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A supplement to Ceramics Monthly and Pottery Making Illustrated table of contents

2 How Glazes Melt by Dave Finkelnburg 5 Primary Function of Common Ceramic Materials by Mimi Obstler 6 The Many Faces of Iron by Dr. Carol Marians 9 Brushes for China Painting by Paul Lewing 13 Kenny Delio’s Subtle Glazes by Myra Bellin 15 Darren Emenau’s Texture Glaze by Mandy Ginson 17 Buying a Raku Kiln by Steven Branfman 19 Raku Glazes by Steven Branfman 20 Selecting a Clay 21 Perfect Plaster by Bill Jones 22 The Battle of the Bulge by Arnold Howard 23 How Low Voltage Effects Firing Time by Arnold Howard 24 Suggestions 26 The Degrees of Kiln Firing 27 Using Cones by Tim Frederich 28 Glossary of Common Terms by Vince Pitelka

0 8 TO CERAMIC SUPPLIES AND MATERIALS 52 Glossary of Common Ceramic Raw Materials BuyersGuide FIND

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Suppliers by Vince Pitelka Kilns Pottery Wheels

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Clays

Glazes 32 Buyers Guide Geographic and Product Locator Tools Tile Bisque

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STUDIO 41 Buyers Guide Company Directory REFERENCE Technical Information Buying Information

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Firing Chart

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...and more! On the Cover: Tracy Gamble trims a foot on a vessel. Photo by David Gamble. A supplement to Ceramics Monthly and Pottery Making Illustrated Copyright © 2008 Ceramic Publications Company | 2 Welcome

elcome to the 2008 Buyers Guide to Ceramic Supplies and Materials, a valuable resource you’ll use throughout the coming year. This 2008 Buyers Guide to Ceramic comprehensive studio reference contains information pub- Supplies and Materials A Supplement to Ceramics Monthly and lished in Ceramics Monthly, Pottery Making Illustrated and some of Pottery Making Illustrated theW books we publish. Publisher Charles Spahr Equipment and Supplies Editors Bill Jones Pottery Making Illustrated In this year’s Guide, we’ve included information on buying a raku kiln, se- Sherman Hall Ceramics Monthly lecting commercial clays, and a few tips on some kiln maintenance issues. To Associate Editor Jennifer Poellot locate equipment and supplies, turn to our Geographic Locator and you’ll find Editorial Assistant a handy chart that will tell you at a glance who supplies what and where. Brandy Agnew Editorial Telephone: (614) 895-4213 Studio Reference Fax: (614) 891-8960 To help you increase your understanding of ceramics, you’ll find the article Graphic Design & Production on how glazes work most informative, and the glossaries of terms and materi- Production Editor Cyndy Conklin Advertising als invaluable. If you just want to try a few new glazes, turn to recipes from [email protected] Kenny Delio or Darren Emenau or review the criteria for raku glazes from Ste- Telephone: (614) 794-5834 Fax: (614) 891-8960 ven Branfman. We’ve also touched on how to mix plaster and included a guide Advertising Manager Mona Thiel to the wide assortment of brushes used for china painting and brushwork. Advertising Services Jan Moloney Marketing Telephone: (614) 794-5809 Company Directory Marketing Manager Steve Hecker The Company Directory serves as the “yellow pages” of the ceramic studio Editorial and Advertising offices 600 N. Cleveland Ave., Suite 210 arts scene. We’ve listed more than 330 companies involved in some way with Westerville, Ohio 43082 USA meeting the needs of the studio potters or clay artist. From the Geographic ceramicartsdaily.org Locator, you may discover new resources near your own home. Or perhaps 2008 Buyers Guide to Ceramic Supplies and Materials is a supplement to Pottery Making Illustrated (ISSN 1096-830X) you’ll locate three nearby suppliers from whom you can get cost estimates for and Ceramics Monthly (ISSN 0009-0328) and is published by The American Ceramic Society, 600 N. Cleveland Ave., Suite your next major purchase. The Company Directory gives you most complete 210, Westerville, Ohio 43082. and convenient listing you’ll ever find. Better than searching the Internet, bet- Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American ter than looking through receipts for a store number, and better than sorting Ceramic Society. Photocopies: Permission to photocopy for personal or through scraps of paper with names written on them—the Company Directory internal use beyond the limits of Sections 107 and 108 of puts it all in one place at one time. Enjoy the convenience of having the infor- the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to mation you need to help accomplish your artistic goals right at your fingertips. Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923 USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for educational classroom use, please Enjoy this supplement, keep it nearby and happy potting! contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, for advertising or promotional purposes, or to republishing items in whole or in part in any work and in any format. Please direct republication or special copying permission requests to the Ceramic Arts Publisher, The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Wester- ville, OH 43082. Copyright © 2008 The American Ceramic Society All rights reserved ceramicartsdaily.org

Bill Jones Sherman Hall Editor Editor Pottery Making Illustrated Ceramics Monthly

iddle me this,” commanded Arthur (Art) Clay as we labored diligently in What is a Phase and why do I care?

the studio. “What do art professors Phases are specific forms of materials. The most familiar lecture about, yet no human being phases are solid, liquid and vapor. Any phase of a mate- has“R ever seen? Come to think of it,” he added, chewing rial is identical in composition and structure in all parts of that phase. For instance, a glass of water is the liquid thoughtfully on the handle of one of my best trimming phase of H2O, top to bottom; if it weren’t, we’d call it tools, “no human ever will see it.” something else, like ice if it were solid (structural change), or lemonade if it had lemon and sugar dissolved in it “Do I get any clues here?” I asked, taking the bait. (compositional change). “It’s genuinely important to anyone who works with anything ceramic,” he offered. In ceramics, many phases come into play: The solid phase “I thought it might be.” I gave him my best can’t-you- of raw materials, the liquid phase of a molten glaze ma- trix, the glass phase of fired, cooled glaze. Throughout the be-more-helpful look. firing process, both chemical and structural changes take “Well, although most artists don’t realize it, all ceramics place, meaning the phase of the material changes. Quartz, make use of it.” My glare may have been slightly petulant. for example, is a crystal phase of silica. All parts of quartz have the same chemical composition (SiO2) and the same “Why, you could even say it’s—elemental!” he grinned. hexagonal crystal structure. A glossy glaze, however, is “You aren’t,” I asked, with painfully measured words, made up of only a glass phase. It’s chemical composition is still SiO , but it is no longer crystalline. “going off on another rant about a eutectic, are you?” 2 “The elusive eutectic!” Art positively shouted. I might have rolled my eyes, because he quickly added, “Listen Okay, I think I got it, or at least I knew where to look Professor Line blend, you mix glaze tests until I posi- if I needed to get it later, so I read on. “For example, if, tively want to puke. None of that stuff would ever melt on a cold winter night in Yellowknife, you make a line if it weren’t for a eutectic.” blend of finely powdered ice (crystalline phase of H2O) “You know I’m visual,” I said honestly. “I need to see and fine salt (crystalline phase of NaCl), and then warm what happens when I fire something.” up the blends, the blend that is 23.3% salt by weight will “You can see it in a phase diagram,” he cried, throwing melt first. It will melt at a lower temperature than any up his hands as if everyone should know what a phase other mixture of salt and ice which you might make. The diagram is. eutectic composition is 23.3 weight percent salt in ice.” “Right, and everyone should understand the cryptic “Hey Art, that actually makes sense!” I looked up, ex- chemical mumbo jumbo phase diagrams use,” I said, pecting to see Art beaming. Instead, he looked a bit—anx- “and be able to interpret them, too. How can that gobble- ious. dygook tell me anything?” “That is what a phase diagram can tell you” he said. “For “You—could try—reading.” The cadence of Art’s two components, like salt and water, the diagram looks like words revealed his impatience, but he almost smiled as that binary diagram there on the next page. Up the side you studio reference | glazes he jammed a paper at me. read the temperature and across the bottom is the composi- “In Search of the Elusive Eutectic—an Essay,” by Ar- tion. You could think of the bottom line, the horizontal axis, thur Clay, read the title. “In all ceramic raw materials,” as a line blend. 100 parts of ice on the left, 100 of salt on the the paper began, “it is rumored there lurks a scientific right, and increasing amounts of salt, decreasing amounts phenomenon—a eutectic. Does it really exist, or is it just of water as you go along from left to right. That white circle a figment of the imagination of wild-eyed ceramists? You is where the eutectic point is. In fact, any two inorganic ma- decide. Eutectic; the term comes from the Greek eutek- terials will have a eutectic composition. But there are a few tos, meaning ‘easily melted.’” little details you haven’t gotten to yet,” he said. “Nice Wikipedia research, Art,” I allowed sarcastically. “For instance?” I growled. It continued, “The precise combination of two or more “Well, to give you an actual ceramic example; there is phases of any substances which has the lowest possible the classic calcia-alumina-silica eutectic at about Cone 4. It melting point of those phases is called the eutectic.” melts at only 2138°F (1170°C). The composition of that “Okay, phase diagrams have to do with melting, but eutectic is 23.25% calcium oxide (CaO), 14.75% alumina what is a phase and why do I care?” (Al2O3) and 62% silica (SiO2). That’s percent by weight,” Art frowned. “Do you think I should have credited he added, ever the stickler for details. “To illustrate three Wikipedia?” Then he snapped back, “Uh, right, phases. phases like this, it helps to have three sides on your dia- Funny you should ask. Check out the handy sidebar gram and then imagine you are looking straight down on ‘What is a Phase and Why do I Care?’” it from above. This just looks more complicated, but it’s

Copyright © 2008 Ceramic Publications Company | really not. It’s like the difference between a line blend and precisely the same chemistry. The materials you use do a triaxial blend.” Blends! Now he was beginning to speak make a difference, as you know. my language. “And regarding art,” he hurried on, “if an artist un- “The three corners are derstands that eutectics labeled with the chemical exist, then the artist un- components that make up derstands how glazes the particular system rep- melt. Essentially, eutec- resented by the diagram,” tics tell us that glazes saltwater he added. “Since we’re melt because of what working in two dimen- saltwater and they are made of. I’m salt crystals sions, we have to represent 0° not just talking about temperature with contour their chemical makeup, lines, like the lines on a but also about the ma-

Temperature (°C) Temperature saltwater topographical map. You and ice terials used to arrive at can see it all here on the -21.1° that chemical makeup. ternary diagram,” he said “What the eutectic ice and salt crystals (see “Navigating the Land tells us is that specific of Phases” on page 8). 0 23.3 100 combinations of spe- “Now, I digress. We were NaCl (% by weight) cific minerals will melt reference | glazes studio going to address the… This phase diagram for salt and ice is based on Figure 6-59, at a lower temperature um…uh…details using the p. 376, of R. E. Dickerson’s Molecular Thermodynamics (Pasadena, than any other possible classic lime eutectic. It’s im- California), 1969. combination of those portant, you see. Chinese minerals. Knowing that, potters were making celadon glazes with that composition we artists just have to search, either using trial and er- 750 years ago. They did this not with the aid of chemical ror, or study, to find clues about what combinations may analysis, or phase diagrams, but by trial-and-error testing. work for us. However, the…er…detail is, if you just mix up whiting, “So, Art,” I interrupted again. “Are recipes that have alumina and quartz in the eutec- already been tested such tic composition, the glaze won’t clues?” A Eutectic Is Your Friend exactly melt at 2138ºF.” “Of course,” he shot back. “What are you telling me, In combination with alumina and silica, eutec- “And if you look at glaze reci- Art?” I demanded. tics for alkalis occur at significantly lower tem- pes from both a chemical and peratures than eutectics for alkaline earths. “Well, the fact is, the mixture This is one reason alkalis are considered a materials perspective, you will melt in the vicinity of the stronger fluxes. will get a lot more out of them eutectic temperature, you know, than if you just follow them within a few cones.” cookbook fashion.” “A few cones? Vicinity? Alkali Eutectic Points • Sodia (Na –Al O –SiO ): 732°C “Art,” I laughed out loud, What? Why?” I spluttered. 2 2 3 2 “if I can just use recipes that • Potassia (K2O–Al2O3–SiO2): 695°C

“A phase diagram, regardless • Lithia (LiO2–Al2O3–SiO2): 975°C have already been proven, of the number of phases in- why should I study phase dia- volved, is just that, a diagram Alkaline Earth Eutectic Points grams? If a chemist can tell me • Calcia (CaO–Al2O3–SiO2): 1170°C of phases,” Art replied. The • Baria (BaO–Al2O3–SiO2): 1250°C the composition of a glaze on ‘phases’ that melt at this eu- • Magnesia (MgO–Al2O3–SiO2): 1355°C a Chinese pot from the Sung • Strontia (SrO–Al O –SiO ): 1400°C tectic are a calcium feldspar 2 3 2 Dynasty so I can even work called anorthite, a calcium sili- out recipes that match it, why cate called wollastonite, and a re-invent the wheel?” high-temperature form of quartz called tridymite. If “You may be right,” conceded Art. “But I truly be- you mix…” lieve the advantage of learning about eutectics is that the “Oh mix, shmix!” I interrupted. “What I want to know knowledge gained can help artists troubleshoot glazes is, how does any of this help me make better art?” that don’t work, understand glazes that do, and invent “Now let me finish this part first,” said Art. “You know new glazes that don’t necessarily look exactly like some- we can duplicate any glaze, at least chemically, by using one else’s. glaze calculation. With a computer that’s easy. But that “Besides, you may not be willing to admit it,” Art ob- doesn’t tell us anything about how the specific materials served a bit slyly, “but now you know about eutectics. used influence the fired results, even when glazes have There’s no going back.”

Phase diagrams, to studio artists, can seem like a different planet; unfamiliar, perhaps frightening and difficult to navigate. Just think of a phase diagram as a map of that

planet—a map of melting points for different compositions. Each “map” is devel- SiO2 1723° oped for a specific group of chemical elements. A complex phase diagram may 1707°

represent the melting of three materials, which is called a ternary phase diagram. 1590° Each corner of the map represents the “home,” or 100%, of the components being mapped—in this case calcia (CaO), alumina (Al2O3) and silica

(SiO2). Just as in line blends and triaxial blends, the further you move away Cristobalite from the 100% point, the lower the percentage of that component, and the higher the percentage of the other(s). The eutectic composition of 1707° 1600° 23.25% CaO, 24.75% Al2O3, 62% SiO2 is on our “map” of melting 1368° Tridymite points, right inside the white circle, and the eutectic temperature 1436° 1400° of 2138°F (1170°C) is written right there (see A Eutectic Is Your 1600° 1170° Friend, on page 7). You’ll recognize the “countries” of phase fields, like mullite Mullite Pseudowollastonite and crystobalite and others (see “What Is a Phase and Why 1400° Anorthite 1512° 1 800° do I Care?” on page 6). The contour lines you see indicate 1460° 1464° 1400° temperature. Just as contours on a topographical map 1265° indicate elevation, these show the melting points of 1315° 1400° the various compositions (see the three-dimensional 2050° 1380° phase model below). The borders between phases 2070° Ca SiO are the minimum melting temperatures between 2 4 Gehlenite 1475° Corundum those phases. Notice the arrows along the bor- 1840°

ders all point “downhill” to the eutectic. 1600° 800°

This eutectic temperature is only valid if Lime 1 1380° we melt the materials that are the adjacent 2400° 2200° 2000° 1500° 1 1445° 800° phases. This “map” shows that, of all pos- 1600° 1335° sible mixtures of minerals made only of

calcium, aluminum, silicon and oxy- CaO 1535° 1395° 1400° 1595° 1730° Al2O3 ~2570° gen, only anorthite (calcium feldspar), 2020° quartz and wollastonite, will melt at Eutectic point for precisely 1170°C. More importantly, it CaO, Al2O3, SiO2 shows this is the lowest possible melt- (degrees are in Celsius) SiO2 ing point achievable with these elements. 1723° CaO With other minerals made from these ~2570°

elements, the minimum melting tempera- 2070° 1707° studio reference | glazes ture will be higher.

Is this more than we need to know in or- 1436° der to formulate glazes that will melt well? 1460° Al2O3 Not at all; if we understand that a mixture 1170° 2020° of substances melts at a lower temperature than the substances themselves, and a eutectic shows the composition that melts at the low-

est temperature, you can understand how any 1730° glaze melts. If you have a glaze that isn’t melt- 1595° ing, you know it is either made of the wrong 1535° elements, or the combination of elements is just 1395° 1400° too far from a eutectic composition. Glazes melt because their composition is appropriate for the

temperature the work is fired to. CaO Al2O3 No phase diagrams exist for most of the virtually This side is a line blend of calcia and alumina. infinite combinations of elements we could come The top diagram is a birds-eye view of the three-dimensional model up with. BUT, if we know eutectics exist, AND we above. Each side represents a line blend of the components at the corners, with the corners being 100% of that component and 0% of the know we are working with a relatively refractory mate- others. The entire diagram, therefore, is similar to a triaxial blend. The rial, we know we need to find a complex composition white circles mark the lowest-melting point for calcia, alumina and silica. that will bring our refractory material into the melt.

CERAMIC MATERIAL GLAZE FUNCTION CLAYBODY FUNCTION CERAMIC MATERIAL GLAZE FUNCTION CLAYBODY FUNCTION

Albany Slip Clay Glaze Core Colorant Potash Spars Glaze Core (ST, P) Melter (ST, P) Alberta Slip (s) Custer G-200, K200 (s) Jasper Slip (s) G-200 Custer, K200 (s) Ball Clay Alumina Plasticity Opacity K200 Custer, G-200 (s)

Barnard Clay Glaze Core Color Redart Color Melter Color (ST, P) Color Core (E) Bone Ash Opacifier Melter (4–6) Rotten Stone Glaze Core Melter Borax Melter (5–6, E) Melter (4–6, E (ST, P) Color (ST) Glassmaker Carbon Trap (ST, P)

Boric Acid Melter (5–6, E) Melter (4–6, E) Soda Spars Glaze Core (ST, P) Melter (ST, P) Glassmaker Kona F-4 C–6 (s) Boron Frits Glaze Core (5–6, E) Melter (4–6, E) Spodumene Lithium Glaze Core Melter Melter (ST, P) (FL) Colemanite (s) Gerstley Borate (s) Talc Melter Melter Opacifier (E, 4–6, W) Colemanite Glaze Core (5–6, E) Melter (4–6, E) Melter Volcanic Ash Glaze Core (ST, P) Gerstley Borate (s) Cornwall Stone (s) Boron Frits (s) Whiting Melter (ST, P) Melter (ST) Cornwall Stone Glaze Core (ST, P) Melter (P) Opacifier

(Low melter, high SiO2) Wollastonite (s) Dolomite (s) Dolomite Melter (ST) Melter (ST) Opacifier Wollastonite Melter (ST, P) Melter (ST, P) Whiting (s) Opacifier Whiting (s) EPK Kaolin Alumina Core (P, W) Dolomite (s) Opacity (ST, P) Wood Ash Glaze Core (ST, P) Silica (Flint) Glassmaker Glassmaker Melter (ST, P) Glaze-fit Colorant Fluorspar Melter studio reference | functions Zinc Melter (ST, P) Gerstley Borate Glaze Core (4–6, E) Melter (4–6, E) Opacifier (ST, P) Melter Colemanite (s) Boron Frits (s) Key: (s)=substitute option

Goldart Clay Core (ST) (E)=earthenware claybody

Kentucky Ball Clay Core (ST) (ST)=stoneware claybody

Lepidolite Lithium Glaze Core Melter (FL) (P)=porcelain claybody

Magnesium Carbonate Melter (ST, P, W) Melter (FL)=flameware claybody, c/9-10 Opacifier (W)=white-burning claybodies, c/4-10 Nepheline Syenite Glaze Core Melter (ST, P)

(low SiO2)

(high Na2O) (high Al O ) This chart is excerpted from Out of the Earth, Into the Fire, 2nd 2 3 Edition, by Mimi Obstler, published by The American Ceramic Petalite Lithium Glaze Core (ST 9-10) Melter (FL) Society, 2000.

ne of the more fascinat- the tea cools. Our glaze, when melted, ent kinds and shapes of crystal will ing, sometimes frustrat- has a dissolved iron compound—the form. If the crystals are stuck to the ing parts of ceramics is “sugar” in the tea. The iron precipi- clay body at the bottom of a thick learning to balance the tates as the glaze cools. So how does opaque glaze layer, they will be largely Oinnumerable factors that affect the the iron form in the glaze? invisible. Crystals that float on top of outcome of a firing. Glaze ingredi- Glaze is more complex and more the glaze give the appearance of sand- ents, the clay body used, firing cycles, viscous than tea, inhibiting motion. paper, which can present utilitarian atmospheres, kiln-stacking techniques The iron crystals cannot precipitate problems. We want the crystals near and geography (to name a few vari- and sink to the bottom of the glaze, the surface but not on it, large enough ables) can all affect firing results. nor can they grow very large, as the to create surface and color effects, but This may be frustrating if you don’t iron ions do not congregate in the not be overwhelming. control those variables, but if you do, same location. Instead, as the glaze A series of cool-down profiles with there is opportunity for new discov- cools, the dissolved iron separates lots of jigs and jags showcases a dif- eries. By changing just one variable, out, forming numerous small crystals ferent phase, exposing a range of the same glaze recipe can be deliber- suspended in the glaze. The number surface effects. This translates into ately manipulated to yield different of particles, and their eventual size, is profiles with one or more narrow results. In this instance, I decided to affected by the surface texture of the temperature ranges with extreme slow investigate one variable in an iron- underlying clay body, the cooling speed cooling and/or long holds, and pos- rich glaze: the cooling period. of the melt, the thickness of the glaze sibly no retarded cooling outside the I achieved greatly differing results application and several other factors. selected ranges. Since extended firing in a single glaze with a single clay The competition between the number cycles can be costly, I framed my ex- body, consistent glaze thickness and and size of particles as the glaze cools periments with a maximum extension application, and the same heating results in the variety of desirable ef- to the firing cycle of four hours. schedule for all of the firings. The fects (see accompanying figures). differences in the resulting appear- As it cools, the glaze becomes pro- ance of the glaze on the pots came gressively more viscous and less mo- exclusively from their heat treatment bile, until it reaches a temperature at The glaze used in these tests is a minor after they reached maturity. which it “freezes” and nothing can modification of the glaze GA16 from When the witness cone bends, the move or precipitate within it. If the Michael Bailey’s Cone 6 Glazes, poured glaze should be fully vitrified. The glaze is held at a temperature high thick on Georgies Ceramic Supply’s G kiln has reached temperature, but has enough to permit continued mobility Mix 6 clay body. not yet begun to cool. I studied what of the iron into progressively larger happens between that point and the crystals, but low enough that the glaze GA16 Variation return of the kiln to room tempera- doesn’t run off the pot, the surface Cone 6 ture. I found that I could get a glossy will become matt. The multitude of Bone Ash ...... 4.6 %

studio reference | functions Dolomite ...... 13.6 black surface, a densely textured tiny iron particles disrupt light trans- Lithium Carbonate ...... 4.6 rough surface, a golden red/mud col- mission. Otherwise, the glaze so- Red Iron Oxide ...... 9.1 or, or anything in between, just from lidifies with the same smooth, glossy Unispar ...... 22.7 different cooling schedules. surface as it had while fully melted. If Bentonite ...... 1.8 OM4 Ball Clay ...... 20.9 the glaze is cooled quickly, few visible, How does this happen? Silica ...... 22.7 very small particles form. Most of the 100.0 % At the top of the firing cycle, the visible color is the reflection off the Empirical Formula glaze is matured, but not watery; it smooth surface. This gives an aestheti- CaO ...... 0.4126

doesn’t flow off the pot. At this point, cally pleasing clear glossy black glaze, K2O ...... 0.0454 Li O ...... 0.2013 the glaze is not a homogenous melt, somewhat akin to a temmoku (see 2 MgO ...... 0.2521 but a mixture of several melts. It is test 1). The opacity and depth of the Na2O ...... 0.0886

not fully blended. It may contain a dis- glossy black show that the glaze can Al2O3 ...... 0.3424 SiO ...... 2.7566 solved second phase—in our case an dissolve quite a lot of iron. 2 P O ...... 0.0480 iron compound—analogous to sugar As the glaze cools and becomes 2 5 Fe2O3 ...... 0.1912

dissolved in hot tea. More sugar dis- more viscous, crystals begin to form TiO2 ...... 0.0104 solves in hot tea; less as the tea cools. at edges and imperfections in the The sugar precipitates as crystals as body. If the glaze layer is thin, differ-

Results: This is the cool-down profile from Hesselberth and Roy. It gave a predominantly glossy black glaze, not greatly different from the quick cool, but with a hint of variegated color. I could see isolated metallic bronze and red flecks, but no crystals breaking the surface. test 1

Cool down: An uncontrolled drop from 2200°F to 1750°F, then –50°F per hour from 1750°F to 1500°F.

Results: The cooling was slower from 2200°F down to 1450°F. Because the solubility of iron in glaze decreases at lower tem-

peratures, I cooled at 1/3 the speed between 1750°F and 1500°F. reference | functions studio The result was a substantially textured surface, with much visible variation, and crystals of a variety of colors breaking the surface. The glossy black was gone, and the surface variation uniformly distributed. There were a relatively small number of largish particles. The color was intermixed red, bronze and mud brown. Bronze predominated where the glaze was thickest. I interpreted this as substantial particle growth below 1750°F, with little precipitation test 2 of new particles.

Cool down: An uncontrolled drop to 1750°F, then –50°F per hour to 1600°F, a hold at 1600°F for one hour, then –50°F per hour to 1500°F.

Results: By adding a one-hour hold at 1600°F, the color shifted from gold/brown to red/gold. The red and brown regions followed the throwing lines, indicating that glaze thickness has significant influence. The strength of this effect showed there is a critical region for this glaze’s development somewhere near the temperature 1600°F. test 3

Cool down: An uncontrolled drop to 1750°F, hold at 1750°F for half an hour, then –50°F per hour to 1650°F, hold at 1650°F for one hour, then –50°F per hour to 1500°F.

Results: Adding a half-hour hold at 1750°F and a one-hour hold at 1650°F gave smaller particles and a near-smooth, lustrous satin, variegated bronze glaze with small specks of red and brown. The original glossy black was completely gone. Color variation in the throwing line showed the considerable effect that glaze thickness has. The half-hour hold at 1750°F facilitated the formation of a large number of small particles, leaving little free iron to add to crystal growth later. This uniform result was much like a pointillist painting, 5with exceedingly fine points. Moving the hold from 1600°F up to 1650°F could have a similar effect. Alternatively, we could see this change as a result of the glaze spending more time in the critical temperature interval for crystal development. test 4

Results: As the previous test result could have come from extended time in the crystal growing range, or specifically from the hold at 1650°F and 1750°F, I gave this firing just as much time in the sensitive zone, but uniform decrease in temperature over the extended region. The results were similar to the previous test, but with larger grain size and a lizard-skin feel to the texture. The glaze was mottled and less uniform. The smooth satin look was gone. I concluded one of the holds in the previous test hit the “sweet spot,” at which point many small par- test 5 ticles form. I did not know at which level.

Cool down: An uncontrolled drop to 2000°F, then –50°F per hour to 1650°F.

Results: The slow cool from 2000°F to 1650°F gave a surface and color as in test 1, with a much greater number of gold particles. This also shows that the effects of test 4 depended on the 1650°F hold. This critical test showed that the greater color effect I wanted needed two holds. test 6

Cool down: From Cone 6 to 2100°F at –50°F per hour, then uncontrolled cooling to 1700°F, then –25°F per hour to 1600°F.

Results: To test a second slow-cooling region, the kiln was cooled quickly from the top temperature to 1700°F, then slowly to 1600°F. The result was an intensely variegated effect with relatively few but larger particles in red and brown. The throwing lines were not prominent, so glaze thickness was not as important. The texture is lizard-skin satin, not the gloss of tests 1 and 5, nor the smooth satin of test 4. This result was related, but not quite like anything previous. This could be a jumping off point for a new series of tests. studio reference | functions test 7

I started out with the firing profile in end for controlled cooling, selecting effects. I next will explore whether Hesselberth and Roy’s Mastering Cone 6 intervals for markedly slow cooling in maximal particle size growth takes Glazes. The ramp for reaching temper- the temperature range 2200°–1450°F. place “hotter” than the temperature ature was a fast rise (200°F in the first at which the greatest number of par- hour, then 500°F per hour to 2100°F) Speculation ticles is formed. Cooling to approxi- until the last three hours, which had a With this limited series of tests, I mately 1600°F, then reheating to rise of approximately 30°F per hour. produced a variety of textures and around 1800°F should obtain both Orton cones showed a hard cone 6. colors, by “poking” the cool-down good numbers and development of These firings were done in a very old profile. Each firing included several microcrystals. Skutt 1227 with a computer controller. identically glazed test pieces distrib- Dr. Carol Marians holds a Ph.D. in I examined the results of my firings uted throughout the kiln. I obtained materials science from MIT, and makes and based my next firings on those an encouraging indication that the dif- pots at Basic Fire Studio in Portland, results, only changing one factor with ferent results were caused by the cool- Oregon. For comments, contact her at each firing. I chose 1450°F as a low ing-down profiles and not extraneous [email protected].

The following article is excerpted from China Paint and Overglaze, by Paul Lewing, published by the American Ceramic Society, Westerville, Ohio, 2007.

lmost any of the supplies for other forms of painting, and many of those for ceramics or printmaking, are useful for china painting. Most novice china painters have had some experience with at least one other form of art, Aand will have many of the necessary tools already on hand. My brother the musician always says there’s nothing to playing the piano; you just hit the right key at the right time. I reply that there’s also nothing to drawing; you just make the right mark in the right place. And very often in art, that “right mark” is best made with a brush. When choosing brushes, remember that the only thing that matters is the finished piece. Your hand and eye determine where the reference | brushes studio “right place” is, but the brushes make that “right mark,” and thus, are your most important tools. Artist’s brushes are designated as watercolor or oil painting brushes, softer ones generally being for watercolor and stiffer ones for oil. Watercolor brushes generally work well for china painting, particu- larly if water is used as the medium. Oil-based china paint is a bit thicker and stickier, so many china painters, including myself, prefer a slightly stiffer brush. Size, shape and hair type are the variables that affect the cost and function of a brush. Shapes A brush’s designation is determined by the shape of its ferrule (the metal or plastic piece that holds bristles to handle) and its end profile. Some common round-ferruled shapes are rounds, liners, riggers, scrollers, scripts and stencils. A good watercolor round is the one indispensable brush. Most china painters prefer them in sizes 4 to 6. The very tiny ones are su- perfluous if you’ve got a larger one with a very good point. Liners are long and thin, and riggers (so named because they’re good for drawing the rigging of ships) are longer still. They make long, thin, even lines. The point of a liner may be round or it may be angled, in which case it is called a cut liner. A more exaggerated version of this shape may be made with a flat ferrule and be called a sword liner, specifically designed for banding. Scrollers are slightly thicker in the body, but also have a long thin point. They are used when a line with a small amount of variation in width is needed. They are also the brush of choice for raised paste and enamel work. Scripts are similar to liners, but with fatter bodies. If only the point is used, they make lines similar to liners, but if you press down slightly, they will produce a wider line. As the name implies, they are used for italic script. Stencil brushes are flat on the ends, and are used to fill stencils with even areas of color. They can also be used to remove brush strokes laid down with another brush, producing a stippled pattern. Brush shapes with round ferrules. Top to Water-based china paint blotted with a dry stencil brush will have a bottom: round, liner, scroller, script, cat’s finer grain pattern than that made with a wet brush. Very tiny stencil tongue, cut liner, stencil, deerfoot and whirley.

Copyright © 2008 Ceramic Publications Company | 17 brushes can be hard to find, but you Fans also have a flat ferrule, but the can make your own by clipping the bristles are splayed into a wide round- end off an old round. When a stencil ed end. They are useful for making brush’s end is cut at an angle, it is re- streaky marks, and are often used ferred to as a deerfoot stippler. Some dry to blend areas of different colors brush suppliers make a variation on while the paint is still wet. Clipping the stencil brush shape, with shorter, some of the bristles can result in very softer bristles, called a pouncer. interesting marks. A cat’s tongue brush has a thick Flats and rounds are the most ver- body, and a short, sharp point. A flat- satile shapes. A selection of these and ferruled version of this shape is often a good liner or rigger will cover most called a berry brush, and is specifi- painting situations. Many china paint- cally designed for painting many tiny ers use no more than a small round, shapes, such as the individual seeds of a liner, and a large and small shader, blackberries. either square or angled. In traditional Mops may be round or flat, but of- china painting the “American style,” ten have no ferrule. They hold large featuring soft naturalistic effects, is quantities of liquid and dispense it a usually painted using square shad- little at a time. Mops are also used dry ers, while the more rigid and bright- to pick up powdered color when layer “Dresden style” employs more ing a dry ground. rounds and liners. Most of the above brush shapes are and made with either metal or quill fer- Whirleys (or spooleys) spatter brushes are unlike the above shapes, rules. Many china painters prefer quill brushes to metal ferrules because they and are made up of stiff bristles are more flexible and “spring” better. protruding from a central shaft. A Quill brushes also differ from fer- whirley’s bristles are very stiff and ruled brushes in that they are not per- short, and are designed to be dragged fectly round, and must be held with through a wet stroke to simulate hair. the flat side down, or the point will Spatter brushes have longer bristles, split or “quack” into a shape resem- as well as a piece of wire or wood Brush shapes with flat ferrules. Top to along one side. When the brush is bling a duck’s open bill. Many quill bottom: flat, bright, filbert, fitch, fan, angled brushes are sold without a handle, and mop. rotated against the wire, droplets of requiring the artist to move points paint are flung onto the work. from one handle to another, which often splits the quill. Bristles They should be soaked in warm water to soften them and pushed gently onto the handle. If they do split, you may The best watercolor brushes are Kolinsky sable, re- slip a short piece of heat-shrink tubing over the quill and nowned for strength, springiness and fine point. Next studio reference | brushes heat it gently with a match. best are red sable, not as springy as Kolinsky, but about The common flat-ferruled shapes are brights, flats (also half the price. Sabeline is a fine ox hair dyed to resemble known as shaders), filberts and fitches. sable, and is cheaper but not as good. The cheapest wa- Brights are the most versatile flat-ferruled brushes. They tercolor brushes are squirrel, sheep, or goat hair. Squirrel are slightly longer than they are wide. Flats are similar, but hair is very fine and limp. their length and width are the same. Both are used to fill in The best oil painting brushes are hog bristle and very broad areas and washes of color, and both are made with stiff. Hog bristle brushes are generally too stiff for most either square or angled tips. Flats and brights make a broad, china painters’ taste. A softer oil brush might be mon- straight-sided, square-ended mark when they’re moved up goose, and an ox hair brush will be softer yet. “Camel or down, and a thin mark when moved sideways. Moving hair” is a trade name applied to any number of hairs, them in a circular motion produces a C-shaped mark. none of which come from camels. Filberts have a rounded profile and make an oval mark. The wide variety of synthetic bristles has an enormous Fitches taper to a chisel point and make a teardrop shape, range of stiffness, price and holding capacity. It is often useful for drawing foliage. Fitches and filberts are typical- difficult to compare brands of brushes, because so many ly not moved sideways, but only up and down, although different bristles are simply labeled “synthetic.” Nylon the straight side of a fitch can be used like the square end bristles, which do not taper, are very resilient and easy of a flat. to clean.

Brush strokes made with a round-ferruled brush. Brush strokes made with a flat-ferruled brush.

Price end of each session. Avoid strong solvents such as lacquer This is a tricky issue for ceramists because bisqueware thinner, shellac remover, or acetone, as they will weaken and raw glaze abrade brushes quickly. A fine brush that the glue which holds the hairs in place. If you work with would last a watercolorist a lifetime may lose its point in both oil and water mediums, use a separate set of brushes a year or two of oxide decoration. China painting is not for each. nearly as hard on brushes, as the smooth glazed surface is Never rest a brush on its bristles. A brush left to dry not as abrasive. For banding or laying on flat areas of glaze, that way becomes useless. Brushes which have the bristles an expensive brush may be wasted. Sometimes though, glued into the handle, like sumi brushes, should not be left only a very good brush will make the mark you need, con- to dry with the tips up. Sumi brushes often have a silk loop sistently and repeatedly. on the end of the handle, used to hang the brush point With brushes, price is a very good indication of quality, down. Don’t let your brushes dry on a heating element or so remember that your brushes are your most important in a blast of hot air. This will dry out the natural oils and tools. It’s often tempting to save a little money by getting make the brush less flexible. the next-best bristles, or a slightly smaller size, but all that Use a palette knife to mix colors, not a brush. I must matters in making art is what it looks like. Skimping is fool- admit I am consistently guilty of this sin, and my brushes ish if the art doesn’t look right. pay the price for it. If you transport your brushes, protect the tips. You can Care buy a specially made brush case, but a length of plastic Never dip a dry brush into colors, either water- or oil- pipe or even a cardboard box will work as well. I roll mine based. The brush will not load completely if the bristles in a woven bamboo place mat, which allows them to dry, as are not wetted first. Dip the brush into water or other well as protects them. Specially made brush boxes are avail- medium and dry it slightly on a rag. able, with springs fixed inside, to hold brushes in place. Brushes should be rinsed after use as dried china paint will abrade the bristles. Soap or solvent is not necessary Testing Brushes with water-based china paints, but might be with gum- Evaluating brushes is very difficult, but some art supply filled commercial products. Oil-based mediums should stores will provide plain water and paper. New brushes of- be rinsed out in clean turpentine or paint thinner. Some ten have a protective plastic sleeve over the bristles. If you china painters also rinse their brushes in alcohol at the remove this, be very careful if you put it back on, as it’s easy

Copyright © 2008 Ceramic Publications Company | 19 A “C” or “S” stroke is made by moving the brush tip sideways and in a half- circle. A flat-ferruled brush will leave a thick or thin trail according to the angle it’s traveling. Notice how thin a line you can make when traveling sideways. Test your control of pressure by making this stroke with a round or a liner. If you can maintain an even pressure when changing directions, you will leave a line of even width. You should also be able to make a line of even width with a flat or bright, using a straight stroke. This is the stroke you will use most often, to fill in areas of color. It’s most often made by pulling the brush toward yourself, but

Paul Lewing, “Verses,” china paint on porcelain tile, each 12x8 inches 2005. Text was practice making it in all directions. printed full-size, transferred to the tile using graphite paper, and lettered with a #2 Try using more than one color on script brush. your brush. To load a round brush with two colors, fill it normally, blot to bend a few hairs back and damage them. Sharp-pointed off the tip, and load the tip with a contrasting color. Using brushes usually have a stiff sizing in them to protect the a flat brush, load each side with a different color. For an point. Soak this out in water before testing them. even gradation, mix the two colors next to each other on a Drop a dry, unsized brush on its tip to assess springiness. palette, and drag the brush back and forth between them Wet it and see if it comes to a point naturally. Make strokes until they blend. Now practice all the above strokes. up, down and in a circle, to see the differences in the mark. An interesting practice exercise is to load two colors on a Push the brush straight down to see what mark that makes. flat or bright, and make a straight stroke in which you vary Vary the pressure from light to hard to light again, to see the pressure on one edge, but not the other. This produces if the point returns. Keep doing this until the brush is dry a mark that is straight on one side and wavy on the other. to test its capacity. Interesting leaves and vegetation can be depicted this way. Flip the brush over and draw the other side of the leaf, to Brush Strokes shade on the opposite side.• A brush’s size, shape and type of bristle all contribute to the mark it will produce, but the art is in the stroke. While Paul Lewing is the author of China Paint and Overglaze, and there are an infinite variety of combinations and permuta- has been a professional clay artist since 1972. For comments, con- tions, all brush marks are the result of a few basic motions. tact Paul at [email protected]. Try all these motions with every one of your brushes. Try them with the brush well loaded, and almost empty. Use a very fluid medium and studio reference | brushes a sticky one, on both vertical and horizontal surfaces. Notice how a soft or a stiff brush, or a short or long handle, feels. Just lightly touch the surface, and continue to press until the ferrule touches the work. The easiest stroke might be called a “peck- ing” stroke. Just touch a loaded brush tip straight down on the surface. A flat brush produces a line; a round one, a dot. Notice how clean or frayed the mark is. Continue this until the brush is empty, noting how well the tip springs back, how the color flows, and how much the brush will hold. Make a “comma” stroke by moving this dot stroke to the side. Push down, ease up, move the tip and lift up. A good brush will make a clean mark throughout the stroke, with no stray hairs Paul Lewing, “Psalm 121:1,2,” 40x52 inches. First Presbyterian Church, Seattle, dragging alongside. Washington. Lettering done with a #8 bright.

enny Delio glazes his work subtly. He thinks of glazes as a skin, choosing matt glazes that are soft and supple, or shiny surfaces that appear wet and visceral. Or Khe may choose to mimic scales and fur with multihued textures, an important consideration when glazing the legs for his tables and props for his shelves. The guiding consideration for his glazing choices is enticement. Delio wants people to interact with his work, to be drawn to touch it and to use it.

Right: “Buddy Teapot,” 10 inches in height, thrown and altered white stoneware with White and Speckled glazes, fired to cone 6 in oxidation.

Below: Shelf with bottles, 36 inches in width. The shelf is curly cherry with tung oil and the shelf base is thrown and altered white stoneware with Brown Slip and White Glaze, fired to cone 6. The bottles are thrown and altered white stoneware with White and Speckled Glazes, fired to cone 6. studio reference | glazes

Brown Slip Cone 6 Ferro Frit 3124 ...... 10 % Nepheline Syenite ...... 10 EPK Kaolin ...... 40 Kentucky OM 4 Ball Clay . . . . 30 Silica ...... 10 100 % Add: Red Iron Oxide ...... 8 %

Olive Glaze Cone 6 Barium Carbonate* ...... 7 % Gerstley Borate ...... 16 Whiting ...... 7 Kona F-4 Feldspar ...... 30 EPK Kaolin ...... 9 Silica ...... 31 100 % reference | glazes studio Add: Mason Stain #6503 . . . . 2 %

White Glaze Cone 6 Dolomite ...... 23 % Nepheline Syenite ...... 72 Ball Clay ...... 5 100 % Add: Tin Oxide ...... 8 % Red Iron Oxide ...... 1 % Bentonite ...... 2 % Black Glaze Cone 6 Bone Ash ...... 10 % Whiting ...... 15 Ferro Frit 3124 ...... 20 Nepheline Syenite ...... 20 EPK Kaolin ...... 18 Silica ...... 17 100 % Add: Mason Stain #6616 . . . . 12 %

Speckled Glaze Cone 6 Gerstley Borate ...... 59 % Talc ...... 41 100 % Add: Rutile ...... 18 % *Glazes high in barium carbonate are not suitable for liner glazes on functional ware.

Teapot, 12 inches in height, thrown and altered white stoneware with pulled handle, Brown Slip and Black Glaze, fired to cone 6 in oxidation.

exture takes on an important role in Darren Emenau’s work. Impurities, such as twigs and stones, are not removed but rather retained to effect unique markings and in- Tteresting surfaces. The roughed-up, worn exteriors convey a rich sense of history. This is not by chance. Individual works have been ﬁred up to eight or nine times. History is not imitated but created. Emenau is a self-professed glaze fanatic. As he increasingly exploits this knowledge, the glaze is used not as mere surface decoration but the surface itself. Emenau experiments with applying successive layers of glaze and reﬁring. The results, he admits, might be irreproducible, but the intent here is not to make models but rather to unearth possibilities.

Right: “Bud Vase,” 5 inches in height, local earthenware, with MNO Lichen Glaze, fired to cone 06.

Below: “Ellie Euer,” 4 inches in height, local earthenware, with MNO Lichen Glaze, fired to cone 06; detail at far right. studio reference | glazes

MNO Lichen Cone 06 Borax ...... 24.7 % Lithium Carbonate ...... 9.3 Magnesium Carbonate ...... 39.2 Ferro Frit 3134 ...... 3.1 Nepheline Syenite ...... 23.7 100.0 % Add: Copper Carbonate ...... 5.2 % Bentonite ...... 3.1 %

This recipe was inspired by low-fire recipes by Lana Wilson. I brush it on in various thicknesses. Some of the glaze can flake off during firings. After firing, I scrape or sand blast the surface to reference | glazes studio remove any loose glaze. I rub beeswax into some areas and then torch it to remove most of the wax. Forms are often multifired. A nepheline syenite wash will prevent flaking during firings. My local clay contains a high percentage of iron oxide and salt crystals, which act as strong fluxes.

“Ellie Euer,” detail, with MNO Lichen glaze, fired to cone 06.

aku fring is expressive, exciting and fun. Wheth- Fuel er you’re rakuing in your own studio, or taking Raku kilns can be fred with natural gas, wood, propane part in a group fring at a school, workshop or or electric (see page 36). If using propane, you’ll need to community center, raku offers many rewards. purchase or rent a tank. While a 20 lb. tank works on warm RBut the process requires more than just enthusiasm; you days or with smaller kilns, it is recommended that you get need the proper equipment and tools to make the event a larger, refllable tank, or purchase two or three smaller successful. If you’re interested in getting started with raku tanks and gang them together with the appropriate con- or in adding raku to your program, here are a few point- nectors. You can take 30, 40, 60, 70 and even 100 pound ers for getting off to a good start with the right kiln—the tanks in for reflling. With propane, more surface area in most important tool you’ll need. the tanks means more gas will be produced assuring a steady supply. This is especially important as you get into The Basic Raku Process larger kilns with bigger burners. With natural gas, you are With raku you begin by placing your work in a cold kiln limited to the available pressure and location of a gas line, and bringing it up to temperature, approximately 1800– but there is some flexibility because you can lead a gas hose 1900ºF. The rate at which you attain this temperature is to the burner. based on a variety of factors: size of the work, size and type of kiln, burner output, etc. A raku session usually consists Burners of fring more than one load, so the ability to preheat the Burners are rated by their output, which is measured in waiting work, unload the hot ware safely, reload and then Btu’s (British thermal units). Natural gas and propane use reheat the kiln all need to be considered. The choice of different orifce sizes so you’ll need to specify which kind fuel—natural gas, wood, electric or propane—is important of fuel you’ll be using. Kiln manufacturers have done the because each of these carries limitations as well as benefts. engineering for their kilns and have matched the appro- You’ll need to consider the physical location of the kiln so priate burner(s) with the unit, taking size, insulation and that it can be placed with ample space around it for safety temperature range into consideration. Many manufacturers and space to work. And fnally, consider whether you’ll be also offer regulators, gauges and safety features with their fring alone, with an assistant, or with a group. burner, which are described in their literature. If you’re building your own kiln, instructions should include burner Configurations specifcations. If not, consult with a burner supplier. Kiln There are many confgurations for raku kilns—top load- size, construction materials and type of gas being used is ers, front loaders, top hats, car kilns and clam shells. Some all the information they will need. top hats have pulley systems, springs, counter weights and guiding tracks to raise and lower the chamber. Without the Electric lifting mechanism, a large top-hat kiln requires two people While any electric kiln can be used for raku, there are to safely lift the body off, while smaller kilns require only some electric kilns on the market specifcally designed for one person. After gaining experience, most raku potters raku. Regardless, you’ll need to either locate the kiln out-

studio reference | raku kiln gravitate to one specifc style and design. The important side, or near an outside entrance so you can unload the kiln thing with any kiln is that you are comfortable with its and quickly move your pieces outdoors for the subsequent workings. It must accommodate your work. It must be post-fring phase. One hazard with using a standard elec- possible to safely open the extremely hot kiln, remove the tric kiln is that the power must be shut off before reaching contents, reload, and close it up again losing as little heat into it with metal tongs to eliminate the possibility of ac- as possible. Before buying or building a kiln, do as much cidentally touching a live element. Some electric kilns are observation, participation and research as possible. built with a lifting mechanism, which raises the entire body of the kiln, including all the electrics, up and out of the Temperature way when loading and reloading. Even though most raku fring takes place in the Cone 010–04 range some of the kilns on the market are rated The Do-It-Yourself Option for higher temperatures—up to Cone 10. While some kilns One option is to build a raku kiln from one of the many are designed specifcally for raku, others were originally de- plans available in books and online. We have two plans on signed as stoneware kilns that can be used for raku or were our website at www.potterymaking.org, one for a fber- modifed for raku. You’ll need to check with manufacturers lined wire-frame design and the other a small fber-lined about the full capabilities of their kilns. barrel. Another inexpensive option for the DIY route is to

Tim Andrews, Dave Jones and Jim Romberg unloading a top-hat raku kiln at Eagleheart Center for Art & Inquiry, Grand Junction, Colorado. Raku Kiln Manufacturers Axner www.axner.com Bracker’s Good Earth Clays www.brackers.com purchase a kit. Some kits, which include all the materials Ceramic Services www.ceramicservices.com needed to not only build a kiln, but also essential extras like Clay Art Center www.clayartcenter.net tongs, furniture, gloves, etc. L&R Specialties, Inc. www.claydogs.com Safety Laguna www.laguna.com Mile Hi Ceramics, Inc. (Zen Kilns) www.milehiceramics.com Raku is inherently a dangerous activity, but no more so Nabertherm www.nabertherm.com than working around a bonfre. If you purchased a com- New Mexico Clay Co. www.nmclay.com mercial kiln, you’ll need to read, understand and follow all Olympic Kilns www.greatkilns.com safety instructions provided by the manufacturer because Seattle Pottery Supply www.cruciblekilns.com their warnings are based on experience and following them Sugar Creek Industries (Good Kilns) www.sugarcreekind.com assures an accident-free experience. If building your own, Summit Kilns www.swiftweb.com/summit be sure that you’re comfortable and confdent in your de- Ward Burner Systems www.wardburner.com sign and experience. The appropriate clothing, gloves and eye protection are critical for protection against the kiln’s most of the manufacturers and their website, and several heat for any of those handling the work, and in both solo of these sell through distributors, which may be closer to and group situations, attention must be paid to the “cho- home so you’ll pay less for shipping. See the Company Di- reography”—the dance—of the raku fring process. It is rectory for complete contact information. certainly not the time to be tripping over one another. Test Drive Cost If you haven’t tried raku, but have always been fascinated Many commercial raku kilns are priced under $1000 with by the spontaneity, immediacy and simplicity of the craft, a few fetching more than $2500 because of the need for by all means, sign up for a workshop. You’ll be amazed at higher end functionality. Building your own raku kiln from what a great activity this is and why it’s one of the most a kit or rounding up all the pieces and parts can lower your popular clay studio techniques around, enjoyed by thou- costs. It is similar to buying a computer or any other major sands of potters of all ages. appliance; determine what’s in your budget and then look around, but don’t forget to factor in tongs, gloves, goggles, Thanks to Steve Branfman, author of Raku, A Practical Ap- shelves and the other equipment you’ll need. We’ve listed proach, 2nd Ed., kp books, for assistance on this article.

n my workshops, I get asked many questions but never “What is a raku glaze?” Why? Because everyone knows what a raku glaze is. Right? It’s a glaze that is labeled “raku.” Wrong. It’s time to expand Iyour thinking and understand exactly what this whole raku glaze thing is about. A raku glaze is any glaze you use in the raku method. It doesn’t have to be a glaze specifcally designed for raku, formulated to fre at the temperature you fre your raku to, nor homemade or commercial. It can be most anything. The key to success is understanding the raku fring process and the ability to predict how a particular glaze reacts to that process. Multilayered brushed commercial low-fire glazes. The Raku Method Low-Fire Glazes Raku as practiced in the West is a low-fre method in Glazes used in the raku process need not be “raku” glazes which we quickly heat the ware, remove the ware from the at all. At its core, raku is a low-temperature fring method. kiln when the glaze has melted, and perform some type of The fact that we remove the ware from the kiln while the post-fring process to the piece. The post-fring phase is pots are hot and the glaze is molten is irrelevant. Under- usually an immersion in an organic combustible material to standing this opens up a whole new world of glazes. Any affect the fnal outcome on the glaze and the raw clay. De- glaze that is formulated to fre at the low temperature of ciding when the glaze has melted takes practice and is best raku can be used. First, you must decide at what temperature done by observation, though many potters use pyrometers you are fring. Most raku is done in the Cone 010–06 range. to aid in making that decision. Raku is exciting, often un- Begin by choosing glazes that both appeal to you in color predictable to the novice and fun to do. and that fre in your range. You will have to experiment but I have never found a glaze that I couldn’t use successfully. Glaze Application Glazing work for raku can be done by all the methods High-Fire Glazes known—dipping, pouring, brushing, spraying, splashing, We are not limited only to glazes that melt at the low dripping, sponging—you name it. Glazes also can be used temperatures. With greater understanding of the raku pro- alone or in combination. Keep in mind that the application cess, even mid-range and high-fre glazes can be used in of a glaze has a direct effect on the result. the low-temperature range of raku. Try using your regular stoneware glazes as slips. Over the glaze, apply a clear or Dedicated Raku Glazes white raku or other low-temperature glaze. The low-tem- Glazes specifcally designed for raku fall into two catego- perature glaze causes the high-fre glaze to melt giving you ries—homemade and commercially prepared. If you mix a new palette of colors to work with. studio reference | raku glaze your own, you’ll fnd scores of recipes. Search the internet, ask friends, look in any book on glazes or raku and look in Other Glazes magazines. In no time you will fnd more glazes than you In addition to glazes, slips, engobes, underglazes, over- could use in a lifetime. Of course, to mix your own glazes glazes, china paints, underglaze pencils, oxides and stains you must have a stock of materials, mixing paraphernalia, are all viable in the raku process. knowledge and interest. If this doesn’t turn you on there are myriad manufacturers that produce almost as many Food Safety raku glazes. The advantage of using commercial glazes is No matter what type of glaze or decorative material you that you are given instruction on how to use the glaze, you use, raku is inherently unsafe for use as domestic ware. The have a sample of the fred glaze to help guide your results, rapid fring, removal of the ware and subsequent post-fr- and the formulation (although not the results!) will be con- ing phase all contribute to fragility, porosity, and thin, easily sistent time after time. Of course, commercial glazes are flaked glaze surfaces. Not all materials used in raku glazes a bit more expensive than mixing your own, and by using are toxic. In fact, most are not. Confusion arises when you commercial glazes you are removing what is for some, the realize that over the centuries some of the most prized most interesting part of the raku process: designing and teabowls by tea masters have been raku fred. Be safe, and using your own glazes. think of your raku ware as decorative and not functional.

ost potters use commercially prepared clays, color (as well as the glazes) changes based on the type of and ceramic suppliers have met their needs fring atmosphere you have—reduction (from fuel fring) by offering a vast, though sometimes bewil- or oxidation. Reduction fring deepens or darkens an oth- dering, selection of clays to choose from. If erwise neutral-colored clay body. Some clay companies Myou’re using the clay someone else just handed you, maybe have duplicated this effect by adding more colorants to it’s not the right one for the work you’re doing. Every clay their formulas making it possible to achieve “reduction” body is formulated for a specifc use, and fnding the right colors from an electric kiln. Since the iron and other col- one for your needs takes a bit of research and experimen- orants in a body color affect glaze color, you’ll need to tation. There are several decisions to make when fnding a test your glazes with each body. clay body or bodies that meet your skill level, techniques and aesthetic. Choose A Texture Texture can range from smooth to rough. Smooth Choose A Supplier bodies contain very small particles of clay, which tend to Now why would you choose a supplier frst? They work shrink more. These are best suited for small, fne and/or with amateurs, professionals, students, teachers, sculp- detailed work. Adding grog (ground-up fred clay) or sand tors, tile makers, etc., and have solved a wide variety of gives the body “tooth,” and the larger the particle size, problems. There are three types of suppliers: those that the less water the piece will need (hence less shrinkage). manufacture their own clays, those that sell clay from other Manufacturers offer a range of bodies that incorporate manufacturers and those that do both. And, if you have fner particles of grog and sand to get a texture between problems a supplier can’t answer, either you or the supplier smooth and rough. can contact the manufacturer. Buy Wisely Choose An Application Buying prepared clay requires a little judgment. First, Clay bodies are formulated for different applications. try to fnd a supplier that is nearby because shipping costs Throwing tableware requires a clay body that is plastic can add up and sometimes equal or exceed the cost of (malleable) and smooth, while constructing a large sculp- the clay body itself. Next, test a sample before purchas- ture may require “toothier” (coarse-grained) clay. In many ing a large quantity. If you’re buying several types of clay cases, a clay body may be used for several applications, but bodies, suppliers will typically allow you to combine the some are highly specialized—raku or ovenware, for exam- weights for a better discount. Finally, buy only enough ple. Make a list of the things you want to do, and you may clay to last you a year maximum. Clay loses moisture in end up with several bodies to achieve the best results. storage and becomes stiffer, possibly even unworkable. Choose A Firing Range You can ask your supplier how long they have stored the Clays are formulated to fre at specifc temperatures clay. A good supplier will only stock what they can sell within three general ranges: low (Cone 06–2), mid (Cone within a reasonable amount of time. 3–7) and high (Cone 8–10). Within a range, the higher you Buyer Beware fre, the greater the shrinkage and the lower the absorbency studio reference | buying clay All commercially prepared clay bodies are made from of the fred clay. Low-fre clay bodies (earthenware) are naturally occurring elements scooped from the earth for easy to work with and fre, and there is a wide range of col- industrial users. Studio potters do not purchase enough orful glazes available. These clay bodies are also used for materials to be a major user, so we have to make do with raku and pit fring. Mid-range clays are more durable and a small portion of what the industry uses (brick and tile include stoneware and some porcelain bodies, but color is more limited. This situation improves each year as glaze manufacurers, china companies, steel industry, paper mills, companies improve and expand their offerings. High-fre pharmaceuticals, etc.). Mother Nature did not use any clays are very durable and include stoneware and porcelain. quality control when she created clay deposits, so seams Color palettes vary depending on fring atmosphere (oxi- of clay vary from one spot to another. And a mammoth dation or reduction). front loader is not a delicate material-selection tool. The good news is that the industry often requires a degree Choose A Color of consistency in their raw materials, so that clay mines Color in basic studio clay bodies results mostly from nat- make every effort possible to provide them with the very urally occurring iron and/or iron that has been added. Por- best product out there for an intended application. To celain contains no iron, light buff bodies have some iron make sure your clay meets your every needs and your own and earthenware bodies may have over 10% iron. The body quality standards, always test each batch everytime.

hether you need a drying bat, a simple hump mold, or you’re making a complex Water to Plaster Mixing Chart 1 quart ...... 2 lbs. 14 oz. (1,293 grams) slip mold, you’ll need to mix plaster. Get- 1Z\x quarts ...... 4 lbs. 4 oz. (1,937 grams) ting the plaster right requires a bit more 2 quarts ...... 5 lbs. 11 oz. (2,585 grams) Wthan just “dumping and mixing.” Here are 10 ways to get 2Z\x quarts ...... 7 lbs. 2 oz. (3,230 grams) the best results for your next plaster project. 3 quarts ...... 8 lbs. 9 oz. (3,878 grams) 3Z\x quarts ...... 10 lbs. (4,522 grams) 1 gallon ...... 11 lbs. 6 oz. (5,171 grams) Prepare Your Mold 1Z\x gallons ...... 17 lbs. 2 oz. (7,756 grams) A common mistake of potters is to mix plaster only to 2 gallons ...... 22 lbs. 13 oz. (10,337 grams) realize everything’s not set up for pouring. Before casting, 2Z\x gallons ...... 28 lbs. 8 oz. (12,923 grams) make sure your model is set, the mold boards or cottle are 3 gallons ...... 34 lbs. 3 oz. (15,508 grams) This table is based on USG® No. 1 Pottery Plaster mixed to a con- secure, and all the surfaces you’re pouring onto are coated sistency of 73 (73 parts plaster to 100 parts water) recommended for most studio applications. Excessive water yields a more porous but with a parting agent such as mold soap. more brittle mold, and less water means a very dense, hard mold that will not absorb water. Prepare Your Work Area You will need a clean mixing container for the plaster, a scale for weighing the plaster, a measuring cup for the water and a rinse bucket. Note: Plaster cannot be permitted surrounded by water and it removes air from the mix. to go down the drain, because it will form a rocklike mass. Small batches require less soaking than large batches. If Even small amounts will accumulate over time. Line a rinse the soaking time is too short, it may contribute to pinholes; bucket with a plastic garbage bag and fll it with water for and if it is too long, it will contribute to fast set times, early rinsing your hands and tools. Allow the plaster to settle for stiffening and gritty mold surfaces. a day, then pour off the water and discard the bag. Mix The Plaster Use Fresh Water Small batches of plaster can be mixed by hand. Use The mixing water you use should be at room tempera- a constant motion with your hand and you will notice a ture or 70°F. If the water is too warm, the plaster will set change in consistency from watery to a thick cream. Break too fast and vice versa. Use only clean, drinkable tap water down lumps with your fngers as you mix. Mix only for a or distilled water. Metallic salts, such as aluminum sulfate, minute or two being very careful not to agitate the mixture can accelerate the setting time, and soluble salts can cause so much that air bubbles are incorporated into the mix. efflorescence on the mold surface. Mixing time affects absorption rates—longer mixing times produce tighter and less-absorptive molds. Use Fresh Plaster Plaster is calcined, meaning chemically bound water has Pouring The Plaster been driven off through heating. If the plaster has been After mixing, tap the bucket on a hard surface to release sitting around in a damp environment, it will have lumps in trapped air. Pour the plaster carefully. Wherever possible, studio reference | plaster it, in which case it is no longer usable. Pitch it. Use plaster pour plaster carefuly into the deepest area so the slurry that has been stored dry and is lump free. flows evenly across the surface of the mold. Oncethe mold is poured, tap the table with a rubber mallet to vi- Weigh Out Materials brate the mold and release more air bubbles. Do not guess about the amounts of plaster and water you’ll need. Once you start the mixing process, you do not Drying Plaster want to go back and adjust quantities. To determine the When plaster sets, it heats up because of a chemical reac- amount you need, estimate the volume in cubic inches then tion. When it has cooled, it is safe to remove the cottles or divide by 231 for gallons, or by 58 for quarts. Deduct 20% forms—about 45 minutes to an hour after pouring. Molds to allow for the volume of plaster, then refer to the table. must be dry before use. Drying molds properly promotes good strength development, uniform absorption and re- Add Plaster To Water duced efflorescence. Dry molds evenly. Don’t set them Slowly sift the plaster onto the surface of the water. Do near a kiln where one side is exposed to excessive heat or not dump the plaster or toss it in by handfuls. Adding the the relative humidity is near zero. Place them on racks in a plaster shouldn’t take more than 3 minutes. relatively dry location away from drafts.

Soak The Plaster Sources: United States Gypsum (USG) Company and Clay: A Allow the plaster to soak for 1–2 minutes maximum. Studio Handbook, by Vince Pitelka, published by The American The soaking allows each plaster crystal to be completely Ceramic Society, 2001.

hen kiln elements expand during fring, Firing the Kiln to Cone 05 they can bulge out of the brick groove if After installing new elements or repairing bulging ones, not properly installed. When an element is fre your kiln to cone 05 or hotter (around 1888°F). The protruding, it’s brittle and can easily break elements soften to the point where they no longer support ifW bumped into while loading, unloading or cleaning the their own weight, and if they are inside the grooves, they kiln. Here are some steps to avoid this unnecessary, costly will conform to the shape of the grooves. If you normally and time-consuming repair. fre lower than cone 05, occasionally fring higher will help prevent the elements from bulging out of the grooves. Repairing a Bulging Sidewall Element Elements that bulge out of a sidewall brick groove af- Arnold Howard writes instruction manuals for Paragon Indus- ter the kiln has been fred should be pushed back into the tries, L.P. Contact him at [email protected] for any groove. It’s not diffcult as long as you frst heat the ele- comments or questions. ment, because if you push it back in place while it’s cold, the element will break. For this repair, you’ll need a propane torch, which is available at any home improvement center. Be sure the kiln area is free of flammable materials, CAUTION such as paint, gasoline, lawn mowers, etc. And, when the Always unplug the kiln before touching an element propane torch is on, do not reach for tools or do anything with anything or performing any repairs. that would take your attention away from the torch. Unplug or disconnect the power to the kiln and heat the element with the propane torch. When the bulging element section turns dull red, squeeze the individual turns in the coils together slightly with needle-nose pliers. Take a little from each turn so that no two turns will be pressed tightly enough to touch. As the element shrinks, work it back toward the groove and into place. Work rapidly. At the frst sign of stiffness in the coils, stop bending and reheat the element with the torch. The elements do not have to be red to be bent safely, as the stiffening can be felt through the pliers. If the element has popped out from a corner, you will need to expand the distance between the coils to make the element go back into the corner. Use snap-ring pliers, which are available at auto parts stores. When you have the coils positioned above the brick groove, heat the element again and press it down into the groove. Backed Into a Corner If elements are popping out of a dropped, recessed studio reference | kiln maintenance brick groove, it’s probably because the element was not originally pushed all the way to the back of each corner. There are two things you can do to assure a new element is installed correctly. First, bend elements at the corners and push them to the back of the corners when you install them. Second, keep a steady pressure against the element as you thread it into the grooves. If you let go of the element, or let up on the pressure, it will spring out of the corners. To get the bends to ft into the corners, stretching or compressing may be necessary. If a section of element is too long between the corners, it may bulge slightly. Allow it to bulge until the entire element is installed, then com- press the bulging section with needle-nose pliers.

hen your kiln takes too long to fre, it’s not What to Check always because of worn heating elements. • Be sure your 240-volt kiln is not plugged into a 208- Low voltage can double your fring time. volt outlet, and vice versa. Check on the side of the kiln Electrical current in most of the United for the rating. StatesW is so reliable we take it for granted. Voltage levels • Check the voltage of your wall receptacle. Unless you rise and fall regularly, though usually not enough to mat- are profcient with electricity, this should be performed by ter; however, when it drops too low, problems arise. the power company or a professional electrician. Autry, a master electrician, described one of his experi- • Check the receptacle under load (again, this is for ences. In a customer’s home, light bulbs kept burning out, experienced persons or professionals only). Pull the kiln and the air conditioner and other appliances did not oper- plug ¹⁄₄ inch from the wall receptacle. Start the kiln. Place ate properly. He took a voltage reading from the recepta- a voltmeter probe against each of the two hot blades of cles in their home. “There’s nothing I can do to help you,” the cord plug to measure voltage. If voltage is low, try fr- he told his customer. “Your problem is low voltage.” ing the kiln during periods of low demand when voltage The power company insisted that the voltage in that is higher. home was normal and eventually sent a supervisor to meet • Check the circuit. If the kiln is sharing a circuit with Autry at the customer’s home with a voltage recorder. The other appliances, that can also reduce the voltage and slow supervisor recorded 190 volts for a 240-volt system. “That down the fring. was the lowest voltage drop I had ever encountered,” Au- CAUTION: Do not perform a voltmeter test unless try said. The power company changed the transformer to you are experienced with electrical repairs. raise the voltage. Some power companies do not have enough generating Solutions capacity to correct low voltage, and in those cases, chang- • If your power company cannot correct the low volt- ing the power transformer won’t help. Voltage commonly age, your kiln manufacturer can probably make special ele- drops during periods of heavy electrical demand. In Dal- ments for your kiln. These elements overcome low voltage las during the summer, voltage can drop from 240 to as by drawing more power; however, should you ever plug the low as 190 between 4:30 and 8:30 P.M. when people come kiln into a circuit with normal voltage, the elements will home from work and turn on air conditioners. To raise pull too much power, damaging the cord set. voltage during peak periods, some utility companies kick • If the voltage is low on an unloaded circuit and when in extra generators. nothing in the house is drawing current, you may have low 208 & 240 Volt Systems voltage to the house, which requires changing the trans- A common mistake in ordering kilns is to confuse a 208- former. This is done by the electric company. volt wall receptacle for a 240-volt wall receptacle. This is • Schedule your fring during off-peak periods. Low an easy mistake, because both wall receptacles will look voltage slows down the kiln and also strains the elements, the same. You cannot determine the voltage by visual in- which struggle to reach fring temperature. spection of receptacles. • Do not run high-voltage appliances or air conditioners studio reference | low voltage Residential houses are usually wired for 120/240 volts. during your fring. Yet industrial buildings that use mostly 120-volt outlets are often wired for 120/208 volts. It is more effcient to wire 120/208 than 120/240. Strip malls and schools use Estimating Low-Voltage Power Loss mostly 120-volt lighting circuits, so they are frequently To determine how much power is lost through low voltage, wired at 120/208 instead of 120/240. divide low voltage squared by correct voltage squared. On 208 volts, a 240-volt kiln will fre at only 75% power

and never reach maximum temperature. Some 240-volt [low voltage]2 electronic kilns may not even operate on 208 volts. So be [correct voltage]2 sure about voltage before ordering a kiln. Often, large 10 and 12 sided 208-volt kilns are shipped For instance, to figure power loss of a 240-volt kiln fired on 208 volts: without cord sets. This is because 208-volt kilns draw 2082 208×208 43,264 = = more amperage than 240-volt kilns. Consequently, stan- 2402 240×240 57,600 dard cord sets on 240-volt models are not heavy enough for 208. An electrician must wire kilns without cord sets In this case, power loss is .25 or ¼ (.75 represents remaining power). directly to the outlet.

Quick-Change Artist For throwing mugs and small one of the terra-cotta tiles in bowls, I use a quick-change bat the center of the plastic bat and system. To make one, you need dry-ﬁt the PVC molding around one square plastic bat that at- it, leaving two corners open to taches to your wheel head with make it easy to remove the tiles. bat pins, PVC molding from the Glue down the molding with the cotta tile and throw your pot. You hardware store, PVC cement and cement and let it dry. Remove the can quickly remove the tile and some commercial 6-inch-square tile from the assembly while it insert a fresh one for your next terra-cotta tiles. Cut the PVC dries or you won’t get it out later. pot. A terra-cotta tile costs about molding into two 5-inch lengths Once it’s dry, mount the plastic 30 cents, so it makes a really cheap and two 4¼-inch lengths. Place bat on your bat pins, insert a terra- bat.—Sylvia Shirley, Pittsburg, KS

Height and Comfort The splash pan that came with tubing into the insulation foam my wonderful new wheel was and placed it on top of the splash a little short for the thick bats I pan rim, working it down gently use for large platters. This created onto the rim, making sure the vi- a lot of problems with slip and nyl tubing stayed on top of the trimmings splashing everywhere. rim. I taped the two ends of the Out of frustration came this an- foam insulation tightly together swer to my problems: with duct tape. This ring can be I cut a piece of ¾-inch foam removed and replaced when ex- pipe insulation (the kind with a tra height is needed, and it also slit all the way down the length) provides a good deal of cush- and a piece of ½-inch clear vinyl ion for your arms when throw- tubing to ft the circumference ing.—Ann Krestensen, Bozman, MD of the splash pan. I inserted the studio reference | suggestions

Sponge Brush For making a sponge-on-a- cellent for fettling excess glaze from stick, I use one of those 3-inch- the bottoms of pots and smoothing diameter round yellow sponges. rims. Since they are triangular at their I cut off about 1 inch on oppo- ends, they can easily get into tight site edges and glue an old paint corners.—Eugene Prial, Westfield, NJ brush into the center of the remaining sponge using Superglue. This gives the sponge long, sharp edges that reach all the way into the corner of a pot. The two pieces that are cut away are ex-

Balloon Greenware Transport One problem I constantly en- bone-dry ware) over longer dis- counter is transporting fragile tances, I pour a couple of inches greenware from place to place. of vermiculite (available at garden Over the years I have used many centers and drywall supplies) into methods with varying success. a box and lay a large sheet of poly One of the easiest methods I cleaner bag material on the ver- have discovered for carting green- miculite bed. I then place the gre- ware over short distances is to use enware piece in the center, bunch inflated balloons to hold the vari- the poly sheeting up over the piece ous pieces in place while in transit. and ﬁll the box with vermiculite. saved for reuse. With this method, Pictured here is a simple example The vermiculite can be removed you are able to transport even the of securing a greenware piece. from around the piece with a most delicate pieces with ease. For transporting fragile (especially small hand vacuum, or it can be —David Ogle, Los Gatos, CA

Extrude Anywhere to correspond to your extruder’s In order to make an extruder mounting holes and attach it. portable (those of us who have That’s really all there is to it! limited studio space need to make The adjustable roller stand all sorts of things portable), pur- is designed to be used with chase an adjustable woodworking equipment like roller stand and a a tablesaw or planer, so it can piece of steel tub- be found at most places that ing the same size in sell woodworking power tools. cross-section as the —Fujie Robesky, Fresno, CA adjustable tube. Mine is 5 feet long, and that Add this part seems to be plenty tall and attach your enough. Drill holes in extruder at the this piece of steel tube proper height.

Remove this part studio reference | suggestions

Lid Loosening If gentle tapping will not free a and gloves. If the location of the previously described. Be prepared stuck lid that has found a bit of sticking is known, tap opposite to catch the lid or have it fall stray glaze, place the pot in the that spot; if it is not known, tap onto a soft surface; it would be a freezer for about an hour. Quite gently around the circumference shame to lose a pot you just saved! often, this will free the lid. If of the lid. If this effort fails, re- —Richard Erickson, Green Bay, VA not, have someone hold the pot turn the pot to the freezer. The while you gently tap the lid with next time, have the person hold- a small rubber or plastic ham- ing the pot wrap the location just mer. Make certain all persons in- below the lid with a damp hot rag volved are wearing safety glasses or towel; try the same tapping as

Firing converts ceramic work from weak greenware into a strong, durable permanent form. As the temperature in a kiln rises, many changes take place at different temperatures and understanding what happens during the firing can help you avoid problems with a variety of clay and glaze faults related to firing.

Temperature Cone Incandescence Event °C °F (approx.) 1400 2552 14 Brilliant white End of porcelain range. 13 12 11 1300 2372 10 White End of stoneware range. 9 8 7 Yellow-white 6 1200 2192 5 End of earthenware (red clay) range. 4 3 Yellow 2 01 02 1100 2012 03 Yellow-orange 1100–1200˚C: Mullite and cristobalite (two types of silica) form as clay 04 begins to convert to glass. Particles start melting together to form crystals, 05 Orange and materials shrink as they become more dense. Soaking (holding the 1000 1832 06 end temperature) increases the amount of fused material and the mount 07 08 of chemical action between the fluxes and the more refractory materials. 09 Red-orange 010 900 1652 011 800–900˚C: the beginning of sintering, the stage where clay particles begin 012 013 to cement themselves together to create a hard material called bisque. 014 Cherry red 015 800 1472 016 300–800˚C: Carbonaceous materials (impurities in the clay along with 017 paper, wax, etc.) burn out. The kiln requires ample air during this stage 018 Dull red since after 800˚C sintering begins and the clay surface begins to seal off, 700 1292 019 trapping unburned materials and sulfides, which can cause bloating and 020 black coring. 021 Dark red 600 1112 022 573˚C: Quartz inversion occurs where the quartz crystals change from an Dull red glow alpha (ae ) structur to a beta ( b) structure. The inversion is reversed on cool- 500 932 ing. This conversion creates stressses in the clay so temperature changes must be slow to avoid cracking the work. Black 400 752 Between 480–700ºC chemical water (“water smoke”) is driven off. studio reference | kiln firing degrees

300 572

200 392 Upon cooling, cristobalite, a crystalline form of silica found in all clay bodies, shrinks suddenly at 220ºC. Fast cooling at this temperature causes ware to crack. 100 212 Water boils and converts to steam at 100ºC. Trapped water causes clay to explode so keep the kiln below 100ºC until all water has evaporated.

yrometric cones, often re- the 1¾ inch height, you can use the ferred to simply as “cones” temperature for self-supporting base (or more formally as “wit- (SSB) cones. ness cones”), are used in • SSB cones are made to sit at the Ppottery making to indicate the amount correct mounting height and angle of “heat work” (or energy) needed without the need to mount them. during a kiln firing. Cones are shaped like elongated pyramids made of spec- Cone Placement ified mixtures of ceramic materials, and they come in a variety of standard shapes. To get the best results from A. cones, they must be used correctly. Here are a few guidelines . . . may need to decrease the firing time. B. Cone Mounting Manual Kilns: Place small cone in kiln sitter in offset position with small end Three cones are typically used toward center or place next lower cone when firing: a “warning cone” to in- in kiln sitter. dicate that the target firing tempera- C. Controller Kilns: Decrease small ture is close; a “firing cone,” which amounts of “hold” or “soak” time if indicates that temperature has been this has been set, or lower your end set- reached; and a “guard cone,” which point temperature in custom programs. indicates that the maturing temperature has been exceeded. CAUTION • Large cones should be mounted Always use proper safety glasses when with the face at an 8° angle. viewing cones during firing. • Large cones can be mounted • Mount cones in a straight line at a height of 2 inches above the (A), turned to an angle (B) or spaced “Hold” or “Soak” Time plaque or conepack. If you mount at diagonally (C). Diagonal placement When you “soak” a kiln, you hold is handy when viewing SSB cones the kiln at a certain temperature. As through a peephole. shown here, you can see that it takes • Place cones at least 6 inches from a significant amount of soaking to the kiln’s inner wall to protect the cause the next cone to deform. Soak cones from the effects of drafts. time can be used to equalize the temperature distribution within the Interpreting Cones kiln and ware. • The difference between 60° and

studio reference | using cones 90° bending angles is usually a small amount in equivalent temperature. • If your firing cone deforms to a lesser bending angle than desired, you may need to increase the firing time. Manual Kilns: Place small cone in kiln sitter in offset position with large end toward center or place next higher cone in kiln sitter if firing cone has hardly moved. (Note: You cannot adjust a pyrometric bar by moving it.) Controller Kilns: Add small amounts of “hold” or “soak” time or raise your end setpoint temperature in custom programs. • If your firing cone is deformed to a greater bending angle than desired, you Copyright © 2008 Ceramic Publications Company | 44 Glossary of Common Terms

Excerpted from Clay: A Studio Handbook by Vince Pitelka, china paints; enamels Very low temperature (cone 018) glaze published by The American Ceramic Society, 2001. colors applied over a previously fired higher-temperature glaze. Allow greater detail, brighter colors than other ceramic glaze absorption The ability of a fired clay to absorb water. Used as a effects, but are vulnerable to surface abrasion. gauge of vitrification. chuck On the wheel, a temporary wet-clay form or reusable bisque- applique Low-relief clay shapes added to scored, slurried leath- fired form upon which wares may be inverted for trimming. er-hard surface for decoration. clay Widely occurring aluminum silicate mineral resulting from aventurine A glaze featuring iridescent metallic flecks as a result natural decomposition of feldspar and granite. Composed of of iron crystals just beneath the surface. microscopic disk-shaped platelets that give clay its slippery, ball mill A mechanically revolving vessel in which ceramic mate- plastic quality. rials can be placed along with water and flint pebbles or high- coefficient of expansion A measurement of a material’s ten- fired porcelain slugs. Used to grind clay and glaze materials. dency to expand when heated and contract when cooled. The banding wheel Hand-operated turntable for applying wax resist higher the coefficient of expansion, the lower the thermal and banded decoration. shock resistance. In firing dissimilar materials in contact with one another the coefficient of expansion must be matched. bat Rigid flat disc of wood, plastic, or plaster placed on wheel- reference | glossary studio coil construction Ceramic forming method utilizing ropelike head. When throwing is finished, bat is lifted off wheelhead, coils of plastic clay, assembled in successive courses to build avoiding damage or warpage. up wall of vessel or sculpture. beading glaze; beaded glaze A specialized controlled-crawl compression In wheel throwing, the act of hand or finger pres- glaze designed to crack and crawl significantly during firing, sure on the clay, resulting in lower moisture content and a then melt into isolated beads on the surface. denser structure. Lack of compression in bottoms of pots can bisque-firing Initial kiln firing in which clay sinters without vitri- result in S-cracks. fying, and though very porous, will no longer soften in water. crackle glaze A glaze designed to craze for decorative effect. blackware firing Bonfire firing that is smothered with manure Used primarily for nonfunctional objects and surfaces, as craz- and/or sawdust at maximum temperature and then buried in ing is a flaw and weakens wares. sand, dirt, or ash, to trap smoke, causing wares to turn black. crawling Glaze fault where glaze recedes away from an area in blistering Glaze defect where fired glaze surface contains the firing, leaving bare clay. Usually caused by dusty, dirty, or bubbles, which often break open to leave sharp-edged cra- oily surface beneath glaze or by excessively powdery glaze. ters in surface. crazing Very fine surface cracks in fired glaze surface—techni- bloating Firing defect where blisters form within clay body, rais- cally a fault in glazed wares, but often sought after, especially ing large lumps on the surface. Caused by expansion of gases in raku. within clay as a result of excessive early reduction, excessively crystalline glazes Glazes in which significant macrocrystalline fast bisque-firing, or overfiring. structure forms in surface of low-alumina glaze seeded with blunge The process of mixing a glaze or slip with a motorized zinc or titanium. Crystalline glazes feature large, visible crystal impeller-mixer. development versus microcrystalline effects, as in matt glazes and saturated-iron glazes. body reduction Period of reduction atmosphere induced between cone 012 and 08 to bring out iron color and speckles in cuerda seca Technique where a design is outlined in oxide- clay body, especially in high-fired stoneware. tinted wax resist, and the intervening spaces coated with glazes. Finished results show areas of glaze divided by dark bone dry Completely dry (and very brittle) state clay must reach unglazed lines. before firing. deairing: The process of removing the air from a plastic clay bonfire firing Earliest and most basic firing process, where mass, usually accomplished through wedging, or far more ef- wares are fired in an open bonfire. fectively with a vacuum deairing pug mill. breaking In glazes, phenomenon where a glaze gives different col- dunting Traditional term referring to serious cracking occurring ors in thick and thin areas—the color breaks from thick to thin. in cooling, resulting from drawing too soon, from extreme excessive glaze-compression, or from low thermal shock-resis- burnishing Method of achieving a shine by rubbing clay or slip tance in over vitrified wares resulting from over fluxing and/or with smooth hard object. over firing. celadon Classic East Asian transparent or translucent glaze with earthenware Low-fired ware, usually still porous after firing— small percentages of iron and/or copper and/or chrome, giv- must be sealed with vitreous glaze to be functional. ing range of soft greens, blue-greens, and gray-greens. earthenware clay Natural low-fire secondary clay, fluxed with centering Critical step in throwing, occurring during and after iron, fires porous. Often called “common” clay, found almost wheel wedging, whereby the clay mass is formed into a sym- everywhere, matures below 2000°F. metrical lump before penetrating and raising walls. egyptian pasteA self-glazing clay body in which soluble alkaline chamois Very soft, pliable animal skin—when wet works well to fluxes effloresce to the surface as the piece dries, and subse- smooth wet clay surfaces. quently form a thin glassy coating in the firing.

engobe Slip formulated with less raw clay content in order to impressing Decorating technique where textured or patterned reduce drying shrinkage, to allow application to bone-dry or material or object is pressed into clay surface. bisque-fired clay. incising Decorating technique where design is formed by cut- extruder Machine that forces plastic clay through a die to pro- ting or carving shallow lines in clay surface. duce extruded clay shapes. inclusions Any particles or bubbles of material that remain sus- faceting Decorating technique involving cutting or paddling pended within the glaze-melt, affecting the glaze appearance. flat facets in the clay surface. insulating firebrick; ifb; softbrick Porous firebrick with insu- faience Widely used (and misused) term referring to any earth- lating values much higher than hardbrick. enware pottery glazed with an opaque glaze (usually white) and overglaze decoraton. kanna Japanese trimming tool, formed of a steel strap bent and sharpened on the ends. feathering, feather-combing Decorating technique where a soft, fine pointed tool is drawn through adjacent contrasting- keramos Greek term meaning earthenware from which the colored bands of liquid slip applied to a damp clay surface. word ceramics is derived. fettling knife Long tapered knife useful for trimming cast or kiln furniture Refractory shelves, posts, and stilts used in a pressed pieces, and separating molds. kiln to support the wares. firing down Maintaining some heat input after maturation, kiln sitter Automatic shutoff device mounted on many elec- to retard cooling, or to maintain reduction atmosphere tric kilns; accepts a small-size pyrometric cone, and shuts off during cooling. kiln when cone deforms. firing ramp The profile or schedule for temperature change kiln wash Refractory slip coating applied to top surface of kiln in a kiln-firing, often including both the heating and cool- shelf to protect from glaze runs. For all but salt and wood ing ramps. firings, 50-50 kaolin and silica. For salt and wood, 60% alu- fluting Decorating technique involving carving or forming mina, 30% kaolin, 10% ball clay. vertical flutes or grooves in surface of a piece. leather-hard Condition of clay where it has stiffened but is flux Low-melting component in clay or glaze that reacts with still damp. silica to form glass. low-fire Low-temperature firing range, usually below cone 02 frit Combinations of ceramic materials that have been melted (2048°F), used for most bisque-firing and for glaze-firing ter- to a glass and crushed/ground back to a powder, in order to racotta and whiteware. give greater chemical stability and to eliminate toxicity resulting from water solubility of raw material. low mid-range Firing range usually including cone 01 to cone 3, underused in studio ceramics, useful for functional earth- glaze Coating of powdered ceramic materials usually prepared enware, refractory sculpture bodies, and outdoor terracotta and applied in water suspension, which melts smooth and work. bonds to clay surface in glaze firing. luster Metallic overglaze finish created either by painting pre- glaze compression In high-fired wares, ideal state when clay pared luster (metallic salt in organic binder) over previously body shrinks slightly more than glaze, putting glaze under fired glaze and firing to cone 018. slight compression, giving greater strength, resiliency. matt glaze Glaze featuring a dull, nonglossy surface. studio reference | glossary glaze-firing Kiln firing in which glazes are melted to form a smooth glassy surface. mid-range Glaze-firing range usually including cone 4 to cone 7, very popular with electric kilns. glaze-fit The matching of glaze to clay body in terms of composition and coefficient of expansion so that it will adhere mishima East Asian method of creating an inlaid effect by permanently. applying contrasting slip into a design incised in leather-hard clay. When the slip stiffens, the excess is scraped off. glaze-resist Decorating technique where resist materials are applied to prevent glaze from adhering to certain areas. opacifier In glaze formulation, a material that produces inert inclusions or minute crystals in glaze, causing it to become greenware Any dry, unfired clay form. opaque. Most common are tin oxide and zirconium silicate. green glazing; raw glazing Glazing leather-hard or bone-dry oxide A molecule combining any element with oxygen. wares for single- firing. oxide stain A mixture of coloring oxide and water, sometimes grog Filler or tempering grit formed by grinding high-fired including a little flux, used as an overall patina (often on un- clay; added to clay bodies to reduce shrinkage and give structure for throwing or handbuilding. glazed work) or for overglaze brushwork. heatwork Work done by effective heat transfer to wares, result- oxidation firing Any kiln atmosphere with an abundance of ing from ramp rate, temperature and duration of firing. oxygen to combust the fuel and oxidize the ceramic materials. Includes all electric firings and any gas firing with ad- high-fire High-temperature firing range usually including cone equate air to insure complete combustion of the fuel close 8-12, for firing stoneware or porcelain. to the burner.

Copyright © 2008 Ceramic Publications Company | 48 Glossary of Common Terms paddle and anvil Forming technique where a soft leather- quartz inversion Abrupt expansion in heating and corre- hard form may be shaped and thinned with a wood or sponding contraction in cooling that occurs in silica crystals bisqued clay paddle on the outside and a rounded “anvil” in all clay and glazes at around 1063°F. Greatest risk is in of wood, stone, or bisqued clay applying corresponding cooling high-fired wares and in refiring previously high-fired pressure on the inside. wares. paddling Technique of shaping a soft or medium leather- raku In the West, firing process inspired by traditional Japanese hard piece by gently hitting with a wooden paddle (some- raku firing. In American raku, work is removed from kiln at times textured) to create flat facets or to resolve irregulari- bright red heat and subjected to post-firing smoking by plac- ties in the surface. ing in containers of combustible materials, which blackens raw clay and craze cracks in glaze. paper clay Technique popularized by Rosette Gault, utilizing a clay body or slip containing paper pulp, which re- ramp Profile of the firing of a kiln, including speed, duration, duces shrinkage in drying stage, and encourages extremely soaking periods, etc. of both the heating and cooling cycle, strong joinery, allowing unconventional joinery such as wet as in firing ramp and cooling ramp. to dry. reduction Chemical reaction in which oxygen atoms are re- paper resist Decoration technique where strips of moist or moved from a compound. adhesive paper are adhered to the surface to resist applica- reference | glossary studio tion of slip or glaze. reduction firing In fuel-burning kilns, firing atmosphere with insufficient oxygen to completely combust fuel, introducing patina An overall thin wash of glaze or oxide stain, allowing abundance of unoxidized carbon and hydrogen, which ex- the color and texture of the clay body to show through. tract oxygen molecules from surface of wares, altering appearance of clay and glaze. peephole; spy-hole Small holes in kiln door or wall, allowing viewing of cones, flames, wares, and/or atmosphere refractory Capable of withstanding very high temperatures. during firing. refractories Any materials highly resistant to the effects of heat. pinholing Glaze defect characterized by fine pinholes in the resist Material used in glazing and decorating that can be ap- surface—often caused by pinholes already present in dry plied to surface to prevent adhesion of slip or glaze. unfired glaze coating. Can also be caused by burst bubbles in glaze surface that are not given opportunity to “heal” at rib Wide, flat handheld tool used to shape, smooth, and/or end of firing. scrape clay surfaces; usually wood, rubber, plastic, or metal, either rigid or flexible, with straight, curved, or profiled edge. pit-firing A type of bonfire-firing where wares are buried in sawdust in a pit in the ground and a bonfire is built on top, roulette; coggle Small stamp wheel with raised pattern around so that the fire and coals slowly burn away the sawdust and the rim, which when rolled along a plastic clay surface leaves fire the wares. Not to be confused with sawdust smoking. a band of relief pattern. Usually formed with damp or dry clay and bisque-fired. plasticity Quality of moldable flexibility in damp clay—superior plasticity depends on smaller clay particle size, slight s-cracks S-shaped cracks that occasionally appear in the bot- acidity, less nonplastic additives, aging of damp clay body, toms of wheel-thrown pots, resulting from inadequate adequate water content, and/or addition of accessory plas- compression of the bottom and/or excessive water left in ticizers, such as Veegum T or Macaloid. bottom. Occur most often in fine-grain gritless claybodies, especially thrown off the hump. porcelain High-fired vitreous clay body containing kaolin, silica, fluxes and often ball clay to increase plasticity, with saggar-firing Contemporary firing process in which wares are total clay component not more than 50%. Usually pure placed within refractory saggars, along with chemicals and white or “eggshell” in color; some porcelains may fire combustibles, in order to achieve certain surface effects. translucent where thin. sawdust smoking; sawdust firing Cosmetic smoking process posts Refractory columns used as kiln furniture to support where unglazed wares are buried in sawdust in a brick enclo- kiln shelves. sure or a perforated steel drum. Sawdust is ignited at the top and allowed to smolder down over a period of hours. Often press-mold A mold, usually plaster, into which moist clay is mistakenly referred to as pit-firing, but does not achieve true pressed to crease multiples. firing temperatures, and wares must be bisque-fired first. pugmill A machine similar to an oversized meat grinder, used scoring Process of incising surface of wet or leather-hard to homogenize plastic claybodies. Deairing pugmill has vac- clay in crosshatch pattern before applying slurry and join- uum pump attachment, effectively removes all air from clay, ing pieces. eliminating need for hand wedging. set To place wares in a kiln. Or, in a loaded kiln, the entire pyrometric cones Small slender pyramidal-shaped indicators structure of shelves, furniture, and wares. made of ceramic material formulated to bend at a specific temperature—standard method for determining maturing sgraffito Decorating technique achieved by scratching or carv- temperature of firing. Like clay and glazes, cones respond ing through a layer of slip or glaze (helps to apply wax-resist to temperature, duration, and atmosphere of firing far more over glaze before carving) before firing to expose contrasting accurately than mechanical measurement. clay body beneath.

shino Classic Japanese glaze ranging from gray to white to orange, stilts Term often applied to all kiln posts, but more correctly re- often containing spodumene or other source of lithium, and/ ferring to specialized refractory furniture pieces equipped with or nepheline syenite. The orange color is achieved with thinner ceramic or metallic points designed to support fully glazed wares glaze coating when fluxes in the glaze activate iron content in the during firing. clay body. In the West, many potters seek shinos that break from stoneware High-fired vitreous ware, literally as hard and durable as off-white to orange, often with carbon-trapping effects. Carbon stone. Matures from cone 5–11. trapping can be accentuated with a brush coat of saturated soda ash solution. terra sigillataUltrarefined clay slip that can give a soft sheen when applied to bone-dry wares and if polished or burnished while still shivering Serious and dangerous glaze defect where excessive glaze damp may give a high gloss. All ancient Greek red-black pottery compression causes small razor-sharp chips of glaze to pop off and Roman red wares were finished with this technique, without along outer edges, corners, and rims. All wares showing shiver- the use of glaze. ing must be destroyed. Cure is to slightly increase flux and/or decrease silica in glaze. triaxial blend Method for testing three-way combinations of glaze materials, where proportional amounts vary through a series of short Clay with insufficient plasticity—tends to fragment dur- samples between three limits. May involve change in glaze materi- ing forming. als, or addition of colorants or modifiers. shrinkage Permanent contraction of the clay in both drying and trimming At the leather-hard stage, removal of excess clay from a firing stages. Overall may be as much as 18%. piece, using any of a variety of sharp cutting tools. sieve A container with fine-mesh wire screen in the bottom, avail- underglaze; engobe Colored slips formulated to have low dry- able in different mesh sizes, used for straining slips and glazes. ing shrinkage, allowing application to bone-dry or bisque-fired surface before glazing. Commercial underglazes are available in single-firing; green firing Process of glaze-firing glazed green- a wide palette of colors primarily for low-fire, but many will sur- ware without a bisque-firing. vive high-fire. sintering In heating clays and glazes, a solid-state reaction underglaze decoration Process of applying any decoration to the where particles stick together permanently, and the mass can bare, (usually bisque-fired) clay surface directly before glazing. be considered fired. With increasing temperature, fluxes and glass-formers begin to interact, increasing the strength of underglaze pencils Underglaze pigments in pencil form, excellent bond between refractory particles, still leaving an open, po- for marking wares and test-tiles, and for “pencil-drawn” decora- rous structure, as in bisque-fired and low-fired wares, which tive effects. are sintered but not vitrified. viscosity; viscous Reference to a material’s resistance to flowing. A slab roller A mechanized but usually manually operated device for viscous glaze flows less. As glass is heated it slowly becomes less rolling out large uniform slabs of clay. viscous over a broad temperature range. slip Clay suspended in water, usually the consistency of thick vitreous; vitrified; vitrification Fired clay that has fused together completely, so that the pores between refractory particles are filled cream. May be colored and used to decorate surfaces, or may be with glass and the body is impervious to water. cast into plaster molds to create ceramic forms. vitreous engobe An engobe containing sufficient flux to form to a slip trailing Application of decoration to wet or leather-hard clay vitreous clay coating. by flowing on lines of slip with a fine pointed dispenser, such as a rubber syringe. water of plasticity Amount of water required to bring a dry clay to its state of ideal plasticity. The more water needed, the finer studio reference | glossary slump-mold A mold over which a moist clay slab is slumped in the particle size, the more plastic the clay, and the greater the order to create a vessel form. drying shrinkage. slurry Very thick clay slip, often used for joining clay pieces after water-smoking stage The stage during bisque-firing or single- scoring surfaces. firing, below 1200°F, when carbonates, nitrates, sulfates, or- soaking During firing or cooling ramp, the act of holding kiln at ganic contaminants and chemically combined water volatize steady temperature for a period of time to allow proper forma- and outgas. tion or maturation of certain clay and glaze effects. whiteware Low-temperature white clay body. specific gravity The weight or density of a liquid measured in proportion to that of water. A glaze with a specific gravity of 1.2 is 1.2 times as dense as water per unit of measure. Clay: A Studio Handbook By Vince Pitelka Drawing on more than 30 years of experience in ceramics, Pitelka has sprigging Surface decorating technique in which small coils or created the most practical, all-inclusive studio handbook for students, studio balls of clay are affixed to the damp or leather-hard surface, usu- artists, educators and all those interested in the art of clay. Ten chapters, addressing the full range of ceramic processes, bring a lifetime of ceramic ally with a layer of slip. knowledge directly into the hands of potters. Concerned about safe and efficient studio operation, Pitelka pays diligent attention to safety practices. stain Commercial ceramic colorants that have been fritted in order to eliminate solubility problems and give greater stability in Price: $44.95 | Order code: G055 firing and truer color before firing. Mixture of ceramic stains ISBN: 1-57498-090-0 or pure coloring oxides (sometimes with a little flux) in water Published 2001 | Hardcover 384 pages | 269 photos | 34 illustrations suspension, which can for overglaze brushwork, or as a patina Order online at www.ceramicartsdaily.org/books on unglazed clay.

Excerpted from Clay: A Studio Handbook by Vince Pitelka, cryolite Na3AlF6—small amounts promote crackle effects, larger published by The American Ceramic Society, 2001. amounts become very volatile with silica and may cause blistering. Used for crater glazes. Albany slip clay Traditional dark brown slip clay. No longer being mined—use Alberta slip or Albany slip substitute. Darvan Common deflocculant for casting slips.

Alberta slip clay Substitute for Albany slip. Highly fluxed with iron— dolomite MgCO3•CaCO3—high temperature alkaline earth flux, pro- true slip clay—will form glaze at high temperature. motes hard, durable surfaces and recrystallization/matting in glazes. Often added to clay bodies to give longer firing range and can pro- alumina hydrate Al(OH)3—alumina source, rarely used in claybodies mote more durable low-fire bodies. or glazes, because all needed alumina comes from clay and feldspar. Used primarily for shelf wash and wadding—better adhesion and Epsom salts (magnesium sulfate) MgSO4—water soluble, rarely used as magnesium source in glazes. Most often used as flocculant suspension than aluminum oxide (Al2O3). Small additions increase viscosity of glaze melt. Should not be used as matting agent in func- for slips and glazes. Often added to porcelain and porcelaineous tional glazes—produces immature glaze. stoneware bodies (H of 1% of dry materials weight) to counteract deflocculating alkalinity released by kaolins or fluxes.

ball clay Al2O3•2SiO2•2H2O—fine particle-size secondary clay, extremely plastic—primary plasticizing clay in most claybodies—in feldspar High temperature alkaline fluxes—insoluble aluminum sili- cates of potassium, sodium, calcium, and/or lithium—inexpensive large quantities promotes high shrinkage. flux for clay and glaze. Substitution of soda spar for potash spar can lower vitrification by 100ºF. barium carbonate BaCO3—alkaline earth—active high temperature flux, but also promotes matt glaze surface. Unsafe for low-fire func- fire clay Very refractory clay, for sculpture and raku bodies. Tremen- tional glazes. Often used as additive in clay bodies in very small per- dous variation between different brands. centages to render sulfates insoluble, reducing scumming. flint See silica. bentonite Al2O3•5SiO2•7H2O—montmorillonitic clay formed from decomposition of airborne volcanic ash—finest particle-size of fluorspar CaF2—limited use as flux. As with cryolite, fluorine reacts all clays—plasticizer (3-times as powerful as ball clay), suspension with silica at high temperatures, can cause pinholing, blisters. Useful agent, should be used in quantities no more than 3% of dry materi- in special-effect crater-glazes. als weight. frit Fluxes that have been melted to a glass, cooled, and ground in blackbird slip/barnard slip Slip clay with very high iron content, order to stabilize soluble and/or toxic components during handling often used as brown colorant for claybodies. of unfired material. bone ash (calcium phosphate) Ca (PO ) —high temperature flux— 3 4 2 Gerstley borate, colemanite, calcium borate CaO•3B2O3—tradi- opacifier in low temperature glazes—translucence in high tempera- tional important low temperature alkaline flux. ture glazes (from colloidal phosphorus globules) and especially in bone china (from supercharged glassy-phase). grog Crushed hard-fired clay—a source of grit for claybodies—graded in sizes from 15-mesh (very coarse) to 150 mesh (extra fine). Does borax (sodium tetraborate) Na2O•2B2O3•10H2O—a major low tem- not shrink in firing, so in medium and coarse grades will show tex- perature alkaline flux, available in granular or powdered form. Gives ture through thin to medium glaze. smooth finish, bright colors. Water soluble, so is often used in fritted form. In excessive amounts creates brittle glass and can cause blister- ilmenite An iron ore with significant titanium—most often used in ing and pinholing. granular form to produce dark specks in clay or glaze. Higher iron concentration than in rutile. burnt umber Iron-manganese ore—good color source for basalt bodies. iron oxide, red (ferric oxide) Fe O —powdered rust—refrac- chrome oxide Cr O —standard vivid green colorant—often softened 2 3 2 3 tory red in oxidation, converts to black iron (flux) in reduction with a little iron or manganese. Very refractory. With tin produces pink. May go gray-brown in reduction. and/or high-fire. Low quantities in clear glaze produces celadon- green—high quantities produce temmoku black or saturated iron CMC gum Carboxymethylcellulose—an organic gum used as a sus- red—powerful flux. More than 5% in a glaze significantly increases pension/adhesion agent in glazes. Normally, a small amount of gum studio reference | glossary fluxing in reduction. is added to a quart or so of warm water and left overnight. Once dissolved, this solution may be added in small doses to glazes, slips, iron oxide, black (ferrous oxide) FeO—reduced form of iron ox- and engobes to improve application performance. ide—gives same results as red iron in the firing, dependent on oxidation/reduction. cobalt carbonate CoCO3—standard blue colorant for slips and glazes—very powerful—5% will give dark blue in glaze or slip. Will cause kaolin; china clay Al2O3•2SiO2•2H2O—very refractory white primary crawling if used raw for underglaze brushwork. clay—essential ingredient of porcelain and whiteware—less plastic than most other clays. cobalt oxide Co3O4—calcined cobalt carbonate—twice as powerful— coarser than carbonate, and may give mottling in glaze. Works well for kyanite 3Al2O3•2SiO2—aluminum silicate used in place of alumina underglaze brushwork, with few crawling problems. and silica to promote formation of mullite crystals, increase thermal shock resistance. Coarse-ground used as grog in refractory bodies colemanite See Gerstley borate. for kiln furniture.

copper carbonate CuCO3—a major glaze colorant to produce greens in lithium carbonate Li2CO3—powerful all temperature alkaline flux, low temperature and high temperature, copper reds in high temperature especially with soda or potash feldspars. Promotes hardness and reduction, and greens and metallic effects in raku. recrystallization in low temperature glazes. Forms low-temperature copper oxide, black (cupric oxide) CuO—alternate source of cop- eutectic with silica. per, coarser particle size, twice as powerful as copper carbonate. macaloid Suspension agent/plasticizer similar to bentonite and Veegum T. Up to 2% of dry-materials weight as plasticizer in high- copper oxide, red (cuprous oxide) Cu2O—alternate source of copper, may help promote copper reds in LT and high temperature glaz- kaolin claybodies. Up to 0.05% of dry-materials weight as suspen- es. Rarely used, because has no affinity for water, and floats back to sion agent, brushing medium in glazes/slips. Mix with water before surface, but a few drops of detergent will break surface tension. adding ingredients.

magnesium carbonate MgCO3—alkaline earth—high temperature sodium silicate (waterglass) Na2SiO3—comes as liquid—used as a de- flux, promotes mattness and opacity in LT glazes, smooth, hard, flocculant in slips, as an air-setting binder for low temperature refrac- buttery surface in high temperature glazes—promotes purples or tories. Many potters promote use in “magic water” for joining wet or pinks with cobalt. High L.O.I., used to promote controlled crawl soft leather-hard ceramic forms. Add 1.5% sodium silicate and 1.5% glaze effects. soda ash by weight to a measure of water. magnesium sulfate See Epsom salts. spodumene Li2O•Al2O3•4SiO2—lithium feldspar—powerful high temp alkaline flux, promotes copper blues, good for thermal-shock manganese dioxide MnO2—flexible colorant—with alkaline fluxes gives purple and red colors—by itself gives soft yellow-brown—with bodies and matching glazes. cobalt gives black. Used with iron to color basalt bodies. Concentra- tions of more than 5% may promote blistering. stains Stable fritted ceramic colorants available in wide range of colors, suitable for coloring clays, slips, engobes, and glazes. Most are stable molochite Porcelain grog—source of grit for pure white claybodies. up to cone 5, many to cone 10. Can be mixed with 25–50% Ferro 3134 frit for Maiolica overglaze decoration. mullite 3Al2O3•2SiO2—calcined kyanite, but also found naturally. In- terlocking needlelike aluminum silicate crystals form in clays and strontium carbonate SrCO3—alkaline earth, high temperature flux, glazes above 1800°F, increasing strength of body, glaze, and clay- similar to barium, slightly more powerful—gives semi-matt surfaces. glaze interface. Nontoxic in balanced glaze. Substitute ¾ parts strontium to one part barium.

nepheline syenite K2O•3Na2O•4AlO3•9SiO2—a common feldspathic flux, high in both soda and potash, used in claybodies and glazes. talc 3MgO•4SiO2•H2O—high temperature alkaline earth flux in glaze, Less silica than soda feldspars, and therefore more powerful. In- promotes smooth buttery surfaces, partial opacity—similar compo- creases firing range of low-fire and mid-range glazes. sition to clay, but in low temperature claybodies gives low shrinkage and high thermal shock resistance, as in standard 50/50 talc/ball clay nickel carbonate, green NiCO —weaker nickel colorant, reduces to 3 whiteware body. green nickel oxide when fired. tin oxide SnO —most powerful opacifier, but expensive—inert nickel oxide, black Ni O —reduces to green nickel oxide early in fir- 2 2 3 dispersoid in glaze melt— 5–7% will produce opaque white in ing, and produces similar effects. a clear glaze. nickel oxide, green NiO—colorant or modifier—can give blues, tan, titanium dioxide TiO2—matting/opacifying agent. Promotes crystal browns, greens, grays, dependent on fluxes present. Often used to growth, visual texture in glazes. mute the effects of cobalt, copper, and other colorants. vanadium pentoxide V O —weak yellow colorant—toxic, expen- opax Zircon opacifier. 2 5 sive—usually fritted with tin to produce stronger yellow.

pearl ash (potassium carbonate) K2CO3—high temperature alkaline potash flux, but soluble. Occasionally used as AT color modifier to Veegum Cer Combination of Veegum T and carboxymethylcellulose soften effects of coloring oxides. (CMC) gum, used as a suspension and adhesion agent in glazes. Veegum T Suspension agent/plasticizer similar to bentonite and ma- petalite Li2O•Al2O3•8SiO2—lithium feldspar—high temperature alkaline flux—good for reducing thermal expansion, increasing thermal- caloid. Up to 2% of dry materials weight as plasticizer in high-kaolin shock resistance. claybodies, and up to ½ of 1% of dry-materials weight as suspension agent, brushing medium in glazes and slips. Mix with water before

plaster CaSO4•2H2O—hydrated calcium sulfate, manufactured from adding other ingredients. gypsum, which will set to a hard solid after being mixed properly with water. Used for making molds for pressing or casting ceramic vermiculite A porous expanded mica product used to introduce forms. mica flecks in claybodies and as filler in insulating refractory layer on kiln exterior.

pyrophyllite Al2O3•4SiO2•H2O—used in high temperature claybodies (20% or less) to reduce thermal expansion, increase thermal shock volcanic ash (pumice) High temperature alkaline flux, similar in com- resistance, reduce shrinkage, give stronger vitreous bodies. May re- position to potash feldspar, but higher in silica, with at least 1% iron. May be substituted for 7 parts potash spar, 3 parts flint. studio reference | glossary duce plasticity. whiting (calcium carbonate, limestone) CaCO —alkaline earth, rutile Titanium ore, used as source of titanium dioxide, contains iron, 3 other trace minerals—gives tan color, promotes crystallization giving contributing calcium oxide to glaze—powerful AT flux—major high mottled multicolor effects in some high temperature glazes, or in over- temperature flux for glazes—gives strong durable glass. Sometimes glaze stain (very refractory, use sparingly). Gives rich mottled medium used in low-fire claybodies to extend firing range and give greater blue in some high temperature glazes. Dark rutile contains higher per- fired strength. centage of iron. wollastonite (calcium silicate) CaSiO3—used in partial replacement sand Granular silica (usually) —source of grit for claybodies—high of silica and whiting in high temperature bodies, improves thermal shrinkage in high temperature claybodies, but gives smoother fired shock resistance. In some cases, it is used in place of whiting to elimi- surface than grog. nate L.O.I. yellow ochre High-iron yellow clay mineral, used as colorant in glazes silica (silicon dioxide, flint, quartz) SiO2—main glass-former—vitrification, fluidity, transparency/opacity controlled by adding fluxes and slips, converts to red iron oxide in oxidation or black iron oxide and/or refractories. in reduction and/or high-fire. silicon carbide SiC—used in very small quantities for localized reduction zinc oxide ZnO—high temperature flux that promotes brilliant glossy of copper reds—larger amounts for frothing glazes. surfaces. In some glazes can encourage opacity. With titanium in low-alumina glaze can encourage macrocrystalline growth (crystalline glazes). Volatizes in high-fire reduction. soda ash (sodium carbonate) Na2CO3—soluble source of soda, used as deflocculant, or to supply soda in vapor-glazing process. Source zirconium silicate ZrSiO4—zircon opacifier—inert dispersoid in glaze of flux in Egyptian paste recipes. Brush solution over hi-fire glaze to melt—low-cost substitute for tin oxide—use double the recipe weight increase carbon trapping. of tin. Includes Zircopax, Opax, Superpax, Ultrox.

soda feldspar Na2O•Al2O3•6SiO2—feldspars contributing sodium (and potassium), primarily as a high temperature flux.

08 BuyersGuidThe only complete Buyers Guide for the studio potter e

Geographic & Product Locator Quickly locating one of 335 ceramic businesses is easy with this locator. You’ll be able to easily find suppliers nearby and all the suppliers offering various products and services. Companies are arranged by city within the states where they’re located. If you don’t see your local supplier, tell them to contact us to get in the next Buyers Guide.

Company Directory Once you’ve located a local supplier or national resource, the Company Directory helps with all the nitty gritty. We’ve listed 335 of the most significant companies providing equipment, supplies and services potters and ceramic artists of all skill levels can use. The companies supplied us with information to help you find out more about what they offer and how they can help you.

Marketplace This online feature allows you to quickly link to select websites of suppliers and manufacturers. Visit www.ceramicartsdaily.org to browse online and quickly connect with these featured companies.

and ools and Supplies Prepared ClaysPrepared GlazesRaw MaterialsKiln Wheels Studio EquipmentT Books and VideosTile and BisqueServices Other

ALABAMA Mecca Pottery Tools (Florence) • South Alabama Ceramic Supply (Montgomery) • • • ARIZONA Marjon Ceramics Inc. (Phoenix) • • • • • • • • • • Dolan Tools (Scottsdale) • Marjon Ceramics Inc. (Tucson) • • • • • • • • • • • Equipment repair, kiln, wheel ARKANSAS Flat Rock Clay Supplies (Fayetteville) • • • • • • • • • • • Consulting for Schools & Art contests CALIFORNIA Phoenix Ceramic & Fire Supply (Arcata) • • • • • • • • • • W.P. Dawson Inc. (Brea) • Creative Paperclay Co. (Camarillo) • Air-dry modeling materials Ceramic Services (Chino) • • • • • • Kemper Tools (Chino) • Laguna Clay Co. (City of Industry) • • • • • • • • • • Graber’s Pottery Inc. (Claremont) • Gordon Brush Mfg. Co. Inc. (Commerce) • Snyder Imports (Comptche) • Lamp parts The Chinese Clay Art, USA (Cupertino) • • • China tour and cultural exchange Mud in Mind (El Cajon) • • • • • • Creative Industries (El Cajon) • • • • Molds Chris Henley Tools (Encinitas) • Duncan Enterprises (Fresno) • • • • • B & W Tile Co. Inc. (Gardena) • Geil Kilns Co. (Huntington Beach) • • Art Decal Corp. (Long Beach) • Decals Echo Ceramics (Los Angeles) • • • • • • • West Coast Kiln (Lucerne Valley) • Nasco Arts & Crafts (Modesta) • • • • • • • Olsen Kiln (Mountain Center) • Freeform Clay & Supply (National City) • • • • • • • • • • • Kiln repair Falcon Company (Olivenhain) • • Keith Company (Pico Rivera) • Aftosa (Richmond) • • • • Jiffy Mixer Co. Inc. (Riverside) • Alpha Fired Arts (Sacramento) Industrial Minerals Co. (Sacramento) • • • • • • • HyperGlaze/Richard Burkett (San Diego) • Software for glazes Ceramics & Crafts Supply Co. (San Francisco) • • Japan Pottery Tools (San Francisco) • A & D Weighing (San Jose) • Balance and scales Lily Pond Products/Cambell Industrial Supply (Sanger) • • • Slip casting equipment Aardvark Clay & Supplies (Santa Ana) • • • • • • • • • Miles Ceramic Color (Santa Ana) • Clay Planet (Santa Clara) • • • • • • • • • • California Pot Tools (Santa Paula) • Peter Pugger Mfg., Inc. (Ukiah) • •

studio reference | geographic locator Ceramic ArtSpace (Van Nuys) • • • Pure & Simple Pottery Products (Willits) • • Molds COLORADO Herring Designs, LLC (Breckenridge) • • Carbondale Clay Center (Carbondale) • Classes Southern Colorado Ceramic Supply (Colorado Springs) Thomas Stuart Wheels (Denver) • • • Mile Hi Ceramics, Inc. (Denver) • • • • • • • • • • • Silver clay, china paints Killam Gas Burner Co. (Denver) • • Bluebird Mfg. Inc. (Ft. Collins) • • • • Rocky Mountain WoodMasters, Ltd. (Highland Ranch) ARC (Lakewood) • • • • BNZ Materials Inc. (Littleton) • • Insulating firebricks Sculpture Depot (Loveland) Glyptic Modeling Tools (Loveland) •

and ools and Supplies Prepared ClaysPrepared GlazesRaw MaterialsKiln Wheels Studio EquipmentT Books and VideosTile and BisqueServices Other CONNECTICUTT Rusty Kiln Ceramic Studio (North Windham) • • • • • • • • R.T. Vanderbilt Co. Inc. (Norwalk) • Duralite Inc. (Riverton) • • DELAWARE J. & J. Ceramic Studio (Dover) • • • • • Nabertherm, Inc. (New Castle) • FLORIDA Atlantic Pottery Supply Inc. (Atlantic Beach) • • • • • • • Jepson Pottery & World Pottery Institute (Geneva) • • • • Jen-Ken Kilns (Lakeland) • Summit Kilns (Land O Lakes) • • • • C and R Products, Inc. (Ocala) • • • • • Bennett Pottery Supply (Ocoee) • • • • • • • Calcoworld Ceramic Decals (Orlando) • Decals Axner Co. Inc. a tradename of Laguna Clay Co. (Oviedo) • • • • • • • • • • The Arts Center (St. Petersburg) • • Year-round classes & workshops Highwater Clays of Florida (St. Petersburg) • • • • • • • • • St. Petersburg Clay Company Inc. (St. Petersburg) • • Studio rental Armory Art Center (West Palm Beach) • Exhibitions and classes OTT-LITE Technology (Tampa) • • GEORGIA Davens Ceramic Center (Atlanta) • • • • • • • • • Fort Pottery Co. (Augusta) • • • • • • • • Delivery in 3 states Creative Glazes (Duluth) • • Olympic Kilns (Flowery Branch) • • • Larkin Refractory Solutions (Lithonia) • • • Refractories Kickwheel Pottery Supply Inc. (Tucker) • • • • • • • • • • HAWAII Ceramics Hawaii Ltd. (Honolulu) IDAHO The Potter’s Center (Boise) • • • • • • • • Wendt Pottery (Lewiston) • • • • • • • • ILLINOIS U.S. Pigment Corp. (Bloomingdale) • • Great Lakes Clay & Supply (Carpentersville) • • • • • • • • • • Paasche Airbrush Co. (Chicago) • Metomic Corporation (Chicago) • Lamp parts Sapir Studios (Chicago) • Display products Boothe Mold Company (Dupo) • Ceramic Supply Chicago (Evanston) • • • • • • • • • • Badger Air Brush Co. (Franklin Park) • • Dick Blick Art Materials (Galesburg) • • • • • • • • Crystal Productions (Glenview) • • Prints and posters Shimpo Ceramics (Nidec-Shimpo America Corp.) (Itasca) • • • • International Decal Corp. (Northbrook) • • • Decals Art Clay World, USA (Oak Lawn) • • • • • • Debcor Inc. (South Holland) • Ed Hoy International (Warrenville) studio reference | geographic locator INDIANA United Art & Education (Ft. Wayne) • • • • • • • Brickyard Ceramics & Crafts (Indianapolis) • • • • • • • • • • • Molds American Art Clay Co., Inc. (Amaco/Brent) (Indianapolis) • • • • • • • • Sugar Creek Industry, Inc. (Linden) • • • Royal and Langnickel Brush Mfg. (Merrillville) • IOWA Johnson Gas Appliance Co. (Cedar Rapids) • • Bartlett Instrument Co. (Ft. Madison) • Scotlin Ceramics (McGregor) • • • • • • • • KANSAS Creative Paradise (Goddard) • Easy Ceramic Decals, LLC (Kansas City) Decals Bracker’s Good Earth Clays (Lawrence) • • • • • • • • • • Soldner Clay Mixers by Muddy Elbow Mfg. (Newton) • ClayStamps.com (Olathe) Evans Ceramic Supply (Wichita) • • • • • • • • • •

and ools and Supplies Prepared ClaysPrepared GlazesRaw MaterialsKiln Wheels Studio EquipmentT Books and VideosTile and BisqueServices Other

KENTUCKY Old Hickory Clay Co. (Hickory) • • Kentucky Mudworks LLC (Le•ington) • • • • • • Louisville Fire Brick Works (Louisville) LOUISANA Southern Pottery Equipment & Supplies (Baton Rouge) • • • • • • • • • Alligator Clay Company (Baton Rouge) • • • • • • • • Blue Diamond Kilns (Metarie) • New Orleans Clay (New Orleans) • • • • MAINE Portland Pottery Supply (Portland) • • • • • • • • • • Miracle Bat (York) • • MARYLAND Clayworks Supplies, Inc. (Baltimore) • • • • • • • • • Baltimore Clayworks (Baltimore) • Buyers Market of American Craft (Baltimore) • • Chesapeake Ceramics Supply (Baltimore) • • • • • • • • Bear Creek Pottery (Bowie) • • • • • Sinks, stilts, posts PotteryTools.com (Sinkburg) • MASSACHUSETTS Portland Pottery Supply South (Braintree) • • • • • • • • • Amherst Potters Supply (Hadley) • • • • • • • Gare Inc. (Harverhill) • • • • • Molds The Potters Shop and School (Needham) • Sheffield Pottery Inc. (Sheffield) • • • • • • • • • • • Equipment repair Ceramics Consulting Services (Southampton) • • Ceramics consulting Boston Kiln Sales & Service (Watertown) • • • • • Repair service Saint-Gobain Ceramics (Worcester) • SiC kiln shelves MICHIGAN Pebble Press, Inc. (Ann Arbor) • • Evenheat Kiln Inc. (Caseville) • Runyan Pottery Supply Inc. (Clio) • • • • • • • • • • • Glass kilns and glass supplies Gilmour Campbell Co. (Detroit) • West Michigan Clay (Hamilton) • • • • • • • • • Crossroads Pottery & Clay Company (Jackson) • • • • • • • • • Manitou Arts (Leland) • Wood accessories for tiles Du-All Drafting & Art (Madison Hts.) • • • Har-Bon Ceramics & Decals (Presque Isle) • Decals Rovin Ceramics (Taylor) • • • • • • • • • • MINNESOTA Minnesota Clay Co. USA (Edina) • • • • • • • • • • Master Kiln Builders (Farmington) • • Dunghanrach Clay Co. (Melrose) • • • • • Brown Tool Co. (Minneapolis) • Continental Clay Co. (Minneapolis) • • • • • • • • • • Smith-Sharpe Fire Brick Supply (Minneapolis) • • Triarco Arts & Crafts LLC (Plymouth) • • • • • • • • • • MISSISSIPPI studio reference | geographic locator Dogwood Ceramic Supply (Gulfport) • • • • • • • • • • Slab rollers Whistle Press (Petal) • MISSOURI Christy Minerals Co. (High Hill) • KC Metro Ceramic & Pottery Supplies (Kansas City) • • • • • • • • L & R Specialties Inc (Nixa) • • • • • • • • • Krueger Pottery, Inc. (St. Louis) • • • • • • • • • • • Classes & Workshops MONTANA Archie Bray Foundation (Helena) • • • • • • • • • • NEVADA Cress Mfg. Co. (Carson City) • Aardvark Clay & Supplies (Las Vegas) • • • • • • • • • Bison Studios (Las Vegas) • BigCeramicStore.com (Sparks) • • • • • • • • Nevada Dan’s (Sparks) • • • Pottery West (Las Vegas) • Classes

and ools and Supplies Prepared ClaysPrepared GlazesRaw MaterialsKiln Wheels Studio EquipmentT Books and VideosTile and BisqueServices Other

NEW HAMPSHIRE W.K. Hillquist, Inc. (Hudson) • • Display products Midlantic Clay (Bellmawr) • • • • • • • • • NEW JERSEY Instar Beautiful Decals (E. Brunswick) • Decals, ceramic and glass Curran Pfeiff Corp. (Edison) • • Hobby Colorobbia (Elmowwod Park) • • • • Hammill & Gillespie Inc. (Livingston) • Ceramic Supply Company (Lodi) • • • • • • • • • • New Brunswick Lamp Shade Co. (North Brunswick) • Lamp shades AmericanPotters.com (Rockaway) L&L Kiln Mfg. Inc. (Swedesboro) • • • NEW MEXICO Coyote Clay & Color (Albuquerque) • • New Mexico Clay, Inc. (Albuquerque) • • • • • • • • • • • Silver clay Taos Clay (El Prado) • Santa Fe Clay (Santa Fe) • • • • • • • • • • • Classes, workshops, gallery NEW YORK Charles A. Hones Inc. (Amityville) • Kiln burners East Valley Supply (Andover) • Ceramics epoxy Studio Sales Pottery Supply (Avon) • • • • • • • • • • The Mudpit (Brooklyn) • • • • • • • • Equip. repair, studio rental, firings Teka Fine Line Brushes Inc. (Brooklyn) • • Decals Vent-A-Kiln Corp. (Buffalo) • Ceramic Arts Library (Corning) • PCF Studios (Honeoye) • Bailey Pottery Equipment (Kingston) • • • • • • • • • • • Pugmills/Claymixers Artsystems, Ltd. (New York) • • Software for galleries American Craft Council (New York) • • Association Artfi•tures (New York) • Display stands Eagle Zinc Company (New York) • Rockland Colloid Corp. (Piermont) • Clayscapes Pottery Inc. (Syracuse) • • • • • • • Oneida Air Systems, Inc. (Syracuse) • • • Shop vacuum accessories Northeast Ceramic Supply (Troy) • • • • • • • • Doo-Woo Tools LLC (Warwick) • Alpine Kilns and Equipment LLC (Warwick) • • Kiln-Ray Services (Warwick) • • • • • Rochester Ceramics, Inc. (Webster) • • • • • • • • • NORTH CAROLINA Highwater Clays, Inc. (Asheville) • • • • • • • • • Lark Books (Asheville) • Carolina Clay Connection (Charlotte) • • • • • • • • • Potterystamp.com (Charlotte) • Claymakers (Durham) • • • • • • • • Resco Products Inc. (Greensboro) • Mudtools (Hendersonville) • Basic Machinery Co, Inc. (Siler City)

studio reference | geographic locator Williams Supply (Star) • • • • • • Speedball Art Products Co. (Statesville) • • Screen printing products Fat Cat Pottery Inc. (Wilmington) • • • • • • • • OHIO National Artcraft Co. (Aurora) • • • • • • • Accessories A & K Clay Company LLC (Bethel) Laguna Clay Co. (Byesville) Olympic Enterprises Inc. (Campbell) • • • Vulcan Kilns (Centerville) • • • Funke Fired Arts (Cincinnati) • • • • • • • • • Maxfield Ceramics Supply Inc (Cincinnati) • • • • • • • • • • • Extruders, slab rollers and slip Aegean Sponge Co. (Cleveland) • Mudmats (Columbus) • • • • Mats Bareclay (Columbus) • Columbus Clay (Columbus) • • • • • • • • • RAM Products Inc. (Columbus) • Wise Screenprint (Dayton) • Custom ceramic and glass decals.

and ools and Supplies Prepared ClaysPrepared GlazesRaw MaterialsKiln Wheels Studio EquipmentT Books and VideosTile and BisqueServices Other Cornell Studio Supply (Dayton) • • • • • • • • • • • Enameling and sculpting supplies Innovative Ceramic Corp. (East Liverpool) • Ceramic decals, Durafire inks Mason Color Works Inc. (East Liverpool) • • Stains Mayco Colors (Hilliard) • • • • Brushes, magic metallics Maryland Refractories Co. (Irondale) • Ohio Ceramic Supply Inc. (Kent) • • • • • • • • • • • Slip Handmade Lampshades (Maumee) • Lampshades Cedar Heights Clay Operation (Oak Hill) • Krumor Inc. (Valley View) • Thermocouples and RTDs Orton Ceramic Foundation (Westerville) • • • • Cones Olympia Enterprises, Inc. (Youngstown) • • • Decals, blank porcelain OREGON

The Kiln Elements Co. (Birkenfeld) • • locator reference | geographic studio Aim Kiln Mfg. (Corvallis) • • • • • Georgies Ceramic & Clay Co. Inc. (Eugene) • • • • • • • • • • Mudshark (Portland) • • Moldmaking Skutt Ceramic Products (Portland) • Georgies Ceramic & Clay Co. Inc. (Portland) • • • • • • • • • • PotteryVideos.com (Portland) • Southern Oregon Pottery Supply (Talent) • • • • • • • • • • Repairs PENNSYLVANIA Ceramic Services Inc. (Bensalem) • • Insulating Firebrick, Inc. (Butler) • Insulating firebricks The Clay Place (Carnegie) • • • • • • • • • • M&M Pottery Supply (Corry) • • • • • • • • • Del Val Potter’s Supply Co. (Glenside) • • • • • • • Penn-Mo Fire Brick Co. (Harrisburg) • • • • • • • Nilfisk-Advance America Inc. (Malvern) • Industrial vacuums Shenango Advanced Ceramics (New Castle) • The Ceramic Shop (Philadelphia) • • • • • • • • • • Rental studio space Camp’s Clay Accessories (Philadelphia) • Standard Ceramic Supply Co. (Pittsburgh) • Frog Pond Pottery (Pocopson) • • Glaze software Placid Ceramics (Washington) • • • • • • • Petro Mold Co (Waterford) • • Mold making RHODE ISLAND Dew Claw Studios (Pawtucket) • • • • • • Custom glazes prepared SOUTH CAROLINA Clay-King.com (Spartanburg) • • • • • • • • eArtWorld.com (Spartanburg) • • • • • • • • Coastal Ceramics (Summerville) • • • • • • SOUTH DAKOTA Pacer Corp. (Custer) • Dakota Potters Supply (Sioux Falls) • • • • • • • • • TENNESSEE Ward Burner Systems (Dandridge) • • • • • Arrowmont School of Arts & Crafts (Gatlinburg) • • • The Clay Lady (Herdersonville) • • • • • • • • • • Clay Lady products Mid-South Ceramic Supply Co. (Nashville) • • • • • • • • • • • Clay Lady products Kentucky-Tennessee Clay Co. (Nashville) • H.C. Spinks Clay Co. Inc. (Paris) • Shakerag Workshops (Sewanee) • Workshops TEXAS Armadillo Clay & Supplies (Austin) • • • • • • • • • • Trinity Ceramic Supply Inc. (Dallas) • • • • • • • • American Ceramic Supply Co. (Ft. Worth) • • • • • • • • • Texas Pottery Supply & Clay Co. (Ft. Worth) • • • • • • • • • PMC Connection (Garland) • • • • Ceramic Store Inc. (Houston) • • • • • • • • • Bella Bisque, Inc. (Kyle) • • Display Your Art by Glassica (Liberty Hill) • • Display products Paragon Industries, L.P. (Mesquite) • Old Farmhouse Pottery (Rusk) • Clayworld Inc. (San Antonio) • • • • • • • • • • Ex-Cel slip GSM Enterprises, Kiln Sales and Services (San Antonio) • • • • • Etc., Etc., Etc. (Wichita Falls) • • • • • • • • • •

and ools and Supplies Prepared ClaysPrepared GlazesRaw MaterialsKiln Wheels Studio EquipmentT Books and VideosTile and BisqueServices Other

UTAH Capital Ceramics Inc. (Salt Lake City) • • • • • • • • VIRGINIA Spun Earth Pottery (Forest) • • • • The Kiln Doctor Inc. (Front Royal) • • • • • Consulting/Installation Tin Barn Pottery Supply at Manassas Clay (Manassas) • • • • • • • • • • • Glaze kitchen Campbell’s Ceramic Supply Inc. (Richmond) • • • • • • • ClayPeople (Richmond) • • • • • • • • • WASHINGTON North Star Equipment Inc. (Cheney) • • Giffin Tec Inc. (Lummi Island) • • New Century Ceramic Arts Inc. (Seattle) • • • Crucible Kilns (Seattle) • Seattle Pottery Supply (Seattle) • • • • • • • • • • Precision Terrefirma (Spokane) • Rings & Things Wholesale (Spokane) • Clay Art Center (Tacoma) • • • • • • • • • • Scott Creek Pottery Inc. (Tacoma) • • Clay In Motion (Walla Walla) • • • Industrial WISCONSIN MKM Pottery Tools LLC (Appleton) • Nasco Arts & Crafts (Ft. Atkinson) • • • • • • • Sax Arts & Crafts (New Berlin) • • • • • • • • A.R.T. Studio Clay Co. Inc. (Sturtevant) • • • • • • • • • AUSTRALIA Venco Products (Kelmscott WA ) • • CANADA Plainsman Clay Ltd. (Medicine Hat) • • • • • • • • • • Greenbarn Potters Supply Ltd. (Surrey) • • • • • • • • • Bamboo Tools (Surrey) • Ceramic Arts & Crafts Supply (Burlington) • • • • • • Euclids Kilns & Elements (Oakville) • • • • Euclid’s/The Pottery Supply House Ltd. (Oakville) • • • • • • • • • • Tucker’s Pottery Supplies Inc. (Richmond Hill) • • • • • • • • • • Spectrum Glazes (Toronto) • Mercedes Ceramic Supplies (Woodbridge) • • • • • • • • DigitalFire Corp. (Cornwall) • • Edouard Bastarache Inc. (Sorel-Tracy) • ITALY La Meridiana (Certaldo) • Workshops studio reference | geographic locator

A & D Weighing 408-263-5333 American Art Clay Co. (Amaco/Brent) 1756 Automation Pkwy. Fax: 408-263-0119 6060 Guion Rd. 317-244-6871 San Jose, CA 95131 Toll-free: 800-726-3364 Indianapolis, IN 46254-1222 Fax: 317-248-9300 A&D sells scales, balances and indicators. Established Toll-free: 800-374-1600 Armory Art Center 561-832-1776 in 1977, A&D is always providing clearly a better value E-mail: [email protected] 1700 Parker Ave. Fax: 561-832-0191 to those it serves. Website: www.amaco.com West Palm Beach, FL 33401-7042 A.R.T. Studio Clay Co. Inc. 262-884-4278 Ceramic supplies and equipment including clay, Website: www.armoryart.org 9320 Michigan Ave. Fax: 262-884-4343 kilns, slip, glazes, tools, molds, greenware, wheels Community-based visual arts education and exhibition Sturtevant, WI 53177-2425 and slab rollers plus art and craft products. We center providing opportunities for individuals. The A.R.T. Studio Clay Company has a rainbow of glazes carry all the name brands including AMACO, Brent, Center seeks to educate, enrich and engage a diverse from around the country, and a great selection of clay, Excel, Mayco, Duncan, Gare, Creative Paradise, Doc population through the experience of art. tools, wheels, kilns and equipment. Holliday, Madeinfire and many more. Ask about our workshops. Arrowmont School of Arts & Crafts 865-436-5860 American Ceramic Supply Co. 817-535-2651 556 Parkway Fax: 865 430-410 2442 Ludelle St. Fax: 817-536-7120 Gatlinburg, TN 37738 Ft. Worth, TX 76105-1060 toll-free: 866-535-2651 Educational classes, workshops, galleries and a supply E -mail: [email protected] store. Aardvark Clay & Supplies 714-541-4157 Website: www.AmericanCeramics.com Art Clay World, USA 708-857-8800 1400 E. Pomona St. Fax: 714-541-2021 Great discounts and great customer service on retail Santa Ana, CA 92705-4812 4535 S.W. Hwy. Fax: 708-636-5408 and wholesale ceramic equipment and supplies Oak Lawn, IL 60453 E-mail: [email protected] for over 30 years - kilns, wheels, glazes, brushes, Website: www.aardvarkclay.com glass tools, clay, bisque and more. Customized and Art Clay USA specializes in unique types of clay and Most comprehensive line of products from cone 018 personalized packages. Education and training. materials as well as offering multi-level classes in many thru cone 10 in the U.S. National and international daily shipping. locations across the United States and Japan. Aardvark Clay & Supplies 702-451-9928 American Craft Council 212-274-0630 Art Decal Corp. 562-434-2711 6230 Greyhound Lane Fax: 7024519928 72 Spring St. Fax: 212-274-0650 1145 Loma Dr. Fax: 562-494-7869 Las Vegas, NV 89122 New York, NY 10012 Long Beach, CA 90804 E-mail: [email protected] American Craft Council is a Publisher. Quality single and multi-color, made to order waterslide Website: www.aardvarkclay.com onglaze, inglaze and glass decals for the decorator. AmericanPotters.com 973-945-3553 Aegean Sponge Co. 216-749-1927 165 Hoagland Ave. Artfixtures 212-472-7760 4722 Memphis Ave. Fax: 216-749-2110 Rockaway, NJ 07866-3013 211 E. 70th St. Fax: 212-472-3555 Cleveland, OH 44144 Toll-free: 800-276-8542 New York, NY 10021 Amherst Potters Supply 413-586-4507 Wholesale/retail, large and small acrylic display stands. Natural and synthetic sponges: silk, elephant ear, sea and 47 East St. Fax: 413-584-5535 wool. Wholesaler of ceramic and craft supplies, including Hadley, MA 01035 The Arts Center 727-822-7872 electrical, clocks, music boxes, Hanovia products, Royal 719 Central Ave. Fax: 727-821-0516 brushes and more. Catalog available. We specialize in custom mixed de-air clays and an assortment of our own cone 6 glazes visible on our St. Petersburg, FL 33701 website. Master Artists Workshops and classes in ceramics for novice to professional: wheel-throwing, sculpting, hand- ARC 303-232-2616 building. Studio classes offered in all media. Members 7801 W First Ave Fax: 303-232-4545 exhibit and sell work. Lakewood, CO 80226 Artsystems, Ltd. 212-620-5500 Aftosa 510-233-0334 Precision kilns for production or professional potters. New burner assemblies to code. Alpine Kiln sales and 11 W. 25th St. Fax: 425-940-1060 1776 Wright Ave. Fax: 510-233-3569 New York, NY 10010 Richmond, CA 94804 toll-free: 800-231-0397 rebuilding. Studio setup consulting, Turnkey bids. 25 Art gallery business management software with support E-mail: [email protected] years experience. services. Website: www.aftosa.com Aftosa is the leading wholesaler of supplies to the Atlantic Pottery Supply Inc. 904-249-4499 ceramic and pottery community. Aftosa offers bisque 400 Levy Rd. Fax: 904-339-0014 ware and contract manufacturing as well. Atlantic Beach, FL 32233 Archie Bray Foundation 406-442-2521 Retail and wholesale pottery supply business. Aim Kiln Mfg. 541-758-8133 2915 Country Club Ave. Fax: 406-443-0934 350 SW Wake Robin Ave. Fax: 541-758-8051 Helena, MT 59602-9240 toll-free: 800-443-6434 Corvallis, OR 97333-1619 Toll-free: 800-647-1624 E -mail: [email protected] Electric and gas-fired kilns, kiln controls and kiln Website: www.archiebray.org accessories. Custom builds and repairs. T he U.S. distributor for Alberta and Ravenscrag slip, Alligator Clay Company 225-932-9457 a base glaze material. A supplier for Bray Patch, a repair and patch material that can be used on Axner Co. Inc. a tradename of Laguna Clay Co. 2721 W. Perdue Fax: 225-932-9446 490 Kane Ct. Fax: 407-365-5573 Baton Rouge, LA 70814 Toll-free: 888-503-2299 green or bisqueware. Manufacture of Ben Krupka’s woodfire clay body. Clay Business proceeds support Oviedo, FL 32762 toll-free: 800-843-7057 Alligator Clay Company, a division of Southern Pottery 407-365-2600 Equipment and Supplies LLC, manufactures quality the Archie Bray Residency Program. Wholesale inquiries are welcome. E -mail: [email protected] moist clay bodies and custom clay bodies. Website: www.axner.com Armadillo Clay & Supplies 512-385-7311 Alpha Fired Arts 916-484-4424 Axner Pottery Supply offers you the best quality, 3307 E. Fourth St. Fax: 512-385-1152 4675 Aldona Lane Fax: 916-484-6172 pricing and service for pottery supplies, materials, Austin, TX 78702 Sacramento, CA 95841 equipment and books. Classes and supplies Armadillo sells both retail and wholesale. We are a one- stop shop giving you a chance to see and touch the B & W Tile Co. Inc. 310-538-9579 Alpine Kilns and Equipment LLC 888-222-9196 products. We provide a fast and easy way to purchase 14600 S. Western Ave. Fax: 310-528-2190 65 Southern Lane Fax: 845-926-3125 those products, so you can get to the fun part–creating! Gardena, CA 90249 Toll-free: 800-499-TILE Warwick, NY 10990-1275 Family-owned business manufacturing tile and tile trims Manufacture front loading gas and electric kilns since since 1947. Make and sell dry-pressed ceramic body 1943, glaze formulating, tables, work tables, spray tiles in a variety of sizes and a full line of trim. Sell both booths, wedging tables and ball mills. retail and wholesale.

Copyright © 2008 Ceramic Publications Company | 67 Badger Air Brush Co. 847-678-3104 9128 W. Belmont Ave. Fax: 847-671-4352 Franklin Park, IL 60131 Toll-free: 800-222-7553 Badger manufactures several types of airbrushes designed to meet a vast array of spray needs. We also Bennett Pottery Supply 407-877-6311 offer many airbrush-related products including a full 431 Enterprise St. Fax: 407-877-3559 Bracker’s Good Earth Clays 785-841-4750 spectrum of airbrush paints, masking mediums, etc. Ocoee, FL 34761 toll-free: 800-432-0074 1831 E. 1450 Rd. Fax: 785-841-8142 E -mail: [email protected] Lawrence, KS 66044 toll-free: 888-822-1982 Website: www.bennettpottery.com E -mail: [email protected], Complete line of Skutt and L&L Kilns, and Brent, [email protected] Pacifica and Shimpo potters wheels at super Website: www.brackers.com discounted prices. Call for our wholesale catalog. Supplying ceramic and sculpture materials, Bailey Pottery Equipment 845-339-3721 Online catalog. equipment, tools and accessories to potters, 62 Tenbroeck Ave. Fax: 845-339-5530 sculptors, teachers, schools, institutions and Kingston, NY 12402 toll-free: 800-431-6067 hobbyists since 1982. E -mail: [email protected] Website: www.baileypottery.com Quality products, excellent service and the lowest prices have made Bailey Pottery Equipment the BigCeramicStore.com 775-351-2888 professional’s choice for over 30 years. From clay to 881 E. Glendale Ave. Fax: 419-858-9679 tools to glazes to major equipment, Bailey has it all. Sparks, NV 89431 toll-free: 888-513-5303 E -mail: [email protected] Brickyard Ceramics & Crafts 317-244-5230 Baltimore Clayworks 410-578-1919 Website: www.bigceramicstore.com 6060 Guion Rd. Fax: 317-248-9300 5706 Smith Ave. Fax: 410-578-0058 Indianapolis, IN 46254 toll-free: 800-677-3289 Baltimore, MD 21209 Huge inventory of supplies/equipment, including unique and hard to find items. Most orders Website: www.brickyardceramics.com Youth and adult classes, workshops and exhibitions. ship complete within 1 day. Low prices, volume Brickyard Ceramics and Crafts carries supplies for Bamboo Tools 604-782-3202 discounts, excellent customer support. Distributor potters, teachers, hobby ceramics and the crafter. PO Box 74009 for many brands. E-mails answered quickly. We are We are Indiana’s largest supplier and carry many 111-16033 108th Ave. kiln experts! glaze lines, plus equipment. Surrey, BC V4N 5H9 Canada Bison Studios 702-388-2085 Brown Tool Co. 612-331-1556 Bamboo tools are the most widely used pottery tools by 1409 S. Commerce St. 212 13th Ave. NE Fax: 612-331-1556 production potters inthe Orient for centuries. Bamboo Las Vegas, NV 89102 Minneapolis, MN 55413 Toll-free: 800-980-8665 is the best material for pottery tools because they are durable, lightweight, and fit human anatomy. Manufacturer of functional tungsten carbide trimming/ Replaceable-blade trimming tools and adjustable glazing turning tools for potters. Direct sales. tongs. Bareclay 614-271-8225 399 Thurman Ave. Blue Diamond Kilns 504-835-2035 Buyers Market of American Craft Columbus, OH 43206 2009 S. Hullen Fax: 504-835-6548 3000 Chestnut Ave. Ste. 300 410-889-2933 Metarie, LA 70004 Toll-free: 800-USA-KILN Baltimore, MD 21211 Toll-free: 800-432-7238 Bareclay specializes in repair and restoration of damaged Fax: 410-889-1320 ceramics. We can, in most cases, restore broken Manufacturer of electric ceramic, glass and custom- heirlooms to their original beauty. Before and after photos ordered kilns. The Buyers Market of American Craft is the place to on web. Letters of reference available. Bluebird Mfg. Inc. 970-484-3243 meet qualified buyers in a professional wholesale-only Bartlett Instrument Co. 319-372-8366 PO Box 2307 Fax: 970-493-1408 setting. Applications reviewed throughout the year–get 1404 Ave. M Fax: 319-372-5560 Ft. Collins, CO 80522-2307 Toll-free: 800-335-0741 yours online today. Ft. Madison, IA 52627 Manufacturers of 3 sizes of pugmills, studio to large C and R Products, Inc. Bartlett Instrument Company designs and manufactures production models. All have cast aluminum barrels 7495 SW 38th Street Fax: 352-861-2507 kiln controllers used by many major kiln manufacturers. and stainless steel parts. Also manufacture studio and Ocala, FL 34474 Toll-free: 800-657-7020 Our mission is to provide reliable, easy-to-use and production size clay mixers with stainless steel buckets C and R Products–Your Fired Art Superstore! Full economical controllers. BNZ Materials Inc. 303-978-1199 distributors for color, bisque, kilns, supplies and glass. Basic Machinery Co, Inc. 919-663-2244 6901 S. Pierce St. #260 Fax: 303-978-0308 Calcoworld Ceramic Decals 407-352-6176 PO Box 6878 Littleton, CO 80128 312 Houston Woods Ct Fax: 407-903-1392 Siler City, NC 23744-0688 We are the manufacturer of BNZ-24 HK Insulating Orlando, FL 32824 Bear Creek Pottery 301-860-1664 x14 Firebrick, which is the premium brick available today for Unique selection of imported ceramic decals with 5409 Lake Ford Lane the proper lining and insulation of hobby kilns. hundreds of designs available in open stock. Contact us Bowie, MD 20720 Boothe Mold Company 618-286-5100 for your full-color catalog. Manufacturers and wholesalers of Cone 1, 6, 10 bisque #9 Boothe Plaza California Pot Tools 805-525-0080 sinks, kiln stilts, 130 different styles, kiln posts, saggers, Dupo, IL 62239 792 Manor Ridge Rd. Fax: 805-525-4704 tile and now we are adding to our glass mold catalog. Reference site for fired art information. Santa Paula, CA 93060-1651 Retail accounts welcome at wholesalers prices. Boston Kiln Sales & Service 617-926-1802 We manufacture a variety of clay decorating tools. This PO Box 841 Fax: 781-391-8942 includes 42 embossed patterns, in different shapes and Watertown, MA 02472 sizes, that can be rolled or pressed into wet clay. Send for our free catalog. Boston Kiln provides sales, custom installation and Bella Bisque, Inc. 512-405-3848 repairs to all kilns and wheels, and consulting to schools Campbell’s Ceramic Supply Inc. 804-329-0109 PO Box 1212 Fax: 512-405-3849 and colleges regarding technical and code issues. 4231 Carolina Ave. Fax: 804-329-1439 Kyle, TX 78640 Toll-free: 866-902-3552 Richmond, VA 23222 Toll-free: 800-399-0660 E-mail: [email protected] Campbells manufactures a complete line of pottery, clay, Website: www.bellabisque.com glaze and slip. Visit us at our headquarters in Richmond, We are a bisque manufacturer and importer VA, or stop by one of 24 dealers along the East Coast. specializing in Italian bisque. With over 200+ Camp’s Clay Accessories 215-333-9060 designs, we offer a large variety of unique European 11 Longford St. functional designs and one-of-a-kind kid’s shapes. Philadelphia, PA 19136 Free freight program available. Camp’s Clay Accessories sells tool and other clay accessories.

Copyright © 2008 Ceramic Publications Company | 68 Capital Ceramics Inc. 801-466-6471 Ceramic Store Inc. 713-864-6442 2174 S. Main St. Fax: 801-466-6946 1002 W 11 St. Fax: 713-864-6550 Salt Lake City, UT 84115 Houston, TX 77008 Toll-free: 800-290-8990 For more than 50 years we have been the main source Serving schools and institutions, potters and sculptors in of potters’ supplies and equipment for Utah and the the Houston metro area for over 30 years. surrounding area. Outstanding customer service and The Chinese Clay Art, USA 408-343-3919 prompt shipment of orders have contributed to our PO Box 1733 Fax: 408-343-0117 reputation as a good place to do business. Cupertino, CA 95016 toll-free: 800-689-2529 E -mail: [email protected] Website: www.chineseclayart.com Ceramic Supply Chicago 847-425-1900 Web store, manufacturer and wholesale company. 942 Pitner Ave. Fax: 847-332-2575 We offer patented and newly invented clay tools, Evanston, IL 60202 brushes, ceramic materials and ceramic art books. E -mail: [email protected] We also offer China ceramic tours and cultural Carbondale Clay Center 970-963-2529 exchange programs. 135 Main St. Fax: 970-963-4492 Website: www.ceramicsupplychicago.com Carbondale, CO 81623 Materials & equipment for potters, sculptors, Chris Henley Tools 760-942-0086 E -mail: [email protected] ceramic decorators. Standard moist clays; Duncan, 912 Third St. Website: www.carbondaleclay.org Mayco, Amaco, Spectrum, Opulence glazes; raw clay Encinitas, CA 92024 T he Clay Center is a nonprofit community clay & glaze materials; plasters; Kemper, Dolan, Sherrill Handcrafted potters tools for throwing, handbuilding, studio serving Colorado’s Roaring Fork Valley and tools; Skutt, L&L, Brent, North Star, Shimpo. sculpture and tile molding. Crafted from exotic/domestic beyond, offering year-round, high quality ceramic woods, bamboo and high carbon tool steel. Custom/ arts classes and activities for adults and children. traditional patterns available, or to your specifications. Carolina Clay Connection 704-376-7221 Christy Minerals Co. 636-585-2214 2132 Hawkins St. Fax: 704-376-6824 833 Boonslick Fax: 636-585-2220 Charlotte, NC 28203 High Hill, MO 63350 We are a full-service supplier, featuring clays by Ceramic Supply Inc. 973-340-3005 Products include Hawthorn Bond and other specialty Standard, Highwater and Laguna. We carry equipment 7 Rt. 46 W. Fax: 973-340-0089 clays. Christy Minerals mines, refines and markets by most major manufacturers. We are very service- Lodi, NJ 07644 Toll-free: 800-723-7264 a variety of raw clay, calcined clay and brick grog for oriented with easy accessibility. E-mail: [email protected] potters. Products are available in bags. Website: www.eceramicsupply.com Cedar Heights Clay Operation 740-682-7794 Materials & equipment for potters, sculptors, PO Box 295 Fax: 740-682-6438 ceramic decorators. Standard moist clays; Duncan, Oak Hill, OH 45656 Mayco, Amaco, Spectrum, Opulence glazes; raw clay Large selection of castables, plastics and refractory & glaze materials; plasters; Kemper, Dolan, Sherrill brick. tools; Skutt, L&L, Brent, North Star, Shimpo. UNDER Clay Art Center 253-922-5342 Ceramic Arts & Crafts Supply 905-335-1515 NEW OWNERSHIP. 2636 Pioneer Way E Fax: 253-922-5349 Tacoma, WA 98404 toll-free: 800-952-8030 3103 Mainway Dr. Fax: 905-332-4403 Ceramics & Crafts Supply Co. 415-982-9231 Burlington, ON L7M 1A1 Canada E-mail: [email protected] 490 Fifth St. Fax: 415-957-1492 Website: www.clayartcenter.net Wholesaler, distributor, classes. Business package. San Francisco, CA 94107 Wholesale ceramic supplies. Online shopping. Northwest’s leading manufacturer of custom clay Materials and equipment for potters, ceramists and glazes. Distributors for Skutt, Laguna, Kemper, Ceramic Arts Library 607-962-6042 and porcelain doll artisans. Mayco & Duncan glaze Duncan, AMACO and most other manufacturers. 79 E. Third St. Fax: 607-962-1636 distributor. Kiln, wheel, and equipment repair. Complete pottery Corning, NY 14830-3101 Ceramics Consulting Services 413-527-7337 supply resource. E-mail: [email protected] 6 Glendale Woods Dr. Fax: 413-527-2755 Website: www.ceramicartslibrary.com Clay In Motion 509-529-6146 Southampton, MA 01073 959 Reser Rd. Fax: 509-529-5116 Specializing in out-of-print and hard-to-find books, Ceramics consulting services offers technical information Walla Walla, WA 99362 catalogs and slide programs in the ceramic field. We on clays, glazes, raw materials, kilns, equipment, product also do appraisals. We custom produce and bring customer ideas into development and ceramic toxicology. Specializing in clay production. We sell bisque, dental sinks and finished Ceramic ArtSpace 818-782-1500 body and glaze defects cause and corrections. ware—all in a high-fire stoneware. 6020 Woodman Ave. 1-888-CERAMIX Ceramics Hawaii Ltd. 808-845-8100 Van Nuys, CA 91401 The Clay Place 412-276-3260 501 Kokea St., Bldg. A-6 One Walnut St., Suite 2 Fax: 412-276-3250 Full service online supply store, bisque, plastercraft, Honolulu, HI 96817-4935 Carnegie, PA 15106 glazes, tools, kiln supplies, acrylics and much more at Charles A. Hones Inc. 631-842-8886 great prices. We sell ceramic equipment, supplies and books. We 607 Albany Ave. Fax: 631-842-9300 are distributors for Amaco, Brent, Kemper, Olympic, Ceramic Services 909-986-1566 Amityville, NY 11701-0518 Paragon, L&L, Shimpo, Soldner, Standard Ceramic PO Box 1352 Fax: 909-986-1566 5th generation family business which dates back to 1911. Supply Co. and Sculpture House. Chino, CA 91709 We supply potters, artists, studios and schools with kiln Clay Planet 408-295-3352 Complete line of professional raku kilns from 4 to 14 burners, casting equipment and forging equipment. 1775 Russell Ave. Fax: 408-295-8717 cubic feet, downdraft kilns and California potters wheel. Chesapeake Ceramics Supply 410-247-1270 Santa Clara, CA 95054 Toll-free: 800-443-CLAY Ceramic Services Inc. 215-245-4040 4706 Benson Ave. Fax: 410-247-1708 Northern California’s most complete ceramic supplier. 1060 Park Ave. Fax: 215-638-1812 Baltimore, MD 21227-1411 Toll-free: 800-962-9655 Manufacture clay and glazes, full retail store plus Bensalem, PA 19020-4652 Wholesale supplier of ceramic supplies and equipment. workshops, repair services and firing services. Solutions to drying and firing problems. Bringing industrial Clay-King.com 864-579-1752 know-how to production potters. Home of the Kilnman, 125 Ben Abi Rd. Fax: 864-579-1756 the Pottery Pro 2000 dryer and Pottery Master kilns, the Spartanburg, SC 29307 Toll-free: 888-838-3625 best-built kilns and dryers available. Online discount store with a huge product index for all The Ceramic Shop 215-427-9665 levels of ceramic artists. 3245 Amber St. Philadelphia, PA 19134 Claymakers 919-530-8355 705 Foster St. Fax: 919-530-8306 Full service ceramic supply with a 3000 square foot Durham, NC 27701 studio and walk-in store. We are the home of the Hydro- Bat, a gypsum cement bat designed to fit all wheels. A multifunctional clay center offering classes for beginner through advanced clay artists, retail clay, supplies and equipment, a gallery of fine pottery and clay art, and individual studio rentals.

Copyright © 2008 Ceramic Publications Company | 69 ClayPeople 510-236-1492 Crucible Kilns 206-587-0570 1430 Potrero Ave. 35 S. Hanford St. Fax: 888-587-0373 Richmond, VA 94804-2141 Toll-free: 888-236-1492 Seattle, WA 98134-1807 Toll-free: 800-522-1975 Supplier of ceramic materials and equipment. Manufacturer of custom and stock ceramic and glass kilns for over 25 years. Coyote Clay & Color 505-344-2250 Crystal Productions 847-657-8144 5707 Edith Blvd. NE 1812 Johns Dr. Fax: 800-657-8149 Albuquerque, NM 87107 toll-free: 866-344-2250 Glenview, IL 60025 Toll-free: 800-255-8629 E-mail: [email protected] Website: www.coyoteclay.com Producer and distributor of art resources including videos, Clayscapes Pottery Inc. 315-424-6868 prints, posters and books. Committed to providing the 1003 W. Fayette St. Fax: 315-424-8877 Coyote Cone 6 Electric Glazes are unique, beautiful highest quality resources throughout the world. Syracuse, NY 13204 and reliable. Now you can get all the richness and variety of gas firing in your electric kiln. Available in Curran Pfeiff Corp. 732-225-0555 E -mail: [email protected] Liddle Ave. Fax: 732-225-5012 Website: www.clayscapespottery.com pints, gallons and three gallon buckets or packaged dry. Coyote high fire underglazes stay bright and Edison, NJ 08837 P remier distributor of clay and equipment in central true from cone 6-10. Manufactures kiln posts, heating element holders, NY and the northeast. Offering a wide variety of clay Creative Glazes 770-476-7322 stilt stones, glass dams and saggers. Provide bodies, wet and dry glazes, kilns, wheels and tools. historical restoration on architectural ceramics, terra Clayscapes has virtually everyting a ceramic artist 3407 Highway 120 Duluth, GA 30096 cotta and pottery for professional, hobby, artists, or teacher needs! glassmakers. ClayStamps.com 913-206-7753 Creative Glazes features Duncan, Mayco and Gare glazes, kiln wash, Orton cones, Dynasty brushes and Dakota Potters Supply 605-332-1946 14637 S. Constance St. Fax: 866-429-3533 2315 W. Madison St. Fax: 605-332-2729 Olathe, KS 66062 Kemper tools, as well as other tools and paint brushes. Open Monday–Friday, 9 A.M.–6P.M. Sioux Falls, SD 57104 Clayworks Supplies, Inc. 410-235-5998 We manufacture pugged clay and distribute glazes, kilns 4625 Falls Rd. Fax: 410-235-6061 and equipment for Paragon, Skutt and L&L Kilns, Laguna, Baltimore, MD 21209 Coloramics/Mayco, Spectrum Glazes, Vent-A-Kiln, Peter 20+ years selling a full line of clay supplies to school and Pugger equipment, Amaco-Brent and North Star. artists. Products from Standard Ceramics, Highwater, Laguna, Campbells, Duncan, Kemper, L&L and Skutt. Truck delivery to MD, DC, northern VA, DE and SE PA. Creative Industries 619-449-1834 1946 John Towers Ave. Fax: 619-449-1854 Clayworld Inc. 210-222-1331 El Cajon, CA 92020 toll-free: 800-748-5530 1200 E. Houston St. Fax: 210-222-1777 E -mail: [email protected] San Antonio, TX 78205 Toll-free: 800-284-2529 Website: www.creativewheels.com Davens Ceramic Center 770-451-2105 Clayworld is your 1-stop shop for all your pottery supplies Manufacturer of potter’s wheels for over 30 years. 5076 Peachtree Rd. Fax: 770-455-7012 and equipment. Our prices are discounted every day. Professional series and entry wheels: Artista, Clay Atlanta, GA 30341 toll-free: 800-695-4805 Coastal Ceramics 843-873-1211 Boss, Big Boss, Elite, MP and HP. Also a manufacturer E -mail: [email protected], 115 Varnfield Dr. of grinders, bats, stools, tools and “Cink,” a complete [email protected] Summerville, SC 29483 Toll-free: 800-688-0602 clay filtering and water recycling system. Website: www.davensceramiccenter.com Full service ceramic and pottery supplier providing Creative Paperclay Co. 805-484-6648 Davens carries a complete line of pottery equipment products from leading manufacturers 79 Daily Dr. Ste. 101 Fax: 805-484-8788 and supplies. Anything needed to make pottery. If we Camarillo, CA 93010 Toll-free: 800-899-5952 don’t have it, we’ll get it! Purchase orders welcome. Columbus Clay 614-488-9600 1080 Chambers Rd. Fax: 614-488-9849 We offer air hardening, nonfiring, modeling materials for W.P. Dawson Inc. 714-529-2813 Columbus, OH 43212 artists and crafters. 399 Thor Pl. Fax: 714-529-3254 Brea, CA 92821 Complete source of supplies for ceramic art class and pottery making. Clays, raw materials, kilns, potters Specifications, instructions, parts and service information wheels, tools, glazes and more. Call or e-mail us for a for the world’s most popular control for ceramic kilns. free catalog. Now carrying a full line of bisque. Debcor Inc. 708-333-2191 513 W. Taft Dr. Fax: 708-333-2245 Creative Paradise 316-794-8621 South Holland, IL 60445 415 Industrial Box 734 Fax: 316-794-8226 Manufacturer of quality furniture and equipment for Goddard, KS 67052 toll-free: 888-794-8621 ceramic work areas, including ware trucks, clay carts, E-mail: [email protected] drying and damp cabinets, kiln carts, work tables, storage Website: www.handbuilding.com Continental Clay Co. 612-331-9332 containers and wedging boards. 1101 Stinson Blvd. NE Fax: 612-331-8564 Ceramic design firm dedicated to offering unique Del Val Potter’s Supply Co. 215-233-0655 Minneapolis, MN 55413 toll-free: 800-432-2529 handbuilding forms and tools. 1230 E. Mermaid Lane Fax: 215-233-0496 E-mail: [email protected], Cress Mfg. Co. 775-884-2777 Glenside, PA 19038 [email protected] 4736 Convair Dr. Fax: 775-884-2991 Full-service pottery supply offering dependable, friendly, Website: www.continentalclay.com Carson City, NV 89706 Toll-free: 800-423-4584 helpful service to the professional and the hobby P remier source for pottery, handbuilding, sculpting Producers of the finest in electric firing equipment. Kilns ceramist. We are distributors of many manufacturers and and casting supplies. Clays, glazes, chemicals, kilns, feature competitive pricing without compromising quality stand behind the materials and equipment that we sell. pottery wheels, tools, books and related equipment. or safety. From small test units to large production-grade Dew Claw Studios 401-312-0540 Stock clay bodies and superior custom blending. equipment, Cress is your best choice. 545 Pawtucket Ave., Ste. 106 Catalog available. Crossroads Pottery & Clay Company Pawtucket, RI 02860 Cornell Studio Supply 937-454-0357 517-783-2942 Full-service clay art center, offering supplies, classes 8290 N. Dixie Dr. Fax: 937-454-0397 3022 Francis St. Fax: 517-817-0252 (beginner to advanced), workshops, studio memberships, Dayton, OH 45414 Jackson, MI 49203 Toll-free: 877-872-8471 firing (gas/wood/electric/raku/pit), and artist business Complete line of supplies for pottery, sculpture and Variety of ceramics/pottery supplies, equipment, tools services (ranging from shooting slides/digital images to enameling. Our technician has over 30 years of equipment and clay. Slip-casting and mold making supplies, mailing list management). repair experience. Knowledgeable and courteous staff including slump hump molds and sculpture-making ready to assist customers. Catalog available. supplies. Basic instructions on how to mix dry glaze, slip mixing and plaster mold making.

Copyright © 2008 Ceramic Publications Company | 70 Duralite Inc. 860-379-3113 15 School St. Fax: 860-379-5879 Riverton, CT 06065 A family business for over 50 years, manufacturing custom quality electric heating elements for kilns and Dick Blick Art Materials 309-343-6181 furnaces, replacement elements, switches, controls, Euclid’s/The Pottery Supply House Ltd. 695 US Hwy 150 E, PO Box 1267 Fax: 800-621-8293 connectors and thermocouples; and design service by 1120 Speers Rd. 905-849-5540 Galesburg, IL 61402-1267 toll-free: 800-828-4548 qualified experienced engineers. Oakville, ON L6L 2X4 Fax: 905-849-0001 E-mail: [email protected] Eagle Zinc Company 212-582-0420 Canada Toll-free: 800-296-5456 Website: www.dickblick.com 30 Rockefeller Plaza Fax: 212-582-3412 E-mail: mail@euclids We offer a wide selection of clays, glazes, kilns, New York, NY 10112 Website: www.euclids.com tools, wheels and accessories for the school and Producers of slab zinc, zinc dust & powders. PSH carries all your needs for making pottery: kilns, home studio. Get the best prices, best selection and kiln furniture, wheels, clay, raw materials, pre-made best service on all the top brands - Amaco, Skutt, eArtWorld.com 864-585-6014 glazes and tools. We also have an assortment of Laguna, Shimpo, Kemper, Bailey and more. Request 108 Garner Rd. Fax: 864-582-3936 glass fusing and slumping supplies. Spartanburg, SC 29303 Toll-free: 888-838-3625 a catalog or shop online. Evans Ceramic Supply 316-262-2551 DigitalFire Corp. 406-662-0136 eArtWorld offers the best ceramic supplies, kilns, pottery 1518 S. Washington Fax: 316-262-1396 Box 432 Fax: 866-223-7132 wheels and potters tools at discount prices. We offer toll Wichita, KS 67211-0654 Cornwall, PE C0A 1H0 Canada free customer support. All purchases come with a money back guarantee. For over 50 years, Evans Ceramic Supply has been Our INSIGHT and 4SIGHT ceramic chemistry and a supplier of raw materials to retail studios, schools, database software, books and Digitalfire websites East Valley Supply 607-478-8178 colleges, and art centers. Hobbyists and finishware empower potters to understand, formulate and adjust 4635 E. Vally Rd. producers also find our products important for their their own ceramic glazes and clay bodies. Andover, NY 14808 completed projects. Specializes in epoxies specific for repairing ceramics. Evenheat Kiln Inc. 989-856-2281 Easy Ceramic Decals, LLC 913-573-2132 6949 Legion Dr. Fax: 989-856-4040 1401 Fairfax Trafficway Caseville, MI 48725-0399 Kansas City, KS 66115 Manufacturer of high quality kilns for over 50 years for Display Your Art by Glassica 512-778-9398 Echo Ceramics 310-815-1525 private and commercial studios. Accessories available 3051 N. Hwy. 183, Bldg. 1, Ste. 1 Fax: 512-778-9477 are: RampMaster II & Set-Pro computer controls, Liberty Hill, TX 78642 2856 S. Robertson Blvd. Fax: 310-815-1525 Los Angeles, CA 90034 PC-based kiln software, pyrometers, Ventmaster, kiln E-mail: [email protected] shelves and posts. Website: www.displayyourart.com E -mail: [email protected] Website: www.echoceramics.com We manufacture and distribute a wide variety of Falcon Company 858-759-6746 display stands, including bowl stands, plate holders, E cho Ceramics is a great place for potters to work. 3435 Jasmine Crest Fax: 858-759-9756 coaster holders and more. Beginning, intermediate and advanced classes Olivenhain, CA 92024 are held each month. Tools, supplies and clay are Manufacture quality heavy duty hand tools for ceramic Dogwood Ceramic Supply 228-831-4848 available for sale. Home of the unique Echo Ceramics and craft areas and publisher of technical books for the 12590 Dedeaux Rd. Fax: 228-831-3111 apron, anything else you can think of—we got it. studio potter. Gulfport, MS 39503 Ed Hoy International 800-323-5668 Dogwood Ceramic Supply is one of the largest multi-line Fat Cat Pottery Inc. 910-395-2529 27625 Diehl Rd. 419-A Raleigh St. Fax: 910-395-4684 pottery and ceramic distributors in the southern United Warrenville, IL 60555 States offering a great selection of kilns, clay, glazes, Wilmington, NC 28412 wheels, molds and related supplies. Edouard Bastarache Inc. 450-742-2170 Offers working studio space by hour or month, classes, 2340 Des Erables distributors for Skutt kilns, L&L Kilns, Standard Ceramics Dolan Tools 480-998-7169 Sorel-Tracy, PQ J3R 2W3 Canada clays, Kemper tools, Spectrum glazes and underglazes, PO Box 15161 Fax: 480-991-4509 Amaco glazes, pottery wheels and our own glaze book. Scottsdale, AZ 85260 Toll-free: 800-624-3127 I am the author, editor, publisher and distributor of Substitutions for Raw Ceramic Materials. This book is A complete line of pottery tools. All handcrafted, Flat Rock Clay Supplies 479-521-3181 also available in French, German, Spanish, Portuguese, 2002 S. School Ave. Fax: 479-443-3772 individually made of high quality knife steel. Custom Italian and Esperanto. Please contact me by e-mail. orders available. Dealers welcome. Fayetteville, AR 72701 Etc., Etc., Etc. 940-781-2529 We provide a full range of supplies and equipment to Doo-Woo Tools LLC 845-987-9589 3101 Barnett Rd. Fax: 940-696-0223 schools and potters in AR, eastern OK and southeast PO Box 1275 Fax: 845-926-3125 Wichita Falls, TX 76310 MO through our brick & mortar location and our new Warwick, NY 10990 Distributor for Laguna Clay Co. in North Texas, easily online store. We also service what we sell. Primary U.S. wholesale distributor of fine pottery tools accessible to Oklahoma or Louisiana. Deliver within 150 Fort Pottery Co. 706-364-2296 designed by Dong-Hun Chung of S. Korea. A variety miles. Established 1983. of tool sets and individual tools, and custom tool sets 3689 Peach Orchard Rd. Fax: 706-364-2297 assembled according to customer needs. Euclids Kilns & Elements Augusta, GA 30906 Toll-free: 866-798-4062 1120 Speers Rd Fax: 905-849-0001 Ceramic supply. Offering moist clays by Highwater, Du-All Drafting & Art 248-583-9158 Oakville, ON L6L 2X4 toll-free: 800-296-5456 Tucker, KPS, Standard and others. Serving customers 31431 John Rd. Fax: 248-583-4714 Canada and institutions in GA, SC and northern FL. Madison Hts., MI 48071 Toll-free: 877-583-9158 E -mail: [email protected] Du-All has been in business for over 50 years specializing Freeform Clay & Supply 619-477-1004 Website: www.euclids.com 1912 Cleveland Ave Fax: 619-477-1333 in art, drafting and picture framing. All major brands and Buy direct from the manufacturer and save. Euclid hard-to-find art and drafting products. Special orders. National City, CA 91950 manufactures quality electric kilns for pottery and San Diego’s leading ceramic supplier. Best prices on Duncan Enterprises 559-291-4444 glass as well as replacement elements, bricks and equipment. 5673 E. Shields Ave. Fax: 559-294-2447 slabs for any kiln. Euclid offers custom kiln and Fresno, CA 93727-7819 Toll-free: 800-237-2642 element design service. Frog Pond Pottery 610-388-1254 One of the world’s leading manufacturers of ceramics, PO Box 88 Fax: 610-388-1254 low and high fire underglazes and overglazes, bisque Pocopson, PA 19366 and acrylics. Serving educators, potters, studio owners, GlazeMaster is a glaze calculation and database finishware manufacturers and hobbyists for 60+ years. software for Windows and Mac. Mastering Cone 6 Glazes, written by John Hesselberth and Ron Roy. Both Dunghanrach Clay Co. 320-256-3496 can be purchased on our website. 536 N. Third Ave. W. Fax: 320-256-3496 Melrose, MN 56352 Venco Pugmills, Skutt Kilns and Creative Industries throwing wheels at discount prices.

Copyright © 2008 Ceramic Publications Company | 71 page. Sign up for a free listing in our Service Directory. Graber’s Pottery Inc. Advertise sales in our Bulletin Board. Herring Designs, LLC 970-547-4835 Graber’s Pottery Inc. 951-675-5468 PO Box 3099 Fax: 775-206-7526 Breckenridge, CO 80424-3009 Toll-free: 888-391-1615 Funke Fired Arts 513-871-2529 2058 North Mills Avenue #217 Claremont, CA 91711 Herring Designs provides productivity enhancement 3130 Wasson Rd. Fax: 513-871-5576 tools for ceramic artists (including SlabMat, a non-woven Cincinnati, OH 45209 toll-free: 866-GET-CLAY E -mail: [email protected] Website: www.graberspottery.com fabric for slab rolling and hand building- and secure e- E-mail: [email protected] commerce Internet marketing opportunities for artists. Website: www.funkefiredarts.com T he Steve Tool - “One Tool, Many Results” designed Supplier of ceramic materials and equipment. Public to work best on clay. Roll it on, stretch the pot - get studio facilities/rental. Classes in handbuilding awesome texture on pottery! Hold back runny glazes and wheel. Workshops. Professional and hobbyist via texture; fill with contrasting slip; or go naked with potters, art teachers. Unified purchasing approved. unglazed pottery.

Gare Inc. 978-373-9131 Highwater Clays of Florida 727-553-9344 165 Rosemont St Fax: 978-372-9432 420 22nd St. S. Fax: 727-553-9346 Harverhill, MA 01830 St. Petersburg, FL 33712 Leaders in ceramics since 1950. Over 500 bisque E -mail: [email protected] designs and several hundred glazes for artists, studios www.highwaterclays.com/HWCFlorida.html and commercial accounts. Contact us for your special Florida potters need look no further than our St. bisque or glaze needs. Great Lakes Clay & Supply 847-551-1070 Petersburg facility for all their supplies. Celebrating Geil Kilns Co. 120 S. Lincoln Ave. Fax: 847-551-1083 our 6th year, Highwater Clays of Florida features 40+ 7201 Clay Ave. Fax: 714-847-6145 Carpentersville, IL 60110 toll-free: 800-258-8796 clay bodies, glazes, tools, equipment, books and Huntington Beach, CA 92648 Toll-free: 800-887-4345 E-mail: [email protected] more. Website: www.greatclay.com Manufacturer of portable downdraft gas kilns, electric Inventors of the Versa-Bat and Glaz-Eze markers, Highwater Clays, Inc. 828-252-6033 fired kilns, gas burners and controls, and industrial 600 Riverside Dr. Fax: 828-253-3853 furnaces. we’re Chicagoland’s most respected source of ceramic and pottery making supplies. Provider for Asheville, NC 28801-2140 Georgies Ceramic & Clay Co. Inc. 541-338-7654 commercial potters, hobby/craft artists and school E-mail: [email protected] 1471 Railroad Blvd. #9 Fax: 541-338-7565 programs. Website: www.highwaterclays.com Eugene, OR 97402 Toll-free: 866-234-2529 There’s a lot more to our clays than the ingredients. Greenbarn Potters Supply Ltd. 604-888-3411 With nearly three decades of experience, Highwater Specialize in cone 6 electric glazes, plus offer great tips 9548 192nd St. Fax: 604-888-4247 and techniques on how to use them. Many new glazes Clays knows how to prepare clay bodies that perform Surrey, BC V4N 3R9 batch after batch. We serve customers from around being introduced for fall 2007. Visit our website for Canada details. the globe and offer a full-line of tools, kilns, glazes, Greenbarn supplies potters on the west coast of Canada. equipment, raw materials and books. Georgies Ceramic & Clay Co. Inc. 503-283-1353 We carry everything potters need: clay, materials, glazes, 756 NE Lombard Fax: 503-283-1387 tools, equipment, books and much more. W.K. Hillquist, Inc. 603-595-7790 Portland, OR 97211 Toll-free: 800-999-2529 37 Executive Dr. Fax: 603-595-1451 GSM Enterprises, Kiln Sales and Services Hudson, NH 03051-4903 210-842-0363 Large selection of all types of display products as well as 5847 Castle Hunt Fax: 210-656-2234 plastic injection molding services. San Antonio, TX 78218-4112 Hobby Colorobbia 201-797-4882 Giffin Tec Inc. 360-758-7008 On-site kiln repair and rebuild service, parts and supplies; all Texas. Sell all kiln brands and models. One- 3 Boumar Pl. Fax: 201-797-7950 4135 Sunny Hill Ln. Fax: 360-758-2520 Elmowwod Park, NJ 07407 Lummi Island, WA 98262 year warranty on all work. Kiln repair and firing seminars. Refurbished kilns with warranty. Producer of the finest ceramic materials, including clay E-mail: [email protected] bodies, frits, glazes, stains, precious metals, hi-tech Website: www.giffingrip.com H.C. Spinks Clay Co. Inc. 731-642-5414 ceramics and equipment. Proud manufacturers of the Giffin Grip and 275 Carothers Loop Fax: 731-642-5493 Lidmasters pottery tools. Offering the utmost in Paris, TN 38242 HyperGlaze/Richard Burkett 619-286-1836 customer care and satisfaction. Specialize in mining of nonmetallic clay minerals used in 6354 Lorca Dr. Fax: 619-583-3894 San Diego, CA 92115-5509 Gilmour Campbell Co. 313-568-0561 casting slips and moist bodies. Sold through distributors throughout the U.S., Canada and Mexico. Other products HyperGlaze is the easiest-to-use glaze calculation 2700 Erskine Fax: 313-568-1008 software for ceramics artists. Powerful features. Newly Detroit, MI 48207-2208 sold direct: Alumina trihydrate, bentonite, calcium carbonate and ceramic additives. revised. Now for Windows (98 or newer), Linux and We manufacture Kingspin portable electric potters Hammill & Gillespie Inc. 973-994-3650 Macintosh OSX. wheels and hand turntables. Our emphasis is on 154 S. Livingston Ave. Fax: 973-994-3847 Industrial Minerals Co. 916-383-2811 our low-priced hand turntables, which we sell large Livingston, NJ 07039-0104 toll-free: 800-454-8846 7268 Frasinetti Rd. Fax: 916-383-8741 quantities of. E-mail: [email protected] Sacramento, CA 95828 Glyptic Modeling Tools 970-663-5190 Website: www.hamgil.com Industrial Minerals Co. provides a wide range of products 418 W. 8th St., SE, Unit B5 Fax: 970-663-5127 and services for the mineral processing industry and Loveland, CO 80537 Toll-free: 800-260-4690 Hammill & Gillespie is an experienced manufacturer and distributor of ceramic raw materials. We are the ceramic art markets. IMCO manufactures a wide range Glyptic (from the Greek ‘to carve’) modeling tools are producers of Gillespie Borate as well as importers of of clays. Please see our website for more information. high quality, interchangeable tools. There is a good fine English china and ball clays. Innovative Ceramic Corp. 330-385-6515 variety of sizes and a wide range of loop shapes for Handmade Lampshades 419-887-1780 432 Walnut St. Dept. 11 Fax: 330-385-6510 every size project from miniature to monumental. Great East Liverpool, OH 43920-3130 for modeling and cutting/trimming. 1552 Reynolds Rd Maumee, OH 43606 Provide creative solutions to product identification and Gordon Brush Mfg. Co. Inc. 323-724-7777 Wide variety of handmade lampshades based near decoration. Manufacture glass and ceramic decals, 6247 Randolph St. Fax: 323-724-1111 rubber stamps and DuraFire inks. Commerce, CA 90040 Toledo, Ohio. Manufacturer of quality custom and standard industrial Har-Bon Ceramics & Decals 989-595-2463 brushes. 24475 US 23 S. Fax: 989-595-2326 Presque Isle, MI 49777 Ceramic decals for every purpose. Over 7500 in our online Shopping Cart. Add your site to our busy Links

Copyright © 2008 Ceramic Publications Company | 72 mixed inside the head, reducing mixing time up to 90%. do not have specs for and take an extra 10% off. Johnson Gas Appliance Co. 319-365-5267 Kiln-Ray Services 845-987-9589 520 East Ave. NW Fax: 319-261-0726 PO Box 1275 Fax: 845-926-3125 Cedar Rapids, IA 52406 Warwick, NY 10990-1275 Pioneer in the development and manufacture of gas Complete repairs on gas and electric kilns, pottery burning equipment including many types of furnaces, wheels and all studio equipment. Sales in kiln and wheels Instar Beautiful Decals 732-238-0979 kilns and burners. primarily. Authorized dealer for Alpine, Geil, Nabertherm, 35 Cotters Ln. KC Metro Ceramic & Pottery Supplies Frederickson, ConeArt, Amaco, Shimpo and Brent. E. Brunswick, NJ 08816 toll-free: 800-975-4678 15900 East 40 Hwy. 816-350-3003 Krueger Pottery, Inc. 314-963-0180 E -mail: [email protected] Kansas City, MO 64136 Toll-free: 800-944-6653 8153 Big Bend Blvd. Fax: 314-963-7712 Website: www.instardecals.com Fax: 816-350-3056 St. Louis, MO 63119 Toll-free: 800-358-0180 Q uality open stock and custom designed decals/ Nationwide dealer and distributor of high quality kilns, Full service supplier of materials, new/used equipment, transfers, for both vitrifiable and cold application. Art wheels, clay, glazes, tools and ceramic/pottery supplies. supplies as well as kiln repair and maintenance. Monthly library. Design concepts and reproduction services. classes, weekend and summer workshops, kid’s classes Open stock decal catalog. Keith Company 562-948-3636 8323 Loch Lomond Dr. Fax: 562-949-3696 and pottery workshops. Pico Rivera, CA 90660 Toll-free: 800-545-4567 Krumor Inc. 216-328-9802 Keith manufactures kilns, as well as provides service/ 7655 Hub Pkwy. Fax: 216-328-9803 replacement parts. We’ve been serving institutional Valley View, OH 44125 kilns and the needs of studio potters. Replacement parts Manufacturer of temperature sensors: thermocouples including wire heating elements for any brand/model. Insulating Firebrick, Inc. 724-282-1012 and RTD’s. Carry accessories. Supply most applications 610 E. Butler Rd. Fax: 724-285-7673 Kemper Tools 909-627-6191 in ceramic industry. Contact factory direct. Fast service. Butler, PA 16002 13595 12th St. Fax: 909-627-4008 No middleman. E -mail: [email protected] Chino, CA 91710 Toll-free: 800-388-5367 Website: www.insulatingfirebrick.com Over 500 tools for clay. Don’t be fooled by imitations. Supplier of insulating firebrick, 2300˚–3000˚F, Kemper hand-crafts tools with over 60 years of technical standard sizes and oversized bricks, straights design experience using durable, quality materials. and shapes. First Quality ISO certified insulating Kentucky Mudworks LLC 859-389-9681 firebrick. We stock brick at our Claysburg, PA 825 National Ave. Fax: 859-389-9681 L&L Kiln Mfg. Inc. 856-294-0077 warehouse ready to ship Lexington, KY 40502 505 Sharptown Rd. Fax: 856-294-0070 Swedesboro, NJ 08085 toll-free: 877-468-5456 International Decal Corp. 708-498-5820 Kentucky’s largest full-service ceramic supplier. Beginner E-mail: [email protected] 3318 Commercial Ave. Fax: 708-498-6356 to advanced classes offered. Firing services, equipment Website: www.hotkilns.com Northbrook, IL 60062 repair and studio space rental available. L&L Kilns feature hard ceramic element holders to Manufacturer of custom ceramic and glass decals. Kentucky-Tennessee Clay Co. 615-365-0852 Specialize in 4-color process photographic reproductions. protect firebrick and elements. Complete line of kilns 1441 Donelson Pike Fax: 615-365-0842 ranging from one-cubic-foot test kilns to 36-cubic- We produce overglaze, inglaze and reactive decals as Nashville, TN 37217 well as glass and non-fire decals. feet production kilns. 3-yr limited warranty on Easy- Produce Old Mine #4, Tennessee #1-4 SGP, K-T #1- Fire, Jupiter, DaVinci and Easy-Load front-loading J. & J. Ceramic Studio 302-678-2845 4, the ceramic art standards for ball clay. Also a major kilns. 666-A S. DuPont Hwy. Fax: 302-678-2845 producer of china clays for the ceramic art trade. Dover, DE 19901 Kickwheel Pottery Supply Inc. 770-986-9011 A full-service traditional studio, serving the tri-state area 1986 Tucker Industrial Rd. Fax: 678-205-2001 since 1974. Large selection of greenware from over Tucker, GA 30084 Toll-free: 800-241-1895 15,000 molds, bisque, brushes, tools, firings, classes, Manufactures over 40 premium clays plus custom. Kilns, low-fire and high-fire/cone 6 colors. wheels, tools, books, general supplies and materials. L & R Specialties Inc 417-725-2606 Japan Pottery Tools Our staff is very helpful and highly trained in assisting all 202 E. Mount Vernon Fax: 417-725-2607 1032 Irving St. PMB 967 phases of pottery. See our extensive online catalog. Nixa, MO 65714 toll-free: 877-454-3914 San Francisco, CA 94122 Killam Gas Burner Co. 303-722-2871 E -mail: [email protected] Hard-to-find Japanese tools, and learn new techniques 1240 S. Bannock St. Fax: 303-871-8049 Website: www.claydogs.com for throwing, trimming and glazing on our website. Denver, CO 80223-3202 Toll-free: 877-328-9330 Missouri’s only moist clay manufacturer and home Jen-Ken Kilns 838-648-0585 Atmospheric and power type natural and LP gas burners, of the Claydog Raku Kiln with vacuum pressed 3615 Ventura Dr. W Fax: 863-701-9867 auto gas valves, gas pressure regs. Flame safeguard fiber shell and light-weight, portable stand. We have Lakeland, FL 33811 controls Honeywell, Fireye. provided service and materials to Midwest ceramic artists since 1969. Different types of kilns including glass fusing kilns. Jepson Pottery & World Pottery Institute 2300 St. Rd 46 E 407-349-5587 Geneva, FL 32732 Toll-free: 800-742-3055 Fax: 407-349-4009 Classes include beginners, experienced professionals The Kiln Doctor Inc. 540-636-6016 Laguna Clay Co. 626-330-0631 and every stage in between. Emphasis is on individual PO Box 721 Fax: 540-631-9476 14400 Lomitas Ave. Fax: 626-333-7694 instruction. Central focus is on throwing. Front Royal, VA 22630 toll-free: 877-KILNDOC E -mail: [email protected] City of Industry, CA 91746 toll-free: 800-452-4862 Jiffy Mixer Co. Inc. 951-272-0838 Website: www.thekilndoctor.com E-mail: [email protected] 4120 Tigris Way Fax: 800-666-4120 Website: www.lagunaclay.com Riverside, CA 92503 Toll-free: 800-560-2903 New equipment consulting, sales, delivery, assembly, instruction and service for most brands of electric Since 1932 manufacturer and worldwide supplier You can mix any dry or liquid ingredients or combination kilns, pottery wheels, pug mills, slab rollers, kiln of clay, glaze, equipment, tools and raw materials. thereof quicker and more thoroughly using a Jiffy Mixer. venting systems and more. House calls, service Thousands of stock and custom, high and low-fire The three bladed mixing head pulls all material to be accounts, and shop repairs. glazes and clay bodies. Manufacturer of Pacifica Potter’s Wheels. Thorley kiln furniture, Laguna kilns. The Kiln Elements Co. 503-755-2289 71898 Northshore Dr. Laguna Clay Co. 740-439-4268 Birkenfeld, OR 97016 61020 Leyshan Dr. Byesville, OH 43723 Kiln Elements at 30% off retail. Skutt, Cress, L&L, E-mail: [email protected] Coneart. Supply gage, ohms and length of elements we

Copyright © 2008 Ceramic Publications Company | 73 Lark Books 828-253-0467 Mason Color Works Inc. 330-385-4400 Mile Hi Ceramics is a 50-year-old ceramic/pottery supply 67 Broadway Fax: 828-253-7952 250 E. 2nd St. Fax: 330-385-4488 house. We carry Duncan, Mayco, Amaco, Spectrum and Asheville, NC 28801-2919 East Liverpool, OH 43920-5076 Opulence glazes, Skutt, Paragon, Aim and Shimpo kilns, Publishers of fine craft books, including Lark Ceramic Since 1842 Mason Color has manufactured high-quality, raw materials and manufacture over 30 clay bodies. Series. Lark titles are distributed by Sterling Publishing but economical, ceramic pigments. Serving the ceramic Miles Ceramic Color 714-556-1329 Company. Together, Lark and Sterling have published arts community for many years with colorants for body, 2112 S. Grand Ave. over 30 how-to books about pottery and ceramics. glaze, underglaze and engobe uses. . Santa Ana, CA 92705 Master Kiln Builders 612-250-6208 The Miles Ceramic Color line includes glazes formulated 27607 Grenada Ave. Fax: 612-250-6208 for a wide range of firings, as well as our Fireshade Farmington, MN 55024 palette of 65 versatile underglazes. Master Kiln Builders have built over 140 custom kilns for La Meridiana 39-0571-660084 schools, individual artists and institutions throughout U.S. Loc. Bagnano 135 Fax:39-349-7500225 50052 Certaldo (Fl) Italy Maxfield Ceramics Supply Inc 513-793-5545 E-mail: [email protected] 4761 Creek Rd Fax: 513-793-5109 As La Meridiana has grown throughout the years, Cincinnati, OH 45242 Toll-free: 800-783-5871 its goal has grown as well. One simple vision still We are a full service hobby, ceramics and pottery supply Minnesota Clay Co. USA 952-884-9101 7429 Washington Ave. Fax: 952-884-1820 remains, and that is to offer to our patrons a facility house servicing wholesale and retail. Edina, MN 55439-2410 toll-free: 800-252-9872 dedicated to a continual education in the ceramic Mayco Colors 614-876-1171 E-mail: [email protected] arts. 4077 Weaver Court South Fax: 614-876-9904 Website: www.minnesotaclayusa.com Hilliard, OH 43026 Minnesota Clay Co. USA is a nationwide dealer and Manufacturers and distributors of ceramic/pottery distributor and has been serving the clay community decorating colors, glazes, bisque, molds, brushes for over 50 years with high quality clay, glazes and and decorating accessories. Marketing, educational ceramics items. programs and workshops expand appeal of clay and Miracle Bat 802-659-4886 ceramic surface decoration. 647 US Rte 1 Larkin Refractory Solutions 678-336-7090 Mecca Pottery Tools 256-757-5614 York, ME 03909 PO Box 716 Fax: 678-336-7094 7270 County Rd. 63 Miracle Bat - New Pottery Equipment - not your typical Lithonia, GA 30058 Florence, AL 35634 bat. Strongest, most secure hold. Won’t lift of jump. E-mail: [email protected] Hand-crafted wood pottery tools, texture tools (stamps, Quick easy on/off. Unique properties prevent cracking Website: www.larkinrefractory.com rollers, paddles-, turntables, clay cutters of various due to drying-patented, strong, lightweight material. L arkin Refractory Solutions is a full-service refractory widths. Impressions last a lifetime–make a good one. supply and construction company. Engineers assist Mercedes Ceramic Supplies 905-851-0851 in refractory lining design and our own masonry 8060 Kipling Ave. Fax: 905-851-1064 construction crews can capably install the products Woodbridge, ON L4L 2A1 Canada we sell. Retailer, wholesaler, manufacturer, distributor. Mail MKM Pottery Tools LLC 920-830-6860 Lily Pond Products/ 559-876-0118 order available, equipment rental, used equipment, Cambell Industrial Supply Fax: 559-876-3305 217 E. Pacific St. Fax: 920-830-9394 repairs. Furnaces for ceramics, metal, enameling, glass Appleton, WI 54911 PO Box 939 annealers, beads, slumping, etc. Supplies. Sanger, CA 93657 E-mail: [email protected] Metomic Corporation 773-247-4716 Website: www.mkmpotterytools.com Professional and hobby ceramic slip casting equipment, 2944 W. 26th St. Fax: 773-247-2563 pouring tables, slip mixing equipment and casting Manufacturer of pottery tools: MKM Stamps4Clay™, Chicago, IL 60623 Toll-free: 800-847-8342 MKM Throwing Tools, MKM Decorating Disks and ribs products. Supplies components to assemble lamps and lighting (wood, stainless steel and Coconut CocoRibs™). Louisville Fire Brick Works 502-363-2656 fixtures. For over 60 years we have been supplying Mud in Mind 619-729-7889 4500 Louisville Av. Fax: 502-363-3331 quality parts to the pottery industry, including sockets, 2111 Paseo Grande Fax: 270-423-0593 Louisville, KY 40209 cords, harps and decorative brass finials. El Cajon, CA 92019 Toll-free: 800-655-3611 M&M Pottery Supply 814-663-0866 Midlantic Clay 856-933-0022 Discount ceramic supplier. RD 2 Box 178A Fax: 814-663-0866 900A Creek Rd. Fax: 856-931-1240 Mudmats 614-403-5853 Corry, PA 16407 Toll-free: 800-611-2529 Bellmawr, NJ 08031 1110 Elmwood Ave Fax: 614-488-1395 A supply and repair business with emphasis on customer Discount distributor of all supplies for potters, sculptors Columbus, OH 43212 service. and teachers, offering a 96-page catalog and same-day E-mail: [email protected] Manitou Arts 231-386-7977 shipping. Website: www.mostlymud.com PO Box 910 Fax: 231-386-7978 Create a healthier, less dusty work environment. Leland, MI 49654-0910 Toll-free: 866-240-3434 MudMats are the smooth, canvas eliminating, tool- Distributor of English earthenware bisque tiles, tough, easy to clean multimedia work surface that makes ceramic work possible anywhere. switchplate/outlet covers and wood products in which the potter can place finished tiles, e.g., mirrors, tables. The Mudpit 718-218-9424 Mid-South Ceramic Supply Co. 615-242-0300 228 Manhattan Ave. Marjon Ceramics Inc. 602-272-6585 Brooklyn, NY 11206 3434 W. Earll Dr. Fax: 602-272-1507 1416 Lebanon Pike, Bldg. C Fax: 615-244-3191 Phoenix, AZ 85017-5284 Toll-free: 800-903-CLAY Nashville, TN 37210 toll-free: 866-203-5286 The Mudpit is a full-service clay facility. We teach classes, rent studio space, sell supplies and do custom We serve Arizona and the surrounding area with ceramic/ E -mail: [email protected] Website: www.midsouthceramics.com work. Fully equipped for wheel throwing, tile making, pottery supplies, service and equipment. In business handbuilding, mold making and slip casting. for 50 years thanks to customers who we feel are very Manufacturer of Opulence Glaze. Full-service pottery special! supplier with complete line of pottery equipment and Mudshark 971-645-8611 supplies. 416 N.E. 26th St. Marjon Ceramics Inc. 520-624-2872 Portland, OR 97232 Mile Hi Ceramics, Inc. 303-825-4570 426 W. Alturas Fax: 520-624-3127 Accepting commissions and custom designs, Mudshark Tucson, AZ 85705 77 Lipan St. Fax: 303-825-6278 studios provides model and mold making as well as Denver, CO 80223 Maryland Refractories Co. 330-532-9845 production services. 267 Salisbury Rd. Fax: 330-532-3224 Mudtools 828-625-1852 Irondale, OH 43932 Toll-free: 800-228-4672 923 Edney Inn Rd. High-duty grog for potters since 1957. High-quality, Hendersonville, NC 28792 volume-stable grog recommended for all uses to 3200F. We offer a wide range of tools for all your mud sculpting Suitable for ceramic supplies and art applications. Price needs. depends on size and quantity ordered.

Copyright © 2008 Ceramic Publications Company | 74 Oneida Air Systems, Inc. 315-476-5151 1001 W. Fayette St. Fax: 315-476-5044 Syracuse, NY 13204 Toll-free: 800-732-4065 Oneida Air Systems dust deputy turns your shop vacuum Nabertherm, Inc. 302-322-3665 into a cyclonic vacuum. It separates 99% of waste before 54 Read’s Way Fax: 302-322-3215 it reaches your shop vacuum. Vacuum up to 50 times New Castle, DE 19720 longer before cleaning your filter. Website: www.nabertherm-usa.com North Star Equipment Inc. 509-235-9200 High quality industrial grade kilns for pottery, raku, PO Box 189 Fax: 509-235-9203 Orton Ceramic Foundation 614-895-2663 x36 glass fusing, slumping, casting and annealing. High Cheney, WA 99004 toll-free: 800-231-7896 PO Box 2760 Fax: 614-895-5610 firing top and front loading kilns. The best three-year E-mail: [email protected] Westerville, OH 43086-2760 warranty and service of any manufacturer. Built to last. Website: www.northstarequipment.com Largest producer of pyrometric cones in the world. We Quality U.S.A. manufactured slab rollers, extruders, are considered the world standard due to accuracy and Nasco Arts & Crafts 209-545-1600 ware carts, tile presses and throwing bats. For over repeatability. Orton also manufactures downdraft kiln- 4825 Stoddard Rd. Toll-free: 800-558-9595 30 years, potters have trusted North Star to provide vent systems and electronic controllers for electric kilns. Modesta, CA 95356 exceptionally well-made studio equipment. A comprehensive kindergarten-to-college selection of OTT-LITE Technology 813-621-0058 arts and crafts supplies. Northeast Ceramic Supply 518-274-2722 1214 West Cass St. Fax: 813-626-8790 621 River St. Fax: 518-272-5962 Tampa, FL 33606 Toll-free: 800-842-8848 Nasco Arts & Crafts 920-563-2446 Troy, NY 12180 Trust OTT-LITE® TrueColor™ lighting to help you see 901 Janesville Ave. Fax: 920-563-8296 colors accurately and details easily. Energy efficient, low Ft. Atkinson, WI 53538 Toll-free: 800-558-9595 We are a wholesale/retail ceramic equipment and supply company. We are dealer/distributor of Laguna heat and low glare illumination helps reduce eyestrain, National Artcraft Co. 330-562-3500 Clay Co., Skutt Kilns, Duncan, Gare, Amaco, Brent, and makes your work area more comfortable. 300 Campus Dr. Fax: 330-562-3507 Shimpo, Kemper and Dolan Tool Co., in upstate New Paasche Airbrush Co. 773-867-9191 Aurora, OH 44202 Toll-free: 888-937-2723 York and western Massachusetts. 4311 N. Normandy Ave. Fax: 773-867-9198 A 50+ year old company providing component parts Ohio Ceramic Supply Inc. 330-296-3815 Chicago, IL 60634 used in functional or decorative craft and hobby projects. PO Box 630 Fax: 330-296-5346 Paasche provides the largest selection of airbrush Some examples are clock and musical movements, Kent, OH 44240 Toll-free: 800-899-4627 models, industrial sprayers and support equipment lamp-making parts, display hardware, glitters, etc. Distributor of hobby ceramic supplies worldwide. We worldwide. Nevada Dan’s 775-425-9494 supply products to schools, institutions, military facilities, Pacer Corp. 605-673-4419 345 Cortez Ct. Fax: 775-425-6504 potters, sculptors, studios and hobbyists. We have a PO Box 912 Fax: 605-673-4459 Sparks, NV 89436-8599 Toll-free: 877-325-POTS GSA contract. Custer, SD 57730 Toll-free: 800-568-2492 Specializing in pottery wheels, kilns, extruders, slab Old Farmhouse Pottery 903-795-3779 Producer of industrial minerals including high potash rollers, pugmills and much more. Visit my website for 232 County Rd. 1805 feldspar in 200, 325, 500 and micronized mesh sizes, secure online sales. Rusk, TX 75785 and chip spar for the various ceramic industries. New Brunswick Lamp Shade Co. 732-545-0377 Old Hickory Clay Co. 270-247-3042 PO Box 7449 Fax: 732-545-6993 PO Box 66 Fax: 270-247-1842 North Brunswick, NJ 08902 Hickory, KY 42051 Toll-free: 800-242-6885 Lamp shades, made to order in a wide range of materials, Old Hickory Clay Company, a family-owned and operated sizes and shapes. Low minimums, high quality, reliable company established in 1918, produces high-quality ball delivery and personal service. clays for all types of ceramics, including slip casting, Paragon Industries, L.P. 972-288-7557 New Century Ceramic Arts Inc. 206-284-7805 moist clay, modeling and glaze formulations. 2011 S. Town East Blvd. Fax: 888-222-6450 Queen Anne Station Olsen Kiln 760-349-3291 Mesquite, TX 75149-1122 toll-free: 800-876-4328 Seattle, WA 98109 60520 Manzanita #205 Fax: 760-349-8009 E -mail: [email protected] Experts in commercial, patented trademarked, reliable Mountain Center, CA 92561 Website: www.paragonweb.com manufacture of ready-to-use pugged (P’Clay®, P’Slip®) Kiln Kits—12,16, 24, 36, 50, 72 and 100. Paragon manufactures Cone 10 electric kilns, which paper clays. Licenses know-how and ongoing support include popular-sized top loaders, front loaders and provided to commercial manufacturers. Olympia Enterprises, Inc. 330-746-2726 small glaze test models. 715 McCartney Rd. Fax: 330-746-1156 Youngstown, OH 44505 PCF Studios 585-229-2976 PO Box 722 Offer highest quality decals, brushes, sponges and blank Honeoye, NY 14471 porcelain products at the best prices. Visit our website. PCF Studios offers step-by-step instructional books and Olympic Enterprises Inc. 330-746-2726 DVDs, as well as unique sculpting aids and workshops New Mexico Clay, Inc. 505-881-2350 PO Box 321 Fax: 330-746-1156 taught by artist Philippe Faraut. Campbell, OH 44405 3300 Girard NE Fax: 505-881-6067 Pebble Press, Inc. 734-327-0833 Albuquerque, NM 87107 toll-free: 800-781-2529 We offer the largest selection of quality imported decals, 1610 Longshore Dr. Fax: 734-327-1081 E-mail: [email protected] chinaware, plates and sponges. High-quality brushes Ann Arbor, MI 48105 Website: www.nmclay.com and tools made in the U.S. Order our 326-page color decal catalog. $22.00 includes shipping and handling. Manufacturer of the Piepenburg Trimming Disc. Offers Pottery and ceramic supplies. Duncan and Mayco books and DVDs on ceramics. paint and glaze for low fire, three brands of Cone 6 glazes, kilns for firing, wheels and clay for throwing, Penn-Mo Fire Brick Co. 717-234-4504 Kemper and Dolan tools, plus 2 brands of precious 825 Paxton St. Fax: 717-234-1895 metal silver clay. Harrisburg, PA 17104 New Orleans Clay 504-947-3937 Ceramic and refractory sales and service. 3517 Chartres St. Fax: 504-947-3937 Olympic Kilns 770-967-4009 New Orleans, LA 70117 4225 Thurmon Tanner Rd. Fax: 770-967-1196 Source finder for many ceramic supplies. Flowery Branch, GA 30542 toll-free: 800-241-4400 E -mail: [email protected] Nilfisk-Advance America Inc. 610-647-6420 Website: www.greatkilns.com 300 Technology Dr. Fax: 610-647-6427 Malvern, PA 19355 Toll-free: 800-645-3475 Manufacturer of electric and gas kilns for pottery, ceramics and glass, and low-fire glaze and stilts. We Complete line of specialized industrial vacuum cleaners build small 120-volt kilns to large custom car kilns and dustless power tools for the collection of hazardous for production. and nuisance materials. Line includes wet/dry vacuums, air-operated vacuums, explosion-proof vacuums.

Copyright © 2008 Ceramic Publications Company | 75 Potterystamp.com 704-968-3864 Resco Products Inc. 336-299-1441 2719 Dilworth Heights Ln. 3514 W. Wendover Ave. Fax: 740-682-6438 Charlotte, NC 28209 Greensboro, NC 27407 Toll-free: 888-283-5547 One stop shop for all your pottery stamp needs! We Manufactures raw materials and refractory block for produce long-lasting, impression-making signature and ceramic applications and basic clay industry. Cedar Peter Pugger Mfg., Inc. 707-463-1333 year stamps for your pottery pieces. Heights Clay produces Goldart, Redart, Roseville, Salt 3661 Christy Ln. Fax: 707-462-5578 PotteryTools.com 443-536-5705 Lick, Bond Clay and Fireclay. Ukiah, CA 95482 4459 Lewisville Rd. Rings & Things Wholesale 509-252-2900 E -mail: [email protected] Sinkburg, MD 21048 PO Box 450 Fax: 509-838-2602 Website: www.peterpugger.com Handcrafted tools from exotic hardwoods from Spokane, WA 99210-0450 Toll-free: 800-366-2156 Peter Pugger manufactures the original clay mixing managed-growth forest. Bevel hand tools, shaping tools, Everything you need to turn ceramic art beads into pugmill. All Pugger-Mixers recycle scrap, and throwing tools, texture tools, fine craft and sculpture. Gift finished jewelry: gluable disk-and-loop bracelet forms, the Power Wedgers also deair, making wedging certificates available. bails, chain, pendant cords , chokers, earring findings and unnecessary. Six models available, all with simple much more! Wholesale to professional craftspeople. single auger design. PotteryVideos.com 250-247-8109 4922 NE Going Fax: 250-247-8145 Rochester Ceramics, Inc. 585-872-6190 Petro Mold Co Portland, OR 97218 Toll-free: 800-668-8040 102 Commercial St. Fax: 585-872-6199 12775 Donation Rd Fax: 814-796-6635 Webster, NY 14580 Waterford, PA 16441 Toll-free: 888-811-6653 Producers and distributors of educational videos on ceramic arts. Hosted by artists Robin Hopper, Gordon Ceramic and pottery supplies, Laguna glazes, raw Offer custom mold making and mold production services Hutchens and Graham Sheehan, we have 21 titles for materials and Pacifica wheels. Dealers/distributors of to all facets of the ceramic industry. Services include potters at all levels. Laguna clays and slip, kilns by L&L, Paragon and more. original sculpting, master mold design and production Also Peter Pugger and Lehman Studio equipment, mold manufacturing to easily reproduce your designs Kemper tools, Amaco products and Duncan. and increase your productivity and profits. Rockland Colloid Corp. 845-359-5559 Phoenix Ceramic & Fire Supply 707-822-4556 PO Box 376 Fax: 845-365-6663 824 L St. Fax: 707-822-4146 Piermont, NY 10968 Arcata, CA 95521 Pottery West 702-987-3023 Liquid light photographic emulsion for printing black-and- We excel at offering a full spectrum ceramic supply store: 5026 N. Pioneer Way white photographs on ceramics. Also has supplies for clay, tools, glazes, equipment, raw materials, books and Las Vegas, NV 89149-5846 firing images onto ceramics glass. magazines. (Only such store within 200 miles in any E -mail: [email protected] direction.) We enjoy helping people with their projects! Rocky Mountain WoodMasters, Ltd. Website: www.potterywest.com 9364 South Painted Canyon Circle 303-947-8471 Placid Ceramics 724-225-6778 P ottery West is a privately owned pottery school and Highland Ranch, CO 80129 Fax: 303-683-8193 172 S. Main St. Fax: 724-225-6779 studio located in the northwest part of Las Vegas. The Washington, PA 15301 2100 sq ft facility sits on 1.25 acres in a rural setting. Rovin Ceramics 734-374-0010 Supplies for Ceramic Hobbyists, Potters, Porcelain 15333 Racho Rd. Fax: 734-374-0930 Precision Terrefirma 509-879-5964 Taylor, MI 48180 Artisans, School Art programs and Industrial Ceramic 2525 E. 29th Ave. #10-B product users. Rovin Ceramics has been a full line pottery supplier Spokane, WA 99223 for 45 years. We manufacture our own moist clays, all Plainsman Clay Ltd. 403-527-8535 Full service specialty tools for ceramics. certified AP nontoxic. We also manufacture Bright Ice PO Box 1266 Fax: 403-527-7508 cone 05 gloss glaze and Soft Touch underglaze. Medicine Hat, AB T1A 7M9 Canada Pure & Simple Pottery Products 707-459-1483 PO Box 337 Fax: 707-459-1483 Royal and Langnickel Brush Mfg. Manufacturers of a complete line of blended pottery clays Willits, CA 95490 ranging from low to high temperatures, mined exclusively 6707 Broadway 219-660-4170 for pottery from our own clay deposits. Keyed plaster bat molds, both domes and flat in 11 Merrillville, IN 46410 Toll-free: 800-247-2211 shapes and sizes. Reversible drape molds. SlumpHump Fax: 219-660-4181 PMC Connection molds in 16 shapes and sizes. Large selection of brushes and other supplies. 3718 Cavalier Dr. Fax: 972-487-2022 Garland, TX 75042 Toll-free: 866-762-2529 PMC Connection is an importer and distributor of Precious Metal Clay supplies and related tools and materials. Emphasis is on the newest forms of Precious Metal Clay, Plus and PMC3. R.T. Vanderbilt Co. Inc. 203-853-1400 Runyan Pottery Supply Inc. 810-686-2529 Portland Pottery Supply 207-772-3273 30 Winfield St. Fax: 203-853-1452 820 Tacoma Ct. Fax: 810-687-4512 118 Washington Ave. Fax: 207-780-6451 Norwalk, CT 06855-5150 toll-free: 800-243-6064 Clio, MI 48420 Portland, ME 04104 Toll-free: 800-539-4301 E -mail: [email protected] E-mail: [email protected] Wholesaler/retailer of pottery supplies to schools, Website: www.rtvanderbilt.com Website: www.runyanpotterysupply.com colleges, universities, art museums, art schools, and R .T. Vanderbilt supplies quality raw materials for Leading manufacturer of moist pottery clay and commercial and home potters. We stock a wide variety ceramics, including Peerless® Kaolin clay, Nytal® distributor of complete line of ceramic equipment of clays, raw materials, kilns, wheels, glazes and tools. talc, Vansil® wollastonite and Pyrax pyrophyllite, and supplies. Call and talk to real people for repair Portland Pottery Supply South 781-848-2772 Darvan® and Veegum®. help, parts and quick shipment of your order and to 87 Messina Dr. Fax: 781-356-4112 request free catalog. Braintree, MA 02184 Rusty Kiln Ceramic Studio 860-423-1550 The Potter’s Center 208-378-1112 136 Boulevard Rd. Fax: 860-423-7997 110 Ellen St. Fax: 208-378-8881 North Windham, CT 06256 Boise, ID 83714-4605 Toll-free: 800-498-1126 RAM Products Inc. 614-443-4634 Large selection of clay, glazes, tools, brushes, kilns, The Potter’s Center offers a full line of pottery and 1091 Stimmel Rd. Fax: 614-443-4813 wheels, pug mills, venting systems, slab rollers, ceramic supplies, and equipment. The Potter’s Center Columbus, OH 43223 extruders, as well as kiln and wheel servicing. gallery features handmade works in clay by a variety of E-mail: [email protected] Idaho artists. Website: www.ramprocess.com The Potters Shop and School 781-449-7687 We manufacture forming, finishing and glazing 31 Thorpe Rd. Fax: 781-449-9098 equipment, and molds and models for studio and Needham, MA 02194 industrial potteries. The largest selection of books and videos in the universe, plus over 800 items in our catalog. Also studio membership, firing and services for clay workers.

Copyright © 2008 Ceramic Publications Company | 76 Snyder Imports 707-937-0300 4990 Flynn Creek Rd. Fax: 707-937-3445 Comptche, CA 95427-0207 Supplier of finest European-made solid brass oil lamp Sheffield Pottery Inc. 413-229-7700 burners, glass chimneys, etched glass shades, glass and brass wick inserts, wicks, glass oil candles etc. Saint-Gobain Ceramics 508-795-5577 US Rt. 7 Box 399 Fax: 413-229-0200 1 New Bond St. Fax: 508-795-5011 Sheffield, MA 01257-0399 toll-free: 888-774-2529 Soldner Clay Mixers by Muddy Elbow Mfg. Worcester, MA 01615-0136 E-mail: [email protected] 310 W. 4th St. 316-281-9132 E-mail: [email protected] Website: www.sheffield-pottery.com Newton, KS 67114 Fax: 316-281-9132 Website: www.refractories.saint-gobain.com Ceramic supplies for potters, artists, schools and After four decades of building pottery equipment, we Saint-Gobain produces nitride-bonded silicon industry. The finest earthenware, stoneware and have the knowledge and experience to do it right. By carbide kiln shelves from Advancer®. Our marketing porcelain clay bodies. Custom clay, kilns, wheels, combining low-tech design with high performance, you partners are Bailey Ceramic Supply and Smith- tools, glazes, raw materials, bricks, refractories, get the best of all solutions when you buy Soldner. Sharpe Fire Brick Supply. books, DVDs and more! Expert repair of kilns and wheels. Delivery and studio setup available. South Alabama Ceramic Supply 334-264-2349 Santa Fe Clay 505-984-1122 Educational discounts. 2509 Highland A ve. 1615 Paseo de Peralta Fax: 505-984-1706 Montgomery, AL 36107 Santa Fe, NM 87501 Shenango Advanced Ceramics 724-652-6668 A ceramic equipment and supplies specialist in 606 McCleary Ave. Fax: 724-652-6664 Montgomery, Alabama Our facility includes a beautiful contemporary ceramics New Castle, PA 16103 gallery, a complete retail ceramics supply business, Ceramics refractory materials, kiln shelves. Southern Pottery Equipment & Supplies a fully equipped teaching studio, 11 resident artists’ 2721 W. Perdue Ave. 225-932-9457 studios, and year-round classes and workshops. Baton Rouge, LA 70814 Toll-free: 888-503-2299 Sapir Studios 773-794-0066 Fax: 225-932-9446 2924 N. Pulaski Rd. Fax: 773-794-3465 Southern Colorado Ceramic Supply Chicago, IL 60641 Toll-free: 800-788-2588 305 Arrawanna St. 719-634-0294 Risers, original design plate stands and bowl holders Colorado Springs, CO 80909 Shimpo Ceramics (Nidec-Shimpo America Corp.) for upright and wall-mounted display with minimal 1701 Glenlake Ave. 630-924-7138 Southern Oregon Pottery Supply visual interference made of clear acrylic, single-piece Itasca, IL 60143 Fax: 630-924-0340 111 Talent Ave. 541-535-6700 construction for enhanced versatility, strength and Toll-free: 800-237-7079 Talent, OR 97540-0158 Fax: 541-535-5929 durability. Custom fabrication available. E -mail: [email protected] Wholesale/retail supplies and equipment serving the Sax Arts & Crafts 262-784-6880 Website: www.shimpoceramics.com needs of schools, professional and hobby potters, china PO Box 510710 Fax: 800-328-4729 Shimpo Ceramics, a division of Nidec-Shimpo painters, ceramists, mold makers and institutions. New Berlin, WI 53151 Toll-free: 800-558-6696 America Corporation, is a worldwide leader in Full line catalog includes kilns, potter’s wheels, clay, the manufacturing and distribution of ceramic glazes, tools, etc. as well as everything you need for equipment, including potters wheels, electric kilns, painting, drawing, printmaking, art metals and crafts, pug mills, banding wheels and accessories, to the plus a full range of resource materials. pottery and school markets. Scotlin Ceramics 319-873-2289 Spectrum Glazes 416-747-8310 236 Main St. Fax: 319-873-2366 94 Fenmar Dr. Fax: 416-747-8320 McGregor, IA 52157-0179 Toronto, ON M9L 1M5 800-970-1970 Scotlin sells clay and clay forms in various forms from Canada bulk to bisque to finished. Also molds, glazes and E -mail: [email protected] supplies. Professional seminars hosted regularly. Website: www.spectrumglazes.com Manufacturer of the largest, most diverse selection Scott Creek Pottery Inc. 253-926-3254 Skutt Ceramic Products 503-774-6000 of pottery glazes available anywhere. 2636 Pioneer Way E. Fax: 253-922-5349 6441 S.E. Johnson Creek Blvd. Fax: 503-774-7833 Tacoma, WA 98404 Toll-free: 800-952-8030 Portland, OR 97206-9594 E-mail: [email protected] Scott Creek Pottery is the original manufacturer of Website: www.skutt.com ceramic extruders and die sets dating back to 1971. The extruder is a valuable tool for breaking away from the Manufacturer of number one brand of electric kilns, limits of wheel throwing and handbuilding. vents and controllers. KilnMaster (automatic- and KilnSitter controlled kilns, Envirovent Downdraft Speedball Art Products Co. 704-838-1475 Sculpture Depot 800-260-4690 Vent system, KilnMaster wall-mounted controllers. 2301 Speedball Rd. Fax: 704-838-1472 418 8th St. SE Larger models feature spring assisted lid lifter. Easy Statesville, NC 28677 toll-free: 800-898-7224 Loveland, CO 80537 to load, program and repair. E-mail: [email protected] Seattle Pottery Supply 206-587-0570 Website: www.speedballart.com 35 S. Hanford St. Fax: 206-587-0373 Speedball® glazes and underglazes are 100% lead Seattle, WA 98134-1807 Toll-free: 800-522-1975 free and nontoxic; all carry the ACMI AP Seal. Bright, The largest in-stock supplier of kilns, clay, chemicals, intense colors highly saturated for spectacular books and sundries on the West Coast. results. Quality, value and superior customer service Shakerag WOrkshops 931-968-0210 Smith-Sharpe Fire Brick Supply 612-331-1345 have distinguished the Speedball® brand as the St. Andrew’s-Sewanee School 117 27th Ave. SE Fax: 612-331-2156 artists choice since 1899. 290 Quintard Rd. Minneapolis, MN 55414 toll-free: 866-545-6743 Spun Earth Pottery 434-385-7687 Sewanee, TN 37375 E -mail: [email protected] 171 Vista Centre Dr. Fax: 434-385-7154 Shakerag Workshops opened in June 2004. Classes are Website: www.kilnshelf.com Forest, VA 24551 Toll-free: 866-530-9731 offered in book arts, clay, digital arts, papermaking, felting Source for silicon carbide kiln shelves, specializing Home of PlasterBats, the make-your-own plaster bat and watecolor. Each week 50-60 participants gather to in Advancer® low-mass shelves for gas and top- mold kits. Also, we sell pottery supplies, dry glazes, work together in small classes with their teachers. loading, multisided kilns. Extensive line of refractory chemicals, moist clay and offer adult pottery classes. materials for kiln construction including insulating and hard firebrick, mortar, castable refractory St. Petersburg Clay Company Inc. and ceramic fiber insulation products. Technical 727-896-2529 assistance available. 420 22nd St. S. Fax: 727-896-0013 St. Petersburg, FL 33712 Located in an historic 1920’s train depot, St. Petersburg Clay Company is one of the premier ceramic facilities in the U.S. The four main areas of focus are studio rental, retailing of clay supplies, gallery sales and education.

Copyright © 2008 Ceramic Publications Company | 77 Standard Ceramic Supply Co. 412-276-6333 Vulcan Kilns 937-433-1833 PO Box 16240 Fax: 412-276-7124 7623 Clyo Rd. Fax: 937-433-1833 Pittsburgh, PA 15242-0240 Centerville, OH 45459 Manufacturer of moist clay bodies. Distributor of raw Manufacturer of electric hobby kilns. Sales of kilns and materials, glazes and tools. kiln accessories, including kiln vents and controllers. Kiln Triarco Arts & Crafts LLC 763-559-5590 repair, all brands. Wholesale bisque tile. S tudio Sales Pottery Supply 585-226-3030 2600 Fembrook Ln., Suite 100 Fax: 763-559-2215 Ward Burner Systems 865-397-2914 5557 Rt 5 & 20 Fax: 585-226-3122 Plymouth, MN 55447 toll-free: 800-328-3360 Avon, NY 14414 PO Box 1086 Fax: 865-397-1253 E-mail: [email protected] Dandridge, TN 37725 Studio Sales is a pottery supply business, a teaching Website: www.triarcoarts.com studio and craft gallery. Repair and maintenance service Provides equipment for kilns and furnaces, including Large selection of arts and crafts supplies featuring venturi burners, power burners and a line of raku kilns. is available for electric kilns and wheels. Regular classes AMACO, Duncan, Skutt and L&L Kilns. offered in pottery making, raku, wood firing and kiln use. Wendt Pottery 208-746-3724 Sugar Creek Industry, Inc. 765-339-4641 2729 Clearwater Ave. Fax: 208-746-6968 PO Box 354 Fax: 765-339-4649 Lewiston, ID 83501 Toll-free: 800-554-3724 Linden, IN 47955 We produce Helmer Kaolin, a replacement for Avery Manufacturer of equipment and kilns for the fired arts. Kaolin in wood-fire bodies. Mixed cone 10 Helmer body now available - call for details. Supplier of mixing, pouring and firing needs for ceramic Trinity Ceramic Supply Inc. 214-631-0540 and porcelain. 9016 Diplomacy Row Fax: 214-637-6463 West Coast Kiln 714-778-4354 Summit Kilns 813-996-2575 Dallas, TX 75247-5304 PO Box 2152 PO Box 573 Fax: 813-996-2575 E -mail: [email protected] Lucerne Valley, CA 92356 Land O Lakes, FL 34639 Website: www.trinityceramic.com Manufacturer of wide variety of gas kilns since the 60’s. Summit Kilns has nearly 30 years of experience making Ceramics material supplier. Distributor for Brent/ quality electric to gas conversions to convert your electric Amaco, Creative Industries, Shimpo, Thomas Stuart, kiln to a gas kiln. Raku burners, FiberFrax, hi-temp wire A.R.T. Glazewerks, Spectrum, Dolan and Kemper. and controllers. New and used electric kilns and wheels. Taos Clay 505-758-9884 1208 Paseo del Pueblo Norte West Michigan Clay 269-751-5839 El Prado, NM 87529 PO Box 427 Fax: 269-751-5831 Taos Clay is a fully equipped ceramic studio offering Hamilton, MI 49419 memberships, classes, workshops, school and after Tucker’s Pottery Supplies Inc. 905-889-7705 E -mail: [email protected] school programs. 15 W. Pearce St. Unit #7 Fax: 905-889-7707 Website: www.westmichiganclay.com Richmond Hill, ON L4B 1H6 toll-free: 800-304-6185 Teka Fine Line Brushes Inc. 718-692-2928 West Michigan Clay serves the needs of potters, Canada 3704 Bedford Ave. Fax: 718-692-2935 schools and hobbyists: consulting services, E -mail: [email protected] Brooklyn, NY 11229 equipment repair and supplier of products from Website: www.tuckerspottery.com many companies such as Standard, Laguna, L&L, Teka has been making brushes for more than three Retailer, wholesaler, manufacturer, distributor. Mail Evenheat, Kemper, Dolan, etc. decades. Integrity and quality have supported Teka’s order available, repairs. Clay, glazes, tools, kilns, Whistle Press 601-544-8486 efforts in supporting our clients with their own brand. Our pottery wheels, slab rollers, extruders, kiln elements, PO Box 1006 Fax: 601-544-8486 essential ceramic accessory products possess the same repair service. Thirty years of experience. quality as the brushes we make. Petal, MS 39465 Texas Pottery Supply & Clay Co. 817-626-2529 Clear, understandable directions and illustrations 365 Sansom Blvd. Fax: 817-626-6226 on how to make clay whistles and ocarinas, and an Ft. Worth, TX 76179 Toll-free: 800-639-5456 extensive problem-solving section that gives the likely U.S. Pigment Corp. 630-893-9217 cause and remedy for each. 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