November/December 2OO2 Pottery Making ILLUSTRATED 1

Editor’s Corner This issue brings an end to our fifth year of publication and our first year as a bimonthly. We received a lot of very pos­ itive comments over the years and con­ tinue to change to meet your needs as potters. PMI still ranks as the only Features ceramics magazine dedicated totally to the processes and techniques needed by Five Easy Pieces: Making Lids That Fit...... 9 amateurs, professionals, students and by Dannon Rhudy teachers. We will continue to work to Make the right lid the best way for the right form. provide even more for the next five years as more and more potters and experts Black Clay...... 16 continue to share their expertise. by Jeff Zamek Correction An overview on this unique clay and tips on how to use it. While we make every effort to pro­ Soft Clay Pillow Boxes...... 17 vide the best and most up-to-date infor­ mation on tools, equipment and studio by Ann Tschoerner practices, a mistaken photo gets by us Learn a few simple tricks to create pillow-type forms. occasionally. In our July/August issue How to Make a Birdbath...... 22 discussion of electric potters wheels, we by Marcia Selsor inadvertently published a photo and Garbage cans and cardboard tubes make easy work on these large forms. information about the Bailey ST series wheel (p. 25). The wheel shown was a Making Crystals Clear...... 25 prototype and is not in production. by Sumi von Dassow Bailey produces two distinctly different Take a trip inside Carla Thorpe’s studio and discover her secrets to designs of wheels, the ST-X/XL series getting those beautiful crystals. and the Pro-X/XL series, and both are pictured here. Each series has various Tis the Season: Making Clay Jingle Bells ...... 30 motor options. by Marj Peeler with demonstration by Sue Wagoner As the Holidays approach, here’s a great project to lift your spirits. The Grind of Being a Potter: The Sequel...... 35 by Todd Ferguson Potter offers tips for fine finishing of pots. Departments PMI Online: Throwing Demos on the Web ...... 6 by Helen Bates Our web surfer travels to sites providing studio techniques. Bailey ST-X wheel with two piece splash- Safety First: Air Cleaning Equipment...... 38 trim pan and optional Pro-Counter. The by Jeff Zamek raised counter keeps tools, bats and clay A glimpse at solutions to rid harmful dust from large, busy studios. in easy reach and out of the mess. Kids Corner: Leaf Projects ...... 40 by Craig Hinshaw Fall is a great time to mix clay and nature with the kids. Down to Business: Wholesale Questions and Answers...... 44 by Chris Campbell Prepare yourself for wholesaling before you make the leap. Off the Shelf Books for Children...... 46 by Sumi von Dassow Reach out to the next generation of potters with these pottery books for kids. Index to Advertisers ...... 48

Bailey Pro-X wheel with unibody counter Cover: Dannon Rhudy forming the gallery for a casserole. Inset (left to right): Coffee pan, built-in drain, and quick clean side server by Dannon Rhudy, detail of glaze crystals by Carla Thorpe, and a birdbath by discharge panel. Counters are optional. Marcia Selsor.

November/December 2OO2 Pottery Making illustrated 3 Editor: Bill Jones Production Manager:John Wilson Circulation Manager:Cleopatra G. Eddie Graphic Design:Debi Hampton Graphic Production: Dave Houghton Web Developer:Allison Ruuska Advertising Manager:Steve Hecker Advertising Assistant: Debbie Plummer Proofreader:K.C. Branstetter Publisher:Mark Mecklenborg Editorial Advisory Board Tim Frederich, David Gamble, Steven Hill, Anna Callouri Holcombe, Mel Jacobson, Jonathan Kaplan, Dannon Rhudy81 Anderson Turner Editorial, Advertising and Circulation Offices P.O. Box 6136 Westerville, OH 43086-6136 Phone: (614) 794-5890 Fax: (614) 794-5892 E-mail: [email protected] www.potterymaking.org Pottery Making Illustrated (ISSN 1096-830X) is pub­ lished bimonthly by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081. Periodical postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. Subscription rates:6 issues (1 year) $22, 12 issues (2 years) $41, 18 issues (3 years) $58. Add $18 per year for subscriptions outside North America. In Canada, add 7% GST (R123994618). All payments must be in US$ and drawn on a U.S. bank. Allow6- 8 weeks for delivery. Advertising:Ad rates and ad information are available 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, to the Circulation Department, or on our web site. Allow four weeks advance notice. Contributors:Writing and photographic guidelines are available on request and on the web site. Mail man­ uscripts and visual materials to the editorial offices. Photocopies:Permission to photocopy for personal or internal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 1096-830X, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc. 222 Rosewood Dr., Danvers, MA 01923 USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, for advertising or promotional pur­ poses, or to republishing items in whole or in part in any work and in any format. Please direct republication or special copying permission requests to the Senior Director, Publications, The American Ceramic Society, P.O. Box 6136, Westerville, Ohio 43086-6136. Back Issues:When available, back issues are $5 each plus $3 shipping and handling for the first issue and $1 for each additional copy thereafter. For orders outside North America, add $6 ($2 for addi­ tional copies). In Canada, add 7% GST. Postmaster: Send address changes to Pottery Making Illustrated, P.O. Box 6136, Westerville, Ohio 43086-6136. Form 3579 requested.

Copyright © 2002 The American Ceramic Society All rights reserved www.ceramics.org

4 Pottery Making illustrated November/December 2OO2 November/December 2OO2 Pottery Making illustrated 5 Throwing Demos on the Web In the previous three issues, I have taken you on virtual trips to see pottery and ceram­ ics, to colleges and universities with a strong ceramics curriculum, and to visit active pottery guilds with a good presence on the World Wide Web. I hope it has been as much fun for you to come along as it has been for me as I “surfed” the ‘Net to find these special sites. Now, I hope to pique your interest in the great variety of throwing techniques, standard and otherwise, that can be found worldwide, many of which are represented on the Web, especially in the sites of individual potters or small studio pot­ teries. In some cases there is not only interest, but a lot to learn from the material pre­ sented on these sites. In the best of them, there may be inspiration as well! Bruning Pottery (Seattle) http ://b r u n i n g potte ry. co m by Helen Bates Potter Larry Bruning has built a substan­ tial Web site to market the porcelain and stoneware he produces with his son Ky and staff Brad Ruekgauer and Mark Cowan. They make high-fired (cone 11) porcelain and stoneware in a wide range of produc­ tion forms, utilizing many different glazes and a number of one-of-a-kind pieces. Along with their production facility, the Brunings run a teaching studio, offering classes from beginning to quite advanced levels. In their Web pages, they have pictures of Ky Bruning throwing a large vase, and the shots are taken from above on an oblique angle that allows a good view of Ky s hand positions and technique. Follow the “Classes” link and scroll down to click on any of the “thumbnail” photos to zoom to larger images, which load fairly quickly. Left of Center Pottery (Portland, Oregon) http://wwwJeftofcenterschool.org/ Master thrower Joel Cottet has developed a unique method of throwing very large architectural pots. To read and hear about his technique and his approach to his work, click on “Instruction,” then “Techniques and Processes.” Headings include “Left of Center,” “Base, Angle and Leverage in Wheel Building,” “Control”; “Centering—You and the Clay,” and “The Importance of Breath.” If you have the Quicktime™ plug-in enabled, you can listen to Joel speaking about the first two topics; the second recording is especially interesting for its discussion of physical difficulties potters often suffer stem­ ming from repetitive strain injuries such as low-back pain and carpal tunnel syndrome. Sainte-Foy Ceramic Centre (Sainte-Foy, Quebec) http://www.centredeceramique.qc.ca/ The Web site of this vital clay organization near Quebec City in Canada is well worth a visit. Although the text is in French (with no English) the “pictures speak a thou­ sand words,” as they say. Besides the zoomable images of potter and teacher Francois Laliberte, there are pictures galore of students at work at all sorts of wheels, some electric and some (obviously vintage) kick-style wheels. To view the photos of Francois at work, click the image of the potter’s hands, then from the menu across the top, click “Tournage,” then “Galeries” (on the left) then “Les Mains de Francois." Click on individual thumbnails to zoom the pictures. Louis Mulcahy Pottery (Ballyferriter, Ireland) http://wwwJouismulcahy.com/ One of the largest studio potteries in Ireland, the Louis Mulcahy Pottery invites vis­ itors to tour its facility on the Dingle Peninsula. You can get a taste of what’s in store by clicking on “Workshop Tour” from the menu on the left, then selecting “Throwing” to start that part of the tour. To move on, click on “Next,” then take a look at the full set of throwing images using the link provided on the following page. Note the measurement sticks used to achieve a close similarity of form and size between pots and indeed between throwers. Click “Next” again and continue through the site. At the “Turning/Finish” page you may again elect to view a larger selection of images on this subject. Gary Benna (Tucson, Arizona) http://www.azstarnet.com/~benok/index.html Gary Benna is a mixed media artist and 3-D instructor at Sahuaro High School in Tucson. He works with thrown and altered porcelain and stoneware with additions, and has made a pottery video for sale combining photography and excellent animation. Click on the appropriate link (“DSL” for fast connections, “Modem” for slower ones) to load a very nice Quicktime™ video clip of Gary pulling up the wall of a cylinder.

Helen Bates lives in Ontario, Canada. A connoisseur of the ceramic arts and an amateur potter, one of her greatest pleasures is surfing the Web to check out the work of fine clay artists. Please send suggestions for new and interesting clay-related Web sites to [email protected] at . For more techniques and to view previous columns, visit Helen's PMI Online on the PMIWeb www.potterymaking.orgsite at .

6 Pottery Making illustrated November/December 2OO2

8 Pottery Making illustrated November/December 2OO2 by Dannon Rhudy

Making lids that fit is a challenge to all makers of functional work. Lids need to fit physically to function prop­ erly. They need to fit visually, too, and to be suitable for the piece they are meant to cover. There are lots of pos­ sible styles of lids, all easy to make with a little practice. Choose an appropriate lid for the next casserole or teapot or jar that you make. One that looks good, and makes the piece work bet­ ter. A little practice and forethought will make it fun and easy. There are other kinds of lids that can be made, but this is a good basic beginning. These lids and variations of them can be used in a variety of ways to suit your repertoire of vessels and containers. Practice for a while, and you will never again have to agonize over lidded forms or what lids might work best for which containers.

November/December 2OO2 Pottery Making illustrated 9 Step 1 Step 1 Throw a casserole This jar has a raised lip with a slightly thick­ to accommodate a cap- ened lip. Smooth the style lid. Be sure that the lip and make a gallery wall of the raised lip is in it with your finger. STRAIGHT (you can use a straight rib or other tool to make sure this part is not angled in or out). Measure this lip on the OUTSIDE.

Step 2 Step 2 Measure the width of the Throw this cap-lid upside gallery and note the depth down. Open the clay to the of it. Use good calipers to approximate width, pull up measure with. There are the side to a depth slightly several good ones avail­ greater than the depth of able. For convenience, I the jar lip. Measure the lid used ones with an inside opening on the INSIDE. It measurement on one end should be only a tiny bit and an outside measure­ wider than the lip of the jar, ment on the other. just enough to slip easily over the jar.

Step 3 Step 3 Throw the lid upside down This is an easy lid that like a small bowl. Lids that needs little or no trimming. are wider than 4 to 5 inch­ It does not need a handle, es must be thrown with an unless your overall design arc, or they will sag and requires it. Place the lid warp when fired. Round over the jar to dry. the lip, then measure the width of the lid.

Step 4 Small jars like this make When the lid is leather good jam jars. Remember hard, turn it over and trim, when glazing not to glaze the inside rim of the lid or add a thrown knob or the outside rim of the jar. A other handle. Trim the good fit will prevent the lid bowl foot if it needs it. Fit from rattling. the lid into the gallery and let the two pieces dry together.

If you have measured carefully, the lid will be a good fit.

Tip: Throw the lid at the same time that you throw the piece and use the same clay. You’re more likely to get a better fit because they’ll shrink at the same rate.

10 Pottery Making illustrated November/December 2OO2 Step 1 Step 1 This is a small jar with an For a taller jar, raise the lip inset one-piece lid. Raise a slightly and round it. small lip on the jar, and Again, measure carefully. smooth. Measure carefully This type of jar looks good the INSIDE of the opening. with an inset, flanged lid.

Step 2 Step 2 Throw this lid right-side This lid is thrown upside up, in one piece. Make a down. Make a clay disk disk of the clay, push and pull up a flange. The some of the clay toward OUTSIDE measurement the center to raise for a of this flange should knob. Pull up the outer match the INSIDE meas­ edge of the lid and meas­ urement of the jar. The ure the clay that is against outside edge of the lid is the wheel. This is your ANOTHER flange—one INSET and should be the that overhangs the lip of same measurement as the the jar. Note the shape opening of your pot. and size of your jar, and make the rim generous enough to enhance the pot.

Step 3 Step 3 Now, flatten the flange. It When the lid is leather should be wide enough to hard, turn it over and trim give a generous overhang the top. Add a thrown of the pot rim. No trimming knob or other handle. is needed for this lid.

This type of lid is good for Note the slight inward jars and will work for bevel of the flange insert. teapots, too. It should fit This makes it easier to put well at the point where the the lid on the jar, but it lid meets the lip. must fit snugly at the top where it meets the rim or it will slip around in an annoying way. These lids work well for teapots as well.

Note the inset. For teapots, this keeps the lid on while pouring.

November/December 2OO2 Pottery Makingillustrated ll Step 1 This is a thrown jar with a shallow gallery for a flat lid. Measure the gallery very carefully as there is not much leeway here.

Step 2 Throw the lid right-side up. It is just a flattened disk of clay, with some clay pushed to the center to pull up for a knob. If necessary, trim the outer edge a bit. Then, round it with your sponge or finger. Cut from wheel. This lid needs no trimming.

Soda-fired teapot with inset lid. Lids need to fit visually as well as physically to function properly. This inset lid is thrown right- Finished jar. Lid sits firmly side up in one piece. in gallery.

Note the flat base of lid, as opposed to inset lid.

Dannon Rhudy conducts workshops around the country while maintaining a studio and teaching ceramics and drawing at Paris Junior College in Paris, Texas. You can Coffee server with flanged lid. Choosing the appropriate lid for send comments to [email protected] at . your next lidded form makes the piece work better. This lid is thrown upside down and the flange overhangs the lip of the form.

Pottery Making illustrated November/December 2OO2 November/December 2OO2 Pottery Making illustrated 13

by Jeff Zamek

Many potters have experimented with adjusting the color and texture of their glazes, while the color of the clay body is sometimes considered as an after­ thought or not at all However, clay Black clay is available commercial­ Example of a black clay body with a blue slip-trailed decoration. body color can greatly influence the colorly from many clay suppliers, or you of an overlying glaze or slip decoration, can blend your own. Here are a and the clay body color can often impact couple of recipes from Glenn which areas of the pot are glazed. Nelson’s Ceramics: A Potter's Handbook. In many sculptural pieces, a glazed Black Basalt Body Cone 6 surface often detracts from the three-dimensional aspects of the Red clay...... 40 Kaolin...... 18 form, while the clay body color is Kentucky ball clay...... 15 the overriding esthetic feature. Red iron oxide ...... 16 Specifically, black clay has become Manganese dioxide ...... 6 Bentonite...... 3 very popular with potters in the last Nepheline syenite ...... 2 few years. Black Basalt Body Many ceramic supply companies Cone 04 Slab tile with yellow slip and combed do not produce black clays due to design revealing clay body color. Kentucky ball clay...... 61 the expense in manufacturing Pemco frit #25 ...... 10 them, so many potters usually for­ Nepheline syenite ...... 5 mulate and mix their own (see Bentonite...... 2 box). While some glazes look spec­ Red iron oxide ...... 3 Cobalt oxide...... 2 tacular on a black body, other glazes Manganese dioxide ...... 2 react with less than desired results. According to Rhodes’ Clay and Black clay bodies often contain Glazes for the Potter, some precau­ dark-firing high-iron-bearing tions are necessary when formulat­ clays, fine grog, and small amounts ing a black clay: of manganese dioxide, all blended together contributing to their If a black color is desired, combi­ black-fired color in oxidation elec­ nations of iron, manganese, cop­ tric kilns. The infiltration of color­ per, and cobalt may be used. The ing oxides from the clay body tolerance level of firing such a influences many glaze colors, so it body is usually very tight and the manganese content is likely to flux is best to test any glaze on the clay the body, fusing quite quickly and body. These bodies can be blended Black clay with yellow slip applied as a slip giving a firing range of only two with white stoneware clays to pro­ trail. cones before pyroplastic deforma­ duce distinctive marbled or agate tion starts to set in. Cobalt and ware similar in technical appear­ copper oxides are very strong flux­ ance to 18th-century pots pro­ es and also, being very soluble in duced by Josiah Wedgwood. glass, will color any glaze put over Jeff Zamek has been ceramics consultant since them. ... In general, for practical 1980 and is a contributor Ceramics to Monthly, reasons of expense and firing, the Pottery Making Illustrated, Clay Times, amount of coloring oxide added Studio Potter, and Craft Horizons. He has written two books on studio practices: What to a clay body should be held to Every Pottery Should Know and Safety in the below 3%, but in some cases, and Marbled white and black clay bowl made Ceramics Studio. These books are available from with some colorants, it may rise to from a black clay body mixed with a white Jeff Zamek/Ceramics Consulting Services, 6 clay body. Glendale Woods Dr., Southampton, MA 01073, as much as 20% in order to get www.fixpots. com. special effects. PHOTOS: COURTESY KICKWHEEL CERAMICS

16 Pottery Making illustrated November/December 2OO2 by Ann Tschoerner

Finished lidded pillow box with legs and other additions, raku fired with white crackle glaze. SOFT CLAY PILLOW BOXES Some wonderful boxes, in all kinds of shapes and sizes, can be made by putting soft clay slabs together and then inflating them slightly to give a soft, sensuous, pillow-like form. The form can then be manipulated to make interesting shapes. Further additions can be made to turn these forms into boxes and shapes of all kinds, with your imagination the only limit.

Step 1 Step 2 Roll out two slabs from soft clay. Make the slabs approximatelyV* Cut a template from paper for the shape you want. Circles or ovals to % inches thick. Slide the slabs onto a piece of canvas (to mini­are easier in the beginning. Keep the size small for the first one mize distortion when lifting). Keep covered so the clay stays soft. or two boxes you make for easier handling while you learn the technique.

Step 3 Step 4 Place the template on the clay and cut out the shape with a fettling Measure the circumference of your piece using a piece of string. or Exacto knife. Cut a bottom and a top. Make the top a little big­ ger than the base, for ease of construction later. Remove the trim­ mings, keep the top and base on the canvas. Remember to keep them covered.

November/December 2OO2 Pottery Making illustrated 17 Step 5 Step 6 Decide on the height of the wall of your piece. In this case, I used Slip and score the edge of the base, and the edges of the wall, a 2-inch strip. Roll out a strip of clay of the same thickness as the base and top, long enough to go around the base (excess will be cut off during construction). Use a straight edge to trim wall strip.

Step 7 Step 8 Attach wall strip to the base. It will probably be a little too long, soAdd a small coil of clay at the join between base and wall. Carefully cut off the excess by making an angled cut at the overlap, remov­ smooth the coil into the join so there are no rough edges. ing excess clay, and carefully joining the two edges of the strip.

Step 9 Step 10 Make another coil and attach to the upper edge of the wall, slipping Slip and score the upper edge (top) of the wall and coil, and scoring.

18 Pottery Making illustrated November/December 2002 Step 11 Step 12 Attach the top piece, pressing gently into place. Because the clay Paddle the top edge of the piece gently with a wooden spoon or is still very soft, it will sink in the center, making a concave shape. paddle.

Step 13 Step 14 Place the form on a thick piece of foam. “Egg crate” foam works Make a small hole in the form, with your needle tool, then blow into well. this hole to begin inflating the form. Cover the hole with soft clay as soon as you stop inflating, and smooth it into the wall.

Step 15 Step 16 Now you can start shaping your form. At this time, you can alsoA pillow-like form will emerge as you continue to paddle and shape, remove any excess clay from the top of the form where there may with rounded edges, or no edges at all! Since the air is trapped have been an overhang of clay. A rasp or Surform file or grater inside, you can make just about any shape you like. You may wish works well. Continue to paddle and shape your form, re-inflatingto let the clay set up a bit and then continue shaping. In this case, from time to time. If a leak occurs, fill it with a little soft clay and a cube was made from the original circular form. continue periodic inflating.

November/December 2OO2 Pottery Making illustrated 19 Step 17 Step 18 Step 19 When the clay has reached approximately Cut a lid using a very thin-bladed knife, The piece is finished except for a handle for leather-hard stage, pierce it with a needle such as an Exacto or fettling knife. Draw lifting the lid. tool to let air escape as the clay shrinks. At the lid shape on first with a dull pencil for a this point, you can attach feet, if you wantguide line. The lid should suit the final them for your form. design you have planned for your piece. Lids should be cut with the cutting blade at an approximate 45° angle (angled DOWN into the piece). At this point you can smooth any interior areas that couldn’t be reached once the form was closed. FINISHED SOFT CLAY PILLOW BOXES

Finished piece, with whimsical fish handle.

Ann Tschoerner studied at North Texas State University and did grad­ uate work at East Texas State University: She has been involved with day since 1971 and has been teaching art North Lamar High School in Paris, Texas, for 23 years. You can e-mail comments to Ann at Finished lidded pillow box, raku fired with lusters and white atsch @cox-internet, com crackle glaze.

20 Pottery Making illustrated November/December 2OO2

by Marcia Selsor The solution for making the perfect shallow bowl for a birdbath came to me while I was at the Linda Blossom sink-making work­ THE BATS shop in Paris,Texas. Lindas multi-part bat system, which I adapt­ ed to the birdbath bowl, allows for easy lifting of a large slab from A bat system is required to complete the a hump mold. Note: For cold climates, use a freeze-resistant vit­ bowl. You’ll need to cut two large circular rified clay. cuts and then two smaller ones in those two larger ones.These bats should be made from a good piece of ¾-inch birch plywood. This MAKING THE BOWL is expensive, but this type of plywood does not splinter like rougher grades of plywood. For a birdbath with a 3- to 4-inch-wide rim, you’ll need to mark off two circles 6 to 8 inches larger than the diameter of the hump mold. In one of the circles, mark off a smaller circle that is exactly the size of the hump mold. On the second circle, mark off a smaller circle that is about ¾ inch larger than the hump mold. This bat will accom­ modate the thickness of the clay over the 1. Drape the cloth. 2. Secure the canvas. hump. Cut the larger circles first. Then, drill To make a hump mold with a gradual Be sure the container has a well- a hole large enough to accommodate the curve, drape a piece of canvas over defined lip or rim for securing the saw blade of a saber saw. Slowly cut the inte­ the desired diameter garbage can. canvas. Tie a rope tightly below the rior circle. Sand the edges of the bats to rim of the can. Tourniquets work well avoid roughness. Note: Remember to make a mold to keep it tight. that can be fired in your kiln.

3. Pour plaster. 4. Let gravity work. Mix enough plaster to fill the desired The tighter the canvas, the more shape, then pour the plaster into the gradual the curve. Adjust the tension canvas. of the canvas by loosening or tight­ ening the tourniquet.

Tip: The weight of the plaster flexes the canvas, and the moisture from the plaster will stretch the canvas even more, so start with a tight cloth stretched across the garbage can. After the plaster has cooled and hardened, gently remove the mold from the canvas by loosening the tourniquets. Let the plaster mold cure for a few days. Note: Diameter of circle is limited by size of kiln.

22 Pottery Making illustrated November/December 2OO2 THE CONSTRUCTION

Step 1 Step 2 Place the smaller bat inside the larger bat. Position four bricks or pieces of 2x4s that Then set the hump mold on the smaller will support the outer circle. Place soft foam interior bat with the outer bat in place. in the center where the bowl can rest with­ Sprinkle a little clay powder onto the sur­ out denting the form. When it seems a little face of the outer bat to help keep the clay stiff but not yet leather hard, sprinkle the from sticking. Roll out a slab of clay that’stop of the rim with more clay powder. Step 3 ¾- to ½-inch thick and big enough to cover Place the second outer circle over the flat the hump and rim (outer bat ring). rim of the form. Lift up by holding the two outer circles together sandwiching the rim. Tip: Lay the slab over the hump while it is Flip the whole thing over and place on the still attached to canvas. Avoid wrinkles by support. The hump mold should be left sit­ gently laying the slab down. If you need ting on the table. to add clay to fill in the rim, go ahead and add it now. Next, using a hard but some­ what flexible rubber rib, and start comb­ Step 4 ing the clay over the form. Smooth the Smooth the interior surface and edges of surface out to the edge of the outer bat. the rim, and add any decoration as desired. Finally, use a fettling knife to trim the Throw or extrude a heavy ring that will excess clay along the edge of the bat. support the bowl under the rim during firing. Allow the slab to set up.

THE PEDESTAL

Step 6 Roll out a slab the correct length and wide enough to fit around the tube leaving a little extra to bevel the edges to be joined (see box). Cut a piece of tar paper to the same dimension. Put the tar paper on top of the slab and attach it to the slab by either wetting the clay and sticking it on, rolling it through a slab roller or using a rolling pin. Put a board underneath the slab and canvas. Carry to a work table and flip over onto the tar paper. Remove the board and canvas. Score and slip the edges to be joined. When Place the paper cover tube on the slab and pull the tar paper around the tube. Press the edges together. Using duct tape, wrap the tar paper in place. Puli the tube out of the center leaving the paper in place. The tar paper will support the tube.

To calculate the width of the slab, use this formula: Jt(d+2t) Step 5 In this formula, “d” equals the diam­ Make a form to the desired height of your eter of the tube,“t” the thickness of the pedestal from cardboard Sonotube® or PVC pipe. I prefer 6- or 8-inch diameter tubes. slab, and Jt equals 3.14. For example, the width of a slab for a 6-inch tube made Note: Remember the size of your kiln!!! from a ½-inch-thick slab would be Wrap the tube with newsprint (I get end 3.14 x (6 x 2 x ½), which is 18.84 rolls from the local newspaper for this inches, just shy of 19 inches. type of work). Tape the paper to itself and NOT the tube.

November/December 2OO2 Pottery Making illustrated 23 THE PEDESTAL (continued)

Step 7 Step 8 Let the pedestal set up. Next Add a bottom edge and a coil day, take off the tar paper (if it to the inside seam. Rib it is ready). In Montana things smooth. Before flipping the dry quickly, so this really tube over to stand on the depends on how dry your other end, put the tube back clay gets. inside. Flip over and finish the parts you couldn’t reach and the other rim. I like to put a half-round finish on the bot­ tom and sometimes also on the top. Other times I like to make the top a more gradual transition to the bowl. Decorate at will then fire pieces separately.

FINISHED BIRDBATHS

The birdbaths I make are fairly shallow, about 2½ inches deep. I sometimes use a crawl glaze for the Linda Blossom’s sink-making workshop provided theinside of the bowl, which I think gives birds a little inspiration for a system where you could remove a traction. large form from a hump mold without damaging the rim. The rim needs to be 2- to 3- inches wide for this method to work well. Marcia retired from teaching ceramics at Montana State University- Billings after 25 years, and has since been busy teaching workshops in architectural ceramics, paper clay and raku fired ceramics and other low fire techniques and exhibiting her work. As a ceramic artist, her interests include folk pottery, ceramics in architecture, medieval art and the world around us. for comments about this article, you can e- mail Marci at [email protected].

24 Pottery Making illustrated November/December 2OO2 by Sumi von Dassow

Blue jar with closeup detail. The blue crystals are formed from cobalt oxide while the blue background is results from the cobalt carbonate.

The most fascinating and exacting glaze family of all maypottery, has been attracted to time-consuming tech­ be the crystalline glazes. Achieving and controlling theniques that allow her to lose herself for hours in the growth of crystals in molten glaze is as close to pure science process of making a pot. She has eagerly embraced the as pottery gets. To most of us, it remains an obscure and challenge of crystalline glazes, both because she enjoys mysterious science with rules we don’t really understand butthe process and because in growing crystals on a pot she is literally mimicking the process that created many results we admire mightily of the gemstones she used to work with. Though the The Challenges loss rate can be high, and preparing and finishing the pots can be tedious, she is endlessly fascinated by the Crystalline glazes are difficult to work with for two results. major reasons: First, crystals grow only in a glaze that is very low in alumina, which makes these glazes very Carla’s Technique: The Barrier fluid when they melt. Thus, a major challenge for users During a recent visit to her studio, Carla demon­ of crystalline glazes is controlling the glaze flow so it strated the processes of preparing a pot for glazing and doesn’t get all over the kiln shelves.This is usually done applying a glaze, and of separating fired pots from their by firing each pot on its own pedestal with a built-in catch-basin pedestals and grinding the foot smooth. catch basin for the overflow of glaze. Preparing a pot for glazing simply requires gluing the The second challenging aspect of working with pot to its pedestal with a mixture of white glue and crystalline glazes is that, to grow crystals, the glaze must alumina hydrate, preferably the day before glazing so be fired to its melting temperature, partially cooled, the glue can dry. The glue keeps the pot precisely then held at the optimum crystal-growing temperature placed on the pedestal during glazing and loading so for several hours. The firing schedule can be varied in that the runny glaze won’t seep under the pot in the a number of ways to achieve different results, but firing firing and adhere it permanently to the pedestal. The crystalline glazes requires a pyrometer and constant alumina hydrate forms a barrier between the pot and attention to the temperature inside the kiln or a com- pedestal after the glue burns away, so they can be sepa­ puter-controlled kiln with a pyrometer. rated easily along the seam between the two pieces. A Hardy Soul Glaze Application These hurdles mean relatively few potters venture Carla applies glaze by brushing it on liberally with a into crystalline territory. Carla Thorpe is one of those large soft Japanese “hake” brush. Crystalline glazes can hardy souls. Carla, formerly a jeweler, since taking up

November/December 2OO2 Pottery Making illustrated 25 be difficult to apply, since they can’t contain any clay. In rating operation with a hammer and chisel; other pot­ most glazes, clay is used not only to provide needed ters use a Dremel tool with a grinding bit. For grind­ minerals but also to keep glazes from settling quickly ing the bottom smooth, Carla uses a bench grinder left and to facilitate application of a smooth even coat over from her jewelry days, which is equipped with an either by brushing or dipping. Unfortunately, clay con­ exhaust fan, a very nice feature. She uses a fme-textured tains alumina and so can’t be used in crystalline glazes. grinding disk manufactured specifically for the purpose Fortunately, the extremely fluid nature of the glaze of grinding glaze drips. Carla explains that some pot­ means that the glaze can be “slopped on,” as Carla puts ters finish their crystalline glazed pots by gluing them it, in a messy and uneven coat and it will smooth out onto wooden pedestals to cover up the imperfect foot, in the firing. She also notes that these glazes change but she prefers to grind the bottom as smooth as pos­ consistency over time and many potters only mix up sible and leave it bare. If the pot was fired on a careful­ enough for one day’s work. To most potters this would ly fitted pedestal, this is not too difficult. represent another tedious aspect to crystalline glazing, but to Carla it presents an opportunity to experiment A Star Performance with many different combinations of glaze colorants. Those pots that survive all this stressful treatment come out with beautiful glossy coats embellished with crystals Firing of varying colors, like captured snowflakes. They are stun­ The firing process is exacting but fairly simple if you ning, particularly when seen in bright sunlight. At first have a computer-controlled kiln, as Carla does. She one’s eye takes in the sparkling effect of the pot as a uses the schedule recommended by the kiln manufac­ whole, then it begins to see the galaxy-like swirl of crys­ turer (Skutt) for crystalline glazes. tals within the glaze. Gradually the eye is drawn deeper into the glaze, eventually examining and marveling at the structure of the individual crystals. It is this irresistible attraction that makes these glazes star performers.

Carla experiments a lot with crystalline glazes and only makes up 500-gram batches to work with.This is one of the recipes Carla uses, and it is a variation of the David Snair Crystalline Glaze I recipe first published in Ceramics Monthly (Dec. 1975, p. 23). It is Carla often varies this schedule by dropping the temperature to a very typical crystalline glaze recipe, that usually 2000°F degrees three times, then immediately increasing it to contains roughly 50 percent frit, and up to 25 per­ 2050°F and holding it for an hour each time. This schedule pro­ motes the formation of “growth rings” in the crystals. cent each of zinc and silica, with only a tiny amount of clay. Zinc is a critical “seeding” agent for crystal formation. Titanium dioxide is also a common ingredient that functions both as an opacifier and as a seed for crystal formation. Snair Crystalline Glaze Variation Cone 9 Frit 3110...... 49.28 Zinc oxide...... 24.79 Kaolin...... 1.55 Silica...... 18.28 Titanium dioxide...... 6.11 100.00 Add: Bentonite...... 1%

* “99yo» rejers jun_on or full-off power. This setting varies among different For cream colors: controllers so check your owners manual. Add: Red iron oxide...... 1.0% Manganese dioxide ...... 0.5% Cleaning the Bases For blues: After the pots are cool, the next tedious part of the Add: Cobalt oxide...... 2% process is separating the pots from their pedestals and Cobalt carbonate...... 2% grinding the bottom smooth. Carla performs the sepa­ Manganese dioxide ...... 3%

26 Pottery Making illustrated November/December 2OO2 * * * ** Making CrystalsClear

Step 1 Step 2 Step 3 Carla mixes Elmer’s glue with alumina Carla uses her finger to glob the glue mix­ The pot is positioned on its glue-covered hydrate. ture onto the pedestal. pedestal.

Step 4 Step 5 Step 6 Carla uses a soft hake brush to “slop on”Carla paints the lid with glaze, thinner at The pot on its pedestal, and the lid on a glaze. Though the glaze coat doesn’t have the edges and thicker toward the center. piece of soft brick, are ready to be fired. to be even and is usually applied thicker on The inside of the lid is coated with the white The glaze on the lid is not likely to run the shoulder of the pot, Carla tries to make liner glaze. enough to need a proper pedestal. sure not to leave holes in the glaze coat. The glaze flows freely when it melts, but even so it may flow around small unglazed spots. After glazing the pot, she carefully sponges glaze drips from the pedestal. (The interior of the pot was previously glazed with a standard white glaze.)

November/December 2OO2 Pottery Making illustrated 27 Step 8 Two fired pots on their bases. One, which has run quite a lot, is on a standard pedestal Step 7 with a catch basin. The other is on a piece of soft brick placed in a catch basin. These pieces are placed on pieces of soft brick coated with kiln wash, placed inside catch basins. Often sculptural works with irregularly shaped bottoms, or pots with multiple feet, must be fired this way rather than on individual pedestals. After firing, the soft brick can be easily ground away wherever it may have stuck to the base of a pot.

Step 10 Modeling appropriate protective gear, Carla smoothes the rough chiseled foot on her bench grinder. The gloves and goggles protect against flying glaze chips, the dust mask against alumina hydrate dust. The bench grinder is equipped with an exhaust fan.

Step 9 Placing the fired pot and its glazed-on pedestal on an old stool, Carla stabilizes it with her body while sharply tapping a chisel against the seam between the pot and pedestal. Usually one or Sumi von Dassow is a regular contributor to two taps is enough. Pottery Making Illustrated. She teaches pottery at the Washington Heights Center for the Traditional Arts in Lakewood, Colorado. For comments, log onto her web site atwww.well.com/~sumi .

28 Pottery Making illustrated November/December 2OO2 On this jar you can see the tendency of crys­ This vase features delicate cream-colored A vase demonstrating how, in a glaze con­ tals to run toward the foot of the pot. Thecrystals on a pale background. The crystals taining two oxides, one often becomes the large crystals exhibit growth rings from here give the effect of snowflakes falling background color while the other develops repeatedly dropping the temperature and and forming drifts at the foot of the base. crystals. In this case, the two oxides are bringing it back up during the soaking period. nickel oxide and manganese dioxide.

November/December 2OO2 Pottery Making illustrated 29 by Marj Peeler with demonstration by Sue Wagoner When you fall in love with throwing pots, you’ll probably want to try making clay bells. Clay bells can be made in a variety of shapes, but you’ll find that throwing these round closed forms (clay balloons) is a good project for practicing throwing. It’s a great feeling of accom­ plishment when the soft clay actually closes the top hole!

Note: The bells shown were 1 ♦ An unglazed fired bell has a better sound than a glazed one thrown from approximately one because glaze adds another thickness to vibrate, which dulls pound of clay, fired in an electric the sound. kiln to cone 5. Smaller Jingle Bells 2* Because jingle bells are round, they need a clay ring to sit on could be fun to make. while applying a handle and to rest on during the firing. 3* Be sure to let the bell with a marble inside dry completely so the marble doesn’t explode in the firing. Make and dry marbles ahead of time. 4* Various-sized jingle bells provide a variety of sounds. The thick­ ness of the bell wall also affects the sound. 5. Jingle bells have to be rattled to make sounds, they’re not wind chimes. Kids love to shake them!

Step 1 Step 2 Throw a bottomless, thick-walled cylinder. Cut several clay rings Set aside the rings to stiffen. Coax them back into “round” before from the cylinder with a needle tool. they stiffen.

30 Pottery Making illustrated November/December 2OO2 Step 3 Step 4 Start throwing a round, ball-shaped form to close. Allow the upperHand roll a clay ball about the size of a marble. Wrap it in a piece third of the clay to completely close the form. Sponge out excess of tissue or paper towel. Drop the wrapped ball into the form before water from the bottom inside before closing. closing. The paper will keep the marble from sticking to the inside of the bell, and it will burn out in the firing.

Step 5 Step 6 Completely close the round form. Now you have a clay balloon thatWhen the clay has stiffened to the touch, drill a hole half way up on can be manipulated a bit to refine the form because the trapped air opposite sides with a fettling knife. keeps it from collapsing. Poke a pin hole in the top to let the com­ pressed air escape while the closed form stiffens.

Step 7 Step 8 Carefully and lightly mark a line from the outside of each hole with Leave the cut pieces in place until the bell stiffens more—not quite a ruler. Cut the two parallel lines (about ¾ inch apart) with a thin leather hard. Carefully cut and wiggle the piece out of the slot. The bladed knife. This will separate the two halves of the bell so they piece may break and come out in pieces, which is fine! Just don’t can vibrate when fired. drop any pieces inside the bell.

November/December 2OO2 Pottery Making illustrated 31 when fired, unglazed clay has a better sound than a glazed bell, glaze adds another thickness to vibrate, Step 9 which dulls the sound. Turn the bell flat side up, place it on a clay ring.

Note: Rings may be used over and over.

Step 10 A quick and easy way to make a handle is to roll a coil, lay it on a dampened smooth surface, wet fingers and the coil, press while shaping and stroke the clay into a handle shape. Cut under the handle with a fettling knife. Immediately attach the handle to the bell and shape it.

Marj Peeler lives in rural Indiana where she and her husband, Richard, oper­ Retired potter Marj Peeler states, “This is a good proj­ ated a pottery business for 30 years before he died. Marj loves clay work of all ect for practicing throwing closed forms.” These clay kinds. Sue Wagoner is a professional potter with her husband Chuck Wagoner. They run the Pottery at Billie Creek Village, Rockville, Indiana. Sue has been bells can be made in a variety of shapes. potting for 20 years. 32 November/December 2OO2 Pottery Making illustrated 33

I agree with the fact that all pottery needs to be ground in some way on the bottom if it is to be used as functional ware, as Don Adamaitis stated in his article “The Grind of Being a Potter” (PMI, July/August 2002). Too many times I’ve had even high-quality production dinnerware scratch my table or kitchen counter because of a protruding piece on the bottom. This fact, and the fact that most peo­ ple tend to slide ware across a surface instead of picking it upmake finishing the bottom surface a necessity. To remedy this, I have been using another way of fin­ ishing the bottom surfaces and imperfections in pottery using a tool called a “die grinder”(see figure 1).

Figure 2 The awesome part about this rubber disk head is that it is small and flexible. This flexibility is exactly what is needed when grind­ ing/sanding the bottom of a piece.

exhaust tubing. I immediately saw the use for this tool for my pottery finishing. The rubber disk head comes in a 2- and 3-inch diameters. Another feature of this setup is the patented spin-lock disk and head. All you have to do to put the disk on the head is rotate the disk or the head in a clockwise direction. To remove it, just rotate the head in a counter-clockwise direction. No tools are Figure 1 required. Straight die grinder typically used for industrial applications. The grinding wheels and silicon carbide grinding blocks shown in the July/August 2002 issue of Potter The die grinder shown in figure 1 is approximately Making Illustrated are excellent for flattening large areas 6 inches long, without the attached grinding disk head. of a bottom of a pot or for taking off large pieces of There are many types of die grinders sold on the mar­ ket. Some have heads that are straight and some have heads angled at 90° for reaching tight places. This one happens to be an Ingersoll-Rand model 308 die grinder with max RPM of 25,000 and 90 PSIG max pressure. But the attached grinding disk and rubber head as shown in figure 2 is what makes this tool unique for pottery applications. Although I am a full-time engineer by trade, I am also an avid part-time potter, and have been taking pot­ tery classes from Kathryn Sharbough at the Flint Institute of Arts in Flint, Michigan, since 1992. When I learned about the small rubber head and disk from a Figure 3 technician who was doing some work for me grinding An 80-grit abrasive grinding disk (left) detached from the rubber the outer radius of some very hard stainless steel head of the die grinder.

November/December 2OO2 Pottery Making illustrated 35 Figure 4 Figure 5 The 2-inch rubber disk head allows you to reach into tight cornersGrinding the foot ring of a bowl using a die grinder. of a piece. material attached to the bottom of a pot. These tools, the Flint Institute of Arts students to use. This is just as however, cannot reach the material or burrs in the good as the one I have. The frequency of use and speed crevices of the foot, they are not able to get into the for pottery applications is far from what the tool was bottom of the foot area, and are not small enough to intended to go through. If oiled regularly, though, a grind a small bur off the surface of the glaze on a pot. cheap grinder should last you a lifetime. The rubber Abrasive grinder disks come in a variety of abrasive grinding head is approximately $9 from any tool and materials such as standard silicon to diamond. I prefer die shop. This item cannot be bought at your local the medium-cost zirconium-oxide abrasive material. Home Depot. This is one of the reasons that most peo­ This material seems to give the best combination of ple do not know about this nice device. price-to-durability. Each disk costs about $1.00 and I I have been using this tool faithfully ever since I dis­ am able to sand the bottoms of about 100 to 150 pieces. covered its extended use. Along with all the students at the Flint Institute of Arts, I find this tool to be the best HOW IT WORKS thing going. A die grinder runs on compressed air. (Many studios already have air compressors for use with a spray SAFETY PROTECTION booth.) The grinder head rotational torque and speed Warning! Grinding anything is hazardous! The first (and most is adjustable by the amount of air pressure delivered to important) aspect of grinding is using safety glasses to protect your the die grinder. An adjustable pressure regulator as eyes from flying debris during the grinding operation. Eye protection equipped on most air compressors is perfect for this must be made of a material that will stop most small projectiles with­ out shattering. Common corrective prescription eyeglasses, without adjustment. I use approximately 40-60 psi for most of safety glass, can shatter and do damage to your eyes and should my finishing. The nice thing about the finish is that it not be used in place of safety glasses. The full-face shield offers the is very clean. No circular marks are left on the piece. most effective protection device and protects both the face and My grinder has a variable speed based on the amount eyes. One big advantage over simple safety glasses is that you can that the grinder handle is depressed. There is a spring wear corrective eyeglasses under a face shield. Also, if grinding generates any dust, you need to wear a dust safety latch on most die grinders so that the grinder mask to protect your lungs from the fine silicon dust. Some types of handle returns to the off position when not depressed. dust masks cannot be worn under the face shield because of their This prevents the grinder from rolling over onto the size, so you’ll need to use safety glasses with side and forehead handle and turning on when put down. extensions instead of the full-face shield. SHOPPING FOR A DIE GRINDER Todd Ferguson is a full-time engineer and part-time avid potter living in There are many types of die grinders and abrasive Fenton, Michigan. He states “Engineering is what helps support my love for the arts. I also spend my time building homes and fine woodworking. If it heads. A die grinder ranges in price from $19.99 to sounds like my life is very full of activities, that would be an understatement. $100.00 depending on the quality. I have a $35.00 Maybe my only fault would be the extreme love of too may aspects of the arts. grinder which I have been using for a few years. I There does not seem to be enough time to do all the things and still spend the time I want with my wife and three children. ” For comments, you can e-mail bought the $19.99 Husky brand from Home Depot for Todd at [email protected].

36 Pottery Making illustrated November/December 2002

Air Cleaning Equipment by Jeff Zamek

Airborne dust is an avoidable part ofHEPA systems are sometimes working with clay and glaze materi­ required in schools. als. As part of a safety program, many Estimating Size potters are now looking at affordable Air filtration units should be the and easy-to-install air-cleaning sys­ correct size for the studio, and at a tems. Once the exclusive equipment ofminimum, complete 10 air industry; air-cleaning units are now exchanges per hour. To determine available for the ceramics studio. the size of filtering system you need, estimate the cubic footage of A typical filtering unit usually your studio (multiply the length x cleans the air in two stages. First, a width x height). Multiply the cubic pre-filter traps larger particles, then feet per minute rating of the unit air passes through a specialized fil­ by 60 (to find out how much air is ter that extracts most of the finer filtered each hour), and then divide particles. Extra protection on some that by the cubic footage of your models can be assured by a HEPA studio to find the number of times filter, which can remove 99.97% of the air is exchanged each hour. all particles .3 microns or larger. Anything over 10 is good. ILLUSTRATIONS: BAILEY POTTERY EQUIPMENT

Figure 1 Air cleaning system in studio. How Big Is That Speck? Source Size (in microns*) Pet dander ...... 0.3 to 11 Pollen...... 7 to 100 Tobacco smoke...... 01 to 1 Talc ...... 0.6 to 60 For more information about studio safety, refer toBacteria...... 0.3 to 10 Jeff’s Safety in the Ceramics Studio,published Wood ash...... 0.4 to 520 by Krause Publishing and available from many studio suppliers. * 1 micron = Vioooooo meter

38 Pottery Making illustrated November/December 2OO2 Location Most room air cleaners are either hung from the ceiling or mounted on a shelf against the wall at ceiling level. The unit should be positioned to set up a circular flow pattern around the perimeter of the room (figure 2). Do not place the unit too close to a corner, as this will allow unfiltered air to bypass the cleaner entirely (figure 3).

Figure 2 Correct placement of air cleaner.

Figure 3 Incorrect placement of air cleaner.

Figure 4 Multiple units.

Figure 5 With air conditioner of heating system.

Figure 6 Irregular or L-shaped rooms.

Larger studios or classrooms may require more than one unit to effectively purify the room. Multiple units should be equally spaced around the perimeter of the room and must draw in the same direction (figure 4). Similarly, an air conditioning or heating system must also be considered when determining the direction of draw for the air cleaner (figure 5). They must not work against each other. An irregular or L-shaped room requires specific placement. Mount the air cleaner so that the intake draws from the smaller portion of the room (figure 6). The unit should not exhaust into the smaller portion, since this will set up a cir­ cular pattern within that area alone that will impede the cleaner’s effec­ tiveness in the larger area.

November/December 2OO2 Pottery Making illustrated 39 Leaving a Lasting Impression by Craig Hinshaw

Ball Bowls One of the first qualities students notice when working with clay is its wonderful ability to accept impressions. Squeezing a lump of soft clay results in imbedded finger­ prints, and pieces of clay that have fallen on the floor accept the patterns from the soles of tennis shoes. Here are three projects that take advantage of clay’s impressionability, and also the almost endless variety of beautiful Michigan leaves. Leaf Table As I wrote this article, I realized that, in each of the three projects, the students gave their work away. This has left an impression on the recipi­ ents. Art teachers wrote the students how pleased they were with their leaf bowl. Administrators at the school board office love having a beautiful table made by students in their office areas. The city of Madison Heights uses a photograph of the leaf mural on the cover of a publication listing city services. As a friend of mine at church said, “You Nature Mural never know who you leave an impression on.” It is impossible to know how many people have seen and been impressed with the student work that began with a ball of clay, a Michigan leaf and a desire to create.

Craig Hinshaw is an elementary school art special­ ist in the Lamphere School District in Madison Heights, Michigan. E-mail comments to Craig at [email protected].

40 Pottery Making illustrated November/December 2OO2 Ball Bowls

Ball bowls are an easy and effec­ Step 3 Step 6 tive method for beginners, young Further connect and smooth After the bowls are bisque fired, and old, to create functional ceram­ the clay by rolling a tennis ball brush black underglaze over the ic bowls. Here’s how you and your over the clay while it is still in the impression and sponge off, leaving class can do this project in six sim­ plastic bowl. black in the recessed vein imprints. ple steps. Brush other low-fire underglaze Step 1 colors around the leaf impression Roll 20 to 30 marble-size balls of then apply a clear glaze over the clay between the palms. whole bowl. Refire the bowl to the appropriate temperature. Each year our fifth graders make leaf design ball bowls to send to the Empty Bowls luncheon at the Michigan Art Education Association conference. They also make a pic­ A tennis ball is rolled over the clay, further ture postcard to go with their bowls. connecting the balls while smoothing the On one side, they draw and color a inside of the clay bowl. leaf, on the other side they add a Step 4 stamp and address it to themselves Lay a leaf, vein-side down, on the back at school. The post cards make clay surface, then roll the tennis ball it easy for the teacher who selected over the leaf, imbedding it into the a bowl at the conference to write soft clay. Carefully remove the leaf. back to the student. Bali bowls begin by lining a glass or plastic bowl with plastic wrap. Twenty to 30 balls Step 5 are rolled out. Lift the clay bowl from the plastic bowl, gently peel away the Step 2 plastic wrap, then smooth the lip of Press the balls into a retaining the bowl. plastic bowl, lined with plastic wrap (which prevents the clay from sticking to the bowl), beginning at the bottom and working up on the sides.

A finished bowl revealing the impression of a maple leaf.

The balls are pressed and connected into the retaining bowl.

Glazing enhances the leaf impres­ Some students chose to use more than one sion in the bisqued bowl. leaf in their bowls.

November/December 2OO2 Pottery Making illustrated 41 Leaf Table

One of the first things visitors see when they enter our school board offices is a beautiful leaf tile coffee table. On the table, located in the office lobby, is a book containing photos of the students who made the tiles, the leaves identified plus nature poems written by the students. The table project was part of the fifth-grade science curriculum, learning to identify leaves. Students col­ Leaf table and book that greet visitors to the school board office. lected leaves, then using sections of a wooden curtain rod, they rolled the leaves into prepared clay slabs. Once glazed, the tiles were laid on a flat-bed scanner and saved on the computer. These digital images compiled with the students’ photographs and poems (one page per student) created the ‘coffee table’ book. Our leaf table project began with a $12 yard sale purchase of an old but sturdy wood table. We removed the top and replaced it with a piece of I-inch plywood, large enough to hold one tile from each student. The new plywood top was framed with wood strips, and the tiles were glued and grouted in place. Students helped to sand off the old finish and repaint the table. Detail of the colorful leaf table.

Nature Mural

We are fortunate to have a small The beautiful supporting struc­ nature center centrally located ture for our tiles was made by the within walking distance of our four Madison Heights Parks and elementary schools. We collected Recreation Department. They also leaves at the center and rolled them donated the material and installed onto 4-inch squares of clay. Since the finished mural in the grounds at this was to be an outside mural, we the nature center. A dedication cer­ used cone 5 clay and glazes that had emony was attended by the stu­ been tested to withstand Michigan’s dents, our superintendent, the harsh winters. mayor and, of course, the media. At the dedication, students proudly point to the tiles they made.

The tiles were glued and grouted at the school so the students could watch the Students glazing tiles for the leaf mural. process. Cone 5 clay and glazes were used to ensure durability throughout Michigan’s The leaf mural greets visitors at the severe winters. Madison Heights Nature Center.

42 Pottery Making illustrated November/December 2002 November/December 2OO2 Pottery Making illustrated 43 Wholesale Questions and Answers by Chris Campbell There are many terrific reasons to sell Get your answers ready your pottery wholesale. Wholesale puts Gallery owners are going to you in control of your income. You can want some basic information. This plan your work schedule rather than is a sample of the questions you being at the mercy of show judges, badmight be asked. weather and fickle crowds. You’ll stop What are your prices? wasting your time being the live enter­ This needs a quick, firm answer. tainment at craft fairs. No waffling or second-guessing in front of the customer. Even better, Most established galleries prefer to have a price sheet ready. (See PMI buy wholesale. Their main reason is March/April 2002 for pricing tips.) convenience. They don’t want the extra paperwork involved in paying What is your minimum order? out small checks to multiple artists It takes as long to pack one item each month. Many say they can’t as it does six, and it generally costs understand why artists wouldn’t as much. Find a quantity to make prefer getting their money within this effort worthwhile while still 30 days rather than waiting for the being affordable to a new customer. pottery to sell. So why don’t more When will it be available? potters do it? Always promise more time than Three Wholesaling Myths it will actually take. You are a hero if you deliver early, a nuisance if you 1 Wholesale prices are 50% of the . are always late. “real” price. Wholesale price is 100% of your How long will it take to get more? asking price. It should cover your Be very honest and, as above, materials and labor with a profit promise late and deliver early. margin included. The re-sale agent What are your credit terms? marks it up to cover his/her Always ask for pre-payment with expenses such as salaries, rent, utili­ the first order. Many galleries want ties and advertising. They also to pay by credit card, so it pays to require a profit. be able to accept cards. “Net 30 2. When you sell retailyou keep all of days” is only an option after you the money. verify their credit references. Any type of marketing involves Who else will you be selling to in this costs, even if it is only an invest­ area? ment of “unproductive” time away They are asking for two reasons: from your studio. If you are doing To establish the quality level of your craft shows, you also have to customers, and to make sure the include application fees, booth costs competition is far enough away. and travel expenses. What is your best seller? 3. Potters need to make a lot of pots to If you don’t have one, recom­ be able to wholesale. mend your favorite, the one you You can wholesale 10 pots or enjoy making. 1,000 pots. It’s up to you to decide what volume you want to produce. Give it a try.

44 Pottery Making illustrated November/December 2OO2 What other colors does this come in? Do you make all of your own work? This will be asked. Galleries deal Honest answer time. There is not in the real world where people always a right or wrong answer to want artwork to match their decor. this one. If this offends you, hide your feel­ What are your guarantees? ings. Smile. Just because someone I always offer an unconditional asks for a different color does not 100% guarantee on the quality of mean you have to make it. my work if it is returned within 14 Do you accept special orders? days. As above, be gracious. This is a How long have you been in business? personal choice no one else can This is a trust question. Will you make for you. You may not even still be around if they need more or know if you want to do custom have a problem? Even if you are just work until you have tried. starting, inspire confidence by your Will you send a sample? conduct. This is up to you. I charge the What else do you make? wholesale price for a sample, but I’ll This is the nicest question of all. deduct that amount from their first Once you have a foot in the door, order. you’ll be able to promote your whole line of work.

Cedar Creek Gallery in Creedmoor, North Carolina, is an outstanding example of the type of galleries who buy wholesale. Patrick Hurley, gallery manager, stresses that artists can have more control over their income and schedules when dealing in the wholesale market.

November/December 2OO2 Pottery Making illustrated 45 Kids and clay are a natural combination. And although kids don’t need a book to tell them clay is fun to play with, you may need a book to guide young stu­ dents toward making something they’ll want to fire and keep. Even if you know what to do with clay yourself, it may be difficult to translate that understanding into projects that are both simple enough for children to complete successfully by themselves, and interesting enough to hold their attention. Any child can make a pinch pot (in my experience, most of them already have by the time I meet them), but what’s next? These books should help answer that question if you’ve never worked with kids before. If you already teach pottery to children, they’ll help you come up with new projects to keep them interested. And you never know, you might even discover some ideas for yourself in these books.

The Kids ’N’ Clay Ceramics Book Elaine Arima Tricycle Press, Berkeley, CA, 2000 This book is based on teaching methods devel­ oped by artist Kevin Nierman at his Kids ’N’ Clay Pottery Studio. It’s well-organized and designed to be read and used by children rather than by the adult teachers. Adult assistance is specified for some projects, and the first section of the book contains the information a parent with no pottery experience needs to buy materials and supplies. The projects themselves should be easy for children to follow, as long as they can read. Each step of each project is numbered and illustrated with a simple line drawing. Many of the projects are very basic, for example, coil-built coasters, bowls and cups, but as more skills are introduced, the projects become more interesting. The unique aspect of this book is the inclusion of wheel-throwing, with simplified instructions Nierman developed over years of working with chil­ dren. These instructions call for adult assistance (previous pottery experience not necessary). Nierman seems to be a really good kids’ teacher, but if you don’t live in Berkeley, this book is the next best thing.

Sumi von Dassow recommends books by topic in each issue Pottery of Making Illustrated. She teaches pottery at the Washington Heights Center for the Traditional Arts in Lakewood, Colorado, and you can send comments to her through her web site http://www.well.com/~sumi.All at her previous recommendations are available on the PMI web sitewww.potterymaking.org at .

46 Pottery Making illustrated November/December 2OO2 Children, Clay and Sculpture Cathy Weisman Topal Davis Publications, Worcester, MA, 1983 This book is intended for use by classroom teach­ ers to facilitate exploration and discovery about clay and the nature of sculpture. A teacher does not nec­ essarily require expertise with clay to use this book, but it has plenty to offer even to the most experi­ enced teacher. Much more than a project book, it is meant to help guide students into an understanding, not just of clay, but of the aesthetics of sculpture. Although it is aimed at teachers, this sensitive and well-organized exposition of the elements of sculpture can be appreciated by stu­ dents of all ages. The book begins with basic techniques, and continues with slab sculpture and relief sculpture. Other chapters cover modeling animals, heads, and figures. There are suggestions for group discussions and critiques, and infor­ mation about firing, glazing and displaying work. It is illustrated with line draw­ ings and photos of children working and of childrens work, as well as photos of ancient and modern sculptural work in a variety of media. Exploring Clay with Children Chris Utley and Mat Magson Gentle Breeze Publishing, Oviedo, FL, 1997 This is a very short book aimed at the classroom teacher. There is some basic how-to information included on making pinch-pots, coiling, and mod­ eling, and a list of suggested projects. If you’re already experienced with clay and just want a source of new ideas for teaching children, this book may suit your needs. Teachers with little clay expe­ rience may find the book too brief; for instance, there is no explanation of the various types and temperature ranges of clay, which would likely require an inexperienced teacher to ask a lot of questions at the ceramics supply store. The book does contain some interesting ideas, such as using two pinch pots to form the two halves of a broken egg and modeling a small ani­ mal emerging from them. A unique feature is the inclusion of suggestions for using plaster to make molds and stamps, potentially a good way to teach chil­ dren about positive and negative images, as well as a fun project. Also unique to this book is advice about prospecting for and preparing local clay, another proj­ ect with broader educational potential. Ceramics for Kids: Creative Clay Projects to Pinch, Roll, Coil, Slam ana Twist MaryEllis Lark Books, New York, NY, 2002 This is another book intended to be used by ele- mentary-school-aged children with little adult help. It includes a variety of hand-building projects, all lavish­ ly illustrated with photos of children working and of their finished projects. Some of the projects are bound to be very appealing to children, such as several that involve building clay around a balloon and then pop­ ping it. Another exciting project is sawdust-firing in a trash can (adult help is called for). Most of the projects incorporate an educational sidebar about nature, history, art, or cultures of the world (Japanese tea-bowls, African Nok portrait heads, Egyptian hieroglyphics, etc.). Not every aspect of pottery is fully explained; for instance, the author refers to glaze as a mixture of “ground glass” and colorants, which is not strictly accurate. However, there is enough explanation about how to buy, use, and take care of mate­ rials and tools that parent helpers shouldn’t need clay expertise to use this book with their children, though it would be necessary to find a place to fire finished work.

November/December 2OO2 Pottery Making illustrated 47 48 Pottery MakingILLUSTRATED November/December 2OO2