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New Zealand Potter Volume 2 Number 2 December 1959

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New Zealand Potter Volume 2 Number 2 December 1959 NEW ZEALAND POTTER This issue is published at Wellington by the Editorial Committee of the New Zealand Potter: Doreen Blumhardt, layout and drawings; Terry Barrow, Lee Thomson, advertising; Helen Mason, editor, 29 Everest Street, Khandallah, Wellington. Extra copies may be obtained from the Editor, cost two shillings and Sixpence, Volume Two Number Two December 1959 What stage have we New Zealanders reached with our pottery ? Let's look at the facts. Most of us have got wherever we are by trial and error, not training. There are very few properly trained teachers of the craft, very few professional potters. 4‘ A The rest of us are amateurs who can therefore afford to experiment, but who, according to our critics, have not yet learned to think for ourselves. Available without Charge CONDITION OF LOAN On the credit side we have unbounded enthusiasm and A fine of 2/6 is payable if this a camraderie, as evidenced by the small Napier book is not returned or renewed by the latest date shown on Group, which was able to take the New Zealand Transaction Card. A fine of Exhibition, cope with the tremendous amount of work (id is payable if the Trans- action Card is missing from entailed, and run it successfully. We also have a this pocket. keen market for our pots -= so much so that it can be a TO RENEW—— temptation to lower our standards. But biggest Ring 60—545 (not week—ends) and ask for “Renewals.” asset of all is our own country in which we can find everything we need; not only for raw materials but THE SOUVENIR in New Zealanilivgsthe for inspiration. No one W, B. Sutch also sea, the bus apl ‘f than a few miles from the more affect us a 1 This extract from an address on 'Education for This environment must mountains. Industry” given by Dr. Sutch to the Technical to be ourselves. we can only learn Education Association of New Zealand, at Timaru on 30 September 1959, is reprinted with his up. Let. permission. It should give all working potters Zealand is' beginning' . ’ to grow t all ' New by breaking food for thought. part in that developing. culture Egtajife oiir Vigorous pots and making instead up the safe little as he truly express the New Zealander pots that more It is very difficult to find in New Zealand some is. characteristic New Zealand item which a tourist would like to take home with him as a present for his family.. A fair proportion of the souvenirs in the shops are not really characteristic of New Zealand nor would most New Zealanders buy them. They are not indigenous, CONTENTS and so long as we think that we must manufacture certain things only for the tourist industry so long will Page 31 we be handicapped in providing something worthwhile Editorial 5 for the tourist. The visitor to our shores wants some: Sutch . The Souvenir - W.B. 9 thing of a kind that he cannot get elsewhere: he can get — Mirek Smlsek Build Your Own Kiln 13 mass production goods at home, in Australia or Canada =- Graeme Storm Letter From a Potter 15 or Singapore. A tourist wants to take something News home that is different, useful, decorative and of high Letters to the Editor 16 quality. He can get his average quality at home. If Slip Glazes Part Two he is in the United Kingdom he buys fine woollens, in Earthenware a E «2 Hilary Thurston 18 France fashion goods, perfume or art works, in Japan w1th a Potter 5 ye Looking at the World 20 binoculars, cameras, toys or characteristic craft work» -— Elsie Inkersell 21 Even Honolulu has developed quality goods which are Cgptslebury Abuja Pottery Traigintg worth a tourist's taking home. 'Scene~ eer 1 Third EXhlbltn 3'; §::%:?1:nd_ Studio Potters“ Galle r1es - The Wille ston Exhibition The tourist used to be able to buy fine rugs in New Committee 31 Comments from the Selection Zealand and these can still be had, but the demand has . 33 - Len Castle fallen off. What else is there ? There must be Laird 42 A Critical Appraisal = Jack developed something of unique quality, unique to New Zealand. It could be special patterns of cloth, it Exhibition 43 Thzlg‘litifzililew Zealand Potters' could be hand-weaving, it could even be fashion goods. - 0.C. Stephens It could certainly be pottery. A good deal of the Glover :3 How to Open an Exhibition — Denis pottery produced in New Zealand could well grace the Book Reviews A few tougigtsd BUILD YOUR OWN KILN homes of visitors to this country. Preserv: ooue Mirek Smisek have bought New Zealand paintings. produced high an urliliq might be another item if we listed are. based 0:11“ ew quality. The items I have If you decide to build your own kiln you can be sure of a All that is neede is Zealand's raw materials, lot of excitement. You will have the satisfaction of craftsmanship. some style, imagination and knowing that the pots which come out of your kiln have been created entirely through your own efforts. Do not be afraid of failures, as they will sh0w you how to do better next time. The kiln I recommend is a downdraught one, oil fired with a drip feed system. * It relies on natural draught, which does away with pressure burners, compressors and other machinery, making the firing less complicated. I am very much in favour of the downdraught kiln as the distribution of heat is better than in an updraught kiln. As you can see from the plan, the flames have to travel further than in an up- draught kiln, where they hit the pots at full strength straight from the fire box. In the downdraught kiln the flames have time and space to spread out evenly before reaching the pots. From the plan you can ISSUE SPECIAL LEACH see they have to travel about seven feet, which allows the gases to combust completely. Another point in issue have been intere stin articles for this favour of the downdraught kiln is the fact that the heat Dr. T° Barrow, including iiiived by the gEditor, reaches the pots before it reaches the floor, which Pleydell—Bouvefie contributions from Katherine means greater safety for the pots and less labour JIneVitable de;ays d and George Wingfield Digbyn replacing burnt out bricks. This makes the setting but it is nope have, however, held up production, of pots easier because the floor is permanent and never early 1n the new that this issue will be on sale out of shape. year. I never set more than one layer of. pots and they are put directly on the floor on thin firebrick bats sprinkled with by sending Five Co 1es' may still' be ieserved~. '. good ground fireclay. Large pots are always set New Zealand Potter, Shillings to The Editor, against the chimney wall fairly close together. Smaller but the 29 Everest Street, Wellington, pots are set further apart against the bagwall. This Will be actual selling price to the public greater. >1=See Vol. 2 No.1. page 11 7‘ 0\ in fifteen minutes. I usuall increa ' ' rushing for the chimney setting stops the flames wherenit would start smoking? but no ifirltthzi' the 1131:1511; are deflected towards the a straight line, and they following fifteen minutes the temperature in the kiln the floor bricks are smaller pots. On the plan 18 again high enough to cope with more oil. And so are better laid about 1/2.” spaced evenly, but they on it goes until I see Cone 10 (13000C) starting to bend and gradually spaced out apart near the chimney, The 011 flow is then reduced to stop the rapid increase 0 are about 2%“ apart. This until at the bagwall they of temperature and the soaking period commences - responsible for the even arrangement is mainly how long depends on your clay. I usually do mine in distribution of heat. half an hour, and then do the saltnglazing. At thi I tlme the cone is nearly down. S of pots on the floor fact that I set only one layer The seem crazy, but all the space above might and waste props and these: When you use my reasons are you The amount of salt (coarse grained) for this type of to set the kiln because shelves it takes longer kiln and for the clay I use is two shovelfuls. I thro in the variety of shapes have to worry about fitting two handfuls on each fire at a time and allow it to W maSSQproduce). At the and sizes of pots (unless you evaporate before introducing the next lot of salt which I fire, the risk of temperature of 13000C to This goes on until all the salt is used up. Durih the great. The firing and shelves collapsing is atmosphere in the kiln g The I props less time to saltcing I have a reducing because the heat takes off time is shorter is no risk 011 is then turned off and the kiln is allowed to cbol one layer of pots and there penetrate only per pot rapidly. - ‘ This stops crystallisation and the glaze top pots. The cost of firing of overfiring the you stays brilliant, As I said before, not all clays will but the ease with which will admittedly be higher, stand this rapid increase of term erature _ every ClaY for this. You can . p fire your kiln will compensate needs 1nd1v1dual treatment. other work while your kiln concentrate better on your is in operation.
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