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About LeeU

  • Rank
    Advanced Member
  • Birthday 07/14/1947

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  • Gender
  • Location
    New Hampshire
  • Interests
    In addition to clay, I'm interested in painting, photography, and writing. Recently retired from 30 years in behavioral health services, just getting back to enjoying and making art. I have a BFA in ceramics from VCU's School of the Arts (Virginia Commonwealth University). I recently completed setting up a small in-home studio.

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  1. Anyone have experience with what the best guage of kanthal/nichrome wire is, to use to make rods or hangers (not premade)?
  2. There are several sites like this one-- https://www.themarksproject.org/ An online search would turn up more.
  3. Hi--is there an essential reason to use a fireclay to build a rack, or other supports, compared to making it out of a stoneware?
  4. Oh dear---I apologize for writing "publically" (on impulse, when I was mad, of course) on the personal disability-related accomodations issue I referenced in this thread. I should not have named the group--that is just as unfair as posting negatives about a named supplier when they aren't present to respond. I am ernestly requesting that anyone who has quoted from it (where the organization is named) would (please!) do me a personal courtesy and delete those as well. This was just not the way or the place for me to grouse about a specific entity--I should have framed it in general, non-identifying, language. I would not want to spread negativity or do any harm to the group, which I like and support. I will deal with the issue-this just isn't where I should be discussing it. (I really am just mortified...foot in mouth dis-ease!!)
  5. Thanks Neil--the shino & tennmoku glazes I have were formulated for the anagama firings under John Baymore/Chris Archer of NHIA--so I imagine they are true glazes! Any surface is fine-gloss or matte-I think I will try some stains, have not done that yet. I also saw some nice blues on supplier sites. Thanks Preeta-I am so rural there are no gas or wood people anywhere near me and truthfully I don't want to use anyone else's kiln anyway. No deadline-I just love the anagama experience & results. It was my own darn fault-it did not even occur to me to register early! I am now looking forward to going to 10 in my kiln, but am only doing it to finish these pieces and use up the rest of the clay-then no more ^10 in the electric.
  6. I just learned that the anagama firing I thought I would be in this fall is full. I could only afford 24" of shelf space in the kiln so I don't have a lot of pieces, but I do have enough clay to make more pieces, so I can fill my L&L and fire at my studio-so I'm going to do that. The bodies are Troy cone 10 porcelain and Sheffield ^10 "Z". My pieces are highly textured, rough, and generally hefty--no pretty bowls, lovely mugs, or smooth plates! I want some colorful glazes that will do well in an electric high fire. I already have a brown shino, a tennmoku, a white, and a clear. I have no particular need to have a reduction "look"-and am avoiding more browns. I use commercial wet /pints. Can be from any supplier in the U.S. I am hoping a few folks will share some of their experience with specific products suggestions that I could try. I'll probably get at least 3 different glazes. Attached is a sample of a bisqued piece, if that helps. Thanks in advance.
  7. Phooey...I went to pay for my shelf area for the anagama firing in October and it's full!! Next is spring or summer, but I'll probably cave and do the pieces in my L&L. 

    1. Gabby


      Sorry you missed this opportunity, but as you write, there are other firing options now, and you can be first in line for Spring.

  8. If you "google" ball stylus for clay (or just search major ceramic suppliers) there are many tools available. Putting thin grocery bag pieces, as Yappy suggests, between the clay and the tool is a big help if you don't want to deal with burrs. I also use the ends of bamboo skewers, knittiting needles, various sticks, or a porcupine quill, depending on the type of lettering or lines I want.
  9. I think Mr. K is spot-on with the assessment of which glazes were likely used. I've had similar results with brushing and gently tilting/rotating the piece so the flow is downward and inward. Then it all moves more during firing and looks like the top pic and Johnny's bottom pic. Electric cone 5, using commercial glazes-sorry, don't have any pics at the moment.
  10. LeeU

    Flaking burnished surface

    I'd scrape off everything loose enought to come off and pronounce them gorgeous.
  11. In NH we "Live Free or Die". But I got proper insurance anyway.
  12. LeeU

    Sea Pottery

    Need a few photos! If yours are too big to upload, you'll have to resize them in a photo editor, to what the site requires/will acccept. Hope you do--would love to see these pieces. Welcome to the board.
  13. There's an emerging discussion on another thread (re: craft/art) that is looking at the value of, or lack of value of, or even the detrimental impact of, schooling (college/training). As someone who earned a degree in fine art (ceramics) at an esteemed art school (while on welfare and struggling mightily as a single parent & who was 20 years older than the other students) I must say how extremely enriching, valuable, freeing, and supportive of my creative expression and drive, the experience was. I have carried and used the benefits of that excellent education throughout all aspects of my life, not just in art interactions, but in ctitical thinking, world-view, career, understanding people and cultures, and many other areas of functioning. To me, formal training-- from competant, knowledgible & skilled instructors--is invaluable and can only enhance one's creative expression and appreciation of crafts & art. What do others think--is formal education/training in ceramics (or any form of art ) stifling/useless/a negative or enriching/useful/a positive?

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