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Into Double Aught This issue marks the second full year ofPottery Making Illustrated and we re now preparing for the future based on the great response we’ve received. In 2000, we re adding a fifth issue to the PMI schedule with the special “Potters Guide” issue coming out in July. To avoid scheduling conflicts on production, we’re moving the mailing date for the Summer issue up a couple of weeks so you should be getting that magazine sooner than you did in the previous years. In-depth Help In addition to our usual mix of articles, we’ve decid­ ed to give one topic a little extra attention in each issue. This time, we contacted Rosette Gault, the primary force behind the paper clay movement, and asked her to explain working with paper clay. While there’s more information available in books and magazines and on the Internet, her article provides all you’ll need to know to get started. Over the next few issues, we’ll explore other topics— some common and some not-so-common. Since the majority of potters have informal or casual training in many areas, the upcoming coverage should be equivalent to a classroom or workshop discussion. This makes this feature a great place to learn the basics, or get started on some in-depth research. Send us suggestions for topics you’d like to see covered. A New Web Site We’ve also updated our web site. After reviewing which pages visitors studied most, we’ve altered the structure to make it easier to find what you’re looking for. Barbara Coultry’s ClayLinks have been updated with the current version, but we’ve also kept her previous reviews so new potters will benefit from them, too. And Sumi von Dassow’s past book recommendations will also be available along with the current reviews. Your Help is Needed Pottery Making Illustrated is the most illustrated pottery magazine in the world, and we’d like to continue that standard into the next millennium. Photos and drawings make a great number of techniques, projects and processes readily understandable so that thousands of potters can easily learn and incorporate them into their work. We thank the many contributors who have given their time and talents by presenting information on our pages, and we welcome contributions from the rest of you. To do so, check out the writers’ guidelines on the web site at www.potterymaking.org Pottery Makingillustrated 1 2 Fall 1999 ClayLinks bv Barbara Coultrv......................................................................6 Our pottery surfer discovers clay instruments online Handbuilding with Slabs and Cones and Cylinders by Scott Dooley...........................................................................9 Try a little geometric handbuilding with your next functional or “funktional” piece Pouring to Perfection—Fundamental Principles by Ivor Lewis ..................................................... ......................14 Science is at work when your pitchers dribble and drip—here’s why The Lazy Way: Throwing a Jar and Lid in One Piece by Sumi von Dassow...................................................................17 Guarantee your lids fit every time Making Snowmen by Craw Hinshaw ......................................................................21 Show kids there’s no need for snow when you’ve got a little clay around Sprig Decoration on Mugs by Brad Sondahl ....................................................................... 23 Learn how to repeat an applied decoration quickly and easily Paper Clay—A Primer by Rosette Gault ........................................................................25 Discover the basics about an innovative technology Not the Clay You’re Used To by Beverly Wallace ....................................................................31 A ceramics teacher shows just how easy it is to use paper clay Building a Domed Cylinder Kiln—Part II by Don Adamaitis ......................................................................33 Construct a fire-ring and firing chamberforf the dome top kiln in Part I. Secrets of a Bat Man: How to Make Outstanding Bats by George Juliano with Elizabeth Hudgins ...................................40 Make a common woodworker’s jig to create inexpensive bats for the studio Studio Safety: Dressing for Safety by Jeff Zamek ............................................................................43 Make a safe fashion statement in the studio Off the Shelf by Sumi von Dassow...................................................................46 Check out the recommendations on books about sculpture Cover: “Teapot,” 16 inches in height, handbuilt and textured porce­ lain, gas fired to Cone 5, by Scott Dooley. See story page 9. Volume 2, Number 4 Editor:Bill Jones Production Manager: John Wilson Graphic Design:Debi Hampton Graphic Production:ErlaWise Advertising Manager:Steve Hecker Advertising Assistant:Debbie Plummer Customer Service:Mary Hopkins Publisher: Mark Mecklenborg Editorial, Advertising & Circulation Offices 735 Ceramic Place PO Box 6136 Westerville, OH 43086-6136 Phone: (614) 794-5890 Fax: (614) 794-5892 E-mail: [email protected] Web site: http://www.potterymaking.org Pottery Making Illustrated (ISSN 1096-830X) is pub­ lished 5 times a year by The American Ceramic Society, 735 Ceramic Place,Westerville, OH 43081. Standard mail (A) postage paid at Westerville, OH. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. Subscription rates:One year $18, two years $34, three years $49. Add $15 per year for subscriptions outside North America. In Canada, add GST (R123994618). All payments must be in US$ and drawn on a US bank. Allow 6-8 weeks for delivery. Advertising: Ad rates and ad information are avail­ able on the web site or by contacting Steve Hecker at the address above or by phone at (614) 794-5809. Change of address:Send your change of address via e-mail or to the Circulation Department. Allow six weeks advance notice. Contributors:Writing and photographic guide­ lines are available on request and on the web site. Mail manuscripts and visual materials to the edito­ rial offices with a self-addressed postcard for notifi­ cation of receipt. Photocopies:Permission to photocopy for per­ sonal or internal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the base fee of US$5 per copy, plus US$0.50 per page, is paid direcdy to the Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 01923 USA (508) 750-8400.This consent does not extend to other kinds of copying, such as copying for gen­ eral distribution, for advertising or promotional pur­ poses or for creating new collective works. Requests for special photocopying permission and reprint requests should be directed to the Director of Publications, The American Ceramic Society, PO. Box 6136,Westerville, OH 43086-6136. Back Issues:When available, back issues are $5 each, plus $3 postage for the first copy and $1 for each additional copy thereafter. For orders outside North America, add $6 ($2 for additional copies). In Canada, add 7% GST. Postmaster:Send address changes to Pottery Making Illustrated, PO Box 6136, Westerville, OH 43086-6136. Copyright © i999 The American Ceramic Society All rights resewed 4 Fall 1999 Pottery Makingillustrated 5 by Barbara Coultry The Sounds of Clay When I told Burnt Earth’s Barry Hall that I could throw a bottle and sculpt the human figure but could not make a simple whistle, he replied, “If you can throw a bottle, then you’ve already made a whistle! Just blow across the top edge to produce a sound. Add a How to Make a Clay Whistle few fmger holes in the body of the bottle to produce www.geocities.com/RainForest/Canopy/2525/whis- different notes. What you will have is very similar to tles/whistle.html the ancient Chinese xun, which was egg-shaped.” Within the space of just one web page, Dwight Bartholomew I thought, “Of course! What child hasn’t blown has managed to give crystal-clear directions for making a across the opening of a Coke bottle, the most basic of whistle. He takes you step-by-step through making the body, flutes?” A Coke bottle’s single note, however, loses its the nozzle and the opening, and then he guides you through fizz next to the music that clay can make, and proof of the refinements of pitch and tuning. A clay whistle positively this is out there on the web in the form of flutes, begs for adornment, and so Dwight even manages to fit in a drums, horns and even a pipe organ. Besides pictures few decorating tips. and step-by-step directions, you’ll be treated to sound files of the actual instruments. (See the sidebar “A Few Notes . .”) Travel to the following sites for a journey through both the ancient and the modern shapes and sounds of clay: A few notes . • Listening to Clay—If you have computer speakers but are new to sound files, I’d like to make a recommendation: Go to RealNetworks’ site at www.real.com/products/player and download RealPlayer G2. It’s free, it’s painless, and once you have it, you’ll be able to hear all the sounds that clay can make. • Coming up—For the next issue, I’d like to cover “Other Cultures, Other Times,” in which I’ll concentrate on those sites that cover ceramic art in other cultures—past and present—such as Mexican pottery, African masks, ancient Greece, Pueblo ceramics history, etc. If you know of any Burnt Earth sites that fall into this category, drop me a line and a link www.ninestones.com/index.shtml and I’ll check it out. Barry Hall, an accomplished musician and clay artist, has a web site with everything from flutes to didjeridus, udus to doum- • Keep in touch—As always, continue to send your favorite beks, plus a few of his very own creations such as musical flow­ sites and discoveries to me at [email protected]. erpots and a “stone fiddle,” something you must see and listen Also, put my e-mail address into your address book.

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