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Showing most liked content on 09/07/2017 in all areas

  1. 2 likes
    There was a bit of a "joke" thread on this general subject a long while ago. I think it was on CLAYART (when I frequented that a lot). We talked about turning a potential liability into an asset. SO if we make stuff that leaches stuff into foods (like coffee, tea, etc.) maybe we could USE that. I can't remember who came up with the marketing name but it was "Nutri-mugs". These of course would have the same caveats as many supplements have...... you know..... claims not tested by the FDA....etc. Depressed , try our new Lithium Blue Nutri-mug. Iron deficiency anemia? Our Iron Red Nutri-mug is just what you need. best, .........................john
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    What about some type of small stencil, that you can brush across with a stain or underglaze, and peel off right away? Or a soft stamp, dipped in the aforementioned colorants?
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    If you are on a PC hold the Ctrl Key and tap the + key until you get the size you want. Go to your profile and on the bottom left of your avatar you'll see an image (the image might be different for each user) Click on that image and a new window will pop up to upload a new avatar
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    Joseph if you are venturing back into the professional world, you should sign your work. It's not about value, it's just that there will be plenty of situations in the future where somebody needs to figure out who made the piece. I'm sure you can find a creative solution that will work with your pots. Can you stamp your stamp onto a tiny sprig, then stick it onto the bottom of your pot with a dab of slip?
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    @Joseph F, can you sign using a pencil? I mean one with oxides, or something that will resist the firing? That way you don't have to leave a mark on the clay, it's only on the surface
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    The other day I gave a mug to my bone doc. The first thing he did was turn it over and look at he bottom. Many years ago, a sculptor professor looked at one of my mugs. Turned it over to look at the bottom. I had my pottery mark on it but did not sign the pot. He said always sign your pots because the average user will think it is machine made without your signature. I sold a platter to a customer that I work with. The platter was signed and had the pottery mark. Not good enough. They were mad because I had not dated the piece. I use the china pencils to make my signature on greenware. I do single fire glazing.
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    Whether 1 foot x 120 feet or 15 feet x 120 feet, they are all billable hours. And the more lawyers involved, the more hours billed. (Full disclosure: my daughter is a law school graduate, I work with an agency full of lawyers, and am a consultant who bills by the hour.)
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    Tom, severability means that if a part of a contract is illegal or unenforcible, the remainder is still in effect. It's a contract law term, also used in legislation. I could see how it could be maybe related to liability law, but it's not the phenomenon you describe. I'm pretty sure you're talking about joint liability vs several liability. With joint liability being the concept at work in your example.
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    Easy one for me: Taxtile Doat of crystalline glaze fame. (1890-1917) 3 questions. 1. How did you figure out the zinc/silicate ratio required? You had no glaze calculator, you had no x-ray diffraction, atomic force microscopes: how did you know? 2. How did you figure out that you needed hold ramps at certain temperatures to make crystals grow? You had no kiln sitters, no programmers, and no pyrometers: how did you know when you hit the hold temps? 3. What made you decide to fire crystalline pieces in saggars? Was it intuition, some oddity you noticed in a firing, or previous experience with another glaze? After I finish with Mr. Doat, I have a few questions for Maria Longworth Storer. Truly pioneers in pottery: they had no reference books, no glaze calculators, and no internet to look up any aspect of any given ingredient. They had little information on chemical analysis, molecular weights, melting temps, or COE data. How did they figure it out? nerd
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    Hello Everyone, My senior year of high school I saw a potters wheel for the first time.I can strangely still picture it like it was yesterday. I was looking at this clay boss wheel white with a brown splash pan. Sat on cardboard to catch any mess thrown from it's surface. In that very moment and up until then I had NEVER seen anyone use one or had I ever paid any kind of attention to ceramics. But there was the strangest sensation that had rushed over my body. I NEEDED to figure out what this was and how I could use and make with it. I had the strangest connection with this machine that I had never seen before seen or used but undoubtedly there was a connection. I signed up for a class and have been with it ever since. Now I am days away from the end of my bachelor's degree in Fine Arts concentrating in Ceramics, I have demonstrated for other students at that very same high school, I have studied under a master potter, I have gotten the pleasure of meeting masters in the field, and I have even been blessed to present undergraduate research at an hour co-lecture with my professor at NCECA this past year in Portland Oregon. For the past five years I have been fortunate and naive enough to think that I have been able to shape and form clay from this earth on a potters wheel all why this same machine has been shaping and forming me into the man I have and will continue to become. With all of that said; what is your story? How has clay and the potters wheel shaped you in ways that you could never imagined? P.S. Please don't hesitate to tell us your story. I would love to read where you have been and where our journey has taken you. -Harley Weigle Shippesnburg University 2017