiation protection , so was
skeptical that it was still used today. So asked my dentist and he said
yes - nothing else will give a natural color - which is why it is still
used. (Oh vanity!)
As Steve Slatin mentioned U is very weak in terms of radiation so the dos=
e
to your jaw is very low. U not only gives very few "punches" per second b=
ut
the energy that the punches carry is very low. That means U has very low
ionizing power - much less than UV light from sunlight. (Not sure of the
exact #'s here but its something like that.)
However this is very different from using U and mixing up glazes where th=
e U
in the unfired state can be inadvertently picked up by the body and
incorporated and built up in body tissues.
Eva Gallagher, with pearly white crowns (I wish!)
Deep River, Ontario.
---- Original Message -----
From: "Automatic digest processor"
To: "Recipients of CLAYART digests"
Sent: Wednesday, January 07, 2004 12:00 AM
Subject: CLAYART Digest - 5 Jan 2004 to 6 Jan 2004 (#2004-7)
> There are 110 messages totalling 4110 lines in this issue.
>
> Topics of the day:
>
> 1. Japanese pottery
> 2. Thailand/Discovery Art Travel
> 3. Cone 6 Ox glaze ingredients list (2)
> 4. De-lurking for kiln help (2)
> 5. Frit 'bad' for iron colors (3)
> 6. OT: strange spam (6)
> 7. Incising & carving - what is the difference? (3)
> 8. Waco Taylor's supply list (5)
> 9. To everyone, From Rachel (2)
> 10. Annual New Year's Smile
> 11. Need help with basics/Northern MN (2)
> 12. Frit 'bad' for iron colors and also Laser Decals.
> 13. : ivor/gail's clay
> 14. Frit "Bad" for Iron Colors (2)
> 15. Salt delivery/alumina (2)
> 16. welding thermocouples
> 17. RE 2: glaze for week jan 5
> 18. =3D?utf-8?Q?RE:_Jason_L'Abb=3DD7=3D99=3D2C_=3D28Waterloo=3D2C_ON=3D=
2C_Canada=3D29?=3D
> 19. potters for belize needs tool donations and a thank you
> 20. Bonehead move in the freezer HELP! (2)
> 21. Extruder/caps-trolling for feedback
> 22. welding thermocouples - Now, spin-offs of the Bi-Metallic...
> 23. glaze for week jan 5 (4)
> 24. Vince's Truss
> 25. Golf elbow, was Tennis elbow (3)
> 26. Incising and carving -what is the difference?
> 27. to everyone, from Rachel
> 28. incising and carving/ the difference (2)
> 29. Bonehead move in the freezer HELP!
> 30. I am officially dot complicated... (2)
> 31. Delete the BS (2)
> 32. salt delivery
> 33. An appreciation OT maybe
> 34. OT Strange Spam-don't open! (2)
> 35. Tennis Elbow
> 36. De-lurking for kiln help (Paragon SnF kiln)
> 37. glaze for jan 6
> 38. potters for belize needs tool donations
> 39. transfer decal paper
> 40. computer problem? (3)
> 41. Need Kiln Information (6)
> 42. Glaze problems (3)
> 43. NC Potter - Sid Oakley passes
> 44. Glaze problems--Gary Harvey crazing question
> 45. The hijacking of Larry Davidson's "Little Creek Pottery" web site.=
..
(also
> Hide Ebina's site) (2)
> 46. Industrial Thermocouples (3)
> 47. Making plaster bats - Jepson molds (2)
> 48. Tennis Elbow and Magnets
> 49. Washing textured pots before glazing (2)
> 50. L & L kiln
> 51. L&L Kiln - Snowdance
> 52. Tennis elbow
> 53. =3D?ISO-8859-1?Q?Re:=3D20=3DA0=3D20=3DA0=3D20=3DA0=3D20Re:=3D20off=
=3D20subject/=3D20wo?=3D
> =3D?ISO-8859-1?Q?od?=3D
> 54. "stirring" glaze
> 55. Logistics K-12 Ceramics
> 56. Help me find an old Building somewhere - Bison Studios & I really
need to
> move!
> 57. welding thermocouples - Now, spin-offs of the Bi-Metallic...or, Wo=
od
> humidity indicators...
> 58. Thanks from the freezer!
> 59. 2004 nceca room
> 60. Ron Meyers Workshop in Atlanta
> 61. art is art
> 62. =3D?iso-8859-1?Q?Re:_=3DA0_=3DA0_=3DA0_Re:_off_subject/_wo_od?=3D
> 63. Steves books
> 64. Pugmill Building Help
> 65. Superslowmo ..... things to do blues
> 66. "Clay Mechanics"
> 67. Using Ebay to sell my pieces
>
>
_________________________________________________________________________=
___
__
> 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, 6 Jan 2004 12:38:30 +0900
> From: Lee Love
> Subject: Re: Japanese pottery
>
> Mary wrote:
>
> >>
> >> But yesterday I received a gift from a friend who has just returned
> >> from Japan. It's a small rectangular plate about 8 x 5 with a
> >> rectangular foot-ring. The glaze is grey with a very fine crackle an=
d
> >> iron specks.
> >
>
> Hey, can you photograph it?
>
> Lee In Mashiko
> http://mashiko.us
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 22:40:37 -0500
> From: Liz Willoughby
> Subject: Thailand/Discovery Art Travel
>
> Dear Claybuds,
> I am back home, in a daze, but wanted to tell you all, some of the
> highlights of my trip, with Denys James, Louis Katz, and Suwanee, as
> the leaders of the trip. There were around 12 of us.
> I am filled with visions of village potteries, and the kind humble
> people of Thailand. Denys did a great job of organizing this trip,
> and Louis who has been there knew where to go, and what to see.
> Suwanee, who has a pottery in Dankween always was willing to help,
> with translating and explaining. She was a gem. I am not going to
> make this a long message, but wanted to give my impressions.
>
> In Bangkok we visited Wats (temples) travelling there on the river
> boats. They have to be seen to be believed. Bangkok is hot and
> polluted, but worth the trip. On to Ratchiburi, a town of stoneware
> potteries. We were lucky and stopped at one during a wood firing.
> We saw them making, decorating, and firing pots. Large pots, stacked
> by the hundreds everywhere. Louis calls it the "stoneware capital of
> the world". On to Korat and Dankween, where we were very fortunate to
> stay in a Thai house. This belonged to a relative through marriage
> to Suwanee, and an experience I will never forget. Peak, the owner,
> had a museum in the center of the house that belongs in a museum.
> Cabinets and cabinets of priceless porcelain and stoneware of all
> kinds. Dankween is a pottery village, each house seems to be a large
> pottery, they wood fire the pots, and then if you believe it, paint
> them for export. They are highly decorative. Roosters, dogs, and
> cats everywhere, and of course the smiling Thai, always gracious.
> On to Phimai, Angkor-period ruins, museum, and to Mahasarakham.
> Another village of potteries. This time cooking pots. One of my
> favorite places. The women made the pots by hand, taking a large
> lump of clay, opening it up with their fingers, placing it on a tiny
> wheel, then walking! around the wheel to make the pot, using a clay
> rib on the inside and a wooden paddle on the inside. The clay is
> from the river/pond by the village. A man takes a boat, (carved out
> tree), pushes it out , gathers the clay, walks the boat back, and
> shovels the clay to the land. Rice husks are added to the clay, it
> is made into large balls, stacked, fired with pieces of wood. This
> is the grog that they add to the clay that is also taken from the
> river. Cooking pots are made from this clay. These pots cook food
> over clay cylinders that hold charcoal. I brought one home, and can
> hardly wait to try it out. The pots are low fired in wood tunnel
> kilns.
> On to Sukhothai, a visit to the old city temple ruins, (my favorite
> wat), very very beautiful, and then to Chaing Mai. More potteries,
> silk weaving factories, paper making factories, and more, more, more.
> This was a wonderful trip. New friendships, and a look into another
> world. My first trip to Asia.
> My head is still full.
> Now, I will shut up. except to say, that Louis, who is in love with
> Thailand, and can't seem to get enough of it, showed his joy by
> yodelling, every now and then. The Thai, just loved it.
> Happy Belated New Year to everyone.
> Meticky Liz from Grafton
>
> --
> Liz Willoughby
> RR #1
> 2903 Shelter Valley Rd.
> Grafton, Ontario
> Canada
> K0K 2G0
> 905-349-3130
>
> lizwill@phc.igs.net
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 19:58:29 -0800
> From: Snail Scott
> Subject: Re: Cone 6 Ox glaze ingredients list
>
> At 01:08 PM 1/5/04 -0600, Taylor wrote:
> >I plan to get my first stock of glaze ingredients very soon...for cone=
6
> glaze...
>
>
> Sounds like a good list, but I note there are no frits
> except 3134. Get some 3124, too, and maybe some 3195 if
> you want calcium matts. How much of each (as with any
> material) will depend on the glazes you want to make of
> course/ As for the mexh of silica, the finer the better,
> get a better melt - usually 325 mesh. 200 mesh ('clay
> grade') will work, but maybe plan to soak longer for best
> melt. And if you don't buy calcined kaolin, don't forget
> to calcine some yourself. And you may want a little tin
> and possibly nickel. And a gerstley-substitute. And bone
> ash, and wollastonite. And also some CMC.
>
> But maybe just get small amounts, for testing. Then when
> you find glazes you like, order whole bags of the stuff
> you'll actually need.
>
> -Snail
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 19:58:35 -0800
> From: Snail Scott
> Subject: Re: De-lurking for kiln help
>
> At 04:22 PM 1/5/04 -0600, you wrote:
> >...How to fire
> >it with the kiln sitter, the timers, and still use my witness cones fo=
r
> >accuracy. In my old Crusader, I aways watched the cones go down, and
> >when they were bent just right, I would manually shut off the kiln...
>
>
> No need to change; you can fire the Paragon
> the same way. Just put in a sitter cone that's
> higher than you intend to fire - it's still there
> as a failsafe, but it won't shut it off before
> you decide to. And just set the timer to more
> time than you think you'll need. I wouldn't run
> it all the way to maximum; just an hour or two
> past what you think you might need. If you want
> more time, just crank it back a few hours. It's
> there to prevent catastrophe if you get called
> away unexpectedly and can't shut it down yourself,
> so you might as well take advantage of its
> presence, but it needn't alter your firing habits
> in any way. Just keep using those witness cones,
> shutting down manually like always, and enjoy the
> peace of mind of a dual-failsafe backup that you
> will (I hope) never need.
>
> -Snail
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 19:58:56 -0800
> From: Snail Scott
> Subject: Re: Frit 'bad' for iron colors
>
> At 10:42 PM 1/5/04 +0000, you wrote:
> >...Snail,you are saying that things are different where you are. I gue=
ss
> Zinc can do things differently with various potters...
>
>
> Wasn't me. ;) -Snail
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 04:05:23 +0000
> From: Janet Kaiser
> Subject: Re: OT: strange spam
>
> Hi Sam
>
> Yes, I have been receiving it too and came to the conclusion that
> someone, somewhere was testing what words trigger refusal and/or
> bounced mail... At least that was the only *reasonable*
> conclusion I could come to on my lonesome own some! (I do not
> include flights of fancy into the world of conspiracy theorists
> or espionage :o). None of these odd Spam messages have
> attachments, not even html or htm text so there is nothing to
> worry about, Sam -- yet!
>
> No, Earl, they are normal plain text mail messages with lists of
> real words as if they were taken out of a dictionary at random.
> It is quite unlike HTML, HTM or even those real Spam mails with
> odd letter combinations in the subject line, like: "cum all night
> with bridget jsbsxzcuai". Here is an example of one I got
> tonight, with the last part of the header retrieved from my
> deleted folder:
>
> ***start quote****************
> Reply-To: "Sullivan Cleveland"
> Content-Type: multipart/alternative;
> boundary=3D"--ALT--AACX41176622018607"
> Message-Id:
> X-Originally-To: postbox@the-coa.org.uk
>
> quarantine subsumed appear wigging mail theory smooth coeditor
> bocklogged shish armful cleavage calculable tinker defiant
> buchenwald chicago contrabass sympathetic basso pattern indies
>
> ***end quote*****************
>
> Sincerely
>
> Janet Kaiser
>
> *** IN REPLY TO THE FOLLOWING MAIL:
> >I've been receiving very strange spam over the last few weeks.
> It
> >contains random words - sometimes just a few lines, sometimes
> many
> >hundreds of lines.
> >
> >Does anyone know what they are? Are they "fishing" for
> something?
> >
> >All my mail is filtered through Mailwasher, after which I then
> copy to
> >spamcop all spam, then download to my computer; consequently
> none of these
> >spams reaches my hard drive, so I'm relatively "safe".
>
> *** THE MAIL FROM Maid O'Mud ENDS HERE ***
> ***********************************************************
> The Chapel of Art : Capel Celfyddyd
> 8 Marine Crescent : Criccieth : Wales : UK
> Home of The International Potters' Path
> Tel: ++44 (01766) 523570 http://www.the-coa.org.uk
>
> ************* Virus Protection by AVG *****************
> BOYCOTT COCA-COLA NOW!!
> Make them stop stealing water for their
> bottling plant in Southern India!!
> "A world in perfect harmony"? So what happened?
> ***********************************************************
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 04:05:25 +0000
> From: Janet Kaiser
> Subject: Re: Incising & carving - what is the difference?
>
> Hi Chris
>
> for what it is worth, I believe there is a slight difference
> where clay is concerned, but it depends on how, what is being
> made!
>
> The reason to differentiate may or may not be art speak, but
> would indicate the precise technique in a description of any one
> work or when comparing different work... I would say for a start
> that "to incise", is the oldest method of decorating pots. From
> simple, linear patterns scratched into the surface of pots, right
> through to complicated patterns and decorations of those
> wonderful stylised (usually floral design) decoration scratched,
> scraped or cut in the Sung dynasty... Pools of celadon glaze in
> the depressions... Yummy! One Clayarter whom I know makes
> wonderful incised work is Jim Speers, up in Edmonton, Alberta,
> Canada... Now some of Jim's work you would say is carved rather
> than incised, because the degree goes beyond linear pattern more
> on some than others, or in some areas more than others. There is
> therefore merit in saying some patterns are carved and others are
> incised... It makes the comparative description of his pots
> easier. Or say two pots on a museum shelf...
>
> But what is achieved is basically all accomplished by incising
> and excising! Scratching and scraping a pattern into the surface
> of what to all intents and purposes is a finished form. That is
> purely surface treatment or decoration. You cannot use "incising"
> to make or significantly alter a pot.
>
> Whereas "carving" or "carved" is a wider range of methods of
> decoration AND/OR form making and alteration. It naturally
> implies slicing bits off and shaping the clay into a form using a
> real cutting technique so the shape is altered when "carving" (a
> sculpture say). However, when it comes to pots and their
> decoration, other techniques which are considered to be "carving"
> would include fluting, faceting, combing and piercing... But they
> are not truly "form changing" techniques although faceting comes
> as close as anything to be just that...
>
> The real difficulty arises when someone says, for example: "I
> decorate the lids of all my pots, by carving the clay". Now from
> that description I would expect the work to have a very deep and
> definite relief surface with thick and thin areas *at the very
> least*. However it could mean a great deal more or much less than
> that... Maybe just a series of lines and/or flat areas which are
> not much deeper than could be achieved with a sharpish tool on
> leather-hard clay? On the other hand it could be something quite
> sculptural which started out as a two or three pound lump of clay
> which was whittled away... They may indeed be describing an
> "incised" pattern, but I would have to see the pot to know
> precisely what they are making and how it is decorated. Whether
> their carving was "incising/excising" or really element building
> and shape forming...
>
> Hummm... "Etching" would be washing away or adding clay or slip
> aided by another resist or medium such as wax, shellac, etc. but
> I am not sure that clay is "engraved"... Cannot say I would use
> the word in association with decoration of a clay surface
> myself...
>
> BTW Why do you ask? Any particular reason? I am not sure or even
> convinced that books would treat carving and incising as two
> different techniques, but I don`t have any to look at to compare
> here... My historical reference books seem to interchange the
> terms with no apparent rhyme nor reason, so I can imagine it
> would send some people batty trying to decide on the "true
> definition"! NOT YOU though, Chris! LOL!
>
> I will certainly be interested to hear what others have to say on
> the subject...
>
> Sincerely
>
> Janet Kaiser -- on a wet and woolly night in Wales
>
> *** IN REPLY TO THE FOLLOWING MAIL:
>
> >Pottery books treat carving and incising
> >as two different techniques ... but ...
> >when I look it up in the dictionary it seems
> > to be the same thing.
> >So who knows whether a mark is carved or incised
> >or even engraved for that matter?
> >Does it even matter ... except for artspeak?
>
> *** THE MAIL FROM ccpottery@BELLSOUTH.NET ENDS HERE ***
> ***********************************************************
> The Chapel of Art : Capel Celfyddyd
> 8 Marine Crescent : Criccieth : Wales : UK
> Home of The International Potters' Path
> Tel: ++44 (01766) 523570 http://www.the-coa.org.uk
>
> ************* Virus Protection by AVG *****************
> BOYCOTT COCA-COLA NOW!!
> Make them stop stealing water for their
> bottling plant in Southern India!!
> "A world in perfect harmony"? So what happened?
> ***********************************************************
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 20:02:53 -0800
> From: Snail Scott
> Subject: Re: Waco Taylor's supply list
>
> At 08:57 PM 1/5/04 EST, you wrote:
> >WHAT IS THE DIFFERENCE BETWEEN A CARBONATE AND AN OXIDE?
>
>
> Here's the universal answer: It Depends! ;)
>
> The simplest was to explain is to have you look at the
> molecular formulas, as printed in almost every ceramics
> text. (Honest, no 'real' chemistry here, more like a
> word-jumble.) If you see a 'C' in the formula, followed
> by a number, that means there are that many carbons in
> the molecule. Therefore it's a carbonate. (Easy, huh?)
> They all go away during firing, but you have to include
> them when you weight your materials, since they are
> still there when you mix. It's a bit like the ad for that
> cereal, where the annoying waitress brings the guy eight
> bowls of 'Brand X' cereal, because "that's how many bowls
> it'll take to give him his daily allowance of Vitamin-
> Whatever, compared to just one bowl of the Right Cereal".
> If you have lots of 'C's in the molecular formula,
> there's less of the 'useful stuff' (cobalt, copper,
> whatever) in each ounce of it, because carbon is acting
> like 'filler'.
>
> Now, the part that makes it confusing: With some materials,
> the difference between the carbonate and oxide is trivial
> (as with manganese); it IS really close, and many people
> will use them interchangeably. But with other materials
> (like cobalt) there is a huge difference, because there are
> a lot more 'C's in the carbonate compared with the amount
> of 'good stuff'. That means that for the same weight of
> material, the cobalt carbonate contains a lot less actual
> cobalt than the cobalt oxide. This isn't necessarily a Bad
> Thing, since cobalt is very strong, and using the weaker
> form means that it's not quite as critical to weight and
> mix tiny amounts precisely. But it does mean that you need
> more of it to make your blue glaze the same color.
>
> To find out exactly how they compare, you need to know the
> molecular weight (that Periodic Table number) of each
> of the things in the molecule, then multiply by the amount
> of each in the molecule, so skip that. Just look it up.
> But that's the WHY of it, more or less.
>
> I hope that's what you needed to know!
>
> -Snail
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 20:19:01 -0800
> From: Keisha
> Subject: Re: To everyone, From Rachel
>
> Rachel hey
>
> Girl no one is angry at you. We shouldn't be. Take all
> the replies you got as advice. I've been corrected on
> a few things to since signing on to this group but
> just take all that stuff as good advice. Make
> everything flow smoothy. See you around....
>
>
>
> =3D=3D=3D=3D=3D
> Keisha Pegues
> Mound Bayou, MS
> PBWU
>
> __________________________________
> Do you Yahoo!?
> Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes
> http://hotjobs.sweepstakes.yahoo.com/signingbonus
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 23:21:47 -0500
> From: Maid O'Mud
> Subject: Annual New Year's Smile
>
> I first posted this in 1997 (gosh, has it really been that long????),=3D=
20
> so many of you have seen it before. It has been modified over the
> years as my techniques/circumstances change.
>
> This is intended to educate purchasers -=3D20
> and as a tongue-in-cheek for fellow potters. Enjoy!
>
> What Goes Into Making a Mug??
> (so glad you asked!!)
>
> 1. Pick up clay - 7 hour round trip in ideal conditions. OR pay =3D
> $$$ to get it delivered.
> 2. Unload truck - load clay into basement studio.
> 3. Weigh out amount needed.
> 4. Wedge (knead) clay.
> 5. Centre clay on wheel and throw the mug shape.
> 6. Remove from wheel and let dry 24-48 hours; depending on =3D
> humidity.
> 7. Put mug back on wheel and trim.
> 8. Hand create handle.
> 9. Let handle dry 1 to 5 hours, depending on humidity.
> 10. Attach handle to trimmed mug.
> 11. Cover handle in hot wax to slow drying on very dry days.
> 12. Let mug dry 1 week minimum. If mug cracks at this point,
> re-cycle clay and start over at step 3.
> 13. Take mug to kiln in the and fire to ~1800 F - about 15 hours.
> 14. Take mug back to the studio for glazing. If mug has
> cracked during 1st firing, discard and write off.
> 15. Mix glaze(s). Each glaze requires approximately 3 hours to
> mix and sieve.
> 16. Put hot wax on the bottom of mug so it does not stick
> to kiln shelf.
> 17. Choose design and glaze mug. This can be a quick dip - or an =3D
> elaborate design=3D20
> taking an hour or more to create.
> 18. Let mug dry thoroughly.
> 19. Bring mug back to the kiln and place gently within the kiln.
> If glaze scratches or gets bumped on journey, wash with
> hot water, let dry, and start back at step 13.
> 20. Fire glazed mug to approx 2150F; approximately 24-28 hours
> depending on electricity demands.
> 21. Hold at peak temperature for approx. 20-30 minutes. Make
> sure all shelves reach the same temperature (cone); then =3D
> slowly fire down.
> 22. Wait around 14 hours for kiln to cool to under 400F
> before opening.
> 23. Remove and check mug. If cracked, write off. Start over
> at step one.
> 24. If mug has miraculously survived to this point, clean sharp
> bits off bottom with grinding stone by hand, and put out
> for sale (!)
> 25. Last, but certainly not least instruction; try not to bite off
> the head of the foolish person who innocently asks "why does
> this mug cost so much?"
>
> AND, let us not forget all the hidden steps not numbered in here
>
> - answer phone
> - pay Ontario Hydro
> - develop new glazes and slips
> - come up with new pots and ideas
> - pay Ontario Hydro
> - put out signs on road
> - have MTO take signs off road
> - re-cycle clay trimmings
> - attend conferences
> - read clayart
> - answer questions where appropriate
> - pay Ontario Hydro
>
> Thank you for your time and attention.
>
>
> Feel free to copy and modify for your own studio use.
>
> Sam - Maid O'Mud Pottery
> Melbourne, Ontario CANADA
> =3D20
> "First, the clay told me what to do.
> Then, I told the clay what to do.
> Now, we co-operate."
> sam 1994
> =3D20
> http://www.ody.ca/~scuttell/
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 22:26:51 -0600
> From: Robert Seele
> Subject: Re: OT: strange spam
>
> Phil,
> I have an Mac computer, using Safari browser which has a email
> program, (MAIL), which has the option to bounce any email desired.
>
>
>
> Hi Robert,
> How do you bounce them?
> Sounds like a nice option...
> Phil
> Las Vegas
>
> At one time I was receiving from 10, up to 25 spam emails a day.
> Instead of deleting them. I mark them as junk mail and bouncing them.
> In the last few weeks my junk mail has dropped down to less than 3 a
> day, and some days, none at all.
>
> Bob Seele
>
> Things should be made as simple as possible, but not any simpler :
> Albert Einstein
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 23:38:03 EST
> From: "Jan L. Peterson"
> Subject: Re: To everyone, From Rachel
>
> Well, I enjoyed the furor. It was lots of fun, with posts flying every
which
> way. Jan, the Alleycat
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 00:05:56 -0500
> From: Christine Caswell
> Subject: Re: Need help with basics/Northern MN
>
> Hi Lorene,
>
> I have been teaching middle school for a few years and have some experi=
en=3D
> ce
> with elementary and high school as well. Other than being nervous abou=
t
> firing and how to deal with glazing are you comfortable? Do you know t=
he
> basics of wedging, pinch, coil, slab, scoring, etc? Are you looking fo=
r
> project ideas? I'd be happy to share some lesson plans if that would h=
el=3D
> p.
>
> Some details that might help:
>
> My first year teaching I recycled all of the clay myself and found it t=
o =3D
> be
> a huge amount of work. I have finally worked out a quick and easy way =
to
> get the kids to recycle for themselves. Many people completely dry cla=
y
> before recycling and then soak it. I have found that is unnecessary in=
a
> classroom setting. The kids take the clay they need and at the end of =
th=3D
> e
> class period they rip up any scraps into "gumball sized" pieces and put=
t=3D
> hem
> into an empty claybag. When they leave I add a small amount of water t=
o =3D
> the
> bag ( it is a good idea to turn the bag over once or twice so that the =
cl=3D
> ay
> on the bottom doesn't become way too slimy leaving the clay in the top =
of
> the bag sort of dry) and the following day it is ready to wedge- I also
> taught the kids to do this for themselves.
>
> I store work in progress in large trashbags obtained from the custodian=
s =3D
> and
> keep them in a couple of my storage cabinets to avoid damage. At the e=
nd=3D
> of
> class the kids bring me their work and I help them put it away in this =
ba=3D
> g,
> (sometimes I designate a student for this job), and then I spray a bit =
of
> water in there with a spray bottle and close it up tightly.
>
> I no longer bisque in middle school. I was having to fire far too ofte=
n =3D
> and
> found little difference in the final product. I use low fire white
> earthenware and Amaco lead-free cone 05 glazes. It would be a good ide=
a =3D
> to
> teat this yourself first with your clay and glazes first. I have test =
ti=3D
> les
> on the cupboard door where the glazes are stored so the kids can see ho=
w =3D
> the
> colors will look. I know some teachers who glue test tiles to the lids=
o=3D
> f
> the glazes.
>
> It takes a while to figure out what works in your situation and in your
> classroom. I would be happy to share other things that have worked in =
my
> classroom if you need some help. Feel free to write anytime.
>
> Best of luck,
>
> -Christine Caswell
> cmc@maine.rr.com
>
>
> ----- Original Message -----
> From: "Lorene McIntosh"
> To:
> Sent: Sunday, January 04, 2004 10:41 PM
> Subject: Re: Need help with basics/Northern MN
>
>
> Aaaaaaaack!!! I don't know! Well....I know some of it. It is an elect=
ri=3D
> c
> Skutt kiln with a computer. I am teaching K-12 art so there will be a
> variety of work but I will keep it small and simple to start with. The=
c=3D
> lay
> I ordered is low fire as I was told it would be easier to work with for
> kids.
>
> I have found some random lesson plans. They haven=3DB9t had art in thi=
s sc=3D
> hool
> for about 3 years (they have trouble getting someone to come here - at =
th=3D
> e
> moment it's 24 below and it's very remote) and their knowledge of the b=
as=3D
> ic
> elements and principles is mostly non-existent so I=3DB9m keeping thing=
s si=3D
> mple
> and stressing the elements/principles. The kiln is brand new =3DAD nev=
er b=3D
> een
> fired - has been sitting there for 3 years. I don=3DB9t see any shelve=
s fo=3D
> r
> it?! It should have shelves, no? It has a computer and I was told that=
w=3D
> ill
> make it much easier. It is a Skutt model um... 1210 I think (can check
> model number tomorrow).
>
> I think I=3DB9m most nervous about glazing, firing and the high school =
leve=3D
> l. I
> ordered low fire clay and non-toxic glazes. How do you keep young kids=
f=3D
> rom
> mixing the glazes. I mean, with tempera they each get a little palette=
a=3D
> nd
> there is a lot of waste but they learn about color and I just throw it =
ou=3D
> t.
> Glaze is pretty expensive to pour into a palette and toss. Also, they =
ca=3D
> n=3DB9t
> mix colors anyway because what you see is not what you get! I=3DB9m as=
sumi=3D
> ng I
> should not have the young kids use glaze at all but let them paint them=
(=3D
> do
> I just bisque fire then?) and perhaps spray with permanent coating to
> protect afterwards. Still, how to deal with the jr & sr high? I can l=
et
> things touch in the bisque firing but not glaze firing right? So, I ca=
n
> just stack things in a logical manner for bisque? Larger more stable t=
hi=3D
> ngs
> at the bottom... Glaze cannot be on the bottoms of pieces and they can=
no=3D
> t
> touch each other right? What is kiln wash? I don=3DB9t see any shelve=
s ar=3D
> ound
> anywhere but assume there should be some. Are they full shelves that g=
o =3D
> all
> the way across or are they more open so the heat can move around? Does=
t=3D
> he
> kiln need to be full or can it be partly loaded? We have very small cl=
as=3D
> ses
> here. What is =3DB3full=3DB2 anyway. I=3DB9m in a whole lot of troubl=
e
aren=3DB9=3D
> t I? I
> have a 3-D high school elective class that is chomping at the bit to ge=
t
> started with clay. I think this summer I could find some workshops or
> somewhere to take some classes....just gotta get through this semester
> somehow. Argh!... My BFA is in drawing and painting and I told them whe=
n =3D
> I
> was hired that I don't know much about clay. They are very supportive =
an=3D
> d
> willing to let me go slowly and learn. I'm a tad bit panicky - can you
> tell?! :-)
>
> =3DB3Lorene in the woods in the dark=3DB2
>
>
> > At 03:55 PM 1/4/04 -0600, you wrote:
> >> ...I really need help now though. I have never loaded or fired a ki=
ln.
> >
> >
> > OK, lets start with the basics: what kind of kiln
> > is it, and what kind of work do you want to fire?
> > Size of work, thickness, clay temperature, clay
> > texture, what kind of surface finishes...all these
> > can make some difference (or not). Let us know, and
> > we can be much more focused with our suggestions!
> >
>
> _______________________________________________________________________=
__=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
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 21:09:47 -0800
> From: Fredrick Paget
> Subject: Re: Frit 'bad' for iron colors and also Laser Decals.
>
> This bleaching has been the bane of those of us trying to make images
> on clay using iron bearing laser decals. We can get a nice sepia
> image on bare clay or overglaze but as soon as we try to glaze over
> such an image with clear glaze all we get is a dim yellow ghost of
> an image.
> Any ideas on how to overcome this problem will be gratefully
> accepted and probably tried out as well.
> Fred
> --
> From Fred Paget, Marin County, California, USA
> fredrick@well.com
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 00:20:49 -0500
> From: Ron Roy
> Subject: Re: Cone 6 Ox glaze ingredients list
>
> Hi Taylor,
>
> 200 mesh silica is fine - the 400 is almost the same - the grinding
> machinery has become so efficent that it's mostly (like 95%) microfine
> (over 400M) anyway.
>
> For cone 6 - as others have said - buy a bag of 3134, EPK, Custer and
OM#4.
> You can use some wolastonite 10 lb and 10 lb F3124.
>
> If you are going to get our book (and you should) you will also want 1=
0
lb
> each of F9195 and F3269.
>
> If you are going to make red glazes you will need some tin.
>
> If you can't make decent glazes with that lot you are in trouble.
>
> Check out the price for the smaller amounts - you will find - in some
cases
> 20 lb of a material will cost about the same - or more than the origina=
l
> container.
>
> RR
>
>
> >I plan to get my first stock of glaze ingredients very soon and begin
> >playing with myself. oops. Anyhoo, I did my archive research and fou=
nd
> >a suggested list by our own Paul Lewing for cone 6 glaze ingredients.
> >Here is MY version below with amounts. I do not yet have Ron and John=
's
> >book, so I can only go by Paul's suggestions and those few glazes I ha=
ve
> >seen in the short time I have been 'doing' clay.
> >
> >Suggestions with rationale would be welcome, nay, begged.
> >Pweeeeeeeeese.
> >
> >Silica (for glaze, what mesh, what mesh, what mesh!?) 50#
> >Custer Feldspar 50#
> >Minspar 50#
> >EPK Kaolin 50#
> >
> >Whiting 10#
> >Frit 3134 10#
> >
> >Talc 5#
> >Dolomite 5#
> >Zinc Oxide 5#
> >Nepheline Syenite 5#
> >Spodumene 10#
> >
> >Ball Clay 1#
> >Bentonite 1#
> >Magnesium Carbonate 1#
> >
> >Fe Oxide 5#
> >Rutile 5#
> >Cobalt Carb 1/4#
> >Cu Carb 1#
> >Chrome Ox 1#
> >Manganese Dioxide 1#
> >Zircopax 2#
> >
> >
> >Taylor, in Waco
> >
>
>________________________________________________________________________=
___
___
> >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.
>
> Ron Roy
> RR#4
> 15084 Little Lake Road
> Brighton, Ontario
> Canada
> K0K 1H0
> Phone: 613-475-9544
> Fax: 613-475-3513
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 17:23:23 +1030
> From: iandol
> Subject: : ivor/gail's clay
>
> Dear Mel Jacobson=3D20
>
> Agreed, people should do the hard yards with novel processes if they ar=
e =3D
> serious about exploiting them. No instant fixes on this one. I have rea=
d =3D
> the "Ceramics Technical" article and the Science, the interatomic =3D
> exchanges, the explanations of "What goes on in the Kiln" are anything =
=3D
> but simple. As far as I can see, they are "Unknowns". As far as =3D
> technique or method are concerned, it's all out in the open.
>
> Without doubt, this is a very different animal people have to deal with=
=3D
> if they wish to exploit the process and search for their own personal =3D
> aesthetic. Why try to imitate the style Gail has invented!! Once you =3D
> have the handle the field is wide open.
>
> The Recipe is there, plain and simple to read. Information about firing=
=3D
> schedule is there, complete with a graph of the ramp rates. It strikes =
=3D
> me that Gail has been very open about what has she has done. Shows what=
=3D
> can happen when you really thing "outside the square" and pursue a =3D
> dream.
>
> Best regards,
>
> Ivor Lewis. Redhill, South Australia
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 12:00:40 +1030
> From: iandol
> Subject: Re: Frit "Bad" for Iron Colors
>
> Dave Finkelnburg provided us with this information <=3D
> glazes Tichane shows several examples of high-calcium glazes "bleaching=
" =3D
> iron. >>
> Sounds as though this thread is about observations of a phenomenon whic=
h =3D
> is inexplicable using the artistic mind set. What qualities has Calcium=
=3D
> oxide which would account for this effect. Without a definition of =3D
> "Unbleached Iron" it is a bit difficult know what is being talked about=
=3D
> in this thread when it is claimed "Iron is bleached from the glaze". =3D
> Does it mean we loose the red oranges typical of undissolved rust? Does=
=3D
> it mean that it is decolourised to the extent that the glaze is White? =
=3D
> or are we getting a dirty grey?
> There will be a chemistry happening in the kiln to cause this effect. =3D
> But without valid facts no answer can be given.
> Best regards,
> Ivor Lewis. Redhill, South Australia
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 13:30:48 +1030
> From: iandol
> Subject: Re: Salt delivery/alumina
>
> Dear Friends,
> Posts about the delivery of the glazing agent into a kiln are =3D
> interesting but to discuss firing effects without reference to time and=
=3D
> temperate robs potential users of valuable information. Same as posting=
=3D
> a glaze recipe without reference to cone, positive and negative ramp =3D
> speeds, dwell times or the nature of the clay body.
> Best regards,
> Ivor Lewis. Redhill, South Australia
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 13:55:49 +1030
> From: iandol
> Subject: welding thermocouples
>
> Mel makes a good point.
> Borax, Sodium Tetra Borate, makes a good flux for most gas welding and =
=3D
> brazing jobs where the parts are being heated higher than about 800=3DB=
AC. =3D
> It's a real scavenger of base metal oxides. Excellent with Type E, J, K=
, =3D
> N and T thermocouples. Noble metal thermocouples can be welded this way=
=3D
> if you can make their melting points. But as I said, Carbon from an Oxy=
=3D
> Acetylene flame can cause embrittlement of some alloys. The Oxy Hydroge=
n =3D
> flame was used without a flux.
> Electric Spot welding would be another choice.
> Best regards,
> Ivor Lewis. Redhill, South Australia
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 21:36:04 -0800
> From: Earl Krueger
> Subject: Re: Frit 'bad' for iron colors
>
> On Monday, Jan 5, 2004, at 09:39 US/Pacific, Stephani Stephenson wrote:
>
> > It is amazing to see that in some cases the iron vanishes completely
> > I do think the term 'bleaching' seems to describe process well , as i=
n
> > the calcium 'bleaches' out the iron this is something I can visualize=
,
> > but what does this term, 'bleaching' really mean in terms of what is
> > happening in the glaze?
>
> Stephani,
>
> I don't know if you saw my post from last night but in it I postulated
> that the iron, at low concentrations, may be dissolving into a
> colorless solution. Or, it is possible that the iron is forming a
> colorless complex with other constituents of the glaze (Calcium?).
>
> In the chemistry world there are many systems that behave as I will try
> to depict in a graph;
> ( If this graph doesn't look very good try highlighting it and changing
> the font to "Courier". )
>
> C ^ |
> O | | ------------
> L | | /
> O | | /
> R | | /
> |--------
> -------------------------
> Concentration
> ------------>
>
> What happens is that as the concentration of a component increases
> there is very little change in color, until a specific point is
> reached. Then the color changes rapidly with just a small change in
> concentration, until the color becomes saturated, at which point there
> is very little further change in color as the concentration is
> increased. This phenomenon is quite often used in chemical analysis in
> the process called titration. The rapid change in color is used to
> determine when a certain concentration of a substance has been achieved.
>
> This phenomenon describes well what I have seen using iron oxide as
> paint underneath some glazes. Low concentrations of iron bleach out
> and then as the concentration increases the color switches rapidly to a
> dark brown.
>
> I've been tossing this idea around in my head today and I think I might
> have a way to test this hypothesis. However, as it is #3 on my list of
> tests to accomplish and I will need to build a piece of electronic
> equipment, I probably won't get to it right away.
>
> If I find out anything, I'll let you know.
>
> Earl...
> Bothell, WA, USA
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 07:35:43 +0200
> From: Ababi
> Subject: RE 2: glaze for week jan 5
>
> Hello Russ
> I use this recipe that Hal has sent us to worn you that not every recip=
e
> you see on the net is worse trying.
> In this recipe Hal went one step too far.
> I read his recipes just for the fun; however if you are a new comer you
> better learn first about new materials before you consider using them.
> Try Monona Rossol book about safety in arts. It is called: The Artist's
> Complete Health and Safety Guide.
>
> The problem about these materials is not that they kill you - but the
> misery you and your family might have in between.
> 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 Lou Roess
> Sent: Tuesday, January 06, 2004 1:08 AM
>
> Hal, could you maybe tell us what color these glazes are and whether
> they
> are gloss or matt?
> Lou in Colorado
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 21:42:52 -0800
> From: Earl Brunner
> Subject: Re: Waco Taylor's supply list
>
> With colorants, the oxide usually has a higher concentration of the
> actual metal, (iron, copper, etc) than the carbonate by weight. I've
> also notice that the cobalt carbonate that we have at the studio
> disperses smoother in the glaze. The cobalt oxide makes blue speckles i=
n
> the glaze. Nice, but you need to know what you are going for. The
> speckles were a surprise.
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of
> Imbolchottie@AOL.COM
> Sent: Monday, January 05, 2004 5:57 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Waco Taylor's supply list
>
> I was looking, with interest, at the supply list Taylor came up with,
> er,
> compiled. And I find myself asking the same question over and over
> again. I'm
> really new at this folks so bear with me --
>
> WHAT IS THE DIFFERENCE BETWEEN A CARBONATE AND AN OXIDE?
>
> In simple English please. No three, or more, syllable words for I don'=
t
> have
> a supervising adult in the house at present and my scientific gene is a
> recessive one. One teacher said 'Oh, they're the same thing.' Well,
> then, why
> don't they have the same name?
>
> My thanks and appreciation in advance.
> Jonathan in LA
>
> primalmommy, you have too much time on your hands to be counting stuff
> like
> that!
>
> _______________________________________________________________________=
_
> ______
> 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, 6 Jan 2004 07:39:03 +0200
> From: Ababi
> Subject:
=3D?utf-8?Q?RE:_Jason_L'Abb=3DD7=3D99=3D2C_=3D28Waterloo=3D2C_ON=3D2C_Can=
ada=3D29?=3D
>
> There is a similar one here in Israel:
> Subject: Jason L'Ababi,=3D20
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Helen Bate=
s
> Sent: Tuesday, January 06, 2004 2:24 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Jason L'Abb=3DC3=3DA9, (Waterloo, ON, Canada)
> .
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 14:43:29 +0900
> From: Lee Love
> Subject: Re: OT: strange spam
>
> pdp1@EARTHLINK.NET wrote:
>
> >How do you bounce them?
> >
> >Sounds like a nice option...
> >
>
> I use mailwasher pro. You can find out more about it here:
> http://www.firetrust.com/home/
>
> Lee
>
> http://mashiko.us
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 14:40:01 +0900
> From: Lee Love
> Subject: Re: Incising & carving - what is the difference?
>
> ccpottery@BELLSOUTH.NET wrote:
>
> >Pottery books treat carving and incising
> >as two different techniques ... but ...
> >
> >when I look it up in the dictionary it seems
> > to be the same thing.
> >
> >So who knows whether a mark is carved or incised
> >or even engraved for that matter?
> >
> >Does it even matter ... except for artspeak?
> >
> >
> I' don't think artspeak usually deals with tools and
> process. To me, when I think of incising, it is drawing in the
> medium. Carving is subtractive, taking some of the form off with a
> tool. I do both: I incise clay with a needle tool. I use a
> cheese cutter both ways: lightly across the form, to incise lines to
> fill with slip and I also use the cheese cutter deeper, to cut some of
> the clay away to make facets.
>
> Lee In Mashiko
> http://mashiko.us
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 00:44:00 -0500
> From: Billie Mitchell
> Subject: Re: potters for belize needs tool donations and a thank you
>
> i was asked to list what tools we need for the villagers in belize. yes
> loop tools would be great. just about any carving tools they need as th=
ey
> dont have any at all..i could make a list of what they need but the lis=
t
> would be all inclusive.. they have nothing to speak of.. they have two
home
> made kilns.. one is a propane fiber kiln and the other one is a saw dus=
t
> kiln. all they have are throwing tools and ribs.. nothing else. they ar=
e
> trying to get a ceramics program started there to help to improve their
way
> of life. i would also like to thank all of you who have responded to my
> posting and for all of you who have supported this program from the sta=
rt.
> i have never seen so much support in my life as i have with potters. th=
ey
> are a wonderful supportive group. i dont think you could find another
group
> in the art world that is as awesome as potters are.. i always wonder ho=
w i
> could find the right words to thank everyone but words never seem to be
> enough. for now i would just like to say a simple thank you to all of y=
ou
> for your support and tell you how much it means to me and all of the
> villagers that you will be helping.
>
> billie mitchell
> artistswc@bellsouth.net
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 21:45:54 -0800
> From: Earl Brunner
> Subject: Re: OT: strange spam
>
> The misspelled subject lines and odd spacing in the middle of words are
> an attempt to circumvent your spam filtering. If you tell your email
> handler to filter certain words into the trash, they are trying to get
> around that.
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of
> pdp1@EARTHLINK.NET
> Sent: Monday, January 05, 2004 6:00 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: OT: strange spam
>
> Hi Sam,
>
>
>
> I get them too...perhaps four or five a-day..and they seem a
> recent developement of
> having a cute or curious 'Susbject' line...
>
> They all seem to be for either generic 'viagra' or the
> likes...
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 21:51:58 -0800
> From: Earl Brunner
> Subject: Re: Bonehead move in the freezer HELP!
>
> Many years ago, when I lived in and had a studio in snow country I lost
> a weeks work when I went away for a few days and the landlord turned th=
e
> heat off to "save money". Most of the work was still quite wet and when
> it froze the water formed big ice crystals in the sides of the pots,
> when they dried, they fell apart. If the freezing is just on the
> surface, you may be ok, but it doesn't sound good. It certainly was
> AAAAAAAAARRRRRRRGGGGGGGG!!!! for me!!!
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of logan
> johnson
> Sent: Monday, January 05, 2004 6:18 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Bonehead move in the freezer HELP!
>
> Hi Gang!
>
> Boy o boy ! did I make A real humdinger of a mistake!
> It's been snowing where I live (not a every winter thing where I live)
> So, when I went out to start the fire so I could go to work I noticed
> A few things had gotten a little drier than I wanted. Spraying with
> water at this point would NORMALLY be no problem. However,
> I hadn't noticed that ALL the other water in my studio was frozen!
> O.K. is everybody finished laughing? YUP! almost as soon as I
> sprayed the water froze on my pieces! ARRRRRRGGGGGGG!!
> The pieces started doing strange things on the surface. Wierd
> "crackling" texture things . I don't know how else to describe
> it. Will every thing be o.k. if it thaws out as the studio SLOWLY
> heats up? Do I just resign myself to the fact that I have to
> make everything over? AAAAAAAAARRRRRRRGGGGGGGG!!!!
> Any help would be greatly appreciated by me AND my hubby who
> has to listen to me! THANKS ALL!!
>
>
> Logan Johnson
> Audeo Studios
> "Carpe Argillam!!"
>
>
>
> ---------------------------------
> Do you Yahoo!?
> Find out what made the Top Yahoo! Searches of 2003
>
> _______________________________________________________________________=
_
> ______
> 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: Mon, 5 Jan 2004 23:44:47 -0600
> From: David Hendley
> Subject: Re: Extruder/caps-trolling for feedback
>
> Every Scott Creek extruder I have seen has the 3-pin system
> for attaching the die holder. No springs are involved. I recently
> used one that was bought in 2002, so this must be the current
> design.
> I agree that this is the weakest design point of these extruders
> because it's hard to line up the holes.
> Also, since the pins stick in so far, they can interfere with the
> die if the die design goes right to the edge.
> I still think the Scott Creek is a good machine, and this die
> holder system is better than the Bailey (two wing nuts that
> are impossible to get tight enough to stop clay oozing out
> around the die), or North Star.
>
> David Hendley
> david@farmpots.com
> http://www.farmpots.com
>
>
>
> ----- Original Message -----
> > Anyone using one of the newer Scott Creek 4"aluminum exturuders?? I'=
m
> > wondering if the cap/Head quick disconnects are up to speed??? I hav=
e a
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 07:50:44 +0200
> From: Ababi
> Subject: Re: Waco Taylor's supply list
>
> Hello John
> About copper oxide and carbonate:
> In my case it is the opposite. I believe more people in clayart suffers
> from the bad copper oxide I think it come out of Malachite. It is a big
> pain! I prefer the black copper oxide.
>
> 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 John
> Hesselberth
>
> difference is important. For example red copper oxide is very difficult
> to uniformly disperse in a glaze--you have to use soap or another
> wetting agent to get is dispersed; copper carbonate, on the other hand,
> is easy to disperse.
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 00:58:26 -0500
> From: Odin Maxwell
> Subject: Re: welding thermocouples - Now, spin-offs of the Bi-Metallic.=
..
>
> On Sun, 4 Jan 2004 20:18:23 -0800, pdp1@EARTHLINK.NET wrote:
> >Similarly, in a way, a visual gauge for an analoge of
> >Humidity may be made as uses two species of Wood, thin and
> >glued to gether as strips, whose differeng response to
> >ambient humidity levels will oblige them to bend one way or
> >the other...
>
> Oh this sounds too fun to let go - any specifics on what varieties of w=
ood
> work best? I just gotta try this. ;-)
>
> om
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 07:17:38 +0200
> From: Ababi
> Subject: Re: glaze for week jan 5
>
> Hal becomes greater and greater, in other words: Hal sends us to hell...
>
> Ababi
>
>
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Hal Mc
> Whinnie
>
> uranium oxide black 2
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 22:19:08 -0800
> From: claybair
> Subject: Re: Vince's Truss
>
> I have to tell youse guys....
> This is one hilarious OT thread!
>
> Thanks... I needed that!
>
> Gayle Bair - thinks us gals are now challenged to
> come up with a matching or better one
> Bainbridge Island, WA
> http://claybair.com
>
> -----Original Message-----
> From: Leland G.Hall
>
> Hey guys,
> I believe most potters approaching or beyond middle age would benifit f=
rom
> one of these trusses. Really helps maintain good posture at the wheel.
Good
> back support for heavy lifting too. I have required their use for some
time
> now. Unfortunately they can bind and ride up in certain regions of one=
s
> anatomy. I just warm up some Kaowool scrap in the gas raku kiln, and u=
se
> it for padding in those areas. Helps considerably. The scratchyness
helps
> keep the exitement factor to a reasonable level, which helps avoid
> distraction while throwing. When these scraps need laundering, just fi=
re
> to ^021 or so. No bleach. Hope this helps.
> Leland Hall,
> Before The Wheel Enterprises
>
>
<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>=
>>>
> >
> the problem with vince is:
> > he has one of those OT trusses, but
> > he wears it in the front. sort of low/mid
> > body. wow, does that make him crabby.
>
> Hey Mel, on the contrary, I didn't follow the directions, and the way I
wear
> the orthopedic truss turned out to be quite exciting. I get crabby whe=
n
I'm
> NOT wearing it.
> - Vince
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 01:17:36 -0500
> From: Odin Maxwell
> Subject: Re: OT: strange spam
>
> On Mon, 5 Jan 2004 16:09:28 -0500, Jennifer Boyer
> wrote:
> >I got those too for awhile, as well as some that have nothing in them
> >at all! Who's to know?!
>
> These ones that have nothing in them might actually have what is known =
as
> a webbug. If the email is in html format, it might have a link to an
> image, 1 pixel by 1 pixel in size, colored white on a white background.
> It is, essentially, invisible. If your email client loads images off t=
he
> internet, your computer retrieves the invisible image from the spammer'=
s
> web server.
>
> This is useful to the spammer if s/he uses unique filenames and keeps
> track of which emails received which link. For example, say the link i=
n
> an email sent to joeblow@hotmail.com was to a file named 123456.jpg and
> that no one else received that specific link. When Spammer notes in th=
e
> server logs that 123456.jpg was downloaded, Spammer can be reasonably
> certain that joeblow received the email and opened it. In other words,
> joeblow@hotmail.com is a valid email address.
>
> Many email clients load images automatically by default. To protect
> yourself from this exploit, turn off that "feature" in your settings. =
If
> you really must see whatever it wants to download, you always can, but =
at
> least you get to make the choice rather than have it happen automatical=
ly.
>
> om
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 01:22:41 -0500
> From: Anne Wellings
> Subject: Re: Golf elbow, was Tennis elbow
>
> When I started getting tendonitis in my left elbow (I'm right-handed), =
I
> looked it up on the internet and found on several sites the info that i=
t
is
> called "tennis elbow" when the pain is on the outside of the joint, and
> "golf elbow" when the pain is on the inside of the joint. So, I have go=
lf
> elbow, though I've never played golf. I figured that it was originally
from
> wedging, as that seems to put the most wear and tear on my left elbow. =
But
> it can now be aggravated by any repetitive motion with my left arm or
hand.
> Since I have a fairly mild case, I pretty much put up with it. But I ha=
ve
> lately tried a preparation of arnica leaf infused in an olive oil base,
for
> this and for hip pain. It seems to help some, or at least be soothing f=
or
> awhile. This is prepared by an herbalist friend; I don't know about oth=
er
> availability.
>
> Anne Wellings
> Sunrise Beach Pottery
> Olympia, Washington (where we are about to get several inches to a foot=
of
> snow, they say, followed by rain and rapid melting, with possible flood=
ing
> and mudslides in some areas.)
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 22:27:58 -0800
> From: Stephani Stephenson
> Subject: Re: Incising and carving -what is the difference?
>
> Hi Chris
> actually thise 2 terms are not necessarily different.
> here are some definitions which may help
> Incise itself is defined as
> 1. To cut in or into with a sharp instrument; to carve; to engrave.
>
> Sculpture is usually divided into
> 1.intaglio
> 2.Reliefs
> 3.in the round
>
> INTAGLIO
> is a form of "incised relief". Forms are typically surrounded or
> indicated by grooves or furrows which are cut around the forms. The
> grooves or furrows are sunk below the surrounding plane or surface. You
> could carve these grooves and so would be incising and carving
> simultaneously, though with clay, unlike harder materials which you
> must carve or score, you can also press lines grooves and furrows into
> the surface to create the same effect.
> RELIEF
> the term 'bas -relief is used in a broad sense to include all types of
> raised relief. Different types or degrees of relief refer to how far
> forward the form projects from the background surface or plane .
>
> The 'flattest' or 'shallowest' relief is called 'stacciato-relievo',
> which is achieved contour outlines and finely incised lines. there is
> only slight modeling and there are no undercuts. This would be
> considered incising.We usually think of incised 'lines',though ancient
> Egyptian reliefs give us examples of very shallow relief and incised
> forms. Coins are also example of very shallow relief where incised
> relief extends beyond the concept of an incised line.
>
> Next up is bas relief , or basso-relievo: a small amount of
> projection ,no undercuts, modeling is a bit higher.
> Then medium relief, or mezzo-relievo, half relief: fuller modeling,
> occasional undercuts.
> Finally alto-relievo, high or full relief: where figures may be carved
> nearly in the round , or actually in the round, but still remain
> attached to the background. Some areas may break free of background in
> high relief.
> All of the above may be attained by modeling, or carving.
>
> Then is sculpture in the full round, where a piece is viewed from all
> sides, also from modeling or carving or assembling.
>
> Then , there is also piercing, which may be delicate or bold, where
> the entire surface of a form or plane is pierced through.
> Carving and incising may be used to work the pierced surfaces and
> planes as well.
> There is no sharp division in these categories, as often one flows into
> the other, in the hands of the artist or potter or sculptor.
> As to engraving, I think of an engraved line as an incised line.
> Maybe the specific term used has something to do with the medium.
> I associate Engraving with with metal, even wood, certainly the more
> finely worked wood blocks for woodblock printing are said to be
> engraved rather than carved.
> I use the term incising with clay , but then what of leather, paper,
> bark, stone,horn, antler and bone?
> much of the above was gleaned from "The Materials and Methods of
> Sculpture" by Jack Rich, 1947, available as a Dover reprint.
> Glyphtically yours,
>
> Stephani Stephenson
> Carlsbad CA
> steph@alchemiestudio.com
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 01:39:41 -0500
> From: Anne Wellings
> Subject: Re: Incising & carving - what is the difference?
>
> I have used "carving" interchangeably with "incising", but do see a
> distinction. I think of incising more as a line, such as drawing with a
> sharp tool through a layer of slip, as in the sgraffito technique, whic=
h
> can involve clay being visibly carved away, depending on the tool used.=
I
> think of carving more as a shaving or whittling away of larger, more
> irregular chunks of material to get a relief or sculptural image or
> pattern. Of course, the two techniques can be pretty closely related, a=
nd
> there might be cases where both are used together.
>
> Anne
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 23:11:31 -0800
> From: easley59
> Subject: Re: to everyone, from Rachel
>
> Welcome aboard!
> We all got a wild initiation, and I sort of liked it.
> Hang around, girl, you'll get the hang of it, and we'll enjoy having =3D
> another little spitfire amongst us.
> Pam in freezingtodeath Seattle
>
> ------------------------------
>
> Date: Mon, 5 Jan 2004 23:48:16 -0800
> From: Steve Slatin
> Subject: Re: glaze for week jan 5
>
> Uranium is not available for public sale in many countries, including =3D
> the
> US, AFAIK. Naturally occurring Uranium is only 7/10 of 1 percent U-235
> (the more radioactive isotope) anyway, though (except if mined in a
> particular location in Gabon the name of which I cannot now remember, =3D
> where
> for fascinating but irrelevant reasons, it is even lower), and if not i=
n
> it's pure metallic state and enriched, it's quite stable. =3D20
>
> Some years back I a worked for a guy who had spent a lifetime in pursui=
t =3D
> of=3D20
> better control of nuclear materials. Someone brought him an article a
> poorly-informed journalist wrote suggesting that an oil drum of the
> stuff was itself a potential weapon. He asked "How is it a weapon? Is
> someone going to build a scaffold and drop it on people?" and he wasn't
> entirely joking.
>
> Folks often think the decay rate is such that they're at risk from even
> approaching Uranium-235, but it's decay rate is very slight. Other
> materials subject to decay are much riskier -- the radon in your =3D
> basement=3D20
> is riskier both because it's airborne and because it decays much more
> rapidly. The half-life of Uranium-235 is something over 700 million =3D
> years.
> Polonium's half life is about half a year. Bismuth 210 has a half life=
=3D
> of
> about 5 days. Uranium-238 has a half-life in the billions of years. =3D
> (Some
> of this decay stuff is really neat -- radon-222 give up an alpha =3D
> particle
> to become Polonium-218, which has a 3-minute half life and gives up an =
=3D
> alpha
> to become a lead isotope, which gives up a gamma ray and a beta to =3D
> become
> bismuth-214 and so on.)
>
> If you have any of that beautiful old yellow Fiestaware, you already =3D
> have
> some uranium. (And yes, the yellow is from Uranium.) If I had any of =
=3D
> that
> Fiestaware, I'd use it without hesitation. And if I had a bag of =3D
> yellowcake
> (Uranium oxide) on the shelf, I'd not have a moment's worry about it.
> Uranium is pretty dull stuff.
>
> Given the litigious nature of modern society, though, I wouldn't put it=
=3D
> into
> my pottery.
>
> Steve Slatin
>
>
>
>
> >I was a bit concerned by your ingredient list!!Don't you think Uranium
> >might
> >be a bit dangerous for just anyone to try? - mind you I'd expect it to=
=3D
> be a
> >tad hard to come by at your local supplier!!
> >My tech lecturer was dead set against even considering it as a possibl=
e
> >ingredient due to it's radioactivity....!
> >Any comments folks?
> >Steph
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 03:21:33 -0500
> From: Kathy Forer
> Subject: Re: incising and carving/ the difference
>
> Incising seems something done of a flat surface, two dimensional, about
> line. Carving has more to do with volume, more three dimensional.
>
>
> On Jan 5, 2004, at 9:09 PM, Bacia Edelman wrote:
>
> > I did not go to the dictionary, but when I think of incising, I think
> > of making a mark in damp clay, before leather hard. When I think of
> > carving,
> > it would be advanced leather hard. One also carves wood (that is hard=
),
> > stone, and other materials that are far from clay at the point when i=
t
> > could be
> > incised.
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 03:49:54 -0500
> From: Laura Berkowitz
> Subject: Re: Bonehead move in the freezer HELP!
>
> Hi Logan J.,
>
> I've had several unfortunate studio freezing accidents over the years.
Your
> pieces may be OK if they were very near dry before they froze, but chan=
ces
> are that they may be impaired. Usually when I see the frozen pattern y=
ou
> described, my pieces are ruined. I don't think the speed of thawing
> matters. When the studio thaws, put pressure on a few of the pieces to =
see
> if they break apart at the areas where you see the "crackling" (freezin=
g)
> effect. If they do, you are better off pitching all of them if they ar=
e
> meant for utilitarian use.
>
> I used to heat my studio with a wood stove years ago and in those days,
with
> the extreme temperatures we have here, it didn't take long for my studi=
o
to
> freeze if the stove cooled. To remedy this I bought several electric
> heaters with thermostats and plugged them in after I left the studio.
Most
> of the time they never went on as I loaded the stove before I left, but
they
> did kick in several times and likely saved my work.
>
> Also check your wax resist--the brands I've used are ruined if they
freeze.
> And take a look at any buckets of glazes you have--check the bottoms.
> Because of the expansion that happens when liquids freeze, I've had
cracked
> 5-gallon bucket bottoms, and when the studio thawed out, I've had water
and
> glaze from several buckets to clean up, too.
>
> I sympathize with you. I hope you can salvage your work.
>
> Laura (Fairbanks, Alaska at -20 degrees below presently)
>
>
> >it. Will every thing be o.k. if it thaws out as the studio SLOWLY
> >heats up? Do I just resign myself to the fact that I have to
> >make everything over?
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 01:03:51 -0800
> From: Elizabeth Priddy
> Subject: I am officially dot complicated...
>
> OK, here's what all happened....
>
> I updated my website
> it crashed (rather mysteriously as there seemed to be enough BW after a=
ll)
> I bought new pay service
> it did not link right
> I got the free tech support that I am paying for
> I changed 150 image links of html so as not to use "their" images file
name...
> I updated again with all the hoopla in order
> I added two new gallery pages (the mystery years of old)
> I added 11 mermaids (you out there, Don?)
> I added about a dozen new raku tiles
> There is wood fire, more later, I swear, just no pics yet, and boy is i=
t
crusty
> I added a workshop spec page
> I added rib tips (sauerkraut on the side)
> I uploaded it all
>
> and most important,
>
> I tested it before telling you all about it.
>
> So try it now, it's all patched up with lots of bandwidth for you to
squander...
> I again apologize for the confusion.
> Thanks for all your help.
> Please get up with me and let me know what you think
> (or whatever bugs I have missed ! ).
>
> I am officially tired of html...back to clay.
> Happy New Year to everyone!
> And now my ball has officially dropped.
>
> http://www.elizabethpriddy.com
>
>
>
> still priddyclay@yahoo.com as of yet....
>
> Elizabeth Priddy
>
> 252-504-2622
> 1273 Hwy 101
> Beaufort, NC 28516
> http://www.elizabethpriddy.com
>
> ---------------------------------
> Do you Yahoo!?
> Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 10:11:54 +0000
> From: Carol Tripp
> Subject: Re: Need help with basics/Northern MN
>
> Lorene,
>
> Snail and others answered many of your questions.
> My 2cents:
> Find the directions for the Skutt kiln and computer controller which is=
at
> your school. If these are lost, call Skutt. I have heard they are ve=
ry
> helpful and I am sure they will send you new instructions. If you have
the
> instructions, read them. Any questions - call Skutt and someone can wa=
lk
> you through the process. (Don't fret if the controller instructions ar=
e
> clear as mud. That's the normal state of affairs. It's not you!)
>
> The field of pottery is vast and complicated. Start simple and work up.
I
> began with a book by Richard Zakin called Electric Kiln Ceramics; a gui=
de
to
> clays and glazes. This is a very basic book with lots of info distille=
d
> down to beginners' level. However, it contains nothing about firing wi=
th
a
> controller. (Call you friend at Skutt.) And the glazes aren't very
> durable. You aren't making glazes (yet) so that's ok. One step at a
time.
>
> Oh, and did someone mention buying self supporting cones? They cost a =
tad
> more than the ones needing a kiln pack, but what price sanity?
>
> Keep it simple. Swim fast. And teach everyone to clean up after
themselves.
> And is your tetanus shot up to date? Find out because you need to be
> current on this.
>
> Best regards,
> Carol
> Dubai, UAE
>
> _________________________________________________________________
> MSN 8 helps eliminate e-mail viruses. Get 2 months FREE*.
> http://join.msn.com/?page=3Dfeatures/virus
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 04:33:27 -0800
> From: terryh
> Subject: Delete the BS
>
> >Date: Sun, 4 Jan 2004 23:19:26 EST
> >From: Simona Drentea
> >Subject: Re: Delete the BS
>
> simona,
> this is what i'm doing:
> subsribe the list by DIGEST, so i receive a bunch of BS :) at once ever=
y
> day.
> browse through the subject listing at the top of the digest.
> if i find something that appears interesting, clay matters or others,
> i use "find (CTRL F)" command to get the post(s) of interest.
> often i find none, then just delete the whole digest/posts.
> if i'm in a browsing mood, i may scroll down the digest and browse,
> just like i'm doing tonight. and saw your post. (so, you do Raku a lot?=
)
>
> hope you've skipped my post by now :)
> terry
>
> terry hagiwara
> terryh@pdq.net
> http://www.geocities.com/terry.hagiwara
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 07:18:29 -0500
> From: william schran
> Subject: Re: Waco Taylor's supply list
>
> Jonathan wrote:>WHAT IS THE DIFFERENCE BETWEEN A CARBONATE AND AN OXIDE=
?<
>
> Oxide has an oxygen molecule attached to the element, carbonate has a
> carbon & oxygen molecules attached. So, CuO - copper oxide, CuO3
> (forgot keyboard stroke to move the 3 down - for the picky ones) -
> copper carbonate.
>
> Check out this web site for a good understanding of glaze chemistry:
> http://www.matrix2000.co.nz/GlazeTeach/Index.htm
> Bill
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 00:45:51 -0500
> From: Stephen
> Subject: Re: salt delivery
>
> I connected a pipe with a funnel feed to a shop vac exaust and delivere=
d
my
> salt mix of baking soda, whiting, and borax in my latest wood firing. I
had
> to watch where I pointed it because of the exsessive build up. I use th=
e
> salt over glazes more for effect, and flashing.I was pleased with the
> results. There was some running but it was worth it.
> By the way, Rudolf Steiner's Anthroposophy has its foundations in Goeth=
ean
> science.
> Stephen
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 06:00:12 -0700
> From: marcia selsor
> Subject: Re: An appreciation OT maybe
>
> Dear Gay,
> It is a sort of family and I have missed for the passed 6 months. I joi=
ned
back
> in '95.
> Happy New Year and may we all grow exponentially through our participat=
ion
in
> Clayart!
> Marcia
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 08:10:07 -0500
> From: Edy Lynn
> Subject: OT Strange Spam-don't open!
>
> My husband who has worked at Wright Patterson AFB Computer help desk =3D
> says that sometimes those sickos who want to infect the cyberworld with=
=3D
> viruses send these in hopes that some uninformed person will open it an=
d =3D
> spread the virus.
> He said if you wish to check it highlite the post (click on it just =3D
> once), right click and go to "properties" , then go to "details" and =3D
> then to "message source". This is in "Outlook". I'm not sure if you can=
=3D
> do the same in Netscape but I assume you can do something similer.=3D20
> You can sometimes read the message if it has text without actually =3D
> opening it. He sayd if all you find it gibberish then it is not worth =3D
> the risk of opening it and to delete ASAP.
> I hope this helps you all and if you don't segregate your Clayart =3D
> messages from the rest of the worlds you should. It is so much nicer to=
=3D
> know you can go to that folder and all the messages are good ones. I =3D
> sometimes forget to go to my common files. I usually end up deleting =3D
> most of them as most of them are spam.=3D20
> Hope this helps you!
> Edy of Dayton Ohio
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 08:47:46 -0500
> From: John Jensen
> Subject: Re: Golf elbow, was Tennis elbow
>
> My reading about tendonitis has led me to believe that whatever
> treatment you use, it should include a couple of weeks of total rest fo=
r
> the troubled area. If such total rest is not possible then (of course)
> as much as is possible. I've has some success like this and have seen
> it in others as well.
>
> John Jensen, Mudbug Pottery
> mudbug@toadhouse.com , http://www.toadhouse.com
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 08:29:12 -0600
> From: James Stone
> Subject: Re: Tennis Elbow
>
> For short term relief of just about any joint or muscular malady these
days I
> go for the capsacin ointments. They're available over the counter and =
are
> usually with the BenGay, etc. Go for the one with the highest percenta=
ge.
>
> Works for a few days at least. One application will typically
"reactivate"
> itself with showering or light resumed activity.
>
> While it will restore temporary function where all else fails, it is
critical
> to find out what is aggravating it in the first place, be it activity,
food
> reaction, etc. else you could really mess something up.
>
> It will burn like heck at first- got my wife's 70 year old grandmother =
to
say
> words I didn't think she knew... ;^)
>
> Sincerely,
>
> Jim Stone
> Galveston, TX
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 08:54:35 -0600
> From: Arnold Howard
> Subject: Re: De-lurking for kiln help (Paragon SnF kiln)
>
> John, here is how to turn off the Paragon SnF manually after the witnes=
s
> cone bends:
>
> The top switch is an infinite control. It turns off the same way as you=
r
> Crusader.
>
> The second switch (and third, if you have one) is a switch-timer. Turn
> clockwise until it clicks.
>
> The confusion about the SnF is the switch-timer. When you turn the poin=
ter
> to a number, you are setting hours of time that will elapse before that
> switch turns on. As the timer runs during firing, the pointer will turn
> clockwise until it points to "On." Turning clockwise one more click wil=
l
> turn it off.
>
> Sincerely,
>
> Arnold Howard
> Paragon Industries, L.P.
> arnoldhoward@att.net
>
> From: "John Rodgers"
> I have a brand new
> > Paragon SnF I "acquired", and it is posing me a diliema ... How to fi=
re
> > it with the kiln sitter, the timers, and still use my witness cones f=
or
> > accuracy. In my old Crusader, I aways watched the cones go down, and
> > when they were bent just right, I would manually shut off the kiln.
> > There are so many controls and gadgets on this new Paragon, that I'm =
a
> > bit overwhelmed.
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 10:02:07 EST
> From: Hal Mc Whinnie
> Subject: Re: glaze for week jan 5
>
> in the 1930's uranium was used in all the glaes that we value as the
fiesta
> ware.
>
> it is hard to get but a wonderfull colorant.
>
> if fired well it will not leach out into kiln.
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 10:04:38 EST
> From: Hal Mc Whinnie
> Subject: Re: glaze for week jan 5
>
> these are gloss glazes for stoneware or porcelain
> they tend to be in the copper blue range
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 09:08:04 -0600
> From: Arnold Howard
> Subject: Re: Delete the BS
>
> I use two methods to sort through Clayart posts. I am using Outlook
Express:
>
> 1) Send Clayart messages to a separate folder. Using a separate folder
> simplifies sorting, because you don't have to worry about inadvertently
> deleting something else.
>
> 2) Sort emails by subject line by clicking on the Subject bar at the to=
p
of
> the list of emails. Emails with the same subject line will appear group=
ed
> together. So you can delete or read rapidly.
>
> Sincerely,
>
> Arnold Howard
> Paragon Industries, L.P.
> arnoldhoward@att.net
>
> From: "terryh"
> > simona,
> > this is what i'm doing:
> > subsribe the list by DIGEST, so i receive a bunch of BS :) at once ev=
ery
> > day.
> > browse through the subject listing at the top of the digest.
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 10:09:53 EST
> From: Hal Mc Whinnie
> Subject: glaze for jan 6
>
> ARTIGAS GLAZE 586
>
> CONE 8-10
> STONEWARE OR PORCELAIN
> REDUCTION FIRED
>
> silica 12
> spar 40
> whiting 11
> epk 15
> cobalt.7
> vanadiim 3.5
> tine oxide 12
>
> blue, opaque with yellow
> this glaze should not send one to hell
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 10:41:41 -0500
> From: Steve Gady
> Subject: Re: potters for belize needs tool donations
>
> I wish you luck in Belize. I spent the last 24 years in Army Special=
=3D
> Ops before retiring last August. Having worked with many folks around =3D
> the world, I wholeheartedly agree with posts that suggest you work with=
=3D
> locally procured items for carving tools. If you bring an assortment of=
=3D
> tools you like, the folks in the village may surprise you by their =3D
> ingenuity. Although donated tools are nice, what happens when they brea=
k =3D
> or wear out? Part of the fun I have had lurking/posting occasionally is=
=3D
> learning who others improvise on making their own tools. For example, I=
=3D
> am constantly looking at the ground in parking lots looking for the =3D
> small metal bristles that have broken off of the street sweeper's =3D
> brushes, to use as the working piece of trimming tools. Once you return=
, =3D
> I hope you will send a post letting all of us know what materials your =
=3D
> students developed to carve.
> (Still looking for potters in Brandon/Valrico area.)
>
>
> Steve Gady aka Mud Dawg=3D20
> lgady1@tampabay.rr.com=3D20
> Tampa, Florida, USA
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 14:35:09 +0000
> From: piedpotterhamelin@COMCAST.NET
> Subject: Frit 'bad' for iron colors
>
> Hi all
> I mistakenly referred to Snail in my previous email when in fact I shou=
ld
have stated Stephanie. My apologies.
> Rick
>
> --
> "Many a wiser men than I hath
> gone to pot." 1649
> > I like the versatility of iron.
> > Of course, it does depend on whether you are using the red "ferric" o=
r
black
> > "ferrous" oxide.
> > Now ol'red does turn "yella" when it is in the presence of the bone
shakin'
> > calcia.
> > But when ol'red comes up to soda, when he just gets blue. Boric Oxide
(boron the
> > moron, is what he calls him) has the same effect on him.
> > No, Red likes it best when he get the lead in and kicks it up a notch
with a
> > potash and soda combo. Feeling good, the blood goes to his head and
turns him
> > red. No bashfulness here. Pure high blood pressure.
> > It has been said when Zinc mixes in, the whole thing becomes muddied =
but
> > Snail,you are saying that things are different where you are. I guess
Zinc can
> > do things differently with various potters. I have seen muddied low f=
ire
> > transparent glazes with Zinc.
> > Of course, this is in the presence of a full blast of Oxy, no foggy
reduction
> > here!
> > Now the Black knight, Ferrous (Beuller?) melts more completely into t=
he
crowd
> > and gets things going more fluid than ol'REd. Lithium gets him blue,
unlike what
> > it does for the general masses. Soda does the same. I get gas. Makes
those folks
> > in the room with me quite blue too.
> > Ferrous turns green when calcia, baria and potash are in the group.
Sensitive
> > guy.
> > Snail,in the cosmic realm of things, is it the fact that the Lithium =
has
such a
> > low atomic weight (and fluants it!) that it surrounds our Iron Maiden=
s
and makes
> > them blush red? With an equal weight of Lithia you get over twice the
amount of
> > molecules than with Calcia..but no turning yellow. Do we have more
oxidation (or
> > something) happening in the molecular level since there are more lith=
ia
> > molecules at the party surrounding each iron molecule? Ganging up, in
other
> > words.
> > And then Calcia, if an equal weight, but half the molecules, makes th=
e
FE2 Red
> > into 2FE2 yellow?
> > Going forward to where I know little but would like to
know................
> > Rick
> >
> >
> > Mason stain used to publish a recommended base glaze listing with the=
ir
> > colorants. Zinc was a notorious bad ass who would screw up alot of th=
eir
colors.
> >
> >
> >
> >
> > --
> > "Many a wiser men than I hath
> > gone to pot." 1649
> > > I agree, the term 'bad' is somewhat misleading, as 'bad' would
depend
> > > on what your goal is in the first place.
> > > I am not one to state broad 'rules' for glazes , as there are so ma=
ny
> > > variables, and I feel I will always be a
> > > 'student' where glazes are concerned..and also , as always, so MUCH
> > > depends on your clay and clay body/glaze interaction
> > >
> > > When I have tried to develop iron red/browns with non lead frits o=
n a
> > > red iron bearing clay, I have found
> > > frits like 3134 tend to bring out greens from iron
> > > 1.e. cream colors have a greenish tinge to them
> > > I, like Ababi, have found that a little zinc in the formula may
> > > brighten up a brown glaze made with iron bearing brown stains
> > > though the the zinc is perhaps also having this effect by acting on
> > > chrome in the brown stains. but this is one material to experiment
with
> > >
> > > Also tin, as Ron mentioned, though tin in the kiln is sometimes
> > > problematic if there is any neighboring chrome
> > > Spodumene seems to promote reddish brown v. greenish browns from ir=
on
> >
> > > in glazes too.
> > > Does anyone know why?
> > >
> > > one way to compare is to order small amounts of different frits , m=
ake
> > > up some simple frit glazes with them
> > > do some stripe tests with iron and iron stains over the frit
glazes.
> > > It is amazing to see that in some cases the iron
> > > vanishes completely
> > > I do think the term 'bleaching' seems to describe process well , as=
in
> > > the calcium 'bleaches' out the iron
> > > this is something I can visualize, but what does this term,
> > > 'bleaching' really mean in terms of what is happening
> > > in the glaze?
> > > Any takers on this question?
> > >
> > >
> > > Stephani Stephenson
> > > steph@alchemiestudio.com
> > >
> > >
_________________________________________________________________________=
___
__
>
> > > Send postings to clayart@lsv.ceramics.org
> > >
> > > You may look at the archives for the list or change your subscripti=
on
> > > 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, 6 Jan 2004 10:45:32 EST
> From: Greylonguitars@AOL.COM
> Subject: transfer decal paper
>
> Hello,
>
> I am looking for the materials needed to make my own waterslide decals =
for
my
> building projects. Could you point me in the right direction as to what
> chemicals/materials I would need to create my own paper? I have tried t=
o
use other
> manufactureres paper & it has been of poor quality & I'm wanting to mak=
e
my
> own. Any help or direction would be greatly appreciated....THANKS !! :=
-)
Jodee
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 09:30:08 -0600
> From: Gay Judson
> Subject: computer problem?
>
> Each time I try to access Elizabeth Priddy's new site my computer shuts
down
> completely. When the computer re-opens itself I'm told that I have a
> problem that should be reported. The report tells me that I have a
"device
> driver" problem. Is this happening to anyone else? Thanks, Gay
>
>
>
> San Antonio, TX
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 11:02:12 -0500
> From: John Anthony
> Subject: Re: Salt delivery/alumina
>
> iandol wrote-
> >>to discuss firing effects without reference to time and
> >>temperate robs potential users of valuable information.
>
> I had written
>
> >>>starting
> >>>when there's a tip on nine, then again
> >>>when nine is down,and then again when ten is tip-touch
>
> Guess I'm missing something.? Cones- that's time and temperature for
> me.
>
> cheers
>
> John A
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 08:46:53 -0800
> From: Hank Murrow
> Subject: Re: Golf elbow, was Tennis elbow
>
> On Jan 6, 2004, at 5:47 AM, John Jensen wrote:
>
> > My reading about tendonitis has led me to believe that whatever
> > treatment you use, it should include a couple of weeks of total rest
> > for
> > the troubled area. If such total rest is not possible then (of cours=
e)
> > as much as is possible. I've has some success like this and have see=
n
> > it in others as well.
>
> Dear John;
>
> That is the premise behind the suggestion of my internist.......the
> 'tennis elbow support' prevents the forearm muscle from completely
> contracting, and therefore rests it until healing takes place. Yet, you
> can use your arm normally.
>
> Cheers, hank
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 08:41:57 -0800
> From: Snail Scott
> Subject: Re: De-lurking for kiln help
>
> John R.-
>
> Sorry; I missed the SnF designation regarding
> your kiln. Please disregard my totally irrelevant
> previous suggestions!
>
> -Snail
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 10:29:45 -0500
> From: SUBSCRIBE CLAYART Anonymous
> Subject: Need Kiln Information
>
> Hello, I am new to list. Finally able to get my own kiln :)!
> Wondering if anyone has experience with the new easy-fire
> L & L kilns? Any draw backs? How do you like the digital
> control on it? Are the thermocouples as good
> as they say? Are the element holders good or a pain?
> I have heard from a supplier they cause I
> a lot of problems and L&L service isn't too good.
> was ready to buy one and just trying to see what the
> overall opinion is. I checked archives but haven't
> found info on the easy-fire or newer models
> -Thanks -2snowdance
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 10:50:09 -0500
> From: Gary Harvey
> Subject: Glaze problems
>
> I am new to glaze making. I tested a recipie for glaze 6 clear that I
found
> in Tony Birks "The complete Potter's commanion" Johannes Peters Glaze
> consist of 72 nepheline syenate, 9 calcium borate, 6 white stoneware cl=
ay,
> and 7 talc. I used gillespie borate for the calcium borate and OM 4 for
the
> white stoneware clay. The glaze crazed like crazy. (I will send a phot=
o
to
> anyone that is interested) Can I use the white clay that is my normal c=
lay
> and do any of you think that will fix the crazing problem? I want to u=
se
> this on foodware. AND what amount of Glaze should I make up as a test
amount?
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 10:25:59 -0600
> From: Gary Harvey
> Subject: Re: OT Strange Spam-don't open!
>
> Try netscape the sicko usally write the viruses for windows internet
> exployer. So they don't all work on netscape. Plus you need a good
> firewall such as norton and virus protection program. My program scans
> incoming and outgoing email that helps insure that I don't send one
> too. Also benign viruses usually arrive as warnings about viruses with
> some file you are suppose to delete. Don't delete anything before you
> check out the letter by going to www.symantec.com or to your virus
> programs site and look up the letter. Those viruses are irritating and
> can cause you problems that is if you delete some important file. Thank=
s
GH
>
> Edy Lynn wrote:
>
> >My husband who has worked at Wright Patterson AFB Computer help desk s=
ays
that sometimes those sickos who want to infect the cyberworld with viruse=
s
send these in hopes that some uninformed person will open it and spread t=
he
virus.
> >He said if you wish to check it highlite the post (click on it just
once), right click and go to "properties" , then go to "details" and the=
n
to "message source". This is in "Outlook". I'm not sure if you can do the
same in Netscape but I assume you can do something similer.
> >You can sometimes read the message if it has text without actually
opening it. He sayd if all you find it gibberish then it is not worth the
risk of opening it and to delete ASAP.
> >I hope this helps you all and if you don't segregate your Clayart
messages from the rest of the worlds you should. It is so much nicer to k=
now
you can go to that folder and all the messages are good ones. I sometimes
forget to go to my common files. I usually end up deleting most of them a=
s
most of them are spam.
> >Hope this helps you!
> >Edy of Dayton Ohio
> >
>
>________________________________________________________________________=
___
___
> >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, 6 Jan 2004 11:31:04 -0500
> From: ccpottery@BELLSOUTH.NET
> Subject: NC Potter - Sid Oakley passes
>
> SIDNEY RAY OAKLEY, 71, a resident of 1154 Fleming Road, died Sunday,
January 4th
> at his home after a brief struggle with emphysema.
>
> A native of Granville County, the son of the late Earlie L. and
Jeanette Jackson Oakley.
> He was born in Stem, NC and graduated from Campbell University and UNC
Chapel Hill
> with undergraduate and graduate degrees. He served in the Air Force wit=
h a
rank of
> Sergeant Major.
>
> He was a painter and potter internationally known for his copper and
crystalline glazes
> who, with his wife Pat, began Cedar Creek Pottery and Gallery in 1968. =
He
was
> instrumental in founding Butner Athletic Association which later became
South Granville
> Athletic Association.
>
> He mentored many people, young and old, encouraging them to follow thei=
r
dreams.
>
> He was named a distinguished alumnus from Campbell University.
>
> He was also named North Carolina Living Treasure.
>
> He has work in permanent collections of museums and in numerous corpora=
te
> collections in the U.S. and abroad.
>
> Funeral services will be conducted at 1 PM Wednesday in the Eakes Funer=
al
Chapel in
> Creedmoor, NC.
>
> Flowers accepted or contributions may be made to Duke Hospice , 432=
1
Medical Pk.
> Dr., Suite 101, Durham, NC 27704 or to Holy Angels Inc., P.O. Box 710,
Belmont, NC
> 25012.
>
> Chris Campbell - in North Carolina - Cedar Creek Gallery is an incredib=
le
showplace
> for the best functional pottery in America today.
> It also has a wonderful collection of historical pots from NC.
> Sid will be sorely missed.
>
> Chris Campbell Pottery, llc
> 9417 Koupela Drive
> Raleigh, NC 27615
> 1-800-652-1008
> FAX : 919-676-2062
> E Mail : chris@ccpottery.com
> Website : www.ccpottery.com
> Wholesale : www.wholesalecrafts.com
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 12:24:59 -0500
> From: Susan Giddings
> Subject: Re: computer problem?
>
> I am getting to Elizabeth Priddy's site just fine.
> Pictures all show up well - and quite quickly enough!
> (I'm on a T-1 here.)
> Things are all A-OK by me.
>
> Susan
>
> >From: Gay Judson
> >Reply-To: Clayart
> >To: CLAYART@LSV.CERAMICS.ORG
> >Subject: computer problem?
> >Date: Tue, 6 Jan 2004 09:30:08 -0600
> >
> >Each time I try to access Elizabeth Priddy's new site my computer shut=
s
> >down
> >completely. When the computer re-opens itself I'm told that I have a
> >problem that should be reported. The report tells me that I have a
"device
> >driver" problem. Is this happening to anyone else? Thanks, Gay
> >
> >
> >
> >San Antonio, TX
> >
>
>________________________________________________________________________=
___
___
> >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.
>
>
> ------------------
> Susan Giddings
> Daytime phone: 860-687-4550
> Cell phone: 860-930-8813
>
> _________________________________________________________________
> Check your PC for viruses with the FREE McAfee online computer scan.
> http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3D3963
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 13:34:15 -0500
> From: Lois Ruben Aronow
> Subject: Re: I am officially dot complicated...
>
> After all that worked, my curiosity was piqued -=3D20
>
> Great work, both the website and the clay.
>
> You'll be glad you did it.
>
> ....Lo
>
>
> ************
> Lois Ruben Aronow
>
> www.loisaronow.com
> Modern Porcelain and Tableware
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 11:38:34 -0700
> From: Dave Finkelnburg
> Subject: Re: Glaze problems--Gary Harvey crazing question
>
> Gary,
> Good for you for trying out your own glaze making! Funny, I was
> reviewing slip glazing in Birks just last night. Lovely book, isn't it=
!
> First, there is nothing to prevent your glaze from working well on
food
> ware. So far all the ingredients are safe for people, pets and other
> important organisms. :-)
> 200 to 500 grams of dry glaze ingredients is a good amount for a so=
und
> glaze test. It depends on the accuracy of your scale, and how careful =
you
> are in your testing.
> Yes, you are on the right track...adding some of your white clay wi=
ll
> help with the crazing, because it will have a lower expansion value tha=
n
> this glaze. However, that will also add alumina, and this glaze alread=
y
has
> an awful lot of alumina for a cone 6 glaze. Silica is more commonly ad=
ded
> to lower glaze expansion. You will need a bunch with this glaze, and i=
t
> also has plenty of silica already. May I suggest an alternative?
> In my biased opinion you have picked a somewhat unfortunate glaze. =
It
> will craze on virtually any stoneware because it has so much sodium in =
it,
> and sodium is a very high expansion flux. However, this glaze needs
sodium
> to help it melt early in the firing so the heavy alumina content (which
> makes the glaze viscous) will not prevent the glaze from flowing out
> smoothly on the ware.
> I strongly suggest you just abandon this glaze and go to a sounder
base
> glaze, like Tony Hansen's 5x5, as a starter. See:
> http://www.digitalfire.ab.ca/cermat/education/114.html
> With that base if you want to try Neph rather than Custer Spar to h=
ave
a
> little more sodium in the flux column, you can test that. Even that gl=
aze
> may tend to craze, though, and on a white body you may need a lower,
rather
> than higher, expansion glaze.
> Besides Clayart's archives and other online sources, there are some
> better books available as far as getting started with glazing. One is
> "Mastering Cone 6 Glazes," by Hesselberth and Roy. It is not a collect=
ion
> of glaze recipes, although it has some, but more of a source of things
> helpful to understand about the fundamentals of glazes. It's available
from
> a lot of clay suppliers and at http://www.masteringglazes.com/
> Good glazing!
> Dave Finkelnburg in Idaho
>
> ----- Original Message -----
> From: "Gary Harvey"
> Sent: Tuesday, January 06, 2004 8:50 AM
> > I am new to glaze making. I tested a recipie for glaze 6 clear that I
> found
> > in Tony Birks "The complete Potter's commanion" Johannes Peters Glaze
> > consist of 72 nepheline syenate, 9 calcium borate, 6 white stoneware
clay,
> > and 7 talc. I used gillespie borate for the calcium borate and OM 4 f=
or
> the
> > white stoneware clay. The glaze crazed like crazy. (I will send a ph=
oto
> to
> > anyone that is interested) Can I use the white clay that is my normal
clay
> > and do any of you think that will fix the crazing problem? I want to
use
> > this on foodware. AND what amount of Glaze should I make up as a test
> amount?
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 11:01:44 -0800
> From: Krista Peterson
> Subject: Re: Bonehead move in the freezer HELP!
>
> Hey don't feel bad, I think I did a similar thing here in Portland. Had
some pieces I finished up on Sunday so they were leather hard and we got
temperatures in the teens the last 2 days, and since I've been living in =
the
desert the last 20 years I completely forgot that water freezes! So I
brought them into the heated space, hopefully they didn't freeze through.=
I
guess I'll read the responses to this now to see if I need to make these
pieces over. This always happens to my GOOD pieces! Crap! I also forgot
about pipes freezing so I had to go to the store to get water. Luckily th=
ere
is a Fred Meyers within walking distance!
>
> Relearning to live in the cold
> Krista Peterson
>
> Man! It's a blizzard out there right now!
> -----Original Message-----
> From: logan johnson
> Sent: Jan 5, 2004 6:18 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Bonehead move in the freezer HELP!
>
> Hi Gang!
>
> Boy o boy ! did I make A real humdinger of a mistake!
> It's been snowing where I live (not a every winter thing where I live)
> So, when I went out to start the fire so I could go to work I noticed
> A few things had gotten a little drier than I wanted. Spraying with
> water at this point would NORMALLY be no problem. However,
> I hadn't noticed that ALL the other water in my studio was frozen!
> O.K. is everybody finished laughing? YUP! almost as soon as I
> sprayed the water froze on my pieces! ARRRRRRGGGGGGG!!
> The pieces started doing strange things on the surface. Wierd
> "crackling" texture things . I don't know how else to describe
> it. Will every thing be o.k. if it thaws out as the studio SLOWLY
> heats up? Do I just resign myself to the fact that I have to
> make everything over? AAAAAAAAARRRRRRRGGGGGGGG!!!!
> Any help would be greatly appreciated by me AND my hubby who
> has to listen to me! THANKS ALL!!
>
>
> Logan Johnson
> Audeo Studios
> "Carpe Argillam!!"
>
>
>
> ---------------------------------
> Do you Yahoo!?
> Find out what made the Top Yahoo! Searches of 2003
>
>
_________________________________________________________________________=
___
__
> 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, 6 Jan 2004 12:02:36 -0700
> From: Lou Roess
> Subject: Re: Need Kiln Information
>
> on 1/6/04 8:29 AM, SUBSCRIBE CLAYART Anonymous at morninglight@MAIL.COM
> wrote:
>
> > Hello, I am new to list. Finally able to get my own kiln :)!
> > Wondering if anyone has experience with the new easy-fire
> > L & L kilns?
>
> I have recently purchased a new L&L Easy-Fire kiln. I have fired it ni=
ne
> times and am very satisfied with it. I have talked to their rep Robert
> several times and always got help even when what I wanted to know was
right
> there in the manual that came with it. (He didn't say "Why didn't you
check
> the archives before you called me?") He helped me do a thermocouple off=
set
> so the upper and lower thermocouple were more in tune - an easy adjustm=
ent
> but he walked me through every step.
> I like the fact that the thermocouples are protected - a chance bump w=
ith
a
> shelf isn't as likely to put one out of whack.
> The channels for the elements look like they will be great at prolongin=
g
> element life.
> I'd be interested in what the supplier had to say about specific proble=
ms.
> I wouldn't accept "they cause a lot of problems."
> As far as service is concerned I haven't needed any and hope I don't fo=
r a
> long time.
> So far I'm a happy camper.
> Lou in Colorado
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 14:28:00 EST
> From: Catherine Yassin
> Subject: Re: computer problem?
>
> In a message dated 1/6/2004 11:11:15 AM Central Standard Time,
> gjudson@SBCGLOBAL.NET writes:
>
> > Each time I try to access Elizabeth Priddy's new site my computer shu=
ts
> > down
> > completely. When the computer re-opens itself I'm told that I have a
> > problem that should be reported. The report tells me that I have a
"device
> > driver" problem. Is this happening to anyone else? Thanks, Gay
> >
>
> Gay, I went to her sight this morning with no problem. I hope you will =
be
> solve your problem and be able to see it, it is very nice!
>
> -Cat Yassin
> San Antonio
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 14:40:11 -0500
> From: Helen Bates
> Subject: The hijacking of Larry Davidson's "Little Creek Pottery" web
site...
> (also Hide Ebina's site)
>
> Gail Heilmann sent me the sad information that Larry Davidson's "Little
> Creek Pottery" website has been hijacked by a porn group.
>
> For any Clayart members who have links to his site on their own web sit=
e,
> you might wish to remove same. In case you can't remember whether you
have
> or not, here is the link to my Google search for "Little Creek Pottery"=
:
>
&ie=3DISO-
8859-1&client=3Dgooglet>
> (I wished to include a Tiny Url for this long url, but the Tiny Url sit=
e
> isn't responding this morning.)
>
> It's too bad that all the references in Clayart to this web site can't =
be
> removed, but that's the way it is with e-mail discussion archives. I
think
> in exceptional cases a post can be extracted, but then all the other
> material in said post is also lost, which is certainly undesireable in =
the
> case of the posts listing all your urls! ;-))
>
> Meanwhile, there is a great site I mentioned a while back that has Larr=
y
> Davidson as one of its artists, so go to:
>
>
> PS: Another great potter who had a site hijacked (also Canadian :-|) i=
s
> Hide Ebina. He now has a good url, and it's well worth a visit. Go to=
:
> .
>
> Regards to all,
>
> Helen
> --
>
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
> Helen Bates - mailto:nell@cogeco.ca, nelbanell@yahoo.com
> Web - http://www.geocities.com/nelbanell/
> PMI Online - http://www.potterymaking.org/pmionline.html
> Clayarters' Urls - http://amsterlaw.com/clayart.html
> Surfing Posts - http://amsterlaw.com/nell.html
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 13:38:10 -0600
> From: Lynn Barnwell
> Subject: Industrial Thermocouples
>
> I have some industrial type K thermocouples that I received as a =3D
> substitute for the two welded wire type K. These are enclosed in a =3D
> solid metal sheath and are supposidly alot better and last just about =3D
> forever. My question is.... how far do thermocouples have to protrude =
=3D
> into a kiln interior to register correctly. My original 8 ga type K =3D
> with ceramic insulators stick into the kiln about 2-2 1/2 inches. The=
=3D
> industrial type only enters about 3/8" due to it's overall length. Wil=
l =3D
> it read correctly? and do you need the ceramic sleeve to go over it? =3D=
20
>
> My kiln is a 10 cu ft Cone Art BX2827-10.
> IT has 3" brick and 1" fiber insulation. IF I have not put everything =
=3D
> down to make sense out of my question please let me know and I will get=
=3D
> more facts together.
>
> Looking for answers
>
> Lynn=3D20
> Hinkle Creek Pottery
> Corinth, MS
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 13:43:13 -0600
> From: Lynn Barnwell
> Subject: Making plaster bats - Jepson molds
>
> Has anyone made plaster bats with Jespson's molds? I have been using =3D
> his plaster bast system for 4 years and opted to make some myself =3D
> instead for buying more premade. No instructions came with the molds s=
o =3D
> I was wondering if any have used it? How much plaster did you use for =
=3D
> each size? and did it work well for you? =3D20
>
> I bought the 7", 12" and 20" sizes.
>
> I would appreciate any ideas to keep me from making all the beginner =3D
> mistakes I know I will make if left on my own.=3D20
>
> I have made some plaster forms with sucess using Vince's book. Thanks =
=3D
> Vince! =3D20
>
> Lynn Barnwell
> Hinkle Creek Pottery
> Corinth, MS
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 19:45:36 +0000
> From: Janet Kaiser
> Subject: Re: incising and carving/ the difference
>
> Fill any area with slip and it becomes "inlay", Susan, no matter
> if it was "incised" or "carved" or even "impressed"!
>
> Best
>
> Janet Kaiser
>
> *** IN REPLY TO THE FOLLOWING MAIL:
> >To me, incising, is just the opposite -- I cut lines into the
> clay. When I do
> >that, I'm creating a design, and I fill it with black slip. When
> I'm done,
> >I've buffed the surface with a Scotch pad or such, and the
> surface is level and
> >smooth, but with black lines in it. I think if it's a line it's
> >"incising," but carving creates a multi-dimensional surface.
>
> *** THE MAIL FROM Susan Setley ENDS HERE ***
> ***********************************************************
> The Chapel of Art : Capel Celfyddyd
> 8 Marine Crescent : Criccieth : Wales : UK
> Home of The International Potters' Path
> Tel: ++44 (01766) 523570 http://www.the-coa.org.uk
>
> ************* Virus Protection by AVG *****************
> BOYCOTT COCA-COLA NOW!!
> Make them stop stealing water for their
> bottling plant in Southern India!!
> "A world in perfect harmony"? So what happened?
> ***********************************************************
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 15:01:51 EST
> From: Ellen Currans
> Subject: Tennis Elbow and Magnets
>
> This is going to sound a little strange, but I've had very good results
using
> magnets on a tennis elbow, as well as arthritic joints and those nasty
> trigger points about two
> inches below your shoulders and out from your spine (the ones that burn
and
> sing when you've worked too long at the wheel). The ones I use are fro=
m
> Nikken, are about 1 1/2 inches round, cost $18 retail (14.40 wholesale)
and can be
> taped or glued on. They are permanent and I've been using mine for abo=
ut
9
> years.
>
> For my tennis elbow I made an arm band out of a four inch elastic banda=
ge
to
> just fit my arm with a velcro closure. I folded the bandage in half to
make a
> 2 inch wide band and sewed across it to make 1 1/2 inch pockets to ho=
ld
the
> magnets. (You can also hold magnets in place with the stretchy wrap Vet=
s
use
> on pets which sticks to itself and not to the fine hairs on your arms.)
>
> I found that it took quite a while for my elbow to heel but while I was
> wearing the magnets it did not hurt. Magnets are supposed to increase =
the
blood
> flow to an area and help move the toxins and imflamation out, which hel=
ps
with
> healing. They also have a dulling effect on the pain message to your
brain.
> Keeps the area warm and flexible and helps with muscle spasms. Obvious=
ly,
you
> can't keep on doing the same thing you did to make it hurt in the first
place.
> You have to back off and take care of your body, but I was able to
continue
> work (with the magnets) and I would have had to stop totally otherwise.
>
> There are other magnets available besides Nikken, but I can't vouch for
them.
> They are all slightly different. (I no longer sell Nikken magnets - i=
t
is
> one of those Network marketing companys- and I'd rather make pots.) Yo=
u
can
> learn more from www.E-Nikken.com.
>
> Ellen Currans, from Dundee, Oregon, where we have 4 inches of snow and =
now
> freezing rain coming down on top.
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 12:15:57 -0800
> From: Charles Moore
> Subject: Re: Waco Taylor's supply list
>
> Just thought I'd share a thought or two about Taylor list of ingredient=
s.
>
> When I buy 50 lbs. of glaze material, I need a 5 gallon covered bucket,
> sometimes more. Certainly, I buy 50 lbs. sacks of commonly used
materials:
> feldspars, silica, EPK, etc. But how many 5 gallon buckets do I want t=
o
> store in my studio?
>
> My friend Leslie Laurent and I have started buying 50 lbs. of glaze
> materials that are not often used. Then we share 25 lbs. each. That
> usually takes only a 3 gallon bucket to store. And we pay the cheaper =
50
> lb. price.
>
> Charles
> Sacramento
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 15:25:12 EST
> From: Ellen Currans
> Subject: Washing textured pots before glazing
>
> Hi,
>
> I wash all my pots before glazing, but then they have been sitting on t=
he
> shelves sometimes for two or three months, and have gotten dusty. I li=
ke
to make
> and make and then glaze and do 5 to 8 kiln firings back to back.
Otherwise,
> I waste a lot of time transitioning from making to glazing.
>
> However, the main reason I wash everything and glaze when they are stil=
l
> fairly damp is because two thirds of what I make have textured patterns=
on
them
> and the dampened ware combined with fairly thin glazes allows me to
control the
> glaze coat. If the bisque is bone dry and the glaze thick, dipping lea=
ves
> small air bubbles in the pattern grooves, or else the coat is so thick =
so
quickly
> that the pattern is covered over. Using a thin glaze I can dip several
times
> quickly to get the right thickness without the air bubbles, and without
large
> heavy dribbles of glaze running into the pattern. Works for me.
>
> I fire a 36 cu. ft. MFT to cone 10 (stoneware) every two days when I a=
m
> firing and never pay much attention to how dry the pots are before I st=
art
the
> kiln. The glazing is usually finished the night before I load the kiln
early in
> the morning so they have set in the studio (or maybe in the kiln)
overnight
> before I fire. I'd load at night if I had any energy left to do it! I
never
> have a problem with cracking, exploding, dunting, etc. It takes about 1=
2
to 13
> hours to get to cone 10. (When I get my nerve up to gamble on a whole
kiln
> load, I'm going to try firing down ----if I can manage to stay up that
much
> later!) I do sleep in a lazy boy in the Studio when I have late firin=
gs,
and use a
> kitchen timer to alert me to checking the kiln.
>
> Ellen Currans, in Dundee, Oregon, where we have 4 inches of snow and no=
w
> freezing rain.
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 12:52:05 -0800
> From: claybair
> Subject: Re: Need Kiln Information
>
> I love my L&L JD230
> I've had it for 6 years.
> Any issues I had with it
> have been resolved in
> the newer models.
> I don't know what's your supplier's beef.....
> I have always found them very responsive
> support-wise.
> I love the element holders
> and have had no problems with them.
> One suggestion... upgrade to the
> heavy duty element and thermocouples.
> When I bought mine not many suppliers
> carried them that has changed.
> Go to their web site www.hotkilns.com
> You find lots of kiln and info.
>
>
> Gayle Bair
> Bainbridge Island, WA
> http://claybair.com
>
> -----Original Message-----
> From: Anonymous
>
>
> Hello, I am new to list. Finally able to get my own kiln :)!
> Wondering if anyone has experience with the new easy-fire
> L & L kilns? Any draw backs? How do you like the digital
> control on it? Are the thermocouples as good
> as they say? Are the element holders good or a pain?
> I have heard from a supplier they cause I
> a lot of problems and L&L service isn't too good.
> was ready to buy one and just trying to see what the
> overall opinion is. I checked archives but haven't
> found info on the easy-fire or newer models
> -Thanks -2snowdance
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 15:52:40 -0500
> From: william schran
> Subject: Re: Need Kiln Information
>
> 2snowdance wrote:>I have heard from a supplier they cause I
> a lot of problems and L&L service isn't too good.
> was ready to buy one and just trying to see what the
> overall opinion is.<
>
> You don't say who your supplier is or what problems they've
> encountered. Perhaps they don't make as much profit selling L&L's as
> they do other kilns.
>
> We have 4 L&L kilns at school that have all been used constantly for
> years. Very few issues that were resolved as soon as I contacted
> them. Have an L&L at home that I rely on for consistent results. If
> we get a grant approved at school, we'll be getting our first kiln
> with a controller (all the others are manual) and it will be an L&L.
> Their products are made well and they stand behind them. I wouldn't
> hesitate to purchase any of their products.
> FYI - L&L manufactures industrial kilns (I'm sure they make more
> money on these) and apply their building techniques to produce a
> quality consumer item.
> The element holders really do make it easier to replace the elements
> - I've replaced quite a few in my time.
> The only word of caution is for any kiln with a controller - you'll
> get better results if the kiln is in a climate controlled
> environment. In a small shed or other such building, you might
> encounter problems if the ambient temperature becomes too hot or cold.
> Bill
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 15:58:48 -0500
> From: william schran
> Subject: Re: Glaze problems
>
> Gary wrote:> I used gillespie borate for the calcium borate and OM 4 fo=
r
the
> white stoneware clay. The glaze crazed like crazy. (I will send a phot=
o
to
> anyone that is interested) Can I use the white clay that is my normal c=
lay
> and do any of you think that will fix the crazing problem? I want to u=
se
> this on foodware. AND what amount of Glaze should I make up as a test
amount?<
>
> There are so many variables that it's difficult to point to one thing
> that causes or cures your crazing issues. You'll have to conduct
> tests. Could be the clay body and how this glaze fits or doesn't fit
> it.
> That said, I would expect a glaze with such a high percentage of
> Neph. Sy. to craze.
> You could try your clay body or simply a white clay such as EPK.
> Suggest test of 100 grams each.
> Bill
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 13:19:01 -0500
> From: SCOTT YEIP
> Subject: L & L kiln
>
> I purchased one of the new L&Ls in May and I love it. No problems, =3D
> great service. I live in Michigan, wonderful ceramic suppliers like =3D
> Runyan, Crossroad and Rovin. Got mine from Runyan, Todd and Paul were =
=3D
> of immense help! Buy local, it's the folks that count! They will be =3D
> there when you need them!
> Claybird (Amy)
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 13:26:02 -0500
> From: SCOTT YEIP
> Subject: L&L Kiln - Snowdance
>
> I purchased one of the new L&Ls in May and I love it. Digital so easy,=
=3D
> my kids help fire when using pre-programed settings. Options to fire i=
n =3D
> different schedules if you choose. No problems, great service. I live=
=3D
> in Michigan, wonderful ceramic suppliers like Runyan, Crossroad and =3D
> Rovin. Got mine from Runyan, Todd and Paul were of immense help! Buy =
=3D
> local, it's the folks that count! They will be there when you need them=
! =3D
> Paul came all the way down to check out problems when hubby wired =3D
> improperly and we couldn't figure out the problem. No problems now, =3D
> smooth sailing all the way!
> Claybird (Amy)
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 11:41:13 -0700
> From: Scott Ackerman
> Subject: Re: Glaze problems
>
> I haven't checked this out in Insight yet, but the amount of Nepheline
> Syenate in this is probably the culprit. Nepheline Syenate is high in =3D
> sodium
> and sodium has a very high coefficient of expansion. You need to source=
=3D
> your
> fluxes from other lower expansion sources like magnesium as well. You =3D
> have
> some magnesium in talc but not nearly enough to counteract all of the =3D
> sodium
> in the Nepheline Syenate.
>
> "Every improvement in the standard of work men do is followed swiftly =3D
> and
> inevitably by an improvement in the men who do it" - William Morris
>
> =3D20
> Scott Ackerman
> 1133 Riverside
> Suite B
> Fort Collins, CO 80524
> 970-231-9035
>
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Gary Harve=
y
> Sent: Tuesday, January 06, 2004 8:50 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Glaze problems
>
>
> I am new to glaze making. I tested a recipie for glaze 6 clear that I =3D
> found
> in Tony Birks "The complete Potter's commanion" Johannes Peters Glaze
> consist of 72 nepheline syenate, 9 calcium borate, 6 white stoneware =3D
> clay,
> and 7 talc. I used gillespie borate for the calcium borate and OM 4 for=
=3D
> the
> white stoneware clay. The glaze crazed like crazy. (I will send a phot=
o =3D
> to
> anyone that is interested) Can I use the white clay that is my normal =3D
> clay
> and do any of you think that will fix the crazing problem? I want to =3D
> use
> this on foodware. AND what amount of Glaze should I make up as a test
> amount?
>
> _______________________________________________________________________=
__=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
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 16:06:24 -0600
> From: Arnold Howard
> Subject: Re: Industrial Thermocouples
>
> A rule of thumb: a thermocouple should extend into a firing chamber by
four
> times the width of the thermocouple. It's okay to push it in farther th=
an
> that.
>
> Arnold Howard
>
> From: "Lynn Barnwell"
> how far do thermocouples have to protrude into a kiln interior to
register
> correctly. My original 8 ga type K with ceramic insulators stick into =
the
> kiln about 2-2 1/2 inches. The industrial type only enters about 3/8"
due
> to it's overall length. Will it read correctly? and do you need the
ceramic
> sleeve to go over it?
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 17:14:56 EST
> From: Marvpots@AOL.COM
> Subject: Re: Tennis elbow
>
> As an old tennis player I can tell you that you will hear many
suggestions.
> The method I found most lasting was to exercise (so called "reverse cur=
ls)
> with a small weight in the hand, bending the arm at the elbow and doing
ten or
> fifteen repetitions. In this way, those tendons and muscles in the elb=
ow
area
> will get strengthened over time and repetition of tennis elbow can be
avoided.
> This was a system worked out by an orthopedist, specializing in sports
> medicine.
>
> If you were seeking medical advice, that's the kind of physician I woul=
d
> recommend--
> sometimes called a Physiatrist.
>
> Good luck!
>
> Marvin Flowerman
> marvpots@aol.com
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 18:05:03 EST
> From: Shawn McGuire
> Subject: Re: Need Kiln Information
>
> Hi Snowdance,
> L&L kilns are great! The easy-fire controls are very easy to use and
> wonderfully versatile, especially if your doing something like crystall=
ine
glazes
> that need a very controlled cycle. As far as the element holders go, in=
my
> opinion it's a great feature, the elements just sit in the holders, no
need for
> element pins that are eventually going to cause wear to the brick from
changing.
> The element could not be easier to change! As far as customer service
goes, I
> would say you are better off dealing with them through a distributor, I
think
> L&L prefers it that way. That way they are not dealing with every
thermocouple
> that needs replacing, they'll do it but I think they would prefer to do
> business through a distributor who can deal with the customers needs mo=
re
directly.
> Hope this helps, congrads on being able to get a kiln!
> over-and-out,
> ~S~
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 18:40:00 -0500
> From: "Edouard Bastarache Inc."
> Subject: Re: Industrial Thermocouples
>
> Hello Lynn,
>
> if they are the type with the rather "thick" stainless sleeves,
> no more than 1 inch inside the kiln.
> I used one 3 inches inside at C/9=BD and ended up with
> a curved one that did not work anymore, so a friend
> engineer running 9 90 ton ilmenite reduction furnaces
> told the trick.
> For S type it is the opposite at high temp, you should
> put them 3 inches inside.
>
>
> Later,
>
>
>
> "Ils sont fous ces quebecois"
> Edouard Bastarache
> Irreductible Quebecois
> Indomitable Quebeker
> Sorel-Tracy
> Quebec
> edouardb@sorel-tracy.qc.ca
> http://sorel-tracy.qc.ca/~edouardb/
> http://perso.wanadoo.fr/smart2000/index.htm
> http://www.digitalfire.com/education/toxicity/
>
> ------------------------------
>
> Date: Wed, 7 Jan 2004 00:32:34 +0100
> From: Russel Fouts
> Subject: Re: Frit "Bad" for Iron Colors
>
> Thanks for your input guys, I got the test tile back and I think he mea=
ns
> that the iron colors won't be "nice". This was in a neutral / oxidizing
> envinronment. The red iron and black iron oxides both turned a bit gree=
n.
> Not really unattactive but not a nice brown or black like I think I mig=
ht
> have expected. The Yellow ochre washed out entirely where thin. Where
> thicker, it was still a pretty washed out brown. The surprise was my bo=
dy
> clay which also washed out where thin but where thicker gave a nice lig=
ht
> brown.
>
> To see what "nice" might be I should probably test with a glaze with le=
ss
> calcia in it or with a lead glaze but I probably won't since this is th=
e
> glaze I'm using and love.
>
> Russel "Live and Learn" and "Row with the oars you have" Fouts
>
> PS. Hopefully I have both oars in the water. ;-)
>
>
>
> Russel Fouts
> Mes Potes & Mes Pots
> Brussels, Belgium
> Tel: +32 2 223 02 75
> Mobile: +32 476 55 38 75
>
> Http://www.mypots.com
> Home of "The Potters Portal"
> Over 2300 Pottery Related Links!
> Updated frequently
>
> My work can also be seen on:
> The World Crafts Council International Site: http://www.wccwis.gr
> The World Crafts Council Belgium Site: http://wcc-bf.org (English Pag=
es)
> EasyCraft: http://www.easycraft.org
>
> "To announce that there must be no criticism of the president, or that
> we are to stand by the president, right or wrong, is not only
> unpatriotic and servile, but is morally treasonable to the American
> public." --U.S. President (and Nobel Peace Prize winner) Theodore
> Roosevelt.
>
> ------------------------------
>
> Date: Wed, 7 Jan 2004 00:54:43 +0100
> From: Russel Fouts
> Subject: Re: OT: strange spam
>
> I like to imagine some deranged computer turned poet like the deranged
> Tessier-Ashpool computer turned artist in William Gibson's "Mona-Lisa
> Overdrive"
>
> Russel
>
> At 06:00 06/01/2004, you wrote:
> >------------------------------
> >
> >Date: Mon, 5 Jan 2004 16:09:28 -0500
> >From: Jennifer Boyer
> >Subject: Re: OT: strange spam
> >
> >I got those too for awhile, as well as some that have nothing in them
> >at all! Who's to know?!
> >Jennifer
> >On Monday, January 5, 2004, at 10:16 AM, Maid O'Mud wrote:
>
>
> Russel Fouts
> Mes Potes & Mes Pots
> Brussels, Belgium
> Tel: +32 2 223 02 75
> Mobile: +32 476 55 38 75
>
> Http://www.mypots.com
> Home of "The Potters Portal"
> Over 2300 Pottery Related Links!
> Updated frequently
>
> My work can also be seen on:
> The World Crafts Council International Site: http://www.wccwis.gr
> The World Crafts Council Belgium Site: http://wcc-bf.org (English Pag=
es)
> EasyCraft: http://www.easycraft.org
>
> "To announce that there must be no criticism of the president, or that
> we are to stand by the president, right or wrong, is not only
> unpatriotic and servile, but is morally treasonable to the American
> public." --U.S. President (and Nobel Peace Prize winner) Theodore
> Roosevelt.
>
> ------------------------------
>
> Date: Wed, 7 Jan 2004 09:17:07 +0900
> From: Lee Love
> Subject: Re: Washing textured pots before glazing
>
> Ellen Currans wrote:
>
> >However, the main reason I wash everything and glaze when they are sti=
ll
> >fairly damp is because two thirds of what I make have textured pattern=
s
on them
> >and the dampened ware combined with fairly thin glazes allows me to
control the
> >glaze coat. If the bisque is bone dry and the glaze thick, dipping
leaves
> >small air bubbles in the pattern grooves, or else the coat is so thick=
so
quickly
> >that the pattern is covered over.
> >
>
> At my teacher's workshop, for handles, ears and lugs, and where
> ever there was a crease or ridge on the form, we used a water dipped
> brush to make sure the creases were soaked, then we sponged. Becaus=
e
> of the scraped zogan/inlay surfaces, there was always dust. We used
> dusters outside (wearing masks) to clean the dust off before we brushed
> or sponged.
>
> Like Ellen mentions, one reason for sponging is for very accuate
> control of the thickness of the glaze. This was very important with
> my teacher's ash glaze.
>
>
>
> Lee In Mashiko, Japan
> http://Mashiko.us
> Web Log (click on recent date):
> http://www.livejournal.com/users/togeika/calendar
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 19:16:36 EST
> From: Brad Carter
> Subject:
=3D?ISO-8859-1?Q?Re:=3D20=3DA0=3D20=3DA0=3D20=3DA0=3D20Re:=3D20off=3D20su=
bject/=3D20wo?=3D
> =3D?ISO-8859-1?Q?od?=3D
>
> Hi all,
>
> Can anyone recommend an on-line discussion group for woodworking?
>
> Brad
> Grass Valley, CA
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 19:23:18 -0500
> From: wayneinkeywest
> Subject: "stirring" glaze
>
> I have a chance to aquire (at no cost) an old paint mixer. You've seen=
=3D
> them in the hardware...stick the can in, turn it on, shakes the crap ou=
t =3D
> of the can. (sorry Ms. Lili).
>
> Is that acceptable for stirring glazes? Other than introducing some =3D
> bubbling should the can not be full, is there any other reason it won't=
=3D
> work?
> Wayne Seidl
> dumpster diving...it's not just a job, it's an adventure!
>
> ------------------------------
>
> Date: Wed, 7 Jan 2004 09:28:25 +0900
> From: Lee Love
> Subject: Re: The hijacking of Larry Davidson's "Little Creek Pottery" w=
eb
> site... (also Hide Ebina's site)
>
> Helen Bates wrote:
>
> > Gail Heilmann sent me the sad information that Larry Davidson's "Litt=
le
> > Creek Pottery" website has been hijacked by a porn group.
>
> Helen,
>
> Can you elaborate a little? How does a website get
> "hijacked"? Do you mean Larry let his registration for his site
> lapse and these other folks bought it? If it is actually "hijacked",
> which I understand to mean "taken illegally", Larry needs to contact hi=
s
> site resgistry. I'm pretty sure these things can be dealt with by th=
e
> company through legal means.
>
>
> Lee In Mashiko, Japan
> http://Mashiko.us
> Web Log (click on recent date):
> http://www.livejournal.com/users/togeika/calendar
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 13:20:13 -0500
> From: "L. P. Skeen"
> Subject: Re: Logistics K-12 Ceramics
>
> Lorene, go to my website http://www.living-tree.net and click on the ki=
ln
> info button. It gives information and diagrams on how to load the kiln
and
> is specifically designed for k-12 teachers. :)
>
> L
> ----- Original Message -----
> > To: Lorene McIntosh
> >
> > At 03:55 PM 1/4/04 -0600, you wrote:
> > >...I really need help now though. I have never
> > loaded or fired a kiln.
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 17:20:12 -0800
> From: pdp1@EARTHLINK.NET
> Subject: Help me find an old Building somewhere - Bison Studios & I rea=
lly
need
> to move!
>
> Hi all...
>
>
>
> Let me know (off Site) if there are any Old Buildings in
> your area as
> may be had cheap.
>
>
> I need some Commercial type space, from 3,000 to 10,000
> sq.feet there-abouts.
>
> Must be Old, earnest, and in decent or reasonably repairable
> condition.
> Must be cheap, as either where some County has seised for
> 'back
> taxes', some languishing private party offering with a
> curled up 1972 Calandar on the wall, or whatever...
>
> (Minnesota has many good ones to choose from of both
> kinds...so does Detroit...)
>
>
> And priced as from a few grand up to maybe 50 grand...
>
>
> I am very open minded as to location.
>
>
>
>
> My present location is likely going to terminate soon, maybe
> quite soon even...after
> 17 years of being here in this spot...and, in theory, this
> whole neighborhood is slated to be razed anyway.
>
> Which is fine with me as I do want TO move...
>
>
>
> The challange has been two fold: "Where" to go?
> ... and, where as
> will have something I can afford...?
>
> I missed the opportunities in Tacoma Washington ( 1997ish),
> and on some areas of Indianna ( early 1990s)...sigh...
>
>
> Any ideas or information would be greatly appreciated...
>
>
> I am exploreing other angles as well, such as inquireing of
> various Counties in various States, and thought if I asked
> you all, maybe I might get lucky...or find some good
> leads...
>
>
> Regards,
>
> Best Wishes,
>
> Philip Poburka
> proiprietor - maker, &c.,
> Bison Studios
> Las Vegas
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 17:20:39 -0800
> From: pdp1@EARTHLINK.NET
> Subject: Re: welding thermocouples - Now, spin-offs of the
Bi-Metallic...or,
> Wood humidity indicators...
>
> Hi Om,
>
>
> I do not know specificly what two species would work best,
> but, to some degree, almost any two different Woods would
> work...
>
> I would guess, that if one were disiduous and one not, there
> would be some advantage...and..having their grain elected
> for straightness...and having their ring orientations
> complimentary...should encourage the bending while
> discourageing any twisting...
>
> As say maybe Cherry for one and Pine or Fir or Hemlock or
> something for the other...or even Poplar I suppose...
>
> Too, I would guess that the length of these strips should be
> of short grain - should be having both Woods so their grain
> orientation is perpendicular to their length, that is, the
> grain should run sideways and not longways...they should
> bend a good deal that way...
>
> I think these enjoyed some popularity in America in the
> latter 1700s...to have on a Wall...and that Thomas Jefferson
> used to make them for friends and so on...
>
> Some experiments maybe!
>
>
> Good luck,
>
> Phil
> Las Vegas
>
>
> ----- Original Message -----
> From: "Odin Maxwell"
>
>
> > On Sun, 4 Jan 2004 20:18:23 -0800, pdp1@EARTHLINK.NET
> wrote:
> > >Similarly, in a way, a visual gauge for an analoge of
> > >Humidity may be made as uses two species of Wood, thin
> and
> > >glued to gether as strips, whose differeng response to
> > >ambient humidity levels will oblige them to bend one way
> or
> > >the other...
> >
> > Oh this sounds too fun to let go - any specifics on what
> varieties of wood
> > work best? I just gotta try this. ;-)
> >
> > om
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 17:43:53 -0800
> From: Fredrick Paget
> Subject: Re: Making plaster bats - Jepson molds
>
> >Has anyone made plaster bats with Jespson's molds? ...
> >................ No instructions came with the molds so =3D
> >I was wondering if any have used it? How much plaster did you use for=
=3D
> >each size? ........
> >Lynn Barnwell
> Jepson casts his bats against plate glass. You need two pieces. One
> for the bottom and one for the top. Go to a glass shop and buy 2
> pieces of 1/4 inch plate glass of the sizes needed. Spray the mold
> and the glass with mold release. I use a silicone containing product
> called Armor All Protectant which is sold in Auto stores .
> Polish it with a rag. Put the mold, large side, down on a sheet of
> plate glass and fill it with wet plaster. Use enough to fill up the
> mold and a tiny bit extra. Put the top sheet of plate glass on it and
> weight it down until it sets up. After that you can take off the
> glass and knock the bat out of the mold.
> You can use some of the harder plasters like hydrostone or just use
> regular Pottery Number 1 . It is up to you. Be sure you use the
> correct ratio of water and plaster. Weigh them both with a scale. US
> Gypsum gives away a neat slide rule to figure these ratios.
> Works fine for me.
> Fred
> --
> From Fred Paget, Marin County, California, USA
> fredrick@well.com
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 17:52:06 -0800
> From: logan johnson
> Subject: Thanks from the freezer!
>
> HEY THERE !
>
> To Krista,C.A & All ,
>
> Thanks for the on target AND a little scary info. At least now I can ta=
ke
steps to avoid glaze oozing from my buckets YUCK ! Anyone wanna donate =
a
few dozen cords of wood to keep the wood stove going 'till it gets warmer=
?
I promise Not to hold my breath! I have nothing to wear with THAT sh=
ade
of purple/blue. Thanks Again!
>
>
> Logan Johnson
> Audeo Studios
> "Carpe Argillam!!"
>
>
>
> ---------------------------------
> Do you Yahoo!?
> Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 20:02:59 -0600
> From: Bryan
> Subject: Re: 2004 nceca room
>
> >
> > to those of you reserving rooms, i would like to share one. i've been
> to
> > three of these conferences but have stayed with local friends. this
> time i
> > gotta stay in the hotel. i don't snore or smoke.
> >
> > please don't reply to the list. send a message to
> > bmolanphy@coloradocollege.edu
> >
> > thank you, brian
>
>
> Hi
>
> I too am looking to share a room, but I don't have one as yet.
>
> Bryan Johnson
>
> Bryj@cheqnet.net
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 20:49:20 -0500
> From: Judie
> Subject: Ron Meyers Workshop in Atlanta
>
> HOLY INNOCENTS' EPISCOPAL SCHOOL CELEBRATES THE WORK OF
> RON MEYERS
> CERAMIC ARTIST
>
>
> Holy Innocents' Episcopal School and the Fine Arts Alliance are proud t=
o
> host an art seminar with world renowned ceramic artist, Ron Meyers. Dur=
ing
> the one day seminar, Mr. Meyers will be discussing his work, demonstrat=
ing
> and creating ceramic pieces and sharing his philo-sophy and life
> experiences as a potter and one of the moving forces in the contemporar=
y
> ceramics world.
>
> To register, please complete the form below and return it by January 30=
th,
> 2004 to:
>
> Judie Jacobs (404) 303-2150
X798
>
> Holy Innocents' Episcopal School
> judie.jacobs@hies.org
> 805 Mt. Vernon Highway
> Atlanta, GA 30327
>
> Cost includes Friday evening reception and Saturday demonstrati=
on
$50
> Plus $10 for optional box lunch: Vegetarian _____
> Non-Vegetarian _____
>
> _____ Friday, February 13, 2004
>
> 7:30 p. m. to 9:00 p.m. Reception and Exhibition of Rec=
ent
Work
> Holy Innocents' Fine Arts Galle=
ry
> Presented by Holy Innocents' an=
d
> The Signature Shop and Gallery
>
> _____ Saturday, February 14, 2004, Holy Innocents' Fine Arts Building
> Auditorium
>
> 9:00 to 10:00 Coffee and pastries in the HIES Fine Ar=
ts
Lobby
> 10:00 to 12:00 Lecture and Demonstration
>
> 12:00 to 1:00 Lunch Break
> 1:00 to 4:00 Lecture and Demonstration
>
>
> Name: ______________________________________________________________
>
> Address: ____________________________________________________________
>
> City/State/Zip__________________________ Phone Number: ________________=
_
>
> E-Mail _______________________________________________________________
>
> Amount Enclosed: ______________ Please make checks to: HIES Fine
> Arts Alliance
>
>
>
>
>
> DIRECTIONS TO HIES: HIES is located inside the perimeter in Northwest
> Atlanta. From I-75 North or South, take I-285 East, exit at Riverside
> Drive and turn INSIDE the perimeter (left if coming from the East, righ=
t
if
> coming from the West). Stay on Riverside Drive until it ends at Mt.
Vernon
> Highway, turn right go to traffic light and turn right on Powers Ferry
Road
> (Holy Innocents' Church is on the corner). Turn left into the driveway
> behind the church, the Fine Arts Building is the circular style buildin=
g
on
> the right. Parking is available in the parking lot behind the Fine Art=
s
> Building.
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 21:27:48 -0500
> From: Eleanor
> Subject: art is art
>
> Vince wrote:
> >Please do not imply for a minute that
> >> such a close-minded and limited/limiting statement should apply to
anyone
> > > else.
>
> Craig Dunn Clark wrote:
> > The reactions that a particular piece evokes
> >are entwined in the direct experiences of the viewer
>
> Whoa, Vince! And Mr Clark (I think you agree with me somewhat but
> don't know it).
>
> I'm an old lady, going on 73, and I've been experiencing Art since
> childhood--by listening to (classical) music, reading literature,
> looking at art and making "art". When I travel, if my destination has
> an art museum, I go. And living near NYC, I can go to the Met, MOMA,
> Guggenheim, the Craft Museum (I forget its new name) whenever there
> is an exhibition that interests me.
>
> I first saw the paintings of Picasso at MOMA in the early 50's. I
> stood before Guernica and wept. I understood its message. I knew
> nothing about Picasso. He has since become my all-time favorite
> artist. I've read 3 biographies. He wasn't a very nice man. That fact
> doesn't make me like his work any less nor does it enhance my
> understanding of it.
>
> I don't like the work of Jackson Pollock. I saw a movie about him and
> read some biographical material. I know how and why he made those
> paintings. I still don't like them.
>
> After the Guggenheim opened, in the 50's, I went to an exhibition of
> paintings by Wassily Kandinsky. They left me cold. Splashes of paint
> on canvas. A few years ago, also at the Guggenheim, I saw his work
> again and it fairly SHOUTED at me. I got it. In my gut. I don't know
> anything about Kandinsky.
>
> As an adolescent I hated Mozart. "Too many notes". Now he is one of
> my favorites. I now know something about his life but that wasn't
> what hooked me. It was just LISTENING.
>
> In the Craft Museum there are extensive Artists' statements. I was
> reading these and almost forgot to look at the work; I was
> distracted. And knowing that the artist was inspired by The Wonders
> of Nature or Lore Learned at Grandma's Knee doesn't affect my
> "appreciation" of his/her art; it is the art itself which insinuates
> itself into my (right) brain, and on an un-, sub-, pre-conscious
> level, works its magic. Or doesn't.
>
> My appreciation of Art is the result of experience, percolation and
> evolution. I look and listen, and sometimes touch. And something goes
> on inside of me, I don't know what, and I react, I respond.
> Sometimes, as in the case of Picasso, appreciation is instant;
> sometimes, as with Mozart and Kandinsky, it takes years. Knowing
> where the artist is coming from has never affected my response.
> Sometimes if I'm curious about the artist (or they make a movie),
> I'll get some biographical material, sometimes not. It makes no
> difference to me. Art is Art.
>
> If I counted correctly, a la Kelly, there are 47 personal pronouns:
> I; me; my... in the above "essay". And that is my point. This is how
> I "appreciate" Art. And in no way, shape or form do I insist that you
> appreciate Art the way I do. Different brush strokes for different
> folks! :-)
>
> Eleanor Kohler
> Centerport, NY
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 18:58:32 -0800
> From: Carl Finch
> Subject: =3D?iso-8859-1?Q?Re:_=3DA0_=3DA0_=3DA0_Re:_off_subject/_wo_od?=
=3D
>
> At 07:16 PM 1/6/04 -0500, Brad Carter wrote:
>
> >Can anyone recommend an on-line discussion group for woodworking?
>
> Perhaps the news group, REC.WOODWORKING
>
> [But note that you probably won't find what you're looking for in those
> emails you receive that promise to give you 3 more inches of "wood!"]
>
> --Carl
> in Medford, Oregon
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 22:03:57 EST
> From: ASHPOTS@AOL.COM
> Subject: Steves books
>
> I bought the Books fron Steve Harrison...
>
> I used my plastic money.. The books are on there way
>
> in other words i gave up on trying to do a group deal ,,, sorry
>
> Mark
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 22:39:59 -0500
> From: "Runyan,Jacob"
> Subject: Pugmill Building Help
>
> I am in the planning process of building a pugmill (mostly
> from the Harry Davis design, with a smaller diameter
> barrel) I know that there are people on this list who have
> constructed this tool. I am wondering if people have, or
> are willing to take some pictures of their pug mill so I
> can make sure I understand everything correctly.
>
> I would be equally excited to have anyone with a commercial
> pugmill offer to share pictures.
>
> Thanks in advance,
>
> Jacob Runyan
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 19:18:07 -0800
> From: claybair
> Subject: Superslowmo ..... things to do blues
>
> things I have to do:
> mail late gifts
> organize and enter expenses
> same for taxes
> clean up the studio
> clean up office
> tear down and box my work display in dining room
> Decide what shows to do this year
> fill out applications
> take slides
> take digitals
> update my web site
> make new work
> upgrade venting on kiln
> deal with the leaded glaze issue
>
> and I am not doing any of it.......
> must get act together.......
>
> think I'll go watch a movie......
>
> At least I put suet out for the birds.
>
> Anyone else got the things to do blues???
>
> I thought because I had identified this shut down
> last year I would handle it better this year....
> Wrong!
>
> Now what movie shall I watch...
>
> Warning......OT haters stop here......
>
> BTW we have about 7 inches of snow outside
> Very close to everything and I do mean everything
> has been shut down.
> Hilarious TV reporting this morning.... a TV crew were
> in their truck/SUV reporting on the road conditions in
> Seattle. They had camera mounted on the dashboard.
> As the reporter was talking about the icy condition of the roads
> one sedan slid into another and it was caught live on TV.
> The reporter took the opportunity to instruct the public
> on keeping a safe distance. The TV vehicle skid slightly
> but came to rest against the curb about 25 ft from the
> 2 cars.
> She went on to praise her driver/cameraman for his
> excellent driving skills. After a brief pause the TV
> driver backed up in an attempt to go around the
> 2 cars and continue down the hill.
> He promptly slid into the rear bumper of the
> car that originally slid into the other car.
> When he backed up there was a nice
> dent in the car's bumper....... All this too was caught by
> the camera mounted on the dashboard.... Live....
> I got a sinister chuckle..... thinking
> about the 'splainin' to the TV station's insurance agent.
>
> Gayle Bair - Almost live from
> Bainbridge Island, WA
> http://claybair.com
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 21:15:50 -0500
> From: SUBSCRIBE CLAYART Anonymous
> Subject: Re: Need Kiln Information
>
> Hi Thanks for information everyone. The complaint
> I heard from the supplier I talked to was that the
> element holders were a pain to deal with if a pot
> explodes and glaze etc gets on element.
> They said you end up having to take the whole
> element out because it sticks to the holder
> and burns out whereas a kiln without the holder
> you can chip a small part of the fire brick out
> with less effort. They also said they couldn't get
> L&L to service very fast a problem with a customers
> digital control nor could they get parts easily. So it
> kind of scared me off(my first time buying a kiln)but
> I heard there is some current competition going on with
> Skutt losing business to L&L and suppliers getting info
> from Skutt trying to knock L&L. I heard this from a different
> supplier when I expressed concerns over what I heard
> about L&L so I wonder if that had anything to do with
> first suppliers information because I haven't heard any
> bad reports here yet. I will have to deal with this
> supplier for other things so I don't want to mention
> names plus they have been great in the past so maybe
> they just had bad experiences for some reason. I just
> want to make sure about L&L before I do anything so if anyone
> else has anything to say please let me know-Thanks so much 2snowdance
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 18:09:38 -0800
> From: Jeanette Harris
> Subject: "Clay Mechanics"
>
> Anybody on Clayart submit an entry into this show?
>
> Notifications were supposed to be out via email about this time.
>
> ------------------------------
>
> Date: Tue, 6 Jan 2004 19:54:40 -0800
> From: SierraEarthWorks
> Subject: Using Ebay to sell my pieces
>
> Hey! It's everyone's favorite trouble maker, Rachel. I actually have a =
=3D
> question that doesn't have to do with the OT topic. I have been selling=
=3D
> my pieces on Ebay and I was wondering if anyone else has tried this. So=
=3D
> far, I have had pretty good success with it. If anyone else does or has=
=3D
> used ebay, I'm curious to know how I can do to better my auction title,=
=3D
> description, etc. Thanks,=3D20
> The infamous, Rachel
>
> ------------------------------
>
> End of CLAYART Digest - 5 Jan 2004 to 6 Jan 2004 (#2004-7)
> **********************************************************
> =01
| |
|
