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    • Jennifer Harnetty

      Moderators needed!   12/08/2017

      Ceramic Arts Network is looking for two new forum moderators for the Clay and Glaze Chemistry and Equipment Use and Repair sections of the Ceramic Arts Network Community Forum. We are looking for somebody who is an active participant (i.e. somebody who participates on a daily basis, or near daily) on the forum. Moderators must be willing to monitor the forum on a daily basis to remove spam, make sure members are adhering to the Forum Terms of Use, and make sure posts are in the appropriate categories. In addition to moderating their primary sections, Moderators must work as a team with other moderators to monitor the areas of the forum that do not have dedicated moderators (Educational Approaches and Resources, Aesthetic Approaches and Philosophy, etc.). Moderators must have a solid understanding of the area of the forum they are going to moderate (i.e. the Clay and Glaze Chemistry moderator must be somebody who mixes, tests, and has a decent understanding of materials). Moderators must be diplomatic communicators, be receptive to others’ ideas, and be able to see things from multiple perspectives. This is a volunteer position that comes with an honorary annual ICAN Gold membership. If you are interested, please send an email outlining your experience and qualifications to jharnetty@ceramics.org.

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Found 3 results

  1. Week 35 Angelica Pozo writes of three tenants that all tile makers should be able to agree on. These include using a clay body with 15 to 20% grog to prevent warping or cracking, _______________________________, and do not hurry the drying. White clays are best to use for tiles Earthenware tiles are most durable clay has memory and therefore should be kept flat at all times Wall tiles have the same glaze consideration as floor tiles. Mary Barringer, a potter who started with reduction firing, and switched over to electric firing calls the electric kiln the ultimate firing tool, ready to be used and do ones bidding (within limits), but with __________________________. the set back of oxidation firing very little character of its own Pricey electric bills too small a firing chamber Michael Sherrill, who works with extrusions, makes his own dies using________________or nylon sheets 1/2” thick. Aluminum plywood fiberglass polyethylene Michael also ___________ many of his forms while still in the extruder. Thus allowing for organic tapered forms. pulls cuts paddles measures This weeks questions come from The Penland Book of Ceramics, Master Classes in Ceramic Techniques, c 2003 Lark books, Lark books a division of Sterling Publishing, NY NY Note from Pres: This book is one of those involving a lot of techniques by renowned artists in clay. For those looking for inspiration, possible solutions to specific problems or just good reading, it is a gem.
  2. Green geometric cup

    From the album Favorites

    I love all the varied shapes a good mug comes in. The shape is my current favorite. It works well to separate the textured areas from the geometric sgraffito in the bottom. It has a pulled handle and commercial glazes and was fired to cone 6 electric.
  3. July 20–26 at Touchstone Center for Crafts Teapots: Atmospheric Effects for Electric Firing Steven Hill Intermediate–Advanced | $800 Weeklong Workshop In this workshop, we will throw and assemble teapots and cups and work with decorative slip. Steven will discuss his philosophy of making pottery, while throwing, assembling and decorating the forms and techniques for which he is well known. The focus will be on spouts, handles, form, surface, and the relationship between these elements. When glazing, we will address ways to achieve the kind of richness and surface variation in electric kilns that potters have come to associate with fuel-burning kilns and reduction firing. The goal is not to imitate reduction, but to set the stage so that multiple layered glazes can interact with each other in the firing. The basic techniques of spraying and the more advanced theories of layering and blending glazes will be addressed. We will fire at cone 6 oxidation. Demonstrations will be on throwing and assembly, but hand-builders are welcome as well. Steven Hill earned his BFA from Kansas State University in 1973 and has been a studio potter since 1975. His work is exhibited and sold in nationally juried shows, and featured in many ceramics books. He has conducted nearly 200 workshops throughout the United States and Canada, and has written many ceramics articles. In 1998, Steven co-founded Red Star Studios Ceramic Center in Kansas City, Missouri, and he co-founded Center Street Clay in Sandwich, Illinois, in 2006. He is currently doing what he does best: making pots, writing about ceramics, teaching workshops, and letting someone else take care of business! Learn more about his work at stevenhillpottery.com
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