Fall 2001 Making illustrated 1 2 Pottery Making illustrated Fall 2OO1 Features Stick in the Mud...... 9 by Marj Peeler Veteran potter shares an innovative low-stress technique for forming cylinders. Glaze Making 101...... 14 by Michael Hamlin Develop inexpensive glaze bases using readily available ingredients. Creating Original Designs...... 17 by Ivor Lewis Step-by-step technique for designing your own pots. Plaster: Getting It Right...... 22 Valuable technical information from the United States Gypsum Corporation demon­ strates the effects of materials, time, and consistency on your molds. Festive Ornaments...... 25 by Hanna Lore Hombordy Delight family and friends with personalized ornaments this holiday season. What Is ?...... 30 by Mary Wondrausch An excerpt from Wondrausch’s updated book answers a perennial question. Making an Inexpensive Light Box...... 33 by Anderson Turner and Aaron Calvert When you want to make professional-looking photos, you need the right equipment. From the Biggest to the Smallest...... 41 by Craig Hinshaw Little kids learn about giant horses and sculptures in . GFCI Extension Cord...... 43 by Don Adamiatis Reduce shock hazards in your studio with a low-cost, easy-to-make extension cord. Departments Down to Business—Website Fever...... 36 by Chris Campbell Guidelines to help you decide if a website is right for you. The Budget Potter—Design Transfer...... 38 by Sylvia Shirley Now you can get design from a bottle. O ff the Shelf: The Aesthetics of Functional Pottery...... 46 by Sumi von Dassow A look at books that take you beyond the basics.

Cover: Marj Peeler uses a stick to form a cylinder from the inside. See story on p. 9.

Fall 2OO1 Pottery Making illustrated 3 Editor: Bill Jones Production Manager: John Wilson Circulation Supervisor: Cleopatra G. Eddie Graphic Design: Debi Hampton Graphic Production: Dave Houghton Advertising Manager: Steve Hecker Advertising Assistant: Debbie Plummer Customer Service: Mary Hopkins Publisher: Mark Mecklenborg Editorial, Advertising & Circulation Offices 735 Ceramic Place PO Box 6136 Westerville, OH 43086-6136 Phone: (614) 794-5890 Fax: (614) 794-5892 E-mail: [email protected] www.potterymaking.org Pottery Making Illustrated (ISSN 1096-830X) is pub­ lished 5 times a year in January, April, June, September and October in 2001, and bimonthly commencing in 2002, by The American Ceramic Society, 735 Ceramic Place, Westerville, OH 43081. Periodical postage paid at Westerville, OH, and addi­ tional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. Subscription rates: 6 issues (1 year) $22,12 issues (2 years) $41, 18 issues (3 years) $58. Add $18 per year for subscriptions outside North America. In Canada, add 7% GST (R123994618). All payments must be in US$ and drawn on a US bank. Allow 6-8 weeks for delivery. Advertising: Ad rates and ad information are available on the web site or by contacting Steve Hecker at the address above or by phone at (614) 794-5809. Change of address: Send your change of address via e-mail, to the Circulation Department, or on our web­ site. Allow six weeks advance notice. Contributors: Writing and photographic guidelines are available on request and on the web site. Mail man­ uscripts and visual materials to the editorial offices. Photocopies: For a fee, searchable databases and doc­ ument delivery are available through The American Ceramic Society’s Ceramic Information Center, PO Box 6136, Westerville, OH 43086-6136; e-mail [email protected]; or phone (614) 794-5810. Permission to photocopy for personal or internal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 1096-830X, provided that the appropriate fee is paid directly to the Copyright Clearance Center, 222 Rosewood Dr., Danvers, MA 01923 USA (978) 750- 8400; www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, for advertising or promotional purposes or to republishing items in whole or in part in any work and in any format. Please direct republication or special copying permis­ sion requests to the Director of Publications, The American Ceramic Society, PO Box 6136, Westerville, OH 43086-6136. Back Issues: When available, back issues are $5 each plus $3 postage for the first copy and $1 for each additional copy thereafter. For orders outside North America, add $6 ($2 for additional copies). In Canada, add 7% GST. Postmaster: Send address changes to Pottery Making Illustrated, PO Box 6136, Westerville, OH 43086-6136. Form 3579 requested.

Copyright © 2001 The American Ceramic Society All rights resewed www.ceramics.org 4 Pottery Making ILLUSTRATED Fall 2001 Fall 2001 Pottery Making illustrated 5

8 Pottery Making illustrated Fall 2001 A handbuilding technique for forming cylinders by Marj Peeler Clay! Wonderful clay! For me, it has been a lifelong love affair—mud pies in the back yard, Permoplast clay for Christmas, little clay sculptures in high school, coiled pots in college and, finally, our own wheel and . My husband, Richard, and I worked together in clay PHOTOS: MARY FIELD for 51 years. For the last 30 years, we were professional potters. We enjoyed wheel throwing, slab building, coiling—we used all methods of clay working to make pottery and sculpture. Because I had surgery on my right shoulder, I have been unable to throw on the wheel these last two years. I found that handbuilding was less stressful on my hands and arm, and I worked out a low-stress method for form­ ing cylinders by taking a fat coil and rolling it from the center with a dowel rod. Then it was easy to add a bot­ tom and a top to form an interesting shape. I believe this technique could be used to create some interesting pottery or sculpture. Try it. Maybe you’ll like it!

Vase, 8½ inches high, handbuilt with copper blue glaze and fired to cone 10 reduction.

Oval-shaped vase form, 9 inches high, handbuilt with carved surface decoration and fired to cone 10 reduction.

Fall 2 0 0 1 Pottery Making illustrated 9 Step 1 Step 2 Tools for this project include canvas, heavy rolling pin, dowel Roll three small slabs for bottom, top, and finial. Roll the clay on rods of various diameters, and brush, fettling knife, comb, canvas, turning frequently. Roll both directions to form even wooden paddle, and a clean hard surface to roll clay out on. slabs. Put slabs aside.

Step 3 Step 4 Wedge clay well! Form into a fat coil and flatten both ends. Gently roll the coil with the dowel rod. This expands the coil Carefully insert a %-inch dowel rod into the center of the coil. from the center. Remove the dowel rod and insert a piece of Tip: Reverse the coil and insert the dowel from the opposite broom handle to further expand the hole. Keep rolling carefully end to meet the hole in the center. This is easier than pushing to make the wall of the cylinder an even thickness. Remove the the rod clear through the clay in one push. broom handle and insert a larger rod until the desired size of the cylinder is reached.

Step 5 Stand the cylinder on one of the clay slabs you made earli­ er. Mark the shape and cut the bottom with the fettling knife.

Step 6 Score the edge of the cylinder with a piece of comb, then score the slab where the cylin­ der will join the bottom piece.

10 Pottery Making illustrated Fall 2001 Step 7 Step 8 Step 9 Brush thick slip on both surfaces and join Gently but firmly paddle the bottom onto Paddle the bottom of the pot with a them. the cylinder, and paddle the excess clay wooden spoon to form a slightly concave onto the outside of the pot. This becomes shape. Note: A pot with a concave bot­ part of the design of the pot. tom has more stability when sitting on a flat surface.

Step 10 Step 11 Step 12 Cut a top from the slab. Place this clay Open a short piece of thick coil with the Reinforce the seams with a thin coil, and slab onto some ½-inch foam rubber, and dowel rod to form a neck cylinder. Attach smooth it into a nice curved transition. gently create a concave form by pressing it to the top dome, then score, slip, and it with a rubber rib. Turn the piece over so paddle. Add a decorative top or finial and that you have a slightly convex piece. repeat the attaching sequence. Cut an This dome shape keeps the top of the opening through the top slab with a fet­ vase form from sagging in the firing. tling knife. Score, slip, and place it on top of the cylinder and paddle.

Fall 2001 Pottery Making illustrated 11 Step 13 Step 14 Step 15 The cylinder can be left round or pressed When the clay stiffens to almost leather The vase is complete and ready to dry into an oval shape. For this pot, I formed hard, support the vase on a piece of egg- slowly. For the bottom to dry evenly, set irregular facets. crate foam rubber while carving the the pot on two square chopsticks to pro­ Tip: The back side of a teaspoon works design into the surface of the pot. Bevel mote air circulation. well to make concave facets. the bottom edge of the pot with a veg­ Note: I’ve found that paddling strength­ etable peeler to give the vase a little “lift.” ens the joints so well that the pieces don’t separate in the drying or firing.

An 8-inch-tall vase form with saturat­ ed iron glaze over a carved surface design and fired to cone 10 reduction.

Marj was born, raised, and educated in A distorted 91/2-inch-tall cylinder vase Indiana. She and her husband, Richard, worked in clay for 51 years— their whole mar­ form with irregular facets glazed in ried life. They made their living from pottery, matt white over a carved surface even though their studio was out in the boon­ design and fired to cone 10 reduction. docks of Putnam County, Indiana. Their pot­ tery studio became the place to visit from the Vase, 8½ inches high, handbuilt stoneware Greencastle area where DePauw University is located. They had visitors and guests from all with copper blue glaze and fired to cone 10 50 states and 51 countries. Marj states, “It has reduction. been a very full and interesting life!”

12 Pottery Making illustrated Fall 2001

G etting S tarted by Michael Hamlin Developing inexpensive W hat's W hat grams using a gram scale. For each glaze bases from readily Silica is the glass maker and 100-gram batch, put 100 milliliter forms the basis of a glaze. Alumina of water in a 12-ounce plastic cup, available ingredients is as provides the glue, adhering the add the dry ingredients, blend well, easy as 1-2-3. Here’s the melted glass to the clay walls and then sieve the mixture through an first in a series to get you preventing it from flowing off the ordinary kitchen sieve. started. sides of the pot. Because both silica All four glazes fire in the cone 4- Recreational potters don’t make and alumina melt at a temperature 6 range. Without an opacifying a living at pottery, but many want to typically beyond the range of the agent added to these glazes, they make their own glazes. They often studio potter, melters are required may work well with slips or under- find their desires dampened, how­ to lower the melting point of the glazes. ever, when confronted with the ins glaze. PMI 1 and outs of glaze calculation. It is We will use EPK (short for Edgar Cone 4-6 possible, though, to develop a glaze Plastic Kaolin), which is a clay, Ferro 3134...... 40 palette that’s easy and affordable. because it is a good source of alu­ Silica...... 30 Although an understanding of what mina and, therefore, acts as the glue. Whiting ...... 20 glaze ingredients are composed of For melters, we’ll use Ferro frit EPK...... 10 and how each chemical interacts 3134 (commonly called Frit 3134), 100 with another is most beneficial, the pyrophyllite, wollastonite, spo- A stable semi-opaque, semi-matt glaze with a potter with little time can still dumene, and whiting. slight orange peel texture. This is a typical “4- acquire a reasonably satisfying series The cost of these seven ingredi­ 3-2-1” glaze base. A base of this type calls for ents is minimal. Here are some the combination by weight of four parts melter of base glazes without having to (Ferro frit 3134 in this case), three parts silica, invest hours studying chemistry. prices from Laguna Clay’s 2001 cat­ two parts whiting (also a melter) and one part alog. Keep in mind that prices vary EPK. Variations can be explored by switching Let's Begin from vendor to vendor and ship­ the whiting to three parts and the silica to two You’ll need a few tools to get ping is another variable, depending parts. The melter, or flux, may also be change, started: a sieve, measuring cups, and on your location. and I recommend experimenting with a variety utensils for mixing. The only other of them. equipment you’ll need is a gram Sample Prices for Basic scale, which can cost approximately Ingredients PMI 2 $100 to $120. This will be the most Cone 4-6 expensive purchase, but an accurate Ferro frit 3134...... 60 scale is essential. EPK...... 40 CAUTION: A respirator or dust 100 mask is required when handling dry A clear smooth gloss glaze. glaze chemicals. PMI 3 A G laze D efined Cone 4-6 A basic and uncomplicated Ferro frit 3134...... 57 description of what makes a glaze One-pound portions are suffi­ Pyrophyllite ...... 43 can help us understand what we are cient to make tests while 10 pounds 100 attempting to create. A glaze is a PMI 3 is a smooth semi-transparent gloss with combination of a glass maker, an should do for a glaze batch. no apparent crazing. adhesive glue, and a melter. These Recipes elements are in the form of pow­ To start, we’ll use simple PMI 4 ders, commonly referred to as glaze recipes—nothing complicated. As Cone 4-6 chemicals. Each glaze chemical func­ you can see, each glaze recipe totals Wollastonite...... 48 tions as either a glass maker, a glue, 100, which represents relative Spodumene...... 48 a melter, or a combination of any or weight, such as grams or ounces. In EPK...... 4 all three of these. this series, we will measure glazes in 100 This is a smooth semi transparent matt glaze.

14 Pottery Making illustrated Fall 2001 Alumina (A120 3) This material contributes hardness and durability to both the clay body and the glaze. It adheres the molten glaze to the sides of the clay form and, depending on the ratio of alumina to silica in a glaze, usually determines whether or not the surface will be gloss, transparent, opaque, or matt. EPK When just getting started, ordinary kitchen sieves will work for Edgar Plastic Kaolin, a trade name for a Florida kaolin straining glazes. An inexpensive sieve can be made by attach­ produced by the Feldspar Corporation. ing screen to a plastic bucket with the bottom removed. Frit When glaze chemicals are either water soluble or toxic, they can be combined with other materials, melted, then cooled to form a glass, which is then ground into a powder for use in a glaze. Kaolin This is the best source of additional alumina when not enough alumina is provided in a feldspar. Adding 10% kaolin contributes about 4% alumina, which increases transparency and gloss of the glaze surface and/or reduces glaze fluidity, depending on the rest of the glaze materials. Melters If you’re serious about making your own glazes, you need a gram scale. This will be the most expensive purchase, but an These are oxides that help the silica and alumina in accurate scale is essential. Photos from Clay: A Studio glazes melt at temperatures that potters fire to. Handbook by Vince Pitelka. Typical melters are soda (Na20), potash (K90), cal- cia (CaO), magnesia (MgO), lithia (Li20), boric oxide (B20 3), and zinc oxide (ZnO). Usually added A pplication to glazes as part of a feldspar, a frit, or a carbonate. When dipping, pouring, or brushing a glaze onto a piece, keep in mind that the physical characteristics of Silica (Si02) each unfired chemical will play a role in how easily a This is the glassmaker in a glaze and is also known as prefired (bisqued) glazed pot can be touched. For flint. It makes up the bulk of the earth’s crust. It is example, PMI 2 is thick and “fatty” when wet, and primarily responsible for the transparency and gloss durable and nonpowdery after drying. PMI glazes 3 of the glaze surface and for the fit of the glaze coat and 4 are rather thin in liquid form and become quite with the clay body. powdery once they are on a pot. Whiting Glazes made with the 4-3-2-1 method are quite sta­ ble because they consist of alkaline metals, calcium A trade name for calcium carbonate (Ca03), also (whiting), and ample amounts of alumina and silica. known as lime, whiting is the best source of calcium However, if using these for tableware, you must always oxide for the potter. At cone 5-6 oxidation, calcium have the glaze tested for leaching prior to committing oxide works more effectively to transform a high- it to a surface that will come into contact with food, gloss surface into an opaque satin-matt rather than as but that’s a later article. For now, get your seven ingre­ a melter. dients and start mixing. Wollastonite This material is a calcium silicate mineral (CaSi02) used in glazes as a source for calcium and silica. It lowers the viscosity of molten oxides making them more aggressive in dissolving other ingredients. A Michael Hamlin is a potter living in Taos, New Mexico. His series on basic glaze making will explore adding colorants to these glaze bases, useful substitute for whiting whenever it is necessary developing slips for under the glaze, and adding chemicals to the slips and to eliminate pinholes, slightly lower the firing tem­ glazes to create a textured surface. You can contact Michael at perature, or slightly increase shine and transparency. [email protected].

Fall 2001 Pottery Making illustrated 15

by Ivor Lewis

Rather than sitting at the wheel with several balls of Getting Started clay and repeatedly throwing to see what will happen, By following this process, you’ll learn how to draw you can invent a myriad of potential forms from which original images to reflect a selected contour line about to select when you start to create original works. a straight line that represents the axis of rotation (or the Potters often admire shapes made by others, or draw on center line of a pot) to get a mirror image. These con­ historic examples for inspiration, but they may not structions, when completed and embellished, become wish to imitate them. As their skills improve, potters two-dimensional pictures or graphic profiles that rep­ new to the craft often wish to create original objects resent the shapes of new pots for you to make. When with differences that distinguish their work from that you eventually make your pot, either by throwing or of others. The problem then is how to invent original handbuilding, you’ll use the fact that as your line is forms or shapes without copying or plagiarizing. rotated about a central axis, it generates a volumetric Here’s a technique on how to abstract visual infor­ form. mation from any source in order to construct a design that could be made in clay. The subject chosen for this demonstration is a watercolor study of leaves and fruit Materials from a peach tree gathered from our orchard. A pencil drawing was developed from this image, then a line You’ll need the following items for this technique: selected from one leaf, which, when manipulated, cre­ • Sketch pad or plain white paper suitable for ated an image for a potential pot. drawing. I used this technique for more than years to teach • Pencils: HB, 2B, 2H. Sharpen each to expose junior high school students how to abstract selected about a 10 mm long lead and sharpen it on sand­ lines from their own chosen subjects. They used their paper to a conical point. images as a basis for the contours or outlines of pots • Ruler or straight edge and a 90° set square. • Eraser (plastic oblong type): Cut diagonally with that were handbuilt using the coil method. The only an Xacto knife, corner to corner, to give two criterion I imposed was that they exploit the maximum pieces that have a sharp chisel edge. Recut the height available in the . edge as needed to keep it sharp. • Artists fixative. • Masking tape.

Fall 2001 Pottery Making illustrated 17 Creating Original Designs

Acquiring Information ment that creates new space, that draws emptiness, Select a subject, then make simple sketches to show never as an eraser or rubber. Use it to draw white its outer contours. Ignore all inner detail. Make several space, to refine lines after you redraw, to emphasize or sketches from a variety of angles. If your subject is a modify a line so that it conforms more to your natural object, imagine it to be inside a transparent rec­ observation. tangular box and draw each view you would see in Your drawing process should continually refme every face of the box. Your drawings need to be about your lines through progressive positive and negative three or four inches high or wide. I realize that some drawing until they meet with your approval, giving a subjects, such as the leaf I’m using in this demonstra­ clear image of your subject (see Figure 2). Never con­ tion, can be flat, so you cannot draw views from sever­ sider that your work needs correction. Refme to give al directions; however, you can select and draw several satisfaction. Any mark you make might be misplaced. leaves. It can be re-placed, relocated. Pencil marks may be of Tip: When you begin drawing, especially if drawing inappropriate scale, over large or unduly small. Lines isn’t one of your strong suits, imagine the tip of your may be too bent or too straight, angles too sharp or pencil as a point in motion. Describe the changes in too obtuse. Follow a process of refme then remove, direction along the line through which that pencil refme and remove. Do not be impatient to eliminate point must move. Use an active, directive dialogue, such unwanted or “wrong” lines before you have evaluated as “up about an inch,” “curve to the left,” “now straight alternative responses. for half an inch,” “curve to the right,” etc. Don’t get When you’re satisfied with your lines, use a spray bogged down in describing your subject by its features. artist fixative to preserve your drawings so they Think “point moving” while concentrating on direc­ become a permanent resource for future reference. tion and distance. Even if they never get transformed into pots, your lines You may pause from time to time to reflect on the remain as inspiration. accuracy of your effort, but do not erase anything! Avoid the impulse to rub out what seems wrong. Converting Raw Images into Designs: Tracing Rather, evaluate each part of your sketch. Ask yourself, You now need to reproduce parts of your sketches “Should the line be drawn above or below that first by tracing. Use snippets of masking tape to lightly fix mark, to the left or to the right, curve further out or your tracing paper over any image. Trace over the lines shaped further in? Should it have a greater or lesser you select for experimentation with a sharp 2B pencil. inflection as it bends around? Is that angle sharp To complete the transfer, lift the tracing paper and enough or just a bit too blunt?” When you do this, place it on a sheet of paper, image side down. Carefully you’re applying a practical dialogue of self-instruction draw over each line with that sharp 2B pencil. Do not that is constructively and objectively critical. reproduce any of the inner detail that may have been Use your observational knowledge as you redraw so introduced in your preliminary drawings. Draw a pre­ that you rely on the position of lines already made to cise line in 2B over each of your lines on the reverse suggest a position for your next, more appropriate side of your tracing paper. If you’re not an expert draw­ marks. Your old lines should be your guides to your er, mapping out the lines again in a precise way will new lines.They should not be removed until you’re sat­ assist in developing your drawing skill. Recall and use a isfied with your results, even though this may seem to similar dialogue such as that used for your original be a slow and tedious process. Constantly look at your drawing sessions. Doing this improves hand-eye coor­ subject. Record each observation the instant it is made. dination. Do not look away from your subject then rely on Return to your sketchbook and select a new page. memory. Remembered images may have been from a Place your tracing on the blank page and secure it tem­ different angle, from a varied distance. They have no porarily. Use your 2H pencil and map over the original place in any drawing made from observation. line firmly using even pressure. A 2H pencil is selected Only when the line has been redrawn with better for this task because it acts as a sharp stylus and does not judgment should you use your chisel-edged eraser to need frequent sharpening, but do not press or you may take away unwanted marks. You are, in effect, tear your tracing or indent a line into your drawing undrawing those parts that are not required. Always paper. Remove the tracing paper, reinforce your new regard your eraser as a drawing tool rather than as a image with an HB pencil and fix. Isolating chosen lines corrective tool. Do not scrub away your initial marks. away from their original context will enable you to Caress and coax them from the paper in a controlled make judgments regarding their suitability and assist and thoughtful way. Think of this tool as an instru­ you to make additional selections if these are needed.

18 Pottery Making illustrated Fall 2001 Creating Original Designs

Collecting several lines on each page creates an image or jar form. Trace this line onto the paper with a sharp bank for future reference. 2H pencil so that a precise sharp line is transferred. Take a long break to reflect on your efforts and con­ These, when transferred to your tracing paper, allow gratulate yourself on your success. This is not an easy you to get precise alignment of your traced contours task, so have some coffee and relax. The creative part when you make the mirror image. To ensure this, rule will follow when you’re refreshed and renewed. these construction lines onto your tracing paper. This Unadorned lines, uncluttered by details of texture or provides registration marks, which are needed when tone, will provide the elementary information you’ll the mirror image is retraced to get a reflection of the change into designs that make your pottery unique. original line. Remove the tracing, flip it over, and move the image Evaluating, Selecting and Manipulating to the opposite side of the axis. Align your registration Abstracted Lines marks, tack the tracing into place and retrace the line The style of the line you select (see Figure 2) has a with your 2H pencil (see Figure 6). direct influence on the type of pot you’ll produce, Remove the tracing and complete the image by regardless of the forming methods available to you. drawing ruled horizontal lines across to connect the Lines with almost no curve and few inflections may be two contour lines at the top and bottom of your image ideal for tall slender or open flat platters (exam­ (see Figure 7). If your lines are faint, emphasize them ples A, C, and F). Lines with deep curves presage with a sharp HB pencil then clean up your image and enclosed volumes and containment, becoming bowls, apply fixative. bottles, and jars (example B). Lines with sharp inflec­ If you have an angular inflection at some point along tions or several reversed curves may be better suited to your contour line, this would throw as a sharp line, more decorative forms (examples A, D, and E). called a carination. So draw horizontal lines across your So unless you’re choosing a line at random or find image to show these as features and to give them one that is especially appealing, consider the future emphasis. To complete your design, you can embellish function of the object you intend to create. Lines with your image by adding a foot ring, a rim, handles, even several bends varying in curvature or broken by angles a pouring lip or spout, similar to details shown in fig­ offer more interest than those that are uniform in con­ ure 8. This pot has classical lines. Proportions between tour. However, some lines, because they have many its major features and embellishments show subtle, inflections and acute angles, could introduce mechani­ though unintended, relationships to the Golden Mean. cal weakness if these features are located where stress It balances well on its base and shows fullness of form from weight would cause excessive strain. Given these in the space it occupies. To show how it might appear considerations, the important task at this stage is to in clay, I created a virtual image, showing it finished learn techniques and improve those skills that make with terra sigillata (see illustration on page 17). creativity possible. This creative process can be applied to a line abstracted from any source—natural, manufactured, or Generating the Form imaginary. It is a simple way to generate contours for most pottery forms. At its most bizarre, a line can be Take a new sheet of paper and draw two perpen­ selected from random scribbling, generated without dicular lines as shown in Figure 4. This will be the drawing or graphic skill. The concept to grasp is that base line and the center line of your intended pot. For you can orient your chosen line in any direction, hav­ the purpose of this exercise, consider creating a vase ing the convex inflection of the line toward the axis or design. Select a curving line with a bit of a curve in away from it. If you’re styling a vase, the subject line it, something with character, and choose either the will be close to the axis and upright. If it is to have the full length or a fragment of the line (see Figure 3). form of a bowl, it will be farther from the axis and Trace the line with a 2B pencil, trying to imitate it possibly leaning away at the top. If it is to be a platter, precisely, then back trace with the 2B pencil to get it will be almost horizontal. If you handbuild, slab, or graphite that will transfer. extrude, you can consider asymmetric forms and put Move your tracing about until it seems to be in a differing lines in opposition across a center line. These position that would give you a tall vase shape (see are aesthetic judgments and depend only on your own Figure 5). It should be offset slightly to one side of the intentions. vertical line by about an eighth of its height, and the lower end should touch the base line. Tack the tracing paper into place with small pieces of masking tape. Place the line in a position that provides a good vase

Fall 2OO1 Pottery Making illustrated 19 Creating Original Designs

All You Need to Recall Finally, even if the work you designed shows simi­ • Use base and axis lines as registration marks. larities to that of another potter or a historic example, you can rightly claim you have produced a pottery • Keep traced lines crisp. form that is all your own invention, all your own effort, • Tack the tracing in place before you draw to ensure emanating from your own creative impulse and aes­ precise location. thetic choices. Furthermore, you have learned many • Add your own embellishments. important and complex skills that will enhance your When you look at your own work later and wonder abilities as a ceramic designer. how it came into being, you’ll have records that illustrate When looking through pottery books or magazines, its genesis. All is not lost when that pot collapses because select examples and cover half of the picture to reveal you thought you could tweak the belly just a little bit the simple contour. Is it possible to identify the origi­ wider. You can do dry trials, making adjustments of dis­ nal inspiration? Did a pot “just happen,” or was it tance and angle, and have a whole series of pots just designed? Can you see a connection between that illus­ from one line. Images invented in your imagination are tration and your memories of other similar pots, per­ waiting to be realized in clay. haps by notable potters, teachers, or well-known artists?

Figure 1 Figure 2 My subject for this demonstration was a branch from one of our Making a pencil sketch allows you to emphasize linear peach trees. Rather than use a photograph, I used watercolors elements by eliminating details of color, tone, and tex­ to paint a small sketch. ture. An abstraction provides a better sense of structure, revealing which lines might be useful. Several lines with potential are highlighted here.

Figure 3 Select a curving line with a bit of a nudge in it... something with character.

2 0 Pottery Making illustrated Fall 2001 Creating Original Designs

Figure 4 Figure 5 Use perpendicular lines as a reference for Depending on the purpose of the pot, the baseline and the centerline of your one contour line can be oriented in a object. variety of alignments.

Figure 6 Figure 7 Figure 8 Once an orientation is determined, trace Complete the profile by adding lines for Add handles, rim, spout, accent lines, or the contour onto the paper, then turn the the rim and the foot. any embellishments you choose. I like tracing over and align it to the reference the Etruscan look of this pot with its clas­ lines and transfer a mirror image. sical lines and proportions that dominate the space around it.

Ivor Lewis is a retired teacher of arts, crafts, and science is a frequent contribu­ tor to Pottery Making Illustrated. He maintains a studio at Redhill in South Australia. He can be contacted by e-mail at [email protected]

Fall 2OO1 Pottery Making illustrated 21 PLASTER: GETTING IT RIGHT Whether you’re using molds for jiggering or jolleying, for lems that can occur when using poorly made molds. Improve casting or pressing, or for hump or slump work, mold quality the quality of your molds by discovering some of the variables is important. Bits of plaster slaking off, white powdery crust involved in mold making. Consider the following technical appearing on the surface when you're not looking, or uneven points the next time you set off to use plaster in your studio. absorption warping or cracking your work are among the prob-

W a t e r -t o -P l a s t e r R a t i o soaking allows each plaster crystal to be completely sur­ The water-to-plaster ratio is controlled by weighing rounded by water and it removes air from the mix. Small each item. This ratio is critical because variations in it batches require less soaking than large batches. If the will cause variations in absorption, density, strength, soaking time is too short, it may contribute to pinholes and mold performance. If you’re just adding plaster in the finished mold. A long soaking time contributes to until “islands” form, consider measuring both the plas­ fast set times, early stiffening, and gritty mold surfaces. ter and the water the next time to see if there is a dif­ ference from what you’re used to. See “Consistency” M i x in g P l a s t e r for mix ratio. Mixing the plaster slurry is one of the most impor­ tant steps in producing plaster molds with maximum W a t e r P u r i t y strength, absorption, hardness, and other important Not just any water is suitable for making consistent properties. Mechanically mixed plasters develop uni­ molds. Water must be potable (drinkable), and free of form molds with optimal strengths. organic materials, such as algae, which will generally retard the setting time of plaster. Metallic salts, such as E f f e c t s o f M ix T i m e o n C o m p r e s s i v e aluminum sulfate, can accelerate the setting time, and S t r e n g t h soluble salts, such as sodium chloride (salt) or sodium Increasing the mixing time increases the compressive sulfate, can migrate to the mold surface during drying strength of a mold. But over-mixing reduces compres­ to cause efflorescence. If you notice any of these prob­ sive strength because it destroys the gypsum crystal lems, switch to a different water source.

E f f e c t s o f T e m p e r a t u r e The temperature of the water and plaster has a direct effect on the setting time of your plaster batch. As the temperature of either component increases, the set time

structure formed during setting. Also, the faster the mixing speed (for example, using a power mixer instead of mixing by hand), the stronger the mold. The chart above illustrates how the strength of a mold, measured in pounds per square inch (psi), increases as the mixing time increases.

W a r n i n g When mixed with water, plaster hardens then slowly becomes hot. DO NOT attempt to make a cast enclos­ quickens. If you’re looking for consistent set times, con­ ing any part of the body using this plaster. Failure to trol the temperature of the plaster and water. Both follow these instructions can cause severe burns that should be at room temperature for consistent results. may require surgical removal of affected tissue. Dust S o a k i n g from products may cause eye, skin, nose, throat, or Sift or strew the plaster into water slowly and evenly. respiratory irritation. Use eye, skin, and respiratory Do not drop handfuls of plaster directly into the water. protection in accordance with good workplace hygiene Allow soaking for one to two minutes maximum. The practices.

22 Pottery Making illustrated Fall 2001 PLASTER: GETTING IT RIGHT

E f f e c t s o f M ix T im e o n A b s o r p t i o n P o u r i n g P l a s t e r If you’re in a hurry to release your work from a To keep from trapping air bubbles and to provide a mold, you’ll want a mold that can absorb moisture out uniform, smooth surface, careful pouring of the plaster of the clay faster. Absorption rates are affected by mix­ slurry is necessary. Tapping the filled form also prevents air getting trapped at or near the mold surface. Whenever possible, the plaster slurry should be poured carefully in the deepest area so the slurry flows evenly across the surface of the mold.

D r y i n g C a s t P l a s t e r After plaster sets, it must be dried. Drying a mold properly promotes good strength development, uni­ form absorption, and reduced efflorescence. Most stu­

ing time, and longer mixing times produce tighter and less absorptive molds. This chart illustrates the effect of mix time on absorption.

E f f e c t s o f M ix T im e o n S e t T im e If you need increased working time with your plas­ ter at the slurry stage, you will want to watch the amount of time you spend mixing the batch. As mix­ dio potters do not have special mold-drying facilities, but certain guidelines should be followed for best results. Dry molds evenly. Do not set them near a kiln where one side is exposed to excessive heat or in a kiln where the relative humidity is near zero. Strength increases only slightly until 93 percent of the free mois­ ture has been evaporated. Place cast plaster on a rack in a relatively (not totally) dry location away from any drafts. When the interior temperature equals the air temperature, the mold is completely dry. Over-drying will cause chalkiness, poor mold life, poor mold per­ formance, and cracking.

C o n s i s t e n c y Consistency, or the ratio of water to plaster (by weight), affects strength, absorption, and specific gravi­ ty. As the consistency increases, compressive strength decreases but absorption increases. A typical consisten­ ing time increases, set time quickens. In addition, the cy for potters is 70, which translates into 70 parts water faster the plaster is mixed (e.g., machine vs. hand), the to 100 parts plaster (1 pound water [1 pint] to 1 pound shorter the set time. 7 ounces plaster). If you want a stronger mold, use less Source: Information and graphs courtesy Industrial water, if you want a more absorbent one, use more Gypsum Division, United States Gypsum Company. water—there is a trade-off for each quality.

Fall 2001 Pottery Making illustrated 23 24 Pottery Making illustrated Fall 2001 by Hanna Lore Hombordy The holiday season presents an opportunity for clay workers to delight their families and friends with distinctive personalized ornaments. The sim- ple-to-make ornaments illustrated can be made from any smooth low-fire clay. I use commercial underglazes (Duncan Concepts™ Underglaze for Bisque) to save time and ensure consistency. I’ve found that many commer­ cial underglazes are amazingly versatile and will work on leather-hard clay, even if the instructions on the label suggest that they be used on dry green­ ware or bisque. Preliminary testing is a good idea. I was pleasantly surprised to find that one underglaze, when fired slowly to cone 04, melted enough to acquire the rich look of a satin glaze. Add a hole for the ribbon or cord before the ornament dries. A sharp pen­ cil, drill bit, or a small loop tool all make neat holes. Dry ornaments slowly, then fire ornaments on double-pointed stilts to allow for even heat circulation and as a precaution against underglazes softening and becoming sticky. Note: Don’t put ornaments directly on a kiln shelf or stack them on top of each other because there is a chance of strong colors fuming onto adjoining pieces.

Fall 2001 Pottery Making illustrated 25 Figure 1 Figure 2 Roll the clay out fairly thin with a slab roller or rolling pin. Using Place the ornaments between two sheets of drywall or any firm a needle tool or sharp knife, cut the individual shapes using porous surface to allow them to stiffen up. When the ornaments cardboard patterns as a guide, or cut out freehand directly into are leather hard and can be lifted without bending, place them the clay. Remember to make shapes large enough to allow for on a few sheets of clean newspaper. Gently run a finger along shrinkage. the edges of all surfaces to smooth them out.

Figure 3 Figure 4 The ornaments are now ready for decorating. When planning a Try using a combination of carved lines and paper-resist sil­ design, let the clay color serve as an element in the pattern. houettes. If the design includes a silhouette, draw the design on newspaper first then cut it out, dip the paper in water a few sec­ onds, and position the paper on the ornament.

Figure 5 Figure 6 Brush underglaze colors on in smooth thick coats. If applying When the shine on the underglaze disappears, carefully prod light colors on dark clay, use two or three coats. and lift the stencils with a needle tool to reveal the design.

26 Pottery Making illustrated Fall 2001 Figure 7 Figure 8 At this stage, carve lines through the underglaze with loop tools. Tip: Freehand carving assures a spontaneous look, but it is not Practice on a scrap if you have never done this before. Try to for the faint-hearted. Confidence comes more easily if an out­ carve about one-third of the way through the clay surface. Check line of the design is lightly sketched on the clay. to see if your tool makes a line of the desired width.

Figure 9 Figure 10 Better yet, draw a preliminary design on artist’s tracing paper. Position the tracing paper over the damp ornament and go over the lines with a fairly sharp pencil. The pressure of the pencil will transfer the lines by indenting the image onto the clay.

Figure 11 Figure 12 Tracing paper is especially helpful if you are doing lettering. You The important rule in calligraphy is to always hold your tool at want to be sure the whole name or message fits into the space the same angle. This gives your lines the same thick-and-thin available. If you’re unfamiliar with letter forms, consult a book pattern throughout. on calligraphy for examples of decorative alphabets. Note: If you want to decorate both sides of the ornament, wait for about half an hour before turning the ornaments over. Use a clean sheet of newspaper and make the same, or an entire­ ly different design, on the reverse side.

Fall 2001 Pottery Making illustrated 27 Freehand carving, stencils, and underglaze decoration combine to create a festive look on handmade Christmas ornaments. Commercial underglazes save time and ensure consistency. Many commercial under­ glazes are amazingly versatile and will work on leather-hard clay, even if the instructions on the label suggest that they be used on dry greenware or bisque.

After firing, add a contrasting cord or ribbon to provide a festive The holiday season presents an opportunity finishing touch for clay workers to delight their families and friends with distinctive personalized ornaments. Hanna Lore Hombordy earned a BFA from the School of Art and Design, Pratt Institute, NewYork. She has experience in creative design and the graphic arts, but has worked with clay since 1973 in Ventura, California.

28 Pottery Making illustrated Fall 2001 Fall 2001 Pottery Making illustrated 29 What Is Slipware? by Mary Wondrausch What is meant by “slipware”? It feature of majolica and slipware is sounds like skating or sliding, not that they are both . like pottery, and many people seem From earliest times, painted slips to be unclear about the meaning of were used as decoration. The most this term. familiar of these pots came from First, it is lead-glazed earthen­ China, Ancient Greece, Byzantium, ware—firing temperature between Egypt, Italy, and from Britain dur­ 890°C and 1100°C (1634°F and ing the period of Roman domina­ 2012°F). Second, the pots are deco­ tion when the Castor wares from rated with colored “slip” before Northamptonshire were made and they are fired in the kiln. Slip is clay decorated, as they were in Germany mixed with water. If it is used for during that time. covering the body of the pot, then I Lead-glazed, slip-coated wares call it pouring slip, or engobe. It has were imported to Britain from a thin, batter-like consistency and is Beauvais and Saintes in France in the usually of a contrasting color to the 14th century and are found in quan­ body clay, for example, white on a tity in many excavated sites. Literally red clay. hundreds of chafing dishes (coal “Slip trailing” is the method of pots) from Saintes, known as decorating the pot with slip from Saintonge wares, have been excavat­ either a cow-horn, a small clay ves­ ed all over Britain, undecorated sel and quill, rubber bulb and except for splashes of glaze. La pipette, or the “Mary Wondrausch Chapelle des Pots near Saintes was inner tube and pipette”. For this last known for its strange barrel-type technique, thicker slip is used and wine containers, heavily embossed lightly extruded. and lead-glazed. Slipware was made All work that is earthenware and here until the beginning of the 20th decorated in any way with slips century. Now in the 21st century, before firing is called “slipware”. there is a large factory on the same This includes sgraffito, which is the site, producing jigger and jolleyed technique of scratching through a and molded imitation Renaissance leather-hard covering slip to reveal and 18th-century ! the contrasting clay body under­ neath, or in some cases to reveal another slip applied below, as in Beauvais ware. There is an additional group of wares that come roughly under the sgraffito heading as the possibilities of the method are explored. For example, brushing different colored slips onto leather-hard background, cutting out the background to reveal large areas of the body color, paint­ ing with oxides such as copper and cobalt to enhance the scratched drawing. A combination of all these techniques can be used together on the same pot. Other decorative tech­ niques normally associated with slip- ware are marbling and feathering. Mary Wondrausch is the author of Mary Slip-decorated earthenware is not Wondrausch on Slipware. In this revised edition to be confused with majolica (or of her classic book, she looks over the history of slip- Faience or Delft ware), where the ware, and discusses the techniques and practicalities involved. The book is scheduled for release in the painting is done on top of a tin glaze U.S. in November 2001 and is jointly published by after the first firing. The common A& C Black and The American Ceramic Society.

30 Pottery Making illustrated Fall 2001 Fall 2001 Pottery Making illustrated 31 32 Pottery Making illustrated Fall 2001 Making an Inexpensive

by Anderson Turner and Aaron Calvert Construct an inexpensive light box to give your portfo­ lio shots that professional look. Eliminate unwanted shadows, reduce glare, and highlight subtle features when you have the right tool HOIFFMAN SAM PHOTO: for the job.

Wheel-thrown and handbuilt vase by Sam Hoffman pho­ tographed using the light box.

When I began graduate school, I discussed shooting Cutting Plan pictures of artwork with a fellow student, and we both Most of the cuts for this project can be done at the agreed that having a professional photograph our work home center/lumberyard, or you can do them yourself was the best way to go when we could afford it. But I with a small handsaw or hand-held power circular saw knew that I could achieve near-professional quality or scroll saw. Cut materials as follows: photographs on my own with a little practice and using A 4 pcs. % "xl/4"x22" frame (outside) some of the equipment professionals use. Imagine my B 4 pcs. 3A"x l/4ffx36" frame (inside) surprise when I found that a light box cost between C 3 pcs. ¾,^1½ ’^20½” frame (inside) $600 and $900. My solution was to create my own light D 2 pcs. 1/4,,x22”x36ff plywood sides box from common materials found at the local home E 1 pc. %Mx22"x24" plywood closed end center. Not only did the materials cost under $60, but F 1 pc. V a " x 19"x24" plywood open end the photos a few of us graduate students took are right G 1 pc. Wfx22?fx36" pegboard top up there in quality. Here’s how I made the box. H 1 pc. 1/ 4mx 22 " x 33 " hardboard backlight diffuser I 2 pcs. 3A"x 1V£!,x22 backlight diffuser frame Shopping List J 1 pc. ¾%1½%30 backlight diffuser frame K 2 pcs ¾%1½’^14½" backlight diffuser frame 1 !/4%4^8‘ plywood L 1 pc. ¾'^1½%33 backlight diffuser frame 1 Wx2'x4' hardboard Cut three 7-in. diameter holes in the pegboard as indi­ 1 2'x4‘ pegboard cated on the drawing using a keyhole saw or sabre saw. 5 W x V / 2"xQ ' pine furring (1x2 stock) Assembling the Box 3 6" clamp lamps rated to 250 watts Step 1. Attach the four short 1x2 frame pieces (A) 3 250-watt light bulbs (found at most camera stores) with wood screws flush to the ends of the two ply­ 1 Box of ¾" flathead wood screws wood sides (D). Note: Insert all screws from the ply­ 9 1½" machine screws with washers wood side. and wing nuts. Note: Washers must be at least one Step 2. Attach the four long 1x2 frame pieces (B) to inch wide to hold clamp lamps in place. the opposite side of the plywood sides (D). 1 Power strip Note: Leave a ½ inch space between the top of the Cardboard, heavy paper, and tracing paper for light side and frame (B) so the pegboard will be recessed. diffusers Step 3. Attach the closed end (E) to the assembled sides. This should form a giant U.

Fall 2001 Pottery Making illustrated 33 Step 4. Attach the open end (F) to the end of the box. This completes the basic box. Note: The three-inch opening allows you to slide light diffusers into the bottom of the box in layers, depending on how much | light you want diffused. Step 5. Take the three short 1x2 frame pieces (C) and attach them to the inside top of the box and the bottom of the closed end. These reinforce the box and give you more surface area to attach the pegboard top. Step 6. Attach the pegboard top (G) to the box. The basic light box is complete. Step 7. Paint the inside of the box a reflective color. I painted mine silver, but white would also work well. A friend of mine lined the inside of his box with tinfoil; this helps to reflect both light and heat. Attaching the Lights Important: The clamp-on lights you use for this box must have porce­ lain sockets, which are rated for 250- watt bulbs. There are other clamp-on lights with plastic sockets, but those will not work and create a hazard if you put in high-powered bulbs. Step 1. You will not need the clamps on the lights for this project so remove them. Step 2. Take a screw, two washers and a wing nut. Place a washer over the screw and push this through a hole in the pegboard near the edge of one of the circular openings from the inside of the box. Step 3. Feed the clamp light through the inside of the box through same circular opening you’ve put your washer and screw near. The edge of the clamp light should overlap the pegboard. Step 4. Take another washer and attach it over the screw so that the washers and the pegboard act as a clamp around the edge of the clamp light fixture then tighten the nut (see photos). Step 5. We used two washer-clamp assemblies, but three works bet­ ter, just try to equally space them around each seven-inch hole. Step 6. Screw in light bulbs, then plug the light fixtures into a power strip.Test the lights. You’ll find the light box much easier to use if you control current to the lights with the power bar. View of washer-clamp assembly from the top (above) and from the bottom (right). We used two clamps for each light, but three works better.

34 Pottery Making illustrated Fall 2001 Diffusing the Light Step 3. Hang the box from ceiling in studio, work When making high-quality portfolio shots, you room or basement in area where you have enough need to be able to adjust the shadow behind your room to place a backdrop for you piece. work. For this you need a backlight diffuser, and here’s Backdrop how to make one. Create a backdrop so that you have a uniform back­ ground for each of your piece. Don’t use an old wrin­ kled sheet, this is horrible. I use a 4x8 foot piece ½ inch hardboard (Masonite, whatever). I paint the entire board a solid shade of gray and place it on a tabletop so that the board slopes upward behind my hanging light box and attaches to wall behind it. Camera stores also sell large pieces of rolled paper so you can easily clean your back drop by getting fresh paper, however this is expensive and I suggest you get good at using the light box before making this type of investment. Light Diffusers After assembling the box, measure the inside dimen­ sions of the bottom of the box. You’ll be making dif­ fusers (filters) that will slide in and rest on the bottom rails of the box. Step 1. Take three sheets of corrugated cardboard (available at most art supply stores), a large piece of white paper big enough to cover the measured area, and some sheets of tracing paper. Step 1. We’re going to make a giant square racket. Step 2. Cut three pieces of cardboard that will slide Attach 1x2s (I, J, K, and L) to the hardboard (H) as into the bottom of the box (about 20Y2X36 inches). shown in the drawing. Use wood screws and attach Cut out the center of the cardboard pieces leaving a the frame from the back side of the hardboard. 1-inch border all around to create three large card­ Step 2. Drill ½ inch holes one inch apart all the way board "O"s. up the handle of the back shadow diffuser. This Step 3. Cover one cardboard frame with the white allows you to adjust the amount of back shadow and paper and glue it in place. Cut away the excess paper also allows you to reflect more light on the object after the glue has dried. Continue the same proce­ underneath the light box. dure on the next two pieces of cardboard except Step 3. Paint the side of the back shadow diffuser that instead of white paper use the tracing paper. I like to faces the inside of the box white. use two sheets of tracing paper per slide because one Step 4. Screw a ¾ inch wood screw in center of the sheet does not diffuse enough light. top back edge of the light box. Hang back shadow The light diffusers are ready to use. You can slide diffuser from box at desired height. each frame into the box, then add or subtract frames depending on how much light you want to be diffused. Hanging the Light Box You may find that just the white paper frame is Step 1. Attach four hooks to vertical 1x2s on the out­ enough, however I usually find that the light needs to side of the box. be more diffused than this. Step 2. Use chain or cord to hang the box from the ceiling. I like to use chain to hang my box, so that I can raise and lower the box X number of links at a time.

WARNING Never leave the light box on and unattended, and never leave the Aaron Calvert who constructed this box, graduated light box on for an extended period of time. The lights generate a from Kent State University and is currently work­ ing toward an MFA in Ceramics at Edinboro good deal of heat, so monitor the light fixtures at all times to make University of Pennsylvania, in Edinboro, PA. sure that they are not becoming too hot! Always turn light box off Anderson Turner is working toward an MFA in while positioning pieces to photograph. Ceramics at Kent State University.

Fall 2OO1 Pottery Making illustrated 35 Website Fever by Chris Campbell “Do you have a website?” Whether this is asked as a serious question or an easy conversation starter, it’s still worth considering. What will an online presence do for you? Is it worth putting your clay life on hold to learn Internet basics? How about paying someone else to design a site? Before you spend your first nickel, read on. The Internet Today The chances of anyone finding a single site, standing A good site to look at for showcasing your studio and your work alone on the Internet, is remote. Even if you have reg­ is Lucien Koonce’s site at http://lmkoonce.home.mindspring.com istered your site with the biggest search engines and the users know what they’re looking for, 20,000 other sites just like yours will pop up for scrutiny. Unless you can promote your site through an existing customer base or distribute the address at shows, you won’t generate sig­ nificant hits or sales. Visitors who do find you will give you exactly two seconds to catch their interest before they start to “click away.” After 10 seconds of waiting for downloading, 30 to 40 percent are gone. If your opening page is boring, topped by flashing advertising banners or hooked into music or sound effects, you’ll lose return visitors. This sounds harsh, but it doesn’t mean you can’t construct and promote a successful personal site. You can. Here’s how others are using the Internet now. Single Sites Most potters are using their sites to showcase their wares. They’re including images of their studios, their kilns, and new work in progress. They’re sharing their A site that is fast, loaded, and professional: http://www. backgrounds as well as their philosophies. Personal desertdragonpottery.com touches are welcome and add to the impression of a private visit. Revenue from these sites is low, but they do enhance future sales. These sites get maximum exposure when linked to group sites. Group Sites Potters who enjoy sharing and educating others are establishing virtual pottery communities on the web. They showcase other potters through guest pages, advise of upcoming events, and promote clay resources. Some have bulletin boards, sales areas, and chat rooms. These sites add new features, reciprocal links, and images on a regular basis. Keeping the site alive makes it more likely web surfers will lock in on it as a favorite for return visits. Examples of this type of site include: • http://www.cclay.com Tom Gray in North Carolina • http://dmcarts.com The Orchard Valley Guild • http://users.skynet.be/russel.fouts Russel Fouts in Belgium A simple site that is easy to use: http://dmcarts.com2

36 Pottery Making illustrated Fall 2001 How About Sales? Very few sites ask their visitors to buy. They provide no informa­ tion on pricing or availability. The customer is forced to hunt high and low for some indication that the work is for sale. If you want people to buy, you have to tell them. To view a site set up for sales, check out www.eleanoraeden.com or Jan Cannon’s site at www. jancannonpottery.com. The Bottom Line W hy do you want a site? Decide on the purpose for having a site, write it down, and keep it in sight. How much effort are you willing and able to put into the project? As with every other part of your pottery business, quality counts. If you can’t commit to the time required to plan and/or design a workable site, wait. If you can’t keep it updated and fresh, don’t waste your time or money. A boring, stale site is worse than no site at all. How much does it cost? A simple site designed by a professional will cost between $300 and $600. Is your time worth more or less than this? Surveys show that dollars spent do not guarantee the success of a website. A site for helping in planning and design, “Electronic Potter” by Barbara Coultry at www.potterymakingillustrated.org /electronicpotter covers all the bases. Can you update your site? Even if it is professionally designed, you will need to refresh the site on a regular basis. This is crucial. Don’t let your designer walk away until you’re able to insert new images and new text yourself. Is your work for sale? Don’t forget to put in a sales area. If you make it easy to purchase, you’ll get buyers. Get linked. Browse the Internet in search of new sites to link with. Most people are thrilled to add you and be added to your site. Publicize! Put your web address on every piece of paper that leaves your studio.

Chris Campbell is a full-time studio potter residing in Raleigh, North Carolina. E-mail comments to her at [email protected].

Fall 2OO1 Pottery Making illustrated 37 Design Transfer by Sylvia Shirley Here’s an easy way to transfer an impressed design into fresh clay—an ideal technique for and slab construction methods. Step 1. Use a laser printer to print an image onto trans­ parency film (the kind used for overhead projectors).

Step 2. Using 3D fabric paint, trace around the image and let it dry com­ pletely. For a deeper impression, allow to dry and go over it again. Use a different color for the second coat. Putting white paper behind the transparen­ cy while you trace makes it easier to see the lines. If you’re doing lettering, use the back side of the image so it reads correct­ ly after being transferred.

Step 3.Trim the template to size. Make tape tabs on the back side of the template to ease removal from the clay. Position on a clay slab and press down with a rolling pin. Each transfer can be used again and again, making it easy to do multiples!

Note: No computer? No prob­ Materials lem. Just draw the design with a • Transparency film for laser printers marker or pencil on the transparen­ (available at office supply stores) cy. Drawing on fabric or other • 3D fabric and craft paint (available material adds texture. Don’t try to from craft section at Wal-Mart and make it too perfect. A little wiggle craft stores) or blob adds to the hand-drawn • Duct tape look of the design. Sylvia Shirley is a freelance drafter, technical illustrator; and part-time potter. She can be reached at [email protected].

38 Pottery Making illustrated Fall 2OO1 Fall 2001 Pottery Making illustrated 39 40 Pottery Making illustrated Fall 2001 The largest equine sculpture in the Western Hemisphere is in Grand Rapids, Michigan. My third- and fourth-grade students learned about the history and creation of this remarkable sculp­ ture, then they created their own version on a smaller scale inspired by Leonardo da Vinci. More than 500 years ago, Leonardo da Vinci began work on a commission to cre­ ate a huge sculpture of a horse. He mod­ eled the horse in clay, intending to cast it in bronze. But Italy went to war with France and the bronze was used instead for can­ nons. Unfortunately, the clay model was destroyed by invading French soldiers who used it for crossbow target practice. From the Fast forward to 1977 when art connois­ seur and airline pilot Charles Dent decided to finish what Leonardo had begun. Nina Akamu, the sculptor selected for the pro­ Biggest ject, worked from da Vinci’s sketches, but since no blueprints were left, the horse was made “in the style of Leonardo” rather than as a replica. Grocery store magnate Frederik Meijer to the became interested in the project and assist­ ed with financing, and two bronze horses were subsequently cast from the molds. One horse was sent to Milan, Italy, as a Smallest token of thanks to their people for all the wonderful art that had been created in Italy. The other is on display at Frederik Meijer Gardens in Grand Rapids, Michigan. by Craig Hinshaw

Top: One of two 24-foot tall bronze horses created from plans drawn by Leonardo da Vinci. This three-story high horse stands in Grand Rapids, Michigan, at the Frederik Meijer Gardens. Another horse just like it stands in Milan, Italy, a gift to the city from the American people in honor of the immense influence that the Italian Renaissance made on American curiosity, imagination, and creativity. Right: Leonardo da Vinci may have made the largest horse sculpture in the world, but our elementary students’ horses cornered the market on charm and whimsy.

Fall 2OO1 Pottery Making illustrated 41 From the Biggost to the smallest Presenting the Lesson The lesson began by sharing background information about Leonardo da Vincis Horse with the students. We tried to imagine how tall a 24-foot-high sculpture would be (three times the height of the classroom). I photocopied the pho­ tograph of the horse and some of da Vincis horse sketches for each stu­ dent to refer to as visual aids. Next, I demonstrated shaping a small horse in clay. Even though we would be working small, the legs Most classes approached the lesson in a The students applied low-fire under­ needed to be fatter than a real hors­ straightforward manner. They studied the glazes with small brushes. es legs in order to support the body. examples on the handout then shaped Some students solved this problem the legs, body, head and neck, and by having their horse sitting or assembled them. Some students raised lying down. Horse anatomy was a fore leg on their horse in imitation of da new to most students, and I called Vinci’s horse. attention to areas they might over­ look—the large neck, eyes on the side of the head instead of the front, and the mane. I recommended cre­ ating a clay base to help stabilize the horse and ensure against fragile legs breaking off Working in Clay There always seems to be one class that “pushes the envelope.” In this class, one student asked if she could make a unicorn. Making this concession to her seemed to open the floodgate of creativity in the When a concession was made to create A clay base helped to stabilize the hors­ class. Students created Pegasus-type a unicorn instead of just a horse, the es and ensured against fragile legs flying unicorn horses and used a floodgates of creativity were opened. breaking off. garlic press from the clay toolbox to make long flowing manes and tails. Display Even Eeyore, Winnie the Pooh’s Before handing the finished work Charles Dents interest for mak­ donkey friend, was made by a stu­ back, I displayed them in the school ing and appreciating art began when dent. for everyone to admire and enjoy. he was young. He received encour­ With the display, I included a brief agement from his teachers and Glazing description about the lesson, its developed a passion that lasted a Although da Vincis Horse is a inspiration, and educational benefits. lifetime. For those of us who teach, monochromatic charcoal, we chose let s not underestimate the influence to glaze our sculptures in “horse” Closing Note we can have on young minds. colors—brown, black, gray, and I shared with the students my white. One class chose more imagi­ weekend visit to see the horse, and native colors for their winged uni­ passed around the pictures I took. Craig Hinshaw is an elementary art specialist in corns, and used pinks, blues, and Now we really knew how tall 24 the Lamphere School district in Madison Heights, even purple for Eeyore. A clear over­ feet was. Because our schools are Michigan. He was honored during the 2000 glaze was brushed over the top and N AEA Conference as being Michigan's Art not close enough to take a field trip Teacher of the Year. E-mail comments to Craig at the horses were refired to cone 04. there, a first-hand account will have [email protected]. Visit www.meijergar- to be the next best thing. dens.org and www.leonardoshorse.org to learn more about da Vinci's Horse.

42 Pottery Making illustrated Fall 2001 EXTENSION GFCI by Don Adamaitis CORD A ground-fault circuit-interrupter (GFCI) recepta­ Materials You Need cle is a safety device that protects you against electircal With a minimum amount of electrical knowledge shock caused by faulty devices, cords or plugs. A GFCI and the ability to follow directions, anyone can make a senses small changes in current flow and can shut off GFCI-extension cord from materials available at any power quickly thereby avoiding electrical shock, they home improvement store. Some stores carry extension are necessary when working around water or on damp cords with a GFCI outlet installed and there is a 6-foot ground. GFCI cord system called the Alert Stampings (Model Over the years, I’ve visited, demonstrated, and taken No. 4215-6GF).This product has a four-receptacle box courses at various colleges, universities, and private stu­ with a 15-amp capacity on a 12-gauge cord. Other dios. The two most consistent safety hazards I observed manufactured cords are available at True Value, Sears, or were the lack of GFCI outlets and the poor condition from Alert Stampings (www.alertstamping.com).There is of extension cords in use. Water and electricity consti­ also an adapter plug/outlet for a regular extension tute a potential danger, and because of this, building cord, but this small plug-in unit is easily lost. The total codes since 1978 have required GFCIs to be installed to cost of making an extension cord is quite a bit less by protect outlets near sinks, electrical machinery using making one yourself. An extension cord that meets water or in contact with water, and outdoor outlets. most studio requirements is a 25-foot long, 14- or 12- GFCI receptacles differ from regular receptacles in that gauge cord rated at 15 amp/125 volts. Note: The elec­ they trip off and quickly stop the flow of electricity trical amperage load of the tool should never exceed when a circuit is shorted thereby preventing serious the amperage rating of your extension cord. electrical shock. Check Existing Outlets If your school or studio has GFCI-protected outlets as required by code, it is still advisable to have all exten­ sion cords equipped with GFCI receptacles for safety when extension power is required. If the studio has non- grounded outlets, those without the third ground-lug plug, you should contact an electrician to install ground­ ed outlets and correct grounding according to the local building code. Use a three-wire circuit analyzer or a GFI-receptacle tester to check the grounding of all your three-pronged receptacles per the directions printed on the tester. If you do not have a tester, they are available from any hardware store or home center for about $10 and they are a good investment. WARNING: Never attempt to correct electrical wiring faults without first disconnecting the main In addition to the cord, you’ll also need a 15- or 20-amp GFCI power source and having the knowledge as to how to outlet (depending on the gauge of the cord), two %-inch NM- connectors, a weather-proof electrical box and receptacle make the correction. cover plate, plus a wire nut to connect the ground (green) wires together. For tools, you’ll need a tape measure, screwdriver, wire cutters, and electrician wire strippers. The length and the amperage govern the gauge of the cord by the thickness of the wire in the cord, the longer the cord the lower the gauge number for the same amperage rating. Cord Size 25ft. 50 ft. 14-gauge 16 amps 12 amps 12-gauge 20 amps 16 amp

Studios with GFCI receptacles in areas of frequent surges from lightning or utility switching may have damaged GFCI mecha­ nisms. The Underwriters Laboratories (UL) recommends that all GFCI outlets be tested monthly. Testing is done by plugging in the three-wire receptacle analyzer and pressing the test but­ ton on the outlet. If the test light stays on, the GFCI outlet must be replaced.

Fall 2001 Pottery Making illustrated 43 Step 1. Attach the two compression cable clamps into the Step 2. Cut your extension cord at the point you wish to install metal weatherproof receptacle box. (Do not use the lock nuts the GFCI unit. I prefer about four feet from the outlet end. This that come with the clamps, they’re not needed.) Tighten the allows me to use a power tool with minimum drag of the GFCI clamps so they are firmly set. outlet box, but still have all the outlets convenient.

Step 3. Carefully strip the cord insulation off the extension Step 4. The wired outlet should look like this. A wire nut is twist­ cord, about five inches on each cut end. With a pair of wire ed onto the ground wires, the white wires attach to the silver strippers, clean the insulation off the ends of the wires about ¾ screws, and the black wires attach to the brass screws. inch and attach to the correct lugs in the GFCI outlet. Read and follow the wiring directions that come with the GFCI unit. Attach a short piece of copper wire and a lug nut to the green screw to serve as a “pigtail,” then attach the two ground (green) wires to the pigtail ground.

Step 5. Secure the GFCI outlet to the box. Push the extension Step 6. Attach the weatherproof faceplate to the box. You now cord wites into the box so that the insulation is well inside the have a GFCI extension cord. box, then tighten the compressiion cable clamps.

DonAdamaitis has been an active potter since 1962. He has a degree in the physical sciences, and since retiring in 1987, has devoted his attention to glaze chemistry and the oteher pottery-related activities.

44 Pottery Making illustrated Fall 2OO1 Fall 2001 Pottery Making illustrated 45 T h e a e s t h e t i c s o f f u n c t i o n a l p o t t e r y At some point, everybody who studies pottery has to er pour without dripping? How do you make a casserole dish move beyond learning how to manipulate clay and start fig­ that won’t break in the oven? And how do you decide what uring out exactly what to make and why. Not everybody is type of lid to make for a canister, a cookie jar, or a teapot? interested in making functional pottery, but if you are, soon­ These are important questions, and thinking about the er or later you need to learn both how to make an attractive answers will help you develop a personal style and make pot and how to make a really functional one. What kind of rim pots people will want to buy and use. Fortunately, you don’t and foot do you want on a bowl? Do you make generous or have to wing it. Potters have been answering these ques­ elegant-looking pitchers? How do you make your decoration tions for centuries, and these four books will help point you suit the form? What’s the secret to making a teapot or pitch­ in the right direction.

N e a l F r e n c h P e t e r L a n e T h e P o t t e r ’ s C e r a m i c F o r m : D i r e c t o r y o f S h a p e D e s i g n a n d a n d F o r m Decoration 9 NEW EDITION Krause Publications, lola, Wl, 1998 A & C Black, London, 1998 This is one of those rare books that will be Although it focuses on functional pottery, of genuine use to both the beginning pot­ this book is less concerned with functional­ tery student and the professional studio pot­ ity and more with aesthetics than the other ter. This book doesn’t attempt to teach tech­ three books. Lane analyses balance and pro­ niques at all, but to present shapes and forms with an analysis of portion, symmetry and asymmetry, the the appropriate techniques for creating them. The beginner will importance of the rim; he discusses sources and elements of find the book useful for answering the question, “Can I make design for forms and surfaces; and he considers the relationship something like this?” (The answer is often not without slip cast­ of “decoration” or surface treatment to the underlying form. ing, jolleying, or jiggering it.) The professional will find it a The pages are liberally sprinkled with photographs of contem­ source of new ideas for basic forms as well as for details such as porary clay-work, carefully chosen to illustrate the authors knobs. The majority of the book consists of photographs of points. There are no process photos and not a lot of how-to many versions of a form, say a plate, coupled with cross-section information, so it’s probably not the first book a student will drawings of different plate styles and notes indicating the pros want to acquire. However, it is a book every potter should keep and cons of each variation. Color-coded symbols indicate the around to dip into at random when short on inspiration. materials and techniques best suited for each form. Brief intro­ ductions to each section indicate the general characteristics of pots in a particular shape family and contain suggestions for optimum functionality.

R o b i n H o p p e r K a r e n A n n W o o d F u n c t i o n a l T a b l e w a r e i n C l a y P o t t e r y : F o r m a n d F r o m S t u d i o a n d AESTHETIC IN POTS OF W o r k s h o p P u r p o s e 9 2 n d E d i t i o n The Crowood Press, Ramsbury, Krause Publications, lola, Wl, 2000 Marlborough, England, 1999 This book is for anybody interested in This book is a thoughtful and well-illus- improving both the functionality and the trated ramble through the history of pot­ aesthetic appeal of their pots. Hopper tery making, and an examination in words briefly covers the history of pottery, analy­ and pictures of the basic families of pottery forms made by ses pottery forms as variations on basic geometric shapes, then contemporary studio potters. The author divides pottery into discusses what makes a pot visually pleasing as well as practical seven groups, including bowls, jugs, and pitchers, etc., and dis­ to use. This is both a “how-to” and a “why-to” book. For cusses the origin of each form—and even of the very names instance, he lists 11 ways of making a lid, complete with cross- we give to these forms. She offers tips on ensuring functional­ sectional drawings, brief explanations of how each is achieved, ity and making pots that are pleasurable to use, and discusses and some discussion of when to use which lid. Other forms are the forms that are appropriate or traditional for various foods. similarly analyzed, as is the relationship between pots and Although she mentions forming techniques and there are human anatomy. There is a table of weights and measures for some process photos and sequences, this is definitely not a production pottery, a chapter listing general considerations how-to text. Even so, anybody who is interested in pottery— when making a functional pot, and a “portfolio” presenting the including students, studio potters, and collectors—will learn work of 16 contemporary potters. something from this book.

46 Pottery Making illustrated Fall 2OO1 Fall 2001 Pottery Making illustrated 47 48 Pottery Making illustrated Fall 2001