PMI Nov_Dec 04 p0Cover 10/27/04 9:46 AM Page 1
Nov./Dec. 2004
Cheryl Tall: Making Large Sculptures with Small Kilns An innovative modular approach to large sculptures
Thrift Shop Molds 10Steps to Great Bowls Stamped Impressions
4 New How-To Departments • AskAsk PMI • GettingGetting StartedStarted • BeyondBeyond BasicsBasics • SpareSpare PartsParts
$5.00 US $7.50 CAN PMI Nov_Dec 04 p0IFC_13 10/27/04 9:47 AM Page IFC2 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 1
November/December 2004 • PotteryMaking Illustrated 1 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 2
TABLE OF CONTENTS Features 14Throwing a Basic Bowl by Mel Jacobson A step-by-step demonstration for creating the bowl form.
18Making Great Impressions with Stamps by Roger Graham How to make stamps for marks and decoration.
24Making Large Sculptures with Small Kilns by Norma Yuskos A modular approach to large work allows the use of a smaller kiln.
32Spray those Glazes by Kathy Chamberlin Use a spray gun for unique glaze application.
36Creating Plates and Bowls Using Glass Molds by Lou Roess Add texture and designs to your pots using old glassware.
2 PotteryMaking Illustrated • November/December 2004 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 3
Departments 4 Fired Up Another Exciting Moment by Tim Frederich
6 Ask PMI Studio, Kiln and Glaze Problems
8 Getting Started Hints for Even Drying by Snail Scott
10 Beyond Basics Use Your Legs by Mel Jacobson
12 Spare Parts Assemble a Throwing Gauge by Don Adamaitis
40 Off the Shelf Handbuilding Books by Sumi von Dassow
42 Kid’s Korner Nutcracker Candlestick Holders by Craig Hinshaw
48 The Peephole
On the Cover: Cheryl Tall is shown with one of her modular sculp- tures in progress. See story on page 26.
Photo Credit: Thomas Michael Alleman PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 4
FiredUp
Volume 7 • Number 6 Another Exciting Moment Editor • Tim Frederich Assistant Editor • Renée Fairchild Assistant Editor • Jennifer Poellot EDITORIAL ost of my career has been spent as a Marketing Manager • Susan Enderle full-time production potter—25 of my Graphic Design / Prod. • Dave Houghton M Assistant Web Developer • Dianna Williams 37 years in clay throwing thousands of pots a Advertising Manager • Steve Hecker year. To this day, I’m still excited by a new Advertising Serv. Rep. • Debbie Plummer idea or a new form. I remember attending a Publisher • Rich Guerrein hands-on workshop in the mid 70’s presented Editorial Advisory Board by ceramics artist Bruno LaVerdiere on build- David Gamble • Steven Hill • Anna Calluori Holcombe • Mel Jacobson • ing large vessels and sculpture using coils. I Bill Jones • Jonathan Kaplan • Dannon Rhudy • came home hungry to continue working with John Toki • Anderson Turner this technique, a desire I’ve never lost. Editorial, Advertising Not all my attempts were successful, of and Circulation Offices PO Box 6136 course. Whose are? But every time I’m disap- Westerville, OH 43086-6136 Phone: 614-794-5890 pointed, I start fresh just as excited by what FAX: 614-794-5892 Tim Frederich working I’ve learned from my effort. E-mail: [email protected] in his studio. Working on Pottery Making Illustrated is a www.potterymaking.org lot like making a pot. Not everything we try Pottery Making Illustrated (ISSN 1096-830X) is pub- lished bimonthly by The American Ceramic Society, 735 succeeds. But when it does, it’s an exciting moment. Introducing Ceramic Place, Westerville, Ohio 43081. Periodical postage paid at Westerville, Ohio and additional mailing offices. the newly designed Pottery Making Illustrated to you is just Opinions expressed are those of the contributors and do such a moment. not necessarily represent those of the editors or The American Ceramic Society. When I first started doing craft fairs years ago, the work was Subscription rates: 6 issues (1 year) $22, 12 issues (2 displayed on unfinished boards and orange crates. Today, most years) $41, 18 issues (3 years) $58. Add $18 per year for sub- scripptions outside North America. In Canada, add 7% GST displays are slick, architectural-styled booths. So it is with PMI. (R123994618). All payments must be in US$ and drawn on a U.S. bank. Allow 6-8 weeks for delivery. We have a new, up-to-date design from cover to cover, new Advertising: Ad rates and ad information are available on departments and even more helpful advice and ideas. the website or by contacting Steve Hecker at the address above or by phone: 614-794-5809. When I taught firing seminars for the Orton Ceramic Change of address: Send your change of address via email, to the Circulation Department, or on our website. Foundation, and now during the classes that I teach at the local Allow six weeks advance notice. art center, I’m always amazed and thrilled when I see the excite- Contributors: Writing and photographic guidelines are available on request and on the website. Mail manuscripts and ment that occurs when one learns something new. In my first visual materials to the editorial offices. year as editor of PMI—learning, growing, and meeting people at Photocopies: Permission to photocopy for personal or inter- nal use beyond the limits of Sections 107 and 108 of the U.S. conferences and workshops—I see this same excitement when Copyright Law is granted by The American Ceramic Society, ISSN 1096-830X, provided that the appropriate fee is paid someone relates how they used PMI to create work, solve prob- directly to Copyright Clearance Center, Inc., 222 Rosewood lems or learn a new technique. Dr., Danvers, MA 01923 USA; 978-750-8400; www.copy- right.com. Prior to photocopying items for educational class- Each issue of PMI still contains lots of step-by-step instruc- room use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general dis- tion. You’ll find great ideas for planning, creating and succeed- tribution, for advertising or promotional purposes, or to ing with projects from forming to glazing to firing, with easy- republishing items in whole or in part in any work and in any format. Please direct republication or special copying permis- to-understand illustrations, informative sidebars, recipes and sion requests to the Publisher, The American Ceramic Society, PO Box 6136, Westerville, Ohio 43086-6136. technical information. Back Issue: When available, back issues are $5 each, plus $4 I hope you’ll be as excited and pleased as I am with the shipping and handling for the first issue and $1 for each addi- tional copy thereafter. For outside orders outside North changes and improvements you see in Pottery Making America, add $6 ($2 for additional copies). In Canada, add Illustrated. One thing that hasn’t changed, though, is our mis- 7% GST. Postmaster: Send address changes to Pottery Making sion: Providing the information you need to succeed in clay. So Illustrated, PO Box 6136, Westerville, Ohio 43086-6136. Form 3579 requested. let us know what you would like to see to build your confidence and improve your success in pottery making. Please send all sub- missions, questions or comments to me at: Pottery Making Illustrated, 735 Ceramic Place, Westerville, OH 43081; or send me an e-mail: Copyright © 2004 The American Ceramic Society [email protected]. Tim Frederich, Allrights reserved Editor www.ceramics.org
4 PotteryMaking Illustrated • November/December 2004 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 5
Seat optional
WorkStation optional
Purchase Pacifica products between Thanksgiving Day and New Year’s Day and receive a cash rebate from Pacifica!
Whether you purchase Pacifica equipment for yourself or as a gift for someone special on your holiday list, we’ll make it a little more special for all concerned. Purchase any of the following and receive a check from Pacifica to spend any way you like! Product Factory Rebate Pacifica GT 400 Potter’s Wheel $50.00 Pacifica GT 800 Potter’s Wheel $75.00 Pacifica WorkStation $25.00 The Seat by Pacifica $25.00 Rebate Rules: All purchases must be made between November 25, 2004 and December 31, 2004. Request for rebate must include original sales receipt clearly showing (1) Pacifica product(s) purchased including serial number for GT-400 or GT-800, (2) price paid, (3) date of purchase, (4) dealer’s name and phone number, (5) name, phone number and address to which rebate is to be sent. Mail rebate requests to Pacifica Rebate, 14400 Lomitas Avenue, City of Industry, CA 91746. This offer may not be combined with other manufacturer dis- counts or special promotions. Rebate requests must be postmarked no later than January 31, 2005. Allow 4-6 weeks for rebate processing.
Contact your local Pacifica dealer or [email protected] or 800.452.4862 • www.lagunaclay.com PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 6
Ask PMI Studio, Kiln and Glaze Problems
EXPERT ANSWERS path may be a factor. Finally, how you oper- Glaze ate the kiln also can affect heat distribution. Problem Watch the size of the load, thickness of the What is shivering? ware and the stacking pattern; all affect tem- —T.M. perature distribution. So does the heating Q rate—the time needed to reach a tempera- ture; slower firing usually permits more even Shivering refers to heat distribution. To avoid cracking, warping a condition in or poor glaze development it’s very impor- Awhich glaze begins tant to understand and take into account the to pop off the surface of factors affecting heat distribution when firing An example of shivering the ware after the glaze your kiln. firing. It’s caused by a poor fit between the clay body and the glaze. The clay body shrinks more than the glaze surface, placing Cramped for Space? the glaze surface under great compression Do you have any advice on how to causing it to crack and flake off the pot. place my wheel and kiln in a small Shivering typically occurs on the rims and Qstudio space?—B.D. any sharp edges of the ware. Placing a wheel and kiln in a small studio space can be a problem. The Firing Your Ware Akiln needs a certain amount of space What is heat distribution? How does around it (as recommended by the manufac- it take place inside the kiln, and how turer) for safety reasons and to meet fire Qcan it affect the ware?—D.C. codes. In a small space, place the wheel as far away from the kiln as possible to prevent Heat distribution refers to how heat water and clay from being splashed on the is dispersed throughout the kiln kiln. If you must have the kiln in the studio Achamber. The optimum situation space, make sure you have adequate ventila- would be maintaining an even temperature tion and don’t work in the studio while the throughout the kiln. This seldom happens in kiln is firing; fumes from the kiln can be most kilns. For this reason, you need to harmful, attacking the lungs and nervous sys- observe how well heat is distributed in your tem over a period of time. The best option is kiln and balance it when needed. Heat distri- to place the kiln outside the studio, possibly bution can be affected by a number of fac- in a garage or shed. Health and safety should tors. One of them is the position of the ware. always be the first considerations when plan- You can check the effect of placement on ning your studio layout. heat distribution by putting cone packs at various points inside the kiln and comparing the results after firing. The cones will show the hot and cold areas, and provide a general idea of the heat distribution in your kiln. If ASK PMI Send your questions to : your kiln is electric, another factor that may affect heat distribution is the age and place- Ask PMI ment of the elements. If you have a fuel kiln, Pottery Making Illustrated the number and size of the burners and flame PO Box 6136 • Westerville, Ohio 43086
Although we can’t respond to every inquiry, questions used in the magazine will be selected based on interest for our readers.
6 PotteryMaking Illustrated • November/December 2004 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:48 AM Page 7
November/December 2004 • PotteryMaking Illustrated 7 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:49 AM Page 8
Getting Started by Snail Scott Hints for Even Drying
BASIC TECHNIQUES he drying Long handles or similar structures Tprocess is, with two points of attachment are in many ways, more stressful to especially vulnerable, since the clay clay than the firing process. Uneven at the two attachment points may drying can lead to separation at dry at different rates, creating ten- small joints, and warped or cracked sion. This tension can lead to edges. While some clay bodies and 1 breakage either at the joint or on forms are more vulnerable than the handle itself. For these vulnera- others to these stresses, ensuring an ble pieces, wrap the fragile part in even drying process before firing is a scrap of plastic to slow its drying almost always helpful. rate to match that of the rest of the piece. Or apply wax resist to these Plastic Power areas for a similar result, if you I’ve often thought that the great- don’t mind the extra expense, pro- est innovation in modern ceramics 2 duction time and unwanted fumes is not the electric kiln or powered during the bisque firing. wheel, but plastic. On pieces that take a long time to dry, a simple On Edges plastic cover assures both gradual Thinner and completely sur- drying and protection from uneven rounded by air, edges are another drying produced by exposure to vulnerable area where fast or drafts. But moisture from drying uneven drying can cause warping clay does have a tendency to con- and cracking. To protect thin edges, dense inside the top of plastic cov- 3 tear up plastic strips and place them erings, often over-wetting delicate on the rims of still-damp pots, rims and details. It’s a good idea to slowing the drying process. Pottery place a layer of rags or paper tow- with level rims can also be inverted els between the clay and its plastic to rest on its rim, effectively turning cover to trap condensation. the whole piece into an edgeless Replacing these wet linings with closed form, though this can be dry ones regularly permits gradual hazardous for very delicate or not- drying and prevents exposure to quite-level rims. drafts that cause uneven drying. 4 Nothing is more frustrating than For pieces that tolerate faster Edges and joints can throwing your first bowl or form- drying, you can omit the plastic warp or crack if they ing your first teapot, only to see it entirely. Just make a “tent” of fab- aren’t protected from break or warp during drying. It’s ric or newsprint to keep out the uneven drying. 1 When worth your time and trouble to unwelcome drafts and allow mois- drying pots, place a protect your work while it dries to ture to escape gradually. plastic cover over your insure your pottery making success. Some ware made from forgiving pots. 2 Uneven drying clay bodies can often dry in the causes tension that can open air, if there aren’t any drafts crack handles and rims. Snail Scott is a potter who fre- to cause uneven drying or thin 3 Dry pots upside down quently contributes to the “clayart” projections such as handles. These to even out the drying listserv, www.ceramics.org/clayart. tend to dry first, since they are process. 4 Wrap handles She can be reached by e-mail: exposed to airflow on all sides. and the rims of bowls [email protected]. with plastic to help equalize drying.
8 PotteryMaking Illustrated • November/December 2004 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:49 AM Page 9 Potter’s Choice Glazes New! Achieve Cone 10 Reduction Effects In A Cone 5 Electric Kiln!
Oil Spot True Celadon
Salt Buff Shino
Blue Rutile Temmoku Decorated bowls by Tracy Gamble, Plainfield, Indiana.
AMACO® products are available through nationwide distributors and from many school supply catalogs. To receive a FREE AMACO® Art, Craft and Ceramic Supplies Catalog, call Now Available (800)(800) 374-1600374-1600
American Art Clay Co., Inc. in Gallons! 6060 Guion Road, Indianapolis, IN 46254 USA (800) 374-1600 • Fax: (317) 248-9300 • www.amaco.com Ceramics Monthly November 2004 29 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:49 AM Page 10
Beyond Basics by Mel Jacobson Use Your Legs
ADVANCED TECHNIQUES TIP: Put a hard brick under your left foot to he first step toward good elevate your leg, Tcraftsmanship is good control increasing your leverage of your materials. With the grow- and improving your ing use of sit-down electric wheels, comfort. potters now have an unexpected tool to give them even more con- lever, allowing you to slide trol of their materials: Their legs. the ball of clay, no matter Used in conjunction with your what its size, into the cen- arms, thighs and hips to center and ter of the wheel. It’s a sim- throw clay on a wheel, your legs ple matter of pushing your give you more power, leverage and leg into your arm and into control than you can achieve while the clay. standing. The result is a reduction in Once in position, keep your arm firmly on your leg. Be sure it’s braced so well that, during throwing, the pot rarely moves or gets out of center. Some throwers often use the legs to move the clay during throwing, allowing the arm to remain in position to follow a move. Some experienced potters let their body move with the pot, believing it gives the final product a more “casual” look. But for inex- perienced potters, loose movements just result in bad pots. Tightly controlling body movement during throwing will give you the power to throw any shape.
Firmly bracing your left forearm or TIP: Place your stool or elbow on your left leg while throwing chair at the proper increases your power, leverage and angle to improve your control, and improves your comfort. control and eliminate back stress. Here, a chair fatigue, an increase in the size of the back is raised 2 inches; pots that are possible and, over time, you may need to experi- a better pottery making technique. ment to find the right By placing the elbow or forearm angle for your comfort. of your left arm on the inner thigh of your left leg, your left leg then Mel Jacobson is a potter and the moderator of the “clayart” becomes a fulcrum, pushing against discussion group, www.ceramics.org/clyart. He can be reached your arm. Your arm becomes a by e-mail: [email protected].
10 PotteryMaking Illustrated • November/December 2004 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:50 AM Page 11
Fully loaded and bullet-proof
Nothing gets artist James DeRosso more riled than inconsistent results and downtime. That’s why he chose a Skutt kiln, To see more of James’ work and to then saddled it up with all the fixins. Now he’s confident find out more about upgrading he’s got dead-on performance and downright durability. your kiln visit www.skutt.com.
S-Type Thermocouple. Cone 10 accuracy. Long, long life. [email protected] 503-774-6000 Mercury Relays. Handle the added power. Never need replacing. APM Elements. Last twice as long as standard elements at high-fire temperatures. Spring-Assisted Lid. Safe and effortless opening. EnviroVent. Improves studio and kiln atmosphere. Easy View. Tilts control panel up for easier viewing and programming. We help you make great things.
November/December 2004 • PotteryMaking Illustrated 11 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:50 AM Page 12
Spare Parts by Don Adamaitis Assemble a Throwing Gauge
TOOLS lmost all potters want Ato be able to repeat a series of forms, such as cups, plates or vases while throwing on the wheel. This simple gauge measures the diameter and height of the object to make this process easier. First establish the size (diameter and height) and profile of the form, and determine the amount of clay needed for each piece. Once this is accomplished, throw the first form in the series. While it is still on the wheel, set the gauge tip to mark the diameter and height. Remove the first piece, and center the next ball of The throwing gauge is placed in front of the wheel clay. Open it, pull the wall head (out of the way) and adjusted to the dimen- and shape the form until sions required. The gauge could be mounted on a the edge of the lip meets brick if more height is needed. Each piece is pulled the tip of the throwing and shaped to match the tip of the gauge. gauge. Repeat this for each form in the series. If necessary, use a rib to define the profile. A T-bevel with a 9-inch This simple tool can be adjustable blade; constructed from inex- galvanized “T” fitting; pensive materials and can epoxy-type glue. be used for other purpos- es besides throwing duplicated forms. I use mine to layout designs on leather-hard pots for carving and on bisqueware for glaze decoration.
This group of cups was thrown using the gauge.
Place the adjustable bevel on the galvanized “T” fitting so the adjustable extension blade lines up The gauge is being used in combination with a with one side division chart to mark off equal sections of the of the “T” pot for decoration. fitting. Glue the base of the Don Adamaitis has been an active potter since 1962 bevel to the and resides in Vancouver, Washington. He can be fitting. reached by e-mail at [email protected].
12 PotteryMaking Illustrated • November/December 2004 PMI Nov_Dec 04 p0IFC_13 10/27/04 9:50 AM Page 13
NOW GET THE ADVANCER® ADVANTAGE FOR YOUR ELECTRIC KILN • Lower firing costs • Less heavy lifting • More stacking space • Stays perfectly flat Sizes available for 10 & 12 sided kilns
Advancer® shelves are ultra thin, 5/16" thick silicon carbide used to replace cumbersome 1" thick cordierite and high-alumina shelves. Will not warp at cone 10, even under heavy loads. Surface is highly glaze resistant, often used without kiln wash. Low mass and high thermal conductivity mean lower firing costs and more stacking space. Fire more work and less kiln furniture!
Advancer® also stocked in 12" X 24" and 14" X 28" sizes. Many other sizes available. Good for wood, soda, salt, reduction. Call to discuss your specific application – see if ® Kilnshelf.com Advancer shelves are right for you. kiln shelves • bricks • burners • ideas We also stock traditional, more economical Smith-Sharpe 5/8" and 3/4" thick CN-192® oxide-bonded Fire Brick Supply silicon carbide in popular sizes. Good for 117 27th Avenue S.E. wood, soda, salt, reduction. Minneapolis, MN 55414 Call for prices and Toll Free 866-545-6743 available sizes www.kilnshelf.com
kickwheel DOT com IT’S A SIGHT TO SEE Visit our giant online catalog • Buy online or by phone 0LQLQJDQG0DNLQJWKH)LQHVW0RLVW&OD\6LQFH See KPS Clays • Wheels • Kilns • Glazes • Books On Sale Cool KPS Tools • Helpful Hints • View Products and Specs Technical Info • Online Galleries Low Fire Clays Porcelain Clays KPS 231 White Dove Lowfire: ^06-1 KPS 350 Swan Porcelain: ^6 KPS 319 Red Robin Lowfire: ^06-3 KPS 275 Grolleg Porcelain: ^10 KPS 322 Baby Red Earthenware: ^06-3 KPS 299 Grolleg Porcelain: ^10 Stoneware Clays Raku Clays KPS 206 GA Peach Stoneware: ^6-10 KPS Raku: ^06-10 KPS 208 Buff Stoneware: ^6-10 KPS Raku C: ^06-10 KPS 216 Tan Speck: ^4-8 KPS Raku XC: ^06-10 KPS 217 White Stoneware: ^6-10 KPS 249 Chocolate Stoneware: ^4-8 Sculpture Clays KPS 258 Sandpiper Stoneware: ^6-10 KPS White Sculpture: ^06-10 KPS 262 Grey Speckle Stoneware: ^4-8 KPS Red Sculpture: ^06-8 KPS 271 White Hawk Stoneware: ^6-10 KPS Schoolhouse Clays KPS 302 Wild Turkey Stoneware: ^6-10 KPS 211 Tan SpeckleStone: ^4-8 KPS 328 Big Red Stoneware: ^4-8 KPS 235 BuffStone : ^6-10 7E HAVE EVERYTHING YOU NEED KPS 333 Black Raven Stoneware: ^6-8 KPS 255 Red Universal: ^06-8 FOR YOUR HOLIDAY SHOPPING KPS 340 Spotted Owl Stoneware: ^6-8 KPS 280 White Lowfire: ^06-4 #HECK OUR h3HEFFIELD 3POTLIGHTv KPS 341 Falcon Stoneware: ^6-10 KPS 300 Domestic Porcelain: ^6 FOR SPECIALS ON WHEELS KILNS KPS 342 Mona’s Terrastone: ^4-10 Call For Your Nearest Distributor EQUIPMENT GREAT GIFTS Huge inventory of Spectrum & Coyote colors • Books on Sale FOR THE POTTER ON YOUR LIST Olympic Kilns, Creative Industries, Thomas Stuart and Brent Wheels WWWSHEFFIELD POTTERYCOM VISA, MasterCard, Discover & American Express Buy Online Or By Phone 53 2OUTE 3HEFFIELD -! 4OLL &REE