LeeU

Couldn't find anything in Search--I'm seeking some opinions/experiences with free or very low cost website builders that have a decent level of quality and flexibility for design options. Not too complicated to put together, but not clunky-looking when done, either. My WIX site had been wonderful but they have changed the editing processes and pre-sets/templates (not for the better). It's been a frustrating nightmare. I am going to have to start over, and might go to another host platform if there are some recommended options to explore. I am not looking for--do not need--a very heavy sales/marketing oriented builder. Thanks in advance! I had to unpublish my site and hope to put it back together soon.

You didn't mention how much time you have to pull this off. You will need several tests and trials, from start to finish, before you are likely get a result that is what you intended and (or) that you really like. So, I'd want to be sure I had enough time to deal with the inevitable process of getting from point A to point B, including set-backs. Time is especially important if it should turn out that there is a need to switch gears and design something else. Just something to think about--how much time is available to explore & produce to your satisfaction. Just FYI, Sanbau Studio offers underglaze transfer papers (lettering sets) for ^04 to 10...maybe someone else here has some experience with a transfer method...tho it would probably not be something to use for a lot of text.

Books are my "essentials". My library is Lawrence, Branfman, Rhodes, Mills, Nelson, Tristram, Pitelka, Clark, Penland School, one on Seagrove, one on certain hazards of art materials, and one account of an American apprenticing in an old school Japanese pottery village that John Baymore strongly suggested: The Road through Miyama by Leila Philip. Also imperative, I still use my comprehensive art school notes. Other than those, all of which are the "old friends" that must be respected, revisited from time to time, and cherished, the Internet is a treasure trove of anything I need to or want to know about anything, as long as I exercise some discernment regarding the quality/accuracy/true usefullness of the material. At the top of the cyber list is groups like this one! Last, the ceramics communities in this and neighboring states are friendly and helpful, tho being rural, all involve lots of travel.

Where is the ha-ha emoji when we need one? Do please follow up with what happened!!

Steve Reynolds ('40-'07 & past President of NCECA) was visiting professor in my last semester at VCU School of the Arts/Ceramics. He was addressing sculpture (and social commentary) but would start off with the most perfectly, seemingly effortlessly, thrown pots--before he smacked, squished & whacked them into another realm of beingness. This was in the early '80s, which was such a vibrant time; contemporary art was lurching and soaring, as evolving postmodernism.

My worst screw up was generating an emotional wound. I know how to load a kiln properly. The mistake I made was in part due to cognitive deficts (memory/acting on flawed recall) , but also due to arrogence (know-it-all ism/being over confident). My sister made some pieces in a community class. She was very pleased with her stuff and her pieces were really lovely. She actually hauled the glazed greenware up to NH from VA on her vacation. One piece was a beautiful tray. My half shelves where I put the tray were not aligned at the same level--one was about an inch higher. I placed the tray with one end of it extending over the gap. My sister asked me if it would be OK that way. I assured her it was fine. She asked several times--I wish she had said she just plain didn't want me to do it. Each time I said it would be fine. I fired it like that and of course it warped and was useless. I have no idea what I was thinking or why I didn't reload the kiln to avoid the situation. I absolutely know/knew better. The worst of it is we have never bounced back or healed from that, because the loss, the disappointment, was just one more in previous and subsequent other problems afflicting our relationship-still unresolved. Apology if TMI. And just FYI, I'm OK-I've perfected the art of self-forgiveness when such is essential for my own well-being.

OK---now I am really curious!! Does anyone have any actual experience or a well-founded opinion on using a spray enamel (or brushed on) for this type of issue? Not necessarily for the OP's situation, but just regarding enamel over plaster that has discoloration which may-- or may not-- be mold.

@Pres You may get a kick out of this. By focussing on my non-ceramic plans for the summer (thin-to-none) I was poked and prodded by my Self to confront what the heck I am doing/not doing in Clay Life. It dawned on me that by freeing up some space and gaining extra spendoolies I'll end having a studio that's more conduceive to where my head's at. So I did some projections and serious thinking and (overdue) ordered some new fresh glazes and some new fresh clay. I'll still intersperse day trips to the river with my stayclaycation.

Sounds like a great project for a graduate student either in art history or ceramics! I've seen ceramic pieces by major artists, but totally scattered as to where a particular artist's ckay work might turn up, and not as a grouping of artists. Probably there is no lucious coffee table book to be found. Maybe contact one of the premier ceramics university programs (like Alfred) and ask if their history person has any info? Or maybe the history dept. of the Metropolitan Museum of Art, or the Louvre? Or even a major older gallery, like Southby's?

@Bill Kielb Any chance you have any thoughts regarding either the removal of the mold or using an enamel spray to better cover and seal??

So sorry for your loss-that has to be excruciating. Others here with more knowledge will probably weigh in shortly. What I will say for now: do nothing until you get the info that seems best. You don't know what type of casting material was used & the powder/water mix per se tells you nothing. I'd call the facility ask them to give you the correct namee of the "plaster" that was used. If cleaning methods that may be suggested aren't what you decide to do, perhaps consider a simple application of a high quality spray enamel in a light color, perhaps like a pearl finish-just a thought.

If you would like a bit more of a smooth finish, around the eyes, where there are some little clay burrs making rough spots, just take a little piece of sandpaper, or even a good scrubby, and give it a wipe-those burrs once fired can feel quite sharp to little fingers.

I got turned on to this site by ceramicist John Baymore, a former member known to many. He invited me to particpate in some firings of the large anagama kiln built by him & his students (New Hampshire Institute of Art). I knew about ICAN/CAD but hadn't checked out the Forum site. I had my BFA in ceramics but had taken a 30 year career detour and was trying to get back into it in my retirement years. He suggested the Forum as a reliable resource and supportive community, which of course it has proven to be. And I will add, even tho I am less active, I still feel "part of" and this group process helps sustain me even as I cut back/slow down on activity.

I haven't taken a vacation since before the pandemic and I'm not up for flying anywhere. What I do is travel by myself or w/a friend, on day trips where there's not tons of people. I may go to the ocean along NH or ME, for a couple of days, off season. This summer, my primary plan is to use the time to accomplish two things. One, I will sell an entire room-full of good quality "yard sale" type items. That is actually a lot of work, as it all goes online-not allowed to hold sales where I live. Two, I will streamline my studio . There's a good bit of materials, tools, supplies, equipment, the wheel, etc. that I will sell (will just do handbuilding). I am freeing up space so I can get back to painting/other media--so that counts as non-ceramics LOL.

I'm going "ditto" to Kelly--my carbon Dolan's have been with me "forever" and are as sharp as ever (given, tho, I took a lengthy career detour and don't crank out what you guys do in terms of production or repetitive forms, and now, I'm not even throwing/precision trimming. The less expensive, lower quality tools I just replace-it's usually the handles, not the blades that begin to go.

Envy envy! (I credit Voulkos for validating my own notion that there's a place for holes/rips etc. in my clay forms ) And Hamada!!! what a wonderful story/experience you had!

Perhaps send pics to the ceramics history instructor at a good University w/a robust ceramics dept. and ask for input--might be in a reference book as well.

I use Honey Flux "as is" and love it. This is Honey Flux "naked", single-fired, at cone 5 on a Dover White body...a little dish w/some shallow textural stamping.

Still thinking about Alice's comment. I broke HMS. No 12 What Does She Sea before firing. Was gonna trash it, but gave myself a talking to regarding the balance point between not keeping work w/real flaws/problems vs the metaphor of not dismissing "someone" becasue they are damaged. So, since the series theme is DV trauma, surviving, & healing, I decided to forge ahead. I'll put a pic in Gallery, but here is a detail of the repair, i.e. covering up the scar. I used brighter colors & glitter dust to support a positive vibe for what she "seas". Here is a link to the text about each mask (on my Blog) if of interest. https://www.leeuceramics.com/single-post/hidden-mask-series-hms

Decent article, liked the links especially. I scrolled the comments-they were all over the place. I liked one from somebody talking about the attraction maybe being more about touching physical material, rather than hanging w/people, noting that even paper was removed from him via working on the computer.