May/June 2012 “I discovered L&L when I bought a beautiful used L&L Lisa Orr discovered L&L in the 1980’s that had been built in the 1960’s. I used it for years. These keep looking in the 1980’s with a used new for decades because of the element holders. Now with the zone control, they fire kiln built in the 1960’s. absolutely evenly from top to bottom. All of this excellent engineering, along with their reasonable prices, make L&L the best electric kiln on the market.”

Lisa Orr has been a professional potter and student of for over 25 years. She completed an MFA at the NYSCC at Alfred University in 1992 and later received grants including a Fulbright and a MAAA/NEA. Her work is in numerous public and private collections including the Fine Arts Museum of San Francisco and the San Angelo Museum Layer by of Fine Arts. Currently she teaches, lectures and shows nationally. Layer Also in This Issue . . . with Slabs Fast-Firing Throwing Bowls

L&L Kiln’s patented hard element holders Toll Free: 877.468.5456 protect your kiln. PC-4 Palladium over Cone 5-6 PC-20 Blue Rutile

PC-12 PC-35 PC-42 Blue Midnight Oil Spot Seaweed over over over PC-20 PC-20 PC-20 Layering Blue Rutile Blue Rutile Blue Rutile

PC-23 PC-37 PC-49 Indigo Float Smoked Frosted Melon over Sienna over PC-20 over PC-20 Blue Rutile PC-20 Blue Rutile Blue Rutile

PC-27 PC-41 PC-50 Tourmaline Vert Lustre Shino over over over PC-20 PC-20 PC-20 Blue Rutile Blue Rutile Blue Rutile

Josh Heim PC-20 Layering Notes: Apply two over PC-55 Indianapolis, IN layers of base coat. Apply two layers Chun Plum of top coat. (Let dry between coats.) over PC-20 PC-20 Blue Rutile PDFs available at LayeringAmacoGlazes.com PotteryMaking Illustrated | May/June 2012 1 Front Loader Get a peek at Tom’s new glazes and see what he has to say about Skutt’s New Front Loading Kiln at: skutt.com

Artist: Tom Turner Photos: Gary Rawlins

Finally... a Front Loading Electric Kiln backed by the quality of Skutt.

For more information on Skutt Kilns or to find a distributor, visit us at www.skutt.com or call us directly at 503.774.6000 2 PotteryMaking Illustrated | May/June 2012

tom Turner Rough Final Revised.indd 1 2/23/12 12:48:55 PM table of contents

features

17} Blurring the Line 22} Layer by Layer by Gale Batsimm by Kip O’Krongly Blending slab and coil Building up surfaces building lets you create with a sense of depth larger forms faster. Plus can be a piece of cake it leaves room for tons with smart planning of texture possibilities. and a layered approach.

29} Fast-fi ring Saggars 33} Throwing Bowls by Linda and by Richard Phethean Charles Riggs From tall and narrow Pit and fi ring to low and wide, this are simple when you is a step-by-step guide have your own custom- to making even-walled, made, properly-sized well-balanced bowls of saggars to work with. any shape or size. departments

6} In the Mix 8} Tools of the Trade 10} Supply Room 12} Tips from the Pros Shino Glazes Throwing Bats Throwing Clays Molds and by Deanna Ranlett by Bill Jones by Richard Zakin Wildfl owers by David Scott Smith

41} Instructors File 44} Off the Shelf 48} Illustrated On the Cover Making a Double- Workshop Guide Ancient Persian Kip O’Krongly’s Corn walled to Ceramics Vessels Duster (detail), 17 in. (43 cm) in diameter. by T. Dubis and by Sumi von Dassow Illustrated by See story on page 22. Pam Luke Robin Ouellette

PotteryMaking Illustrated | May/June 2012 3 fired up

Volume 15 • Number 3

Publisher Charles Spahr Learning Editorial Editor Bill Jones Associate Editor Holly Goring Associate Editor Jessica Knapp “Why waste time learning, when igno- Editorial Assistant Erin Pfeifer rance is instantaneous? [email protected] Telephone: (614) 895-4213 —Bill Watterson Fax: (614) 891-8960 Graphic Design & Production Melissa Bury Production Assistant Kevin Davison Marketing Steve Hecker Ceramics Arts Daily We have just returned from Seattle after attending Managing Editor Jennifer Poellot Harnetty Webmaster Scott Freshour the annual National Conference on Education for the Advertising Ceramic Arts (NCECA) Conference. For anyone inter- Advertising Manager Mona Thiel Advertising Services Jan Moloney ested in , this conference should be on your [email protected] Telephone: (614) 794-5834 bucket list. Scores of exhibits, panel discussions, demonstrations, vendors, Fax: (614) 891-8960 Subscriptions thousands of potters, and non-stop conversations with old and new friends Customer Service: (800) 340-6532 make it one of the most exhilarating experiences a potter can have. [email protected] Editorial & Advertising offices Our staff attends each year and this is where we enjoy meeting with both 600 N. Cleveland Ave., Suite 210 established and emerging artists to discuss new techniques, surface treat- Westerville, OH 43082 USA ments, and forms we think you’ll enjoy trying out. We also learn about www.potterymaking.org new tools, glazes, and supplies since all the vendors who advertise in the Pottery Making Illustrated (ISSN 1096-830X) is published bi- magazine are also represented at the conference, and we’ll be covering these monthly by The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082. Periodical postage paid interesting new products as well. at Westerville, Ohio, and additional mailing offices. And speaking of meeting artists, we always enjoy putting a face to the Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ce- work. Sam Scott (PMI Jan/Feb 2012) is a Seattle potter and he stopped by ramic Society. Subscription rates: 6 issues (1 yr) $24.95, 12 issues (2 to chat several times, as did Kip O’Krongly (see p. 22). Daryl Baird, author yr) $39.95. In Canada: 6 issues (1 yr) $30, 12 issues (2 yr) $55. of books on extruder and slab work, has more ideas in store, and Eduardo International: 6 issues (1 yr) $40, 12 issues (2 yr) US$70. All payments must be in US$ and drawn on a U.S. bank. Allow 6-8 Lazo, editor of Naked Raku (see excerpt on p. 29), tells us his ‘family’ of weeks for delivery. Change of address: Visit www.ceramicartsdaily.org to bare clay artists are busy with new ideas. change your address, or call our Customer Service toll-free at One thing I really enjoy about ceramics is that there’s no end to what you (800) 340-6532. Allow six weeks advance notice. Back issues: When available, back issues are $6 each, plus $3 can learn. Certainly, pottery making is not for the ignorant, and each new shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4–6 weeks technique has the potential to lead us to a new place. There are potters in for delivery. Call (800) 340-6532 to order. their 80s and 90s who continue to explore forms, surfaces, and glazes and Contributors: Writing and photographic guidelines are avail- able on the website. Mail manuscripts and visual materials to they never tire of it. the editorial offices. NCECA is a learning experience you’ll never forget, and if you didn’t Photocopies: Permission to photocopy for personal or inter- nal use beyond the limits of Sections 107 and 108 of the U.S. make it this year, then perhaps you can attend it in Houston in 2013 or Mil- Copyright Law is granted by The American Ceramic Society, ISSN 1096-830X, provided that the appropriate fee is paid di- waukee in 2014. Fortunately for all of us, the conference is held in vibrant rectly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923; (978) 750-8400; www.copyright.com. Pri- ceramic communities around the country to accommodate the many potters or to photocopying items for educational classroom use, please unable to travel far and also to showcase the local talent. contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distri- Thanks to all those readers who visited the booth or stopped to chat with bution, for advertising or promotional purposes, or to republish- ing items in whole or in part in any work and in any format. Please us at the conference. Your comments and support, as well as your thirst for direct republication or special copying permission requests to the Ceramic Publications Company, The American Ceramic Society, learning, continue to inspire us to deliver great ideas to your mailbox. 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082. Postmaster: Send address changes to Pottery Making Illus- trated, PO Box 15699, North Hollywood, CA 91615-5699. Form 3579 requested. ceramic artsdaily.org

Bill Jones Editor

Copyright © 2012 The American Ceramic Society All rights reserved

4 PotteryMaking Illustrated | May/June 2012 $1559 $1679

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PotteryMaking Illustrated | May/June 2012 5 in the mix Re-coloring a Classic by Deanna Ranlett

n my glaze formulation classes students will often years of testing with my students. I would encourage all bring in glazes to explore, tinker with, and make potters to run acid leaching tests with lemon or vinegar, Itheir own. Of these recipes, the majority of what run a glaze in the dishwasher for multiple cycles, and I see are the old standards most potters have used at test with freezing and thawing. This is an important step one point. Besides already having the ingredients on because every potter fires differently and uses glaze in hand, using an old favorite often allows a comfort level different ways. If you’re ever concerned about colorants conducive to experimentation (I push experimentation to or glaze ingredients leaching, you can send your piece to make glaze mixing fun) and if you get in a rut, adding a a testing lab for extra security. For a small fee, leach tests little fun to your palette can be a good way to get those are run, and you’re given a detailed report of the results. creative ideas flowing. An important first step when exploring a classic recipe Also, another benefit of these ‘tried and true’ recipes is to determine if all the ingredients are still commercially is that they have a broad fit range with commercially available. For our tests, the traditional Falls Creek Shino prepared clay bodies. The recipe I used for testing and recipe called for Albany —which of course, is no lon- experimenting, Falls Creek Shino, has many variations ger available and most potters substitute Alberta Slip. and discussions pertaining to it on the popular Clayart Colorants are by far the easiest way to experiment discussion group. Popularity on a chat site doesn’t mean with a glaze. In an average base glaze, adding color is you shouldn’t test, but it does mean that some common the logical next step because colorants can completely glaze faults aren’t present with a recipe that has such change a recipe’s appearance. However, if you take a widespread recognition. For example, this shino fits not-so-average base glaze, like the Falls Creek Shino, every speckled body I’ve tried, as well as white stone- adding color is unpredictable given the dark base color ware and —I’ve yet to see any shivering in three of the glaze. We tested 2%, 5%, and 10% of stains and

Original Falls Creek Shino 2% cobalt carbonate 5% Bright Blue stain 2% copper carbonate

5% 6236 Chartreuse 5% 6088 Dark Red 1 coat 2% copper carb over 1 coat 5% 6236 Chartreuse MS Mason stain Mason stain 1 coat 2% cobalt carb over 1 coat 2% copper carb

6 PotteryMaking Illustrated | May/June 2012 1%, 2%, and 4% of oxides. We found the ‘sweet spot’ for adding Falls Creek Shino stains to be 5% and 2% for oxides. Cone 6 In the original recipe, carved lines Gerstley Borate ...... 18 .7% For Blue Shino 1 add and texture allow the glaze to pool Lithium Carbonate ...... 6 .5 Spectrum 2043 Bright Blue Stain 5 .0 % and collect the pretty cream color Soda Feldspar (Minspar 200) . . . 9 .4 For Blue Shino 2 add Alberta Slip (Albany Slip Substitute) 56 .1 Cobalt Carbonate ...... 2 .0 % leaving the darker brown where the For Green Shino add glaze breaks. So, in adding colorants, Silica ...... 9 .3 Copper Carbonate ...... 2 .0 % we were unsure if the background 100 .0 % For Chartreuse Shino add color or the foreground color would Add: Superpax (Zircopax) . . . . 9 .4% 6236 Chartreuse Stain . . . . 5 .0 % Tin Oxide ...... 4 .7% change. What we found is that the For Pink Shino add 6088 Dark Red Stain . . . . . 5 .0 % opacifiers allow the added colorant to float leaving the darker brown Test made from Highwater Clays’ Speckled Brownstone cone 4–6 clay . color below almost unchanged. The best analogy I can think of is of a root beer float—but instead of using vanilla ice cream, imagine you’d used a flavored, colored ice cream! Our results were honestly amazing. The tests maintained the depth and richness of the original glaze as well but allowed for the development of vibrant, opaque colors on top. Also, as a pleasant surprise, the Alberta Slip makes for a glaze that brushes and dips beautifully with virtually no settling in the bucket. So when in doubt, or when you need a little something new in your glaze repertoire, pick up a classic and add some color! n

Deanna Ranlett is the owner of Atlanta Clay and has been a working ceramic artist for 13 years. www.atlantaclay.com.

Firing Schedule

I normally fire this glaze on the following schedule. This firing schedule is adapted from www.masteringconesixglazes.com.  100°F/hr to 200°F (no hold un- less I glazed that day then I will hold 1 hour to make sure the pots are dry inside).  350°F/hr. to 2000°F (no hold).  150°F/hr. to 2185°F (test to make sure this will be cone 6 for your kiln! This temperature may need to be adjusted) I use a 15 minute hold.  9999°F/hr. to 1900°F (no hold).  150°F/hr. to 1500°F (no hold).

PotteryMaking Illustrated | May/June 2012 7 tools of the trade Throwing Bats by Bill Jones

f you’ve ever damaged a freshly thrown piece moving before it sets up too much or it will crack as it shrinks. it from the wheel, you know the value of a bat. This Here’s a rundown of materials you’ll find as you search Ihandy accessory not only helps preserve your creative for bats: efforts, but allows you to move large or delicate pieces ● Duron® (aka Masonite® or tempered hardboard) is a from your wheel to free it up for the next piece, and they resin impregnated hardboard that’s water resistant and also make it possible to return a piece to exact center to smooth on both sides. work on later. Because bats play such a critical role in ● Medex® is a fiber board material made with a formal- ceramics, and so many potters have different needs, it’s dehyde-free adhesive that’s waterproof yet porous. no wonder there are a lot to choose from. ● Plastics of several different types are used for bats. These bats are nonporous and waterproof, so they re- Bat Basics quire wiring off pots. Most wheel manufacturers pre-drill wheelheads with ● Plywood is a durable bat material but must be exterior- bat-pin holes that hold 3/8-inch (or 10-mm) bat pins on or marine-grade to avoid delaminating. The more plys 10-inch centers. Just about every bat maker produces the better. bats that fit this standard so your options are wide open. ● Plaster is one of the traditional materials for bats and is Bat pins are not necessary because you can stick bats on one of the best as far as porosity. Hydro-Stone, a USG the wheel head with clay or slip, but bat pins allow you product containing cement and crystalline silica, is sim- to quickly add and remove bats with ease. ilar to plaster but 8 to 10 times stronger. Throwing bats can be made from most any rigid mate- rial but wood, wood composites, plastics, and plaster Care and Use are the most common. Except for plastic, these materials Bats will last almost indefinitely if well maintained. For are all porous so your pots will release from them easily best results, sponge a little water onto dry, porous bats as they absorb water from the clay. If the material is not before use, but don’t let them become water logged. porous (e.g., plastic) you’ll need to wire off your work Scrape off clay before it dries to avoid creating a lot of Photo courtesy Amaco/Brent Photo courtesy The Ceramic Shop Ceramic The Photo courtesy Photo courtesy Bailey Pottery Supply Photo courtesy Bailey Pottery

Bat adapters are a way to use Bailey Baltic Birch bats feature 13 Hydro-Bats are made from Hydro- smaller throwing bats. The Adapt- laminated layers of marine-grade Stone. Hard rubber grommets on 10- a-Bat made by Amaco fits on a hardwood. This wood is absorbent, inch centers cast into the underside standard wheel head and has pins to will not delaminate, and remains of each bat fit over ³/8-inch pins. Like accommodate 8- and 10-inch square dimensionally stable with regular all porous bats, pots don’t need to or round bats. use. Available from 12- to 29½-inches be wired off, they release as the bat See www.amaco.com. in diameter. absorbs water. See www.baileypottery.com. See www.theceramicshop.com.

8 PotteryMaking Illustrated | May/June 2012 dust, and store bats on edge to avoid wheel head. If you don’t, consider materials. Whatever you do, make trapping moisture. having it done because being able sure you have enough bats to carry to move work to and from the you through a production cycle or Assessing Your Needs wheel to the same centered posi- creative spurt—you won’t regret it. The number, sizes, and types of bats tion will make it possible for you Most ceramic supply stores carry a you’ll need depends on what type to try more techniques. If you can’t variety of bats and even the products of work you’re doing. For public make a decision about which bats shown here are available from many studios, long-lasting, inexpensive you’d like to try, purchase one bat distributors. Before ordering, verify plastic bats are probably best be- of each material, which can usu- the make of your wheel and the pin cause they can stand up to abuse. ally be done from a single supplier. size and location. n If you produce a lot of small items, The company bigceramicstore.com Thanks to Rocky Mountain WoodMasters, check out the bat systems shown offers a “Bat Pack” containing a Bailey Pottery Supply, Amaco/brent, The here with interchangeable 6-inch selection of Speedball, Northstar, Ceramics Shop, and Great Lakes Clay for bats. Another thing to consider is and Amaco bats of various sizes and providing images. storage. If you get only 12-inch bats, they take up a lot of room when throwing mugs or small items so that’s where 6-inch square bats would come in handy. Most every manufacturer makes a wide range of sizes so you can adjust your supply to the range of work you make. You should also remember that you do not need bat pins for bats or a drilled Xpress-Q-11A 6” deep, 6” wide, 6 ¼” high interior Xpress-1193 11” wide x 9” deep Caldera XL interior 7 ½” square x 9” deep interior

Photo courtesy Great Lakes Clay Photo courtesy Great Lakes Experiment with the look of The Versa-Bat System from Great Lakes Clay consists of a master bat your glazes in a Paragon 120 with a 6-inch square opening on one side and an 8-inch opening on the volt test kiln other that hold square ³/8-inch thick Medex bats. The master bat fits most Test-firing a small digital Paragon Xpress-1193 and the Caldera XL are wheelheads with standard bat pins. can help you to alter certain made with 3” thick insulating fire- See www.greatclay.com. glazes—dramatically. Achieve beauti- bricks. ful soft matt glazes without having to The Sentry Xpress digital control- sign up for a community college just ler includes Cone-Fire and 8-segment because they have a gas kiln. Ramp-Hold modes. Experiment end- Imagine the excitement of discov- lessly with digital accuracy. ering that a muddy-brown iron glaze Visit our website for more details at a fast cool becomes rich, red-brown on these exciting Paragon test kilns at a slow cool. In a digital test kiln, and for a list of authorized resellers. you can control the heating and cool- ing rates to match that of a larger kiln.

Photo courtesy Rocky Mountain WoodMasters Photo courtesy Rocky Mountain Constantly finding Your Paragon test kiln will be wait- better ways to ing for you whenever you are ready to make kilns. WonderBats are made by Rocky try another test —you won’t have Mountain Wood Masters from a high- to wait until you fill your larger kiln. density fiber material. The bats are Not only experiment with achiev- 2011 South Town East Blvd. slightly porous so work does not need Mesquite, Texas 75149-1122 ing the look of reduction, but even test to be wired off. Available in a variety 800-876-4328 / 972-288-7557 of sizes, these bats feature a propri- crystalline glazes. Toll Free Fax 888-222-6450 etary rubber grommet system that The Xpress-Q-11A shown above is www.paragonweb.com helps hold the bats in place. one of our fastest 120 volt kilns. The [email protected] See www.rockymtnwoodmasters.com.

PotteryMaking Illustrated | May/June 2012 9 supply room Throwing Clays by Richard Zakin

inding the right throwing body is a matter of clays. Since iron is a strong body flux, these bodies do personal preference, however, there are a few not require large percentages of non-clay materials. In Fguidelines that will help you narrow your choices. fact, many are made from one or two dark clays with First, throwing bodies should be plastic, strong, and few, if any, other additions. Their color varies—deep resistant to collapse under the stress of throwing. They ocher, burnt orange, deep brown, and red are common. should not contain highly coarse materials like grog or They strongly alter the color any glazes applied over your hands will suffer. them unless the body is covered with a light-colored slip, The body and glaze must be compatible in firing tem- underglaze, or engobe. perature. Most potters start by choosing to work at a ● Mid-fire bodies (Cone 01 to 7) particular firing temperature, then match their clay bod- This firing range allows for the development of mature, ies and their glazes to that temperature. The only rule water-tight, dense, and durable bodies. Furthermore, here is that the clay body must not mature at a point many of these bodies are reliable and easy to use. lower than the maturation point of the glazes. Because they do not require strong fluxes, they can be Color choice is next. There are those who prefer dark highly workable. Body color is quite varied, from reddish clay bodies because they look rich and natural. Others brown to tan, and from gray to white. prefer light-colored bodies because they feel that glaze Mid-fire clay bodies are mostly composed color in the electric fire is likely to be more lively when of clays and additions of 10% or 20% non-clay materi- applied over a light-colored body. If you use translucent als (typically a feldspar and talc). Their clay components or transparent glazes, you’ll get the best results when typically contain moderate amounts of impurities that you apply them over light-colored bodies (or you may color the body and encourage maturity. These bod- apply a cover coat of light-colored slips over the body ies vary greatly in color, with off-white, tan, soft gray, to provide a light-colored base for the glazes). brown, and umber being common. White clay bodies are similar to the mid-fire stoneware Characteristics of Clay Bodies bodies but because the kaolin clays they contain are Clay bodies are categorized by such factors as intended refractory, they require stronger fluxes. These bodies, firing temperature, color, intended use, and ingredients. therefore, are less workable. Their color can be very ● Low-fire bodies (cone 06 to 02) pleasing and they work very well with glazes. Low-fire bodies are compatible with low-fire glazes, Dark clay bodies are durable and feature a good work- with their many color and image creation choices. The ing character. They are marked by rich, strong color. two clay body types most popular in the low-fire range In the electric fire, body color varies from ocher to dark are talc bodies and dark-colored terra-cotta bodies. tan, light brown, and brick red to deep brown. It can be These bodies are rarely fired to the point of maturity quite hearty in character and color. Dark bodies darken and low moisture absorbency because they are liable to the color of the glazes applied over them. warp in the firing. Porcelain-like clay bodies. Although not true porce- Talc bodies. The classic recipe for a talc body is equal lains, they are excellent in their own right. The compro- parts (a very workable, plastic clay) and talc. mises that characterize these bodies will be suggested by The body color is usually a pale ivory or buff. Talc is a a need for greater workability or a lower firing tem- sticky, slippery material and the resulting clay body is perature. They may contain more clay than porcelain quite workable although only half of its ingredients are allows, or clays such as stoneware or fire clay that have clays. These bodies are stable and they don’t darken the iron impurities, and even fluxes that limit translucency. color of glazes applied over them. The result is generally a fine-grained clay body, often Dark-colored terra-cotta bodies rely in good part on cream or gray in color, sometimes flecked with small iron compounds for both color and melting. Their reci- gray spots. These bodies are opaque and do not have the pes generally call for large percentages of iron-bearing transparency of true porcelain.

10 PotteryMaking Illustrated | May/June 2012 ● High-Fire Bodies (Cone 8 to 10+) with small studios may find that their Generally, suppliers sell a standard High-fire bodies are extremely du- needs are met best by using clay bod- line of prepared bodies and they will rable, reliable, and workable. Body ies mixed by a commercial supplier. probably suggest that you use one color is limited and subdued. Howev- Good supply houses pay attention to of these. These bodies are modest in er, in the judgment of their manufac- detail to ensure that the clay bodies price and it pays to try out several. turers, these temperatures are at the are reliable. Materials must be on Most suppliers will also mix custom- limits of electric kilns. They are even hand, and materials must be accurate- ized clay bodies (though they usually a bit above the recommended limit ly weighted and thoroughly mixed. require that you order a minimum in some cases. This doesn’t mean it’s While price is a factor, the expense amount such as 500 pounds). n dangerous to fire to these tempera- of the clay body is never large com- tures, but it does cause the coils to pared to your investment of time and This article was excerpted from Richard wear out more quickly. effort. The most important consider- Zakin’s Electric Kiln Ceramics, 3rd Edition available from ceramicartsdaily.org/book- Stoneware clay bodies are mostly ations in choosing a clay body sup- store. Richard is currently working on a 4th composed of clays and additions of plier are support services and quality. edition to be published in fall of 2013. 10% to 20% of non-clay materi- als (typically a feldspar and ground silica). The clays typically contain moderate amounts of impurities, which darken and flux the body and impart a moderate amount of visual COYOTE HIGH FIRE texture. Stoneware bodies fired in the electric kiln are tan, gray, or brown. Porcelain-like high-fire clay bodies UNDERGLAZES are very successful in the electric fire. Body color is usually a warm cream- Coyote Underglazes white, which can be quite appealing. Though these porcelain-like bodies under Coyote are especially useful at cones 5 to 8, there are excellent porcelaneous Cone 6 Clear bodies at cone 9 as well. They dif- fer from porcelain in that the bond between body and glaze is a bit less intimate and they are less translu- cent, although they are much more workable than porcelain. Color impurities are kept to a low level (higher than true porcelain but lower than most other clay body types). These very light-colored bodies significantly enhance the brilliance of glazes applied on them, encouraging bright and lively color. Recommendations Most potters buy their clay bodies from a commercial supplier already mixed and bagged. To satisfy the Cat Bowls by ceramic market, suppliers sell both a standard line of prepared clay Katy Flynn Brown bodies and customized clay body mixtures. It makes good sense to let professionals take over the clay body mixing process. The process demands specialized and expensive machinery. 866 344 2250 Potters starting out in clay and those photo by Margot Geist coyoteclay.com PotteryMaking Illustrated | May/June 2012 11 tips from the pros Clay Molds and Wildflowers by David Scott Smith

s artists, we are con- opened up a whole new arena stantly reflecting on the of possibilities. Amotivations behind our We are all familiar with ceramics. Where does our work sprig molds, or simple stamps come from, and what makes and rollers made with clay. our work (and us!) so unique However, there’s no reason and individual? why a bisque clay mold can’t I have a love for flowers, be as large as you want (or as especially wildflowers, that I large as you can fire in your can trace back to when I was kiln). I’ve found that clay a young boy. My step-grand- molds give you the opportu- father, Charles Parsons, has nity to easily cast textures that always been a great inspiration are nearly impossible with for me—for 18 years he owned plaster. I have clay molds of al- Coldwell Florist in Spokane, ligator skin, insects, tree bark, Washington, and after ‘retire- carpet, lace, braids of hair— ment’ he worked for 15 years and of course wildflowers! as Instructor of Horticulture at The best part is, once you’ve Spokane Community College. made the mold, you can use it Floral design, plant propaga- for just about anything. I’ll use tion, landscaping—these are the same mold for slab-built all areas of Charlie’s expertise. pots, lamps, fountains, tile, etc. But he also has a great love for And if you keep your molds plants that flower naturally in clean (and never use a ‘release’ the wild, and some of my fond- agent) they will last almost est memories were chasing wild- Charlie Parsons, the author’s grandfather, collect- indefinitely. I remember when flowers with my grandfather. ing and admiring wildflowers. I first started using large clay Wildflowers are usually as molds I foolishly thought I had delicate as they are beautiful. Sometimes only a few developed the technique, and a professor showed me the inches tall, their cycles might last a brief couple of days work of Bernard Palissy (French ceramist, 1510–1590), to a week, and each warm spring day welcomes new not to mention the ceramic work of a dozen ancient cul- growth, and new flowers. If you live in the mountains, tures. People have been using clay molds for thousands you can follow blooms with the elevation as the snow of years, and if you buried your bisque molds below the recedes; but even the first few weeks of spring on the frost line someone could dig them up in a thousand years flatlands are a riot of flowers that will disappear with the and use them. In many respects, clay molds are superior heat of summer. to plaster, and certainly easier to make. Capturing Delicate Textures Making the Mold When I first started exploring mold-making in the early I prefer a smooth high-fire clay body for making bisque ’90s, I only worked with plaster. Try making a mold of molds. For small or delicate flowers and leaves I use a a wildflower with plaster sometime—it’s a catastrophe. slab about ¼-inch thick, but you can use a thicker slab So for years I made molds of easily castable objects and for plants with more relief. First, carefully wipe the slab shied away from plants and flowers. However, some smooth of any texture; I use a lightly dampened sponge, years back I started using clay to make molds, which but you can also use a rubber rib.

12 PotteryMaking Illustrated | May/June 2012 1 2 Lay a smooth slab over your arranged plants. Press the slab down around the plants gently but firmly using your finger-tips.

3 4 Flip the slab over and carefully remove the plants. Trim any undercuts or burrs away using an X-acto knife.

Collecting and Transporting Wildflowers:

✿ Wildflowers are delicate and wilt immediately; ate a floral arrangement in a vase, I will also I use a large ice chest with several inches of ice ‘arrange’ a variety of flowers to be cast together, water to transport my cut flowers. Even if they into one unified composition. are immersed in water they will stay fresh; pat them dry before pressing them into clay. ✿ I often wrap and press large slabs of clay around tree trunks for bark texture, or driftwood, or ✿ Get out of your car. Some of the best flowers are even interesting rock formations. If the clay tiny, and you won’t see them hurtling down the sticks to the surface of what you intend to cast, road in your vehicle. spray it with WD-40 or a vegetable oil. These will burn away when the mold is bisque fired. ✿ Don’t just look for flowers—new spring leaves, fresh and unblemished, can be used to cre- ✿ Make sure you know what you’re collecting is ate wonderful compositions. Horsetails, ferns, legal to collect! There are several protected spe- moss—just about any natural texture can be cies of native plants, and it’s also illegal to collect captured in a clay mold. Just as you might cre- in national parks.

PotteryMaking Illustrated | May/June 2012 13 5 6 Work a smoothed slab into the bisque fi red mold then Flip the mold over and remove the slab. If it’s dry enough, smooth the back with a sponge and rib. it will release easily.

7 The fi nished slab will have a high level of textural detail Tiles pressed into various fl owers can be glazed, then from the mold. mixed and matched into various arrangements.

Arrange your fl owers on an absorbent, texture-free my fi nger-tips (starting from the center and working my surface. Drywall works great, so does construction pa- way outward). After working it into the mold, I smooth per, butcher paper, or newspaper. Carefully lay the slab the back with a rib and sponge (fi gure 5). Be careful (smooth side down) over your plants (fi gure 1). not to apply excessive pressure on the mold and break Press gently but fi rmly using your fi ngertips. Start in it. Bisque clay molds are very fragile—after the mold is the center and work your way out (fi gure 2). fi red I sometimes glue the mold to a piece of plywood Allow the slabs to become leatherhard. Flip them just to make it more durable. over, and carefully remove the plants. If parts remain You don’t need to use a release agent on a bisque in the mold it’s no big deal—they’ll burn away in the mold, and in fact spraying your mold with WD-40 fi ring (fi gure 3). or vegetable oil will make the clay stick. Note: I have Once you’ve removed the plants, clean away any un- had students accidentally spray my molds before; just dercuts that are present in the mold. Use a sharp X-acto re-fi re them in a vented kiln to burn the oil out. Bisque blade, and carefully trim any overhanging clay or burrs is naturally absorbent; clay pressed into the mold will that might prevent the clay from releasing once the mold immediately start to dry, and release easily if there are is fi red (fi gure 4). Remember, you won’t be able to do no undercuts (fi gure 6). this once the mold is fi red. The fi nished slab will have a wealth of textural detail (fi gure 7) and can then be used for tiles, vessels, Using the Mold or sculptures. I often use the same molds for a variety After a mold has been fi red (I fi re them to around cone of projects. n 08) I once again make a slab and smooth off any surface David Scott Smith is an artist and instructor at Flathead Valley canvas texture, then work the clay into the mold with Community College in Kalispell, Montana.

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BtheLarry lurring Elardo’s Line Slab Coils

efi ning a process often leads the way to artis- tic and fi nancial suc- cess. For Larry Elardo, Rdeveloping a more effective method for creating his highly-textured containers posed an interesting challenge. “When I got back into clay about ten years ago, I was building in the traditional coil method,” he explains. “Then I started calculating how much time it was costing me and how much I’d have to charge when selling the work. I realized I’d have to fi gure out a quicker way to do this.” By experimenting with different methods, and using engineering tools to assist him, Larry found that hand- building upside down, combining slab and coil methods, and beveling edges considerably reduced the time he spends making each creation. A New Direction “Working upside down over a form provides me with several advantages over traditional bottom-up methods: it allows me to work with very wet clay, so that I can really push the clay around when joining the slab coils; the form provides a hard, resistant surface against which I can press as hard as I want in order to create very deep im- pressions; and the clay molds easily to the form I choose so that I have much less of a struggle with gravity,” he says. Finding or creating the form to Completed garden planter, 17 inches (43 cm) in diameter, clay, build over is the fi rst and most defi n- sprayed cobalt glaze, fi red to cone 4 in an electric kiln.

PotteryMaking Illustrated | May/June 2012 17 1 2 Cut a circular slab the size of the bottom of the wrapped Cut a slab into 2¼-inch wide strips. Next, cut each in half us- bowl using a compass. ing a 45°-angle cut. The beveled edge makes cleaner seams.

3 4 Score the edges of the clay strips and apply slip. Attach Stamp designs to add texture and seal each slab coil. Al- each slab coil, smoothing joints with a rib along the way. low bowl to air dry slightly while beginning the base.

ing step in the process. When building with forms of any inch thick boards. He rolls several slabs to provide the kind, Larry always uses some type of release between the coils, base, and rim of the pot. form and the clay. He has used everything from WD-40 to Using drafting dividers (or a compass), Larry measures cornstarch to plastic bags as release agents. the circular base of the mold and cuts the clay to the same To create an elevated turntable for supporting the form, dimension (fi gure 1). Using the dividers automatically Larry attaches an inexpensive metal turntable to a square bevels the outside edge of the circle at an angle, so that of plywood. He secures a 2×4 wooden block to the ply- the fi rst row of slabs lays fl at against that surface. The wood and attaches a cardboard tube (used for concrete hole that remains in the middle of his 6-inch circle assists forming) to the center block. Larry lays non-slip shelf in centering and can be fi lled in later or left as the planter’s lining to the top of the tube and then rests the form on drain hole. top. Of course, using an upside-down form without the From another slab he then cuts 2¼-inch-wide strips turntable works too, but this tool provides easy access to that are up to two feet in length. Each strip is cut in half all sides of the project and allows the mold to turn as he at a 45° angle (fi gure 2), minimizing the cleanup needed builds, again conserving time. on the inside of the bowl and allowing for a wider area of contact between slab/coils. The slabs are scored, spread Slab Coil Construction with slip, with the square edge overlapping the beveled To make this planter, Larry uses a form with a 6-inch edge of the previous slab. The process of putting the circular base and a 20-inch diameter rim. He covers the slab coils together creates the lapped pattern (fi gure 3). mold with a plastic bag to facilitate its removal later. He Larry fi nds that these visible construction methods yield 5 begins by rolling the cone 4 earthenware clay using /16- intriguing design elements. He selects various stamps to

18 PotteryMaking Illustrated | May/June 2012 5 6 Roll out and cut four equally sized trapezoids to use as a Score, slip, and join the four sides to form a base. Allow to base. Stamp in designs and shape them to look like legs. air dry to leather-hard before attaching to the bowl.

7 8 Score, slip, and attach the base to the bowl. Add a coil Add a coil to the outside edge of base as well. Stamped inside the base for strength. designs add aesthetic value and create a strong joint.

press into the clay, adding texture and strength to each row (fi gure ).4 Creating the Base Building this large pot takes less than an hour, since Larry enjoys recycling items each slab coil equals about three to four traditional coils. After smoothing edges with a fl exible rib, Larry he fi nds around the house or allows the bowl to dry upside down on the mold while discovers on trash day to use creating the base. as tools. Grapefruit knives, He rolls and cuts four equal trapezoids from a rolled bubble wands, buttons glued slab. Each one measures 4 inches wide at the top, 6 inch- es wide at the bottom, and 6 inches in height. He bevels onto dowels, even a suction tool the side edges to optimally fi t together. A stencil cut out from the dentist, all create on the bottom edge of each base piece creates the look interesting designs. “There is of four legs, rather than a solid square bottom (fi gure 5). no limit to what you can fi nd Larry presses various stamps into the four base piec- es, creating a fl ower pattern, and allows them to reach that will make interesting a leather-hard state. He then scores and adds slip to textures,” he notes. the edges of the four pieces and attaches them to form the base (fi gure 6). A reinforcement coil is added to the

PotteryMaking Illustrated | May/June 2012 19 9 10 After air drying to leather hard, carefully turn the planter Remove the plastic bag and the mold. Clean up any gaps right-side up. with added slip and coils.

11 12 Add a coil to the inside of the rim to widen the lip. Mea- Curl up the overlap of the rim and make two cuts, curling sure and attach four overlapping curved slabs. them into three decorative feathers.

1 inside of each joint and smoothed. He stamps additional rim is composed of four 1 /4-inch wide strips that are designs on the edges of the base to decoratively bond about 2 inches longer than one quarter of the circumfer- pieces together. ence of the opening (fi gure 11). When laid end to end, they completely cover the rim and allow for some deco- Joining Forces rative fl air that echoes the shape of the base. He gently Next, he planes the narrower top of the base to ensure good curves them into the approximate arc of the opening and contact with the bowl. Scoring both the bottom of the bowl allows them to dry until fi rm, but still workable. Larry and the top of the base, he joins them with slip (fi gure 7). joins them, one at a time, to the top of the bowl, scoring Reinforcing coils are added. The coil along the outside and slipping the underside of each one to attach. Each of of the base and bowl provides extra strength. Stamping the four arcs receives two cuts on one end, and these are this outside coil secures it in place while adding visual in- curled up into three “feathers” (fi gure 12). Using a rib, terest (fi gure 8). Larry smooths the top rim carefully. After bisque fi ring, Once the base is strong enough to support the bowl, Larry sprays on his glaze and fi res to cone 4 to complete Larry carefully fl ips the piece right-side up (fi gure 9). He the piece. ■ gently removes the mold and slowly peels the plastic bag from the inside of the planter. The beveled edges of the Larry Elardo teaches pottery at Essex Art Center and Two Riv- slab coils leave a fairly smooth interior to the bowl, re- ers Ceramics in Massachusetts. To see more of his work visit www.mstreetpotters.com. quiring minimal time smoothing with a rib (fi gure 10). Larry adds a rolled coil to the inside top edge of the Gale Batsimm is a freelance writer and arts enthusiast who lives bowl, establishing a wider lip to support the rim. The in Massachusetts.

20 PotteryMaking Illustrated | May/June 2012 If you can’t stand the heat... get a Vent-A-Kiln!

not only important to exhaust fumes from kilns. I need “It’sto remove the excess heat that rises and escapes from kilns to keep my studio comfortable without wasting money cranking up the air conditioner.” “I installed Vent-A-Kiln over 5 years ago because a downdraft system does not remove excess heat like Vent-A-Kiln does. My studio remains comfortable, and I’ve also found that Vent-A-Kiln helps my kilns reach the right temperature faster – another money saver.” New Report on Kiln Ventilation Facts & Figures Get your FREE copy of the test GeGetttthehefrfreeeemobile appfpfororyoyoururphphonone e results. Gehhttpttttphe:/://gfr/geeetetmotatag.bilemoapbibipfor your phone http:/ /gettag.mobi

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PotteryMaking Illustrated | May/June 2012 21 Layerby Corn Duster, 17 in. (43 cm) in, handbuilt earthenware with hand-cut stencils, slip, sgraffi to, underglaze, and terra sigillata. Single fi red in oxidation to cone 04.

Layerby Kip O’Krongly

y work in clay is intimately connected to the The following leads you through my current process of exploration of layers. The physical layers handbuilding and decorating a platter. Hopefully this tu- built up through ceramic processes allude to torial will encourage you to bring these surface approach- the more abstract layers of issues currently es off the page yourself and explore the many possibilities occupyingM my pots: Questions about food production, at your own studio table. energy use, and transportation. While investigating these intertwined themes drives my current studio practice, the Making Stencils foundation was laid over twenty years ago during my Before I make a platter, I come up with a design and stencil childhood in Alaska. There I witnessed fi rsthand the dev- for the imagery. Stencils can be as simple or as complex astation wrought by the Exxon Valdez oil spill of 1989. as you like, but I fi nd the detail that’s achievable an excit- Decades later, the subconscious remnants of this expe- ing aspect of the process. You can work from any draw- rience came to the surface while reading The Omnivore’s ing or photograph, but high contrast images are the most Dilemma by journalist and food activist Michael Pollan. straightforward to cut. Once you select an image, make a Through Pollan’s writing in this book, I fi rst came to see photocopy (don’t ruin your original!), and use a permanent the intimate relationship between our food system and marker to clearly delineate the areas you will include. All of oil—a story so compelling that I’ve worked to translate the sections you intend to retain in the fi nal stencil must be his words into pots with meaningful imagery, to bring connected to the whole or they will drop out of the image. challenging ideas off the page and place them fi rmly in I cut stencils out of thin plastic tablecloth, which makes reality as physical functional objects at the table. While them reusable. Since these cutouts often take more than I’ve expanded beyond the bounds of The Omnivore’s Di- four hours to create, I cut through as many layers as possi- lemma, I continue to draw on many of the core concepts ble at one time to create multiple stencils. If you leave the contained in Pollan’s book as I create my ceramic forms tablecloth folded out of the package, you’ll cut through and surfaces today. six layers of plastic, and end up with six identical stencils.

22 PotteryMaking Illustrated | May/June 2012 After choosing your imagery and determining the areas to be cut away, tape the photocopy to the still-folded plas- tic (figure 1). Using a fresh X-acto blade and working on a self-healing mat, begin by cutting the interior sections of your stencil. Starting with interior cuts provides the most structure possible during cutting. Compress delicate areas to prevent the layers of plastic below from shifting out of place (figure ).2 Try to begin each cut from one end of a line, cut to the midpoint, then cut from the other end to meet in the middle. This method helps avoid inadvertently slicing beyond joints. Have tweezers on hand to remove small areas as you cut, so you can see your progress. Once all interior segments are removed (figure 3), care- fully cut along the exterior image border to release it from 1 the surrounding plastic. If you’re careful, you can use the negative image as a stencil as well. For this particular proj- Tape a photocopy of your image to an unopened section of tablecloth. Retain the black areas of the crop duster and ect, I cut four stencils: One crop duster from a full-size cut away the white areas. copy of my original, one stencil of the dust using a second photocopy of the original, one stencil from a photocopy of my drawing reduced to 75% of the original size, and one from a 50-percent sized copy (plus a few canaries to add into the dust). Once all stencils are cut, you’re ready to build a form for surface application. Building a Platter Platters are an ideal base layer for surface decoration. To form a platter, drape a ½-inch thick slab over a bisque mold (figure 4) and attach the foot immediately after draping. Once dried to firm leather hard, flip the platter and attach a coil rim (figure 5). I roll out or extrude a coil, then lay it in a spiral on a banding wheel. With the platter on another banding wheel, I attach the coil, then slowly spin the plat- 2 ter’s banding wheel as I work. This makes the other band- ing wheel spin as well, so the coil always feeds to the rim at Cut interior sections of the stencil first to keep the stencil the same spot. Let the rim and platter set up together under as strong as possible. Compress delicate areas to keep plastic overnight. The following day, mask out the rim and plastic from shifting. foot with latex to protect from slip while decorating (figure 6). I use Laguna’s Goodrich Latex because it is water based (no stinky ammonia, and it can be thinned with water). Ap- plying latex allows freedom of gesture with slip decoration and gives a clean, crisp line when removed. Let the platter with latex set up under plastic another 24 hours prior to decorating. This extra time under plastic makes for easier latex removal following surface work. Layering the Surface Plastic stencils adhere best to leather-hard clay—keep forms well wrapped prior to decorating. Once you have determined placement for the first layer of stencils (three crop dusters in this case), tack them down with a small 3 brush dipped in clean water (figure 7). The beauty of us- ing this thin plastic is the ability to see water spread under The stencil with all interior sections removed, prior to cut- the stencil, which helps ensure edges seal to the clay. Use ting the exterior. as little water as possible—just enough to make the clay surface tacky. If you use too much water, the stencil will “float” on the clay rather than stick.

PotteryMaking Illustrated | May/June 2012 23 The ProceSS

4 5 Drape a ½-inch thick clay slab over a bisque hump mold. After allowing the clay to set up overnight, attach a coil Trim the edge and immediately attach a foot ring. rim to the platter.

6 7 Mask all areas that you want to remain bare with latex and Tack the first stencil down with water once you’re satis- let set for 24 hours under plastic. fied with the placement.

8 9 After the base layer of stencils is secure, apply a layer of Sgraffito areas of drawing into the surface. Note the crop slip over the surface. duster stencil still under the slip. 24 PotteryMaking Illustrated | May/June 2012 The ProceSS

10 11 12 Mask out any areas of corn that fall With the dust stencil set, brush under- Apply the canary stencils and more un- within the dust stencil using latex. glaze into the unprotected space. derglaze, then remove the bird stencils.

13 14 When the surface returns to leather hard, peel the protec- Next remove all layers of stencils and clean up any areas tive latex coating off of the corn imagery. where the slip bled under using a sgraffito tool.

15 16 Sgraffito in the corn tassels and any other details you If single firing, apply glaze prior to removing latex from would like to add. the rim and foot. PotteryMaking Illustrated | May/June 2012 25 Following the lines of your cutout, gently work the stencil remove each canary stencil with tweezers (figure 12). into the clay. If you’re decorating a curved form (concave in When the surface is back to leather hard, carefully re- particular) your cutout may need to fold to accommodate move the latex masking the corn (figure 13) along with the shape. Encourage folds that disrupt the image as little all layers of stencils (figure 14). Note that if you remove as possible and take extra care to ensure edges firmly ad- stencils too early, the slip may run underneath. In con- here. Once the first layer of stencils is set and no wet areas trast, if you wait too long, the edges may be ragged. Try remain on the clay, brush slip over the surface (figure 8). to find a window where slip is firmly set, but not yet dry. Apply with care so that if brush strokes show, they appear (If slip has dried too far, mist with water to soften before intentional and fit with the movement of the piece. removing stencils.) If you find spots where slip has bled After the slip sets to leather hard, use a very soft pencil under your cutouts, use a sgraffito tool to scrape the clay to sketch out areas of sgraffito. A light spritz of water will body clean. Alternatively, use a small brush with water erase pencil lines. I use a Kemper K23 tool for most sgraf- to “erase” any areas of unwanted slip. Once all stencils fito decoration (figure 9), but sometimes use an X-acto are removed, add final sgraffito details or any other cut- knife or pin tool for variation of line quality. outs to the surface (figure 15). With sgraffito complete (minus the corn tassels), use la- I single fire my work to cone 04, so prior to remov- tex to mask out corn that will fall within the dust stencil ing latex from the rim, I coat the surface with glaze (fig- (figure 10). This results in corn imagery that appears in ure 16). To apply glaze at the leather-hard stage, ensure the foreground and visually pops off the platter surface. that your glaze recipe has a healthy portion of clay so it Once the latex has set (10–20 minutes in this case), apply shrinks along with your piece. If you have minimal clay the dust stencil. Use extra care when adhering this stencil in your glaze, spray the glaze on at the bone dry stage to to avoid marring the slip below. With the dust stencil in single fire. With the glaze firm, remove latex from the foot place, apply slip or underglaze into the stencil area (fig- and rim and let the platter dry slowly. If you’re working ure 11). After the underglaze loses any sheen, add canary with earthenware, apply terra sigillata to any areas of ex- stencils using the above method of stencil application, fill- posed clay at the bone dry stage—to seal the surface and ing them in with additional underglaze. Once set, gently add a lovely satin sheen. cleaning and Storing Stencils To clean stencils after use, place on a smooth surface (a piece of Plexiglas works well) and spray liberally with wa- ter. As you spray the stencil, it relaxes and becomes easy to manipulate. Gently blot clean with a sponge. Once dry, the stencil will stick to the Plexiglas until next needed. Note that the more complicated your stencil, the more likely it is to twist up following use. To help with untangling, choose a plastic tablecloth that has a pattern on only one side. That way, you can easily identify which side is up and which is down as you clean and reshape your cutouts. Working with stencils provides the free- dom to explore possibilities of repeating imagery in different combinations and on different forms. While there is an ini- tial investment in creating a new cutout, once cut, there are many decorative pos- sibilities. Since this process works at any firing temperature and to range from simple shapes to intricate designs, I find this surface method a valuable and in- spiring studio tool.

Kip O’Krongly is a studio potter currently working in Minneapolis, Minnesota. Since 2008 she has worked at Northern Clay Center as a Fogelberg Fellow, the material technician, and an instructor. Most recently, she was awarded the 2011–2012 Anonymous Potter Fellowship. See more of her work on her website www.kipokrongly.com.

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28 PotteryMaking Illustrated | May/June 2012 Fast-Firing SaggarS by Linda and Charles Riggs

Saggar-fired vase with steel wool patterning and acrylic spray.

aggar firing is many times can be large and built of refractory referred to as “pit-firing in a brick, fiber, or large clay containers pot.” This is due to the fact that can hold many pots, or smaller that the materials used in sag- clay containers that fire just a few garS firing are the same as many of the pots. A saggar is placed in a kiln and materials one would find in a pit fir- when fired, it has its own environ- ing: wood shavings, salt, copper car- ment separate from the larger kiln. bonate, and steel wool. During the firing, the pot in the sag- A saggar is a closed chamber that’s gar is fumed with carbon (smoke), fired inside of a kiln. These chambers and chemical vapors.

PotteryMaking Illustrated | May/June 2012 29 1 2 3 Spoon 2–3 tbsp. of a salt/copper car- Place the pot, covered in steel wool, Place the top half of the saggar over bonate mix into the saggar. in the bottom half of a saggar. the pot.

The saggars we use are two clay bowls set rim to rim with the pot and firing materials inside. They are small Saggar Firing Process 1. Place several handfuls of wood shavings into the bottom enough to fit in a raku kiln and for best results contain half of the saggar. only one pot. We have chosen to fire saggars in raku kilns 2. Spoon 2–3 tbsp. of a salt/copper carbonate mixture because we are raku potters, own raku kilns and are ad- around the outside edge of the saggar (5 parts salt, 1 part dicted to quick results. Our saggar fires are finished firing copper carbonate) (figure 1). in about 90 minutes with a 2 hour cool down. 3. Pull apart some #3 steel wool. Arrange the strands on the We make the saggars on the wheel and use a clay body surface of your pot. with enough grog to withstand the fast heating and cool- 4. Place this pot in the bottom half of your saggar (figure 2). ing. The pot inside the saggar is made from smooth stone- 5. Place the top half of the saggar over the pot, rim to rim ware or porcelain (cone 5–10). To enhance the beauty of with the bottom half of the saggar (figure 3). Check your fired pot, we recommend polishing it with terra si- to make sure the rims of the bowls aren’t completely gillata or it to a satin or shiny surface before sealed so that some of the smoke can escape during bisque-firing (cone 010–06). the firing. 6. Place the saggar in the raku kiln and fire it (see the Fir- ing Schedule on the next page)(figure 4). After cooling, remove it from the kiln and open it. Your finished pot will vary in color or combinations of colors: black, gray, white, peach, orange, and pink. The steel wool adds interest and designs on the pot’s surface (figure 5). Clean the surface of the pot with a soft rag (figure 6). The pot is then ready to be polished with wax or sprayed with a satin or gloss artist’s charcoal fixative or a non-yellowing acrylic spray.

30 PotteryMaking Illustrated | May/June 2012 4 5 6 Place the filled saggar in the raku kiln After cooling, remove the saggar Clean the surface with a soft rag then and fire it. Note the loose fit of the from the kiln, and open it to reveal polish with wax or spray with an art- saggar halves. combinations of colors and steel wool ist’s charcoal fixative or a non-yellow- patterns on the surface. ing acrylic spray.

Troubleshooting Saggar Firing • The pot is too black/dark with no markings from the steel wool. The firing cycle is too short or too cool. Increase the soak time by 5 minutes and temperature by 50°F. • Pot comes out too pale. Decrease the time at maxi- Firing Schedule mum temperature by 5 minutes. • Steel wool sticks to the pot surface. Decrease the max- Take 15 minutes to reach 1000°F. Increase amount of imum temperature by 20°F at a time until the wire gas every 7–8 minutes to achieve a steady temperature leaves color but doesn’t weld itself to the pot surface. climb. When you reach 1650°F, soak for 20 minutes. • Fingerprints show up on pot surface. Use surgical After the soak, turn off the kiln and allow it to cool down gloves while handling the pot during trimming and ap- to 200–300°F before you open it. Wearing protective plying the terra sigillata. Also, wear gloves while han- gloves, remove the saggar from the kiln. Only open it dling the pot any time before bisque firing. after it has cooled to reduce the thermal shock on the • The pot has cracks. Leave it in the saggar to cool off piece inside. longer. We have only experienced pots cracking when we have unloaded the pots too early. Wait until you can touch the saggar with your bare hands. • The saggars develop cracks. Use kiln cement to fix the saggar. Smooth the cement into the cracks or if the sag- gar has come apart, put it together again using the kiln cement as mortar. n

Linda and Charles Riggs are featured in the new Naked Raku and Related Bare Clay Techniques book by Eduardo Lazo. Visit ceramicartsdaily.org/bookstore for more info.

PotteryMaking Illustrated | May/June 2012 31 32 PotteryMaking Illustrated | May/June 2012 Throwing

Bowlsby Richard Phethean

aking bowls requires different skills to mak- hollowed down to about 12 mm (½ in.) and opened out ing cylindrical pots, with perhaps the most with a curved base. significant difference being the switch of em- With the wheel turning at medium speed, lubricate the phasis from the exterior outline of the form to wall inside and out and place your fingertips at the base of theM interior surface and shape. Broadly speaking, all forms the inside and outside of the opened ball (figure 1). develop from a narrower diameter than they have in their Lift the wall upwards into a flowerpot shape (figure 2). final form, so where a cylinder grows from a cone shape, I find the fingertips to be adequate, and more sensitive to a bowl grows from a flowerpot shape. subtle variations in thickness, for throwing small bowl We can of course make bowls with flat bases, but when shapes. Lightly compress the rim with your fingertips. making a bowl with a rounded interior form, a second, dis- Slow the wheel for subsequent pulls. Gently flare the tinct refining and finishing process is used at the leather- walls outwards and take care not to over-thin the middle hard stage. The process is known as trimming or turning, (figure 3). and is used to create a ‘foot-ring’ on which the form stands. You have reached the final width and height: A ‘V’ shape Note that the shape of your centered clay needs to vary rises from a curved interior base, sloping outwards gently according to the width of form you intend to make. In the to the rim like the bell of a trumpet. It is always a good diagram on p. 34, the centered dome shape is superim- idea to steady and reinforce the rim by briefly using the ‘H’ posed over the cross sections of three generic forms. hold (finger inside, thumb outside, horizontal finger lightly compressing the rim) (figure ).4 Throwing a Small Bowl Sponge dry the interior then use a rounded rib to form When you are making wider, open, or shallow forms, the the shape and finish the inside surface of the bowl (figure speed of the wheel needs to slow more, and slow sooner, 5). Press the rib firmly into the center of the bowl, angled as the form grows, or the centrifugal force can cause the slightly in the direction of the wheel’s spin, and slide up pot to collapse. To make small bowls for cereal, soup, or into the wall with decreasing pressure to compress the clay dessert, or for making tea cups and saucers, use around and to unify the curve of the base with the wall to cre- 350–650 grams of clay. Here I’m using 600 grams. The ate a seamless, continuous shape. Support the wall on the clay has been centered into a slightly shallower dome, outside with the fingers of the right hand and form a con-

PotteryMaking Illustrated | May/June 2012 33 1 2 Center and open ball of clay, then Pull the walls up into a flowerpot place the fingers of both hands at the shape, thinning via pressure from your base, both inside and outside. fingertips as you pull up.

3 4 The diameter of the centered ball of Gently flare the walls outward. Avoid Compress the rim after each pull, and clay depends on the width of the final thinning the middle section and rim after the final diameter is reached by bowl form. too much. placing fingers in an H shape.

5 6 7 Define the final curve of the bowl us- Make a deep undercut at the base of Run a cut-off wire between the bat ing a rib. Support the outside wall as the wall using a wooden knife. Take and the bowl, place four fingers un- you complete the curve. care to avoid distorting the shape. der the foot and gently lift.

trolling link to the rib with the thumb. Refine the rim as Wire the pot off the wheel head and tuck wet, forked described in step two. fingertips underneath. Lift off figure( 7) and gently place You can’t pick up a shallow open shape with your palms the bowl on a board. Correct any distortions when the as you would a narrow cylindrical form, but a small bowl shape is leatherhard. with a narrow base that is sufficiently thick for turning Many potters prefer to wet the wheel head around the can be lifted or slid off the wheel. If the bowl is larger or pot and then wire through once or twice. With a push at has a wider and shallower form, throwing it on a bat may the base, the bowl should slide off the wheel on to your be essential. hand or a bat on a film of lubrication. However, the pot Sponge dry the wheel head around the pot. Make a deep will then be glued onto whatever it is placed on and will undercut at the base of the wall, taking care not to distort need wiring off again later, so this method is only advised the interior shape as you do so (figure 6). when trimming is intended.

34 PotteryMaking Illustrated | May/June 2012 The illustrations above show cross sections of the bowl being thrown in the photographs for steps 1, 3, 4, and 5 at left.

bat, another clean bat should be placed on the rim and the pot should be inverted, sandwiched between the two bats. Alternatively, pots may be partially covered. A rim can be E wrapped or capped with thin plastic—kitchen bin liners are ideal—to slow the drying process. Super-absorbent fire- C B proofing sheet materials can be cut into planks and used D as pot-drying boards, which equalize the drying top and bottom. To preserve pots untouched and allow them to dry evenly, use a rigid airtight container or ‘damp cupboard’. A Leatherhard ‘Leatherhard’ is the term most often used to describe the Common Problems state when clay is stiff but damp, and in a suitable condi- A Too narrow a base is the most common cause of tion for all the remaining finishing processes—applying problems when making bowls. handles, lugs, knobs and spouts, trimming and turning. B Without a suitably wide foundation for the type Clay in the semi-dry state becomes more rigid but stays of bowl being made, the walls will often droop slightly pliable, not unlike thick leather or hide. You can outward, causing a ridge on the slope of the inte- handle the pot safely without distortion, while the material rior, or even a collapse. remains moist enough to attach handles and soft enough C A thin or weak point in the wall may also cause to carve into. The hardness of clay in the leatherhard state a collapse. The clay being off-center could be a will vary from being soft like cheddar cheese to hard like contributory factor. chocolate. The clay should still be a uniform color. D Failure to create a nicely curving base breaks up the aesthetic line of the bowl’s interior. A weak, Trimming thin point will leave the base prone to cracking. When is a pot ready to trim or turn? It is not easy to give E As the bowl’s diameter is widened, its rim thins a definitive answer to this question, because the needs considerably, so unless the rim is thick enough of different shapes and sizes of forms, types of clay and during the initial stages, the finished rim will be wares, and personal preferences of potters are too vari- weak and thin. able to sum up in a universal rule. The answer ‘when it is leatherhard’ is too general. A better rule to apply would be ‘as soon as the pot is stiff Drying enough to work on without it becoming distorted or dam- Confusion can arise over the terminology that potters aged’. As a general guide, the base area that will be turned use to describe the condition of the clay. These important should be soft enough to mark with a thumbnail but terms refer to different stages of the making process that not so soft that a fingertip will make an impression. The come at crucial stages in the drying cycle. The knack lies trimmings should have the consistency of grated cheese – in getting the clay to the state you need at a convenient when squeezed in the hand, they will just stick together. time when you can work with it. If the trimmings are crumbly like grated chocolate, the A pot begins to dry from the moment it is made. In a clay is already on the borderline, and if they are like iron warm, dry, well-ventilated atmosphere, the water evap- filings, it is too dry. orates out of the clay much more quickly than in cool, humid, airless conditions. The thin extremities, such as Trimming tools the rim, will dry first. This is indicated by a change in the Trimming/turning tools have a sharp steel edge to pare clay’s color—it begins to lighten. But this is undesirable away the leatherhard clay. Some are all metal with a when there is further work to do on the pot, so ways to right-angled blade, others are wire loops—also called even up or equalize the drying must be employed. ribbon tools—which I prefer. The one I use is a home- As soon as the rim is stiff enough, turn the pot over and made loop of steel banding wire, which can sometimes allow the base to dry too. With wide shapes thrown on a be found discarded at construction sites.

PotteryMaking Illustrated | May/June 2012 35 Planning a trimmed foot-ring on a bowl Before you begin turning, it is helpful to make a few measurements and marks on the form as a guide to where and how much to turn. B Set the bowl upright on a flat surface and hold a pencil A or stick upright against the rim. Mark the rim height ei- ¹⁄³ D ½ E ther with a pen or with your finger (see A in illustration at right) on the pencil. Stand the pencil in the center of the C bowl, and line up the near and far rims by eye. The dif- ference between the mark and the rim gives you the base thickness at its thinnest point (B). Look down the line of the wall from above the rim. Run a finger and thumb down either side of the wall to where it begins to thicken and mark that point (C). The diameter of the foot-ring will vary according to Mark the base and outer wall of your bowl for trimming the shape, width, and style of the bowl, but as a rough away excess clay to create the turning a foot-ring. guide, it will be between one-third and one-half of the Count ‘1-2-1-2’ each time the pot touches your fingertip rim’s diameter. Use a pair of calipers to measure this to pick up the rhythm. approximately (D). When you begin turning, with the Tap the pot towards the axis of the wheel on the beat wheel at a medium pace, this caliper measurement indi- ‘1-2’. Tap slightly in the direction of spin. If the pot is small cates the foot-ring width. and light, apply light pressure on top of the pot with a fin- Lastly, and most importantly, study the curve and line ger of your other hand to act as a brake. of the bowl’s interior (E). You are aiming to reflect this Once centered, stop the wheel and hold the pot firmly in the turning and you should keep it in your mind’s eye with one hand while you press three small coils of clay throughout the process. into place around the rim to fix it to the wheel figure( 9). Use calipers to mark a light ring on the base for the Trimming the bowl outer edge of the foot-ring (figure 10). Place your pot as close to center as you can. Use the With the wheel spinning at medium pace, turn a groove concentric rings on the wheel head to guide you, but to establish the width and approximate depth of the foot- you may still need to adjust the pot’s position. An in- ring (figure 11). Note how the fingers of the left hand valuable trimming technique, tapping into center is bridge the pot and turning tool throughout, acting as a the fastest way to center a pot (figure 8). However it is stabilizer. The speed of the wheel should be brisk and you difficult to describe and takes practice to learn and do should hold the turning tool firmly at a 3 o’clock position, quickly, so try it with a plastic bowl for a few minutes using the slip tray to brace your forearm. every session. Now trim the clay from your marker on the wall (C in Revolve the wheel at a slow/medium speed and hold the illustration above) to the base of the foot-ring, using a steady fingertip level with the base of your upturned the memory of the bowl’s internal form to guide you in pot, keeping it close enough so that the pot brushes your terms of the curve you want to achieve (figure 12). finger on the widest point of its trajectory. Focus the eye Note: When the pot starts getting too dry, the turning on the edge of the base (where the turning is to be done), tool ‘chatters’ or vibrates on the surface, causing ridges. not on the rim of the pot. Dampen the surface with a sponge and continue.

8 9 10 Tap or move the upside down pot so Press coils of clay down onto the Use calipers to mark a light ring on the that the base is centered. wheel head around the bowl’s rim. base for the outer edge of the foot.

36 PotteryMaking Illustrated | May/June 2012 11 12 13 Trim a groove at the line made by the Trim the clay from the mark on the Trim the inside of the foot ring, con- calipers to establish the foot’s edge. wall to the base of the foot ring. tinuing the curve from the wall.

14 15 16 Bevel the inside and outside edges of Remove the bowl and examine it. A cross section shows the evenness of the foot ring for a neat finish. Check for weight, shape, and balance. the wall, and continuous lines.

Keeping in mind the thickness of the base you mea- sured earlier, trim inside the foot-ring (figure 13), taking Common Trimming Faults care to continue the curve of the form and giving the Problems generally arise from trying to turn pots foot-ring a similar weight, thickness and quality to the while the clay is in an inappropriate condition. If it form’s rim. To prevent too much downward pressure is too soft, the process will cause the form to distort against the base, use the tool at a very shallow angle. badly. If too dry, the pots will tend to be dislodged Give the pot a functional and neat refinement with by the force needed to cut into the clay, ending up a shallow bevel to the inside and outside edges of the cracked or spoiled. foot-ring, smoothing it with a firm fingertipfigure ( 14). A classic example is illustrated below: the curve of Before you remove it from the wheel, have a look at the outside wall (A) does not follow the line of the the bowl at eye level. Mentally remove the foot-ring interior. This creates an uneven thickness (B) and a and examine the shape. Does it reflect your memory of weak point (C), where the pot may be cut through the interior form accurately? or left so thin that it may crack or slump in the kiln. Now remove the lugs of clay and look at the bowl The thickness and weight of the foot-ring make it too (figure 15). Rock it from side to side in your cradled square (D) and bulky (E) in relation to the bowl’s size. hands. It should feel balanced, not bottom-heavy, its Inside the foot-ring, the base has been trimmed too flat, weight evenly distributed. Run a thumb and forefin- again failing to follow the interior shape and causing ger down either side of the wall to feel for thicknesses. a distortion (F). Compare the interior and exterior curves. Look at the pot in section, to examine the evenness of the wall (figure 16). Notice how the shape now cor- responds inside and out, as well as the subtle but vital B F C increase in weight at the foot-ring and the rim. n A Richard Phethean has been a potter for more than 30 years. He has been teaching at University of Westminster, Harrow Col- E lege since 1995 and a Resident Potter at Sibford School since 2001. This article is an excerpt of his upcoming book Throwing due out in August 2012 being co-published by The American D Ceramic Society and A&C Black, London.

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PotteryMaking Illustrated | May/June 2012 39 presents Top Artists and Their Techniques

deborAh SchwArtzkoPF SAndi PierAntozzi explores mArk PeterS demonstrates demonstrates making functional the infinite possibilities of working creatively altering wheel-thrown vessels using a variety of with textured slabs and templates functional pottery on the wheel throwing and handbuilding by simply asking “What if?” then assembling forms after off construction techniques. 3 hours - $69.95 the wheel. 2 hours - $59.95 3 hours - $69.95

In this installment of the Ceramic Arts Daily Presents Video Series, Amy Creative Forming with Custom Texture Sanders leads you through her process of creating richly textured ceramic work. To develop her surfaces, which are reminiscent of nostalgic, vintage, and historic fabrics, Amy has created a vast array of homemade texturing ceramic artsdaily tools. She starts off the video by demonstrating how to make these stamps, rollers, sprigs, texture plates, and more. With her straightforward instruc- presents tion, you’ll be able to develop your own vocabulary of marks to use in your work. Amy also demonstrates how to mix and match these textures in a number of forming projects, including her signature quilted wall piece. This 4-Disc Set! presentation will provide you with a wealth of inspiration to help you person- alize and energize your work. Creative Forming – Jennifer Poellot Harnetty, managing editor, ceramicartsdaily.org with Custom Texture Personalizing Handbuilt and Wheel-Thrown Work with Amy Sanders

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Amy Sanders first discovered clay as an undergraduate student studying biology at Centre College in Danville, Kentucky. She quickly switched majors and graduated with a BA in art and secondary education. Amy has been teaching throwing and handbuilding classes at Clay- works Studio in Charlotte, North Carolina, for 11 years.

In addition to exhibiting her work and presenting work- daily video library ceramic arts shops nationally, Amy was an artist in residence at Mc- Coll Center for Visual Art, and completed a large-scale public art tile project for the city of Charlotte in conjunc- tion with a residency at Garinger High School. To learn more about Amy and see more images of her work, please visit www.theretherepottery.blogspot.com. Running Time: approximately 5 hours ceramic artsdaily.org Copyright 2011 The American Ceramic Society g ceramic arts daily video library

erin FurimSky uses a variety Amy SAnderS demonstrates of techniques and materials to her process of developing the demonstrate how you can create tools and techniques you need to visual depth to your surfaces. create richly textured handbuilt 2 hours 45 minutes - $69.95 and thrown pieces. 5 hours - $99 ceramicartsdaily.org/bookstore40 PotteryMaking Illustrated | May/June 2012 866-672-6993 instructors fi le Making a Double-Walled Vase by T. Dubis and Pam Luke

onstructing a double-walled vase requires little Once the fi rst pull is complete, begin the second pull. more skill than throwing a conventional vase. It This should start about half an inch to an inch above Cis simply an amalgamation of several different the wheel head. Pull the clay out at approximately a 45° parts—most of which are easy to throw. However, like angle. Leave this section on the bat, remove the bat from any discipline, whether playing a guitar, shooting pool the wheel head and set it aside. or throwing pots, the more skilled the maker—the more refi ned the fi nal product. This process involves assem- bling four parts in order to create a vase. The interior vase body (fi gure 1a) and the upper part of the exterior vase (fi gure 1b) are created fi rst then attached to one an- other (fi gure 1c), next, the lower part of the exterior vase (fi gure 1d) and a neck (shown at the top of fi gure 1e) are thrown and assembled (fi gure 1e). Process b First, measure out four balls of clay using a ratio of 1:2:3:6. This is an elastic ratio, although you may want to stick to it until you are more comfortable with the process. The neck requires the least amount of clay; therefore, its weight should be the basis for the rest of a the pieces. If, for example, your smallest piece of clay weighs ¼ lb, the other three balls of clay would be ½, ¾, and 1½ lbs, respectively. Timing the throwing and combining of the forms is the most challenging aspect. The dryness of the clay is very crucial. The components should be a soft leather-hard for assembly in order to accept the stresses placed on c them, and yet, should have some fl exibility and be wet enough to ensure a strong joint or seam. When possible, do the throwing and assembling at the same time. This method allows for adjustments, which ensure a better fi t between the component parts. Throw the Exterior Neck and Shoulder To create the neck and shoulder of the vase, which is basically a bowl form (fi gure 2), take the second ball of clay, center it, and open it to the wheel head. Remem- ber to keep the clay thick at the top of your pull. This d e element supports the most weight in the fi nal product and needs to be robust. Expand the opening so that the exterior is as wide as you want the neck of your piece to 1 be. The fi rst pull should be done with moderate pressure. Illustrations showing the four main parts of the double Heavily compress the rim after this pull. walled vase, along with their assembly.

PotteryMaking Illustrated | May/June 2012 41 Interior Vase Body Using a set of calipers, measure the opening on the interior of the open-bottomed bowl just thrown. Take the third Photos: Kay Bernier Photos: ratio piece of clay and center it, making it slightly narrower than the caliper measurement. Open the ball to the wheel head and expand the interior opening as much as possible without changing the exterior width of the base. Begin throwing this form. As with the first form, leave a lot of clay at the top of this element. Enclosing it will be done later. Once this piece is to the desired height, begin shaping the form. The shaping should begin approxi- mately 1 to 2 inches above the bat or wheel head. Since 2 the throwing process generates a good deal of torque, it Center the second smallest ball of clay and create an open can be productive to use a heat gun or torch to dry out the bottomed bowl form for the shoulder of the vase. bottom of this section before shaping begins. Once you have the desired shape, enclose the form. The best method is to throw the extra clay at the top as if throwing a long neck. With the wheel slowly turning, collar in the neck element until the piece is fully enclosed (see figure 3). Once the form is enclosed, the trapped air will actually support the work. Cut the piece off the bat or wheel head and set it aside to firm up to leather hard. Combine First Two Sections Place the bowl form back onto the wheel head. Lightly score and slip the interior of this piece. (Tip: A few ounces of vinegar added to the slurry bucket can make a good slip.) Place the second form inside of the first (figure 3). If it is too large, you can use a scraping tool to shave a little bit 3 of clay off of the interior of the first form. If it is too small, then it is best to try to collar in the outside clay so that they Place the bulb form inside the bowl, and score and slip to can be pushed together. A difference of more than 1/8 inch connect the outside of the bulb’s rim to the inside of the in the alteration will cause the bowl form to be radically bowl’s bottom edge. off center. Take the bat off of the wheel head and set aside. Throw the Lower Part of the Exterior Take the largest ball of clay, center it on the wheel and open it to the wheel head. Open the bottom so that it is slightly larger than the opening for the neck. Begin pull- ing the form. Again, you will be widening the top of the form—so make sure that there is enough clay to expand it. Take the calipers and measure the diameter of the bowl, which is the shoulder of your vase. Begin expand- ing and shaping the large cylinder so that it has a rim that is the same diameter as the shoulder shape thrown in figure 2, and the curve complements and resolves the curve started by the bowl (figure 4). 4 Assemble the Two Parts of the Vase Throw the bottom of the outer wall, starting with a bot- Again, timing is crucial at this point in the process. tomless cylinder that opens to a curved bowl shape with a Make sure that the component parts are dry enough diameter that matches the shoulder measurement. to handle being assembled but wet enough to create a

42 PotteryMaking Illustrated | May/June 2012 5 Flip the shoulder and bulb form over, and attach to the base.

6 7 8 Throw an open bottomed form to cre- When the vase is leather hard, carve A finished, leather-hard vase, with ate the neck and rim of the vase. Once and pierce a pattern through the outer piercing through the outer wall that it reaches leather hard, attach to the wall. Use an internal supporting cylin- reveals the enclosed vase, ready for top of the shoulder and bulb form. der for highly pierced forms. drying and firing. good seam and so that either edge can be widened or upper exterior wall. This step requires much skill as it puts closed to allow a better fit. a great deal of torque on the piece and requires the neck At this point, flip the interior form and hold it upside to be fairly plastic while the rest of the work is dry. down to see how well it fits into the outer form (figure 5). After measuring the two edges to ensure they are Carve the Exterior of the Vase aligned—score and slip both edges. Once the top of the After assembling the vase, the exterior walls can be piece is in place, cut it off of the bat either by using a cut- pierced and carved if desired (figure ).7 When choosing off wire or inserting the point of a needle tool between a pattern, remember that it should leave enough intact the bat and the clay while the wheel spins. areas to provide structural support to keep the form After placing the two sections together, use a needle from warping during drying or firing. Clay becomes as tool to score the outside wall around the seam. Next, soft near melting as it is when throwing. using a flexible rib, buff the seam to blend and smooth Carving a good deal into the exterior wall can be ac- until it is invisible. complished (figure 8), but this requires one extra form. Throw a small cylinder to act as a brace. The cylinder Throw and Attach the Neck has to be measured to be small enough to fit inside the The neck is the last and easiest of the thrown pieces. Using bottom opening on the exterior wall and be tall enough the smallest ball of clay, the one that was one base unit in to support the interior vase. With this form helping to ratio, throw a cylinder with the bottom diameter the size supporting the weight of the vase, a larger openwork of the opening on the piece. Pull up and collar in the cyl- design can be carved into the exterior wall. n inder, then finish off the rim (figure 6). Once this piece is thrown, attach it to the top of the work—using the same T. Dubis, an artist and author living in Lewisville, Texas, recently scoring methods used to attach other sections. Note For participated in a conference and workshop on ceramics in Croatia. Pam Luke is an experienced fiber artist, instructor, freelance editor, advanced throwers: The neck can also be thrown with the ceramic novice, and art enthusiast. She lives in Weatherford, Texas excess clay left from the forming of the interior vase and with her husband and two children.

PotteryMaking Illustrated | May/June 2012 43 off the shelf The Workshop Guide to Ceramics by Sumi von Dassow

his is an incredibly ambitious book that attempts to cover all aspects of working with clay. The Tbook starts out at the most basic level, with a chapter about materials and tools. It covers the standard forming techniques—coil building, slab building, extrud- ing, and throwing; basic decorating techniques including the use of texture, slips, glazes, and post-firing tech- niques; and numerous firing options from electric kilns, raku, pit, and saggar firing. But wait! There’s more! A long chapter about making molds and slip casting; a fascinating overview of the very new technologies of computer-assisted design and three-dimensional print- ing; and a fairly detailed chapter about screen-printing. There’s even a chapter discussing design, making ma- quettes and technical drawing, and a final chapter about photographing your work and making a portfolio. The authors seem to have an encyclopedic knowledge of clay, and it’s all in this book. Some techniques are covered only briefly—extruding gets one page, indicat- ing they don’t use this forming technique much; and The Workshop Guide to Ceramics by Duncan Hooson and Anthony Quinn burnishing gets only a paragraph. Digital printing of Barron’s, New York, 2012 decals is mentioned, but no information about suppliers www.barronseduc.com is included, not even in an appendix. Perhaps the authors didn’t want to include information that will go out of date quickly. Other topics are covered in some depth, but interest. It is also chock-full of photos of amazing work, not enough for a beginner. For instance, several pages not just functional pottery but lots of sculptural work are given to mixing glazes and describing ingredients, and non-functional vessels, much of which pushes the but I wouldn’t be comfortable with a student mixing his boundaries of what you can do with ceramic materials. own glazes after reading this section. Information about There are also many step-by-step photo sequences of safely handling glaze materials is here, but a beginner processes, from centering and throwing to mold-making, trying to follow the instructions may not find it as it is decorating, and firing. buried in the text and not emphasized. A number of the This book will be a must-have for any institution that glaze recipes call for lead, but the only warning I can teaches ceramic arts, and any serious potter will find lots find advises you to have functional ware tested for lead to learn from it. Any student will, too, though a begin- release. The problem here is that the book is so packed ner will find it overwhelming. The authors are British so with information that it is impossible to read and absorb some terms are a bit different from the American usage it all! However, if you have some knowledge, the book (what we call a ribbon tool is called a strip tool) but by will unquestionably fill in many gaps. and large they do a good job of writing for a world-wide I was impressed by how well organized the book is, readership. Even the glaze recipes call for widely avail- and by the very detailed table of contents. At the begin- able materials. I think this would be a fabulous gift for ning of every section is a mini-table of contents to orient anybody who is interested in clay whatever their skill the reader and to help you quickly find other topics of level is, as long as they enjoy reading. n

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Josh Heim PC-20 Layering Notes: Apply two over PC-55 Indianapolis, IN layers of base coat. Apply two layers Chun Plum of top coat. (Let dry between coats.) over PC-20 PC-20 Blue Rutile PDFs available at LayeringAmacoGlazes.com Photo: TomFerris brentwheels.com George McCauley replace it.” I don’t to ever have expect to hasneverand hadto repaired! be all theclayIcan still handles pileon Brent“My CXC is24years oldand

“I discovered L&L when I bought a beautiful used L&L Lisa Orr discovered L&L kiln in the 1980’s that had been built in the 1960’s. I used it for years. These kilns keep looking in the 1980’s with a used new for decades because of the element holders. Now with the zone control, they fire kiln built in the 1960’s. absolutely evenly from top to bottom. All of this excellent engineering, along with their reasonable prices, make L&L the best electric kiln on the market.”

Lisa Orr has been a professional potter and student of ceramics for over 25 years. She completed an MFA at the NYSCC at Alfred University in 1992 and later received grants including a Fulbright and a MAAA/NEA. Her work is in numerous public and private collections including the Fine Arts Museum of San Francisco and the San Angelo Museum of Fine Arts. Currently she teaches, lectures and shows nationally.

L&L Kiln’s patented hard ceramic element holders Toll Free: 877.468.5456 protect your kiln.