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. When to. You’ll come first to a table of contents leading you through you find a particularly good site that you think other PMI an exotic array of music. Don’t skip any of it, but do click first readers might be interested in, send me the link. I can’t per­ on “Burnt Earth,” an audiovisual tour of clay instruments. Also, listen to the “Burnt Earth Ensemble,” an all-clay group. To go sonally answer everyone’s e-mail—I’m sure you under­ around the world and even back to the beginnings of clay stand—but, believe me, I’ll be checking out each and every music, click on absolutely everything. link you’re kind enough to send. B. C.

6 Fall 1999 Below is a collection of even more not-to-be- missed musical clay sites: Congahead.com www.congahead.com/People/Don_Alias/body_don_alias.html Within a site devoted to percussion is this page where you can hear Don Alias playing the udu. There’s only one word for the sounds he draws from clay: phenomenal. Anita’s Ocarinas www.scn.org/~bg599/ocarinas.html Here you’ll find all kinds of ocarinas accompanied by sound files to round out the experience. Ocarina Originators Clayzeness Whistleworks www.ocarina.demon.co.uk/index.html www.clayz.com This is an everything-ocarina site. My favorite page is filled This is an ocarina potpourri of information, pictures and music with ocarina legend, but you may be more pragmatic than I and guaranteed to inspire you right back into your studio to try find yourself studying the widely varied designs. Then again, creating a little of your own music. history may be your favorite pastime and you’ll want to findExploring Ocarinas as Art and Music out where the ocarina first showed up on earth. Of course, you can lean back in your chair to listen to these little flutes. I coe.ilstu.edu/labschool/metcalf/curric/art/suan/clay.htm promise that you’ll find at least one thing of interest at Ocarina Here you’ll find “Directions: Clay Ocarina Making” by Suan Originators, but more likely, you’ll find a lot. Guess-Hanson of Illinois State. Replace “clay.htm” with “fin- ger.htm” to find an ocarina fingering chart. Gossett Pottery home.att.net/~coolpotter/pottery/potsx.html If you’re like I am and always need more than one set of direc­ tions, try Amy Gossett’s site. It has clay whistle directions and pictures of some of Amy’s own delightful designs. How to Make a Quena www.dynalogic.com/andina/kenamake.html These are directions for making an Andean flute from PVC pipe, but there’s mention of substituting clay. It’s a design that should translate easily. Jacobsladder tinpan.fortunecity.com/fluke/68 Though you’ll find lovely flutes of clay, you absolutely must go see the pipe organ! Lark in the Morning www.mhs.mendocino.k12.ca.us/MenComNet/Business/ Retail/Larknet/Ocarinas Uduboy Take a tour of many different types of ocarinas, then replace www.uduboy.com “Ocarinas” with “Africa” in the URL, scroll down, and enjoy Okay, you say, I think I’ll make a clay drum, but how do I makethe udu drums. music with it? Brian Melick (the Uduboy) comes forth to get Mr. Hayakawa Play Ocarina you started. Brian isn’t a clay artist; rather, he’s a musician, a www.ensc.com/Kaic/Vshop/Hayakawa/Hayakawa- writer, an inventor, and an educator who has fallen in love with J/owner.html the sound of clay. This talented, extremely busy man has writ­Yet another set of directions, but this one is specifically for “tra­ ten a full course on playing the udu and has been kind enough ditional” ocarina design. to freely share some of the basics with us. Click on “Products,” then “The ‘How To’ of UDU,” and finally on “Read excerpts Musically Functional Porcelain Bugles from the book” to begin your understanding of clay drum­ www.efn.org/~clay/index.html ming. Of course you can make clay bugles. Rhythms www.afrorhythms.com/drums.htm Travel here to find variations on the udu theme. Barbara Coultrywelcomes suggestions and comments from readers about Songbird Ocarinas ClayLinks. Please send your favorite sites and discoveries to her at www.songbirdocarina.com [email protected]. While she can't respond to each e-mail, she will check Click on “To hear a selection from my CD Ocarina every link suggested. Enchantment,” then relax during a small musical clay interlude. Pottery Makingillustrated 8 Fall 1999 by Scott Dooley In 1998, I began handbuilding with slabs, breaking with my previous work, which had been entirely wheel thrown. I started to use plastic pipes and other objects as templates to wrap clay around. At the same time I began handbuilding, I discovered an interest in metal objects, such as funnels, oil cans, mufflers, petroleum storage tanks and grain silos. The overlapping of metal seams, the use of rivets and the aged, weathered look of these forms influenced the direction of my clay work. I began to mimic these metal elements as I devel­ oped new forms, cutting and altering the clay to add animation. Through this experimentation, I began to texture and layer oxides and glazes to simulate an aged, weathered surface. Vve primarily produced functional pieces in this new style, relying on the ewer, bottle and teapot forms as the basis for my creations. Working with the teapot and its inherent possibilities is especially enjoyable, and combining parts, like pieces of metal, allows endless combinations. With this method of building, I have opened up a world of possibilities for creating objects that are distinctly different in process and feel from my previous wheel-thrown work.

“Teapot,” 16 inches in height, handbuilt and textured porce­ lain, fired to Cone 5 in a neu­ tral atmosphere.

Pottery Makingillustrated 9 Figure 1 I begin the building process by making the individual parts that will be used in constructing a piece. After rolling out slabs, I cut them to the necessary Figure 2 Figure 3 dimensions. Shown here are the slabs for the body, spout and handle of a To form a spout, I cut a wedge shape out The handle and body are made by wrap­ teapot. Virtually every part for my work is of the circular slab. After the slab has set ping the slabs around various sizes of based on cone and cylinder shapes, up, it is formed into a cone, scored on the PVC pipe. I use newspaper sheaths so which are then altered. edges and joined. the clay will not stick to the plastic. I over­ lap the clay about 1/4 inch to allow for TIP: I make a variety of widths for these scoring and joining. Once the clay is cones to allow for more options when I joined and stiff enough to hold its own am making the spout (see figure 3). weight, I remove the pipe and newspa­ per. I then bow the large cylinder into an oval. The parts are left to stiffen a bit more if necessary. Shown here are the beginning parts for a teapot with the PVC pipes used in the making of the handle and body. NOTE: Make sure that the newspaper is not too tight around the pipe; it should easily slide on and off. PROCESS PHOTOGRAPHS: LISA PANKRATZ

Figure 5 Once the bottom slab is in place, I turn the cylinder right side up and make the first angled cut into the body. It is important that the clay is fairly stiff at this point, or the fettling knife will not make a clean cut.

TECH NOTES - JOINING SLIP

The joining slip I make works very well First, I mix the Darvan 7 and water Figure 4 for handbuilding. I have used several dif­ together in a pint container. I then add Once the large cylinder is leather hard, I ferent clay bodies with this building powdered clay, mixing until I get the turn it upside down and, using a sharp method, and the slip has held up. The desired consistency. It is easier to add dry fettling knife, cut out half circles for the Darvan 7 deflocculant allows one to use clay, as it absorbs into the solution more foot. I then fit a slab to the bottom, which less water in the slip. This, in turn, means quickly. I like the slip to be thick enough to I score and join. that there will be less shrinkage at the brush on. It is best to let the slip sit for joints where it is used. The powdered clay a day or so, to avoid chunks in the mixture. NOTE: When joining the bottom, take is prepared from leftover scraps that have care to cut the slabs to fit together with dried out. Currently, I am using a commer­ 45° angles. This allows for a stronger cial porcelain body. joint, as there is more surface area of the clay joined. The following is for a pint of slip: Approx. 2 tsp. of Darvan 7 deflocculant ½ pint water Dry, powdered clay body

10 Fall 1999 Figure 6 Figure 7 Figure 8 I then turn the top section upside down The body is then trimmed and sized to fit The next cut is back in the other direction and make the second cut going the back to the bottom. This stage takes to help balance the body. The process of opposite direction on the cylinder, creat­ some patience, but it is very important to cutting and attaching is repeated. I leave ing a wedge-shaped scrap. have a good tight fit without gaps. I use a a gap at the back of the body. This allows sharp scalpel for the small detail trim­ me to have more freedom in choosing ming when fitting the parts together. how the last section will attach to the Once the pieces are trimmed well, I body. score and attach the parts. Often I need to lean the body up against something to keep it from tipping backwards. I then take small coils of clay and work the seam both on the inside and outside.

Figures 9 & 10 Figure 11 Figures 12 & 13 The opening at the back is sealed, using The lid and neck are added next. The lid At this point, with a metal ruler, I cut nar­ cut and joined slabs. The creation of this is also formed from a shallow cone. row strips of clay from a slab. These are bulge adds volume to the teapot and A cylindrical flange is sized to fit inside added to the attachment points of the gives me a point of connection for the the neck and then attached to the lid. As foot, top and neck of the teapot. They are handle. The top of the body is a shallow a finishing touch, I add a small cylinder to used to create the look of metal seams. cone shape. As with the foot, it is joined the top of the lid to mimic the body of the with 45° angle edges. teapot.

Pottery Makingillustrated 11 Figure 14 Figure 15 Once the strips are added, I begin work­ The next smallest cone is chosen and ing on the spout. I attach the largest of cut at an angle to fit. It is scored, slipped the cones to the body. Small coils of clay and attached. Again, small coils are used Figures 16 & 17 are used to seal the seam where the to smooth the joint. The process is Once the spout is finished, I start the spout attaches to the body. I then cut the repeated, altering the angle of the cones. same process with the handle. However, cone at an angle. When the spout is finished, I add anoth­ I have found that it is easier to attach the er narrow strip where the spout and body handle after the pot is completely assem­ attach. bled. This allows me more freedom to play with the angle of attachment.

“Teapot, Creamer and Sugar,” to 12 inches in height, handbuilt and textured porcelain, fired to Cone 5 in a neutral atmosphere.

“Industrial Stirrup Bottle,” 22 inches in height, handbuilt and textured porcelain, fired to Cone 5 in a neutral atmosphere.

12 Fall 1999 GLAZING TIPS

Once the teapot has been bisque fired, I apply a layer of black copper oxide mixed with water. This is then sponged off, leaving oxide in the textured areas. The clay strips have a thicker layer of oxide applied to them. This layer is lightly sponged to keep it from being too thick. I then spray glaze over the oxide. The oxide will burn through the glaze and remain black. NOTE: Black copper oxide will run if it is on too thick. One needs to experiment with it in Figure 18 Figure 19 combination with one’s glazes When the handle is constructed, I texture The final touch is to add small scraps of before trying it on a finished the whole teapot, except for the strips. slabs in various places on the teapot. piece. I texture my test tiles on The possibilities for texturing tools are These will remain untextured and will be one side so I can see the result endless. Most often, my choice is a scrap glazed a different color than the body of of the oxide on a glaze both of concrete. After texturing, I attach the the teapot. with and without texture. handle and add small strips of clay where the handle joins the body.

“Two Ewers,” 7 inches in height, handbuilt and textured porcelain, gas fired to Cone 5 in a neutral atmosphere.

“Industrial Bottles,” to 23 inches in height, hand- built and textured porcelain, fired to Cone 5. The Scott Dooley is currently a graduate student at texture on the bottles was achieved by pressing Kansas State University. He will be graduating found metal objects into the surface of the clay with an MFA in May 2000. His work has been before it was formed into cylinders and cones. exhibited nationally and internationally. You can e- mail comments to him [email protected] .

Pottery Makingillustrated 13 by Ivor Lewis The Forces Be With You Adhesion There are good reasons that However, the magnitude of explain why a drip always eases itselfsurface tension is small compared to over the edge and trickles toward the the force between the glaze and a foot ring. They arise out of physical liquid (e.g., water, tea or milk).This A combination of well-knownrelationships between liquids and the force is called “adhesion,” and it physical forces and forms causes surfaces over which fluids flow, from causes liquids to bind to our glazes, many pots to dribble and — dripan interplay of the forces that exist to glass and to other materials. within liquids, at the surface where Adhesion is the force that causes effects that cannot be prevented air touches it, through forces that water to wet things, and it is a par­ but can be minimized. occur between liquid and glaze and ticularly strong force. the effect of that all-Opervasive force—gravity. Water, alcoholic bev­ Capillary Action One enduring aspect of making erages, milk, fruit juice, custard and When the force of adhesion is pottery throughout the ages has gravy (even oil) all exhibit the same stronger than the force of cohesion, been the constant need for a way of behavior when they flow over a “capillary action” occurs. Capillary dispensing liquids. The necessity to glazed or glassy surface. They wet itaction always exerts itself in pottery regulate both the volume and rate and stick to it. to provide a reservoir that creates of flow has resulted in a variety of Within a body of liquid such as objectionable dribbles and drips solutions, leaving the clear impres­ water, the forces between the when the force of gravity causes all sion that its nearly impossible to molecular particles are equal, so fluids and liquids to flow down­ fashion a lip or spout that neither things remain pretty calm. ward. These effects will be exagger­ dribbles nor drips. However, where the boundary ated if the glaze is one that has a A potters ability to control the between liquid and some other high affinity for the liquid. flow and behavior of liquids from substance at an edge or surface Capillary action will pull it around pots is a craft skill that depends on exists, there is an attractive force that the edge, rather than allowing it to the ability to combine some under­ goes unsatisfied, or alternatively, the project forward and away from the standing of fluid flow, the action of force can be over-satisfied. When spout or lip. surface tension and capillary forces, water and air interface, the former The combined effects of surface and knowledge of clay-forming situation exists. Between water and tension and capillary action also processes to create an acceptable the glaze, the latter happens. cause a small volume of liquid to design solution. remain at the top of the lip or spout Cohesion when pouring stops. The actual The force of attraction between thickness and shape of that edge particles of a liquid is called “cohe­ determine the volume and hence its sion.” This attraction surrounds each mass or weight. So every potter has particle to bind it with neighboring problems of designing edges for particles. Particles on the surface pouring channels that will retain a expend the same amount of energy, minimum volume. The smaller the but since there is a different sub­ volume of retained liquid, the less stance (i.e., air) next to it, energy is likely there will be a dribble. diverted to clinging to neighboring If the affinity of the liquid for the liquid particles. The result is that the glaze is greater than the force of liquid appears to have a surface skin, surface tension, liquid will be pulled and this force is called “surface ten­ up to and over the rim by capillary sion.” Surface tension holds the sur­ action. A small residual volume that face of large volumes of water flat. collects may either drip or dribble In addition, it causes small volumes down the outside of the pot. As the to become spherical droplets and width of the edge gets thinner, the allows immiscible fluids (liquids that amount of liquid that can collect don’t mix) of the same density to diminishes down to a minimum remain suspended like small weight­ quantity. This reduces the size of the less planets in space. Razor blades final droplet and can effectively pre­ will sit on the surface of a dish of vent dribbling. water, and surface tension causes a stream of tea flowing from a pot to form a narrow jet. 14 Fall 1999 Stage C Solution Backward rotation of the pot has the effect of lower­ Its important to consider ing the level below the rim. extreme and intermediate This stops the flow, but solutions to lip or spout Stage B even so, capillary action Once the level of the fluid continues to pull back design when finishing the Stage A rim of a thrown pot. The one rises higher than the lip, toward the rim or lip and solution that’s least prone to This stage illustrates, in an gravity causes liquid to flow fractional amounts of fluid exaggerated way, the effect over the edge. The width of can continue to flow over dispensing that large final of surface tension and the that edge will determine if it the edge and down the out­ drop requires an effort to activity of capillary action is a wide or narrow stream. side of the pot. If the glaze minimize volume and assist between the fluid and the If the glaze is one that is has a strong pull on the liq­ in reversing the movement of glaze on the pot. These easily wetted, then the liq­ uid, this could result in a the liquid. forces create a concave uid will be pulled round the continuing dribble for a area where the liquid meets lip and flow down the outer short period of time, suffi­ the glaze, lifting the fluid. surface of the pot. cient to cause concern.

Example 1 - Rounded Rim The most common solution is to round the lip by running the clay under a chamois to create a semicircular contour. The amount of liquid that adheres is largely determined by the thickness of the clay. A thick rim retains more liquid so there are larger dribbles, where­ as thin clay does the opposite. This has special significance in the design of mugs, cups and beakers.

Example 2 - Square Section Rim

An intermediate solution is where the lip is cut, leaving a horizontal flat surface between two sharp edges. This allows fluid to sit on the rim, forming a reservoir that feeds the dribble, and is often produced when the top of the pot is trimmed with a needle tool, or it may be created by allowing the clay to run between fin­ ger and thumb of the left hand while the right forefinger bears down on the top of the spinning clay.

Example 3 - Knife Edge The extreme solution is to create an acute, sharp angle where the inner and outer surfaces meet—a cutting edge. There is nowhere for a reser­ voir of excess liquid to be stored so the sharp edge becomes a barrier to capillary movement. It’s extremely efficient and is found on metal jugs, teapots and kettles, but on ceramic vessels it’s fragile and brittle. Teapot spouts and pitcher lips that employ this solution are effective but prone to chipping. They may exude a sin­ Note: Acute angle is for gle drop, but they never dribble. illustrative purposes only. In Ivor Lewis is a retired teacher of arts, crafts and sciences. He has a studio at practice, use less acute his home in Redhill, South Australia, writes freelance for several ceramics angle to achieve reduction magazines, subscribes to Clayart and continues making glazing and deco­ in capillary action. Ed. rating pots. He can be contacted at [email protected].

Pottery Makingillustrated 15 16 Fall 1999 The Lazy Way: Throwing a Jar and Lid Onein Piece by Sumi von Dassow

The saying is that necessity is the mother of invention; perhaps so, but then laziness may be the father. The desire not to have to do some­ thing over and over again is a powerful motivator to find a better way. I happen to not like making lids—measuring with calipers, hoping the lid will fit and look good when the two pieces are put together; maybe making an extra one in case one doesn't work out. So I worked out a fun way to make a pot and lid in one piece. All you need (in addition to a wheel and clay and the usual throwing tools) is an X-acto® or utility knife, and a sharp square- cornered trimming tool. The key to making this technique work is keeping your clay perfectly “Fish Jar,” 8 inches in height, earthenware, centered, and having a large enough burnished and decorated with terra sigillata, lump of clay to start with so that you and smoked. can collar the top half in to close the form without thinning it out too much.You will be forming something that looks like a bottle or vase, except that instead of having a small open­ ing in the top, the lip will be closed over to become a knob. Because you will need to cut the lid from the body and trim flanges into the cut edges, any eccentricity in the throwing will complicate your life immensely;and a too-thin wall will make your task impossible. However; once you master this technique, I guarantee that peo­ ple (at least other potters) will exclaim over your close-fitting lids.

This cut-away drawing shows how contouring, cutting and trimming work together to enable you to form a jar and lid from one piece.

Pottery Makingillustrated 17 Figure 1 Figure 2 Figure 3 Center a fairly large, well-wedged piece Begin collaring in the top half of the cylin­ As you collar, the wall will thicken. Stop of clay and form a cylinder. der. To make collaring easier, don’t thin collaring, and thin this portion of the wall the clay out too much, or the inward (the shoulder) a little bit more. If you find pressure will cause the walls to buckle. you don’t have enough clay to close the top over completely, start the collaring process again a little lower down on the body of the cylinder. Before the opening gets too small to get a hand inside, make sure the walls at the bottom are thinned enough and there is no water or slip inside. There is usually no need to belly out the bottom of the pot, as the process of collaring in and closing the top will round out the form.

Figure 4 Figure 5 Figure 6 Continue collaring and thinning alter­ Cut off the top with your needle tool to Instead of continuing to pinch the neck nately until you have a very small open­ make it perfectly even. ever narrower until it closes (you risk ing. At this point the pot should look like simply twisting off the top completely if a narrow-necked vase, flaring out slightly you do), push the lip in and mash it down at the lip. to form a knob shape. You can even push a plug of soft clay into the opening. Experiment with this step until you find what works for you.

18 Fall 1999 Figure 7 Figure 10 Refine the shape of the knob. Trim excess clay from the bottom and set aside to dry to leather hard. There is no need to make a hole in the wall—the slight shrinkage of the clay will cause the trapped air inside to swell the form a lit­ tle, but it won’t burst the walls.

Figures 8 & 9 Use a flexible metal scraper or a kidney rubber to refine the profile of the pot and to delineate where the lid will be cut off.

Figure 11 Figure 12 Once the pot is leather hard, re-center it Be careful as you cut—the trapped air on the wheel. If it was thrown on a bat, inside may cause the lid to pop loose, you should be able to simply replace the which can be startling if you’re unpre­ bat on the pins. Using a sharp, thin- pared. bladed utility knife, X-acto knife or scalpel, cut at a 45° angle to separate the lid from the body. The angled cut will prevent the lid from falling in. Figures 13 & 14 Remove the lid and lightly trim the sharp corner at the outside of the opening cut; smoothing this corner with a finger.

Pottery Makingillustrated 19 Figure 15 Figure 16 Figure 17 Use a sharp square-cornered trimming Trim the sharp corner on the inside of the Turn the lid upside down in the opening, tool to cut a flanged lid seating into the opening cut. Don’t remove too much clay and center by tapping it into place while cut edge. The thicker the wall of the pot, or the lid may fall in. the wheel is turning. If necessary, tiny the easier this job will be. bits of clay can be used to secure it in place, but its weight should keep it centered without help if you trim lightly with sharp tools.

Figure 20 Figure 21 Try the lid on the pot. It should fit snugly Center the pot upside down and trim a but easily into its seat. You may have to foot in the usual manner. trim a little bit more to get the fit just right —it’s usually easier to do this refining on the pot rather than on the lid. If the walls of the pot are thicker than you like, trim the pot while it is still centered right- Figures 18 & 19 side up. Trim a square-cornered flange into the cut edge of the lid, mirroring the flange you trimmed into the body of the pot. Trim down and smooth the corners of the cut (you may have to remove the lid and center it right side up, directly on the wheel to smooth the corner on the out­ A potter for 20 years, Sumi von Dassow teaches pottery at side of the cut). the Washington Heights Center for the Traditional Arts in Lakewood, Colorado, and is a frequent contributor to Pottery Making Illustrated.Visit her web site at http://www.well.com/~sumifor more information. 20 Fall 1999 Snowmen! Clay snowmen! That’s Procedure Step 4. Using the third lump of clay,I I what Carson, a perky second grader, Step 1. Each student received three asked the students to create a small, told me she would like to make in the small lumps of a low-fire white-bodied sculptural self-portrait of themselves next art class. She had seen me in the clay, a 6x6-inch piece oftagboard (heavymaking their snowman. I reminded school hallway one snowy January day,paper) to use for a base, a toothpick to them it would be cold outside and that and asked what we would be making use as a clay tool and a small cup for they should dress their clay person next. I had returned the question to her water. One lump of clay was flattened accordingly—hats, gloves, scarves. The asking what she would like to make. onto the tagboard, creating a “snow- toothpick was used for detail work, When possible, I like to honor students’ covered ground.” I instructed the stu­ adding eyes, hair, etc. request for special lessons, but I felt claydents that this should be about as thick Step 5. The following week, after the snowmen did not offer enough creative as their finger. pieces were bisque fired, we glazed I possibilities for an engaging art lesson. them. Students used small brushes and I What I developed is more challenging Step 2. The next lump was for the low-fire underglazes to add color to the and personal than three balls of clay snowman. I passed around pictures of snowsuits, hats, hair, etc.The ground and stuck vertically together. snowmen I had photographed during snowmen, being white clay, were not The next week I visited Mrs. our Michigan winters. Since many of painted with underglaze. A coat of clear I Woodward’s second-grade class. I told the students in our district are new glaze was brushed over the entire piece, her students they could thank Carson arrivals from other countries, pictures then the pieces were refired. for this art lesson—as we would be help these students, who may not be The finished pieces radiated the making clay snowmen. The students fluent in English, to visually understand same type of intrigue one feels when clapped and Carson beamed with pride. the lesson. I also wondered if some of looking into a snow globe. Some of the the children from the warm climates of self-portraits were so detailed, students Middle Eastern and African countries could recognize each other. Although have ever seen a snowman. I gave stu­ students wanted to take them home, I dents the option to make snowwomen wanted to share their charm with other or even snow animals. students, teachers and parents. I first Step 3. I demonstrated rolling three exhibited them in the school display balls in the palms of my hands. With mycase, later in the intermediate school dis­ finger tip, a little water was rubbed trict display cases and then at our district between each ball to ensure they would art show. Finally, on a hot day in June, I stick together, and then I stacked one on returned the little sculptures to the stu­ top of the next. The little snowman was dents—a permanent reminder of a then moistened and stuck to the base. If winter activity on a snowy day in any of the balls were larger than 1½ January. inches in diameter, I pushed a pencil up through the base, which allowed the clayCraig Hinshaw is an elementary art specialist in the First-grade student constructing clay to dry out and lessen the possibility of Lamphere School District in Madison Heights, Michigan. snowman and self-portrait. breakage during the bisque firing. Send comments [email protected] .

Second-grade student painting under-1 First-grade snowman. Students made “arm Amy’s self-portrait, with her distinctive red glazes onto her bisque-fired sculpture. holes” with a sharpened pencil, and after the | hair, made her easy to identify by her glaze firing, glued in small twigs for arms. teacher and classmates.

Pottery Making illustrMd 22 Fall 1999 by Brad Sondahl

Repeating an applied raised-clay Part I—Making the Mold Step 2. Prepare a batch of plaster decoration to pots is easy to do. ThisStep 1. Sprig molds can be made and fill the forms (see figure 2). type of decoration, which can be either a from either plaster or by bisquing a Gently tap the molds to flatten the detailed bas-relief from a mold or a clay master. I prefer plaster because it surface and to bring the bubbles to medallion of clay applied to the ware, is has a fine grain that accommodates the surface. The top surface is the known as “sprigging,” and mugs are a delicate carving. Begin by making part used for the stamps, so it should traditional favorite for this kind of dec­ plaster blanks in forms, which can be be as smooth as possible. After most­ oration. Here's one way to make a plas­ any shape—round, oval, rectangular ly filling the larger cylinder, push the (see figure 1). You’ll also need to stick halfway into it and support it ter sprig mold and directions on how tomake a cylindrical form that is until the plaster sets up. apply a sprig decoration to the side of a slightly smaller in diameter than the Step 3. After the plaster has hard­ mug to create a unique decoration withinside of the mugs you’ll be decorat­ ened, remove the forms and clean consistent results. Many people enjoy ing. Insert a 12- to 15-inch-long any odd bits of plaster from the mold the tactile sensation of raised relief dec­ piece of 1x2 wood into this form to blanks with a loop tool or knife (see oration on a mug, and Tve used thisserve as a handle. This cylinder will figure 3). Note: Plaster bits and technique for logos for centennials, be used somewhat like a shoe last— pieces can contaminate clay. Discard camps and towns. Each decoration it holds the pot in place while you plaster debris and any clay you used comes out slightly different because ofpress on the decoration. for the forms. If the top of the mold placement, pressure and the size of the blank is not smooth and free of bub­ clay wad, so the result doesn't have the bles, scrape it with a knife until you reach a better surface. On the large machine-perfection look of decals. piece with the stick, round over all the edges since they will scratch the inside of the mug. Step 4. Draw a design onto the plaster blank, keeping in mind that the final result will be a mirror image. If you have difficulty concep­ tualizing the design backward, most computer graphics programs can easily reverse images. Draw a grid on the image, then transfer the design to a grid on the mold blank (see fig­ ure 4). Figure 1 Figure 2 Step 5. Carve the design into the Make plaster sprig mold blanks in juice Fill the forms with plaster. Place a 1x2 mold using a small nail, dental tool cans or thrown forms. I like to throw stick in the larger cylinder. or other fine-pointed scraper. Make forms on the wheel, then fill them shortly the first carving carefully, and a after with plaster. If you use non-clay groove will be established for subse­ forms, lubricate them with petroleum jelly quent scratching. Take a small wad of before casting. clay the size of the mold and press it onto the mold, pushing it firmly against the surface. Peel the clay off and take note of any areas that need to be cut deeper. If you’ve removed too much plaster from a design, you can refill the area with a little fresh plaster. Note: Sharp edges should be avoided since these tend to tear the clay when attempting to release the Figure 3 Figure 4 mold from the clay. Set the finished Clean the mold blanks with a loop tool or Draw a grid on the plaster blank and sprig mold in a warm dry place to knife. transfer a drawing square by square onto the blank. Remember that the design you remove excess water. carve must be the mirror image of the design you want to appear on the mug.

Pottery Makingillustrated 23 Part II—Sprigging on Mugs Step 1. Find a place on the edge of a table to secure the plaster cylinder with the stick handle (hereafter dubbed the “potlast”). Drill a hole in the end of the stick, then screw the potlast to the table far enough in that it will not pull loose when downward pressure is applied on the outside plaster part. Using only one screw to secure it allows it to swivel out of the way when not in use (see figure 5). Step 2. Prepare small wads of clay. The wads of clay may be sliced from a thick coil of clay so as to approxi­ mately standardize them in size. Experience determines the proper amount needed. Figure 5 Figure 6 To apply sprigs to a mug, you’ll need Firmly press the clay wad into the sprig Step 3. Slide the mug onto the pot­ a small piece of smooth cloth, some mold until the clay begins to show last with the side on which you wish clay slip from your slop bucket, a small around the edge of the mold. to place the decoration facing up. brush and small wads of clay. Here, a You may wish to vary the side you“potlast” holds a mug in place awaiting apply the decoration to since left­ decoration. handers and right-handers may have different preferences. Step 4. Roll the wad of clay in your hand into a ball to remove any irreg­ ularities. Flatten it with your hands to the approximate shape of the stamp. Press it gently onto the center of the sprig mold. Firmly press the sprig mold and clay onto the cloth until the clay is nearly sticking out on all sides (see figure 6). Remove the clay and mold from the cloth. If stickiness is a general problem, try using a drier clay for the wads, but if the clay wads crack when being Figure 7 Figure 8 pressed, they are too dry. Apply slip to the clay sprig, then apply With a wet finger, smooth the edges of Step 5. Brush a small amount of slip the sprig to the mug, using the mold as the decoration to compress it onto the on the entire back of the clay sprig. the holder. Roll the sprig on with slight mug. Roll it across, applying a slight pres­ pressure. The sprig should stick to the sure, on the place you have chosen mug and the mold should release. to locate it on the mug (see figure 7). If the plaster is dry, the clay should adhere to the mug and release from the mold. Step 6. With a wet fmger, smooth the edges of the decoration to com­ press it onto the mug (see figure 8). The mold may become sticky if it is used for over 30 mugs at a time, in which case you may need to warm it gently to dry it out.

Brad Sondahl has studios in Nezperce and Spirit Lake, Idaho, where he makes functional stoneware. He has written articles for Pottery Making Illustrated and Ceramics Monthly. Visit his web site at Example of finished mug with an applied www. camasnet. com /~asondahl/bradindex.html where sprig decoration. he has many tips for potters. 24 Fall 1999 by Rosette Gault

If you’ve been looking for a clay body that can be used to make large slabs with little or no warping or crack­ ing; has incredible green strength; can be assembled at any stage (from wet to leather-hard to dry); is compatible with your existing glazes; and, when fired, Given a good foundation in basic clay- weighs up to 50% less than ordinary working techniques, such as coiling, pinching, slab building, press molding or bodies, you’ll find such a miracle body even throwing, there’s no need to be shy in paper clay. The clay in paper clay or too cautious with paper clay. Before can be porcelain, stoneware, terra cotta, the bisque firing, almost anything goes. earthenware and/or scrap. After the bisque, you’ll need to consider the natural properties of the clay, such as its maturation temperature, because the paper will be gone.

You’ll need some special equip­ Paper clay can be fired in elec­ ment for paper clay, but nothing tric, raku, natural gas and even salt that you can’t readily find. kilns. I use an electric kiln with the • 2 large, clean, watertight bar­ lid propped open until the paper rels—one for the paper pulp, one burns off completely. All switches for the clay slip. A third empty are on medium by that point. The bucket or barrel is convenient. smoke, which is equivalent to wax • Heavy-duty drill with blunger resist burn-off, should stop attachment for mixing and after the temperature exceeds blending pulp and slip. 500°F, depending on how much paper you have in your clay. Here • Large screen(s) for straining the are the few things to watch out paper pulp. for when firing paper clay: • Large plaster slab(s) for drying • Be sure to fire paper clay only in the mixture. (Optional, but well-ventilated kilns. Rosette Gault has written and lectured extensively about useful.) paper clay over the past decade. Inventor of P’Slip

Pottery Makingillustrated 25 Before getting started with paper Don’t use newsprint, brown bags Wet clay particles are much clay, here are a few tips on how to or cardboard if you want a clean, smaller than paper fibers so they select and evaluate the types of white result. There is too much mold to the fibers as they dry. When paper to use: sawdust-grade pulp in their compo­ the paper burns away during firing, Lower-grade paper, such as sitions. a fine-grained latticelike structure shredded paper from copying Glossy brochures and catalogs results. machines, works very well. Even take a longer time to break Be aware that adding paper to office carbon copies or yellow- or down into pulp so they should be your clay body may significantly pink-colored papers do not avoided. change the maturation temperature, adversely affect the mix. Fired Use a consistent source for your because small amounts of clay are results of lower-grade paper are rel­ paper. Once you’ve selected a routinely added to commercial atively more dense and slightly paper, make a test batch of clay and papers to improve texture, and the heavier than with higher grade. test fire it to be sure that you like clay in your pulp will tend to raise Toilet paper (bathroom tissue) is the clay color. Most inks, including overall maturation temperature. also a good source. those used in photocopiers, are Certain types of better stationery carbon based and burn out during and/or brochures or leaflets printed firing; but ink-containing mineral on nonglossy paper are among the oxides will stain your clay. Testing higher grade papers. Higher “rag” also helps determine the best content means more delicate fibers. proportion of paper to clay for your purposes.

Step 1 Step 2 Step 3 Turning paper into pulp is simple. For Pour in clear water, enough to fully satu­ For papers/brochures that have not been already shredded paper, use a large, rate each piece of paper. Hot water shredded, fill the watertight barrel a third watertight barrel. Fill it halfway with the seems to speed this. Soak as desired. of the way with clean water, hot if possi­ dry, spaghetti-like shreds. ble. Tear the paper into 3x4-inch scraps. Drop each scrap into the water. The wet paper will start to disintegrate and expand. Some papers are so absorbent they grow like sponges to five or six times their original volume.

26 Fall 1999 Step 4 Step 5 Step 6 Once the paper scraps are thoroughly Be generous with the water in pulping Mix the slurry until the printing is illegible saturated, use a glaze-mixing blunger to and add water if the mixture is too thick; and the pulp appears to be homogenous. homogenize. it should be very soupy so as not to over­ tax your mixer. Add a few drops of bleach to retard mildew and bacteria growth, especially if you don’t plan to use the pulp within a day or two.

Step 7 Step 8 To drain, pour the slurry over a large-mesh screen, and press Squeeze out as much excess water as possible. Store the the water out by hand. Strain the pulp gently. mostly de-watered pulp in an airtight plastic bag until you are ready to mix it into clay slip. However, do not let this wet pulp sit for more than two weeks or it will smell worse than a garbage dump. To store the pulp so it won’t rot, you can freeze it in convenient packages. A better way, however, is to allow Health and Safety unused pulp to dry out, then reconstitute what you need in • If you have any skin sensitivities or skin allergies, wear water. rubber gloves when handling paper clay. • If you batch any dry powder materials, be sure to wear an approved respirator. • When blunging the clay, wear goggles. • Due to the wide variety of potential ingredients found in clays, papers and waters in various regions of the world that are beyond the control of the authors and the pub­ lishers, use caution and care in trying these methods.

Pottery Makingillustrated 27 Select an appropriate clay body, Measure the pulp to be added Start mixing the clay slip with a basing your decision on desired from the main batch; otherwise, it is strong glaze blunger if you have one. color and texture. If you want a fine too easy to lose track of how much If not, stir the slip with a stick and surface, use a refined clay, casting you already put in. Then youadd handfuls of moist paper pulp, slip or porcelain, as well as the high­ wouldn’t know quantities involved mixing well after each addition. Let est rag-content paper you can find. in some wonderful clay and would stand, sponge out excess water from Prepare a bucket of well-blended have to guess again the next time the top, if desired. As the mix dries slip from your selected clay. I startyou try to mix it. to desired consistency, stir occasion­ with about 100 pounds of dry clay Remember that the higher the ally with the stick or by hand. per large barrel. This makes about ratio of paper pulp to clay, the Note: Some potters have suc­ half a barrel full of slip. Consistency lighter and more porous the fired cessfully mixed paper clay in com­ should be like thick honey, with or result; a large amount of paper also mercial clay mixers. If you decide to without a deflocculant, such as will raise the body’s maturation try this, beware of clumps of unsat- Darvan. temperature. Consider the proper­ urated paper; they could cause Before mixing paper fibers into ties of the pulp grade you are using. unwanted pits on the fired surface. the slip, decide how much pulp you want to add. Judge by eye. Anywhere from 20% to 50% (by volume) paper pulp added to the slip will work. If just starting out, try about 30% to 35%. If your paper clay is cracking too much when drying, add more pulp to your batch. The more pulp, the less the cracking in general. I add more pulp for the larger works.

Paper clay can be prepared by spreading the slurry over a plaster drying bat. If you do not have a plaster bat, try spreading the wet mix over butcher paper on the floor. Because there is no absorption in the floor and there is evaporation only from the top, floor-dried slabs do tend to warp, which could be to your advantage. However, to avoid warping, turn slabs over from time to time as they dry. Floor-dried slabs take about five times longer to set up than plaster-dried slabs.

Add pulp to clay slip by volume. Anywhere from 20% to 50% paper pulp If you want flat slabs, the best approach is to pour a layer of added to the slip will work. If just starting paper clay slurry over a plaster slab; lift the “leather” just once off out, try about 30% to 35%. the plaster surface as soon as you can without tearing it, then put it back down. Additional layers may then be poured over top to achieve the desired thickness. Let the slab dry out completely on the plaster. 28 Fall 1999 Paper clay can be handbuilt, cast in pieces, because the finished weight is surfaces (from burnished smooth to molds or poured out onto large plas­ noticeably less than a conventional scored rough) are possible. If you want ter bats to make slabs of any thickness. clay body. You can also mix/attachto carve detail on dry surfaces, but I start with a thin layer, let it set up a different concentrations of paper clay find it too difficult, try firing to bit, compress with a rubber rib, then to itself. Try a super-lightweight (high 1000°F.The slab will carve beautifully add successive layers of fresh paper ratio of paper pulp) interior armature after that because the paper fibers will clay, successfully building slabs up towith a more dense (lower paper con­ be gone, but the clay will still be 2½ inches thick. The plaster will centration) mixture for the outer shell immature. This burning-out process absorb the excess water much more surface. works particularly well for low-fire quickly than you might expect. Most Green strength is noticeably talc bodies and porcelains. slabs produced on plaster do not warp, improved with paper clay bodies, and Paper clay bodies are also suitable unless you encourage them to, or if so most unfired dry pieces can take for raku/pit-fire work; most (even the slab is too thin or the paper-to- some bumping and shocks; even a car some porcelains or low-fire talc bod­ clay ratio is wrong. ride to a kiln for firing is usually no ies) exhibit improved thermal-shock Paper clay does not wedge like problem. And if a break does occur, it capability if they have been bisque normal clay and, in certain ways, its can easily be repaired. If your paper fired. Before the bisque, surfaces can “window of opportunity” or plastic clay slab inadvertently cracks, trybe burnished smooth (at the soft- stage is generally shorter. I usuallyrepairing it with a fresh layer of the leather-hard stage) with a flexible avoid wedging altogether—which is same mix or with a compatible slip. In rubber rib or textured with tools. easy to do because the paper clay is most cases you will be happy with the Remember, once the fiber is already homogenous—and work result. Reinforce weak or super-thin burned out after the first firing, what with it as a thick slip. areas as desired by adding fresh layers is left is plain fired clay, so all rules There’s no need to cover your of wet and/or dry slabs of paper clay. dealing with clay in this state apply. work with plastic to keep it moist.You Conventional clay items at the can if you want to, but you can also letbisqued, glazed or even greenware the piece dry out completely in the stage may be placed immediately into open air, then add wet clay over dry the wet and/or drying paper clay. indefinitely. You can fix cracks, attach There will rarely be shrinkage cracks parts and so forth until it’s time to fire. around them, as would be expected if You can even mix and match different you were working with a convention­ paper clay bodies (e.g., low-fire red al clay body. and white paper clay) with each It’s also possible to combine thick other, too. and thin paper clay slabs. I have built You can also use plaster or latex forms that have 2½ inch next to ½- molds with paper clay, and you’ll find inch-thick elements. While it may be it releases sooner and is stronger to tempting to make super-thin or ultra- handle. For latex, simply peel the outrageous shapes, remember, as soon mold off the totally dry paper clay. No as the piece is bisqued, it behaves just To cut a slab after it is totally dry, simply need to worry about minor under­ like the regular clay body. Be carefulscore and gently snap apart like glass or cuts. Paper clay greenware is usuallynot to fire it beyond its maturation dry wall. strong enough to survive intact as you temperature, or the form may slump. peel the latex off. You may have to reinforce thin or Do not try to use paper clay slip in unsupported areas with interior struc­ bisqued molds, however; it will not tures of paper clay. release. Use this property to your Even bone-dry sections can be advantage to repair bisqueware. You assembled, using wet paper clay as an should be able to repair minor bisque adhesive. For best results, quick dip the cracks (the larger the crack, the greater ends of dry pieces in water or sponge the risk) with fresh paper clay slip, or joints with water and/or slip before even build anew onto wet bisque- scoring and assembling with paper ware. Re-bisque repaired/altered clay. When these joints dry, you can pieces, then glaze and fire as usual. build up or fill in areas by adding Paper clay is an excellent choice for more wet paper clay as desired. Some people prefer to use a saw or large-scale projects, including wall As with ordinary clay, all kinds of jigsaw to cut totally dry paper clay slabs.

Pottery Makingillustrated 29 Mending cracked or broken greenware can be a challenge with standard clay. But with paper clay, the fix is just a matter of knowing the steps to follow for great results every time.

Oops! Leg is broken ... Re-wet the leg. Dip leg in paper clay slip. Attach some fresh paper clay what to do now? (No sweat) over paper clay slip on the wet part.

Model a key to fit inside the Let dry out completely Re-moisten dry post with Insert post into the boot. boot. overnight. paper clay slip (generously).

FOR MORE For More Information Books Gault, Rosette. Paper Clay. Philadelphia: University of Pennsylvania Press, 1998. Comprehensive reference for the stu­ dio artist. Gault, Rosette: Paper Clay for Ceramic Sculptors. Seattle: Clear Trim and fettle detail as you Let dry out and fire as Light Books, 1993. Original handbook, spiral bound. desire. normal. Articles Gault, Rosette. “Amazing Paper Clay.”Ceramics Monthly (J/J/A 1992): 96-99. Gault, Rosette. “Rules, Rules, What Rules?”Ceramics Monthly (J/J/A 1996): 77-80. Mau, Linda. “Paper Clay and Steel.” Ceramics Monthly (May 1997): 46-47. Internet umv.paperclayart.com/ Rosette Gault’s site. Well-developed web site and a good starting point for research on the web. www.ceramicart.com.au/papercly.htm Comprehensive article on paper clay that first appeared in Ceramics Technical, by Graham Hay, an Australian clay artist using paper clay. www. escribe, com/art /clay /search. html?qsubject=paper+clay Web site containing the search results for CLAYART messages containing the word “paper clay” www.escribe.com/art/clay/search.htmUqsubject~paper clay Same as above but a search on the other spelling “paper clay.” Add ears or change other parts if desired. 30 Fall 1999 by Beverly Wallace

Paper clay blends traditional clay with paper pulp to produce a medium that is amazingly versatile. Many of the problems associated with traditional ceramic sculpture are circumvented with the use of paper clay—plasticity is increased, shrink­ age reduced and adhesion improved. Paper clay adds a whole new dimension for the handbuilder or sculptor. It opens up as-yet unex­ plored areas of creative possibility Tony Birks, author of The Complete Potter’s Companion (see “Off the Shelf. ” PMI, Summer 1999) states: “The most revolution­ ary development for sculptural ceram­ ics this century has been the rapid spread over the last decade of the use A slab of paper clay is loosely formed Once the clay is dry enough to support over old towels, which aid in drying the itself, legs are formed separately and of paper clay.” He may be right. clay while supporting the body. attached to the body with paper clay slip.

The head is formed separately. After the head is attached and rein­ The mouth is cut, the tongue inserted forced, modeling and detail work are and secured, and the mouth rejoined done. with wet paper clay. Ears are made of wet paper clay and attached to the leather-hard piece.

Beverly Wallace is a retired high school art teacher and currently teaches ceramics at Trinity Valley Community College in Athens, Texas.

Pottery Makingillustrated 31 32 Fall 1999 by Don Adamaitis

The type of base you can construct for the domed-top fiber kiln shown in A firing chamber made from a large Part I (see PMI, Summer 1999) old electric kiln with a 10 firebrick ring. depends on your ability and the Note: It’s not necessary to have a materials you have available. Here tubular burner port for this type of are three examples. chamber.

An example of a firing chamber made from standard firebrick. The fire-ring sits on top of the bricks to provide a seal with the cylindrical domed top.

An example of a fire-ring on a firing chamber made from 14-gauge galva­ nized wire mesh lined with 2 layers of ceramic fiber blanket and attached to a firebrick disk. This is the finished product described in this article. The domed cylinder kiln chamber described in Part I sits on top of a fire- ring and a firing chamber, which is made from wire mesh, lined with ceramic fiber blanket and attached to a firebrick disk.

The base for the domed-top box) of 2300°F-rated insulating The completed firing chamber fiber kiln consists of two units—a firebrick. The box price is less than works well with a 75,000+ Btu fire-ring and the firing chamber. bricks purchased separately. venturi-type propane burner. This The type of base you choose The fire-ring is made using kiln unit can sit on hollow concrete to construct depends upon your 9 insulating firebricks (IFBs), allow­ construction blocks as a permanent ability and the materials available. ing a wide base and seal between set-up. With a little welding ability, The base described here uses the the domed top and the firing you can make a lightweight mov­ same basic tools used in Part I and chamber. The firing chamber is able platform with a kiln-cylinder utilizes the excess material left over made using the same wire screen lifting frame. I have constructed from that construction. You’ll have fabric construction described in several variations of this configura­ to purchase a box (24 firebricks per Part I. A firebrick disk forms the tion for schools in the area. bottom of the chamber.

Pottery Makingillustrated 33 Safety The Fire-Ring Construction Take the two compression ring Please refer to the “Health The fire-ring provides stability clamps and cut them in half so that Risks” cited in Part I. In addition, and a seal between the dome top you have an equal length of solid always wear leather gloves and safe­ and the firing chamber of the wire­ band on each portion. ty glasses when handling sheet frame kiln. Slightly bend the banding metal metal, and a NIOSH-approved res­ Cut nine pieces of ½-inch-thick every nine inches (the length of a pirator when working with ceram­ plywood or heavy cardboard to the firebrick), starting at 4½ inches ic refractory fiber material. The fir­ same size as your firebrick{AV 2X9 from the end for the first bend. ing chamber is the simplest part of inches) to be used as cutting tem­ Place the banding metal around the the construction of your kiln and plates. On each of these templates, ring of the firebrick. Place the many options are open to the mark the 70° angles, starting ¾ screw portion of the compression builder, providing you follow these inches down from the outer side of ring clamp at the 4/4-inch end of basic safety rules: your intended fire-ring. Each piece the banding metal and position it by • The firing chamber must sit on a should look like the brick template clamping with the vise-grip pliers. platform that will allow for air in the template drawing. Cut each Center punch and drill through the circulation under the base. of the bricks with your miter box to screw portion and banding metal match the furnished template. while it is still clamped with the • The firing chamber must be Arrange them in a circle to make vise-grips, and install the rivet or placed on nonflammable materi­ sure that you have a close fit. It’s pop-rivet. Place two rivets in each al, such as a single layer of fire­ better to have a minor gap between cut section of the compression brick placed on concrete blocks the template bricks on the outside clamps. or on a welded frame with sup­ of the ring than on the inside. A To locate the rivet position of the porting legs. 0.5°-variance in the angle of your “slotted threaded” portion of the • The outer walls of the chamber cut can make a big difference in the compression clamp, screw it into must be safely secured so theyfinal fit of the circle. the screw assembly until the slotted will not collapse under the Place your cut firebrick on a flat threaded portion extends on the weight of the fire-ring and kiln, surface in the intended circle to other side of the screw assembly. nor when it is bumped or check for fit. Place the banding Compress the metal banding moved. material around the outer edge, so around the fire-ring so you have a • Due to the chance of potential you have a 3-inch overlap and mark snug fit. Mark the position to install contact burns with the outer the strip. Cut the banding metal to the pop-rivets. Use the vise-grips to surface and for fuel economy, length. CAUTION: Round the hold the compression clamp ends in sharp corners with your tin-snips to place during drilling and riveting. plan to line the inner walls of the prevent unwanted cuts. Once you have both compres- chamber with at least one layer sion-clamp units secured with riv­ of ceramic fiber blanket, prefer­ ets, place the banding ring on a ably two layers. solid metal surface, and hammer the rivets as flat as possible on both sides. Before clamping the fire-ring together, use a spray bottle to dampen both the firebricks and cut surfaces, and apply a thin coating of the high-temperature coating to the nine firebricks. Make sure that the bricks are on a flat surface and that the inner edge of each firebrick matches its neighbor’s edge. Place the metal banding on your fire-ring and tighten the compression fit­ tings. Coat the top, the bottom and the inner-circle surfaces of your fir­ ing ring with a thin layer of the high-temperature coating, and let dry.

34 Fall 1999 Figure 1 Figure 2 Figure 3 Make 9 plywood or cardboard templates Cut templates and check the fit. It’s less Mark each firebrick with a sharp pencil, to use as cutting guides for the insulating expensive to check your cutting angle on using the template as a guide. firebricks (IFB). the templates than to experiment with your K-23 firebrick. It is better to have a minor gap between the bricks on the outside of the perimeter rather than on the inside.

Figure 4 Figure 5 Figure 6 Cut firebricks using a large-toothed saw On a flat surface lay out your cut firebrick Cut the compression ring clamps in half, (tree or pruning saw) and a custom-fabri­ to check the fit and to measure the cir­ allowing enough solid metal for riveting cated miter box with a 70° precut guide. cumference for the fabrication of the to the banding ring. Hold the firebrick firmly while cutting. banding ring.

Figure 7 Figure 8 Figure 9 Clamp the compression ring straps with Smashing the pop-rivets flat allows the The firebrick is held in place with a thin vise-grips to hold secure during drilling compression ring clamps to slide over coating of high-temperature cement and and riveting. the banding metal easier. the fabricated compression ring. A thin coating of the high-temperature mixture is brushed on all exposed surfaces.

Pottery Makingillustrated 35 The Firing Chamber Construction ring over the wire screen and tighten. (Note:Install the lifting handles at this time if you wish.) The 3-inch verti­ Step 1. Prepare the bottom disk cal slots you made will allow compression of the wire Begin construction by laying out the insulating fire­ screen cylinder and the firebrick disk. Measure a length of brick on a flat surface to form a 221/4-inch square (see fig­ the ½-inch galvanized wire to form a hoop around the ure 10). Cut the circle-scribed firebrick (see figure 11) top of the cylinder screen. Cut it so you have a 4-inch being careful to keep the sides vertical. Tip: Using a saber overlap. With your pliers, bend all the top 1-inch vertical saw with a 3-inch, coarse-toothed wood blade works wires outwards over the ½-inch galvanized wire, forming best. Assemble the cut firebricks to make sure you have a a bracing hoop. Secure the ends as you did for the bottom “matching” firebrick circle (see figure 12), then sand portion in the construction in Part I (see figure 14). smooth any saw marks. Step 4. Line the cylinder* Step 2. Form the cylinder Measure the depth of the inside of your firing cham­ Cut the outside wire from the top and ends of the ber from the top of the wire hoop-ring to the top of the welded wire mesh, leaving 1-inch-long wires sticking out firebrick disk; increase this measurement by 1 inch. Cut a along these sides. Line up the horizontal wires on the 10- 70-inch length of ceramic fiber blanket and split it into inch ends of the screen, so that you have an overlap joint two sections.They should be the depth measurement plus of two complete squares of wire. Bend the outer end- 1 inch. With a brush, paint a thin layer of the high-tem­ wires inside through the screen. Take the inside overlap­ perature coating mixture on the top surface of your fire­ ping end-wires and bend them outwards through the brick disk. Also paint a thin coating on the bottom cut screen. This should form a two-square, overlapping joint, edge of one of your lengths of ceramic fiber blanket. Place as you did for the domed cylinder in Part I (see PMI, this piece of ceramic fiber blanket inside the chamber, Summer ‘99, p. 40). Check to see that the formed wire compressing it against the coated firebrick disk and mesh fits the outer edge of your firebrick disk, then ham­ against the wire screen wall of the chamber. Compress the mer the overlap joint flat. ceramic fiber blanket so it fits snuggly and evenly against Adjust the screen fabric circle to fit snuggly, as the bot­ the wire chamber wall. Secure this layer of ceramic fiber tom 3 inches are intended to extend over the outside of blanket to the wire screen wall with “U” pieces of the firebrick and will be clamped to the firebrick disk Nichrome or stainless steel wire, about 1½ inches long with the compression banding ring. Now, cut out the per leg, placed about every 5 inches.These “U” pins strad­ bottom two horizontal wires of every fifth set of squares. dle a wire of the firing chamber and go through the Skip one section of this procedure, marking the area of ceramic fiber blanket from the outside. Their ends are the skipped cutout with a piece of tape. This will be the then curled outwards like a “box-staple” on the inside of area of your burner port. You now have a piece of screen the ceramic fiber blanket. Spray a thin coat of the high- that has 1-inch vertical wires extending from the top. On temperature coating to the inside wall of the ceramic fiber the bottom you will have a set of squares measuring 3x4 blanket you just installed (see figure 15). -inch squares and then a three-square vertical space Spray a thin coat of the high-temperature coating on extending up from the bottom, except for the area where one side and the bottom edge of the second wall-piece of you marked for the burner port (see figure 13). ceramic fiber blanket (see figure 16). I use an old quart jar sandblaster to apply the high-temperature coating, but a Step 3. Assemble the chamber thinned solution of the coating can be applied with a Place the wire-mesh cylinder over the firebrick disk, brush, providing you use only single brush application measure the circumference and cut a length from your 2- strokes. Place this second layer inside the chamber, coat­ inch banding metal that has a 3-inch overlap. Attach the ing to coating, and placed so the joints of the two layers compression ring-clamps with rivets as you did for the are at opposite sides. Compress the second layer of ceram­ firing support ring. With water, lightly dampen the 2½- ic fiber blanket against the bottom and existing ceramic inch sides of the firebricks that are in contact with a fiber blanket wall; you may have to cut to length to form neighboring firebrick of the disk and coat them with a a snug fit. You do not need to install any attachment thin layer of high-temperature cement coating mixture. devices to this layer as the compression and high-temper­ Reform your firebrick disk and place the wire-mesh ature coatings between the touching surfaces will cement cylinder over the 2 ½-inch sides so that the ends of the it in place. mesh wires are even to the disk’s base. Place the banding

Health Warning:Refractory Ceramic Fiber (RCF) materials are currently under study as a human carcinogen that may share characteristics similar to asbestos. RCF materials are usually contaminated with crystalline silica, a known human carcinogen, and the agent that also causes silicosis. Airborne fiber dust is an extreme health hazard. Before attempting to handle these materials, contact your refractory supplier for the Material Safety Data Sheet and recommended handling procedures for any materials you plan to use. Use of NIOSH-approved respirator, local pickup ventilation, protective clothing, stringent personal hygiene and extensive site cleanup are mandatory to minimizing risks. Ed. 36 Fall 1999 Materials • 10"x76" piece of 1x1 wire mesh (see Part I, PMI, Summer 1999) • Vs-inch dia. galvanized wire (80 in. req’d.) • K-23 insulating firebrick (13 req’d.) • 87 inches of 2-inch wide stainless steel banding metal or galvanized-metal flashing • VaxVs steel pop-rivets (8 req’d.) • 2½- to 3-inch-diameter screw-closing compression clamps • High-temperature coating (see Part I) • 6-foot length of 24-inch ceramic fiber blanket Figure 10 • Saber saw with long coarse blade will be very useful (1) Start with a half brick, then (2) set brick in a spiral pattern. (3) Locate the center by scribing lines from one corner to oppo­ site corner. (4) Using a string as a compass, mark a circle 22½- inches in diameter. Locate the center of the firebrick base, then scribe a circle with a sharp pencil and a string to mark the cir­ cumference of the firing chamber.

Figure 11 Figure 12 Figure 13 Carefully cut the firebrick using a saber Arrange the cut firebrick to form a disk Cut away the top and bottom horizontal saw with a coarse blade. and use coarse sandpaper or a rasp to wires on the 1Ox76-inch wire mesh. remove any irregularities. Make vertical compression slots every 4 inches. Skip one of the vertical slots and mark with tape where you intend to make your burner port.

Figure 14 Figure 15 Figure 16 Place wire mesh cylinder over the com­ Apply a thin coating of high-temperature Apply a thin coating of high-temperature pleted firebrick disk. Attach your fabricat­ cement coating mixture to the first layer cement mixture to the second layer of ed compression banding ring and tight­ of fiber blanket attached to the inside of fiber blanket that will be fitted inside the en. Attach the 1/8-inch wire bracing hoop the firing chamber. firing chamber. to the top of the fire chamber form.

Pottery Makingillustrated 37 Step 5. Form the burner port* The ceramic fiber blanket should extend about ½-inch above the brac­ ing hoop at the top of the chamber and not require any holding studs. Find the area where you placed the tape over the skipped cutout section. This will be the area for the burner port. With your wire cutters, cut a hole in the screen that measures 5 inches wide by 4 inches high. The bottom of this opening should be Figure 17 Figure 18 even with the inside of the firebrick Mark and cut the wire mesh for the burn­ Cut through the outer layer of the fiber base (see figure 17). Release the com­ er port; this is centered at the point you blanket wall of the firing chamber’s burn­ pression band from the base of the marked with the tape in figure 13. er port area. Work the fiber blanket out firing chamber and apply a thin coat­ over the wire mesh wall of the firing ing of the high-temperature mixture chamber, then cut a piece of fiber blanket to the inside and outside of the for a patch to go over the burner port chamber. Let dry, but do not coat the ★ WARNING opening. top edge of the ceramic fiber blanket. To reduce RCF health Replace the compression ring, and risks, wear a NIOSH- tighten before attempting to move approved respirator while the firing chamber. working with all refractory With a sharp knife, cut a hole in the outer ceramic fiber blanket layer ceramic fiber materials! only. This hole should be even with the firebrick base but 1 inch smaller ally to the opening, working the than the wire opening you cut. Pull fibers of the ceramic fiber blanket to the ceramic fiber blanket outward, form a smooth opening to the inside wearing protective gloves. Saturate of the fire chamber. the ceramic fiber blanket with the Apply a generous coating of the coating mixture. Work this layer to high-temperature mixture around Figure 19 form a “mouse-door hole” shape. the burner port and the surface of the Apply a liberal coat of high-temperature Once this is finished, cut out the fire-shield patch. Apply several thin cement mixture, working the fiber blanket inner layer of ceramic fiber blanket to coats, allowing it to dry between out over the wire mesh wall of the firing match this shape (see figure 18). chamber. Apply a thick layer of the coating applications. This will provide a mixture and work the ceramic fiber durable surface that will give you blanket to form a smooth shape over­ good service (see figure 20). With a lapping the outer edges of the screen venturi-type sprayer or brush, apply a cylinder. thin coating on the outside of the fire Cut a piece of ceramic fiber blan­ chamber and allow to dry. Again, take ket that measures 8x6 inches, and cut care to not coat the top edge of the the same size and shape hole in its firing chamber. This is necessary to center. Taper the bottom area so that form the seal between the firing ring it fits under the compression ring. and the chamber. Allow the chamber Coat both the outer surface of the to dry thoroughly before using, about firing chamber and one side of the one week in warm, dry weather. 8x6-inch ceramic fiber blanket fire shield with a layer of the high-tem- Figure 20 perature coating mixture (see figure After applying a coat of the high-temper­ 19). Release the compression ring ature cement mixture to the back side of again to tuck the bottom of the the burner port patch, release the com­ pression band, coat the complete out­ ceramic fiber blanket fire-shield side of the firing chamber except for the patch under the compression ring. Don Adamaitis has been an active potter since Press the ceramic fiber blanket fire- 1962. He has a degree in the physical sciences, top edge, and press the burner port worked for ARAMCO Oil Company in Saudi patch in place. Reattach the compres­ shield patch over the fire-port hole Arabia for many years. Since retiring in 1981, Don sion band, holding the bottom of the and apply the coating mixture liber- has devoted his attention to glaze chemistry and patch, and liberrally coat the patch with various types of kiln construction. the cement mixture. 38 Fall 1999 Pottery Makingillustrated 39 by George Juliano with Elizabeth Hudgins

I’ve used the familiar plastic and I made my first bats using a hand­ particleboard bats for years, but found held portable electric saber saw ; but was that my large thrown platters often unable to achieve the perfect circles cracked while drying. A fellow potter I had planned. When I asked the recommended that I use cabinet-grade school woodshop teacher for , help he birch plywood for the bats since they told me about the circle jig, a common would absorb water as I worked and woodworker’s tool used for cutting enable a piece to be removed from the perfect circles. Since the circle jig works bat much more easily. This water flawlessly and produces good, inexpen­ absorption and easy removal from the sive bats rapidly; I am convinced that bat would also help keep larger pieces we need to add it to our potter’s((tool- from cracking. box.”

You can make bats from a variety of materials and in a variety of sizes by using a jig common to woodworkers. Making the Jig Step 1. Cut a piece of ¾-inch- Step 4. Mark the center of each the front of the board then turn the thick cabinet-grade birch plywood pin-hole location with a nail set or board upside down and carefully into a 14-inch square. center punch so that the drill bit draw a pair of lines across the bot­ Step 2. Place the plywood square will “find” the hole and line up per­ tom of the board. Attach the screen on a band saw table so that the front fectly. molding with carpenter’s glue, then of the board is flush with the edge Step 5. Drill the pin holes with a clamp it or use brads to tack it of the table and the left edge is rest­ ¾-inch diameter drill bit (see figure down securely. Allow the glue to set ing against the blade. Mark where l).The holes are drilled completely for about an hour. the tip of the blade is on the board, through the plywood so you’ll need Step 7. Attach a ¾X½X 14-inch then remove the board and draw a to have a piece of scrap wood under long piece of wood to the front horizontal line across the wood at a the square while you drill to edge of the plywood with drywall right angle to the tip of the blade. prevent damage to your drill press screws to serve as a stop block (see Step 3. Clearly mark pin-hole table or your work surface. Tip: figure 2). Drill ½-inch pilot holes locations along the line. The marks Since I have ¾-inch pin holes on through the stop block to prevent represent the radii for the circles my potter’s wheel, using ¾-inch the wood from splitting. I want for my various bats. (Note: holes throughout means that I don’t Step 8. Make a ¾-inch dowel pin When a 4x8-foot sheet of plywood have to remember other measure­ from dowel rod. Cut a 1 ½-inch is cut into 32 12-inch squares, the ments and change the drill bit as long piece of the rod and slightly saw blade takes up some space [this I make the bats. Label the holes bevel the edges with sandpaper. The is called the “kerf”], so 12-inch with an indelible marker for future jig is now ready to use! squares are more like 11¾ inches reference. and 24-inch squares are more Step 6. Place the plywood square like 23¾ inches.) On my jig, I gen­ on the band saw table again so that erally make marks at 5%, 7,8,9 and the front is flush with the front of 11% inches to yield 11¾-, 14-, 16-, the table and the left edge is just 9- and 23:%-inch-diameter bats. barely touching the side of the blade. Mark the location of the band saw miter gauge groove on 40 Fall 1999 Using the Jig To demonstrate how to use the jig, I made a 14-inch diameter bat. Here’s how I did it. Step 1. Take a 14-inch square of plywood and draw diagonals across from corner to corner. This locates the exact center of the board. Locate and mark the wheel pin holes based on the configuration of your wheel head. Since the pins on Figure 1 Figure 2 my wheel are 10 inches from center After carefully marking the location of the Once the screen-stock guide strip is to center, I place a rule on the cen­ pin holes, use a drill press or hand-held secured, attach the stop-block to the ter and place a mark 5 inches on drill with a %-inch diameter bit to drill front of the board with drywall screws. each side. the holes. Drill Vs-inch pilot holes for the screws to Step 2. With a center punch or prevent splitting. nailset, mark the location of the 3 holes then drill the holes. For the 2 wheelhead pin holes, drill com­ pletely through the board, but only drill the center hole about halfway through (¾ inch). Step 3. Place a peg into the cen­ ter hole on the board, then place the board on the plywood jig through the 7-inch pin hole (for this example) (see figure 3). Step 4. Place the jig with the Figure 3 Figure 4 Prepare bat stock by cutting it into the Place the jig and the blank on the band board on the front edge of the band appropriate-sized square, locate and drill saw table, then start the band saw. Push saw table, turn the band saw on, the center hole and the 2 wheel-head pin the jig forward until the stop-block then slowly move the work forward holes, then lower the blank onto the jig. reaches the front edge of the table, then until the stop block meets the front slowly rotate the blank clockwise to form edge of the table. After the jig has a circle. stopped, slowly turn the board clockwise until you have completed one revolution (see figure 4). Magic! A perfect circle bat takes shape with little effort!

George Juliano is a full-time ceramics teacher at Robinson Secondary School in Fairfax, Virginia. He has had several magazine articles published on pottery making, and he is currently teaching graduate school at Virginia Commonwealth University. Elizabeth Hudgins taught high-school English for 32 years and has just retired in order to continue her work as a traditional iconographer. You can reach George at [email protected] and Elizabeth at [email protected] orwww.tidalwave.net/~ehudgins .

Pottery Makingillustrated 41 42 Fail 1999 Studio Safety: Dressing for Safety by JefF Zamek

While not the first consideration upon entering a pot­ tery studio, the choice of what to wear can add to the safety factor when working with clay.

Learning from ones personal awareness (knowing where your when mixing any ceramic raw mate­ experience can be a painful and cost­ body parts are in relation to moving rials. ly endeavor. However, we usually objects or activities) also plays a large Before using hand-held power don’t forget such lessons. One day in role in maintaining a safe studio. The drills and mixing attachments, wear the ceramics studio, I saw my friend idea behind the analysis of activity protective glasses to prevent any Pat unloading a kiln. One of the and appropriate clothing is to arrive spraying when mixing glazes, and glazes had run off her pots, causing a at a uniform that will allow maxi­ keep hands away from sharp moving sharp edge. Pat, who had long blond mum safety while maintaining com­ blades during mixing and when hair, decided to remove part of the fort for all studio operations. cleaning the equipment. glaze by using a grinding wheel. Suddenly, from the other side of the Clay Mixing Clay-forming Operations studio I heard her scream. Her hair The choice of correcdy fitting Several pieces of equipment, such got caught in the spinning, grinding clothing for working around clay as potter’s wheels, extruders, slab wheel and was forcibly removed from ,mixing machines or pug mills will rollers, jigger/jolley machines and her head. As the class gathered around help prevent accidents. Loose or hydraulic presses, all present the possi­ her, she was holding an 18-inch untied clothing has the potential for bility of catching a potter’s clothing, length of hair in her hands. getting caught in the moving parts of due to their moving parts. Long hair Safety in the ceramics studio hits equipment. Cotton clothing, while should be under a cap or tied back home hardest when there is a price to comfortable, can catch clay dust and and any jewelry should be removed pay for inattention. At one time or should be cleaned every day. Long to prevent it from getting caught in another, most of us have heard cau­ hair should be pulled back or placed clay-forming equipment. Open-toe tionary tales, some of which are sim­ under a hat. Long-sleeve shirts can get sandals or bare feet are comfortable ilar—namely burns from a hot kiln caught in the moving blades or gears on a cool studio floor, but can easily shelf, hands cut on fired glaze shards, of pug mills or clay mixers. cause a safety hazard as the feet are or hard bricks dropped on one’s feet. Dungarees, a T-shirt, socks and sneak­ not protected from moving flywheels All these situations could have been ers for non-slip movement are a good and heavy equipment. Sneakers or prevented by thinking through each choice for clay-mixing operations. non-skid shoes offer protection and process with the goal of self-protec- Never wear watches, neckties or jew­ traction in the potentially slippery tion. Once the risks are understood, elry (including rings) around clay- studio. Some sneakers or boots have taking adequate measures to protect mixing equipment. cleats or deeply recessed ridges on the yourself will ensure a safe workplace. Glaze Mixing soles. Before leaving the studio, While not the first consideration inspect the soles of your shoes to upon entering a pottery studio, the Whenever mixing any dry or wet make sure that all moist clay is choice of what to wear can add to the glaze material, always wear the cor­ removed. Frequently, potters walk out safety factor when working with clay. rect type of respirator (see of their studios with clay stuck to The commonly held belief that any­ “Respirators for Potters,” PMI, their shoes, and as the clay dries, it thing is good enough to wear is often Spring 1999). Also, contact lenses are shrinks, causing clumps of dry clay to true, in part because the comfortable not recommended, as dry materials be deposited in their cars and houses, clothing approach is based on the low can be trapped behind the lens and creating a dust hazard. incidence of accidents in the studio cause irritation to the eyes. Eyeglasses caused by a wrong choice of clothing. should be cleaned daily. Clothing Kiln Loading & Firing However, a good safety record can be should be comfortable and easily An important step before loading a further improved by considering cleaned after a day’s use in the studio. kiln is to make sure the kiln shelves exactly what activities are involved in Pockets on shirts or decorative ele­ are free of fired glaze drips from pre­ the processes of forming, glazing and ments attract and hold clay and raw vious firings.This task can be accom­ firing clay, then adjusting the clothing material powders. Simple, unencum­ plished in part with safety glasses for to fit the specific activity. Situation bered, easy-to-clean clothing is best eye protection (see “Eye Protection

Pottery Makingillustrated 43 for Potters,” PMI, Summer 1999) and ready after a day’s work in the studio. gloves for hand protection. Always Any cleanup should be accompanied wear eye protection or a face shield; a by the proper respirator to prevent good shield will prevent sharp shards inhalation of airborne ceramic mate­ of glaze from hitting the face and rials. neck. It is also a good practice for this particular task to wear a long-sleeve Other Studio Equipment shirt and a hat, as slivers of glaze can The pottery shop can be equipped fly in any direction. with high-speed grinding wheels, Another safety factor is the weight drills or heavy objects, such as storage of kiln shelves and posts. Feet should shelves filled with pots, wedging be shielded by wearing heavy shoes tables, bats and raw material bags. or boots, since foot protection can Again, as stated, it’s a good idea to prevent injury from dropped shelves remove any loose clothing or jewelry or hardbrick posts during the loading and unloading of the kiln. Clothing should allow for unen­ cumbered access to the interior of the kiln for loading and unloading pots, posts and shelves. When unloading a kiln, the use of heat-resistant gloves should be considered primarily to protect the hands and arms from the possibility of sharp, fired glaze edges on pots and shelves. Potters have noticed their blood on the kiln shelf caused by a fired glaze surface that was so razor sharp, they didn’t realize they had been cut. Unloading the kiln when it has cooled down is always safer for the potter and the pots. If the pots are too hot to touch with the bare hands, wait awhile—a painful btirn on the hand or a dropped kiln shelf is not worth the inconvenience of waiting. Studio Cleaning Procedures Studio house cleaning is not as exciting as making pots or ceramic sculpture, but it contributes to a healthy and safe work environment. The choice of clothes should be based on shirts, pants, socks, shoes, etc., that can easily be cleaned daily. Shoes can be cleaned with a damp sponge after working in the studio. Avoid synthetic clothing and blends of cotton, nylon or rayon, which can melt when exposed to the high-heat conditions found close to firing kilns. The process of mixing clay, weigh­ ing out dry raw materials and form­ Depending on the operation—mixing, fir­ ing pots often results in powdered ing, cleaning, forming, etc.—calls for the raw materials and moist clay deposit­ proper clothes and gear. Hat (protects hair ing itself on clothing, hair, shoes and from dust and moving parts), goggles/safety glasses (protect eyes from eyeglasses. The idea behind frequent harmful kiln radiation, sharp particles and clothing changes is to reduce the pos­ dust), gloves (protect hands from heat), sibility of depositing ceramic material short-sleeve shirt (keeps clothing away outside the studio into eating and liv­ from moving parts and clay), long pants ing areas. An effective safety plan is to (protect legs), and non-skid shoes (protect shower and have a change of clothing feet from falling objects and slipping). 44 Fall 1999 that can be caught in a pottery-relat­ ed activity. Thinking through each step in the process of making pots, with the goal of protecting yourself, is a wise safety plan. Each activity—wheel throwing, slab building, clay mixing, kiln stack­ ing and firing—can be broken down into segments and examined for its potential hazard. Have a Clothing Plan Just as you would plan for the pur­ chase of a potters wheel or kiln, the suitable choices of clothing will be a critical part in any ceramics studio operation. The idea behind making good pots or sculpture is not to have the materials, tools, equipment or clothes get in the way of the creative process. Its hard enough making clay objects without imposing preventa­ ble barriers to the work cycle. We have all wedged a ball of clay or thrown a pot on the wheel while try­ ing to keep a shirt sleeve from falling into the moist clay. Its a slight annoy­ ance, but the same situation around a clay-mixing machine or a pug mill can turn into an accident resulting in a major injury. Note each time your clothing gets in the way of making pots or when it might create an unsafe situation in the studio. Then take steps to change or adjust the sit­ uation when it occurs; do not put this off until the next day. The technique of identifying problems and making corrections will improve the overall quality of life in the studio and make it a safer place to work. Acknowledgments Jeff Goss,a professional potter located in Stowe, Vermont, provided practical advice on clothes for the ceramics studio. JefF has been making pots for more than 35 years and his information was greatly appreciated. Chuck Plosky,Professor of Ceramics, Jersey City State College, Jersey City, New Jersey, was very helpful in suggesting practical stu­ dio cleanup techniques. Bob Woo,Pelham, Massachusetts, profes­ sional potter with more than 30 years expe­ rience, gave valuable safety information for this article. Pat Parsons,Worcester, Massachusetts, pot­ ter, contributed the idea for the article.

Jeff Zamek works as a ceramics consultant in Southampton, Massachusetts, and is the author of What Every Potter Should Know (Krause Publications). Contact Jeff by e-mail at FIX- [email protected]

Pottery Makingillustrated 45 Sculpture Though many people think of clay as something anybody who plays with clay will, at some time or that is formed on a turning wheel, the first clay another, be irresistibly drawn by the malleability of objects made were sculptural, and the potters the material to create sculptural forms. When this wheel was a relatively late invention in the history play becomes serious enough that problems arise, of ceramics. Clay, as a medium for sculpture, has whether aesthetic or technical, there are a number gone in and out of fashion in various civilizations of books out there to help the artist past the through the centuries, at times favored for its impasse. Following is a selection of titles that are expressive capabilities, at other times scorned for its sure to answer some questions and help guide the lack of durability relative to stone or metal. Almost creative process in new directions.

Ian Gregory—Sculptural Ceramics Overlook Press, 1999 Not just a how-to manual, this book begins with a “Brief History of Sculptural Ceramics,” continues with a discussion of clays and glazes, and ends with several pro­ files of modern sculptors working in clay. In between are informative descriptions of forming, decorating and firing processes, profusely illustrated in both color and black- and-white. A section on body casting may be of particular interest, and the discussion of decorative techniques contains many inspiring suggestions. A few clay recipes are appended, along with some “health notes” warning of toxic and dangerous materials and practices.

Leon Nigrosh—Sculpting Clay Worcester, MA: Davis Publications, Inc., 1992 Nigrosh specializes in keeping the text short and sweet with lots of illustra­ tions (mostly black-and-white photos of both processes and finished works). Sometimes the text is oversimplified and useful information is omitted; howev­ er, his explanations of basic construction and decorating techniques are clear and complete. More advanced techniques, such as using multiple-piece molds, are touched on enough to satisfy casual curiosity, but a more serious interest will likely require referring to another book. Though light on technical detail, the book is easy to browse for ideas and thus is a useful guide to exploration for a beginner. Nigrosh includes some interesting examples and suggestions for using wheel throwing to create sculptural works, as well as the more standard hand­ building techniques. The final chapter offers suggestions on securing commis­ sions, a subject not often covered elsewhere. 46 Fall 1999 Judith Peck—Sculpture as Experience lola, Wl: Krause Publications, 1989 Peck has distilled a semester-long sculpture course into this book, presenting exercises in “seeing” as well as specific projects designed to familiarize students with various materials, including clay. The author is a sculptor, rather than a ceramist, and writes about clay as a medium appropriate only for some types of sculptural expression. The ceramics sculptor can benefit particularly from suggestions for nonfired finishes for clay sculpture. Also valuable may be the final chapter, which deals with mounting sculptural works, a subject often ignored in “clay-only” books. A potentially useful appendix lists suppliers for sculptural materials and services, including foundries (in case you’d like to have your daywork cast in bronze) and professional mounters.

Daisy Grubbs—Modeling a Likeness in Clay New York: Watson-Guptill, 1982 This informative book focuses on creating portraits in clay. Grubbs covers photographing and measuring the subject with calipers, working from photos and from life, and “capturing the subject’s personality” She also offers hints about modeling individual features, dealing with hair, and other technical and aesthetic concerns. In addition to the long and well-captioned photo-essay covering the basic process, which makes up the bulk of the book, she also includes six brief step-by-step demonstrations of portraits of various “types,” including a child, a woman with glasses, an adolescent girl with long hair, etc. This book is intended for sculp­ tors who don’t plan to cast their busts in bronze, and contains instructions on hollowing the head and removing the armature, firing the finished sculpture, and adding a patina.

Bruno Lucchesi and Margit Malmstrom—Modeling the Head in Clay: Creative Techniques for the Sculptor; and Modeling the Figure in Clay: A Sculptor’s Guide to Anatomy New York: Watson-Guotill. 1996 (both titles) These two books each cover a different aspect of the sculptors art; stands alone, but follows the same format. Both books begin with a portfolio of Lucchesi s work and the same brief descrip­ tion of the materials and tools. In both books, Malmstrom follows, with minimal text and many photos, Lucchesi s process as he completes a clay sculpture. Lucchesi is a master sculptor of ide­ alized human figures (rather than portraits), and the books are fascinating, particularly the sec­ ond one. It can hardly be necessary to always model the skeleton, then the musculature, then add skin and hair, but such an exercise would certainly be instructive for any serious figure sculptor. The interesting aspect of the first book is the way in which the sculptor progressively refines the head, coming back to each feature numerous times throughout the process. Lucchesi s figures are apparently meant to be cast in bronze, so the processes of hollowing out a sculpture and firing it are not photographed, though they are described. Pottery Makingillustrated 47 48 Fall 1999