Jump to content


  • Content Count

  • Joined

  • Last visited

1 Follower

About LeeU

  • Rank
    Advanced Member
  • Birthday 07/14/1947

Contact Methods

  • Website URL

Profile Information

  • 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.

Recent Profile Visitors

13,394 profile views
  1. I have a relative with an auditoryprocessing impairment that creates a painful internal physical sensation and response with certain music and makes for some "odd" behavior displayed as the person tries to cope (hands over ears, turning away, grimaces). For a long time he has lacked the common sense/assertiveness to tell people what's going on and wouldn't even ask that I don't play that type of music, nor would he take himself out of the room. He finally got medical & psychiatric therapy, a set of special fitted ear plugs, some behavior modification tools, and lets some people in on what the deal is with the hand movements/grimaces. He also will remove himself now, if people choose not to change their music. It's working out OK. Seems to me that--regardless of any negative "tone" or attitude in her presentation--the student is actually just asking for a heads up/fair warning so she can remove herself from discomfort. That helps her, the class, and you, as I see it. Maybe just acknowldedge that she is taking care of herself and thank her for "letting you know" that she might have to absent herself. She needs to own her behavior and condition---you do not have to change what you do to teach your class. Affirm that she's expected to return to the studio as soon as the CD is over, and give her a time frame (i.e. it will be over in 45 minutes). Have a substitute activity (equivalent education) ready for her, like reading a few chapters in a ceramics book, while she's waiting. Let her know that she will earn the grade/credits the same as listening/watching the video would have. Ultimately, if she can't participate in the course, well, then she can't participate in the course. You only have to make "reasonable" accomodation, and altering your course content is not reasonable. You are not obligated to turn things topsy-turvey.
  2. What's on my workbench? My sister!! She drove up from Virginia. She has been taking some pottery classes in Roanoke. So she loaded her car with greenware (!!) and we bisqued them over the last few days. Now she is glazing her work for the glaze fire. The 05 fire was very lightly loaded with just her items but I have pieces to add for the cone 5 fire, so the kiln will be more balanced and full. She doesn't know I took these pics--I was sneaking around outside the studio (she doesn't like being photographed--opps, too bad!) It has been great fun doing this somewhat "together".
  3. Thanks! So, it sounds like there is nothing "wrong" with the length of time and all is well with the cool down! Thanks.
  4. I have an L&L 23 S Easy Fire and programmed a Slow Bisque at 05. I did not add a Slow Cool and no pre-heat. Due to certain circumstances, the load was barely 2 full shelves (4 half shelves) worth, loaded light and spread around. I used used some brick to fill the kiln up a bit to the equivalent of 5 half shelves. I broke a i 1/2 shelf so there was a bit of a "hole" in the kiln where the last shelf would have been. I started firing at 11 PM Weds 7/24. It reached about 1900+ over 12 hours. It is now 10:30 am Friday and it has just gotten under 200. I don't normally bisque. To me this seems very long on the cooling end. Would that be becasue it is a very light load or is a "slow cool" factor built into the EZ fire Slow Bisque progam? The cones are perfect and the bisqued ware looks great. Thanks in advance for any feedback!
  5. A rat took up residence in my studio (a converted bedroom in my old-ish mobil home) while I was out of town for a couple of weeks. He ate--completely destroyed--the good welder's gloves with the extended cuffs for stoking the big anagama kiln. He ate my leather studeo shoes. He ate all things cardboard. He ate my foam core and one dry wall shelf board. He ate a plasaic texture roller. He ate through the old semi-crumbling cement foundation (!) to get in and out. He did not eat any food. I did not have a cat. I highly recommend that you add a second cat.
  6. My preferred mid-fire porcelain is Cool Ice (milled in Australia; the only U.S. supplier is Seatle Pottery-gorgeous body. I like Standard's 621 Troy wood fire ^10 for throwing and Sheffield's "Z" for handbuilding. I do not care for the generally popular B-Mix or Little Loafers. Been using Bella's Blend for a fairly "true" multi-range 05-6 & Buncombe White ^6 , both from Highwater.
  7. Weird --I hit the link and it just pops to the list of forums right here. So--if anyone is interested, you just need to type the URL directly into the browser bar. Nice video snippets about the course. I was not familiar with TeachinArt so it was a "good to know" experience--a number of familiar clay artists provide their online speciality courses there.
  8. Happy Joyous and Free, and celebrating Independence Day! I put some pics in the LeeU Anagama Fire album in the gallery.


  9. LeeU

    LeeU anagama fire

    John Baymore and students built the Fushigigama kiln at the NHIA Sharon Art Center, New Hampshire.
  10. Which may be what needs to be addressed more than the fear of silicosis. (i.e anxiety becoming an impairment, not just a passing bit of worry.) And thus, you have identified and defined the work you need to do at this point in time!! Willingness is the key.
  11. I was just was given a piece that I had in the recent anagama fire, that had been found afterthe unloading and cleaning of the kiln. I did not even realize it was missing from my fired ware, though it was one of my favorites going in. It is nicely crusty on the interior, which I was going for-I'd made the inside very rough hoping it would catch ash. The external effects make me happy-happy! The piece is roughly 5.5" h x 2"sq. and about 1 lb. 8 oz., which is how I like it. Body is Sheffield Z, glaze was just small splashes of tennmoku and white on some areas and thetexture is paddled or hand treated. John said the firing reached cones 11-13 overall. Update--I put more photos in the album Lee U Anagama Fire in the Gallery.
  12. I guess that could work for very simple mugs with simple glazes. A formula that enables ease of processing/handling is a beautiful thing! However, the price also needs to reflect the detail and features of the piece. This mug by Steven Zoldak has a slight sparkle in the clear glaze (maybe mica in the body-I don't know), beautiful top detail, the handle is super comfortable, and the slip trailing makes it a winner. It holds 8 oz., but it is not a $15 mug...nor should it be. These retail for $35. I have a friend who turns out the most elegant slab-built mugs, textured with a unique foot design and they too hold 8 oz. in volume for $35. Both are prices from a couple of years ago--dunno if they have held there or gone up. The location also affects what the market will bear---urban, rural, tourist-attractive etc. Another factor to consider is how do you reduce the price for products that are already so low if someone wants to buy a bunch of them, say for a cafe or to put in their gift shop---do you have enough room to move without ending up not paying yourself? I guess what I am saying is that, for me, a formula based on how much coffee it would hold would not be a practical approach...some think "size matters"; I don't think size matters all that much...other attributes have higher value.
  13. Maybe contact Simon Leach and ask him https://www.simonleachpottery.com/contact.html If you get your answer, come back and post what the book is.
  14. I am not a production person nor a professional, but I value an organized inventory system. I use two things--for "on the fly" records I use the free mobile app Pottery Log. My permanent inventory is an Excel Workbook with separate sheets for each "category" of pieces: catchalls, bowls, desk top (i.e. business card holders and the like) etc. etc. and ones for wood fire/raku. The pic is from my sheet Bowls; the item code is the same as I use on my webpage as a product number. I use a simple alphanumeric code for each category, i.e. catchalls is CA, DT is desk top etc. The code goes on a piece of masking tape affixed to the bottom of the piece then I can store it and find it. Storage boxes or drawers are labeled BW, CA etc. It's a lot of detail and some would say not necessary, but it works for me.
  • Create New...

Important Information

By using this site, you agree to our Terms of Use.