glaze as touch

updated wed 17 aug 05

dannon rhudy on wed 10 aug 05

Touch is much of how potters judge glazes.
It isn't all - but it is a lot.

Of course matt glazes feel wonderful, and
some feel more wonderful than others. Rhodes
the way Mel uses it is elegant. Tin
makes a different surface too, than zircopax,
much more voluptuous. I also like the
irregular surfaces of shino glazes. Some
gloss glazes are delicious, but it is harder
to achieve that wonderful touch. Except
Ron Roy's Ol' Black Magic, maybe....

I love the feel of some ash glazes - Richard
Aerni's leap to mind, and Craig Martel's work.
Perhaps the grand master of seductive glaze
surfaces is Val Cushing. It would be a lifetime's
work to learn what he knows about how to
make a piece feel as beautiful as it looks.

So - yep. Touch is a high percentage of what makes
a piece attractive to me, now I think about it.

regards

Dannon Rhudy

> do we get attracted to a glaze for...what reason?.........

Marcia Selsor on thu 11 aug 05

Dear Mel,
My favorite glazes are ones that make me rub them against my cheek.
They are usually dolomite or barium semi matts.
Here's a funny story:
At the exhibition of contemporary Japanese (I think it was japanese
and I'm embarrassed after the debate..) Ceramics show at the last
Portland NCECA (1984?)
there was a long (3-4') celedon glazed porcelain sculpture just as
one entered the room. There was a guard standing mext to it. Every
potter that entered the room touched that lucious semi matt celedon
surface. BIG sign said "Do NOT touch". The guard repeated do not
touch. Too late. Potters could not overcome their immediate response
to that piece. It begged to be touched.
Marcia Selsor


i would like for potters to respond/

do we get attracted to a glaze for...what reason?

i know without question that the dolomite/semi matt glazes
feel just right in my hands. i love unloading the kiln...just
touching them.

there are glazes i cannot stand, and it almost always has
to do with their feel.
snip

Victoria E. Hamilton on thu 11 aug 05

Hi Mel -

The appearance of a glaze us usually (repeat, usually) what has me pick up a
piece. If I have an unobstructed view of a piece (having broken the museum
glass, of course) I feel invited to touch.

Definitely feel. Rhodes 32 + it's variations are like butter, or soft wax
maybe - sensuous.

Glazes & combinations of glazes that possess depth upon viewing are
definitely the ones I'll pick up - matt, semi-matt, velvet - those are the
ones that really get me. However, I use a black-breaking to rust tenmoku
that exhibits some lovely gold teadust when fired in a heavily reducing
atmosphere. It's almost glossy, but not quite. I love the way it feels.

In my studio, folks love a kiln opening. "It's like Christmas!" is often
exclaimed - and everyone is in such a hurry! For me, I get to handle all
the pots as I unload, and I take it slow - savoring. I love it, and I
always learn something.

Thanks for the opportunity to respond.

Vicki Hamilton
Millennia Antica Pottery
Seattle, WA

-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of mel jacobson
Sent: Thursday, August 11, 2005 05:31
To: CLAYART@LSV.CERAMICS.ORG
Subject: glaze as touch

i would like for potters to respond/

do we get attracted to a glaze for...what reason?

i know without question that the dolomite/semi matt glazes
feel just right in my hands. i love unloading the kiln...just
touching them.

there are glazes i cannot stand, and it almost always has
to do with their feel.

colors can be adjusted, surface can be disturbed with color,
but if the pot feels terrible in your hands...can you reject it?

the volcanic ash glaze that i used at hopkins high...did not
feel very good. it worked for kids...we could manipulate it...
but it felt like cellophane. it seemed thin.

hank murrow has a velvet shino that is almost sinful.

anyway.
the rhodes32 glaze felt just right to me.
still does.

or, as a young potter told me one day.
`you use old time glazes`.
of course his only direction was `shine, and color.`
he wanted to scream at people.

it was the reason that joe and i made sure potters could
touch the iron saga pots at amoca.....as potters mostly see pots with
their hands. (it was amazing how many folks were just thrilled that they
could hold, touch and carry around those pots...the ott light really was
a great touch...just like putting the pots in the sun.)

it is the greatest frustration in museums...you want to break the glass.
mel
from mel/minnetonka.mn.usa
website: http://www.pclink.com/melpots
http://home.comcast.net/~figglywig/clayart.htm
for gail's year book.

____________________________________________________________________________
__
Send postings to clayart@lsv.ceramics.org

You may look at the archives for the list or change your subscription
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melpots@pclink.com.

mel jacobson on thu 11 aug 05

i would like for potters to respond/

do we get attracted to a glaze for...what reason?

i know without question that the dolomite/semi matt glazes
feel just right in my hands. i love unloading the kiln...just
touching them.

there are glazes i cannot stand, and it almost always has
to do with their feel.

colors can be adjusted, surface can be disturbed with color,
but if the pot feels terrible in your hands...can you reject it?

the volcanic ash glaze that i used at hopkins high...did not
feel very good. it worked for kids...we could manipulate it...
but it felt like cellophane. it seemed thin.

hank murrow has a velvet shino that is almost sinful.

anyway.
the rhodes32 glaze felt just right to me.
still does.

or, as a young potter told me one day.
`you use old time glazes`.
of course his only direction was `shine, and color.`
he wanted to scream at people.

it was the reason that joe and i made sure potters could
touch the iron saga pots at amoca.....as potters mostly see pots with
their hands. (it was amazing how many folks were just thrilled that they
could hold, touch and carry around those pots...the ott light really was
a great touch...just like putting the pots in the sun.)

it is the greatest frustration in museums...you want to break the glass.
mel
from mel/minnetonka.mn.usa
website: http://www.pclink.com/melpots
http://home.comcast.net/~figglywig/clayart.htm
for gail's year book.

Marcia Selsor on thu 11 aug 05

On Aug 11, 2005, at 6:30 AM, mel jacobson wrote:

> i would like for potters to respond/
>
> do we get attracted to a glaze for...what reason?
>
> i know without question that the dolomite/semi matt glazes
> feel just right in my hands. i love unloading the kiln...just
> touching them.
>
> there are glazes i cannot stand, and it almost always has
> to do with their feel.
snip
Dear Mel,
My favorite glazes are ones that make me rub them against my cheek.
They are usually dolomite or barium semi matts.
Here's a funny story:
At the exhibition of contemporary Japanese (I think it was japanese
and I'm embarrassed after the debate..) Ceramics show at the last
Portland NCECA (1984?)
there was a long (3-4') celedon glazed porcelain sculpture just as
one entered the room. There was a guard standing mext to it. Every
potter that entered the room touched that lucious semi matt celedon
surface. BIG sign said "Do NOT touch". The guard repeated do not
touch. Too late. Potters could not overcome their immediate response
to that piece. It begged to be touched.

Dawn Christensen on thu 11 aug 05

In a message dated 8/11/2005 5:34:45 AM Pacific Standard Time,
melpots2@pclink.com writes:

.....as potters mostly see pots with
their hands.


Ah, I agree Mel. I always want to touch it. But all my senses come into
play first. The last or strongest and most impulsive sense is to touch. I
have to shove my hands in my pockets at Museums so I don't set off any alarms.
Only another artist would think to let another touch his or her pots. Bless
you for sharing the experience at Amaco with those iron saga pots . Dawn

John Hesselberth on thu 11 aug 05

On Aug 11, 2005, at 8:30 AM, mel jacobson wrote:

> i would like for potters to respond/
>
> do we get attracted to a glaze for...what reason?

Hi Mel,

For me it is some undefined combination of look and feel. For look I
lean toward glazes that have depth and variegation. For feel it depends
on the piece. While I like the feel of high calcium or magnesia
semimattes and mattes for things like vases and the outside of
cups/mugs, I want the smoothest glossy glaze I can find on the rim of a
mug or cup that touches my lips. It took me a while to really figure
this out--I found myself continually looking for one particular mug for
my morning coffee and got to wondering why I had drifted so strongly
toward that one. It has just the right combination of a glossy rim and
a semimatte outer surface.

Regards,

John
John Hesselberth
http://www.frogpondpottery.com
http://www.masteringglazes.com

marianne kuiper milks on thu 11 aug 05

Hi. I was gone, so am jumping in (prob wrong) w/o
having read any other emailzes...The reason I decided
(had) to do pottery is because it was the only thing
(ok..there's my husband..) I could never keep my hands
off . Marianne

--- Dawn Christensen wrote:

> In a message dated 8/11/2005 5:34:45 AM Pacific
> Standard Time,
> melpots2@pclink.com writes:
>
> .....as potters mostly see pots with
> their hands.
>
>
> I always want to touch it.
> play first. The last or strongest and most
> impulsive sense is to touch. I
> have to shove my hands in my pockets at Museums so I
> don't set off any alarms.
> Dawn
>
>
______________________________________________________________________________
> 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.
>


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Bruce Girrell on thu 11 aug 05

mel wrote

>i know without question that the dolomite/semi matt glazes
>feel just right in my hands...
>there are glazes i cannot stand, and it almost always has
>to do with their feel.

For quite some time we concentrated on horsehair decorated pots. These pots
are burnished and have no glaze. When you pick up the pot you touch the clay
itself. It feels warm and sensual. Your fingers seem to naturally glide over
the surface.

When we started doing high fire glazed pots I was put off by the feel of the
glaze. It felt cold and sticky to me. As our glazes have evolved we have
moved toward the semi-mattes and I am sure that part of that movement is due
to the feel of the glaze.

Bruce "some sticky things can be good, but not pots" Girrell

Potter, Mark on thu 11 aug 05

All,

This is a topic I can't resist.

What makes one attracted to any material .. . a beautiful piece of
wood, a gorgeous stone, another person's skin . . .

I think there is an element of transcendence here. . . a glaze must
escape it's brittle liquid reality and become something else,
undefineable, an unearthly reality almost.

Russell said the appreciation of beauty is the suspension of all
judgement. You see a gorgeous woman and you literally can find no
faults, all the normally critical facilities that we use to identify and
characterize are all short circuited, something in our brains goes
straight to heaven when we 'cannot find anything wrong'. . . we
literally are stunned, left suspended transported to a place where there
are no criticisms . . . .




-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of John
Hesselberth
Sent: Thursday, August 11, 2005 9:09 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: Re: glaze as touch

On Aug 11, 2005, at 8:30 AM, mel jacobson wrote:

> i would like for potters to respond/
>
> do we get attracted to a glaze for...what reason?

Hi Mel,

For me it is some undefined combination of look and feel. For look I
lean toward glazes that have depth and variegation. For feel it depends
on the piece. While I like the feel of high calcium or magnesia
semimattes and mattes for things like vases and the outside of
cups/mugs, I want the smoothest glossy glaze I can find on the rim of a
mug or cup that touches my lips. It took me a while to really figure
this out--I found myself continually looking for one particular mug for
my morning coffee and got to wondering why I had drifted so strongly
toward that one. It has just the right combination of a glossy rim and
a semimatte outer surface.

Regards,

John
John Hesselberth
http://www.frogpondpottery.com
http://www.masteringglazes.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.

John Post on thu 11 aug 05

I have been thinking about glaze feel in relation to pots that I see in
magazines that are the wood fired-crusty-ash-laden type. While I am
fascinated by their visual texture, I hardly ever buy them when I have
the chance. They seem too abrasive, dry and scratchy. Of course these
pots photograph great, they have so much happening on them that they
just shine for the camera.

The pots that I purchase and end up using the most have glazes that feel
good to touch. I too like the magnesium matte glazes, the calcium matte
glazes and the barium mattes.

I have been doing some Ian Currie style glaze tests and have noticed
that it does not take much clay or flint to push a glaze into having an
entirely different feel. If you run your finger over the 35 different
glazes on one of the test tiles you can feel the glazes change. The way
the glazes look from square to square does not change as rapidly as how
they feel. You can really feel a range of textures on the grid of 35
glazes. I usually end up gravitating toward the glazes that have the
best feel when I choose which glazes to explore further after the
initial grid test.

I purchased some tea bowls recently at the Chris Agustin show at Pewabic
Pottery in Detroit. All 3 were wood fired, but they were glazed. One
was a shino and the other two had this thick white pearly glaze on
them. They all feel great in your hands. I know that I was attracted
to their surface quality...I might not even give these tea bowls a
second look in a photo, but man do they feel great.

I think that the way a pot feels is often times the deciding factor in
whether or not I buy it. I have been seduced by the flashy looking
visually textured pots, but they don't seem to make it into my hands as
much as the softer, subtler, silky, textured ones.


John Post
Sterling Heights, Michigan

Linda Ferzoco on thu 11 aug 05

On Thu, 11 Aug 2005 07:30:37 -0500, mel jacobson wrote:

>i would like for potters to respond/
>
>do we get attracted to a glaze for...what reason?

Speaking as more of a ceramics consumer than creator, I don't think I have
EVER purchased a piece without having caressed it first. That touch is
critical to me. However, it's the glaze color and appearance that get me to
pick up the piece in the first place.

I don't like shine particularly and the glaze must be interesting. Hare's
fur gets me going for sure. Layered, mixed up glazes make me drool. And
I'm a sucker for texture too.

Linda
CA

Craig Clark on thu 11 aug 05

mel jacobson wrote:

> i would like for potters to respond/
>
> do we get attracted to a glaze for...what reason?

Mel, for me the attraction to a pot/piece is a combo of the glaze
and the form. When I pick up the pot I want to feel a nice balance in my
hand. The glaze and the form are something that work in concert with
each other. I want one to complement the other.
The glazes that attract me the most are pretty much dependent upon
the application. As John Hesselbreath mentioned, if the glaze is on the
lip of a coffe cup then I don't want any texture. Just a nice smooth
feel. From a visual perspective I'm primarily drawn toward what folks
want to describe as earth tones that have a lot of action in them and
the occassional burst of color. I tend to avoid those pots that have
been clad in pastel tones or which do not have much variation. In a
nutshell I'm probably after a visual type of varigation with a subtle
sort of reflective surface quality.
In the case of glazes that are used on sculptural forms I tend
toward those which are used minimally more as a highlight to the form.
I'm drawn toward subtle washes, stains and the end process of the fire
itself.
Craig Dunn Clark
619 East 11 1/2 st
Houston, Texas 77008
(713)861-2083
mudman@hal-pc.org

Bruce Girrell on thu 11 aug 05

Dawn Christensen wrote:

> Only another artist would think to let another touch his or her pots.

When we were doing the show circuit, I would encourage people, including
children, to handle our pots. Parents were often aghast that I would let the
kids even touch such fragile looking things, let alone handle them. I
thought that some of the adults would pee their pants when I handed a pot to
their child.

Bruce "kinda got a kick out of that" Girrell

By the way, the only thing that I did was to show the kids how to properly
pick up (from the bottom) and hold (always two hands) a pot. Not once did a
child ever drop a pot.

Susan Giddings on thu 11 aug 05

Interesting thoughts...

I do a lot of demos and always I encourage people to touch. To me, demo pots
are made for an audience and they should touch. I can always tell fellow
potters. Surprise quickly gives way to the yearning and familiarity for
clay. You can see it in their eyes. And finished work, glazed pots are (or
should be) the same. Eye candy. And of course the feel of it is so
important.

I love satin glazes. I don't know really if they are semi-matte or
semi-gloss, but they talk to me and invite the touch. They are enchanting.
I love the soft sheen of them. I love the smooth feel they have. Oh yes, I
like glossy glazes and the way light plays off them. The very smooth and
slick feel of them. I like matte's just as well. They feel dull - not in a
bad way, sort of more like a quiet, well modulated voice. Unremarkable
maybe, but getting the job done. Effective. I can usually easily control my
hands and keep from touching. But a satin takes every ounce of self control
I can muster when encountered in a museum. Like porcelain, they whisper to
me - and I want to be sure to not miss a word. They look like what clay
feels like when it's being thrown. I think that's the quality that appeals
to me. I can imagine the piece in my hands on the wheel. These glazes are
special: sexy, but also demure. Just like clay.

For me, satin glazes surpass just about everything. They call out to be
touched. And once held, they touch someplace very deep and special within
you.

-------------------------------------------------
Susan Giddings
Bloomfield, Connecticut; New England
North East Coast; USA

"There are painters who transform the sun into a yellow spot, but there are
others who, thanks to their art and intelligence, transform a yellow spot
into the sun." - Pablo Picasso





-----Original Message-----
From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG]On Behalf Of mel jacobson
Sent: Thursday, August 11, 2005 8:31 AM
To: CLAYART@LSV.CERAMICS.ORG
Subject: glaze as touch


i would like for potters to respond/

do we get attracted to a glaze for...what reason?

i know without question that the dolomite/semi matt glazes
feel just right in my hands. i love unloading the kiln...just
touching them.

there are glazes i cannot stand, and it almost always has
to do with their feel.

colors can be adjusted, surface can be disturbed with color,
but if the pot feels terrible in your hands...can you reject it?

the volcanic ash glaze that i used at hopkins high...did not
feel very good. it worked for kids...we could manipulate it...
but it felt like cellophane. it seemed thin.

hank murrow has a velvet shino that is almost sinful.

anyway.
the rhodes32 glaze felt just right to me.
still does.

or, as a young potter told me one day.
`you use old time glazes`.
of course his only direction was `shine, and color.`
he wanted to scream at people.

it was the reason that joe and i made sure potters could
touch the iron saga pots at amoca.....as potters mostly see pots with
their hands. (it was amazing how many folks were just thrilled that they
could hold, touch and carry around those pots...the ott light really was
a great touch...just like putting the pots in the sun.)

it is the greatest frustration in museums...you want to break the glass.
mel
from mel/minnetonka.mn.usa
website: http://www.pclink.com/melpots
http://home.comcast.net/~figglywig/clayart.htm
for gail's year book.

____________________________________________________________________________
__
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.

Ann Brink on thu 11 aug 05

Yes, I love the feel of a satin glaze, and the ones that have what I call
"micro orange-peel" which I think happens when the liquid glaze cools rather
quickly and the tiny wrinkles are captured in place.

But I also have a fondness for the unglazed smooth exteriors of bowls or
pots when they had a fluxing wash of some kind, then have been lightly
sanded to take off the burrs. Those are the ones I seem to feel with my
bones, not just my palms.

Ann Brink in Lompoc CA

Kathy Forer on thu 11 aug 05

On Aug 11, 2005, at 11:13 AM, Craig Clark wrote:

> In the case of glazes that are used on sculptural forms I tend
> toward those which are used minimally more as a highlight to the form.
> I'm drawn toward subtle washes, stains and the end process of the fire
> itself.

Glazes can sometimes feel like a glass skin or glove, something
between the viewer/holder and the piece.

Glaze "fit," that I hear talked about here, may be what allows a
glaze to be part of the clay. Also high fire seems to integrate
glazes more with the clay. I love the look/feel of eggshell
porcelain, certain raised or incised, painted or decorated ware and
the pure iron glazes I saw of Mel's at NCECA and also pure white
ironstone, Celadon and Oxblood.

I always want to break into the Chinese glaze cabinets at the
Metropolitan Museum, (and their recent show of Korean ceramics was
stunning, among others), but many glazes leave me feeling put off,
they seem more an unctuous fatty barrier than an integrated surface.
Perhaps conversely, I also crave feeling an oil spot or well-fitting
crystalline glaze.

Kathy

--
Kathy Forer
www.foreverink.com

Liz Willoughby on thu 11 aug 05

Good topic Mel,
John H. made such a good point about the mug, smooth glaze for the
lip, and semi-matt for the hand. Those of us that make mostly pots
for use, know that if the inside of work is glazed with a shiny glaze
it is helpful for cleaning and the sound of metal on a matt surface
is enough to put you off using that pot.

When I look at a pot, my first reaction is for the form, my second is
for the surface treatment, including the glaze. There are many
glazes that I want to touch, that I see in books or magazines, and
they are usually semi-matt or satin surfaces, or really fat glazes,
like Hank's shino. Shiny glazes, the carbon trap shinos, or the
tenmokus that break rust on the edges, affect me in another way. It
is like my eyes can't get enough of looking at them, and then I want
to touch them.

I love what Susan says about satin glazes. I think that we are drawn
to touch these pots with satin glazes because they are the closest
thing thing to our skin. They feel sensuous, inviting, and warm.

Pots I want to touch, but can not:

a Japanese bowl with a peach blossom glaze in the V & A, what drew me
to the pot, is not whether it was shiny, semi-matt, or matt, but the
incredible colors, peach, gold, white, rose, and the depth of color.

a pot by Katherine Pleydell-Bouverie, soft eggshell satin matt, with
large crackle.

These are a couple of pots that are stuck in my head, because of the
quality of the glaze surface.

A lot of pots that I lust after to touch, are made with the old
Cornish Stone. They often remind me of that soft stone/granite look.

Susan Giddings says:
>
>For me, satin glazes surpass just about everything. They call out to be
>touched. And once held, they touch someplace very deep and special within
>you.

Meticky Liz from Grafton, Ontario, Canada

cooler today, after a nice rain, however the squirrel is in trouble,
knocked down one of my bird feeders, it is toast (the bird feeder,
not the squirrel)!

Rick Bonomo on fri 12 aug 05

Mel wrote:
Subject: glaze as touch
i would like for potters to respond/
do we get attracted to a glaze for...what reason?

I have always held that form is primary, and glaze secondary.
A bad form cannot be "saved" by a great glaze.
But a great form can survive a mediocre glaze

But many decorative, artsy plates have little to do with form or feel, =
just look
Eg. =
http://ricks-bricks.com/images/RK%20Jerry%20Caplan%20Smoked%20Plate12.5.j=
pg

That said, we potters are touchy feely types, so it only makes sense =
that we would be seduced by the sensation of touching a glaze. There =
are pots in my collection that I wish I knew how to reproduce, they feel =
like an eggshell/soft.

Rhodes 32 in oxidation has it, Tony Hansen's silky matt has it, =
burnished raw clay has it

Rick Bonomo
http://ricks-bricks.com/pottery.htm

pottery_gmail on fri 12 aug 05

I too love the feel of some glazes, and am not so fond of others. But what
makes me want to pick up the piece in the first place? It's not the feel. I
have seldom felt the need to pick up a piece of pottery that isn't glazed. I
personally don't like unglazed pots. It's the look of the glaze that makes
me want to pick it up and feel it.
Peace
Johnny Horner
http://www.pawpawspottery.freeservers.com

----- Original Message -----
From: "Automatic digest processor"
To: "Recipients of CLAYART digests"
Sent: Friday, August 12, 2005 12:00 AM
Subject: CLAYART Digest - 10 Aug 2005 to 11 Aug 2005 (#2005-219)


> There are 103 messages totalling 4117 lines in this issue.
>
> Topics of the day:
>
> 1. This is fun & Pricing
> 2. Japanese & Korean pots (2)
> 3. rhodes 32
> 4. A shivering question (5)
> 5. As long as we are doing short life stories.....
> 6. Eric Potter, Potter in Iowa
> 7. recycled clay and elasticity
> 8. re new york, brooklyn potters
> 9. Thanks
> 10. price stickers (5)
> 11. Raku kiln (5)
> 12. glaze as touch (15)
> 13. shivering: doing the math (2)
> 14. Scared about food safe (5)
> 15. As long as we are doing short life stories../Karen... (2)
> 16. cedar heights clay (2)
> 17. subject; cone 10 porcelain casting slip (2)
> 18. Kevin Crowe workshop
> 19. Tom Coleman Workshop in Las Vegas (2)
> 20. OT: Crazy laws
> 21. Kyushu Pottery in Gourmet Magazine (3)
> 22. Phil Rogers Workshop
> 23. Dolita does Denver (2)
> 24. Converting a machine into a spray booth (2)
> 25. Idle worship-- an allergy-season rant
> 26. workshops in the east?
> 27. Misspelled tiles in California (2)
> 28. Eye safety, viewing cones (5)
> 29. ones' propencity to touch
> 30. Fw: Nikon
> 31. Glaze as Touch
> 32. Free storage for your digital photos/share pics with friends and
family
> (3)
> 33. scary silica figures (3)
> 34. Kevin Crowe Workshop
> 35. VENTING/RHODES32v (2)
> 36. Slow Cooling or lack of silica
> 37. cone 10 porcelain casting slip
> 38. vent drawing (2)
> 39. Getting virus emails from other clayart members (3)
> 40. Glaze as touch..Rose Cabat
> 41. Alabama Clay Conference Organizers?
> 42. misc: Touch; low silica;
> 43. Paranoid about food safe
> 44. Straight goods, no con.
> 45. Karen.../Spanish Potters
> 46. DIY Instructions for Clayart FlickR
> 47. Mel's Pots
> 48. chimney for kiln, spraybooth and gas heat venting?
> 49. Dolita did Denver
> 50. vent system
>
>
____________________________________________________________________________
__
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
> ----------------------------------------------------------------------
>
> Date: Wed, 10 Aug 2005 22:28:14 -0400
> From: "m.mshelomi"
> Subject: Re: This is fun & Pricing
>
> "Only $51 -- a trivial sum compared to the millions spent on =
> asparagus."http://www.kleinbottle.com/top_mouth_erlen_klein.htm
>
> I knew that I was doing something wrong last time I priced my pots... =
> Then, as I read all of the posts about the cost of fuel, decided that I =
> should make a sign comparing the price of a gallon of gas and the mpg of =
> most cars to the price of a piece of pottery and it's life of forever =
> (unless you drop it).
>
> pottermim
>
> ------------------------------
>
> Date: Wed, 10 Aug 2005 00:50:54 -0500
> From: dannon rhudy
> Subject: Re: Japanese & Korean pots
>
> Morgan Pitelka's explication of the Japan/Korean
> conflicts is extremely interesting and informative.
> I particularly find his suggestion that "tea bowls/
> tea" were only a footnote in this most damaging
> war to be pertinent.
>
> It is always helpful to have someone with in-depth
> knowlege share with the list.
>
> Thank you, Morgan. You give a lot to this
> list in terms of information - and you ain't even
> a potter!!
>
> regards
>
> Dannon Rhudy
>
> ------------------------------
>
> Date: Wed, 10 Aug 2005 23:22:29 -0500
> From: Ron Roy
> Subject: Re: rhodes 32
>
> I find myself in agreement with both Earl and David - what they are saying
> is worth paying attention to.
>
> I do think that Mel should say he uses a variation of Rhodes 32 - not bad
> to simply say Mels Variation of Rhodes 32 - and give the recipe or at
least
> how it has been adjusted.
>
> I also think David means a clay matte - I have never seen one that does
> not craze but have not tried to make one with spodumene yet. A magnesia
> Matte is a different ball game - in which you can have enough silica and
> alumina. In fact - because magnesium has such a low expansion - care must
> be taken to make sure the expansion is not too low.
>
>
> >Earl is confused about all the variations of "Rhodes 32".
> >Here is your first mistake, Earl:
> >
> >> New potter comes along and see that his hero, Mel, uses
> >> Rhodes 32, so he will too.
> >
> >Of course, if you are just fooling around, go ahead and find
> >glazes that sound good, mix them up, and use them. The right
> >thing to do, of course, if you are serious about having good
> >glazes, is to learn glaze calculation and limit formulas, and
> >always [Always] run any glaze recipe through the program
> >before you decide to use it. With experience, you will know
> >just by looking at the numbers if it will craze on your
> >claybody, before your kiln is even turned on.
> >
> >Your second mistake is:
> >
> >> Finds Rhodes book, looks for
> >> recepie 32 and makes up 20 gallons for his casseroles.
> >
> >Twenty gallons?! Of a glaze you have never used before? For
> >me, 1000 grams (less than half a gallon) is a good test-batch
> >size. For anyone smaller than a factory with 10 employees, 20
> >gallons of glaze for a first test is way, way too big a batch.
> >
> >With my claybody, I think it is impossible to add enough silica to
> >"Rhodes 32" to stop it from crazing, without substantially changing
> >the character of the glaze. I have yet to find a true magnesia matt
> >glaze that does not, on close examination, exhibit crazing.
> >I still use Rhodes 32 because I like the look of it, but I know
> >what I will be getting.
> >
> >David Hendley
> >I don't know nothin' but the blues, cobalt that is.
> >david@farmpots.com
> >http://www.farmpots.com
> >
> >
> >
> >----- Original Message -----
> >> Mel uses Rhodes 32.
> >> But, Oops, Rhodes 32 is short of Silica.
> >> No, Mel adds silica per David Shaner, he's OK.
> >>
> >> New potter comes along and see that his hero, Mel, uses
> >> Rhodes 32, so he will too. Finds Rhodes book, looks for
> >> recepie 32 and makes up 20 gallons for his casseroles. A
> >> bunch of casseroles hit the market with less than the best
> >> of a glaze.
> >>
> >> Is Mel's glaze still Rhodes 32 ?
> >> In this case wouldn't it make sense to rename the glaze to
> >> something else? Why not call it Shaner 32, or Mel's 32 ?
> >
>
>___________________________________________________________________________
___
> >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: Wed, 10 Aug 2005 20:45:42 -0700
> From: Craig Martell
> Subject: Re: A shivering question
>
> Lili was asking:
> >So. If a glaze has a low c.o.e, and if it does not shiver peel etc on a
> >given body, what is the need to "fix" it. I have some pots with a glaze
on
> >it that has a c.o.e of 61 and has been on those pots for 20 some years,
no
> >problem at all.
>
> Hello Lili:
>
> Calculated expansions are just guidelines and tell you which way you are
> moving with regard to more or less expansion in a fired glaze. My feeling
> is that they almost never tell what the "actual" coefficient of expansion
> is. If you want the straight poop on that, you'll need to have a test run
> with a dilatometer. Spendy, so use the money for coffee and pie.
>
> Calculated expansions relate to bright, fully fused glazes with no crystal
> development. When there is crystal development in a glaze, the expansion
> goes up. Also, the analyses that your computer uses to calculate the COE
> may not be the same as the raw materials you are actually using in the
> glazes. Crazing and shivering also relate to the clay that the glazes are
> applied to. Different clays have different COEs too. Your glazes are
> perfectly ok on the clay you've used but they could shiver on other
claybodies.
>
> If your low COE glazes are ok for 20 years they will probably be fine
until
> hell freezes over and you don't need to fix them. But the low COE values
> tell you to be vigilant about using them on other clays.
>
> regards, Craig Martell Hopewell, Oregon
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 00:05:30 -0400
> From: Karen Latorre
> Subject: Re: As long as we are doing short life stories.....
>
> As I'm new to the group, I'll share a bit of how I got pulled into clay.
> More than 2 paragraphs, sorry, but mostly light reading!
>
> I'm a mechanical engineer working in the telecommunications field. While
> still living in Toronto, I took a couple of night school classes in
> handbuilding, along with my Mom, before life got in the way (planning a
> wedding, changing jobs, and buying a first home all in one year). Well,
the
> marriage lasted 6 ½ months, the new job has been more successful (15 years
> and counting), and the house was mine (after being ours) for 4 years until
I
> was forced to leave Toronto due to "rightsizing" at work. I moved to a
> country setting north of Belleville, 2 hours east of Toronto, as part of a
> company relocation.
>
> 2 years prior to moving, I travelled with my sister to Spain to visit
> family. My uncle took us to a town north of Barcelona where the entire
town
> is focused on pottery (don't recall the name, but it was near Pals). I
just
> about filled the trunk of the car with my purchases . the entire time my
> uncle continued to ask me just how I was planning on taking all of this
back
> with me! Well, I managed to pack all those pots (one rather large plate
> too!) into my 2 suitcases and carry on. The morning I left Spain, as my
> uncles went to lift the larger suitcase onto the scale at the checkin
> counter (yes, it took both of them to lift that sucker) it converted
itself
> from a rectangle to an A frame. One of my uncles was laughing so hard he
had
> to leave the area to regain his composure. I was already demonstrating
> significant symptoms of the clay bug!
>
> Once moved to Belleville (1994), I found a wheel throwing night class
taught
> at the local college, and so began my journey. Got my first kiln (a 2
cubic
> foot industrial L&L) along with a "bunch of powders" when a business
> associate of my sister indicated he was interested in clearing out this
> pottery stuff from his wood working studio. As he wouldn't sell me the
wheel
> since it was so "primitive and in bad shape", I offered to take it to the
> dump for him . I did after all have a pick up truck with me and could fit
it
> in. Needless to say, that wheel ended up in my studio and continues to
suit
> my needs 8 years later.
>
> My Dad and I worked for a whole year converting an old 2 stall horse barn
> into what is now my pottery studio. It's outfitted with a large wood stove
> that a coworker wanted to get out of his basement, and a long insulated
> closet with a space heater where I store my glazes over the winter. I got
my
> second kiln, a 7 cubic foot ConeArt, when a local ceramics shop was
closing
> down. Sold it to me cheap because it had to be fully rewired and the top
2/3
> rebricked (again, a few staples and a small propane torch got the elements
> back to where they are supposed to be and I haven't had to rewire yet
either
> (a good 100 or so firings in that beast)).
>
> I've taken a number of classes and workshops at Loyalist college, at the
> nearby Haliburton School of the Arts, and at weekend guild workshops, but
my
> "formative years" were all with Peta Hall. Her favorite saying to me was
> "you're SUCH an engineer" as my work was always very structured and
> symmetrical. The glassblowing I've done since '97 has introduced a more
> organic element into my pottery (and an attempt at a more stuctured form
in
> my glass), and I continue to explore new glazing and firing processes, and
> building and throwing techniques, but my real love continues to be glaze
> technology.
>
> So, 5 paragraphs, but now you know a little about what's gotten me to this
> point in my clay career. My next steps . a small gas kiln, but that's a
> chapter for the future.
>
> Karen Latorre (yet another Canuck)
> www.karenlatorre.com (last updated August 10, 2005)
> just north of Belleville, Ontario
>
> _________________________________________________________________
> Don't just Search. Find! http://search.sympatico.msn.ca/default.aspx The
new
> MSN Search! Check it out!
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 00:30:55 -0500
> From: Ron Roy
> Subject: Re: A shivering question
>
> Hi Lili,
>
> It's good to know the relative expansion of glazes - so you know which
ones
> to keep an eye on.
>
> We tend to think the clays we use today are the same as those we will use
> next year - well some times they are - but sometimes they have changed or
> we have changed our firings.
>
> Chapter 5 in our book goes into great detail about this - that - combined
> with the set of fit testing glazes will provide all the info necessary for
> cone 6 - and I use the same criteria for cone 10 porcelain for instance.
>
> The ideal number for the clays I use is 71 for instance but that is
> misleading - I know the expansion rates of the clays I use. A glaze with a
> calculated expansion of 71 can easily crack a clay that has enough
> cristobalite in it.
>
> Put the glaze on a cylinder - thrown or slab - big mug size - keep the
clay
> about 1/4 inches thick - glaze the inside and fire it - if it's not
cracked
> then - freeze it for 24 hours - if it's still not cracked - put it in a
> sink, still frozen and pour in boiling water.
>
> If it survives that you can sleep well - knowing your customers will
> probably not stress it more - unless they apply direct intense, uneven
> heat.
>
> RR
>
> >I just added some glazes to my GlazeMaster list and find that some have a
> >low co-efficient of expansion. As I recall RonJohn speak of around 75.
> >
> >Meanwhile I was reading Michael Bailey and he points out that while
crazing
> >can show up pretty slowly, shivering and peeling show up within a few
days
> >of firing.
> >
> >So. If a glaze has a low c.o.e, and if it does not shiver peel etc on a
> >given body, what is the need to "fix" it. I have some pots with a glaze
on
> >it that has a c.o.e of 61 and has been on those pots for 20 some years,
no
> >problem at all.. Silica is 2.4 . It is a stable agreeable glaze.
> >
> >
> >Lili Krakowski
> >
> >Be of good courage
>
> Ron Roy
> RR#4
> 15084 Little Lake Road
> Brighton, Ontario
> Canada
> K0K 1H0
> Phone: 613-475-9544
> Fax: 613-475-3513
>
> ------------------------------
>
> Date: Wed, 10 Aug 2005 23:21:01 -0500
> From: MudPuppy
> Subject: Eric Potter, Potter in Iowa
>
> Wondering if anyone knows a a potter in Perry Iowa named Eirc Peterson.
> I was in Des Moines this week (to see the Reverend Horton Heat) and =
> visited the Des Moines Art Center. My husband bought me a lovely =
> espresso set - thrown cup and saucer, by this potter. I was hoping to be =
> able to email him to tell him how much I like the piece and ask a couple =
> questions about him as a potter and als about the lovely glaze on the =
> set.
> Looks like a fat celedon to my untrained eye.
>
> Anyway, I thought someone may know him and point me in the right =
> direction.
> Thanks!
> Cathi Newlin
> MudPuppy@box49.com
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
> FAYEvision! live, nude boxers
> http://www.FAYEvision.com
> ____________________
> My Art
> http://c-newlin.deviantart.com/
> My Alter Ego
> http://www.myspace.com/MrsSlappy
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 00:31:15 -0400
> From: Alyssa Ettinger
> Subject: Re: recycled clay and elasticity
>
> liz, your method has been working exceptionally well. i'm not even halfway
> through a new 25 lb bag of clay and i've doubled its size by mixing it,
> about half and half, with the recycled stuff.
>
> THANK YOU for the great tip. --alyssa
>
> www.alyssaettinger.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 04:52:56 GMT
> From: Barbara Brown
> Subject: re new york, brooklyn potters
>
> Hi mel,
> I was a very lucky lady yesterday. I got to hold 2 of Joseph Grenbanier'=
> s beautiful pots in my hands.
> I went on the LA Clay Trip organized by Abby O'Connell, founder and owner=
> of Mother Earth Clay Art Center, Sunnyvale, Ca. The group consisted of =
> Abby, clay artist, Jill Getzan and myself. We flew to Ontario, Ca Monday=
> morn, rented a car, drove to Laguna Clay Company and were given a tour b=
> y Joe Koons, Paul Lerma and met vice pres/general manager, Jim Kassebaum.=
> We stayed at Diamond Bar Holiday Inn Select. =20
> Tues morning we went to American Museum of Ceramic Art in Pomona and were=
> given a wonderful tour of the show "Laying Foundation" American Art Til=
> e by Christy Johnson, museum director.
> This show will be part of the Potter's Council Tile Workshop Oct 6-9.
> We were joined at the museum by David Armstrong, founder of AMOCA and Joe=
> Koons. We then went to David's gallery "Armstrongs" where we saw many f=
> amous ceramic artists work for sale.
> The crate with Joseph Grenbanier's pottery and papers had arrived but was=
> unopened but David had 2 of Joseph's vases there and he let us look at t=
> hem and hold them. They are beautiful and I can't wait to see a show of =
> them someday.
> We then drove to Xiem Clay Center, Pasadena. This is a gallery, retail c=
> eramic store and workshop for students who buy memberships much like Moth=
> er Earth Clay Art Center in Sunnyvale. We met the founder, Kevin Xiem Ng=
> uyen and had a tour. He and Abby had much to share with each other.
> We then drove to Scripps College, Claremont to see the famous ceramic col=
> lection owned by the college and donated by collector, Fred Marer.
> We were given a wonderful tour of the collection and were allowed to tou=
> ch pieces by the curator, Kirk Delman. Kirk also told us that you (mel) =
> was able to help him date some of the Hamada and Kawai pieces in the coll=
> ection.
> Back to the airport and home early Tues evening. Great time was had by a=
> ll.
> Barbara
>
> Barbara Brown
> 1225 Manzano Way
> Sunnyvale, Ca 94089
> 408-736-3889
> bbrown3@webtv.net
> www.silverhawk.com/crafts/bbrown97
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 05:46:36 -0400
> From: Christina Piccuta
> Subject: Thanks
>
> I can't believe that people actually took the time to post advice in
> response to my questions about how to use a kiln. I am so grateful. The
> advice was so very useful and, in some cases, extremely detailed. It
really
> reinforces my belief that there are many good people out there who are
kind
> to strangers without expecting anything in return.
> I will heed everyone's advice about getting someone with experience to
show
> me the basics.
> Many, many thanks.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 11:10:55 +0100
> From: David Hewitt
> Subject: Re: A shivering question
>
> Lili,
>
> Whether or not a glaze crazes or shivers depends on the expansion of the
> clay body as well as the glaze. This can well explain the different
> figures you quote. You can see more of what I mean by looking at my
> website and going on to Pottery Techniques / Calculating Crazing. This
> is also one of the articles on this subject that Mike Bailey and I have
> written on this subject and which have been published in Ceramic Review.
> A more recent article of ours, 'Glaze Fit on Porcelain', appeared in
> Ceramic Review Issue 214 in July/August this year, and this may also be
> of interest to you if you have not already seen it.
>
> http://www.dhpot.demon.co.uk
>
> David
>
> In message , Lili Krakowski writes
> >I just added some glazes to my GlazeMaster list and find that some have a
> >low co-efficient of expansion. As I recall RonJohn speak of around 75.
> >
> >Meanwhile I was reading Michael Bailey and he points out that while
crazing
> >can show up pretty slowly, shivering and peeling show up within a few
days
> >of firing.
> >
> >So. If a glaze has a low c.o.e, and if it does not shiver peel etc on a
> >given body, what is the need to "fix" it. I have some pots with a glaze
on
> >it that has a c.o.e of 61 and has been on those pots for 20 some years,
no
> >problem at all.. Silica is 2.4 . It is a stable agreeable glaze.
> >
> >
> >Lili Krakowski
> >
> >Be of good courage
>
> --
> David Hewitt
>
> Web:- http://www.dhpot.demon.co.uk
>
> ------------------------------
>
> Date: Wed, 10 Aug 2005 21:50:37 -0400
> From: Linda Schwartz
> Subject: price stickers
>
> Can anyone suggest a type or brand of sticker, used to price a piece, that
> will not fall off the bottom ?
>
> ------------------------------
>
> Date: Wed, 10 Aug 2005 22:52:03 -0400
> From: John Hesselberth
> Subject: Re: A shivering question
>
> On Aug 10, 2005, at 8:53 PM, Lili Krakowski wrote:
>
> > So. If a glaze has a low c.o.e, and if it does not shiver peel etc on
> > a
> > given body, what is the need to "fix" it. I have some pots with a
> > glaze on
> > it that has a c.o.e of 61 and has been on those pots for 20 some
> > years, no
> > problem at all.. Silica is 2.4 . It is a stable agreeable glaze.
>
> Hi Lili,
>
> No need at all to 'fix' it if it fits that body. I find that COEs more
> around 68-70 fit 'typical' cone 6 bodies. 75 will often craze,
> particularly on porcelains. But the point of COE calculations is to
> find what fits your body. Then as you develop new glazes you can be
> more aware of what might work and what might cause problems.
>
> It is also important to note that we don't include colorants in COE
> calculations--we usually just don't have enough knowledge to do so,
> although we do for iron oxide. For example if you had a fair amount of
> iron in your 61 glaze that would effectively raise the COE to a more
> normal number. For example, that is why Waxwing in MC6G works. Its base
> glaze has a calculated COE of 60 or 61 but it also has a lot of iron.
> If you include the iron in the calculation it comes up to 69. I
> wouldn't want to use that glaze as a base glaze without the
> iron--shivering/dunting would very likely result on my clay body and on
> most cone 6 bodies.
>
> Regards,
>
> John
> John Hesselberth
> http://www.frogpondpottery.com
> http://www.masteringglazes.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 01:26:51 -0400
> From: Joanne
> Subject: Raku kiln
>
> Looking for some advice on a new raku kiln. The one i use now is too
small
> but I don't feel competent enough to build my own so was thinking about
> splurging on something like a Laguna - i need something that's about 24"
in
> diameter & does not take a lot of muscle to lift. Anybody have yeahs or
> nays they'd like to share before i plunk down all this money?
>
> thanks -
> Joanne
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 07:30:37 -0500
> From: mel jacobson
> Subject: glaze as touch
>
> i would like for potters to respond/
>
> do we get attracted to a glaze for...what reason?
>
> i know without question that the dolomite/semi matt glazes
> feel just right in my hands. i love unloading the kiln...just
> touching them.
>
> there are glazes i cannot stand, and it almost always has
> to do with their feel.
>
> colors can be adjusted, surface can be disturbed with color,
> but if the pot feels terrible in your hands...can you reject it?
>
> the volcanic ash glaze that i used at hopkins high...did not
> feel very good. it worked for kids...we could manipulate it...
> but it felt like cellophane. it seemed thin.
>
> hank murrow has a velvet shino that is almost sinful.
>
> anyway.
> the rhodes32 glaze felt just right to me.
> still does.
>
> or, as a young potter told me one day.
> `you use old time glazes`.
> of course his only direction was `shine, and color.`
> he wanted to scream at people.
>
> it was the reason that joe and i made sure potters could
> touch the iron saga pots at amoca.....as potters mostly see pots with
> their hands. (it was amazing how many folks were just thrilled that they
> could hold, touch and carry around those pots...the ott light really was
> a great touch...just like putting the pots in the sun.)
>
> it is the greatest frustration in museums...you want to break the glass.
> mel
> from mel/minnetonka.mn.usa
> website: http://www.pclink.com/melpots
> http://home.comcast.net/~figglywig/clayart.htm
> for gail's year book.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 08:19:38 -0400
> From: Jennifer Boyer
> Subject: Re: price stickers
>
> Oh dear,
> I feel a mild rant coming on....
> Basically the Avery stickers you find in office supply stores work
> fine, although no sticker does all that well on an unglazed clay
> surface.
> BUT why put the stickers on the bottom? After 30 + years of selling
> pots(my own and those in the coop gallery i help run) I feel it's a big
> mistake to assume a customer wants to turn over a pot to find out how
> much it costs. There is a subtle disincentive to buy when you put any
> kind of roadblock in the way of information the customer needs. He/she
> should be able to see how much the pot is without having to handle it.
> There are plenty of galleries that don't encourage the handling of the
> merchandize...imagine the customer's dilemma:
> I want to know how much this pot is:
> Should I ask if I can pick it up?
> Do I really want to interrupt that busy clerk?
> Do I want to put down the other things I am carrying?
> Do I have to pay for it if I break it?
>
> Seems to me like the small aesthetic compromise you need to swallow in
> order to have a sticker showing is well worth it.....
>
> Jennifer, ready for the Vermont hot spell to be OVER!
>
> On Aug 10, 2005, at 9:50 PM, Linda Schwartz wrote:
>
> > Can anyone suggest a type or brand of sticker, used to price a piece,
> > that
> > will not fall off the bottom ?
> >
> > _______________________________________________________________________
> > _______
> > 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.
> >
> >
> ************************
> Jennifer Boyer
> Thistle Hill Pottery
> Montpelier, VT
>
> http://thistlehillpottery.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 08:57:18 -0400
> From: Lili Krakowski
> Subject: shivering: doing the math
>
> Thank you all for your replies, which, in essence, confirm my
intuition--or
> do I mean experience? I " grew up" on the teaching that you pack a
glaze
> with silica to curtail crazing. At the time (Mel, glaze
> calculation --pencil & paper style--was around before 1972!) coe was not
> figured in/out.
>
> I never put a glaze or clay body "on the market" at all unless it has
> survived in my kitchen for quite a time, delayed crazing being such a
beast.
> Make sure my glazes and bodies are happy together. In fact I think too
> many pots are launched without this type of testing, or why do I see so
many
> crazed pots in the stores?
>
> I also am amazed how many "given" glazes in my notebooks have such LOW
> silica. Weird indeed.
>
> Anyway. Thank you all. David: will check sites. Thanks.
>
>
> Lili Krakowski
>
> Be of good courage
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 08:42:32 -0400
> From: William & Susan Schran User
> Subject: Re: Scared about food safe
>
> On 8/9/05 2:21 PM, "Jonathan Nesbitt" wrote:
>
> > My question is that if the glaze is foodsafe, does that still
> > mean that my earthenware clay fired to 04, then 06 is foodsafe.
>
> A majority of earthenware remains porous, thus will not be food safe
unless
> covered with an uncrazed glaze.
>
> --
> William "Bill" Schran
> Fredericksburg, Virginia
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 06:45:01 -0600
> From: Marcia Selsor
> Subject: Re: glaze as touch
>
> On Aug 11, 2005, at 6:30 AM, mel jacobson wrote:
>
> > i would like for potters to respond/
> >
> > do we get attracted to a glaze for...what reason?
> >
> > i know without question that the dolomite/semi matt glazes
> > feel just right in my hands. i love unloading the kiln...just
> > touching them.
> >
> > there are glazes i cannot stand, and it almost always has
> > to do with their feel.
> snip
> Dear Mel,
> My favorite glazes are ones that make me rub them against my cheek.
> They are usually dolomite or barium semi matts.
> Here's a funny story:
> At the exhibition of contemporary Japanese (I think it was japanese
> and I'm embarrassed after the debate..) Ceramics show at the last
> Portland NCECA (1984?)
> there was a long (3-4') celedon glazed porcelain sculpture just as
> one entered the room. There was a guard standing mext to it. Every
> potter that entered the room touched that lucious semi matt celedon
> surface. BIG sign said "Do NOT touch". The guard repeated do not
> touch. Too late. Potters could not overcome their immediate response
> to that piece. It begged to be touched.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 06:53:03 -0600
> From: Marcia Selsor
> Subject: Re: As long as we are doing short life stories../Karen...
>
> On Aug 10, 2005, at 10:05 PM, Karen Latorre wrote:
>
> > As I=92m new to the group, I=92ll share a bit of how I got pulled into =
> =20
> > clay.
> > More than 2 paragraphs, sorry, but mostly light reading!
> > SNIP
> > 2 years prior to moving, I travelled with my sister to Spain to visit
> > family. My uncle took us to a town north of Barcelona where the =20
> > entire town
> > is focused on pottery (don=92t recall the name, but it was near =20
> > Pals). I just
> > about filled the trunk of the car with my purchases the entire time my
> > uncle continued to ask me just how I was planning on taking all of =20
> > this back
> > with me! Well, I managed to pack all those pots (one rather large =20
> > plate
> > too!) into my 2 suitcases and carry on. The morning I left Spain, =20
> > as my
> > uncles went to lift the larger suitcase onto the scale at the checkin
> > counter (yes, it took both of them to lift that sucker) it =20
> > converted itself
> > from a rectangle to an A frame. One of my uncles was laughing so =20
> > hard he had
> > to leave the area to regain his composure. I was already demonstrating
> > significant symptoms of the clay bug!
> snip
> Karen,
> I know what you mean about Spanish pots. I shipped 87 back from Spain =20=
>
> and had an exhibition of them with photos of potters, kilns, maps.
> The town you visited may have been Figueres. I went there and have =20
> pots from there. Very interesting shapes. Functional farm pots.
> no glaze.
> Marcia Selsor=
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 08:55:12 -0400
> From: William & Susan Schran User
> Subject: Re: Raku kiln
>
> On 8/11/05 1:26 AM, "Joanne" wrote:
>
> > Looking for some advice on a new raku kiln. The one i use now is too
small
> > but I don't feel competent enough to build my own so was thinking about
> > splurging on something like a Laguna - i need something that's about 24"
in
> > diameter & does not take a lot of muscle to lift.
>
> We got the Axner fiber lined raku kiln several years ago.The fiber is the
> soluble kind and is supposed to be less dangerous. The interior was
sprayed
> with ITC, but most of that came off the interior top after the first year.
>
> It's constructed of heavy expanded metal and can be easily lifted by two
> people, but is a bit heavy/bulky for one person. The top has no expanded
> metal, just fiber, so I cut out a piece of expanded metal and laid it on
top
> so we could preheat the pots.
>
> The flue is the only hole in the kiln, so we cut a 1" hole in the side for
> viewing the pots.
>
>
> --
> William "Bill" Schran
> Fredericksburg, Virginia
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 06:30:15 -0600
> From: Marcia Selsor
> Subject: Re: Raku kiln
>
> There was a good article in PMI about 5 years ago I think. It was
> very easy to do. I built two kilns from one roll of 2 inch fiber.
> One is smaller than the other. The larger of the two is about 26"
> inside diameter and the other is about 20". I use old kiln lids for a
> base and then some bricks for the base walls where the burner comes
> in. I built the two kilns for about $550 including my great tandem
> system of 2 burners hooked up to 3 tanks of gas. Mark Ward built them
> for me.
> I also sprayed the fiber with ITC which I spray on everything. The
> design from PMI uses hardware fabric 1/2 wire mesh. I take these
> kilns to workshops and fire lots of pieces with them. very efficient.
> Marcia Selsor
>
> On Aug 10, 2005, at 11:26 PM, Joanne wrote:
>
> > Looking for some advice on a new raku kiln. The one i use now is
> > too small
> > but I don't feel competent enough to build my own so was thinking
> > about
> > splurging on something like a Laguna - i need something that's
> > about 24" in
> > diameter & does not take a lot of muscle to lift. Anybody have
> > yeahs or
> > nays they'd like to share before i plunk down all this money?
> >
> > thanks -
> > Joanne
> >
> > ______________________________________________________________________
> > ________
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be reached at
> > melpots@pclink.com.
> >
> >
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 09:02:51 EDT
> From: Dawn Christensen
> Subject: Re: glaze as touch
>
> In a message dated 8/11/2005 5:34:45 AM Pacific Standard Time,
> melpots2@pclink.com writes:
>
> .....as potters mostly see pots with
> their hands.
>
>
> Ah, I agree Mel. I always want to touch it. But all my senses come into
> play first. The last or strongest and most impulsive sense is to touch.
I
> have to shove my hands in my pockets at Museums so I don't set off any
alarms.
> Only another artist would think to let another touch his or her pots.
Bless
> you for sharing the experience at Amaco with those iron saga pots . Dawn
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 09:08:56 -0400
> From: John Hesselberth
> Subject: Re: glaze as touch
>
> On Aug 11, 2005, at 8:30 AM, mel jacobson wrote:
>
> > i would like for potters to respond/
> >
> > do we get attracted to a glaze for...what reason?
>
> Hi Mel,
>
> For me it is some undefined combination of look and feel. For look I
> lean toward glazes that have depth and variegation. For feel it depends
> on the piece. While I like the feel of high calcium or magnesia
> semimattes and mattes for things like vases and the outside of
> cups/mugs, I want the smoothest glossy glaze I can find on the rim of a
> mug or cup that touches my lips. It took me a while to really figure
> this out--I found myself continually looking for one particular mug for
> my morning coffee and got to wondering why I had drifted so strongly
> toward that one. It has just the right combination of a glossy rim and
> a semimatte outer surface.
>
> Regards,
>
> John
> John Hesselberth
> http://www.frogpondpottery.com
> http://www.masteringglazes.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 08:18:33 -0500
> From: Snail Scott
> Subject: Re: cedar heights clay
>
> At 07:23 PM 8/10/2005 -0400, you wrote:
> >...Does anyone have a substitute suggestion for cedar heights
> >clay?
>
>
> Cedar Heights manufactures several clays.
> Which one did you want a sub for?
>
> -Snail
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 08:23:20 -0500
> From: Snail Scott
> Subject: Re: Scared about food safe
>
> At 08:42 AM 8/11/2005 -0400, Bill S wrote:
> >...earthenware remains porous, thus will not be food safe unless
> >covered with an uncrazed glaze.
>
>
> I will grant that earthenware has its drawbacks
> as tableware, but calling it 'not food safe'
> seems pretty extreme to me. Even if microbes are
> multiplying in the pores of the clay beneath
> the (inevitably crazed) glaze, I would think
> that relatively few of them will be able to
> contaminate the glaze surface.
>
> Earthenware is porous, and generally fragile,
> and prone to crazing, but I don't fear to eat
> off it.
>
> -Snail
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 09:31:29 EDT
> From: Scott Bennett
> Subject: subject; cone 10 porcelain casting slip
>
> Hey out there,
>
> Does anyone explore and possibly have a recipe they can share for a cone
10
> porcelain casting slip. I can't seem to find anything on the subject.
>
> Thanks,
>
> scottologist
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 09:35:18 -0400
> From: Rick Bonomo
> Subject: Kevin Crowe workshop
>
> Ladies and Gents
>
> I was asked by the folks at Touchstone to alert potential students to =
> the Kevin Crowe Workshop=20
>
> A TASTE FOR TEA--ART & CEREMONY=20
> Kevin Crowe
> September 9-11 , 2005
>
> http://www.touchstonecrafts.com/
>
>
> Kevin Crowe
> Kevin produces wood-fired, functional pottery in a three-chambered =
> hikarigama kiln at Tye River Pottery. He has taught courses and =
> workshops on wood kiln construction, firing, throwing large-scale work, =
> and tea ware throughout the nation. "My pots are functional, with strong =
> Japanese and English influences. Ranging in scale from 4" pots to 48" =
> vases, my pots are for heart and home". Kevin lives and works in Nelson =
> County, Va.=20
>
> Kevin Crowe
> Tye River Pottery
> Amherst, VA
> tyeriverpottery@aol.com
>
>
>
>
>
> Rick Bonomo
> www.ricks-bricks.com/pottery.htm
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 06:40:09 -0700
> From: marianne kuiper milks
> Subject: Re: glaze as touch
>
> Hi. I was gone, so am jumping in (prob wrong) w/o
> having read any other emailzes...The reason I decided
> (had) to do pottery is because it was the only thing
> (ok..there's my husband..) I could never keep my hands
> off . Marianne
>
> --- Dawn Christensen wrote:
>
> > In a message dated 8/11/2005 5:34:45 AM Pacific
> > Standard Time,
> > melpots2@pclink.com writes:
> >
> > .....as potters mostly see pots with
> > their hands.
> >
> >
> > I always want to touch it.
> > play first. The last or strongest and most
> > impulsive sense is to touch. I
> > have to shove my hands in my pockets at Museums so I
> > don't set off any alarms.
> > Dawn
> >
> >
>
____________________________________________________________________________
__
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or change
> > your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be
> > reached at melpots@pclink.com.
> >
>
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 09:51:23 -0400
> From: Bruce Girrell
> Subject: Re: glaze as touch
>
> mel wrote
>
> >i know without question that the dolomite/semi matt glazes
> >feel just right in my hands...
> >there are glazes i cannot stand, and it almost always has
> >to do with their feel.
>
> For quite some time we concentrated on horsehair decorated pots. These
pots
> are burnished and have no glaze. When you pick up the pot you touch the
clay
> itself. It feels warm and sensual. Your fingers seem to naturally glide
over
> the surface.
>
> When we started doing high fire glazed pots I was put off by the feel of
the
> glaze. It felt cold and sticky to me. As our glazes have evolved we have
> moved toward the semi-mattes and I am sure that part of that movement is
due
> to the feel of the glaze.
>
> Bruce "some sticky things can be good, but not pots" Girrell
>
> ------------------------------
>
> Date: Wed, 10 Aug 2005 11:36:16 -0500
> From: dannon rhudy
> Subject: Re: glaze as touch
>
> Touch is much of how potters judge glazes.
> It isn't all - but it is a lot.
>
> Of course matt glazes feel wonderful, and
> some feel more wonderful than others. Rhodes
> the way Mel uses it is elegant. Tin
> makes a different surface too, than zircopax,
> much more voluptuous. I also like the
> irregular surfaces of shino glazes. Some
> gloss glazes are delicious, but it is harder
> to achieve that wonderful touch. Except
> Ron Roy's Ol' Black Magic, maybe....
>
> I love the feel of some ash glazes - Richard
> Aerni's leap to mind, and Craig Martel's work.
> Perhaps the grand master of seductive glaze
> surfaces is Val Cushing. It would be a lifetime's
> work to learn what he knows about how to
> make a piece feel as beautiful as it looks.
>
> So - yep. Touch is a high percentage of what makes
> a piece attractive to me, now I think about it.
>
> regards
>
> Dannon Rhudy
>
> > do we get attracted to a glaze for...what reason?.........
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 06:47:48 -0700
> From: Earl Brunner
> Subject: Tom Coleman Workshop in Las Vegas
>
> September 24th and 25th Tom Coleman will present a two-day
>
> workshop for the Nevada Clay Guild at Green Valley High School,
>
> Henderson, Nevada. In these two days, Tom will demonstrate throwing
>
> several different forms, creating altered pieces, as well as throwing
>
> functional forms. He will assemble the pieces produced and discuss
>
> various ways of formulating porcelain clay bodies and slips.
>
> Throughout the two days of demonstrations, Tom will hold an
>
> on-going discussion of what's going on in the clay world. We'll learn
>
> some of the history of contemporary ceramics as well as the
>
> direction being taken in the 21st century. He is willing to cover most
>
> any subject that participants might bring up during the workshop.
>
>
>
> Friday evening, 7pm, slideshow; Sat. and Sunday, 9 -5, workshop.
>
> For samples of his work, go to http://www.tomandelainecoleman.com.
>
> $150 for two days for non-members,
>
> $130 for two days for members, and
>
> $75 for one day, if space is available.
>
>
>
> Contact Bobbye Sansing at 702-269-7690 or barbarasansing@yahoo.com for
> information, or to sign up.
>
>
>
> Earl Brunner
>
> Las Vegas, NV
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 09:48:47 -0400
> From: "L. P. Skeen"
> Subject: OT: Crazy laws
>
> Just a little fun for the chicken lovers among us.
>
> http://www.bleacheatingfreaks.com/files/News.8.2.5/pollo.mov
>
>
> L. P. Skeen, Summerfield NC
> http://www.living-tree.net
> Strongly in favor of the separation of Church and Hate.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 09:51:17 -0400
> From: Darin Gehrke
> Subject: Kyushu Pottery in Gourmet Magazine
>
> With all the talk of Korean vs. Japanese pottery lately, I thought I might
mention the August
> issue of Gourmet magazine. There is a very nice article about the pottery
of Kyushu (mainly
> Karatsu) and it's relationship with food. I thought it was very nice to
see this discussed
> somewhere other than Ceramics Monthly.
>
> Darin Gehrke
> NY, NY
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 10:11:44 -0400
> From: "Potter, Mark"
> Subject: Re: glaze as touch
>
> All,
>
> This is a topic I can't resist.
>
> What makes one attracted to any material .. . a beautiful piece of
> wood, a gorgeous stone, another person's skin . . .
>
> I think there is an element of transcendence here. . . a glaze must
> escape it's brittle liquid reality and become something else,
> undefineable, an unearthly reality almost.
>
> Russell said the appreciation of beauty is the suspension of all
> judgement. You see a gorgeous woman and you literally can find no
> faults, all the normally critical facilities that we use to identify and
> characterize are all short circuited, something in our brains goes
> straight to heaven when we 'cannot find anything wrong'. . . we
> literally are stunned, left suspended transported to a place where there
> are no criticisms . . . .
>
>
>
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of John
> Hesselberth
> Sent: Thursday, August 11, 2005 9:09 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: glaze as touch
>
> On Aug 11, 2005, at 8:30 AM, mel jacobson wrote:
>
> > i would like for potters to respond/
> >
> > do we get attracted to a glaze for...what reason?
>
> Hi Mel,
>
> For me it is some undefined combination of look and feel. For look I
> lean toward glazes that have depth and variegation. For feel it depends
> on the piece. While I like the feel of high calcium or magnesia
> semimattes and mattes for things like vases and the outside of
> cups/mugs, I want the smoothest glossy glaze I can find on the rim of a
> mug or cup that touches my lips. It took me a while to really figure
> this out--I found myself continually looking for one particular mug for
> my morning coffee and got to wondering why I had drifted so strongly
> toward that one. It has just the right combination of a glossy rim and
> a semimatte outer surface.
>
> Regards,
>
> John
> John Hesselberth
> http://www.frogpondpottery.com
> http://www.masteringglazes.com
>
> ________________________________________________________________________
> ______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 10:19:07 -0400
> From: claywomn
> Subject: Phil Rogers Workshop
>
> We will be putting on a weekend workshop with Phil Rogers. Anyone =
> wishing to attend please contact me off-list. Here is the information:
>
> What: Phil Rogers Workshop
>
> When: November 19 & 20
>
> Where: River Street Pottery
> Northeast Ceramic Supply
> 621 River Street
> Troy, New York 12180
>
> Contact Information: =20
>
> Barbara Reeley
> claywomn@aol.com
> 518-274-2722
>
> I'm posting this because Phil's computer went down and he had to find me =
> via Clayart - several people said they were interested in attending the =
> workshop.=20
>
> Barbara in Upstate NY
> Where Summer Has Been Hot & Sultry
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 09:52:06 -0400
> From: Jim Champion
> Subject: Dolita does Denver
>
> The world is not a fair place! Every time I turn around
> Dolita is attending a workshop or cruising the countryside
> checking all the pottery studios.
> Mean while I stuck behind a computer and even wearing a tie.
> The things you'll do to support a clay fix!
>
> Jim Champion
> Louisville, KY
> Landlocked by the edge of a bluegrass sea
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 10:19:15 -0400
> From: Linda Ferzoco
> Subject: Re: Converting a machine into a spray booth
>
> On Wed, 10 Aug 2005 08:54:45 -0500, Snail Scott
wrote:
>
> >At 08:15 PM 8/9/2005 -0400, you wrote:>
> >I thought this was a clean-air supply hood.
> >Wouldn't the stuff in the filter be the same
> >stuff you'd be breathing in the air anyway?
> >
> > -Snail
> >
>
> It sounded to me like a laminar flow hood used in laboratories. We'll
have
> to wait for the original poster to clarify that.
>
> I don't know about HVAC clean air supply hoods, although I'm aware that
> there are HEPA filters in the HVAC supply for certain room applications,
> called clean rooms.
>
> They used to be used for long, infection-prone surgeries until studies
> showed that the biggest source of contamination in an OR is the OR staff.
> Human beings shed kajillions of particulates per unit time and those
> particulates carry organisms as well as inert debris, you know, skin,
> dandruff, etc. That's why the OR staff is now suited up in sterile
> disposable clothing; protects the patient better.
> Simlar deal in the silicon chip industry, which is where the HEPA filters
> were first used.
>
> Linda
> CA
>
> On Wed, 10 Aug 2005 08:54:45 -0500, Snail Scott
wrote:
>
> >At 08:15 PM 8/9/2005 -0400, you wrote:
> >>If that laminar flow biohazard hood still has the HEPA filter in it,
please
> >>treat it as a potential biohazard itself. That hood and filter removed
all
> >>airborne particulates and organisms from the air for years. You have no
way
> >>to know what organisms may have been trapped on the filter...
> >
> >
> >I thought this was a clean-air supply hood.
> >Wouldn't the stuff in the filter be the same
> >stuff you'd be breathing in the air anyway?
> >
> > -Snail
> >
>
>___________________________________________________________________________
___
> >Send postings to clayart@lsv.ceramics.org
> >
> >You may look at the archives for the list or change your subscription
> >settings from http://www.ceramics.org/clayart/
> >
> >Moderator of the list is Mel Jacobson who may be reached at
melpots@pclink.com.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 10:50:59 -0400
> From: John Post
> Subject: Re: glaze as touch
>
> I have been thinking about glaze feel in relation to pots that I see in
> magazines that are the wood fired-crusty-ash-laden type. While I am
> fascinated by their visual texture, I hardly ever buy them when I have
> the chance. They seem too abrasive, dry and scratchy. Of course these
> pots photograph great, they have so much happening on them that they
> just shine for the camera.
>
> The pots that I purchase and end up using the most have glazes that feel
> good to touch. I too like the magnesium matte glazes, the calcium matte
> glazes and the barium mattes.
>
> I have been doing some Ian Currie style glaze tests and have noticed
> that it does not take much clay or flint to push a glaze into having an
> entirely different feel. If you run your finger over the 35 different
> glazes on one of the test tiles you can feel the glazes change. The way
> the glazes look from square to square does not change as rapidly as how
> they feel. You can really feel a range of textures on the grid of 35
> glazes. I usually end up gravitating toward the glazes that have the
> best feel when I choose which glazes to explore further after the
> initial grid test.
>
> I purchased some tea bowls recently at the Chris Agustin show at Pewabic
> Pottery in Detroit. All 3 were wood fired, but they were glazed. One
> was a shino and the other two had this thick white pearly glaze on
> them. They all feel great in your hands. I know that I was attracted
> to their surface quality...I might not even give these tea bowls a
> second look in a photo, but man do they feel great.
>
> I think that the way a pot feels is often times the deciding factor in
> whether or not I buy it. I have been seduced by the flashy looking
> visually textured pots, but they don't seem to make it into my hands as
> much as the softer, subtler, silky, textured ones.
>
>
> John Post
> Sterling Heights, Michigan
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 10:45:30 -0400
> From: Linda Ferzoco
> Subject: Re: glaze as touch
>
> On Thu, 11 Aug 2005 07:30:37 -0500, mel jacobson
wrote:
>
> >i would like for potters to respond/
> >
> >do we get attracted to a glaze for...what reason?
>
> Speaking as more of a ceramics consumer than creator, I don't think I have
> EVER purchased a piece without having caressed it first. That touch is
> critical to me. However, it's the glaze color and appearance that get me
to
> pick up the piece in the first place.
>
> I don't like shine particularly and the glaze must be interesting. Hare's
> fur gets me going for sure. Layered, mixed up glazes make me drool. And
> I'm a sucker for texture too.
>
> Linda
> CA
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 09:17:06 -0400
> From: Candace Young/Norman Czuchra
> Subject: Re: Idle worship-- an allergy-season rant
>
> Lovely point Lili, that there is a balance and when we get too far from
the
> center we fall not to mention dabble in extremism. And to expect the
> master to remain static and not grow in his or her work is lutefisk, I
mean
> ludicrous. Good points.
>
> Candace
>
>
>
> >It is our moral obligation to honor our teachers. It is only fair to be
> >loyal to their teachings. But when it gets to the point that ONLY our
> >teachers, and ONLY their teaching, and ONLY their viewpoint matters,
counts,
> >then we fall off the other side of the mountain, and dishonor them. We
are
> >no longer standing on their shoulders. We are standing on their heads
and
> >breaking their necks.
> >
> >IO ONE has ANY idea what these potters would say NOW; what they would do
> >NOW. Those who religiously follow and quote are denying, yes, denying,
that
> >these men might have grown and evolved, had they lived till today.
>
> Candace Young Mailto:candace@bayriverpottery.com
> Norm Czuchra Mailto:norm@bayriverpottery.com
>
> (252) 745-4749
> 107 S. Water Street
> PO Box 394
> Bayboro, NC 28515
>
> http://bayriverpottery.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 10:59:19 -0400
> From: Rob Di Stasio
> Subject: workshops in the east?
>
> Lakeside Pottery in Stamford, CT has Steven Hill Oct 28-30
>
>
http://www.lakesidepottery.com/Pages/programsoffered.html#Anchor-CUSTO-26551
>
> Recoil Rob
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 10:13:16 -0500
> From: Craig Clark
> Subject: Re: glaze as touch
>
> mel jacobson wrote:
>
> > i would like for potters to respond/
> >
> > do we get attracted to a glaze for...what reason?
>
> Mel, for me the attraction to a pot/piece is a combo of the glaze
> and the form. When I pick up the pot I want to feel a nice balance in my
> hand. The glaze and the form are something that work in concert with
> each other. I want one to complement the other.
> The glazes that attract me the most are pretty much dependent upon
> the application. As John Hesselbreath mentioned, if the glaze is on the
> lip of a coffe cup then I don't want any texture. Just a nice smooth
> feel. From a visual perspective I'm primarily drawn toward what folks
> want to describe as earth tones that have a lot of action in them and
> the occassional burst of color. I tend to avoid those pots that have
> been clad in pastel tones or which do not have much variation. In a
> nutshell I'm probably after a visual type of varigation with a subtle
> sort of reflective surface quality.
> In the case of glazes that are used on sculptural forms I tend
> toward those which are used minimally more as a highlight to the form.
> I'm drawn toward subtle washes, stains and the end process of the fire
> itself.
> Craig Dunn Clark
> 619 East 11 1/2 st
> Houston, Texas 77008
> (713)861-2083
> mudman@hal-pc.org
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 09:36:50 -0400
> From: John Hesselberth
> Subject: Re: shivering: doing the math
>
> On Aug 11, 2005, at 8:57 AM, Lili Krakowski wrote:
>
> > I also am amazed how many "given" glazes in my notebooks have such LOW
> > silica. Weird indeed.
>
> Hi Lili,
>
> I am disappointed in this too. I have formed a theory about why it has
> happened at cone 6. May or may not be right, but it fits with my
> understanding of the world.
>
> A lot of these glazes were developed in poorly insulated electric kilns
> by potters who did not have a good understanding of the chemistry AND
> physics of glazes. When a poorly insulated kiln is just turned off and
> allowed to cool it cools too fast for crystals to form in glazes like
> high calcium or magnesium mattes. But you can always get a matte by
> forcing the silica low enough because you never form a good melt in the
> first place. Some of the clay (or alumina) never gets into solution. So
> mattes and semimattes, in particular, were developed with low silica.
> There are some truly awful glazes floating around potterland. I have
> several that I use as demos in workshops to show people you can pull
> the color right out of them in an hour with a little lemon juice or
> vinegar.
>
> Of course there are also a lot of low silica cone 10 glazes. I'll leave
> it to someone else to postulate why that happened. I would guess that
> most cone 10 glazes were developed in kilns that cooled slowly enough
> to allow crystals to form. Maybe it was just the easiest/quickest way
> to make a matte or semimatte.
>
> Regards,
>
> John
> John Hesselberth
> http://www.frogpondpottery.com
> http://www.masteringglazes.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 11:11:33 -0400
> From: Bruce Girrell
> Subject: Re: glaze as touch
>
> Dawn Christensen wrote:
>
> > Only another artist would think to let another touch his or her pots.
>
> When we were doing the show circuit, I would encourage people, including
> children, to handle our pots. Parents were often aghast that I would let
the
> kids even touch such fragile looking things, let alone handle them. I
> thought that some of the adults would pee their pants when I handed a pot
to
> their child.
>
> Bruce "kinda got a kick out of that" Girrell
>
> By the way, the only thing that I did was to show the kids how to properly
> pick up (from the bottom) and hold (always two hands) a pot. Not once did
a
> child ever drop a pot.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 10:36:33 -0400
> From: Jim Champion
> Subject: Misspelled tiles in California
>
> How funny! The artist must be an AMATEUR" misspeller" by her reactions.
> As a PROFESSIONAL "misspeller" I've gain the skill to smile and proclaim
my ability to butcher even the simplest words. It takes a lot of courage but
I reach down into my Captain Crunch filled bowels and do it anyway. Did
anybody else know that amateur has on C in it. Took me for ever to figure
that one out!
>
> Jim Champion
> Louisville, KY
> Landlocked by the edge of a bluegrass sea
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 08:23:39 -0700
> From: Tony Ferguson
> Subject: Re: Tom Coleman Workshop in Las Vegas
>
> If I might chime in on Earl,
>
> If you haven't seen Tom (or even if you have) I would highly recommend
attending the workshop. Tom has so much to offer that its not possible to
learn everything from him in one workshop. He is a plethera of knowledge
and application, a true master of his craft and ever developing art. He is
among the best ceramic artists in the world. Not to be missed. Wish I
could make it. Worth a 6 hour drive for those living in that radius.
>
> Tony Ferguson
>
>
> Earl Brunner wrote:
> September 24th and 25th Tom Coleman will present a two-day
>
> workshop for the Nevada Clay Guild at Green Valley High School,
>
> Henderson, Nevada. In these two days, Tom will demonstrate throwing
>
> several different forms, creating altered pieces, as well as throwing
>
> functional forms. He will assemble the pieces produced and discuss
>
> various ways of formulating porcelain clay bodies and slips.
>
> Throughout the two days of demonstrations, Tom will hold an
>
> on-going discussion of what's going on in the clay world. We'll learn
>
> some of the history of contemporary ceramics as well as the
>
> direction being taken in the 21st century. He is willing to cover most
>
> any subject that participants might bring up during the workshop.
>
>
>
> Friday evening, 7pm, slideshow; Sat. and Sunday, 9 -5, workshop.
>
> For samples of his work, go to http://www.tomandelainecoleman.com.
>
> $150 for two days for non-members,
>
> $130 for two days for members, and
>
> $75 for one day, if space is available.
>
>
>
> Contact Bobbye Sansing at 702-269-7690 or barbarasansing@yahoo.com for
> information, or to sign up.
>
>
>
> Earl Brunner
>
> Las Vegas, NV
>
>
____________________________________________________________________________
__
> 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.
>
>
> Tony Ferguson
> ...where the sky meets the lake...
> Duluth, Minnesota
> Artist, Educator, Web Meister
> fergyart@yahoo.com
> fergy@cpinternet.com
> (218) 727-6339
> http://www.aquariusartgallery.com
> http://www.tonyferguson.net
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 10:36:12 -0500
> From: Antoinette Badenhorst
> Subject: Re: subject; cone 10 porcelain casting slip
>
> You posted this before and I am sorry that you did not get response. I =
> do
> not work with casting slips, but my suggestion to you would be to use a
> plastic porcelain body recipe that you like and add the sodium silicate =
> to
> the water that you will add to the powder clay to bring it to a slip. (I =
> am
> sure there are recipes for other casting slips around) What I know is =
> that
> you have to use less water and allow the sodium silicate to "liquefy" =
> the
> clay. If you do not use less water you will deal with too much shrinkage =
> and
> possibly cracks also. Sorry I can not help you any further with a =
> recipe,
> but I hope this is a starting point for you.=20
>
> Antoinette Badenhorst
> 105 Westwood Circle
> Saltillo MS, 38866
> www.clayandcanvas.com
>
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Scott =
> Bennett
> Sent: Thursday, August 11, 2005 8:31 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: subject; cone 10 porcelain casting slip
>
> Hey out there,
>
> Does anyone explore and possibly have a recipe they can share for a cone =
> 10
> porcelain casting slip. I can't seem to find anything on the subject.
>
> Thanks,
>
> scottologist
>
> _________________________________________________________________________=
> ___
> __
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 11:40:52 -0400
> From: Eva Gallagher
> Subject: Re: Eye safety, viewing cones
>
> Thank you Edouard for this reassuring info - I think that I will print yo=
> ur=20
> post out and post it at our Guild - too many are worried about looking in=
> . I=20
> guess the total time that a potter looks in a kiln maybe totals at the mo=
> st=20
> about a week of a steel workers exposure? (Maybe one minute total per=20
> firing? So one hour for 60 firings - Let's say one hour equals one year =
> -=20
> so 35 hours equals a life time? - So about 4 and a half days of work in a=
> =20
> steel mill.
> Eva
> ----- Original Message -----=20
> From: "Edouard Bastarache Inc."
> To:
> Sent: Wednesday, August 10, 2005 3:01 PM
> Subject: Re: Eye safety, viewing cones
>
>
> > Bonjour Eva,
> >
> > it was a very complicated report to deal with, and very expensive.
> >
> > So, we scrapped it and my friend, an occupational ophtalmologist,
> > and I made a walk through visit, identified the operation temperatures
> > on charts and durations of exposure; then we decided upon the necessary
> > eye protection.
> > So far, nobody has suffered from "Infrared cataract".
> > Cataracts due to infrared radiation have a different histology=20
> > (microscopic
> > changes) than the ones of the senile type.
> > So, for anybody who is operated for cataracts, we can know the type
> > from the pathology lab.
> >
> > By the way, speaking of duration of exposure, not only the melters are
> > exposed, but also those who hot-roll different steel products. Most of =
> the
> > time
> > they are operating from control cabins protected by tinted windows,
> > when they work outside of the cabin they wear tinted glasses as suggest=
> ed
> > by our eye specialist.
> > These guys work on 12 hour shifts. That is what we call long duration
> > exposure.
> > Glass-blowers also have long duration exposures, hence the "glass-blowe=
> r's
> > cataract" described eveywhere, but never among ceramists, even among th=
> e
> > "industrial" ones.
> >
> > Again, read my text on the Net,
> >
> >
> >
> > "Ils sont fous ces quebecois"
> > "They are insane these quebekers"
> > "Est=E1n locos estos quebequeses"
> > Edouard Bastarache
> > Irreductible Quebecois
> > Indomitable Quebeker
> > Sorel-Tracy
> > Quebec
> > edouardb@sorel-tracy.qc.ca
> > www.sorel-tracy.qc.ca/~edouardb/Welcome.html
> > http://retrodemonstration.blogspot.com/
> > http://www.flickr.com/photos/potier/
> > http://perso.wanadoo.fr/smart2000/index.htm
> > http://www.digitalfire.com/education/toxicity/
> >
> > _______________________________________________________________________=
> _______
> > 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=20
> > melpots@pclink.com.=20
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 11:54:05 -0400
> From: "m.mshelomi"
> Subject: ones' propencity to touch
>
> Through the years, have been scolded, reminded and have set off alarms, =
> bells and whistles in countless galleries and museums across the =
> world... Find myself unable to "see" without touching. =20
>
> My favorite pots are those that have the lip and inside of an object =
> covered with glaze and the outside just the clay. Sometimes, the =
> outside is smooth other times, it is throw marked or otherwise marked =
> with texture. I love my mugs where my lip is on the smooth edge of the =
> glaze and my hand cups the belly of plain clay... =20
>
> Having experienced periods where things jump out of my hands and onto =
> the hard tile floors of my house, I have found unglazed outsides of pots =
> easier to hold on to.
>
> pottermim
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 11:58:38 -0400
> From: "m.mshelomi"
> Subject: Fw: Nikon
>
> Message came back as unable to deliver to Elaine. Please post. =20
>
> Thanks, pottermim
> ----- Original Message -----=20
>
> To: enoliver@enolover-pottery.com=20
> Sent: Thursday, August 11, 2005 11:08 AM
> Subject: Re: Nikon
>
>
> Elaine...
>
> Went digital camera shopping 3 mo ago with my brother-in -law who is a =
> professional photographer. Figured that he would point me in the right =
> direction. =20
>
> He took me to the shop where he buys/gets fixed all his cameras and =
> equipment. The man in the shop took me through a list of questions =
> about what I wanted to do with the camera... What he forgot to ask is =
> how proficient I am with mechanical things and following directions =
> written by folks who speak English as a second language and Tech talk as =
> a first.
>
> Ended up with a Nikon Coolpix 2200. Takes great pix of the dogs and =
> pots and people... BUT... Have read the book of instructions a =
> multitude of times and still do not know what on earth I am doing. =
> There are features on the camera that I cannot find or, if I find them, =
> cannot figure out how to use...
>
> After having the camera for a couple of weeks (and complaining to my =
> sister about the difficulties I was having) got a call from the =
> brother-in-law saying that he should have pointed me toward a Cannon =
> because it is more straight forward and user friendly.... Ahhhh, =
> well... =20
>
> Should you be at all a tech challenged person as I am... Look carefully =
> at the directions for use and do not get more camera than you need and =
> will use.... =20
>
> Good luck in your venture into camera land...
>
> pottermim in steamy fl
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 11:49:00 -0400
> From: Susan Giddings
> Subject: Re: glaze as touch
>
> Interesting thoughts...
>
> I do a lot of demos and always I encourage people to touch. To me, demo
pots
> are made for an audience and they should touch. I can always tell fellow
> potters. Surprise quickly gives way to the yearning and familiarity for
> clay. You can see it in their eyes. And finished work, glazed pots are (or
> should be) the same. Eye candy. And of course the feel of it is so
> important.
>
> I love satin glazes. I don't know really if they are semi-matte or
> semi-gloss, but they talk to me and invite the touch. They are
enchanting.
> I love the soft sheen of them. I love the smooth feel they have. Oh yes, I
> like glossy glazes and the way light plays off them. The very smooth and
> slick feel of them. I like matte's just as well. They feel dull - not in a
> bad way, sort of more like a quiet, well modulated voice. Unremarkable
> maybe, but getting the job done. Effective. I can usually easily control
my
> hands and keep from touching. But a satin takes every ounce of self
control
> I can muster when encountered in a museum. Like porcelain, they whisper to
> me - and I want to be sure to not miss a word. They look like what clay
> feels like when it's being thrown. I think that's the quality that appeals
> to me. I can imagine the piece in my hands on the wheel. These glazes are
> special: sexy, but also demure. Just like clay.
>
> For me, satin glazes surpass just about everything. They call out to be
> touched. And once held, they touch someplace very deep and special within
> you.
>
> -------------------------------------------------
> Susan Giddings
> Bloomfield, Connecticut; New England
> North East Coast; USA
>
> "There are painters who transform the sun into a yellow spot, but there
are
> others who, thanks to their art and intelligence, transform a yellow spot
> into the sun." - Pablo Picasso
>
>
>
>
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG]On Behalf Of mel jacobson
> Sent: Thursday, August 11, 2005 8:31 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: glaze as touch
>
>
> i would like for potters to respond/
>
> do we get attracted to a glaze for...what reason?
>
> i know without question that the dolomite/semi matt glazes
> feel just right in my hands. i love unloading the kiln...just
> touching them.
>
> there are glazes i cannot stand, and it almost always has
> to do with their feel.
>
> colors can be adjusted, surface can be disturbed with color,
> but if the pot feels terrible in your hands...can you reject it?
>
> the volcanic ash glaze that i used at hopkins high...did not
> feel very good. it worked for kids...we could manipulate it...
> but it felt like cellophane. it seemed thin.
>
> hank murrow has a velvet shino that is almost sinful.
>
> anyway.
> the rhodes32 glaze felt just right to me.
> still does.
>
> or, as a young potter told me one day.
> `you use old time glazes`.
> of course his only direction was `shine, and color.`
> he wanted to scream at people.
>
> it was the reason that joe and i made sure potters could
> touch the iron saga pots at amoca.....as potters mostly see pots with
> their hands. (it was amazing how many folks were just thrilled that they
> could hold, touch and carry around those pots...the ott light really was
> a great touch...just like putting the pots in the sun.)
>
> it is the greatest frustration in museums...you want to break the glass.
> mel
> from mel/minnetonka.mn.usa
> website: http://www.pclink.com/melpots
> http://home.comcast.net/~figglywig/clayart.htm
> for gail's year book.
>
>
____________________________________________________________________________
> __
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 09:08:46 -0700
> From: Ann Brink
> Subject: Re: Glaze as Touch
>
> Yes, I love the feel of a satin glaze, and the ones that have what I call
> "micro orange-peel" which I think happens when the liquid glaze cools
rather
> quickly and the tiny wrinkles are captured in place.
>
> But I also have a fondness for the unglazed smooth exteriors of bowls or
> pots when they had a fluxing wash of some kind, then have been lightly
> sanded to take off the burrs. Those are the ones I seem to feel with my
> bones, not just my palms.
>
> Ann Brink in Lompoc CA
>
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 11:50:24 -0400
> From: pinacoid3000@LYCOS.COM
> Subject: Re: Scared about food safe
>
> Hi Snail,
> No comment about the suitability of earthenware for food but is it fair to
> say that such a body will inevitably craze? There are many glazed
> earthenware articles that show no evidence of crazing yet are hundreds of
> years old. How long is delayed crazing expected to take :-)
> Regards,
> Andy
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 12:56:01 -0400
> From: Kathy Forer
> Subject: Re: glaze as touch
>
> On Aug 11, 2005, at 11:13 AM, Craig Clark wrote:
>
> > In the case of glazes that are used on sculptural forms I tend
> > toward those which are used minimally more as a highlight to the form.
> > I'm drawn toward subtle washes, stains and the end process of the fire
> > itself.
>
> Glazes can sometimes feel like a glass skin or glove, something
> between the viewer/holder and the piece.
>
> Glaze "fit," that I hear talked about here, may be what allows a
> glaze to be part of the clay. Also high fire seems to integrate
> glazes more with the clay. I love the look/feel of eggshell
> porcelain, certain raised or incised, painted or decorated ware and
> the pure iron glazes I saw of Mel's at NCECA and also pure white
> ironstone, Celadon and Oxblood.
>
> I always want to break into the Chinese glaze cabinets at the
> Metropolitan Museum, (and their recent show of Korean ceramics was
> stunning, among others), but many glazes leave me feeling put off,
> they seem more an unctuous fatty barrier than an integrated surface.
> Perhaps conversely, I also crave feeling an oil spot or well-fitting
> crystalline glaze.
>
> Kathy
>
> --
> Kathy Forer
> www.foreverink.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 09:56:04 -0700
> From: Mike Gordon
> Subject: Re: Misspelled tiles in California
>
> My first response would have been to find a local artist to repair it.
> Why they went to Florida to get one is beyond me! But I just read that
> State law prohibits the library from making any changes to public art
> without the artists permission, so naturally she would make the
> repairs, and of course charge Livermore for the repairs, plus
> transportation costs. Mike Gordon
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 13:25:01 -0400
> From: Linda Pahl
> Subject: Free storage for your digital photos/share pics with friends and
family
>
> I just came across a website that some of you may already know about
> but for those who haven't discovered it yet I thought I'd pass it
> along.
>
> It's a Google website called "Flickr" and it's FREE! It's a great
> place to store and share images of your pottery and let other's know
> where to look to see them.
>
> The site also contains various "groups" of specialized photo's based on
> interest; already a few about pottery so check it out.
>
> They have a "pro" version that is inexpensive if you want greater
> storage at some point in the future.
>
> I have put only two pics of some recent pottery but I look forward to
> adding more pics with captions and a description of glazes used and so
> forth.
>
> Here is the link to the site's home page:
>
> http://www.flickr.com/
>
>
> Here is the link to my new page:
>
> http://www.flickr.com/
>
> Hope you find it useful!
>
> Linda Pahl
> TheClosetPotter1@earthlink.net
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 13:47:02 -0400
> From: Lili Krakowski
> Subject: scary silica figures
>
> Because we are having a serious dreadful heatwave, it is hard to get heavy
> work done. So I have been having a good if scary time running "given"
> glazes from my old notebooks through Glaze Master.
>
> OY!
> Bunches, and I do mean bunches, of glazes garnered from reputable
> publications and with reputable names attached have silica anemia:
1.1238;
> 2.0968--and like that.
>
> I have said this before, and I will repeat. Our publications should be
> asked to annotate glaze recipes with the formula, and warnings about toxic
> ingredients.
>
>
> Lili Krakowski
>
> Be of good courage
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 13:25:01 -0400
> From: Craig Donalson
> Subject: Kevin Crowe Workshop
>
> I had the fortunate experience of working with Kevin for two months at
> Penland several years back. He is an excellent teacher, an excellent
potter
> and an even better person. Highest recomendation if you can swing it.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 12:41:05 -0500
> From: gjudson
> Subject: Re: Kyushu Pottery in Gourmet Magazine
>
> Yes, but I was disappointed that there were not more pictures of the =
> ware
> since that was the focus of the article. Gay Judson in San Antonio, TX
>
> Darin Gehrke wrote:=20
> > With all the talk of Korean vs. Japanese pottery lately, I thought I =
> might
> > mention the August
> > issue of Gourmet magazine. There is a very nice article about the =
> pottery
> > of Kyushu (mainly
> > Karatsu) and it's relationship with food. I thought it was very nice =
> to
> > see this discussed
> > somewhere other than Ceramics Monthly.
> >=20
> >=20
> >=20
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 13:48:23 -0400
> From: Linda Pahl
> Subject: Re: Free storage for your digital photos/share pics with friends
and
> family
>
> Oops...I used the wrong link for my page in the post I just sent in.
> Here is the link to my Flickr webpage:
>
> http://www.flickr.com/photos/lindapahl/
>
> It's a great site for you to use to share and store your pottery pics.
>
> I'm thinking about creating a "group" called "Clayart". Yep, I'll head
> over to the site and do that now as it would be great to be able to
> actually see the pottery created by this great group.
>
> Okay. I just created a Flickr group called "clayart". Here is the
> link if you want to post your pics to share with other clayarters:
>
> http://www.flickr.com/groups/clayart_pics/
>
> I had to add the word "pics" to the address instead of just using
> "clayart" because "clayart" was already taken. Funny, though, 'cause I
> couldn't find the group called "clayart" which is why I created one.
>
> Linda Pahl
> TheClosetPotter1@earthlink.net
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 10:55:45 -0700
> From: Laurie
> Subject: Re: price stickers
>
> Hi Linda,
> I make a lot of little raku fired figurines. I finally gave up on the
> prices falling off every time I wrap them up and have been putting the
> stickers (Avery labels - the smallest ones) on the outside near the
> bottom of the piece if it's glazed on the outside. If you want to
> encourage people to handle the piece, put the sticker on the back. I
> put them on the side so people don't have to pick it up if they are
> worried about doing that. But I notice that people who pick up a piece
> are more likely to buy it than if they do not.
>
> If the piece can have them put on somehow, hang tags are good. You can
> put more info on them, then stick a price label on the hang tag. It's
> easy to design and print your own tags these days. A simple black and
> white design printed on a nice coordinating index or cover weight paper
> is fairly durable and most printers can handle those weights (check
> your owners manual). Punch a hole and use a piece of ribbon, string,
> jute or twine, whatever is most appropriate for what you make. You can
> even get those nylon tag loop things at office supply stores. But you
> can't re-use them, they have to be cut off.
>
> Lots of possibilities.
> Laurie
> Sacramento, CA
> http://rockyraku.com
> Potters Council, charter member
> Sacramento Potters Group, Secretary
>
> On Aug 10, 2005, at 6:50 PM, Linda Schwartz wrote:
>
> > Can anyone suggest a type or brand of sticker, used to price a piece,
> > that
> > will not fall off the bottom ?
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 10:27:55 -0700
> From: Lester Haworth
> Subject: Re: Raku kiln
>
> Hi Joanne,
> Although my opinion is bias, I do have experience with Laguna's Raku kiln.
> It is a great kiln that takes about 30 to 45 min. to hit temperature on
the
> first firing, and each subsequent firing takes 20 to 25 min. The best
> feature on this kiln is the optional Auto-Lift with remote foot switch.
The
> foot switch is easy to operate, one click and the chamber goes up, another
> click and it stops allowing you to pull pots from the kiln, and the next
> click lowers the chamber. It removes one person from the operation and is
> much safer in the long run for schools and other concerned individuals.
The
> kiln runs on 120 vac. and either propane or natural gas. I recently fired
> this kiln for a workshop that I did for CAEA. Needless to say the workshop
> went off without a hitch and everyone loved the Raku kiln. For more
> information please visit our website at http://www.lagunaclay.com
>
> Best of luck to you.
>
> Les Haworth
> Sales & Technical support
> Laguna Clay Co.
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG]On Behalf Of Joanne
> Sent: Wednesday, August 10, 2005 10:27 PM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Raku kiln
>
>
> Looking for some advice on a new raku kiln. The one i use now is too
small
> but I don't feel competent enough to build my own so was thinking about
> splurging on something like a Laguna - i need something that's about 24"
in
> diameter & does not take a lot of muscle to lift. Anybody have yeahs or
> nays they'd like to share before i plunk down all this money?
>
> thanks -
> Joanne
>
>
____________________________________________________________________________
> __
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 13:17:14 -0500
> From: mel jacobson
> Subject: VENTING/RHODES32v
>
> if any of you have nils lou's/`art of firing`...look at the picture
> of the natural draft electric kiln vent that i use.
>
> it is a piece of 5 inch stainless steel pipe..10 feet long.
> i goes right through my ceiling/roof.
> i have a 1 inch pipe that runs from it to my kiln.
> drilled a hole in the kiln side. near the top. i plug the peeps etc.
> it has a slight angle up...the bottom and top of the pipe are open.
> as the kiln fires...it makes a chimney.
> all the ick goes right out.
> when the kiln is done...i put a piece of foam in the bottom of
> the pipe to slow down the draft...as i don't want the bisque to
> cool too fast.
> works like a charm.
> easy. you must use stainless...it will rot out a piece of galvanized
> in a few firings.
> i am toying with using heavy plastic sewer pipe/four inch..
> i know it would not burn or get too hot with just the small amount
> of air/mixed with heat, and the draft air coming from the bottom would
> cool it fast.
> something for someone to experiment with.
> no blower, fan...motor.
> just natural draft. i will add a drawing to the clayart page...if i can
> find it.
>
> i have re/shot some of the images (website) from the last firing..with
> rhodes 32V (v for variation, thank you ron.) a bit brighter light.
> the teapot image is new.
> and the two images on my index page are new.
> one with iron red interior. i think you can feel them, even
> in a picture.
> mel
> i think ron has come up with a new symbol for glaze recipes.
> name, cone, V for variation.
>
> so:
> Rhodes 32 V , cone 10, reduction/iron bearing clay body. from david
shaner.
> added silica to taste.
> hmmm, i like it.
>
>
> from mel/minnetonka.mn.usa
> website: http://www.pclink.com/melpots
> http://home.comcast.net/~figglywig/clayart.htm
> for gail's year book.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 14:14:31 -0400
> From: Liz Willoughby
> Subject: Re: glaze as touch
>
> Good topic Mel,
> John H. made such a good point about the mug, smooth glaze for the
> lip, and semi-matt for the hand. Those of us that make mostly pots
> for use, know that if the inside of work is glazed with a shiny glaze
> it is helpful for cleaning and the sound of metal on a matt surface
> is enough to put you off using that pot.
>
> When I look at a pot, my first reaction is for the form, my second is
> for the surface treatment, including the glaze. There are many
> glazes that I want to touch, that I see in books or magazines, and
> they are usually semi-matt or satin surfaces, or really fat glazes,
> like Hank's shino. Shiny glazes, the carbon trap shinos, or the
> tenmokus that break rust on the edges, affect me in another way. It
> is like my eyes can't get enough of looking at them, and then I want
> to touch them.
>
> I love what Susan says about satin glazes. I think that we are drawn
> to touch these pots with satin glazes because they are the closest
> thing thing to our skin. They feel sensuous, inviting, and warm.
>
> Pots I want to touch, but can not:
>
> a Japanese bowl with a peach blossom glaze in the V & A, what drew me
> to the pot, is not whether it was shiny, semi-matt, or matt, but the
> incredible colors, peach, gold, white, rose, and the depth of color.
>
> a pot by Katherine Pleydell-Bouverie, soft eggshell satin matt, with
> large crackle.
>
> These are a couple of pots that are stuck in my head, because of the
> quality of the glaze surface.
>
> A lot of pots that I lust after to touch, are made with the old
> Cornish Stone. They often remind me of that soft stone/granite look.
>
> Susan Giddings says:
> >
> >For me, satin glazes surpass just about everything. They call out to be
> >touched. And once held, they touch someplace very deep and special within
> >you.
>
> Meticky Liz from Grafton, Ontario, Canada
>
> cooler today, after a nice rain, however the squirrel is in trouble,
> knocked down one of my bird feeders, it is toast (the bird feeder,
> not the squirrel)!
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 11:24:55 -0700
> From: Merry Monk Design
> Subject: Converting a machine into a spray booth
>
> Yes, Snail Scott, you're correct. The regular air
> from the room gets sucked into the filters and blows
> out gently onto the work bench area, providing a clean
> air environment for whatever experiment you're working
> on. Fred P says that these laminar flows are good to
> help orchids establish, they need a very clean
> environment.
>
> I still don't know what to do. Converting it seems
> like a pain but the $$ I'd get for it isn't enough to
> buy what I need.
>
> Amy Sanford
> amy@merrymonkdesign.com
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 11:25:14 -0700
> From: bill edwards
> Subject: Slow Cooling or lack of silica
>
> I was proud to see Lily bring up the low expan glaze
> scenario and how well others responded, what a tribute
> to all. ( I bow to her and those who gave informed
> opinions!)What a grand observation and method of
> thinking that pushes us to our limits.
> John Hesselberth added something that was vitally
> important to me. I have been doing some heat
> manipulation with some new ramps and making great
> leaps and strides. I once had a great interest in
> crystal formation and had that past experience to help
> back me up. Low silica and high alumina (Al203 not
> going into solution) might be fine for some work if
> the colorants help the melt or the cooling cycle has
> time to help the melt at the correct temperature range
> based on the chemistry and clay. Long term heat
> exposure can very well make the difference even if you
> hit the top ramp, the hold time (top and coming
> down)is vital to crystal formation and will often
> speak for its self upon close examiniation. You can
> see some macro/microscopic difference between the same
> glazes using thermal dynamics, often with just your
> eyes or the marco developement. Most of us have to
> rely on others that have the mechanical means of
> processing these materials based on their long
> exposure to understanding the givens and other known
> factors that are continually shifting and changing.
> Microcrystalization appears as matted glaze with
> brilliance such as that of rutile with a high
> reflective index. The next sentence is interesting,
> does this explain the values of layering of melt when
> held at temperature ranges conducive of supporting
> this developement. That and the long term heat values
> to me means this helps answer the macro development of
> larger crystals that apply to microscopic development
> as well using less silica and flux materials and seed
> properties like zinc and maybe lithium to enhance the
> growing environment for crystal formation of various
> kinds.
> (SiO2)-n(TiO2) is in a stable state but as
> temperatures cool and pressure eases the two separate
> with rutile crystals trapped inside the quartz
> crystals. Ok, got to go, company is here and this
> thought is done for now.
>
> John H. Said>>>
> A lot of these glazes were developed in poorly
> insulated electric kilns
> by potters who did not have a good understanding of
> the chemistry AND
> physics of glazes. When a poorly insulated kiln is
> just turned off and
> allowed to cool it cools too fast for crystals to form
> in glazes like
> high calcium or magnesium mattes. But you can always
> get a matte by
> forcing the silica low enough because you never form a
> good melt in the
> first place. Some of the clay (or alumina) never gets
> into solution.
>
> Bill Edwards
> Edmar Studio and Gallery
> 302 South Main St (Shipping)
> POB 367 (Mailing)
> Camp Hill, Al. 36850
> http://apottersmark.blogspot.com/
> "!" And I quote that
> CampHillBilly
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 11:35:12 -0700
> From: "P. Canupp"
> Subject: cone 10 porcelain casting slip
>
> Here is the Cone 10 Porcelain Casting Slip we used in
> college:
>
> 55 lbs. Grolleg (English China Clay)
> 20 lbs. Custer Feldspar
> 13 lbs. Pyrophyllite (Pyrotrol)
> 12 lbs. Flint
>
> 40 pints/lbs. Hot water
> 275 ml Darvan #7
>
> Weigh H20 into large barrel
> Pour in 1/2 Darvan #7
> Sprinkle in materials while mixing
>
> Let slip "rest" overnight
> remix and adjust for viscosity
> adjust by adding either more darvan or more H20
>
> ***Just a note*** We mixed this in a 55 gallon barrel
> (on wheels) and the stuff feels like silk. You
> probably will want to take a bath in it ;')
> It worked great in cone 10 reduction.
>
> Elizabeth Canupp
> Still the trimming queen.
>
>
>
>
>
> From: Scott Bennett
> Subject: subject; cone 10 porcelain casting slip
>
> Hey out there,
>
> Does anyone explore and possibly have a recipe they
> can share for a
> cone 10
> porcelain casting slip. I can't seem to find anything
> on the subject.
>
> Thanks,
>
> scottologist
>
>
>
>
> ____________________________________________________
> Start your day with Yahoo! - make it your home page
> http://www.yahoo.com/r/hs
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 13:54:28 -0500
> From: mel jacobson
> Subject: vent drawing
>
> is now on the clayart page.
>
> this is theory.
> you can run with it many ways.
> those that want an exact recipe...call an engineer.
>
> i used scrap pipe, some simple welding/
> have a bracket on the wall holding the pipe in place.
>
> i have no idea what your roof, ceiling are like.
> many thousands of variations.
> that is for you to monkey with. if your kiln is in the basement
> of a 10 story building...well good luck.
> mel
> from mel/minnetonka.mn.usa
> website: http://www.pclink.com/melpots
> http://home.comcast.net/~figglywig/clayart.htm
> for gail's year book.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 11:59:29 -0700
> From: Charanjiv Sachar
> Subject: Getting virus emails from other clayart members
>
> Hello everyone,
> Thought I would warn everyone to watch out for email viruses coming from
other clay art members. Got emails from Linda Blossom saying I have a bad
file and Randy Johnston saying I have a sexy body....hahaha. There were
attachments too which of course I didn't open. After I got over myself,
being sexy and all, I thought I would warn you guys not to open such
attachments. In other words... potters don't have sexy bodies... :(
> Charan
>
>
> Creative with Clay
> Federal Way, WA
> Tel: 253 241 2245
> Email: creativewithclay@yahoo.com
> www.creativewithclay.com
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 12:09:22 -0700
> From: steve baker
> Subject: Re: cedar heights clay
>
> As the former clay guy at Cedar Heights, I can tell
> you that there are few if any clays on the market like
> Cedar Heights' clays. The one exception would be
> United's 401 clay from the old Yellow Banks operation.
> It is kind of similar to Roseville and Salt Lick, a
> little less refractory to really compare it with
> Goldart. The geologic setting for that source of that
> clay is practically identical to the ones Cedar
> Heighst mines. The Redart is truly its own animal,
> not at all similar to United's 101 although it is
> often marketed as such. The key to that is the
> deposit that is mined. It is not simply a
> Pennsylvanian age shale that is milled to -200 mesh,
> it is a freaky geologic thing going on.
>
> Steve
>
> --- Snail Scott wrote:
>
> > At 07:23 PM 8/10/2005 -0400, you wrote:
> > >...Does anyone have a substitute suggestion for
> > cedar heights
> > >clay?
> >
> >
> > Cedar Heights manufactures several clays.
> > Which one did you want a sub for?
> >
> > -Snail
> >
> >
>
____________________________________________________________________________
__
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or change
> > your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be
> > reached at melpots@pclink.com.
> >
>
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 15:12:01 -0400
> From: William & Susan Schran User
> Subject: Re: Scared about food safe
>
> On 8/11/05 9:23 AM, "Snail Scott" wrote:
>
> > Earthenware is porous, and generally fragile,
> > and prone to crazing, but I don't fear to eat
> > off it.
>
> I agree and I have no specific issues with using earthenware as functional
> pottery. Much of the world uses earthenware to eat and drink from. I don't
> fear to eat off it either.
>
> I used to make earthenware functional pots. Visited a client at her home.
> She had one of my earthenware teapots sitting up on a stand with a candle
in
> the stand burning under the teapot. Said she'd been doing that for more
than
> a year! No cracks, no leaks. I certainly never intended the teapot to be
> used in that fashion and I'm certain if the clay were stoneware or
> porcelain, that it probably wouldn't survive.
>
> But if one puts their work out in the public domain and realizes that many
> folks will be subjecting the pottery to possible use in ovens,
dishwashers,
> microwave and who knows what, then I think it's incumbent on the part of
the
> maker to produce ware that can withstand day to day use in our modern
world.
>
> With all that said, I continue to believe and advise the need for a glaze
> that fits the claybody well enough to not craze for functional ware.
>
>
> --
> William "Bill" Schran
> Fredericksburg, Virginia
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 15:25:25 -0400
> From: Wayne Seidl
> Subject: Re: Dolita does Denver
>
> Jim:
> That's because Dolita and Mel have been awarded a patent for their
> Automatic Kiln Loader with optional Savino Giveash*t meter,
> utilizing the (already patented) Jacobson 2X4 Incentive tool.
>
> Once you come up with a great idea like that one, you too will be
> able to cruise the countryside, looking for the ultimate workshop
> experience.
>
> Best,
> Wayne Seidl
> who promised Dolita she could slap me at NCECA for an off list
> remark. Boy, was THAT a mistake. I'm gonna be black and blue!
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Jim
> Champion
> Sent: Thursday, August 11, 2005 9:52 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Dolita does Denver
>
> The world is not a fair place! Every time I turn around
> Dolita is attending a workshop or cruising the countryside
> checking all the pottery studios.
> Mean while I stuck behind a computer and even wearing a tie.
> The things you'll do to support a clay fix!
>
> Jim Champion
> Louisville, KY
> Landlocked by the edge of a bluegrass sea
>
> ____________________________________________________________________
> __________
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your
> subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 15:42:18 -0400
> From: Linda Pahl
> Subject: Re: Free storage for your digital photos/share pics with friends
and
> family
>
> Ooops again! As to my two eager previous posts -- egg all over my face
> (much prefer it were clay!). Just got a few emails letting me know
> that the reason "clayart" was taken on the flickr site is because IT
> WAS TAKEN! I was looking under "groups" and it wasn't there so I
> thought to create one.
>
> Great news to learn about the existing clayart pics! Now I can head
> over to the clayart section on flickr and enjoy checking out the
> clayart pics posted there.
>
> Thanks for the info...
>
> (Gotta get out of that closet more often.) //(*_*)\>
> Linda Pahl
> TheClosetPotter1@earthlink.net
> Kew Gardens, New York
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 12:47:01 -0700
> From: URL Krueger
> Subject: Re: Eye safety, viewing cones
>
> I have been surprised by the reaction to my post on this.
>
> I'm curious as to why people are so reluctant to hold up a
> piece of colored glass to their eyes when looking in a
> kiln. The filters are pretty cheap, so cost can't be an
> issue. It causes no pain or is in any way inconvenient, so
> that can't be it. It doesn't reduce the visibility of the
> cones ( in fact it helps for me ) so that can't be it.
>
> If I hold my hand in front of an open peep hole I can feel
> quite a bit of heat, to the point that it gets
> uncomfortable. When I put my eye in the same place as my
> hand I wonder where that energy gets absorbed; the cornea,
> the lens, or the retina maybe. What effect might it be
> having on these delicate structures? Do we really know?
>
> So, since the effort of using a filter is quite small, it
> has no effect on your art and the consequences of not using
> one might be great, _why_ is it that you are reluctant to
> use one?
>
> Thanks...
> --
> Earl K...
> Bothell WA, USA
> Pondering the attitudes of people and how we develop them.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 15:37:25 -0400
> From: Craig Donalson
> Subject: Re: Glaze as touch..Rose Cabat
>
> Rose has made her living for decades with her "feelies."
>
> http://www.andoragallery.com/fsetart2.html?
> http://www.andoragallery.com/cabat.html
>
> Have a feel.
>
> Craig AZ
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 13:29:45 -0700
> From: Gordon Ward
> Subject: Re: VENTING/RHODES32v
>
> Thanks Mel - love the simplicity of your vent. Should last forever...
>
> Makes me think that a fan system could be built on this principle, so
> that the fumes don't actually go through the blower - in the absence
> of a clear shot for natural draft like yours.
>
> Your photos of 32v want to make me try it. Probably will.
>
> Gordon
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 15:32:21 -0400
> From: John Hesselberth
> Subject: Re: scary silica figures
>
> On Aug 11, 2005, at 1:47 PM, Lili Krakowski wrote:
>
> > I have said this before, and I will repeat. Our publications should be
> > asked to annotate glaze recipes with the formula, and warnings about
> > toxic
> > ingredients.
> Hi Lili,
>
> I fully agree with you. Clay Times has taken a step in that direction
> for which I think Polly Beach should be complimented. She has stepped
> out front on this one. I now run unity calculations on all the glazes
> she publishes except those published by her regular columnists like
> Pete Pinnell and Lana Wilson (who are both pretty good about noting a
> glaze's limitations right in their columns). I also give a glaze one of
> 3 ratings: Should be suitable for functional and decorative/scullptural
> pottery; Questionable for use on functional pottery--test thoroughly
> before using; and Limit to use on decorative/sculptural pottery.
>
> The ratings are published right in the magazine. The unity formulas are
> posted on the claytimes.com web site with an explanation of why I gave
> it the ratings I did. An article explaining all this ran in the
> May/June issue and the first ratings were in the July/August issue. If
> anyone has an opinion about this (pro or con) or thinks other magazines
> should follow suit be sure to express your feelings to the appropriate
> editor. They do respond to their reader's opinions--well some of the
> time anyway.
>
> Regards,
>
> John
>
>
> John Hesselberth
> http://www.frogpondpottery.com
> http://www.masteringglazes.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 15:48:13 -0400
> From: MudFire - Luba & Erik
> Subject: Alabama Clay Conference Organizers?
>
> Hi,
>
> Could anyone help me get in touch with the organizers of the Alabama Clay
> Conference? Please email me off-list.
>
> Thanks!
>
> Erik Haagensen
>
> MudFire Clayworks and Pottery Center
> Open Studio * Gallery * Workshops
>
> www.mudfire.com
>
> 175 Laredo Drive
> Decatur, GA 30030
> 404-377-8033
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 17:17:23 -0400
> From: Karen Latorre
> Subject: Re: As long as we are doing short life stories../Karen...
>
> Marcia, I think you're right. I think it was Figueres.
>
> It felt like you were walking in the front door of people's homes, but
> instead of finding a living room or common room, you invariably found
> yourself in a pottery studio! And in the little stretch we covered, it was
> every 2nd or 3rd door, and my uncle seemed to be picking doors at random
..
> just snooping around!!
>
> The large plate hangs on the wall of my dining room. It is actually a
glazed
> piece, pewter base with slip trailed yellow, red, and pink decorations.
Very
> unique, and nothing like anything I'd seen prior or in fact since!
>
> I also have a number of the functional unglazed water jugs and large olive
> oil pitchers.
>
> I unfortunately did not take my camera with me that day (silly me), so all
I
> have are my memories and my pots. If you have any of these images online,
> please send me a link to them. I'd love to relive the experience now that
I
> have a few years of clay under my belt.
>
> Karen Latorre
> www.karenlatorre.com (last updated August 10, 2005)
> just north of Belleville, Ontario
>
> _________________________________________________________________
> Take advantage of powerful junk e-mail filters built on patented
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>
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>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 18:01:51 -0400
> From: Lili Krakowski
> Subject: misc: Touch; low silica;
>
> From infancy on we are told not to touch. Not only body parts, but =
> objects. Sometimes it makes great sense: DO NOT TOUCH that hot stove. =
> But too often it is because our touch is considered harmful/do others, =
> to ourselves. "DO NOT touch that plant. It may be poison ivy." "Do NOT =
> touch that dog, it is dirty." "DO NOT touch the piano keyboard, the =
> velvet drapes--etc."
>
> And of course we are warned not to touch other people....The business of =
> hugging everyone right and left has been tandemed by 'fear of touching' =
> so that one dare not pat someone on the back for fear of a harassment =
> lawsuit.
>
> The joy is that we can touch pottery--and I for one do love the feel of =
> those mutton fat and high magnesium glazes. TOUCHING is a great =
> pleasure--and I am glad pots don't sue....yet.
>
> Which brings me to low silica. No, John, alas, alack and OY, the glazes =
> I am talking about are bright, shiny, satiny at the mattest. THAT is =
> what is scary.
>
> AGAIN I repeat. It is up to us to DEMAND that formulas be printed =
> alongside recipes. Very sobering. There is NO reason for the =
> publishers NOT to do it. They can use glaze calculation programs as =
> easily as we, if the person who gives out the recipe cannot do glaze =
> calculations....I think it truly is a safety issue, and since we have =
> the tools, let us use'em.
>
>
> Lili Krakowski
>
> Be of good courage
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 17:44:01 -0400
> From: Taylor from Rockport
> Subject: Re: Eye safety, viewing cones
>
> Hey Earl:
>
> I for one am not reluctant to use my #10 lens (am I remembering that
> right?). I use it to cut down on the visible light reaching my eyes as
> well as to afford a modicum of protection from peep hole heat. What is
> probably being assumed by some is the only protection at issue is
> protection against UV/IR radiation. Not so the case as Edouard was sure
to
> point out near the end of his online article. My eyes hurt when looking
> into my kiln so it is a no-brainer for me to use a filter to help reduce
> eye strain.
>
> The question still not answered (to my satisfaction) is what impact does
> the uv/ir rad. actually have on cone 6, cone 13, etc. potters in the
course
> of a firing.
>
> In this case, Earl, 'better safe than sorry' only costs us money. Worth
> the price.
>
> Taylor, in Rockport
> http://wirerabbit.blogspot.com
> http://wirerabbitpots.blogspot.com
>
> On Thu, 11 Aug 2005 12:47:01 -0700, URL Krueger
> wrote:
> ...
> >
> >So, since the effort of using a filter is quite small, it
> >has no effect on your art and the consequences of not using
> >one might be great, _why_ is it that you are reluctant to
> >use one?
> ...
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 17:58:05 -0400
> From: "L. P. Skeen"
> Subject: Re: Getting virus emails from other clayart members
>
> HA! maybe YOU don't.....
>
> L
> ----- Original Message -----
> From: "Charanjiv Sachar"
> In other words... potters don't have sexy bodies... :(
> > Charan
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 18:24:58 +0000
> From: Kathi LeSueur
> Subject: Re: A shivering question
>
> Lili Krakowski wrote:
>
> >I just added some glazes to my GlazeMaster list and find that some have a
> >low co-efficient of expansion. As I recall RonJohn speak of around 75.
> >
> >Meanwhile I was reading Michael Bailey and he points out that while
crazing
> >can show up pretty slowly, shivering and peeling show up within a few
days
> >of firing.
> >
> >So. If a glaze has a low c.o.e, and if it does not shiver peel etc on a
> >given body, what is the need to "fix" it. I have some pots with a glaze
on
> >it that has a c.o.e of 61 and has been on those pots for 20 some years,
no
> >problem at all.. Silica is 2.4 . It is a stable agreeable glaze.>>>>>
> >
>
> I had a problem with a family of glazes some years ago. All of them
> shared the same base. Suddenly, they all shivered in a firing. The glaze
> would come off of the rims as I was taking them from the kiln. It turned
> out to be a clay problem. The supplier replaced it without argument and
> I still use his clay today. Moral #1? Glazes either fit or they don't.
> If they suddenly don't fit look for a change in something. Moral #2?
> Treat your customers right and they will stick with you even when there
> is a problem.
>
> kathi
>
> >
> >
> >
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 17:31:20 -0500
> From: David Hendley
> Subject: Re: scary silica figures
>
> It seems to me that the publications [Ceramics Monthly and
> Clay Times] are glad to include glaze formulae along with any
> published recipes. I include the recipes whenever I write about
> glazes for magazine articles, I ask them to include them, and they do.
> The hitch is that most authors do not include formulae along with
> recipes. Heck, many authors don't even know glaze chemistry.
>
> If you go through old glaze notebooks from the pre-computer
> age you are likely to find all kinds of deficient glazes. Because of
> the time and arithmetic involved, hardly any potters used glaze
> calculation in those days. And, toxicity issues were non-issues
> in those days.
> We've come a long way, baby.
>
> David Hendley
> I don't know nothin' but the blues, cobalt that is.
> david@farmpots.com
> http://www.farmpots.com
>
>
>
>
>
> ----- Original Message -----
> > Because we are having a serious dreadful heatwave, it is hard to get
heavy
> > work done. So I have been having a good if scary time running "given"
> > glazes from my old notebooks through Glaze Master.
> > Bunches, and I do mean bunches, of glazes garnered from reputable
> > publications and with reputable names attached have silica anemia:
> > 1.1238;
> > 2.0968--and like that.
> > I have said this before, and I will repeat. Our publications should be
> > asked to annotate glaze recipes with the formula, and warnings about
toxic
> > ingredients.
> .
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 18:32:04 +0000
> From: Kathi LeSueur
> Subject: Re: price stickers
>
> Jennifer Boyer wrote:
>
> > Oh dear,
> > I feel a mild rant coming on....
> > Basically the Avery stickers you find in office supply stores work
> > fine, although no sticker does all that well on an unglazed clay
> > surface.
> > BUT why put the stickers on the bottom? After 30 + years of selling
> > pots(my own and those in the coop gallery i help run) I feel it's a big
> > mistake to assume a customer wants to turn over a pot to find out how
> > much it costs. There is a subtle disincentive to buy when you put any
> > kind of roadblock in the way of information the customer needs. >>>>>
>
>
> I agree with this point of view. On of the things I hate about jewelry
> booths is that they either hide the price or don't put the price on at
> all. I've asked a few of them why and they all say the same thing, "I
> want the customer to talk to me." Well, I just assume that I can't
> afford anything in their booth and walk on, or even worse, that the
> price for me may be different than for the next person. Don't make me
> work at buying from you. Don't embarrass me because I can't afford your
> price. Maybe someday I will be able to. But, I'll always resent that you
> made me feel embarrassed.
>
> Kathi
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 18:18:09 -0500
> From: Vince Pitelka
> Subject: Re: Japanese & Korean pots
>
> > Thank you, Morgan. You give a lot to this
> > list in terms of information - and you ain't even
> > a potter!!
>
> Actually, he is a potter, but he doesn't have much time for it these days.
> He learned the basics as a kid when I was full-time potter, and at
Amherst
> High School they had an excellent ceramics facility and a great teacher -
> Jim Logan - that's where Morgan really learned to make pots. In
> undergraduate school at Oberlin College they had a pottery club with a
> decent facility (there was no ceramics in the art department). He also
did
> a winter-break pottery intensive at U-Mass while we were there. When he
> received his Thomas J. Watson post-undergraduate fellowship to go spend a
> year in Japan visiting potters and pottery producing villages, his pottery
> was one of the things that impressed the selection committee.
>
> But then, as his dad, I suppose I am a biased reporter.
> - Vince
>
> Vince Pitelka
> Appalachian Center for Craft, Tennessee Technological University
> Smithville TN 37166, 615/597-6801 x111
> vpitelka@dtccom.net, wpitelka@tntech.edu
> http://iweb.tntech.edu/wpitelka/
> http://www.tntech.edu/craftcenter/
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 17:54:33 -0500
> From: Louis Katz
> Subject: Re: Eye safety, viewing cones
>
> Warning:Stretched information
>
>
> Heating of the lens causes cataracts when the heating is from radio
> waves. It is not just exposure to Radio energy that does it. The energy
> has to be absorbed that is converted to heat in order for the damage to
> occur. The FCC sets radio frequency exposure limits lower at
> frequencies that heads and eye structures are resonant at. Other
> frequencies don't get "absorbed" so they don't heat the eye. they have
> higher limits. I doubt that these limits even approiach the amount of
> heating looking at the cones produces.
>
> At the time to argue the other side with little data. FCC exposure
> limts are averaged over time. This would suggest that maybe a hot kiln
> for 20 seconds is not as bad as looking for 1 minute. Get a life - you
> don't look short enough to make looking in your high fire kiln without
> the encumberance of a welding glass worth the risk.
>
> The idea that heating your eyes up could damage them seems pretty
> simple.
>
> If you need some silly demonstration that has no scientific basis to
> convince you watch an egg being microwaved.
>
> Louis
>
>
> On Aug 11, 2005, at 2:47 PM, URL Krueger wrote:
>
> > I have been surprised by the reaction to my post on this.
> >
> > I'm curious as to why people are so reluctant to hold up a
> > piece of colored glass to their eyes when looking in a
> > kiln. The filters are pretty cheap, so cost can't be an
> > issue. It causes no pain or is in any way inconvenient, so
> > that can't be it. It doesn't reduce the visibility of the
> > cones ( in fact it helps for me ) so that can't be it.
> >
> > If I hold my hand in front of an open peep hole I can feel
> > quite a bit of heat, to the point that it gets
> > uncomfortable. When I put my eye in the same place as my
> > hand I wonder where that energy gets absorbed; the cornea,
> > the lens, or the retina maybe. What effect might it be
> > having on these delicate structures? Do we really know?
> >
> > So, since the effort of using a filter is quite small, it
> > has no effect on your art and the consequences of not using
> > one might be great, _why_ is it that you are reluctant to
> > use one?
> >
> > Thanks...
> > --
> > Earl K...
> > Bothell WA, USA
> > Pondering the attitudes of people and how we develop them.
> >
> > _______________________________________________________________________
> > _______
> > 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.
> >
> >
> Louis Katz
> WIKI site http://www.tamucc.edu/wiki/Katz/HomePage
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 19:20:28 -0500
> From: Snail Scott
> Subject: Re: Scared about food safe
>
> At 11:50 AM 8/11/2005 -0400, Andy wrote:
> >Hi Snail,
> >No comment about the suitability of earthenware for food but is it fair
to
> >say that such a body will inevitably craze? There are many glazed
> >earthenware articles that show no evidence of crazing yet are hundreds of
> >years old...
>
>
> I was exaggerating a bit for effect, true, but...
>
> Since the poster was, I assumed, a novice using
> a commercial low-fire clay body with commercial
> low-fire glazes, the chance for crazing is fairly
> high. Few novices try multiple clay bodies or
> various bisque temperatures to get better results,
> and often take crazing for granted. Also, even
> a well-fitting glaze seems to craze after repeated
> use and washing, as the stresses of use accumulate.
> I don't know why moisture seems to cause swelling
> of a fired clay object, but that often is the
> apparent (if not actual) effect. I've seen very
> few pieces of uncrazed earthenware, and those few
> I suspect of being either not-daily-use ware (like
> those Italian majolica presentation plates), or simply
> having hard-to-see crazing due to densely opaque
> glaze, or of being borderline in the definition of
> earthenware.
>
> I suspect (though can't prove) that absorbency
> and glaze fit are potentially equal factors in
> earthenware crazing. Just as some clay/glaze combos
> have better fit and thus stave off crazing, some
> earthenwares are much less absorbent than others,
> and I would expect that less-absorbent ones will
> contribute to less crazing. Most commercial low-
> fire bodies of my experience are quite porous at
> ^04, but often behave well up to ^1 or so, when
> they start to be much less porous but could still
> be called earthenware.
>
> When we say 'earthenware', especially with regard
> to museum pieces, we seldom know what the composition
> of the clay body is, or how hot it was fired. Some
> earthenwares are 'earthier' than others, and I
> believe that typical commercial low-fire bodies are
> generally on the 'more porous' end of the
> vitrification scale for glazed earthenware.
>
> My point, however, is that even a badly crazed
> glaze seems like a very limited vector for health-
> threatening bacteria. (Anyone out there have
> actual test data to confirm or deny this? Idle
> speculation is fun, but facts are best.)
>
> -Snail
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 19:21:29 -0500
> From: Snail Scott
> Subject: Re: Eye safety, viewing cones
>
> At 12:47 PM 8/11/2005 -0700, you wrote:
> >I'm curious as to why people are so reluctant to hold up a
> >piece of colored glass to their eyes when looking in a
> >kiln. The filters are pretty cheap, so cost can't be an
> >issue...
>
>
>
> I dunno, either. It's sure easier than applying
> makeup to hide the fact that my eyelashes have
> been burned off by staring at peepholes! (Haven't
> lost my eyelashes lately, since using protection.
> I used to be young and stupid; now I'm not so
> young, but maybe capable of learning.)
>
> -Snail
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 19:21:25 -0500
> From: Vince Pitelka
> Subject: Re: Paranoid about food safe
>
> > A majority of earthenware remains porous, thus will not be food safe
> > unless
> > covered with an uncrazed glaze.
>
> I'm sorry, but this just isn't true. Show me evidence of anyone, ever,
> anywhere, suffering health problems from crazed earthenware as long as the
> glaze itself wasn't the problem. In fact, most glazed earthenware through
> history has been crazed, and as far as we know, no one suffered health
> problems from its use.
>
> This is one of those ceramic urban legends - that crazed pottery is not
food
> safe. Crazed pottery is less durable than un-crazed pottery, and a glaze
> inclined to release toxic materials will of course be more of a problem if
> it is crazed. But other than that, there is no evidence that terrible
> bacteria grow in the clay and then come back out through the craze cracks
to
> attack our gastrointestinal tracts. This is like the big furor over wood
> cutting boards. As it turns out, wood cutting boards are less prone to
> bacterial growth than plastic cutting boards that have been well-scored
from
> use.
> - Vince
>
> Vince Pitelka
> Appalachian Center for Craft, Tennessee Technological University
> Smithville TN 37166, 615/597-6801 x111
> vpitelka@dtccom.net, wpitelka@tntech.edu
> http://iweb.tntech.edu/wpitelka/
> http://www.tntech.edu/craftcenter/
>
> ------------------------------
>
> Date: Fri, 12 Aug 2005 09:39:07 +0900
> From: Mike Martino
> Subject: Re: Kyushu Pottery in Gourmet Magazine
>
> My Aunt sent me this article recently. One of the restaurants, Hisago,
> is one my wife and I frequent and bring our guests to when they visit.
> One of the best places I've ever been foodwise, and the presentation is
> just amazing with Maeda San's selection of dishes.
> My pottery teacher is an old friend of Maeda San (they were high school
> classmates) and has several designs which he makes just for Hisago and
> no-one else. Actually, one of Tsuruta Sensei's slab plates is in the
> first picture in the article(p.88), of the dessert cup and saucer
> resting on the rectangular slab plate. It mimics the ocean and rocky
> coastline of the picture on the facing page.
> That dessert in the picture totallly rocks, by the way.
>
> Mike
>
> ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
> mike martino
> in taku, japan
>
> muchimi@potteryofjapan.com
> www.potteryofjapan.com
>
> ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of gjudson
> Sent: Friday, August 12, 2005 2:41 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: Re: Kyushu Pottery in Gourmet Magazine
>
>
> Yes, but I was disappointed that there were not more pictures of the
> ware since that was the focus of the article. Gay Judson in San
> Antonio, TX
>
> Darin Gehrke wrote:
> > With all the talk of Korean vs. Japanese pottery lately, I thought I
> > might mention the August issue of Gourmet magazine. There is a very
> > nice article about the pottery of Kyushu (mainly
> > Karatsu) and it's relationship with food. I thought it was very nice
> to
> > see this discussed
> > somewhere other than Ceramics Monthly.
> >
> >
> >
>
> ________________________________________________________________________
> ______
> Send postings to clayart@lsv.ceramics.org
>
> You may look at the archives for the list or change your subscription
> settings from http://www.ceramics.org/clayart/
>
> Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 21:43:04 -0000
> From: joethepotter1948
> Subject: Re: price stickers
>
> You could use a grease pencil ... you know, like the pencils we used
> in chemistry lab on glassware... somewhere on the glazed surface of
> your wares, where it could be wiped off without marring the exposed
> clay part of the wares.
>
> At a show I did recently I got completely around the displaced
> sticker problem by simply putting up little signs on the shelves
> that said "Mugs $XX", "Bowls $XX", and "Small pieces $X and up, Ask
> price". It worked for me, in that it seemed to encourage lookers to
> handle stuff more without feeling like they were price-shopping (and
> as already suggested, if the customer will handle the wares they're
> more likely to buy them), and it allows the customer the freedom
> from feeling like he has to pick from the highest price group to
> keep from looking cheap when buying a gift for a friend that's with
> him. The sad part is that many customers either don't know quality
> differences or simply pick with different criteria than I do, since
> some of what I would have priced cheaper, if I were attaching tags,
> were some of the first things to sell, and some of the best pieces
> were the last to sell, but when it was all said and done I got a
> fair average price out of the wares without the time expense and
> hassle of tagging or stickering each piece. I do think next time
> I'll put the prices on the one-of-a-kind items just so I don't have
> to remember what I priced them at; a poor memory could prove to be
> embarrassing.
>
> Joe
> keeping it simple when I can
>
>
> --- In clayart@yahoogroups.com, Laurie wrote:
> > Hi Linda,
> > I make a lot of little raku fired figurines. I finally gave up on
> the
> > prices falling off every time I wrap them up and have been...
> >
> > On Aug 10, 2005, at 6:50 PM, Linda Schwartz wrote:
> >
> > > Can anyone suggest a type or brand of sticker, used to price a
> piece,
> > > that
> > > will not fall off the bottom ?
> >
> >
> _____________________________________________________________________
> _________
> > Send postings to clayart@l...
> >
> > You may look at the archives for the list or change your
> subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be reached at
> melpots@p...
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 21:25:56 -0400
> From: Frank Colson
> Subject: Re: Raku kiln
>
> Joanne- I believe you would like to meet ROCKY RAKU at www.R2D2u.com
> Rocky cost no more than $50.00 to make, will go to raku glaze temps in
less
> than 3 minuets, and is totally portable with a weight of about 20lbs. You
> and ROCKY could do a lot of great small pots while you work out how to
make
> a suspension raku kiln with the inside measurements you are asking about
> for a whopping less than 2 hundred!
>
> Frank Colson
> ----- Original Message -----
> From: "Marcia Selsor"
> To:
> Sent: Thursday, August 11, 2005 8:30 AM
> Subject: Re: Raku kiln
>
>
> > There was a good article in PMI about 5 years ago I think. It was
> > very easy to do. I built two kilns from one roll of 2 inch fiber.
> > One is smaller than the other. The larger of the two is about 26"
> > inside diameter and the other is about 20". I use old kiln lids for a
> > base and then some bricks for the base walls where the burner comes
> > in. I built the two kilns for about $550 including my great tandem
> > system of 2 burners hooked up to 3 tanks of gas. Mark Ward built them
> > for me.
> > I also sprayed the fiber with ITC which I spray on everything. The
> > design from PMI uses hardware fabric 1/2 wire mesh. I take these
> > kilns to workshops and fire lots of pieces with them. very efficient.
> > Marcia Selsor
> >
> > On Aug 10, 2005, at 11:26 PM, Joanne wrote:
> >
> > > Looking for some advice on a new raku kiln. The one i use now is
> > > too small
> > > but I don't feel competent enough to build my own so was thinking
> > > about
> > > splurging on something like a Laguna - i need something that's
> > > about 24" in
> > > diameter & does not take a lot of muscle to lift. Anybody have
> > > yeahs or
> > > nays they'd like to share before i plunk down all this money?
> > >
> > > thanks -
> > > Joanne
> > >
> > > ______________________________________________________________________
> > > ________
> > > Send postings to clayart@lsv.ceramics.org
> > >
> > > You may look at the archives for the list or change your subscription
> > > settings from http://www.ceramics.org/clayart/
> > >
> > > Moderator of the list is Mel Jacobson who may be reached at
> > > melpots@pclink.com.
> > >
> > >
> >
> >
>
____________________________________________________________________________

> __
> > Send postings to clayart@lsv.ceramics.org
> >
> > You may look at the archives for the list or change your subscription
> > settings from http://www.ceramics.org/clayart/
> >
> > Moderator of the list is Mel Jacobson who may be reached at
> melpots@pclink.com.
>
> ------------------------------
>
> Date: Sun, 21 Aug 2005 09:54:28 -0400
> From: clennell
> Subject: Straight goods, no con.
>
> I have been having a one on one conversation with Florida Keys Wayne
about
> being self employed. We should share our thoughts with you in Claytown. I
am
> a big fan of Wayne . He has the guts to be out of closet, run a couple of
> businessess and has grasped clay better than most on this list. You can be
> anyone or anything you want to be behind the screen of the internet but
most
> of us see the shit from the putty. Wayne is straight goods and no con.
> It really excites me to see a guy move from a job he hates to the world of
> clay.
> The Clay community is a loving, sharing, good bunch of folks. Get the hell
> outta the Keys and up here where we might be straight, but we're not
narrow.
> cheers,
> Tony
> Tony and Sheila Clennell
> Sour Cherry Pottery
> 4545 King Street
> Beamsville, Ontario
> CANADA L0R 1B1
> http://www.sourcherrypottery.com
> http://www.sourcherrypottery.com/current_news/news_letter.html
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 20:52:39 -0600
> From: Marcia Selsor
> Subject: Karen.../Spanish Potters
>
> Karen,
> I don't have the images of the Spanish potters on line. But I
> recently bought a great slide scanner and I am preparing for the
> Potters Council's Tile conference. I am digging through old slides.
> This scanner helps erase scratches and clean old slides. IO always
> though I should do a book on our adventures in Spain because after
> Spain joined the Common Market in 1986 , now European community, most
> of the traditional potters died out. I have a very solid record of
> what they were doing at that moment in time.
> Lots to do as I get older.
> Marcia
> On Aug 11, 2005, at 3:17 PM, Karen Latorre wrote:
>
> > Marcia, I think you're right. I think it was Figueres.
> >
> > It felt like you were walking in the front door of people's homes, but
> > instead of finding a living room or common room, you invariably found
> > yourself in a pottery studio! And in the little stretch we covered,
> > it was
> > every 2nd or 3rd door, and my uncle seemed to be picking doors at
> > random ..
> > just snooping around!!
> >
> > The large plate hangs on the wall of my dining room. It is actually
> > a glazed
> > piece, pewter base with slip trailed yellow, red, and pink
> > decorations. Very
> > unique, and nothing like anything I'd seen prior or in fact since!
> >
> > I also have a number of the functional unglazed water jugs and
> > large olive
> > oil pitchers.
> >
> > I unfortunately did not take my camera with me that day (silly me),
> > so all I
> > have are my memories and my pots. If you have any of these images
> > online,
> > please send me a link to them. I'd love to relive the experience
> > now that I
> > have a few years of clay under my belt.
> >
> > Karen Latorre
> > www.karenlatorre.com (last updated August 10, 2005)
> > just north of Belleville, Ontario
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 22:59:07 -0400
> From: Mert & Holly Kilpatrick
> Subject: DIY Instructions for Clayart FlickR
>
> Linda wrote that she set up a Clayart Flickr page. I think there's a
little
> duplication here, I have been posting instructions on how to use the
Clayart
> FlickR site for a couple months, but I think Linda has been away from
> Clayart for a little while. I'll post the instructions again here:
>
> Email your photo as an attachment to
> both79word@photos.flickr.com
>
> In the Email Subject, type the Title of your photo. Make it specific.
> In the Body of the Email, type the Description of your photo, including
your
> name and location. You can also put a link to your website in your
> description if you want.
>
> If you send an email to Clayart referencing a photo you have sent to
> FlickR.com, you can provide the following link in your Clayart email, for
> readers to see the photo you mention.
>
> http://www.flickr.com/photos/clayart
>
> Linda, could I suggest that just to avoid confusion, you delete the
> clayart_pics and use the one that is already set up and paid for, not that
> it's not a good idea, but it makes it easier to enjoy the pictures if they
> are together. At least, that's one person's opinion, not that I'm trying
to
> be negative.
>
> Holly
> East Bangor, PA
>
>
> > -----Original Message-----
> > From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of Linda Pahl
> > Sent: Thursday, August 11, 2005 1:48 PM
> > To: CLAYART@LSV.CERAMICS.ORG
> > Subject: Re: Free storage for your digital photos/share pics with
friends
> > and family
>
> > I'm thinking about creating a "group" called "Clayart". Yep, I'll head
> > over to the site and do that now as it would be great to be able to
> > actually see the pottery created by this great group.
> >
> > Okay. I just created a Flickr group called "clayart". Here is the
> > link if you want to post your pics to share with other clayarters:
> >
> > http://www.flickr.com/groups/clayart_pics/
> >
> > I had to add the word "pics" to the address instead of just using
> > "clayart" because "clayart" was already taken. Funny, though, 'cause I
> > couldn't find the group called "clayart" which is why I created one.
> >
> > Linda Pahl
> > TheClosetPotter1@earthlink.net
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 21:03:11 -0600
> From: Marcia Selsor
> Subject: Re: Getting virus emails from other clayart members
>
> Charan,
> Its the glazes not the clay bodies that are sexy!!!!
> On Aug 11, 2005, at 12:59 PM, Charanjiv Sachar wrote:
>
> > Hello everyone,
> > Thought I would warn everyone to watch out for email viruses coming
> > from other clay art members. Got emails from Linda Blossom saying I
> > have a bad file and Randy Johnston saying I have a sexy
> > body....hahaha. There were attachments too which of course I didn't
> > open. After I got over myself, being sexy and all, I thought I
> > would warn you guys not to open such attachments. In other words...
> > potters don't have sexy bodies... :(
> > Charan
> >
> >
> > Creative with Clay
> > Federal Way, WA
> > Tel: 253 241 2245
> > Email: creativewithclay@yahoo.com
> > www.creativewithclay.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 21:01:54 -0600
> From: Marcia Selsor
> Subject: Re: vent drawing
>
> Mel,
> I take it this is a natural draft by joining the cool floor temp air.
> Looks interesting' I was just at the local museum where they want to
> take a cinderblock storage shed and make a pottery out of it. This
> venting system seems very reasonable.
> Marcia Selsor
> On Aug 11, 2005, at 12:54 PM, mel jacobson wrote:
>
> > is now on the clayart page.
> >
> > this is theory.
> > you can run with it many ways.
> > those that want an exact recipe...call an engineer.
> >
> > i used scrap pipe, some simple welding/
> > have a bracket on the wall holding the pipe in place.
> >
> > i have no idea what your roof, ceiling are like.
> > many thousands of variations.
> > that is for you to monkey with. if your kiln is in the basement
> > of a 10 story building...well good luck.
> > mel
> > from mel/minnetonka.mn.usa
> > website: http://www.pclink.com/melpots
> > http://home.comcast.net/~figglywig/clayart.htm
> > for gail's year book.
> >
> > _____
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 19:06:33 -0700
> From: bill edwards
> Subject: Mel's Pots
>
> Those pots look good enough to eat, even without the
> food in them. Chatter works well on them, so chatter
> on!
>
>
>
> Bill Edwards
> Edmar Studio and Gallery
> 302 South Main St (Shipping)
> POB 367 (Mailing)
> Camp Hill, Al. 36850
> http://apottersmark.blogspot.com/
> "!" And I quote that
> CampHillBilly
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 19:29:06 -0700
> From: Merry Monk Design
> Subject: chimney for kiln, spraybooth and gas heat venting?
>
> I have to set up ductwork for a kiln and spraybooth.
> My landlord wants me to attach the duct to the chimney
> in my space. The chimney has 2 flues. The gas
> furnace is already connected to the 1st flue.
>
> Is it OK (healthy? to code?) to vent a kiln and
> spraybooth in the same duct, which would connect to
> the 2nd chimney flue?
>
> Is it OK to duct the fumes from my gas furnace in the
> same duct as the spraybooth?
>
> Assume the chimney is sealed, etc. I am concerned
> about backwash and fume/particle mixing. I am
> currently solely using ^4-6 glazes.
>
> Thanks,
> Amy Sanford
> amy@merrymonkdesign.com
> (I'm having some email problems, so if you email me
> and I don't respond within 2 days, please try
> again...)
> amy@
>
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 22:39:04 -0400
> From: Gene & Dolita Dohrman
> Subject: Dolita did Denver
>
> Just so you know, I have my spies out there who check Clayart when I am =
> not in town and let me know how everyone is behaving. Obviously, there =
> are a few Clayarters behaving badly...but then it wouldn't be the same =
> without them would it? I have to tell you I went to see Connie =
> Christensen and it was the highlight of my trip! Actually got to pick =
> out pieces I wanted...it was like a kid in a candy store..she had just =
> unloaded a kiln. If you have not visited her website, DO IT! You will =
> be amazed at her Shinos. http://www.conniechristensen.com/=20
> And she is sooo nice! If you ever do Denver, go see Connie. =20
> Dolita - Wayne is going to get a 2 X 4 in Portland....and I will deal =
> with Jim sooner...he is right in my own backyard.
>
> ------------------------------
>
> Date: Thu, 11 Aug 2005 22:26:37 -0500
> From: mel jacobson
> Subject: vent system
>
> what i kept wondering about was howcomplex does it have to be?
>
> blowers, motors, pipes....cones shaking loose.
>
> a chimney...what a concept.
>
> it is just a natural draft chimney.
>
> and, i more and more think that a piece of heavy duty
> plastic sewer pipe would work just fine. a 1 inch stainless pipe
> from kiln to plastic. use some sort of automotive/heat sensitive
> glue.
>
> there is more than enough cold air coming in from the bottom
> to off set the warm air coming from the one inch pipe leading
> to the kiln.
>
> most of you would find it hard to find a 4-5 inch solid stainless
> piece of pipe...10 or 12 feet long...one piece.
> a guy gave me that one day....and bingo..there was my chimney.
> (never refuse a nice piece of stainless pipe when you are a potter.)
>
> i saw a guy once use flexible stainless pipe that is used
> on semitrailer trucks. that big stuff. he vented his kiln
> with a small blower in a window. sucked it out of the kiln.
> (might have been in cm...years ago.)
>
> so, i thought..solid chimney would have to work.
> it does.
>
> if one wanted to get extra fancy...use sheet kaowool between
> the layers of the kiln, and around the cover...stuff the peeps
> with kaowool. just have one that comes out for the
> safety cone viewer.
>
> the tighter the kiln...the better the draft up the pipe.
> some have suggested a few holes in the bottom of the electric
> kiln...but i have not needed it. when the kiln is firing on a cool
> day...you can see the bits of smoke and steam coming from that
> stack.
>
> i just stuff that piece of foam back in when the kiln is done.
> don't want ice cold air coming back down the stack in winter.'
> the bottom of the pipe is about a foot off the floor.
> yes marcie, cool to hot moves the air out.
> my god..physics...can you beat all.
> i think it was a korean physicist..held captive in japan that
> invented the chimney...he was also the first one to write
> a position paper on:
> `you stick your eye in the peep hole at cone 11, it will burn your eye
out.`
> just like Ralphy andthe BB gun.
>
> from mel/minnetonka.mn.usa
> website: http://www.pclink.com/melpots
> http://home.comcast.net/~figglywig/clayart.htm
> for gail's year book.
>
> ------------------------------
>
> End of CLAYART Digest - 10 Aug 2005 to 11 Aug 2005 (#2005-219)
> **************************************************************
>

Karen Latorre on fri 12 aug 05

What attracks me to a glaze is first "glaze interest" and second, glaze
feel. I like to see something happening in the glaze, some intermixing of
elements and colours. Secondly, I like "fat" glazes ... something that looks
thick and buttery or waxy. I love glazes heavy in magnesium. I love Shinos.

Eric Wong's crawling shino is a real delight with the globular, thick,
almost dripping off the pot, coloured, crazed, glaze, and then very fine
sand paper like raw slipped surface where the glaze has pulled back.
Textural opposites in one piece.

The Chris Gustin piece I have is a semi-glossy (I'd guess high magnesium)
temmoku like colour, breaking to matt milk chocolate colour at the lip. The
main body of the glaze has some sparkle to it.

I'm also desperately attracted to macro crystalline (unloading a kiln full
of that is like Christmas morning and it can take me the whole day!), and
multiple layered glazes (which not only puts the interest in there, it also
thickens the glaze), so for me it's definitely glaze interest first, and
feel second.

Karen Latorre
www.karenlatorre.com (last updated August 10, 2005)
just north of Belleville, Ontario

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bonnie staffel on fri 12 aug 05

Dear Clayarters,

I used to have such a glaze that was a pleasure to touch. That was when the
old Cornwall Stone was available. I would compare a beautiful glaze with
texture and touch to that of Jade. Feels smooth, buttery and with a little
depth. When I ran out of the old Cornwall Stone, I altered the glaze by
substituting Nepheline Syenite and Kona F4 but the same surface did not
return. The new glaze has its own attributes, being smooth, nice to the
touch, food cleans like Teflon and accepts my painting easily.

I have been accumulating some old Cornwall Stone material with the help of
potter friends and plan to remake the old glaze to get that beautiful
surface again. That will be my winter task.

Warm regards,

Bonnie Staffel
http://webpages.charter.net/bstaffel/
http://vasefinder.com/bstaffelgallery1.html
http://artistsnorth.com/gallery.htm
Charter Member Potters Council

Jon Pacini on fri 12 aug 05

Greetings All--- I love texture---sometimes I throw very course sculpture
clays and scrape them with a serrated rib just so there will be more texture
to feel. Of course I'm somewhat partial to unglazed clay as a surface
treatment all it's own. Clay can have such character. Why cover it up with a
glaze at all.

But even my glazes tend to be textural-- rough matts and cratered glazes---
boy do I love the tactile nature of pottery.

Pots are made to be held--caressed---enjoyed.

Best regards,
Jon Pacini
Clay Manager
Laguna Clay Co

David Heard on sat 13 aug 05

For me its how a pot feels - the glaze doesn't matter to me, no ... that's
not quite right it "does" matter but in a very secondary way. My preference
in any type of pot is as natural as I can get, pots that have lots of area
with no glaze except for where food goes I just go wonky over. Pots that I
love to touch are pots obviously made by hand, by that I mean a pot could be
made by hand and look like a walmart special, won't touch it - no soul there
in my opinion, no offense to anyone who likes perfect pots. I like my pots
to be like me, slightly off ... made with human heart and soul, no faked
throwing rings although that could be argued as highly subjective, how would
I really know its fake? Hmmm, perception is key ... essentially in a nut
shell texture makes my world go-round and keeps me centered when I can feel
where another human being put their hands on the pot I'm holding.

-Dave

Pam Cresswell on sat 13 aug 05

The fake throwing rings really bother me now (real throwing are wonderful).
When I was much younger and less wise about pottery, I used to always choose
to drink my coffee from my
Mother's folk-art styled pfaltzgraph cups, that have a tan mat glaze, early
American style brush work, and throwing rings, and mold seams! I guess they
are a step up from the dime store straight cylinder mugs that you can get
you photo decaled to, but at this stage in my life,
I would rather drink from one of my earlier paperweight mugs than one of
those molded replicas....
Pam in rainy and cool Kansas City, where the heat and drought are
temporarily at bay....


David Heard Wrote:

>> no faked throwing rings although that could be argued as highly
subjective, how would
>>I really know its fake? Hmmm, perception is key ... essentially in a nut
>>shell texture makes my world go-round and keeps me centered when I can
feel
>>where another human being put their hands on the pot I'm holding.

-Dave

James and Sherron Bowen on sun 14 aug 05

The Betty's Satin Matte glaze I got from Elca Branman is (according to Mel)
another Rhodes 32 variant. It is absolutely the most sensuous feeling glaze
I have used and absolutely beautiful over dark clay bodies when applied
right. It is without doubt the smoothest glaze surface I have touched. It is
one that deserves more work to see how it looks with colorants.
I have a Tom Coleman piece with a Copper Red he calls Strawberry. Very nice
to touch a tad less glossy than the usual red. You can see come texture on
the surface, too.
I wonder why the Iron saturates like Ohata Kaki and Temmoku seem greasy or
sticky to me when they first come out of the kiln but lose that feel after
being washed.
JB

BETTY'S SATIN WHITE cone 10 R
Custer Spar 580
EPK 250
Dolomite 180
Whiting 30
Silica 50

Overall's on tue 16 aug 05

This is certainly an interesting thought provoking question
maybe because I never considered it before.
I'm am attracted to color and texture.
Glossies seldom win - reds are their exception
Warm tones first; reds, shinos, yellows;
with just a bit of cool for contrast and playfullness
and then texture to feel
could be texture from a satin or matt
or could be incised designs on the pot
Great question Mel.

Kim Overall
Houston, TX
http://www.houstonpotters.com

Ron Roy on tue 16 aug 05

Interesting - this one has enough silica that it might be durable. It's
ratio is still below 5 so I expect it will be a matte glaze if cooled slow
enough or have some titanium added to seed the crystals.

Most clay matts are short of silica and that is how they keep the
silica/alumina ratio below 5 - this one has elevated alumina to get the
ratio below 5.

On of the "rules" for stability is good melting - it could be - because of
the high alumina in this glaze - that it is not melted well enough to
resist acid attack - only test well tell the tale.

RR

>The Betty's Satin Matte glaze I got from Elca Branman is (according to Mel)
>another Rhodes 32 variant. It is absolutely the most sensuous feeling glaze
>I have used and absolutely beautiful over dark clay bodies when applied
>right. It is without doubt the smoothest glaze surface I have touched. It is
>one that deserves more work to see how it looks with colorants.
>I have a Tom Coleman piece with a Copper Red he calls Strawberry. Very nice
>to touch a tad less glossy than the usual red. You can see come texture on
>the surface, too.
> I wonder why the Iron saturates like Ohata Kaki and Temmoku seem greasy or
>sticky to me when they first come out of the kiln but lose that feel after
>being washed.
> JB
>
> BETTY'S SATIN WHITE cone 10 R
>Custer Spar 580
>EPK 250
>Dolomite 180
>Whiting 30
>Silica 50

Ron Roy
RR#4
15084 Little Lake Road
Brighton, Ontario
Canada
K0K 1H0
Phone: 613-475-9544
Fax: 613-475-3513