nils lou on wed 13 sep 06
I'll try to answer your questions RE: MFT
M-board is compressed ceramic fiber and is available in sheets 1" X 24" X=20
36". Cut to fit desired damper size (9" X 15" ). One sheet is about $50.=20
Soak in liquid silica and fire to C06.
The flame trench and tuning system in the MFT is designed to allow=20
extremely even firings. A C10 reduction firing typically uses about 30=20
gallons of LPG. I have used as little as 19 and as much as 40.
You can certainly place pots on the cart bed and post on up. Make sure=20
there is no obstruction of the exit flue. Use stack sleeves for stack=20
insulation especially if you use thin walled steel. Sleeves and M-board are =
available from Smith-Sharpe in Mpls, MN. No hood should be used or needed.
Preferred burner is the SK-1ss propane. 500,000 Btu each burner. price for=20
the two burner system with safety is $800, including shipping. Hope this is =
helpful. Nils
--On Monday, September 11, 2006 12:00 AM -0400 Automatic digest processor=20
wrote:
> There are 49 messages totalling 2394 lines in this issue.
>
> Topics of the day:
>
> 1. Thixtropic clay (6)
> 2. Cat Cave Ripple Marks, Olof meets a Porcupine, YouTube ceramics (2)
> 3. Muse of Fire: The Ceramic Figure now online
> 4. How to hang ornaments (3)
> 5. runny glaze
> 6. some glaze chemistry
> 7. Windows, Linux, Mac - which one for you ?? (2)
> 8. Tall Orders promptly filled: Attn: Brad (3)
> 9. Free Pottery DVD (2)
> 10. =
=3D?ISO-8859-1?Q?Re:=3D20=3DA0=3D20=3DA0=3D20=3DA0=3D20Re:=3D20family=3D20of=
=3D20matt=3D20?=3D
> =3D?ISO-8859-1?Q?glazes?=3D
> 11. Nice article related to the Manual Arts
> 12. Making Totems (4)
> 13. Dear Bonnie Staffel-hope you do get to share China pics
> 14. Lizella clay and the ACC at UF (2)
> 15. 9 fingered man
> 16. drying (9)
> 17. re; RUNNY GLAZE
> 18. supporting local business
> 19. Tall Orders promptly filled
> 20. Building a MFT
> 21. Looking for Kelly Swope
> 22. Colored Clay Workshop in NC?
> 23. Terra SIG?
> 24. how much does 5lbs of dry glaze yield?
> 25. FW: Tucson Arizona Casita for rent/pottery studio near by
>
> _________________________________________________________________________
> _____ 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, 10 Sep 2006 15:52:37 +0930
> From: Ivor and Olive Lewis
> Subject: Re: Thixtropic clay
>
> Dear Ron Roy,,
>
> You are confusing my understanding of the behaviour of clay.
>
> As I was given to understand many years ago, thixotropic substances were =
=3D
> generally solid in nature but when agitated or subject to mechanical =3D
> stress they tended to become fluid. Thixotropic was particularly applied =
=3D
> to household paints that remained solid in the can until stirred by the =
=3D
> brush. Once the agitation stopped they immediately solidified again on =
=3D
> the bristles of the brush. When paint was applied to the wall or ceiling =
=3D
> it fluidised and flowed to give a good smooth textureless surface =3D
> without running or dripping.
>
> Are you saying that adding a deflocculant to a clay will allow this to =
=3D
> happen ? Another thing, are those bags of hard solid clay that I drop on =
=3D
> the floor to soften them actually in the deflocculated and not the =3D
> flocculated state ? I ask this because I thought the fact that they =3D
> softened indicated that the clay was thixotropic. But from what you say, =
=3D
> this must be incorrect because they have no added alkali.
>
> Best regards,
>
> Ivor Lewis.
> Redhill,
> South Australia.
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 06:23:06 -0500
> From: Gary Navarre
> Subject: Cat Cave Ripple Marks, Olof meets a Porcupine, YouTube ceramics
>
> Hay Crew,
>
> Rick took Willy and me out to a place along the bluffs by Pine Creek
> where there is supposed to be a cougar den. While hiking he explained
> some of the geology that took place when this was an ancient subduction
> zone around the precambrian era. Some rocks show the ripple marks left
> along the ancient beach of the sea that once covered this area. These
> rocks are 4.5 billion years old and I added them to the end of this;
>
> http://public.fotki.com/GindaUP/ca/ggm/glzrks/
>
> and I also picked up a few to set in the front of the pignose foundation
> in
>
> http://public.fotki.com/GindaUP/ca/kpap/upsmrkc/
>
> Some of the other bolders were found in the woods around the kiln.
>
> Olof had himself a learning experience Labor Day morning ( 1:00 AM when
> the nearby vets were closed). Dianne from pets did say he was big on
> brawn but not on brains. Seems he has a pentient for things that scurry
> through the woods. I was training him to nudge the door open to get in
> the house, prepairing him to scratch the door to let me know he wants in,
> and he did it a time or two. Then he came in justa snortin and swatting
> his snout full of baby Porcupine quills. If the sight of blood makes you
> squemish don't go here;
>
> http://public.fotki.com/GindaUP/family/oap/
>
> A potter from Southern Califounia calling himself "caieros" started a
> youtube group "Ceramics" and invited me to join. There's about 25 people
> and about 90 videos so far. Here is the link if you care to check it out;
>
> http://www.youtube.com/group/ceramics
>
> I'm thinking I took to youtube cause unlike GoogleVideo it seems to be
> more dialup friendly what ever that means. Still it takes 3 hours to post
> 2 minutes but maybe that will change on my end soon. In fact I just
> posted a companion video to Cat Cave Ripple Marks (somewhere in the link
> below).
> Still faster than the 3 days it took to make this. Real quick doesn't
> exist for me anymore so I just stay in there, eh?
>
>
> G in Da UP
> Navarre Pottery
> Navarre Enterprises
> Norway, Michigan, USA
> http://public.fotki.com/GindaUP/
> http://www.youtube.com/profile?user=3DGindaUP
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 08:02:38 -0400
> From: John Hesselberth
> Subject: Re: Thixtropic clay
>
> On Sep 9, 2006, at 9:26 PM, Vince Pitelka wrote:
>
>> I do not claim to be an expert on this, but I am certainly not
>> about to
>> accept the statement that "all clays are thixotropic," unless you can
>> explain to me how that could be possible. I think I understand the
>> concept
>> of thixotropy, and it simply does not apply to normal plastic clay.
>> - Vince
>
> Vince, I don't think you understand the definition of thixotropic.
> You are being too black and white about it. The term simply applies
> to materials which become less viscous when subjected to an applied
> stress. There are all degrees of thixotropic behavior. You are used
> to thinking it is a very dramatic change in viscosity, but it can be
> a very tiny one. And the underlying cause is not specified in the
> definition of the word. If the material "shear thins" or becomes less
> viscous under applied stress it is thixotropic.
>
> Regards,
>
> John
>
> ------------------------------
>
> Date: Sat, 9 Sep 2006 22:52:08 -0400
> From: Charlie Cummings
> Subject: Re: Muse of Fire: The Ceramic Figure now online
>
> Many many thanks to Don for driving a couple of hours out of his way
> to come to the reception this evening. The reception was well
> attended, the food and wine were great, and it was nice to meet a new
> person from clayart.
>
> Charlie
>
> At 08:29 PM 9/7/2006, you wrote:
>> As it happens, I plan to be in northern Indiana on Saturday,
>> and just may be able to make it to the opening. Any other
>> Clayarters besides Charlie planning to be there?
>>
>> Don Goodrich
>> goodrichdn@aol.com
>>
>> http://dongoodrichpottery.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.
>
>
> Charlie Cummings Clay Studio & Gallery
> 4130 South Clinton Street
> Fort Wayne, IN 46806
> Charlie@claylink.com
> 260-458-9160
> www.claylink.com
>
> ------------------------------
>
> Date: Sat, 9 Sep 2006 23:15:31 -0400
> From: Bunny Lemak
> Subject: Re: How to hang ornaments
>
> Hi Judy-
>
> You can get something called a "U pin" for your ornaments. It is high
> fired wire, shaped in a U, and you simply put it in your wet clay, fire
> it - as many times as needed, and it will stay and hold up your ornament.
>
> You can find these U-pins at www.Nationalartcraft.com or I do believe
> www.loudavis.com has it also.
>
> If you need any more help, let me know-
>
> Bunny
>
> ------------------------------
>
> Date: Sat, 9 Sep 2006 20:29:41 -0700
> From: Kathryn Hughes
> Subject: Re: runny glaze
>
> I understand toxicity issues with barium and I'm hearing about lithium.
> Now I'm caught off guard by chrome oxide, as I use that in a glaze to
> produce reds. Is it safe to come in contact with food and drink after
> firing? Is the same for Manganese and lithium? thank you! Kathryn In NC
>
> Ron Roy wrote:
> Hi Michele,
>
> The total of all the ingrediants in your glaze is 535 without the chrome =
-
> is that correct?
>
> Adding more clay will eventually stop the running - but I'm sure the =
glaze
> wsill change.
>
> This is a very unstable glaze by the way - I hope you are not using it
> where food acn be incontact with it.
>
> There are toxicity issues with Lithium, Barium and Chrome and all the
> ingredianys in this glaze will leach out when in contact with acidic
> foods.
>
> Chrome is volitile during firing by the way - I hope your kiln is vented
> properly and you are not breathing fumes while firing you work.
>
> RR
>
>
>> I just posted this but with my old email address so I'm posting it again
>> correctly..
>>
>> I love this glaze but it's running more than I like. How do I reduce the
>> running but keep the same lovely glaze?
>>
>> Thanks,
>> Michele
>> damicomichele@comcast.net
>>
>> Neph Sy 120
>> Lithium Carbonate 65
>> Whiting 15
>> Barium Carb 115
>> Ball clay 15
>> Flint 155
>> Fritt 3124 50
>> Chrome OX 2.5
>
> Ron Roy
> RR#4
> 15084 Little Lake Road
> Brighton, Ontario
> Canada
> K0K 1H0
>
> _________________________________________________________________________
> _____ 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!?
> Get on board. You're invited to try the new Yahoo! Mail.
>
> ------------------------------
>
> Date: Sat, 9 Sep 2006 20:41:00 -0700
> From: Kathryn Hughes
> Subject: Re: some glaze chemistry
>
> Thank you so much, Tom, for the information! I have been out of the loop
> for quite awhile and am getting back into the swing of information about
> chemicals.My first thought after reading your message is "This man is a
> walking wikipedia!" LOL Again, thanks for the info. With warm regards,
> Kathryn in NC
>
> Tom Buck wrote: Kathryn Hughes:
> Perhaps you may benefit by obtaining a copy (via the WWW) of the
> Periodic Table of The Elements. It would show that the elements of Group =
I
> include the alkali metals: Lithium (Li), Sodium (Na), Potassium (K),
> and others. And Group 2 lists the alkaline earth metals: Beryllium (Be)
> (not used in claywork), Magnesium (Mg), Calcium, (Ca), Strontium (Sr),
> Barium (Ba), and Radium (Ra) (not used).
> Basically, the Table assembles similar elements in a Group, going
> from low atomic weight, to high atomic weight. So, within modest limits,
> an element low in weight can sub for an element higher in weight, or the
> other way around, high for low.
> Both Na & K are common is our daily lives: NaCl (common table
> salt), KCl (potassium chloride which is used medically when a patient is
> consuming too much NaCl and must lower its consumption). Sodium carbonate
> (soda ash) is often encountered, and it produces a highly alkaline
> solution in water, quite similar to lye (NaOH, sodium hydroxide).
> Potassium behaves similarly. So it shouldn't be a surprise that Lithium
> compounds will behave in a like fashion, although Lithium Carbonate (the
> compound often used by potters) has low (but not zero) solubility when
> used in a recipe and then water is added to make the glaze mix (a =
slurry).
> If the slurry is left standing for some days/weeks, it could be come =
quite
> alkaline and harm flesh. This doesn't happen with Na & K materials =
because
> (other than soda ash or potash) we use feldspathic materials to source Na
> & K in our recipes, and these materials have extremely low solubility.
> In some recipes, the need to lower expansion/conraction of a
> fired glaze requires that some Na &/or K be replaced with Li feldspar or
> Lithium Carbonate. If the substition is modest, the recipe will yeild a
> satisfactory fired glaze; however, if too much Li compound is used, then
> shivering will occur (the glaze contracts too much).
> as for the alkaline earths: Calcium compounds are the standard,
> and give solid results in most cases. yet some special effects can be
> achieved with Ba compounds (eg, high Ba will cause copper to make a blue
> glaze, not the usual green effect). and glaze mixes that depart from
> glossy surfaces, that is, a matte surface is sought, then the matte =
effect
> can be achieved by using extra Ca, or extra Mg, or subbing either of
> these, with Sr or Ba. The difference between Ba & Sr is that Sr++ ions =
can
> be handled by the body with little ill-effects should the fired glaze be
> affected by materials that cause Sr++ ions to form and migrate to the =
food
> we eat. This is not the case for Ba++ ions; if ingested as such the ions
> may result in the body being poisoned.
> as a basic rule, always use Ca materials in glazes for Cone 6 or
> lower when making food-ware. some lesser amount of Mg materials or Sr
> materials can be used in Cone 6 mixes and mixes of Cone 10/+. and
> generally most potters accept the use of Ba materials only when the glaze
> will go on surfaces that will not come into contact with food.
>
> til later. peace. Tom B.
>
>
> Tom Buck ) -- primary address.
> "alias" or secondary address.
> tel: 905-389-2339 (westend Lake Ontario, province of Ontario, Canada).
> mailing address: 373 East 43rd Street, Hamilton ON L8T 3E1 Canada
>
> _________________________________________________________________________
> _____ 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.
>
>
>
> ---------------------------------
> Get your email and more, right on the new Yahoo.com
>
> ------------------------------
>
> Date: Sat, 9 Sep 2006 23:49:03 -0400
> From: John Post
> Subject: Re: Windows, Linux, Mac - which one for you ??
>
> Lee,
> What is the source of your information that Mac will be an operating
> system that can run on clones?
>
> John Post
>
>> But that also means that window machines will more easily run the
>> Mac OS. What it comes down to, is that Mac will be an operating =
system
>> like Linux and Windows and not a physical computer. It will make it
>> more
>> affordable.
>
> ------------------------------
>
> Date: Sat, 9 Sep 2006 20:48:17 -0700
> From: Kathryn Hughes
> Subject: Re: Tall Orders promptly filled: Attn: Brad
>
> Just so that I understand because I have alot of damaged neurons in the
> brain, if the recipe calls for LiCa2,I can substitute spodomene or
> petalite instead? Also, I'm hearing that chrome oxide and manganese is
> also toxic to touch. Are they toxic leaching from fired clay? I do alot
> of functional pottery. Much thanks! Kathryn in NC
>
> Daniel Semler wrote: Hi Karen,
>
>> I'm a newbie hear. Are you saying that Lithium carbonate is
>> poisonous? What about strontium carbonate? so what would make a good
>> substitute for barium carbonate? Is lithium safe in the fired
>> stage? Thanks! Kathryn In NC
>>
>
> Lithium carbonate is toxic yes. I've read that lithium compounds are
> toxic but the lithium felsdspathoids are never mentioned as being
> toxic. In fact the reverse. So spodumene is my general choice for
> lithium oxide, though petalite can also be used. That said lithium
> carb apparently causes issues if too much is used in a glaze anyway -
> over about 2% I think. I have yet to finish my literature search on
> this one.
>
> Strontium carb is non-toxic and is a fine sub for barium carb in many
> cases. Calcium carb can be subbed but if you have a bunch of calcium
> oxide in the glaze already it may be better to use the strontium.
>
> Thanx
> D
>
> _________________________________________________________________________
> _____ 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.
>
>
>
> ---------------------------------
> Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great
> rates starting at 1=A2/min.
>
> ------------------------------
>
> Date: Sat, 9 Sep 2006 23:29:20 -0400
> From: Bunny Lemak
> Subject: Re: Free Pottery DVD
>
> On Sat, 9 Sep 2006 16:40:06 -0700, j isaac
> wrote:
>
>> i followed the directions and heard nothing back.... Is it me
>>
>> Marvin Kitshaw wrote: Id love one but I
> couldnt acess your site (must be me) so if you could send one Lovley!
>>
>>>
>> Thanks in advance
>> Marv
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
> I (thought) I followed directons too, but haven't heard back either.
>
> What are we doing wrong??!!
>
> Bunny
>
> ------------------------------
>
> Date: Sat, 9 Sep 2006 20:58:02 -0700
> From: Nancy Braches
> Subject: Re: How to hang ornaments
>
> Judy
>
> Are you only glazing one side? There are hangers available for the kiln
> and hanging them allows you to glaze both sides as well as keeping the
> hole open and free from glaze. They use a high temp wire.
>
> Nancy
> Hilltop Pottery
>
> "Smith, Judy" wrote: I am making a bunch of
> Christmas ornaments to sell at an October crafts fair. I need
> suggestions on how to make the ornaments hangable. The ornaments are
> fairly small so that they won't weigh too much. I was thinking that a
> hole in the clay may close with shrinkage and then clog with glaze. With
> Fimo ornaments I use a wire from a paper clip, but I am afraid that the
> wire will melt when the clay is fired. Any
> suggestions would be appreciated.
>
> Thanks,
> Judy
>
> _________________________________________________________________________
> _____ 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.
>
>
>
> ---------------------------------
> Get your email and more, right on the new Yahoo.com
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 00:49:55 EDT
> From: Brad Carter
> Subject:
> =
=3D?ISO-8859-1?Q?Re:=3D20=3DA0=3D20=3DA0=3D20=3DA0=3D20Re:=3D20family=3D20of=
=3D20matt=3D20?=3D
> =3D?ISO-8859-1?Q?glazes?=3D
>
> Ron,
>
> Yes, the first glaze only totals 89. In fact, in the original ClayArt
> string of messages on this glaze, one sender noted this and questioned if
> something might be missing.
>
> I may be attending your class at Mother Earth Clay--have not signed up
> yet. If so, I'll bring samples of these glaze tests to show.
>
> Brad Carter
> Grass Valley, Calif
>
> ------------------------------
>
> Date: Sat, 9 Sep 2006 22:01:30 -0700
> From: pdp1@EARTHLINK.NET
> Subject: Nice article related to the Manual Arts
>
> http://www.thenewatlantis.com/archive/13/crawford.htm
>
>
>
>
> Love,
>
> Phil
> el v
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 01:06:06 -0400
> From: Teresa Wooden
> Subject: Making Totems
>
> I am wanting to make a couple of garden totems, about four feet tall, of
> several pieces stacked. I am planning on using a hollow metal rod about
> 3/4 inch width to stack them on. I'm kinda' stumped on the best way to
> make a base that will be stable enough to hold these things up without
> tipping... the standard "step in" rod base (like on bird feeder poles)
> doesn't seem like it would be strong enough, especially in cultivated
> ground like a flower garden.
>
> Also wondering about whether I should pad the top of the pole with a
> rubber ball or some-such, and whether I should provide any kind of
> padding (rubber discs?) between peices.
>
> Anybody have any experience with this type of structure or any ideas? I
> would surely appreciate any pointers.
>
> Thanks,
>
> Teresa Wooden
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 01:32:33 -0400
> From: LindaC
> Subject: Dear Bonnie Staffel-hope you do get to share China pics
>
> Dear Bonnie, It would be so good if you have time to go through your many
> slides of China and put some pics up for us to see. We who have not been
> to China in the past will never be able to see it as it was, due to the
> changes it has undergone....Best regards, linda/Ohio
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 09:45:49 -0400
> From: William & Susan Schran User
> Subject: Re: Thixtropic clay
>
> On 9/10/06 8:02 AM, "John Hesselberth" =
wrote:
>
>> The term simply applies
>> to materials which become less viscous when subjected to an applied
>> stress. There are all degrees of thixotropic behavior. You are used
>> to thinking it is a very dramatic change in viscosity, but it can be
>> a very tiny one. And the underlying cause is not specified in the
>> definition of the word.
>
> I recall reading about thixotropic clay in Ceramics Monthly many years =
ago
> while in school and mixing up a batch.
>
> With the clay that I mixed, there was a dramatic change in the =
consistency
> when at rest and then agitated.
>
> When agitated/disturbed the clay became runny, much like hot lava,
> requiring a mold to support a desired shape. Yet when allowed to rest,
> undisturbed, it retained the shape as a "normal" moist clay, but also
> retaining the surface as it was in the "wet" state.
>
> Here's some examples:
>
> http://www.claytonbailey.com/blob.htm
>
> http://www.worsleyschool.net/science/files/thixotropic/materials.html
>
> And a related study of clay bodies:
>
> http://www.ceramicindustry.com/CDA/Articles/Feature_Article/fcd8eaeeba25d
> 010 VgnVCM100000f932a8c0____
>
>
> -- William "Bill" Schran
> Fredericksburg, Virginia
> wschran@cox.net
> wschran@nvcc.edu
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 10:19:14 -0400
> From: Roy or Marcey Sherman
> Subject: Lizella clay and the ACC at UF
>
> Boy- does the mention of Lizella clay bring back memories. It is the
> first clay I l threw with when I worked at the Arts and Crafts Center at
> the University of Florida in the '80's. They had leisure (non-credit)
> classes in a variety of arts and crafts open to the university folks,
> then the community at large on a space available basis. In Beginning
> clay we started with basic hand building and ended with a few sessions of
> wheel work. Intermediate and Advanced wheel could only be taken after
> the Beginning class. Lizella is not very plastic as Fred mentions. And
> lots of grog! I remember learning not to center with the sides of my
> hands on the wheel head because the grog would take off skin. But it is
> pretty forgiving for beginners because it can take lots of water without
> collapsing. Fired to 06-04 it was a nice orange but can be fired higher
> as well. I remember making some great Halloween pumpkins with hats for
> lids. It does improve with age so if you can let it sit for a few months
> it will help the plasticity. We had 2 buckets for recycling clay-
> Lizella and the ^6 stoneware we used. Always used to have some cross
> contamination from students who weren't paying attention and the addition
> of the stoneware clay did make it easier to throw. I know because as a
> student assistant I could recycle (by hand- no pug mill) all the clay I
> wanted for my personal use. Dry it out on big plaster bats and wedge
> away. Cut and slap was very useful! The Laguna stoneware was definitely
> better for throwing. Each student got a #25 bag included in class
> registration, plus the use of the class glazes and firing.
>
> The 2 different potters I worked for there taught me a lot about basic
> studio practices- Jill Keezer (now the director), and Mary Ann Cole.
> Hated cleaning out the clay trap but taught me why a studio sink needs
> one. Used a respirator mixing glazes- they would do the weighing- I
> would add the water, they didn't want me to be responsible if something
> wrong went into the glaze. Scrapped and washed kiln shelves, made cone
> packs and kiln gods, helped load and unload kilns, setting up the vents
> for the kiln room. Also learned the basics of weaving, basketry, black
> and white photo development, stained glass, jewelry, including loss wax
> casting (my hubby and I cast our wedding rings there), drawing and
> painting as well. Just checked out there website while typing this-
> http://www.union.ufl.edu/acc/. If you're in the area look them up- good
> people.
>
> Marcey Sherman
> Zephyr Pottery.... 1/2 way out Long Island where there is a definite
> feeling of fall in the air today.
>
>
>> From: "Fred Parker"
>> To:
>> Sent: Friday, September 08, 2006 4:11 PM
>> Subject: Lizella clay
>
>
>> I recently got some Lizella clay and have been trying to work with it.
>> (For anyone unfamiliar with it, Lizella is a small town in middle =
Georgia
>> where this stuff is mined. I think a major use is in brickmaking.) I
> was
>> wondering if anyone has experience with it, and especially, if anyone =
has
>> any suggestions for working with it -- like additives to make it a bit
>> more plastic. Mine tends to break easily in handbuilding. I tried it =
on
>> the wheel, and assume it is definitely not a throwing clay because of =
its
>> grog content and removal of a good portion of the skin on my hands.
>> Although I haven't seen it fired yet, I live nearby -- less than a
> hundred
>> miles from Lizella -- so I'd like to figure out some way to use it if
>> possible.
>>
>> Thanks,
>>
>> Fred Parker
>>
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 10:31:25 -0700
> From: bea pix
> Subject: Re: 9 fingered man
>
> was looking up this bandaid for you and found this for me
> http://www.jnj.com/news/jnj_news/20041130_154430.htm
>
>> I found these really great bandages they are called Advancer
>> bandages, and are made by Johnson & Johnson. A totally new kind of
>> bandage. They are expensive but well worth it. Check them out. Norman
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 07:39:20 -0700
> From: j isaac
> Subject: drying
>
> I would like to know what people use for drying there pottery. I have
> been using bags but it is not working out well. I was thinking of putting
> plastic up on the front of a 3 sided enclosed shelf. Does this sound like
> it would work? Does it need to be almost or completely air tight?
>
> The Pretend Potter
>
> ---------------------------------
> Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small
> Business.
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 09:52:01 -0500
> From: Daniel Semler
> Subject: Re: Tall Orders promptly filled: Attn: Brad
>
> Hi Kathryn,
>
> Lithium carbonate (Li2CO3) provides a great deal of lithium oxide, =
=3D20
> but nothing else. Well not that makes it into the fired product. It =3D20
> may be possible to sub it out with spodumene or petalite but in some =
=3D20
> cases, but this will depend on the glaze. This is because spodumene =3D20
> and petalite are more complex materials containing alumina and silica =
=3D20
> and traces of other stuff. This is most readily handled using =3D20
> calculation. If you have an example glaze we could do an example. I =3D20
> just don't know enough about the toxicity and leaching issues here. =3D20
> That's why Edouard's post was so interesting. It seems with decent =3D20
> handling there should be no major toxicity problem with lithium =3D20
> carbonate. (But don't take my word for it, investigate it if it =3D20
> worries you.) The same is true of many toxic glaze materials. Most =3D20
> glaze books just say toxic or non-toxic about materials. Its apparent =
=3D20
> that a good deal more detail would be helpful in making an informed =3D20
> assessment.
>
> There are two basic issues of toxicity for glaze materials as I see =
=3D20
> it currently - anyone, feel free to leap in and thump me. The first is =
=3D20
> in handling of the raw unfired materials. The second is in the =3D20
> leaching of toxic materials - usually heavy metals - from the fired =3D20
> product during use.
>
> I'm not a toxicologist and I don't know specifically, in the case =
=3D20
> of either manganese or chrome oxide, anything concerning toxicity to =
=3D20
> the touch. I do know that they can leach from glazes and that they =3D20
> fume during firing. Check the archives regarding chrome oxide as there =
=3D20
> has been a bunch of discussion of this. Also you could check out =3D20
> Monona Rossol's book (The Artist's Complete Health and Safety Guide) =
=3D20
> as it discusses metals and metal compound toxicity. She does not in =3D20
> one place (p16) allergic skin or respiratory reactions can occur with =
=3D20
> chrome compounds but does not specify which reaction (skin or =3D20
> respiratory or both) nor which compound. She has several entries on =3D20
> chrome compounds.
>
> This is not necessarily a big deal if the materials are handled =3D20
> properly, there being a big difference between a material being toxic =
=3D20
> and someone actually being poisoned by it.
>
> Basically sensible handling of glaze materials should be adequate =
=3D20
> for most of them. By this I mean using a decent and properly fitting =
=3D20
> respirator that will prevent you from inhaling the inevitable dusts. =
=3D20
> For more toxic materials such as barium and some others, use gloves =3D20
> when your working with them, particularly if you have any open cuts on =
=3D20
> your hands at the time. Clear up any spills as you go. Don't eat/drink =
=3D20
> while mixing glaze. If you use a respirator this is a natural thing as =
=3D20
> its hard to get coffee through the mask :) When you're done change and =
=3D20
> wash your clothes to keep dust etc. down in the house. The biggest =3D20
> thing with most of the materials is the fine dust. Oh and with =3D20
> anything toxic, like say barium carb, store it safely. I store my =3D20
> barium carb. in a locked cabinet.
>
> In the fired product leaching of materials from the glaze can only =
=3D20
> really be tested for to know for sure. The composition of the glaze is =
=3D20
> extremely important in minimising leaching of substances from the =3D20
> glazes. It is possible to create glazes containing toxic agents, eg. =
=3D20
> lead, and have them be safe for functional use. I have for example had =
=3D20
> a copper red glaze containing barium carb tested for leaching and it =
=3D20
> leached only a tiny amount - some water supplies have more barium in =
=3D20
> them. So it all depends. The best write up on this that I know of is =
=3D20
> in John Hesselberth's and Ron Roy's Mastering Cone 6 Glazes. If you =3D20
> are worried about any specific glazes you can get them tested.
>
> To return to your specific question I do not know whether leached =
=3D20
> chrome or manganese metals from glazes are toxic or not. It does not =
=3D20
> sound good. Of course it would depend on how much leached. Most of the =
=3D20
> toxicity stuff I've heard on these is related to the raw material =3D20
> handling or to fuming during firing. Anyone know ? (John H. and Ron R. =
=3D20
> do test for chromium leaching in at least one case, so I'd at least =3D20
> investigate it, if you use the glaze for food use.)
>
> Also, apologies if my digression into materials handling and so on =
=3D20
> was unnecessary.
>
> Thx
> D
>
>
>> Just so that I understand because I have alot of damaged neurons in =
=3D20
>> the brain, if the recipe calls for LiCa2,I can substitute spodomene =
=3D20
>> or petalite instead? Also, I'm hearing that chrome oxide and =3D20
>> manganese is also toxic to touch. Are they toxic leaching from fired =
=3D20
>> clay? I do alot of functional pottery. Much thanks! Kathryn in NC
>>
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 11:17:15 -0400
> From: "L. P. Skeen"
> Subject: Re: Cat Cave Ripple Marks, Olof meets a Porcupine, YouTube
> ceramics
>
> Hey Gary, I hope you saved those quills, they make great sgrafitto =3D
> tools...
>
> L. P. Skeen, Summerfield NC
> Get your 2007 Clay Lover's Calendar at =3D
> http://www.living-tree.net/calendar.htm
>
> ----- Original Message -----=3D20
> From: Gary Navarre=3D20
> Then he came in justa snortin and swatting
> his snout full of baby Porcupine quills.
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 11:20:47 -0400
> From: "L. P. Skeen"
> Subject: Re: Making Totems
>
> Teresa, there is a back issue of PMI from earlier this year (sorry, I =3D
> don't know EXACTLY which one) which shows how a clayartist makes these =
=3D
> really large figurative forms by building them in sections, stacked, =3D
> with something between each layer (paper? I can't remember) and then =3D
> fires the sections individually. You can't even tell in the finished =3D
> product, and they look great. Go have a look at the PMI website (which =
=3D
> may be www.potterymaking.org, but I'm not sure) and see if they have =3D
> that back issue shown.
>
> L. P. Skeen, Summerfield NC
> Get your 2007 Clay Lover's Calendar at =3D
> http://www.living-tree.net/calendar.htm
>
> ----- Original Message -----=3D20
> From: Teresa Wooden=3D20
>
> I am wanting to make a couple of garden totems, about four feet tall, =
=3D
> of several pieces stacked.
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 10:27:57 -0500
> From: Snail Scott
> Subject: Re: Making Totems
>
> At 01:06 AM 9/10/2006 -0400, you wrote:
>> I am wanting to make a couple of garden totems, about four feet tall, of
>> several pieces stacked. I am planning on using a hollow metal rod about
>> 3/4 inch width to stack them on. I'm kinda' stumped on the best way to
>> make a base that will be stable enough to hold these things up without
>> tipping...
>
>
> A hole with concrete would be best. Just put a
> slightly larger diameter pipe in the hole before
> pouting the concrete, and the new pole can just
> drop into it.
>
> If it needs to be portable, consider making a
> wide base like those used for patio umbrellas.
>
> I have also had fair luck (for not-super-heavy
> work) by using a 3' long, 3/4" spike (sold at
> construction supply places). Drive it into the
> ground about 2'. A 1" pipe can then be slid
> over its exposed stub. A longer spike, like a
> 5' lightning-rod ground spike, will resist
> leaning better, but be very tough to remove, so
> that would be a better method for permanent
> installation.
>
>
>> Also wondering about whether I should pad the top of the pole with a
>> rubber ball or some-such, and whether I should provide any kind of
>> padding (rubber discs?) between peices.
>
>
> I don't see any need.
>
> -Snail
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 08:40:29 -0700
> From: Linda - Pacifica
> Subject: Re: Thixtropic clay
>
> You are reminding me of when I first arrived in San Francisco and was
> working in a lab at SF General Hospital. Another tech was performing a
> test done in a bed of suspended resin particles to which a test sample
> and then current is applied.
>
> She showed me the bed of resin, which looked like a bed of dryish sand,
> like you see at the shore. Then one of the docs came over and gave the
> bed of resin a sharp lateral knock. It turned to a liquid, jellyish mass
> and he declared: "That's liquifaction and that's what will happen to all
> the bay mud when the big one comes." Scared me silly and I vowed to
> never live on bay mud.
>
> Of course that bay mud is clay with lots of organics suspended in water,
> more or less water at various times of the year.
>
> So, I know the geologists call it liquifaction, whether it's clay or
> sand, but is this also an example of thixotropy?
>
> Linda
> in Pacifica on what passes for rocky ledge in this earthquake zone.
>
>
> On Sunday, September 10, 2006, at 07:26AM, William & Susan Schran User
> wrote:
>
>> On 9/10/06 8:02 AM, "John Hesselberth"
>> wrote:
>>
>>> The term simply applies
>>> to materials which become less viscous when subjected to an applied
>>> stress. There are all degrees of thixotropic behavior. You are used
>>> to thinking it is a very dramatic change in viscosity, but it can be
>>> a very tiny one. And the underlying cause is not specified in the
>>> definition of the word.
>>
>> I recall reading about thixotropic clay in Ceramics Monthly many years
>> ago while in school and mixing up a batch.
>>
>> With the clay that I mixed, there was a dramatic change in the
>> consistency when at rest and then agitated.
>>
>> When agitated/disturbed the clay became runny, much like hot lava,
>> requiring a mold to support a desired shape. Yet when allowed to rest,
>> undisturbed, it retained the shape as a "normal" moist clay, but also
>> retaining the surface as it was in the "wet" state.
>>
>> Here's some examples:
>>
>> http://www.claytonbailey.com/blob.htm
>>
>> http://www.worsleyschool.net/science/files/thixotropic/materials.html
>>
>> And a related study of clay bodies:
>>
>> http://www.ceramicindustry.com/CDA/Articles/Feature_Article/fcd8eaeeba25
>> d010 VgnVCM100000f932a8c0____
>>
>>
>> -- William "Bill" Schran
>> Fredericksburg, Virginia
>> wschran@cox.net
>> wschran@nvcc.edu
>>
>> ________________________________________________________________________
>> ______ 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, 10 Sep 2006 11:32:52 -0400
> From: "Edouard Bastarache Inc."
> Subject: Re: Thixtropic clay
>
> Hello Vince,
>
> one exemple of thixotropic clay is the state in
> which
> the underlying clay is before a lanslide.
> Our province and region are prone to these.
>
> A whole village was engulfed by the Saguenay River
> at the beginning of the 70s. A small earthquaque
> occurred
> before and the clay that was thixotropic became
> fluid and
> most of the village went down the river. Many
> escaped
> and were relocated but, 37 died.
>
> Also, if you mix clays by the slurry method you
> find
> clays that appear to become thicker with the
> removal/
> evaporation of water; then you stir with a stick
> and it
> becomes very fluid again.
>
>
> Later,
>
>
>
> Edouard Bastarache
> Le Fran=C1ais Volant
> The Flying Frenchman
>
> Sorel-Tracy
> Quebec
> edouardb@sorel-tracy.qc.ca
> www.sorel-tracy.qc.ca/~edouardb/Welcome.html
> http://perso.wanadoo.fr/smart2000/index.htm
> http://www.pshcanada.com/Toxicology.htm
> http://www.flickr.com/photos/30058682@N00/
> http://thepottersshop.blogspot.com/
>
>
>
> ----- Original Message -----
> From: "Vince Pitelka"
> To:
> Sent: Saturday, September 09, 2006 9:26 PM
> Subject: Re: Thixtropic clay
>
>
>>> I beg to differ. Thixotropy is increased
>>> fluidity as a result of
>>> mechanical
>>> disturbance, particularly shearing forces. If
>>> deflocculated clays exhibit
>>> this property to a greater degree, that's fine.
>>> But normal clays are
>>> thixotropic, too.
>>
>> Bruce -
>> That still does not correspond to what I
>> understand, and I do not see how
>> you can say that normal clays are thixotropic.
>> They, are not, in any sense
>> of the word. Thixotropy seems to be primarily a
>> quality of gels that will
>> semi or completely solidify when left alone, and
>> then liquify when agitated.
>> Normal clay does not do anything like that. If
>> it has been sitting for a
>> long time it gets stiffer, for the reasons that
>> I explained, and then when
>> mobilized, it returns to a plastic state, but it
>> does not approach anything
>> like liquification unless it has become
>> deflocculated through dissolution of
>> alkalis into the water of plasticity.
>> Deflocculated clay of a certain
>> consistency can be very gel-like, and behaves
>> with true thixotropy,
>> semi-solidifying or holding it's shape almost as
>> soon as movement or
>> agitation stops.
>>
>> To reiterate, normal clays with a neutral or
>> slightly acidic chemistry are
>> not thixotropic, and do not behave in such a way
>> that could be called
>> thixotropic. Clays that have an alkaline
>> chemistry (deflocculated clays)
>> can be thixotropic, because of the gel-like
>> consistency and behavior.
>>
>> I do not claim to be an expert on this, but I am
>> certainly not about to
>> accept the statement that "all clays are
>> thixotropic," unless you can
>> explain to me how that could be possible. I
>> think I understand the concept
>> of thixotropy, and it simply does not apply to
>> normal plastic clay.
>> - 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/
>>
>> ________________________________________________________________________
>> ______ 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, 10 Sep 2006 08:52:00 -0700
> From: Wayne Kilburn
> Subject: Re: Windows, Linux, Mac - which one for you ??
>
> Lee -
>
> Hi, Lee. I saw your post and as a user who's been
> using Macs since before they were cool, I need to
> expand on a few of your points:
>
> 1. Even if your specific freeware or shareware program
> is not availble on the Mac platform, it's highly
> likely that an equivalent is. Check versiontracker.com
> under the Mac OS X offerings. Not to mention, often
> times freebies are included when you purchase a new
> Mac. Sound Studio was included when I bought my last
> Mac in 2004.
>
> 2. Openoffice available for the Mac. I've installed
> and briefly tested it. It's fine if you don't mind
> being stuck with the clunky PC look and feel. Other
> options are available for the Mac. Sharing files
> between the two platforms is seamless nowadays. I
> can't remember the last time a PC user has had
> difficulty opening one of my files.
>
> 3. Don't be so sure about the cheap Mac clones. Apple
> tried this approach back in the early 90's. The
> quality of the clones totally sucked, and the bad
> experience turned off a number of users to Apple
> entirely. That is only one of the reasons why you see
> Apple seeking to control all aspects of their product
> experience - hardware, software, iPods, etc.
>
> Plus, Apple has a whole pack of copyright attorneys,
> and they're not affraid to use them.
>
> 4. At this time Apple has indicated that they do not
> intend to support OS X running on non-Apple hardware.
> But, then again, Apple is famous for publicly denying
> an idea while at the same time developing the idea for
> release. Apparently the OS looks for the presence of a
> security chip in the hardware. Some of our computer
> gurus will be more up on this that I am. While it is
> possible to hack around this (search google, you'll
> find documentation), many casual users would be
> comfortable doing this.
>
> See a summary at:
> http://reviews.zdnet.co.uk/software/os/0,39024180,39235916,00.htm.
>
> 5. While it is true that Macs have a history of being
> pricey, that is beginning to change. Similarly
> equipped Dells are in the same price range as their
> Mac counterparts nowadays. A number of comparisons
> have been done.
>
> 6. As far as Apple becoming an OS only company -
> probably not anytime soon, if at all. While Apple is
> in the 3-4 percent market share range, they're making
> a very good profit. They seem to be very happy where
> they are. Much bigger, then you start attracting the
> attention of virus, spyware and malware authors, plus
> institutional gridlock kicks in.
>
> Side Note not covered in Lee's Post: Running Windows
> on your Mac exposes you to all the viruses and
> nastyware that other Windows users are subject to.
> These pests exploit the software. No matter what
> machine XP is running on, it will still have all of
> its current vulnerabilities.
>
> Anyhow - just a few observations from a long-time Mac
> user
>
> Wayne Kilburn
> Lake Stevens, Washington
> ............................
> Lee's Post:
>
> Date: Sat, 9 Sep 2006 17:09:48 -0700
> From: Lee Love
> Subject: Re: Windows, Linux, Mac - which one for you
> ??
>
> I use a lot of open source freeware and also
> inexpesive downloadable
> software from the internet. Sometimes the freeware
> is avalible in
> Linux
> but the software I need is often not available for the
> Mac. An
> example of
> a program I can't live without is a sound program
> called Total
> Recorder, you
> can read about it here:
> http://www.totalrecorder.com/
>
> My most frequently used open source freeware is
> openoffice:
> http://openoffice.org
>
> I heard the advice a while ago and I think it
> is pretty good:
> First, figure out the software you need to use. Then,
> buy the computer
> it
> runs on.
>
> I might own a Mac someday, but I will also use
> windows. Two
> things that will help me own a Mac is, that now that
> they moved to
> Intell
> chips, less expensive clones will be available, and
> also the Mac can
> run
> windows. But that also means that window machines
> will more easily
> run the
> Mac OS. What it comes down to, is that Mac will be
> an operating
> system
> like Linux and Windows and not a physical computer.
> It will make it
> more
> affordable.
>
> --
>
> Lee in Mashiko, Japan
> http://potters.blogspot.com/
> "Let the beauty we love be what we do." - Rumi
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam? Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 09:04:18 -0700
> From: Kathryn Hughes
> Subject: Re: Tall Orders promptly filled: Attn: Brad
>
> My dear Daniel,do not ever apologize for unnecessary digressions. for me,
> the more the better> I could literally sit here for hours reading all of
> this. I have one of the books that you've mentioned and will thoroughly
> read it instead of looking at the pictures. When I went to Alfred
> University in the late 80's, Val Cushing (I'm bragging here) was talking
> about BaCo2and he was talking about acceptable levels and I was thinking
> that NO amount was acceptable to me. Yes, I know there's more in other
> places, but why add onto it?There was a story that he told about how one
> student had her glaze tested by the dept and it was deemed acceptable.
> she sold alot of pieces with that glaze at the student show. Later that
> night, she used that same glazed mug to have her tea, left the tea bag in
> and went to bed. The next morning, the glaze was white, so right then and
> there, she knew that the dept had made a mistake. The school spent alot
> of money in the ads and notices that whoever purchase her pieces must
> not use it for food or drink. It was a nightmare. That story stuck with
> me. I took over a studio in 2000 and the recipes were left to me. Upon
> discovering that one contained the dreaded BaCo2, I destroyed all
> functional pieces of mine with that glaze.Overcautious? Perhaps.
> Paranoid? Certainly! But I also remember another story that Val told
> about a colleague ( I forgot his name) who was one of the leading ceramic
> artist in using gold luster in his pieces. This was years before they
> found out about the poisonous fumes and no vents. The poor man died of
> throat cancer. He stressed about the safety of handling and proper
> venting. this kind of thing cannot be stressed enough! There I go,
> digressing into the infinity. LOL With warm regards, Kathryn Daniel
> Semler wrote: Hi Kathryn,
>
> Lithium carbonate (Li2CO3) provides a great deal of lithium oxide,
> but nothing else. Well not that makes it into the fired product. It
> may be possible to sub it out with spodumene or petalite but in some
> cases, but this will depend on the glaze. This is because spodumene
> and petalite are more complex materials containing alumina and silica
> and traces of other stuff. This is most readily handled using
> calculation. If you have an example glaze we could do an example. I
> just don't know enough about the toxicity and leaching issues here.
> That's why Edouard's post was so interesting. It seems with decent
> handling there should be no major toxicity problem with lithium
> carbonate. (But don't take my word for it, investigate it if it
> worries you.) The same is true of many toxic glaze materials. Most
> glaze books just say toxic or non-toxic about materials. Its apparent
> that a good deal more detail would be helpful in making an informed
> assessment.
>
> There are two basic issues of toxicity for glaze materials as I see
> it currently - anyone, feel free to leap in and thump me. The first is
> in handling of the raw unfired materials. The second is in the
> leaching of toxic materials - usually heavy metals - from the fired
> product during use.
>
> I'm not a toxicologist and I don't know specifically, in the case
> of either manganese or chrome oxide, anything concerning toxicity to
> the touch. I do know that they can leach from glazes and that they
> fume during firing. Check the archives regarding chrome oxide as there
> has been a bunch of discussion of this. Also you could check out
> Monona Rossol's book (The Artist's Complete Health and Safety Guide)
> as it discusses metals and metal compound toxicity. She does not in
> one place (p16) allergic skin or respiratory reactions can occur with
> chrome compounds but does not specify which reaction (skin or
> respiratory or both) nor which compound. She has several entries on
> chrome compounds.
>
> This is not necessarily a big deal if the materials are handled
> properly, there being a big difference between a material being toxic
> and someone actually being poisoned by it.
>
> Basically sensible handling of glaze materials should be adequate
> for most of them. By this I mean using a decent and properly fitting
> respirator that will prevent you from inhaling the inevitable dusts.
> For more toxic materials such as barium and some others, use gloves
> when your working with them, particularly if you have any open cuts on
> your hands at the time. Clear up any spills as you go. Don't eat/drink
> while mixing glaze. If you use a respirator this is a natural thing as
> its hard to get coffee through the mask :) When you're done change and
> wash your clothes to keep dust etc. down in the house. The biggest
> thing with most of the materials is the fine dust. Oh and with
> anything toxic, like say barium carb, store it safely. I store my
> barium carb. in a locked cabinet.
>
> In the fired product leaching of materials from the glaze can only
> really be tested for to know for sure. The composition of the glaze is
> extremely important in minimising leaching of substances from the
> glazes. It is possible to create glazes containing toxic agents, eg.
> lead, and have them be safe for functional use. I have for example had
> a copper red glaze containing barium carb tested for leaching and it
> leached only a tiny amount - some water supplies have more barium in
> them. So it all depends. The best write up on this that I know of is
> in John Hesselberth's and Ron Roy's Mastering Cone 6 Glazes. If you
> are worried about any specific glazes you can get them tested.
>
> To return to your specific question I do not know whether leached
> chrome or manganese metals from glazes are toxic or not. It does not
> sound good. Of course it would depend on how much leached. Most of the
> toxicity stuff I've heard on these is related to the raw material
> handling or to fuming during firing. Anyone know ? (John H. and Ron R.
> do test for chromium leaching in at least one case, so I'd at least
> investigate it, if you use the glaze for food use.)
>
> Also, apologies if my digression into materials handling and so on
> was unnecessary.
>
> Thx
> D
>
>
>> Just so that I understand because I have alot of damaged neurons in
>> the brain, if the recipe calls for LiCa2,I can substitute spodomene
>> or petalite instead? Also, I'm hearing that chrome oxide and
>> manganese is also toxic to touch. Are they toxic leaching from fired
>> clay? I do alot of functional pottery. Much thanks! Kathryn in NC
>>
>
> _________________________________________________________________________
> _____ 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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> ---------------------------------
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>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 09:04:11 -0700
> From: Steve Slatin
> Subject: Re: drying
>
> The tighter you wrap, the slower things will dry. If you live in the
> middle of a desert and your daytime temps get to 100 F regularly,
> you'll need to wrap pretty seriously to keep the clay from drying too
> quickly and giving you cracking issues and getting too dry to trim
> overnight.
>
> Plastic does two things -- it can trap moisture, and it will stop air
> currents. Your work will always dry faster if the air is moving.
>
> If you live in a more moderate environment and just need to keep enough
> moisture in your work to keep it from drying a little too quickly you
> can drape plastic over a shelf and put a wareboard inside and get much
> slower drying. You'll have to experiment to get what you want, and
> it will vary by season. In November we get lots of rain and it's cool
> where I live and I leave my thrown pots out unwrapped for 2 sometimes
> 3 days to get them dry enough to trim. In summer when it's dry I
> sometimes throw in the morning and trim in the afternoon.
>
> I generally use plastic from the dry cleaner. Open up a bag and it
> more than covers a large wareboard, if you need to you can double wrap
> a board (plastic under AND over the work) with one piece of plastic.
>
> Best wishes -- Steve Slatin
>
>
>
> j isaac wrote:
> I would like to know what people use for drying there pottery. I have
> been using bags but it is not working out well. I was thinking of putting
> plastic up on the front of a 3 sided enclosed shelf. Does this sound like
> it would work? Does it need to be almost or completely air tight?
>
> The Pretend Potter
>
> ---------------------------------
> Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+
> countries) for 2=A2/min or less.
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 09:11:05 -0700
> From: Kathryn Hughes
> Subject: Re: drying
>
> When I'm finished with the making of the piece, I always throw a dry
> cleaning bag over it but keep the bottoms open. This is to let it dry out
> slowly and not stress crack. Putting the plastic around the 3 sided shelf
> is not that bad, but it won't slow down the drying more. What it will do
> , and it's a great idea, mind you, keep the dust off of your pieces.If
> your pieces are drying too fast, check to make sure it's not in the sun,
> and not near a vent that can blow air directly onto the piece. Good luck.
> Also, you're not a pretend potter. You play with clay? You're an ARTIST.
> Sorry, had to make my bone about that, dear. Prozacs do that to me.LOL
> Kathryn in NC
>
> j isaac wrote: I would like to know what
> people use for drying there pottery. I have been using bags but it is not
> working out well. I was thinking of putting plastic up on the front of a
> 3 sided enclosed shelf. Does this sound like it would work? Does it need
> to be almost or completely air tight?
>
> The Pretend Potter
>
> ---------------------------------
> Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small
> Business.
>
> _________________________________________________________________________
> _____ 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.
>
>
>
> ---------------------------------
> Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+
> countries) for 2=A2/min or less.
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 12:19:50 -0400
> From: Lynne and Bruce Girrell
> Subject: Re: Thixtropic clay
>
> Vince wrote:
>
>> ... I do not see how you can say that normal clays are thixotropic.
>
> Well, before going further with this discussion, it appears that we need
> to get clear on what each of us means by "thixotropic."
>
> If we want to stick with the strict definition of thixtropy/thixotropic,
> then we are speaking about gels only. If this is the case, then I would
> think that we would be talking more about suspensions of bentonite and =
the
> like instead of formable clays. But if this is the case, then I have
> completely misunderstood the subject of the discussion and I withdraw my
> comments. Remember, I did ask what it was that the original poster was
> trying to demonstrate.
>
> On the other hand, the context of the discussion appears to me to =
indicate
> that we are using thixotropic in a more general sense, applying the word
> to plastic mixtures of clay and water (and potentially other additives).
> In this case we are discussing "materials that exhibit decreased
> viscosity when mechanically disturbed." Please feel free to provide your
> own words to help clarify the meaning.
>
> In this case, the fact that clay stiffens up as it sits undisturbed and
> gets noticeably softer when worked is sufficient to call it thixotropic.
>
> You state:
>> If [normal clay] has been sitting for a long time it gets stiffer,
>> for the reasons that I explained, and then when
>> mobilized, it returns to a plastic state,
>
> You provided a reason, but I expressed great reservation about your
> explanation. Reiterating the statement does not make it any more valid. I
> do not see how your concept of migration of the water molcules would
> stand up to close examination.
>
> Your description of the clay particles moving closer together would be
> analogous to glaze settling in a bucket when left unused for a period of
> time. Indeed, the particulate portion of a settled glaze does become more
> viscous and when mixed up again it becomes less viscous. But I see two
> problems with this explanation:
>
> 1) When considering the movement of clay particulates toward one another
> you must also consider the consequences of that motion. Just as the
> undisturbed glaze bucket develops a water layer at the surface as the
> particulate mass agglomerates, clay particles clustering closer together
> in an undisturbed hunk of clay would also leave a larger space for the
> water molecules to accumulate in. Unlike the glaze bucket though, there
> would not be a separate water layer and particulate layer, but rather
> there would be volumes that are "more clay" and volumes that are "more
> water". Given this model, I could make an argument for _decreased_
> viscosity as the water migration occurs, as the mixture would start
> acting more like a sand/water combination than a clay/water combination.
> The larger globs of water between the clay particles (larger than when
> the clay has been recently worked) would provide _increased_ fluidity.
>
> 2) What happens when the clay is disturbed? Remember that we already =
agree
> that it takes no more than dropping the clay a few times to make it feel
> dramatically softer. The clay does not have to be wedged, pugged, or
> otherwise strongly worked to regain its more fluid state. How could your
> water migration explanation account for this? The water, which was
> originally between clay particles has been displaced. In order for the
> original plasticity of the clay to reappear, the water would have to make
> its way back between the clay particles. If the forces between clay
> particles were strong enough to displace the water in the first place, it
> would be very difficult for the water to displace the clay particles and
> take up its place again to provide the fluidity. While you could make an
> argument for this happening during wedging, such measures are not =
required
> to restore the fluidity of the clay as already noted; all we have to do =
is
> slam it a few times.
>
>
> You state:
>> ... I am certainly not about to accept the statement that "all clays are
> thixotropic,"
>> unless you can explain to me how that could be possible.
>
> Fair enough.
> I think we are all on the same page when I say that we are dealing with a
> system involving charged particles - clay platelets, water molecules, and
> the ions that you introduce with deflocculants all carry an electrical
> charge. When left to sit undisturbed for some time, the electrical forces
> between these various constituents will tend to create weak bonds between
> them. Nothing gets displaced to any great degree, they just tend to line
> up with each other.
>
> An analogy would be a set of magnets on pivots, close enough to one
> another to be influenced by the other's field, yet restricted so that
> they can't actually touch. If you "work" them, by spinning one or both
> and then allow them to settle they will, after a time, end up aligning
> with one another. Electrical charges work in a similar way.
>
> So after these alignments have set up, it takes some energy to disrupt
> them. Hence, the clay feels stiffer. Slam the clay a couple of times and
> enough displacement occurs to disrupt the alignments. Suddenly the clay
> is softer. The water hasn't gone anywhere. The clay particles haven't
> gone anywhere. Thus, the clay mass almost instantly regains its original
> plasticity.
>
> What about your deflocculants? All you are doing is throwing a particular
> type of charged particles into the mix, allowing the effect, as I have
> described it, to be accentuated. Therefore, you observe a stronger
> thixotropy effect in such mixtures.
>
> To summarize:
> 1) Are we strictly speaking of gels or not?
> 2) I feel that your water migration explanation does not adequately
> explain the observed behavior of clay and I ask you to substantiate your
> model 3) I feel that I provide an explanation that does adequately
> explain the observed behavior of clay.
>
> Bruce "your court" Girrell
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 17:31:47 +0100
> From: Marek & Pauline Drzazga-Donaldson
> Subject: Free Pottery DVD
>
> To Marvin Kitshaw and Bunny Lemark and Clayarters,
>
> if you have had trouble on the site, then I am sorry but the server was =
=3D
> down - shit happens.
> If at anytime it is down again then just send an email to =3D
> marek@keramix.com name, email,
> telephone and Address and I will pop it in the post.
> Marv and Bunny - yours have been posted today.
>
> Happy potting Marek
>
>
>
> Hand made Architectural Ceramics from No9 Studio UK www.no9uk.com
> Fully Residential Pottery Courses and more at Mole Cottage =3D
> www.moleys.com
> "Tips and Time Travel from a Vernacular Potter" reviews on =3D
> www.keramix.com
> an irreverent point of view after 35 years in the game Marek =3D
> Drzazga-Donaldson =3D20
> Free Works and Mole Cottage DVD's and Video content on all the sites
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 09:26:57 -0700
> From: Kathryn Hughes
> Subject: Re: Lizella clay and the ACC at UF
>
> Marcey, thanks for telling us about this. It was enjoyable looking at the
> website. I'm so jealous that you are on LI That is where I'm from
> originally-Dix Hills. whereabouts are you? We are still having summer
> feeling here. Drives me nuts! I miss the fall feelings! With warm
> regards, Kathryn
>
> Roy or Marcey Sherman wrote: Boy- does
> the mention of Lizella clay bring back memories. It is the first clay I l
> threw with when I worked at the Arts and Crafts Center at the University
> of Florida in the '80's. They had leisure (non-credit) classes in a
> variety of arts and crafts open to the university folks, then the
> community at large on a space available basis. In Beginning clay we
> started with basic hand building and ended with a few sessions of wheel
> work. Intermediate and Advanced wheel could only be taken after the
> Beginning class. Lizella is not very plastic as Fred mentions. And lots
> of grog! I remember learning not to center with the sides of my hands on
> the wheel head because the grog would take off skin. But it is pretty
> forgiving for beginners because it can take lots of water without
> collapsing. Fired to 06-04 it was a nice orange but can be fired higher =
as
> well. I remember making some great Halloween pumpkins with hats for lids.
> It does improve with age so if you can let it sit for a few months it =
will
> help the plasticity. We had 2 buckets for recycling clay- Lizella and the
> ^6 stoneware we used. Always used to have some cross contamination from
> students who weren't paying attention and the addition of the stoneware
> clay did make it easier to throw. I know because as a student assistant I
> could recycle (by hand- no pug mill) all the clay I wanted for my =
personal
> use. Dry it out on big plaster bats and wedge away. Cut and slap was very
> useful! The Laguna stoneware was definitely better for throwing. Each
> student got a #25 bag included in class registration, plus the use of the
> class glazes and firing.
>
> The 2 different potters I worked for there taught me a lot about basic
> studio practices- Jill Keezer (now the director), and Mary Ann Cole. =
Hated
> cleaning out the clay trap but taught me why a studio sink needs one. =
Used
> a respirator mixing glazes- they would do the weighing- I would add the
> water, they didn't want me to be responsible if something wrong went into
> the glaze. Scrapped and washed kiln shelves, made cone packs and kiln
> gods, helped load and unload kilns, setting up the vents for the kiln
> room. Also learned the basics of weaving, basketry, black and white photo
> development, stained glass, jewelry, including loss wax casting (my hubby
> and I cast our wedding rings there), drawing and painting as well. Just
> checked out there website while typing this-
> http://www.union.ufl.edu/acc/. If you're in the area look them up- good
> people.
>
> Marcey Sherman
> Zephyr Pottery.... 1/2 way out Long Island where there is a definite
> feeling of fall in the air today.
>
>
>> From: "Fred Parker"
>> To:
>> Sent: Friday, September 08, 2006 4:11 PM
>> Subject: Lizella clay
>
>
>> I recently got some Lizella clay and have been trying to work with it.
>> (For anyone unfamiliar with it, Lizella is a small town in middle =
Georgia
>> where this stuff is mined. I think a major use is in brickmaking.) I
> was
>> wondering if anyone has experience with it, and especially, if anyone =
has
>> any suggestions for working with it -- like additives to make it a bit
>> more plastic. Mine tends to break easily in handbuilding. I tried it on
>> the wheel, and assume it is definitely not a throwing clay because of =
its
>> grog content and removal of a good portion of the skin on my hands.
>> Although I haven't seen it fired yet, I live nearby -- less than a
> hundred
>> miles from Lizella -- so I'd like to figure out some way to use it if
>> possible.
>>
>> Thanks,
>>
>> Fred Parker
>>
>
> _________________________________________________________________________
> _____ 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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> Get on board. You're invited to try the new Yahoo! Mail.
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 17:35:49 +0100
> From: Marek & Pauline Drzazga-Donaldson
> Subject: drying
>
> Dear Pretend Potter,
>
> are you trying to dry slowly or keep it moist. To dry slowly I wrap with =
=3D
> Newspaper first then binbags, for quick drying I wrap in Newspaper and =
=3D
> put it in my Drying Room with air turbulators on for a day or two, then =
=3D
> take off the Newspaper and continue drying.
> To keep it moist, then wrap with wet Newspaper and then wrap with =3D
> binbags.
>
> Happy potting Marek
>
>
>
> Hand made Architectural Ceramics from No9 Studio UK www.no9uk.com
> Fully Residential Pottery Courses and more at Mole Cottage =3D
> www.moleys.com
> "Tips and Time Travel from a Vernacular Potter" reviews on =3D
> www.keramix.com
> an irreverent point of view after 35 years in the game Marek =3D
> Drzazga-Donaldson =3D20
> Free Works and Mole Cottage DVD's and Video content on all the sites
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 12:58:32 -0400
> From: Michele D'Amico
> Subject: re; RUNNY GLAZE
>
> Several days ago I posting this question about my runny glaze. FIRST, I
> want to thank all of the very helpful people who offered solutions to the
> problem. You are very kind and generous.
>
> I also want to add that in retrospect I see that I should have included
> more information with my original posting.
>
> Based on some of the emails I got I realize there are some potters who =
are
> searching Clayart for useful glazes but don't have an understanding of =
the
> materials.
>
> I knew when I posted this glaze that it was unstable and loaded with
> plenty of toxic materials and should never be used on functional ware. =
It
> is purely decorative. I should have included that information on my
> posting for the sake of those who might consider mixing some up and =
trying
> it on a cup (DO NOT DO THAT).
>
> Michele
>
> *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*
> ^*
>> I just posted this but with my old email address so I'm posting it again
>> correctly..
>>
>> I love this glaze but it's running more than I like. How do I reduce the
>> running but keep the same lovely glaze?
>>
>> Thanks,
>> Michele
>> damicomichele@comcast.net
>>
>> Neph Sy 120
>> Lithium Carbonate 65
>> Whiting 15
>> Barium Carb 115
>> Ball clay 15
>> Flint 155
>> Fritt 3124 50
>> Chrome OX 2.5
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 13:19:32 -0500
> From: Dannon Rhudy
> Subject: Re: Making Totems
>
> My students used to make some totems every couple
> years or so. They used a variety of things to keep the
> separate pieces from touching one another:
> Wooden disks they got at the home store; rubber disks
> from somewhere, small rubber balls with holes cut/drilled
> through. The most interesting were the ones with the
> rubber balls, which then became part of the totem.
>
> They set theirs in the ground with a bit of quick-set
> concrete. They used various poles: copper pipe,
> plastic pipe, rebar. The rebar worked best, was
> cheapest, and swayed a bit in heavy wind - a nice touch.
>
> regards
>
> Dannon Rhudy
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 13:20:12 EDT
> From: Cindy Gatto
> Subject: supporting local business
>
> Hi all,
> I had wanted to post something about this when the thread was active but =
I
> didn't so I would like to say it now. I guess this is directed more to =
the
> people in the NYC area. We sell tools, chemicals, etc. We carry Dolan and
> Kemper tools all chemicals a lot of accessories- esp. for moldmaking No
> we are not set up for people who want palettes of chemicals but for the
> person who wants 50-100 lbs or less we are here. Business has been a
> little slow it has been a rough summer we could use some support Thank
> you
>
> Cindy Gatto & Mark Petrin
> The Mudpit
> 228 Manhattan Ave
> Brooklyn, NY 11206
> 718-218-9424
> _www.mudpitnyc.com_ (http://www.mudpitnyc.com/)
> mudpitnyc@aol.com
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 11:22:21 -0600
> From: Bonnie Hellman
> Subject: Tall Orders promptly filled
>
> Actually if you are looking for a lot of scientific information about our
> glaze ingredients, you could do no better than our own Edouard =
Bastarche's
> books.
>
> There's a review of "Substitutions for Raw Ceramics Materials" at:
> http://www.ceramicstoday.com/articles/substitutions.htm
>
> Also take a look at his: "Toxicology - Ceramics Glass Metallurgy"
> http://www.pshcanada.com/Toxicology.htm
>
> Bonnie Hellman
>
> PS These books are available in English, French and possibly other
> languages.
>
>
>
> ----- Original Message -----
> From: "Daniel Semler"
> To:
> Sent: Sunday, September 10, 2006 8:52 AM
> Subject: Re: Tall Orders promptly filled: Attn: Brad
>
>
> Hi Kathryn,
>
> Lithium carbonate (Li2CO3) provides a great deal of lithium oxide,
> but nothing else. Well not that makes it into the fired product. It
> may be possible to sub it out with spodumene or petalite but in some
> cases, but this will depend on the glaze. This is because spodumene
> and petalite are more complex materials containing alumina and silica
> and traces of other stuff. This is most readily handled using
> calculation. If you have an example glaze we could do an example. I
> just don't know enough about the toxicity and leaching issues here.
> That's why Edouard's post was so interesting. It seems with decent
> handling there should be no major toxicity problem with lithium
> carbonate. (But don't take my word for it, investigate it if it
> worries you.) The same is true of many toxic glaze materials. Most
> glaze books just say toxic or non-toxic about materials. Its apparent
> that a good deal more detail would be helpful in making an informed
> assessment.
>
> There are two basic issues of toxicity for glaze materials as I see
> it currently - anyone, feel free to leap in and thump me. The first is
> in handling of the raw unfired materials. The second is in the
> leaching of toxic materials - usually heavy metals - from the fired
> product during use.
>
> I'm not a toxicologist and I don't know specifically, in the case
> of either manganese or chrome oxide, anything concerning toxicity to
> the touch. I do know that they can leach from glazes and that they
> fume during firing. Check the archives regarding chrome oxide as there
> has been a bunch of discussion of this. Also you could check out
> Monona Rossol's book (The Artist's Complete Health and Safety Guide)
> as it discusses metals and metal compound toxicity. She does not in
> one place (p16) allergic skin or respiratory reactions can occur with
> chrome compounds but does not specify which reaction (skin or
> respiratory or both) nor which compound. She has several entries on
> chrome compounds.
>
> This is not necessarily a big deal if the materials are handled
> properly, there being a big difference between a material being toxic
> and someone actually being poisoned by it.
>
> Basically sensible handling of glaze materials should be adequate
> for most of them. By this I mean using a decent and properly fitting
> respirator that will prevent you from inhaling the inevitable dusts.
> For more toxic materials such as barium and some others, use gloves
> when your working with them, particularly if you have any open cuts on
> your hands at the time. Clear up any spills as you go. Don't eat/drink
> while mixing glaze. If you use a respirator this is a natural thing as
> its hard to get coffee through the mask :) When you're done change and
> wash your clothes to keep dust etc. down in the house. The biggest
> thing with most of the materials is the fine dust. Oh and with
> anything toxic, like say barium carb, store it safely. I store my
> barium carb. in a locked cabinet.
>
> In the fired product leaching of materials from the glaze can only
> really be tested for to know for sure. The composition of the glaze is
> extremely important in minimising leaching of substances from the
> glazes. It is possible to create glazes containing toxic agents, eg.
> lead, and have them be safe for functional use. I have for example had
> a copper red glaze containing barium carb tested for leaching and it
> leached only a tiny amount - some water supplies have more barium in
> them. So it all depends. The best write up on this that I know of is
> in John Hesselberth's and Ron Roy's Mastering Cone 6 Glazes. If you
> are worried about any specific glazes you can get them tested.
>
> To return to your specific question I do not know whether leached
> chrome or manganese metals from glazes are toxic or not. It does not
> sound good. Of course it would depend on how much leached. Most of the
> toxicity stuff I've heard on these is related to the raw material
> handling or to fuming during firing. Anyone know ? (John H. and Ron R.
> do test for chromium leaching in at least one case, so I'd at least
> investigate it, if you use the glaze for food use.)
>
> Also, apologies if my digression into materials handling and so on
> was unnecessary.
>
> Thx
> D
>
>
>> Just so that I understand because I have alot of damaged neurons in =
the
>> brain, if the recipe calls for LiCa2,I can substitute spodomene or
>> petalite instead? Also, I'm hearing that chrome oxide and manganese is
>> also toxic to touch. Are they toxic leaching from fired clay? I do alot
>> of functional pottery. Much thanks! Kathryn in NC
>>
>
> _________________________________________________________________________
> _____ 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, 10 Sep 2006 10:38:54 -0700
> From: Craig Clark
> Subject: Re: drying
>
> j isaac wrote:
>> I would like to know what people use for drying there pottery. I have
>> been using bags but it is not working out well. I was thinking of
>> putting plastic up on the front of a 3 sided enclosed shelf. Does this
>> sound like it would work? Does it need to be almost or completely air
>> tight?
>>
>> The Pretend Potter
>>
>> ---------------------------------
>> Get your own web address for just $1.99/1st yr. We'll help. Yahoo! Small
>> Business.
>>
>> ________________________________________________________________________
>> ______ 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.
>>
>>
> I suspect that by "not working well" you mean either your pots are
> cracking or that they are drying before you get a chance to finish them.
> If this is the case then what you are talking about making, a damp box,
> may be the solution to your troubles. I suggest that you put up some
> type of wire mesh (hardware cloth, chicken wire, etc) before putting the
> plastic over the mesh. You don't have to do this but the plastic will
> last longer. Also, use as heavy a weight plastic as you are able.
> Keeping a coupla small bowls with water in them inside the damp box will
> keep the environment nice and humid as well.
> Hope this helps
> Craig Dunn Clark
> 619 East 11 1/2 St
> Houston, Texas 77008
> (713)861-2083
> mudman@hal-pc.org
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 13:46:19 -0400
> From: Wayne Seidl
> Subject: Re: drying
>
> Dear Pretender:
> Um, just a thought or two.
> If you are shielding the piece(s) from air movement with plastic, you =3D
> are in
> essence trying to "contain" the moisture, and not allowing the piece to =
=3D
> dry.
> Are you trying to protect the work from other environmental =3D
> contamination? =3D20
> Are you trying to "delay" drying?
> What are you asking?
>
> Best,
> Wayne Seidl
>
> -----Original Message-----
> From: Clayart [mailto:CLAYART@LSV.CERAMICS.ORG] On Behalf Of j isaac
> Sent: Sunday, September 10, 2006 10:39 AM
> To: CLAYART@LSV.CERAMICS.ORG
> Subject: drying
>
> I would like to know what people use for drying there pottery. I have =3D
> been
> using bags but it is not working out well. I was thinking of putting =3D
> plastic
> up on the front of a 3 sided enclosed shelf. Does this sound like it =3D
> would
> work? Does it need to be almost or completely air tight?
>
> The Pretend Potter
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 11:16:32 -0700
> From: Ann Brink
> Subject: Re: drying
>
> I use lightweight squares of cloth, and cover pieces with one or more,
> depending on how slowly I think they need to dry. If something is at the
> right stage for the next step I add a sheet of plastic over it, until I
> have time to work on it. I never put plastic directly over the piece; you
> get condensation drops where you don't want them.
>
> Thrift shops are a good source; look where they display women's scarves.
>
> Ann Brink in Lompoc CA
> ----- Original Message -----
> From: "j isaac"
> To:
> Sent: Sunday, September 10, 2006 7:39 AM
> Subject: drying
>
>
>> I would like to know what people use for drying there pottery. I have
>> been using bags but it is not working out well. I was thinking of =
putting
>> plastic up on the front of a 3 sided enclosed shelf. Does this sound =
like
>> it would work? Does it need to be almost or completely air tight?
>>
>> The Pretend Potter
>>
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 14:22:09 -0400
> From: Mud Duck Pottery
> Subject: Building a MFT
>
> I have finally decided on the kiln I want to build. It is going to be =3D
> Nils Lou's 40ft flat top car kiln. I have the metal cut and I will start =
=3D
> wielding up the car and corner braces on Monday and the castors will be =
=3D
> here Tuesday.
>
> I need to find some M board for the damper. What is M board and where =3D
> can one find a piece to use for the damper and maybe to plug the burner =
=3D
> ports after the firing is complete. Without having to buy an entire =3D
> sheet.
>
> What is the preferred burners to use with this kiln??? Nils if you are =
=3D
> out there I wouldn't mind using your burner. Can I get then from you or =
=3D
> do I need to contact a distributor???
>
> I would like to hear from others that fire this kiln. Do you like it, =3D
> what would you change about it if anything???
> Do you like the kiln in general???
> Does the kiln fire even???
> How much gas does it use???
> With a car kiln do you fire pots no the car itself or do you use a shelf =
=3D
> first ??? Some one told me the first shelf should be above the flue =3D
> opening, is this true???
> Is it necessary to put the insulating sleeves inside the stack pipe or =
=3D
> can you just use a 10 inch pipe without the liner??? If you need the =3D
> liner where do you order that???
> Do you need a hood on top of the stack to deep the rain out???
>
> Thanks for any help and comments!!
>
> Gene & Latonna
> mudduck@mudduckpottery.net
> www.mudduckpottery.net
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 08:47:32 -0700
> From: Linda
> Subject: Looking for Kelly Swope
>
> Hello
> I have a friend who is looking for Kelly Swope. She has a set of dishes
> made by this person and is interested in more pieces. Does anyone know of
> this person? Thanks
> Linda Shields
>
>
> ---------------------------------
> Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+
> countries) for 2=A2/min or less.
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 15:08:31 -0400
> From: Mayssan Shora Farra
> Subject: Re: drying
>
> On Sun, 10 Sep 2006 07:39:20 -0700, j isaac
> wrote:
>
> I would like to know what people use for drying there pottery.
>
>
> Hello J.:
>
> I use a mini greenhouse. If you are in the US they could be had from Big
> Lots for $20. 3 shelves, 18"X24" and wire. so I lay a good thickness of
> newpapers and then put my wares and zip the cover down it dries slowly =
and
> evenly. The only problem that I have not solved is; the wires are too far
> apart and they leave marks on the bottom of very soft or very heavy pots
> so for now I put those on boards in it until they are stiff enough to
> remove the boards.
>
> And that is how I do it in Charleston, WV where my studio is too hot and
> humid in the summer and too cold and dry in the winter.
>
> Mayssan
>
> http://www.clayvillepottery.com
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 15:32:15 -0400
> From: Candace Young
> Subject: Colored Clay Workshop in NC?
>
> I swear I saw a listing for a Chris Campbell colored clay workshop in
> NC. I can't find the posting. Does anyone know about this or was I
> dreaming? Thanks. Candace
> Candace Young mailto:candace@bayriverpottery.com
>
> Bay River Pottery www.bayriverpottery.com
> 107 S. Water Street, P.O. Box 394
> Bayboro, NC 28515
> 252.745.4749
> Eastern North Carolina
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 20:28:44 +0100
> From: Marvin Kitshaw
> Subject: Re: Terra SIG?
>
> Well I may not have been very clear as to what I'm up to....I going to
> Sagg=3D ar fire, Terra sig, in a Raku kiln with sea salt, sea weed etc =
and
> throw in=3D a few oxides and metals and anything else that may look =
handy.
> And just wo=3D ndered if any one else had tried this and had any good
> mixtures that worked=3D well or didn't work so well.=3D20
> And some times pottery is about wasting time and effort but it is good
> fun =3D isn't it!
> Still reading....
> Marv
>
>
>
>> Date: Sat, 9 Sep 2006 20:44:59 -0500> From: vpitelka@DTCCOM.NET>
>> Subject:=3D
> Re: Terra SIG?> To: CLAYART@LSV.CERAMICS.ORG> > Marv wrote:> "Im just
> abou=3D t to venture into the lovely world of Terra sig and salt glaze>
> together, h=3D as anyone tried this? (course you ave!) and If so any free
> advice> would be=3D very welcomed indeed!"> > Marv -> I am curious as to
> why you wish to combi=3D ne terra sig and salt glaze. A true> terra sig,
> by it's nature, is a very =3D thin coating, and will likely be> =
completely
> consumed by the corrosive and =3D solvent salt glaze.> > That said, where
> the salt deposition is light, the t=3D erra sig might> persevere, and the
> effect could be nice, but why not accomp=3D lish the same> thing with a
> standard slip rather than a terra sig? The pri=3D mary reason for> going
> to all the trouble to make a true terra sig is for t=3D he polishing>
> capbility, and in a salt firing that would cease to be an iss=3D ue,
> because> you'll loose any polish that was present before firing. So =
wh=3D
> y use a terra> sig?> - Vince> > Vince Pitelka> Appalachian Center for
> Craft=3D , Tennessee Technological University> Smithville TN 37166,
> 615/597-6801 x11=3D 1> vpitelka@dtccom.net, wpitelka@tntech.edu>
> http://iweb.tntech.edu/wpitelk=3D a/> http://www.tntech.edu/craftcenter/> =
>
> _________________________________=3D
> _____________________________________________> Send postings to
> clayart@lsv=3D .ceramics.org> > You may look at the archives for the list
> or change your s=3D ubscription> settings from
> http://www.ceramics.org/clayart/> > Moderator of=3D the list is Mel
> Jacobson who may be reached at melpots@pclink.com.
> _________________________________________________________________ Be one
> of the first to try Windows Live Mail.
> =
http://ideas.live.com/programpage.aspx?versionId=3D3D5d21c51a-b161-4314-9b0
> e-=3D 4911fb2b2e6d=3D
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 15:19:59 -0400
> From: Holly Davis
> Subject: how much does 5lbs of dry glaze yield?
>
> Can anyone out there tell me how much 5 lbs of dry glaze will yield once
> water is added? Like how much of a bucket it might fill...
> I am a brand new teacher, trying to order materials for the year...with
> almost NO money...so I am trying to go for the most stuff at the best
> value. Thanks in advance.
> Holly
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 12:56:53 -0700
> From: curtis adkins
> Subject: Re: How to hang ornaments
>
> Hi Judy,
> I'm rather new at this but I have found that toothpicks or small dowel
> pieces work wonders!
>
> Curtis "Monk" Adkins
> Miami, Ok
>
> "Smith, Judy" wrote: I am making a bunch of
> Christmas ornaments to sell at an October crafts fair. I need
> suggestions on how to make the ornaments hangable. The ornaments are
> fairly small so that they won't weigh too much. I was thinking that a
> hole in the clay may close with shrinkage and then clog with glaze. With
> Fimo ornaments I use a wire from a paper clip, but I am afraid that the
> wire will melt when the clay is fired. Any
> suggestions would be appreciated.
>
> Thanks,
> Judy
>
> _________________________________________________________________________
> _____ 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, 10 Sep 2006 13:59:11 -0700
> From: pdp1@EARTHLINK.NET
> Subject: Re: drying
>
> Hi j,
>
>
> Usually when Potters are talking about drying,
> they are not saying anything about whether they
> mean drying evenly, or 'just' drying, which can
> also mean drying unevenly into an oval or a
> 'Potatoe chip' other distortions
> of the form, drying just-enough for further
> proceedures such as Handles or other appendages,
> or drying to be correct for formal Trimming to
> occur, or what...so usually, lacking details or
> distinctions, the term tends to be pretty vague or
> confused.
>
> So, all this sort of depends on what one is trying
> to achieve, or achieve intentionally, or achieve
> well.
>
> The traditional 'Damp Room', or Damp Closet, or at
> least damp box, will allow a clay form to be
> consistantly even with whatever the ambient
> humidity is inside the enclosure.
>
> Similarly, an enclosure for actual complete (
> rather than relative) drying, can
> either permit forms to dry to ambient local
> humidity of the outside air by mere gentle
> convection of the outside air entering into the
> enclosed air, and having some way out also at the
> top,
> or, when provided with a dehumidifier, and not
> provided with aperatures, allows them
> to dry out completely, and of course more than
> ambient air's relative humidity would usually be
> able to do.
>
> Unless one can exclude air movement in the
> enclosure, or regulate the rate and kind of air
> movement it is, and the humidity of the air
> itself, forms will tend to dry unevenly, aside
> from whatever the inherent propensity of the shape
> may be, to provide it's own distortions or
> departures from what was originally thrown.
>
> If it were me, I would have a Damp Room or Damp
> Closet anyway, which keeps things, or brings
> things to, and then keeps them, at the kind of far
> Leather Hard I prefer for Trimming...
>
> And, a second Closet which gently drys them
> completely, or very close to it, which would have
> a demumidifier, ( or in my area which has quite
> low ambient humidity anyway, then merely a gentle
> slow convection of ambient air spurred on by a
> Light Bulb or other mild heat source, ) and very
> slow diffused air circulation.
>
> If I did things with Handles or other appendages,
> I would have a third such Closet if need be,
> regulated to bring things to, and keep things at,
> the level of damp I prefer for attatching these
> appendages, from which the forms would graduate
> either to the 'Leather Hard' Damp Closet, or the
> 'To completely dry out" closet...
>
>
> Phil
> Las Vegas
>
> ----- Original Message -----
> From: "j isaac"
>
>
>> I would like to know what people use for drying
> there pottery. I have been using bags but it is
> not working out well. I was thinking of putting
> plastic up on the front of a 3 sided enclosed
> shelf. Does this sound like it would work? Does it
> need to be almost or completely air tight?
>>
>> The Pretend Potter
>
> ------------------------------
>
> Date: Sun, 10 Sep 2006 14:03:14 -0700
> From: claybair
> Subject: FW: Tucson Arizona Casita for rent/pottery studio near by
>
> Hi All,
> I'm submitting this for Brenda Beeley
> I've stayed in her casita.... it's a great space with fabulous views.
> You'd be a 5 minute walk from 3 potters (Brenda, me &
> another potter not on Clayart).
> I've taken classes at the facility 2 miles away. It's a great
> space 2 electric kilns, 1 gas. It's run really well by Jada Ahern.
> See details below.
>
> Gayle Bair
> Bainbridge Island, WA
> Tucson, AZ
> http://claybair.com
>
>
>
> SUBJECT; TUCSON CASITA FOR RENT/POTTERY STUDIO NEARBY
>
> TIRED OF RAIL, COLD, SLUSH??
> SPEND THE WINTER IN SUNNY TUCSON!!!
>
> BEAUTIFUL SUNNY CASITA FOR RENT in NW Tucson in quiet community.
> Home of several Clayart potters with a great studio 2 miles away that
> lowfires and cone 10 gas firing.
>
> 1000 sq ft, 1 bedroom, cathedral ceilings, mountain views
> Completely Furnished
> washer/dryer, dishwasher, TV/VCR
> 2 heated swimming pools, spa, tennis courts
> walking trails, quiet, scenic
> $1600/ month=D6includes utilities
> long term lease also available for a lower price
>
> Call Brenda (360) 821-8088
> or email: mtimes@telebyte.net
>
>
>
>
> --
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> ------------------------------
>
> End of CLAYART Digest - 9 Sep 2006 to 10 Sep 2006 (#2006-243)
> *************************************************************
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