Set the Stage ➋ Eminently Repairable Anyone Can Fix an L&L Kiln with a Screwdriver and a Also in This Issue

Sept/Oct 2012 UPGRADE YOUR KILN

➊ Save Money L&L Kilns last years longer because the hard element holders protect the brick. Also we protect the electronic controls by keeping them away from the heat. Everything about the kiln is built with EXTRA materials and care. We don’t cost less but you get a lot more for your money. Set the Stage ➋ Eminently Repairable Anyone can fix an L&L Kiln with a screwdriver and a Also in This Issue . . . wrench. Our unique hard ceramic element holders make Going Thermal changing elements something Basket Vases even a novice can do. Clarifying Design Servicing an L&L control panel is a dream - it pulls down and stays perpendicular to the kiln - for easy viewing and working.

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Bailey has the largest 22% off our Huge Bailey Energy-Saver Electric Kilns save you Bailey Gas Kilns are selection of tools, Selection of Books big time! From the new Value-Plus Series, the energy-efficient, built stains, and glazes at & 10% off Videos. Double-Insulated Series, and the Commercial to last, and deliver super discounts No Minimums! Duty Series, Bailey is the ultimate in quality reliable reduction and value. firings. Bailey is the Professional’s Choice. Bailey Pottery Equipment Corporation TOLL FREE (800) 431-6067 PO Box 1577 Kingston NY 12402 (845) 339-3721 (Fax 5530) Website: www.baileypottery.com email: [email protected] PotteryMaking Illustrated | September/October 2012 1 You know you already want it...

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for more information on Skutt Kilns or to find a distributor, visit us at www.skutt.com or call us directly at 503.774.6000 2 PotteryMaking Illustrated | September/October 2012 table of contents

features

17} Going Thermal 22} A Vase with by Alice Drew Personality Making silkscreens by Nick Ramey from her drawings al- A vase can sit quietly, lows Alice Drew to col- waiting for fl owers, or lage images of favorite it can invite the fl owers subjects on her pots. in for a quirky party.

28} A Stage and 35} Material, Form, Its Characters and Function by Jen Mecca by Billy Lloyd Handbuilt salt and pep- A studio potter and per shakers are interac- designer shares his tech- tive pairs and perfect nique for making lidded forms to individualize jars that are all about and dramatize. clean lines and function. departments

6} In the Mix 8} Tools of the Trade 10} Supply Room 13} Tips from the Pros Orange and Red KilnLink Thermo-fax Trim and Fit Glazes by Bill Jones by Alice Drew by Maggie Connolly by Linda Bloomfi eld

41} Instructors File 44} Off the Shelf 48} Pottery Illustrated On the Cover Replacing Kiln Majolica Decora- Chinese Vessel Forms Jen Mecca’s salt and Elements tion and Ceramic Illustrated by pepper shakers, wheel- thrown and handbuilt by David Gamble Decals Robin Ouellette porcelain, fi red to cone by Sumi von Dassow 8, 2012. See story on page 28.

PotteryMaking Illustrated | September/October 2012 3 fired up

Volume 15 • Number 5

Publisher Charles Spahr Distractions Editorial Editor Bill Jones Associate Editor Holly Goring Associate Editor Jessica Knapp Establishing goals is all right if you don’t let them Editorial Assistant Erin Pfeifer deprive you of interesting detours. [email protected] Telephone: (614) 895-4213 —Doug Larson Fax: (614) 891-8960 Graphic Design & Production Melissa Bury Production Assistant Kevin Davison Marketing Steve Hecker Ceramics Arts Daily ne of the greatest things about work- Managing Editor Jennifer Poellot Harnetty Webmaster Scott Freshour ing in clay is that it is fertile ground for Advertising distractions. You can only imagine how Advertising Manager Mona Thiel O Advertising Services Jan Moloney hard it is to spend every day in an office filled [email protected] Telephone: (614) 794-5834 with creative materials! From reviewing articles for future issues of PMI, Fax: (614) 891-8960 Subscriptions watching the next issue of Ceramics Monthly come together, getting Customer Service: (800) 340-6532 daily ideas and tips from Ceramic Arts Daily and CEramic Arts Daily [email protected] Editorial & Advertising offices Forums, to reading press releases for shows, new books, and a steady 600 N. Cleveland Ave., Suite 210 stream of ceramic art magazines from all over the world, there’s no lack Westerville, OH 43082 USA of distractions. www.potterymaking.org I’ve often admired those potters who have created a “body of work,” Pottery Making Illustrated (ISSN 1096-830X) is published bi- Many of them—Jason Bige Burnett, Posey Bacopoulos, Courtney Mur- monthly by The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082. Periodical postage paid phy, Ursula Hagens, Sarah Jaeger, Margaret Bohls, and scores more— at Westerville, Ohio, and additional mailing offices. have graced the pages of PMI, revealing signature techniques that make Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ce- their work universally recognizeable. In many cases, these professionals ramic Society. Subscription rates: 6 issues (1 yr) $24.95, 12 issues (2 have worked for years perfecting techniques, not to be unique, but to yr) $39.95. In Canada: 6 issues (1 yr) $30, 12 issues (2 yr) $55. pursue a goal of creating work that flows from within. Admirable, but , International: 6 issues (1 yr) $40, 12 issues (2 yr) US$70. All payments must be in US$ and drawn on a U.S. bank. Allow 6-8 alas, I’m not one of them. weeks for delivery. Change of address: Visit www.ceramicartsdaily.org to Every time I get into the studio, usually after an issue has gone out, I change your address, or call our Customer Service toll-free at either look at some of the random sketches I’ve made in a sketch book, (800) 340-6532. Allow six weeks advance notice. Back issues: When available, back issues are $6 each, plus $3 think about trying out a new form or decoration from the magazine, try shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4–6 weeks to remember what it was my daughter thought would be a great gift for for delivery. Call (800) 340-6532 to order. her for Christmas, or just stand there for awhile, looking at the mess I left Contributors: Writing and photographic guidelines are available on the website. Mail manuscripts and visual materials to when I was in the studio last. Yes, the studio is a haven of possibilities the editorial offices. and the ultimate source of many interesting distractions. Photocopies: Permission to photocopy for personal or inter- nal use beyond the limits of Sections 107 and 108 of the U.S. Lucky for all of us, not everyone operates like I do in a studio. In this Copyright Law is granted by The American Ceramic Society, ISSN 1096-830X, provided that the appropriate fee is paid di- issue, we feature the work of talented, goal-oriented artists like Alice rectly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923; (978) 750-8400; www.copyright.com. Pri- Drew making silkscreens with, of all things, a Thermofax machine (yes, or to photocopying items for educational classroom use, please they’re still around!), Billy Lloyd throwing and trimming pots to indus- contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distri- trial standards, Nick Ramey creating quirky vases, and Jen Mecca elevat- bution, for advertising or promotional purposes, or to republish- ing items in whole or in part in any work and in any format. Please ing salt and peper shakers to center stage. The interesting thing about direct republication or special copying permission requests to the Ceramic Publications Company, The American Ceramic Society, this issue is just how diverse the techniques are—throwing, handbuild- 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082. ing, image transfer, trimming, altering, slip decoration, and sprigging. Postmaster: Send address changes to Pottery Making Illus- trated, PO Box 15699, North Hollywood, CA 91615-5699. Form Whether you’re a potter who focuses on a particular style or enjoys 3579 requested. a constant diet of interesting detours, we’re sure you’ll enjoy this issue. I’m just not sure where to begin. Hmmmmm. Maybe my kids would like ceramic artsdaily.org some of those salt and pepper shakers for Christmas? Squirrel!

4 PotteryMaking Illustrated | September/October 2012 $1559 $1679

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PotteryMaking Illustrated | September/October 2012 5 in the mix Red and Orange Glazes by Linda Bloomfield

roducing a good red or orange glaze is no longer sulfide with the addition of increasing amounts of cad- difficult, in fact it’s quite easy and a wonderful mium selenide gives oranges and reds. A cadmium-sele- Prange from deep reds to pinks and corals through nium red orange stain can be fired to high temperatures bright orange to pale peaches can be achieved. when the stain is incorporated in a zirconium-silicate- During the late 19th century and early 20th century, ra- crystal matrix; however deep red is only possible at dioactive oxides were used to make bright colored glazes. earthenware temperatures. For obvious safety reasons, these oxides are no longer Copper red can only be obtained in reduction, and readily available, and are not considered safe. the color depends on glaze thickness, kiln atmosphere Stains for coloring clay and glaze are now made by and position in the kiln. The best reds occur in runny, a few specialist companies (Mason, Cerdec), which do alkaline glazes containing less than 1% copper carbon- not widely publish their methods, although they reveal ate and 5% tin oxide. The oxblood red color is often the materials and systems used to make the stains. For streaked and mottled, and is caused by colloidal par- example, cadmium-selenium stains were developed to ticles of copper metal suspended in the glaze. Local provide reliable reds, oranges, and yellows. Cadmium reduction of the glaze is possible in an electric kiln if

Red glaze and CHROme-Tin Red COppeR Red glaze ORange glaze Cone 9 Oxidation Cone 8 Reduction Cone 04 Oxidation lithium Carbonate ...... 6 % Barium Carbonate ...... 9 % Whiting ...... 5 % Whiting ...... 24 Talc ...... 4 Calcium Borate Frit ...... 39 Calcium Borate Frit ...... 6 Whiting ...... 9 Soda Feldspar ...... 27 potash Feldspar ...... 47 High-alkaline Frit ...... 9 China Clay ...... 6 China Clay ...... 6 nepheline Syenite ...... 36 Silica ...... 23 Silica ...... 12 China Clay ...... 5 100 % 100 % Silica ...... 28 100 % Orange: Add: add: Red Stain ...... 1 .25 % Chromium Oxide ...... 0 .1 % Add: Yellow Stain ...... 3 .75 % Tin Oxide ...... 6 .0 % Copper Carbonate ...... 0 .5 % Tin Oxide ...... 4 .0 % Red: Calcium borate frit is an English frit similar in add: Red Stain ...... 5 .00 % composition to colemanite with some added silica. Use Ferro Frit 3110 when high alkaline frit is listed American frits such as Ferro 3124, 3134, or 3195 in a recipe. Note that the frit sometimes causes Calcium borate frit is an English frit similar in can be substituted but they contain less boron and glazes to craze. To correct this, try substituting a composition to colemanite with some added silica. more silica. ‘Borax frit’ contains sodium, calcium, higher boron frit. American frits such as Ferro 3124, 3134, or 3195 and boron similar to Gerstley borate and can be can be substituted but they contain less boron and substituted with Ferro 3124 or 3134. more silica. ‘Borax frit’ contains sodium, calcium, and boron similar to Gerstley borate and can be substituted with Ferro 3124 or 3134. Recipe from Jonathan Keep. Recipe from Bridget Drakeford

6 PotteryMaking Illustrated | September/October 2012 very finely ground silicon carbide is red when wood-fired. The iron in the added to the glaze. The silicon car- clay reacts with the sodium in the bide reduces the glaze but not the glaze or kiln atmosphere, and turns clay body. orange-red if it is reduced and then Orange is often obtained in wood, re-oxidized on cooling. salt, and soda firings by using a flash- CORal Red ing slip containing clay and neph- Excerpted from Linda Bloomfield’s Cone 9 Oxidation eline syenite. Thinly applied shino Colour in Glazes, co-published by A&C Whiting ...... 21 % Black, London, England and The Ameri- glazes (thick white glazes made from can Ceramic Society, Westerville, OH; potash Feldspar ...... 27 feldspar and clay) are often orange- http://ceramicartsdaily.org/bookstore. China Clay ...... 20 Silica ...... 32 100 % add: Red Stain ...... 4 % COYOTE CONE 6 ELECTRIC GLAZES iROn Red Cone 6–8 Oxidation Bone ash ...... 15 % lithium Carbonate ...... 4 Talc ...... 17 potash Feldspar ...... 47 Bentonite ...... 2 China Clay ...... 4 Silica ...... 11 100 % Root Beer add: Red iron Oxide ...... 11.5% Chocolate Crawl Use on stoneware. Recipe from Michael Bailey. and Black

CHROme-Tin maROOn Cone 9 Oxidation Bone ash ...... 4 % dolomite ...... 18 Whiting ...... 16 Cornish Stone ...... 29 China Clay ...... 12 Silica ...... 20 100 % add: Vase by Chromium Oxide ...... 0 .5 % Sharon Cordner Tin Oxide ...... 7 .0 % photo by Margot Geist coyoteclay.com PotteryMaking Illustrated | September/October 2012 7 tools of the trade KilnLink by Bill Jones

ne of the biggest hassles in pottery is firing a kiln and remaining nearby—the recommend- Oed safety procedure for firing any kiln. When bisque firings can last 14 hours, we probably all tend to fudge a little on the requirement, but remain ever ner- vous about our firing while we may be away. Skutt Kilns has solved the problem of monitoring kiln firings with a new program called KilnLink that brings kiln monitoring firing well into the 21st century. What is it? According to Skutt, KilnLink is a cloud-based electric kiln monitoring system that allows you to check on the status of your kiln from any computer or smartphone connected Above: The screen that comes up on your monitor reveals to the Internet. It consists of a connector that’s put inside current temperature, a graph of the actual firing, a graph of the kiln controller and a wall-mounted box that relays the firing program, list of kilns connected, and kiln details. information from the controller to the Internet. With this Below: A KilnLink single kiln installation. The KilnLink system, you can see a list of the kilns you have connect- Connection is installed in the controller and a wire is con- ed, then check the current temperature, the current firing nected to the KilnLink Box which in turn is connected to program, kiln details, and see a graph of the firing on the Internet.

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8 PotteryMaking Illustrated | September/October 2012 any one of them in real time. In ad- munication circuit board for each kiln, Recommendations dition to receiving text and/or email called LinkBoards, which run $95 per Operating kilns can be expensive and alerts, you can also retrieve the firing kiln. In addition, you’ll need hardware unpredictable for production potter- history of your kiln(s) by accessing for multiple jacks and extra lines (in- ies as well as art centers, schools, and stored information containing graphs cluded with each LinkBoard package). universities. With KilnLink, Skutt of every firing, programs you’ve used, The Internet-based monitoring service technicians, or any kiln repair con- start and end times, firing costs, firing runs $400 per kiln for a 5-year con- tractor you authorize, can pull up all notes, and performance. In addition, tract (about $7 per month) that also the data they need to diagnose your you can retrieve the history of this includes support help from the Skutt kiln and evaluate each kiln for future information and remotely check the technicians. More information is avail- maintenance and handle problems amperage and voltage of your kiln at able at www.skutt.com, including a before they happen. And for peace of any time, which helps in diagnosing descriptive video on controller prepa- mind, how your firing is going is as electrical problems. Note: You can- ration, installation, and operation. close as an internet connection. n not initiate the Amperage or Voltage testing routine for safety reasons. Informed decisions The biggest advantage to the Kiln- Link is that you can stay informed about your firings while you’re away. And while the device cannot make adjustments to the firing in progress (you’ll still have to do that in person), you can make better decisions about firing schedules as well as when a kiln is ready to unload. Brian McCarthy, director of the Odyssey Center for Ceramic Art in Asheville, North Carolina, has KilnLink hooked up to eight kilns, and uses the system to improve the day-to-day operations of the center. For example, while monitoring one kiln, he noticed that someone had programmed it for an 8-hour pre- heat, an indication that better instructions for programming needed to be communicated. He’s also able to monitor firing schedules, maintenance, and electrical usage anytime and anywhere. Costs Currently, KilnLink is only compatible with Skutt Kilns that have a correctly configured controller. As of July 2012, all Skutt kilns come ready for the Kiln- Link to be installed. A mounting kit is included for older Skutt electric kilns equipped with controllers manufactured during the last 19 years. Skutt kilns equipped with older controllers will either need to be updated or replaced. The KilnLink system runs about $400 for the KilnLink wall- unit. To link up to four kilns, a com-

PotteryMaking Illustrated | September/October 2012 9 supply room Thermal Printing by Alice Drew hermo-Fax (also spelled Thermofax) is a trade- marked name from 3M Corporation for a pho- Ttocopying technology from the early 1950s. It’s a type of thermographic printing that relies on heat and the presence of carbon-containing ink, and it was the prede- cessor to Xerox technology. This seemingly obsolete machine is a great tool for ceramic artists who want to create screenprinted imagery on their work. The Thermofax can be used with a special type of silkscreen material to create Alice Drew’s Thermofax machine was rescued by her dad. stencils of any high contrast image. The screen and image feed in through the back, and the Where to Buy burned screen comes out of the front. New and used Thermofax machines can be found at school widths or as precut sheets. There are different mesh sizes district and university surplus storage and warehouse sales (70 and 120) available. Most companies recommend the and they often have great deals on them. In the US, Welsh 70 mesh for ceramic applications, due to the particle size Products (www.diyprintsupply.com) sells refurbished of our materials, and that’s what I also recommend. The Thermofax machines, and they run from $700–$1000. smaller mesh size makes crisper images—think of the They also sell new machines made by the Panenka com- holes in the screen like pixels. Having 120 threads per pany and replacement parts for older machines. NEHOC inch creates smaller squares as opposed to 70 threads per Australia PTY (www.nehoc.com.au) sells new Thermofax inch, allowing for smoother curves and finer detail—but machines in Australia, New Zealand, and Asia. If you the finer mesh may get clogged by larger particles in slips search on EBay for “thermofax machine,” there are usu- and underglazes. Finally, you’ll need duct tape to protect ally many 3M-brand models available. Note: All the old and seal the edges of the screen, keep it flat, and create models are reliable except for 3M Model no. 45EGA. This an impermeable border. model was a known fire hazard, and even those that were retrofitted by 3M cannot be guaranteed to work safely. Making the Screen RISO film is a silkscreen product that has a thin sheet of Screen Supplies plastic bonded to one side of the screen. The other side To create a screen from a Thermofax, make a high-reso- is matt/textured. Lay the Riso sheet over the image with lution (300 dpi) photocopy, laser print, or drawing with the shiny side touching the ink or toner side of the paper a high-carbon-based ink. Images that are line drawings with your image on it and send it through the Thermo- with a small amount of gradation work best. Note: To fax. Using a combination of heat, light, and pressure, the work directly with a hand-drawn image instead of a pho- Thermofax burns away the plastic screen backing wher- tocopy or print, use a drawing implement that contains a ever there is carbon (either the ink or printer/photocopy high enough carbon content to react with the Thermofax. toner) on the paper. The rest of the plastic coating re- The following will work: black Sharpie pens, Pentel Color mains intact, and this is what resists the ink or under- Pens, Tombow Bush Pens, Itoya Fine Point (non perma- glaze. Note: Every machine is slightly different so read nent), Piga Micron, Pitt Pens, Zig Calligraphy, Staedlter the instruction manual and test the settings to see which Pigment Liners, Rapidograph Ultra Draw, Stabilo (all), speed works best for the photocopy. After you peel the Ritmo Charcoal, china markers (wax pencil/grease pencil), screen off the paper, line the edges with duct tape. Staedtler 2b pencils, Sanford Uni-Ball pens, and black cray- on. (Source: www.thermofaxconfidential.blogspot.com) Try it out Before Buying a Thermofax For the screen, use RISO thermal screen film (also There are several businesses that will create thermal screens called SwiftScreen), which you can get from Welsh for you. Visit www.thermofaxconfidential.blogspot.com Products in the US; and from NEHOC Australia PTY and refer to “Thermofax Services” as a starting point. n in Australia, New Zealand, and Asia; or search the Inter- Refer to page 17 for Alice Drew’s full process for working with net. The screen material comes in large rolls of various thermal-screenprinted imagery on pots.

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12 PotteryMaking Illustrated | September/October 2012 tips from the pros Trim and Fit by Maggie Connolly

a little wider in diameter than needed, as excess can be trimmed away. Do not make the diameter of the flange too narrow, and make sure the rim of the lid overlaps the gallery on the pot. 2. Using a trimming chuck or stand, begin by trimming the foot of the pot. When the bottom of the pot is trimmed, flip it over and set it into the chuck right- side up. After centering it, place the lid upside down on the opening and tap it on center. Yingge uses a nifty trick of tapping at a slight downward angle whenever the pot or lid get a little off kilter. Use one open palm to guide the pot, then use the outside of your thumb on your other hand to slightly tap the pot into position (figure 1). Using this technique to center saves time by eliminating the need to stop and restart the wheel. 3. At every step in this process, the first thing Yingge trims is the center of the piece so as to allow her an A variety of knob types can be trimmed onto the lid to even area that she can apply pressure on to keep the reinforce the individual style of a lidded form. piece centered. The positions of your fingers are crucial while trimming. Holding your trimming tool in one hand, use the middle finger of your other hand to gen- ingge Ren is the eighth generation of her family tly press down in the center of the lid. Use the pointer to practice pottery in the traditional Jun kiln re- finger of that hand to act as a stabilizer, touching it ei- Ygion (Yuzhou) in northern Henan, China. She’s ther to the trimming tool or your other hand (figure 2). been throwing since she was 19, but trimming since she 4. Trim the outside and edge of the flange (figure 3) was 10. Trying to run a ceramics factory and have your and, if necessary, the outside of the lid rim, then put own time to throw is a challenge, so her style has evolved the lid on the pot right-side up, as it would rest natu- to save time by cutting as many corners as possible while rally, to check the fit. still ending up with a high-quality piece. This trimming The advantage of using the pot as a sort of chuck to technique minimizes the time spent measuring and cen- trim the lid is that you can go back and forth, trim- tering the pot and creates a perfectly centered handle ming and checking the fit of the lid without taking on a lid, while skipping the steps of throwing a handle extra time to center the lid each time. separately and then adding it on later. Since the handle is 5. Once the bottom of the lid sits properly on the pot, integrated rather than attached, the piece does not have you’re ready to trim the top. Leave the lid sitting on to be dried as slowly. This technique works best on a lid the pot, and make sure it is centered. Once again trim that sits down in a recessed gallery, and has a flange that a small flat circle at the top (figure 4), then, position descends into the pot. your fingers for maximum stability as before. Start 1. Throw the lid upside down off the hump, getting it from the top and work your way down. Create the close to your caliper measurements for the diameter of general shape of the handle, but leave the base of the the flange and the diameter of the lid. Leave the bot- handle wide (figure 5). Trim the curve of the lid so tom a little thicker and wider than you would normally that it compliments the pot (figure 6). Leave the base when cutting it off. For this technique, it’s not as im- of the handle as the last step. Support the handle with portant to get the diameter of the inside flange of the one hand while carefully trimming out the shape you lid to fit exactly with the inside lip of the pot, it can be desire with the tool in the other hand (figure 7).

PotteryMaking Illustrated | September/October 2012 13 1 2 3 Center a trimming chuck, trim the When trimming, use three points of Trim the center first, then the top and foot, then center it right-side up to contact creating a triangle for stability side of the lid flange that drops into trim the lid. Tap the lid on center. as you work. the body of the pot.

4 5 6 Flip the lid back over and place it on With three points of contact again, Trim the lid so there is a gradual curve the pot to check the fit. Tap on center trim the lid starting from the top and that transitions well into the bottom and start by trimming the center. working your way down. of the knob.

7 Trim an undercut at the base of the knob to finish refining the shape.

Although it might be intimidating to begin with, this technique is quite simple and handy once you’ve prac- ticed it enough to become comfortable working this way. It removes the pesky task of trying to throw a perfect- fitting lid, while also assuring you that the handle is centered and firmly attached. n Lidded container by Yingge Ren, wheel-thrown stone- Maggie Connolly is studying for a master’s degree in ceramics at ware with trimmed knob lid and added handle, Jun Qinghua University in Beijing, China. glaze, high fired in reduction atmosphere.

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PotteryMaking Illustrated | September/October 2012 15 NCECA 47th Annual Conference Enter Hilton Americas-Houston to Free 3 Night Stay ! WIN!! March 20-23, 2013

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16 PotteryMaking Illustrated | September/October 2012 thermal SCREENPRINTING by Alice Drew

n 2004 I worked with Ayumi Horie at the Wom- en’s Studio Workshop (WSW) as an intern. At the end of each day, I’d work on my own pottery. As I was laboriously drawing and carving on my work, IHorie commented that my process for applying the surface design was taking a lot of time. She suggested I try printing on the surface. I knew I needed to make my work in a more economical way, but didn’t want to lose my style and sensi- bility. Up to that point, I was drawing, painting, and carving simplifi ed fl oral and scrolling patterns on the surfaces. I decided to take her advice and explore the idea of applying silkscreen printed imagery on my work. I started out with the traditional screen-printing method of applying photo emulsion to a screen and exposing it in a dark room using ultraviolet light. The screens worked well, but were large, cumbersome, and took up a lot of space. When I returned home at the end of the intern- ship, I noticed that my father, a local high school art teacher, was using a Thermofax machine (also called a transparency maker) to make silkscreens with his design students. It was a much faster way to make a screen, and it didn’t require a dark room or light table. After my father retired, the teacher who replaced him decided not to use the Thermofax and it found its way onto the loading dock to be thrown out. My dad grabbed it, and brought it home for me. The machine was made by 3M and is called “The Secretary” (see “Supply Room” p. 10). Slabs Are Best This particular screenprinting process works very well for handbuilders using slabs, as the clay must be completely fl at to pull a clear, crisp image. It’s possible to screen print on a thrown object, providing that the sides are straight and smooth, but the results are not the same. I have experimented with different forms and handbuilding techniques to see which works best

PotteryMaking Illustrated | September/October 2012 17 1 2 3 Send the film and paper through the Place the screen shiny side down, and Apply a thickened underglaze over Thermofax. The burned screen and gently press on it making sure it’s the area you want to print using a paper come out immediately. sealed to the clay. soft brush.

4 5 6 Peel one corner (or half) of the screen Layer additional colors. Here the out- Thickened underglaze is painted over away from the clay to see how line of the ship is registered over the the ship’s outline then the screen is opaque the image is on the surface. blue silhouette that’s still visible. removed and cleaned. with this printing process. I began printing on thrown cups and add more underglaze a little at a time. It doesn’t re- and bowls that I cut up, printed, and reassembled. How- quire a lot of underglaze to print the image. Note: I use ever, because of warping and drying issues, I now build Laguna, Amaco LUG, and Coyote Clay underglazes. I’ve everything with slabs and use press and slump molds to used slip colored with commercial stains, and that works form pieces after printing on the slabs. This works much well too. Test your underglazes to see if they are suitable better with my techniques for screenprinting. for screenprinting. Peel one corner (or half) of the screen away from the Printing on Clay clay to see how opaque the image is (figure 4). For a Prepare a soft leather-hard slab of clay for printing. If more opaque result, place the corner of the screen back you’re planning to form a vessel, cut it to the shape you down and brush over with more color. want using a template, so you can accurately place the Continue to layer different images and colors over the image. The slab can be up to a firm leather hard if you previous image (figures 5–7). When printing directly over don’t plan to manipulate it after printing. other images, a ghost image may appear on the back of When printing, start with lighter colors (the back- the screen. Gently wipe off the back of the screen before ground) and build up to darker, brighter, bolder colors printing again. and patterns on top (foreground). After making a screen After printing each image, lay the screen on a towel face with the Thermofax machine, peel the screen away from up and wipe with a damp (not soaking) sponge using cold the photocopy (figure 1). Cover the edges with duct tape or room-temperature water. Wipe dry with a towel, and to keep the screen flat and protect the edges. Place the do the same to the under side of the screen. (Do not run screen shiny side down on the clay, and gently press on it the screens directly under water.) Store the screens in an in a sweeping motion, making sure it’s sealed to the clay area away from heat and direct sunlight. (figure 2). If it’s not sealed, the underglaze will seep un- When you’ve finished printing the last image, lightly der the screen and leave a bleed mark and a blurry image. dust the entire slab with cornstarch, then carefully brush Apply thick underglaze with a brush over the image it off with a soft bristle brush. The cornstarch seals the area (figure 3). If the underglaze is too watery, the image printed surface, allowing the clay to be manipulated with- will not be crisp and clear. Start out with a drier brush out distorting the printed imagery.

18 PotteryMaking Illustrated | September/October 2012 7 8 Drawing from Home & Garden Apply underglazes from background Create the round slab for the bot- to foreground, and generally layer tom. Apply a pattern that echoes My original silkscreen images at WSW darker colors over lighter ones. the image on the slab. were simplified, calligraphic rose and vine patterns. After realizing the Thermofax could make a silkscreen with very fine detail, I started to make more elaborate and refined drawings, which significantly impacted the next direction in which I would take my work. I enjoy drawing almost as much as making pottery. It’s another creative outlet for me, and it also affords me the opportunity to take a break from the studio. All of the images on 9 10 my work are derived from my drawings. I oc- Stand the slab up and attach the Attach the bottom of the cylinder. casionally draw from photographs, primarily scored sides. Use a printmaking Add a coil on the inside to reinforce for the animal and bird imagery. brayer to smooth the edge. the join and blend it in. The drawings are heavily inspired by interior design and nature, more specifically the Making a Pitcher home and garden. Because my work is intend- ed for the home, it is important that there is Once the underglaze or slip has lost its sheen, it’s safe to form the slab into a close relationship between my work and its a vessel either by hand or using press and hump molds. Cut a round slab for the bottom using a biscuit cutter and apply a pattern environment. Embellished wallpaper, damask that works with the rest of the piece (figure 8). Brush the side edges of the and Ikat fabric patterns, and British Georgian larger slab with water and score with a sharp tool (I use an X-Acto knife). architectural elements are all harmoniously in- Stand the slab up and attach the scored sides. Use a printmaking brayer or termingled with floral and animal motifs into pony roller to smooth the edge (figure 9). Place a ½-inch-diameter coil along my designs. the inside seam and blend smooth. The garden plays a large role in the imagery, Attach the bottom (figure 10). I use a biscuit cutter to cut out the bottoms including the use of various floral motifs, foliage of my pitchers and cups. It’s faster than cutting by hand, and makes a per- silhouettes, and animals. Garden trellises, but- fectly round circle. terfly nets, and chair caning patterns are subtly Place the cylinder on a banding wheel. Lightly spray the inside with water, hidden in the backgrounds to ground the imag- then, using a damp elephant ear sponge, gradually stretch the form from the inside out. Push the form out a little over halfway up the inside wall, continu- ery and unify the composition. ally turning the wheel and pulling up and out on the cylinder, putting slightly I have also been incorporating birds, deer, more pressure on the clay halfway up to create a widening curve (figure 11). rabbits, and other wild animals in my designs Turn the banding-wheel, and roll the brayer vertically against the clay to as a reference to freedom and adventure. The push the wall inward on the top third of the cylinder to collar the neck and clipper ships and fishing net imagery are a nod flare the rim (figure 12). to my family’s recent move to New England. Gently pinch and pull the rim up in a 3- to 4-inch wide area, forming a hill- or dome-like curve opposite from the seam. Using a small amount of water, smooth out the curve creating a slight edge. Shape the spout. First push in on either side of the dome with your thumb and index finger (figure 13). Next, shape the throat. Starting at the belly of the pitcher, directly below the spout, drag two fingers along the inside all the

PotteryMaking Illustrated | September/October 2012 19 11 12 13 Using a damp sponge, gradually Roll a brayer vertically around the cyl- Shape the spout by fi rst pushing in stretch the form from the inside out inder to collar the neck inward. Stop on either side of the dome with your from about halfway up the wall. below the rim to preserve the ﬂ are. thumb and index fi nger.

14 15 16 Create a handle from a slab or a ﬂ at- Cut the handle to length, then slip, The fi nished pitcher is ready to be tened or pulled coil, then score and at- score and attach the bottom below dried slowly, fi rst under plastic, then tach the top opposite from the spout. the belly of the pitcher. uncovered, before bisque fi ring. way up to the top of the spout (see fi gure 16). Press in width of the spout should be the same as the width of along the both sides of the throat to defi ne the channel. the handle (where it is attached at the top of the pitcher). Do not drag your fi ngers along the outside or you might When fi nished, allow the piece to dry slowly, then distort or smear the imagery. bisque fi re. I use a clear cone 6 glaze and fi re in an elec- Make a handle and attach it last. It can be pulled from tric kiln. Be sure to test your glazes layered over the un- a cone of clay, slab-built, or made from a fl attened or derglazes on test tiles fi rst before using them on fi nished pulled coil. Whatever style you choose, place it along the pieces to make sure they are all compatible. ■ seam, directly opposite from the spout (fi gures 14 and Alice Drew is a full-time studio potter living in the South End 15). Attach it just below the rim at the top, and where area in Boston, Massachusetts. To see more of her work, visit the belly of the pitcher swells at the bottom. Tip: The www.alicedrew.com.

20 PotteryMaking Illustrated | September/October 2012 to out oing live s g me t i !” t D ee n Sc ha ad e , C er r am ic s P b ro fe ss or y , U n iv er si ty M o f In “ d ia n a p o l is

T h y e t n o ra nl ar y w w he ear el with a 10 y

(800) 374-1600 • www.brentwheels.com PotteryMaking Illustrated | September/October 2012 21 aVASE with personality

by Nick Ramey

uring my time in graduate school, I made throwing and altering the switch from producing wheel-thrown, To create the body, start by throwing a high-fi red functional pottery, to working tall cylinder that is open at the bottom. It with low-fi re red earthenware to hand- is important to use a bat when creating this Dbuild large-scale fi gurative sculptures. With this form. This makes it possible to move the change came a whole new array of possibilities piece off of the wheel without messing up for colors and surfaces that were more diffi cult to the form or any of its details. Based on the achieve at high temperatures. I am attracted to the proportions, I make light marks on the sur- bright colors available in commercial underglazes face with a needle tool to divide the form and stains, but feel that they are inherently fl at, into sections (fi gure 1). Pressing in from the and lack the depth and sense of life that I was used outside using a kidney shaped rib creates the to with high-fi re glazes. To counteract this, I use a concave contour of each individual section. multi-step fi ring process in order to give these low- After defi ning the contours, use a wooden fi re colors more of a high-fi re look. knife to create a clean line between each sec- After graduate school, I returned to making pot- tion in order to make the individual curves tery, but had to fi gure out a way to combine the stand out (fi gure 2), and give the appearance things I enjoy about working on the wheel with that the piece is comprised of multiple forms my newly acquired handbuilding skills, and infuse stacked on top of one another. The idea is to it all with humorous narratives. The body of work fool the viewer about exactly how a piece was that I have created with these criteria is broad made, making the process a bit mysterious. ranged, and includes a series of lidded containers, The next step is altering the form from casserole dishes, and vases. The pieces all start as round to oval. By throwing the cylinder with- round, wheel-thrown forms that are altered into out a bottom, it can easily be transformed different shapes and fi nished with a variety of into virtually any shape, from oval, to square, handbuilding techniques. One of my favorite of to a fi gure eight. The alterations are done these forms is the Basket Vase. I love the dramatic on the wheel immediately after the form contrast between the profi le of the front versus the is thrown. I start by cleaning up any slip side, and the tension that is created with the han- or excess clay that is on the bat, both in- dle springing off of, and connecting, the fi gures. side and outside of the cylinder. Then I add

22 PotteryMaking Illustrated | September/October 2012 a small amount of clean water to the are attached. When altering the foot, I fi rst decide on bat and cut the piece off using a wire the spacing of the marks to create an undulating foot. tool, while the wheel is spinning slow- Using a large dowel rod, I give the bottom of the piece ly. This is important with bottomless one good whack in each spot (fi gure 9) and smooth it out cylinders; if the wheel is not spinning using a mini (pony) roller (fi gure 10). when the wire is pulled through, one Once body of the piece is complete, make the handle. At side will cave in and create a fl at spot. this point, I also make the fi gures that will attach the han- Next, using a long dowel rod on the dle to the piece. The handle starts with a coil that's about inside of the cylinder (fi gure 3), the 6 to 8 inches long, 1 inch in diameter in the middle, and piece is reshaped into an oval and fi ne 1½ inches in diameter at the ends. The coil is pulled out tuned by hand. Pulling the cylinder into a handle from alternating ends to the desired length from the inside with the dowel and by and width, then draped over a small bucket or paint can hand, instead of pushing it from the out- until it sets up to medium leather hard so it will maintain side, preserves the lines and details on its shape when attaching it to the piece (fi gure 11). the outside and maintains the integrity While the handle is setting up, I work on press molding of the oval. the fi gures. The monkey boy on this piece comes from two different commercial slip-casting molds, the head handbuilding takes over from one and the body from another. Press molding the The fi rst step in the handbuilding profi gures rather than slip casting them allows for imperfec- cess is to dart the sides. When the form tions, such as creases, folds, and stretch marks, which is stretched into an oval, the narrow give more character to the fi nished piece. Clay is pressed sides lose their concave shape. Dart- directly into each half of both molds, so the walls are ing restores that shape without dis- approximately 1⁄8 inch thick. The halves are then scored torting the rest of the form. When the and slipped and pressed fi rmly together (fi gure 12). Next, piece is at a soft leather-hard stage, use after removing the pieces from the molds and attaching a needle tool to make football-shaped the heads to the bodies, I let the fi gures rest, so all of the marks where each individual section joints can even out in moisture content before attaching will get darted (fi gure 4). These pieces them to the body of the vase (fi gure 13). are cut out with a fettling knife and Once everything is at the same medium leather-hard the sides are attached together after stage, I attach the fi gures to the vase, and the handle to scoring and applying slip to the cut the fi gures (fi gure 14). Rolling a cake decorating wheel edges (fi gures 5 and 6). The same steps across the surface adds stitch marks that help separate are repeated for the opposite side. the sections (fi gure 15) and reinforce the perception that The next step in the process is at- the piece is made of multiple pieces stacked on top of one taching a bottom. Start by rolling another. For the last step, before letting the piece dry, I out a ¼-inch to 1⁄3-inch thick slab, take a few minutes to clean up all of the lines in both slightly larger than the bottom of the vase and the fi gures with the rubber-tipped tool. The the piece. After marking the placement piece is then dried slowly, using a sheet of plastic as a of the body on the slab, score and slip tent over the handle. After the piece is bone dry, I bisque both pieces and attach (fi gure 7). Cut fi re it to cone 06. At this temperature, the fi red clay is the excess slab off with a sharp fet- still porous and takes the underglaze well. tling knife, leaving a 1⁄8-inch strip all the way around, which is rounded out pin stripes and underglaze both while the piece is right side up, Once the bisque fi ring is complete, lay out the pin stripes. then again after it is fl ipped over onto In order to achieve straight, clean lines, use a ¾-inch wide a piece of foam. This strip acts as a automotive masking tape, as well as a 1⁄8-inch wide au- foot ring (fi gure 8). A rubber-tipped tomotive pin-striping tape (fi gure 16) to mask the areas detail tool works well to clean up that will become the colored stripes. The masking tape is the line where the walls and bottom placed fi rst, directly down the center of both sides, fol-

PotteryMaking Illustrated | September/October 2012 23 1 2 3 Throw a bottomless cylinder and cre- Press a ﬂ exible rib between the lines Use a dowel rod placed on the inside ate light dividing lines on the surface to create curves, and use a wooden of the cylinder to pull two sides out with a needle tool. knife to accentuate the lines. to form an oval.

4 5 6 To restore the curve to the short sides Cut football shaped darts out of one This image shows how the curve is of the oval, mark each section where side, then score and slip the edges restored by the darts. Repeat the darts should be cut. and press them back together. process on the other side.

7 8 9 Score and slip a slab bottom where it Flip the piece over onto a piece of Make evenly spaced marks around attaches to the oval cylinder, score the foam and smooth out and curve the the bottom, then create an undulat- bottom edge of the cylinder and join. slab to form a foot. ing, scalloped edge using a dowel.

24 PotteryMaking Illustrated | September/October 2012 10 11 12 Smooth out the curves on the foot Pull or roll out a long handle, and allow it Make press-molded handle sup- and reinforce the seal using a mini to set up to leather hard supported by a ports, using commercial molds, (pony) roller. plastic bucket covered with newsprint. your own molds, or other shapes.

13 14 15 Attach the fi gures or handle supports Once the handle is medium leather Roll a cake decorating wheel around to the piece when everything reaches hard, attach it to the top of the the piece above and below the line to a medium leather hard. handle supports. create stitch marks.

16 17 18 Place a strip of masking tape down the After adding more tape, paint black Paint wax resist over the black under- center of the vase, then put automo- underglaze on between the tape, glazed lines, allow it to dry, then peel tive pin-striping tape on either side. creating outlines. away the tape.

PotteryMaking Illustrated | September/October 2012 25 lowed by strips of the 1⁄8-inch wide fi lled in with a solid coat of black Paint on three solid coats of un- pin-striping tape, more full strips of underglaze or slip, which creates the derglaze once the wax dries. This is masking tape, and fi nally strips of the borders for the colored stripes (fi gure done one section at a time, starting masking tape that have been ripped in 17). Once the black is dry, cover it with the white (fi gure 19), followed half. Make sure that the lines created with a layer of wax and remove the by the colored stripes (fi gure 20), the between the pieces of tape are straight tape (fi gure 18). This leaves waxed fi gures, and the handle. I prefer to use and maintain the same width all the black lines that will resist the colors Amaco Velvet underglazes instead of way up the walls. These lines are then painted in between. slips, because commercial underglazes give consistent colors without having to test each batch, and they brush on very easily. After everything is painted, re-bisque the piece at cone 05 to fi re on the underglaze. Washing and Glazing The next (and my favorite) step in the decorating process, is adding the black wash. This is where the surface of the piece really starts to come alive. As I mentioned in the beginning, commercial underglazes have an inherently fl at look that lacks any variation. For the wash, I use a black underglaze, diluted 50/50 with water, which is painted over the entire exterior surface of the piece (fi gure 21). The wash should be fairly fl uid, so it runs and collects in all the creases and crevices to give nice 19 20 dark lines. After the wash dries, take a Allow the wax resist to dry, then paint Paint a contrasting color within the clean sponge and begin to remove the the piece with a white underglaze. outlined area for variety. excess black from the surface, rinsing out the sponge frequently. A broad, fl at sponge works best because it will wipe the wash from the surface without removing it from any of the recessed details (fi gure 22). This gives some nice variation to the colors, so that when they are covered with a clear glaze, they have a sense of depth and life. The last step is brushing two to three coats of a clear glaze over all of the un- derglazed areas, except for the fi gures, and fi ring to cone 03. After fi ring, the difference in surface qualities between glazed and unglazed areas adds more depth and complexity. ■

Nick Ramey is currently an artist in residence at Baltimore Clayworks in 21 22 Baltimore, Maryland. He received a BFA from Indiana University and an MFA After the bisque fi ring, brush on a Wipe away the underglaze using a from Southern Illinois University, Ed- diluted black underglaze wash, cover- clean sponge. It will remain in recessed wardsville. To see more of his work, visit ing the entire surface. areas, giving the surface more depth. http://nickrameyceramics.com.

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PotteryMaking Illustrated | September/October 2012 27 the

As a curious little girl I was always fascinated with small sets of serving pieces that were used on a daily basis. Sets of chartreuse- Stage colored Russel Wright dinnerware designed in the late 1930’s sat before me while visiting my grandmother on the weekends. These simple but interesting forms with bird-like spouts, volup- and itS tuous curves, and deep-set lids had character to them. CharaCterS At my own home, intricate but dainty China dishes handed by Jen Mecca down from my maternal great grandmother made their home in our family china cabinet. They were brought out for special oc- casions and handled with the utmost care. These pieces included creamers and sugar bowls, salt and pepper sets, jam jars, and butter dishes. In my mind, these inanimate objects, with their dainty feet, handles that looked like shoulders and hands, and, most of all, fancy painted surfaces that looked like party dresses, came alive in my imagination. Over the years, I have explored the concept of sets and how to combine the whimsical aspect of my work with the functionality of these forms. My favorite sets to make are salt and pepper shakers. This particular set represents a couple to me, while the tray represents a stage they converse on. In my creative process, I want the viewer to see a character or form that speaks to them but I also know as a functional potter that the object needs to work well. The user needs to be comfortable with handling the shakers while also enjoying the unorthodox form and embellishments that I enjoy creating.

Salt and pepper shakers take center stage as characters, combining Jen Mecca’s memories of the ceramics from her childhood that came alive in her imagination, and her love of throwing and altering to create unorthodox functional work.

28 PotteryMaking Illustrated | September/October 2012 Photos: McKenna Lawler McKenna Photos:

1 2

Throw a cone shaped bottomless cylinder for the body of Collar in the top of the form bringing it to a point where the shaker. it closes.

3 4 Score, slip, and place the shaker on the slab. Press the Use a Surform rasp to remove extra clay and bevel the extra clay down into the base to secure. bottom edge.

trays are still a challenging part to these sets but also also always had a limited budget and space in my studio provide so many choices and options for growth and so i don’t have a slab roller or large table top surfaces. in change. i am always reevaluating their function, the order to make the bottoms of the salt and pepper shak- design, and how they interact with the salt and pepper ers, use a small ball of clay (around ½ lb) to create the shakers. i have made functional trays with handles over cylinder. i clean up the side walls and make a vertical the top and on the side. i have made trays that look like cut from top to bottom. after doing this, i cut the cylin- anything from a theater dome to a cradle. this new tray der off the wheel, and lay it flat on a ware board lined is a pedestal stage for my characters. with paper or canvas, like a slab. i carefully smooth out the throwing marks and use a large spackling knife to From the Bottom Up smooth and level it. a rib would also work. the finished almost everything i make is thrown and altered. all of slab should be ¼ inch thick for stability and shrinkage. my oval, square, or closed forms are thrown without a bottom, so that has to be created separately. throwing the Shakers When i make the bottoms to all my pieces, they start For the salt and pepper shaker form, i throw another bot- off on the wheel. they’re not a flat pancake as you might tomless form using ½ pound of clay. this time it is convex guess, but rather start as a bottomless cylinder. i prefer rather than straight sided (figure 1). the rounded shape is throwing these slab bottoms over other methods of slab collared in to make a closed form with a slightly pointed making for two reasons. as a thrower, i can work more top (figure 2). the form needs to be between ¼ and 3⁄8 of quickly on the wheel head than on a flat surface. i have an inch thick, with a little extra clay left at the bottom.

PotteryMaking Illustrated | September/October 2012 29 5 6 7 Add a coil to the back of the attach- Refine the attachments where the Use a plaster mold or wooden texture ment between the foot and shaker. feet meets the body, then level the plate and small amounts of colored Cut a fill hole in the bottom center. bottoms of each foot. clay to make sprigs for the surface.

8 9 10 Create hollow finials using two con- After attaching the sprigs and finials, Wrap a string around the perimeter vex sprigs that are attached to one drill holes in the top of each shaker of the slab area where the shakers another back to back. for the salt or pepper. will sit. the extra thickness is shaved away using a Surform rasp and pepper forms, take a metal rib and gently smooth when refining the thrown shape. the extra clay at the bot- out the rasp marks. the final step before the adding the tom helps when attaching this piece to the thrown slab. feet is to create a hole in the top so air can escape. Before taking the form off the wheel head, go back to the slab and score the entire area where the form will Foot Support sit. add a little water to the scored part to help secure the feet for the shakers have continually evolved. Like the seal between the slab and the form. take the form many potters, i am always looking through old books off the wheel head, gently push two sides toward each and magazines or just playing with clay to figure out new other to form an oval, and then place the form on the ways to make feet. the feet and the embellishments are scored section of the slab. Push the extra clay on the very important parts for me; these added body parts are outside edge of the shaker down into the slab to form a what brings life or animation to the pieces. i see the em- seal (figure 3). bellishments as accessories or clothing for my sets. Let these forms set up to leather hard, then cut through Start off by marking where the feet should sit. Be the slab around the outside bottom edge of the shaker. careful not to place them too far in or too far out. try next, use a Surform tool or blade to shave away any out different spots with spare clay balls before attaching excess clay (figure 4). i find that holding the blade on its the real feet, making sure that in the arrangement you own (without the handle) allows me to keep even pres- choose, the feet hold up the body well so there is no rock- sure while removing clay. Be very careful to not trim too ing and no threat of tipping over. much clay away or you will make a weak spot or hole in to make feet like those shown here, take a lug or bar the wall of your shaker. Once you have shaped the salt of clay and square it off. Cut equal sections and work

30 PotteryMaking Illustrated | September/October 2012 11 12 13 Use this string measurement to deter- Gently lift the ring from the bat and Press colored clay into a plaster slab mine the circumference of the thrown place it onto the scored and slightly with repeating stamp patterns to cre- foot ring. dampened slab, and attach. ate borders.

14 15 16 Attach the border strips, which will The bisque-fired pieces are ready for Once the piece is glaze fired, fit a double as a raised rim to hold the a layer of stain that is wiped away to cork to the fill hole in the bottom of shakers on the pedestal tray. accentuate texture, then glaze. the shakers. in groups of four. take the sections and carefully square cork. to reinforce this hole take a very small coil and them off more, then taper one end where the foot meets score, slip, and attach it around the hole (see figure 16). the table and fatten up the other for the attachment the corks i use come from a home improvement store point. the process is much like thinking about, then and can be purchased in a wide variety of sizes. i usu- echoing, the way that your legs support your body; the ally keep a variety of sizes on hand since i don’t measure hip bone attaches your leg to the body, and your feet and every hole i cut. toes provide the contact to the ground. When adding the feet, score and slip both sections and adding Costumes/Sprigs and inlay then carefully push the fat part of the foot into the form. Potters make sprigs several different ways and i have sev- You can finish the top part of the hip anyway you would eral different types of molds. i have some molds made out like. i choose to flatten it out by rubbing my thumb back of plaster, many out of bisque ware and a few made out and forth. after the front side of the foot is done, turn it of a linoleum print block. i press colored clay into these over and reinforce the legs with small coils of soft clay molds (figure ),7 then add the resulting sprigs to my work. (figure 5). Finally take the entire piece and tap it on the i make my own colored clays by adding various Mason table surface to make sure it doesn’t wobble and that the stains to my clay body. i usually knead up one pound balls form is level (figure 6). or mix up a slip for casting purposes. depending on the after attaching the feet, make a small hole (a little big- color, i add 1 to 3 tablespoons of Mason stain. Lately i’ve ger than ¼ of an inch) in the bottom of each shaker with found that just pressing the colored clay onto the mold an X-acto knife. this is the fill hole for pouring in the and using the sprig right away is quicker than prepping a salt or pepper. after firing, it will be sealed with a small large number of sprigs and storing them in a plastic con-

PotteryMaking Illustrated | September/October 2012 31 tainer for later use. Note: Be careful not to waste the colored clay because adding the stain to it can be costly. Finials for the top of salt and pepper shakers offer so many opportunities for adornment. Currently i have switched over from solid birds to hollow forms that look like feather plumes (figure 8). after you’re finished the adornments, use a drill bit or WORKING WITH PORCELAIN the end of an X-acto knife for putting in the holes for I threw my first pot with porcelain, which is not typical for dispensing the salt and pepper (figure 9). Tip: Be careful most people starting off at the wheel. I’ve worked with this not to make the hole too big or too small. i usually dab type of clay for 18 years and have experimented with dif- water on the holes before glazing to keep glaze in that ferent brands and even used white stoneware at times. area thin so that it does not clog the hole. if you find that The one thing that remains constant when working with it does flow into the hole during the firing, a diamond porcelain is how much you have to baby it. I’m always drill bit works wonders for drilling out the clogged hole. misting my pieces with water and covering them up to allow the moisture content to even out and then keep them Creating the Stage under plastic to allow them to slowly dry out prior to firing. For the tray, start by making a thrown slab. this time the I admit that over the years with being a full mom/teacher, slab will form the top of the tray rather than the bottom. I have rushed the process to meet deadlines. Although Use approximately ¼ pound of clay to throw the bottom- I’ve had some success with this, I know that the best results less cylinder and throw it to a height that will comfort- come from patience and knowing when the clay is ready ably fit your shakers when laid out as a slab (the height to be handled. becomes the width of the slab). I have also found that trying to patch hairline cracks in Use another ½-pound ball of clay for the bottomless porcelain is more time consuming than just making the cylinder that makes up the base of the tray. in order to piece over again. This advice holds true for adding clay ensure that the shaker set will fit on the tray, i place two to the surface, incising into the body, and applying stains shakers very lightly on my slab and make a slight impres- and slips. sion so i can get an idea of how wide i need to make the To address imperfections, like scratches or bumps on cylinder. i then take a string and measure the perimeter the surface, I sponge them away instead of using sand pa- of this area (figure 10). that measurement becomes the per. When bisque pieces come out of the kiln, I use a fired circumference for the thrown foot ring (figure 11). Note: porcelain stick to rub away and eliminate rough spots and, remember to leave a ledge on the outer part of the ring. again, stay away from the sand paper because of the dust. this ledge will once again help with securing down the Because I like to cut, push, and embellish my pieces so cylinder to the slab. Clean up the sides with a metal rib much, I am constantly reinventing the ways that I work with and use a sponge to make sure the edge is rounded off. this type of clay body. the next step is to transfer the cylinder to the slab. it’s a bit tricky and needs to be done quickly. First, score the slab where it will attach to the foot ring, and add a small amount of water to create a suction between the two glazing parts. Cut the freshly thrown rim off of the bat and quick- While the piece is leather hard, i apply stain to certain ly but gently pick it up using both hands (figure 12) and areas with incised lines or textures, and then scrape off the place it on the slab. Carefully reform the ring to match excess. Once my pieces are bisque fired (figure 15), i mask the scored area on the slab, whether that is round, oval, off the parts i want to leave white with wax and, once the or squared. Press the extra ledge of clay from the bottom wax dries, glaze the rest by dipping the entire piece into of the ring into the slab to secure the joint. the glaze bucket. the glazed pieces are fired in an elec- Let the tray set up until it is leather hard, and repeat tric kiln to cone 8 using a glaze color palette consisting of the finishing with a Surform the same way as the shaker. aqua, green, and yellow. the last step is adding a cork to Once the tray is refined and has set up (but is still leather seal the fill hole in the bottom of the shakers (figure 16). hard), i add a lip around the top edge using colored clay Jen Mecca is a working potter living in Gastonia, North pressed from a mold (figures 13 and 14). this prevents Carolina. To see more of her work, visit her web- the shakers from sliding off. after attaching it, i go back site, jennifermeccapottery.squarespace.com and her Facebook with a small coil of soft clay and reinforce the seam. page: Jennifer Mecca pottery.

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Material, and Form by Billy Lloyd function first started making porcelain tableware during my at present, i make thrown porcelain tableware intend- apprenticeship with leading potter and writer Julian ed for use. My aim is to combine a clarity of design with Stair at his London studio. Prior to that, during my the nuances of making by hand. i use porcelain because I three years at Camberwell, i was encouraged to de- of its density and strength when fired, the purity of its velop a conceptual line of inquiry, which leaned more color and ability to enhance form. to ensure that my ta- towards a sculptural rather than functional approach. bleware is robust enough to endure the demands of con- Combining throwing and handbuilding, i produced ro- sistent use, a generosity of material and form has been bust geometric forms, softened by the textures of the applied—walls are thick and handles are comfortable to grogged brick clays and stoneware bodies that i had hold with confidence. it is of equal importance, however, adapted. Function nonetheless played an important part that the process used to produce the work is conspicuous in the development of my ceramics; i drew inspiration in the resultant form. although i strive for consistency, from mass-manufactured products, materials, and pro- the thrown nature of my pots means that one piece will cesses and, consequentially, developed a strong indus- always be slightly different from the next and i have trial aesthetic. learned to work with that rather than against it.

PotteryMaking Illustrated | September/October 2012 35 making a lidded jar Reductive Design Throwing One of the defining features of my ceramics is its clar- Center a ball of porcelain ity of design. Balancing material, form, and function for the jar. When throw- is a fascinating objective. My pots are stripped of any ing the jar, an appropriate superfluous embellishments that would detract from height is usually achieved the graphic profile i aim to achieve. this notion is in three pulls (figure 1). echoed in the collective use of form—currently, i use throw the gallery by one shape from which a whole range of tableware pressing down on half of emerges—a conical form that can be inverted to flare. the rim with a straight- in applying this economy, a positive coherency and sided steel kidney rib (figure 2). this should structure is apparent throughout the range. be done at a relatively Questions and Associations slower pace compared to While a distinct reduction of form is apparent in my the throwing of the ves- design aesthetic, i am intrigued by the seemingly end- sel. Measure the width of 1 the jar’s gallery with cali- less possibilities of combining material, form, and Throwing the jar. An ap- pers (figure 3) and save function. take a simple everyday object, such as a propriate height is usually the measurement for use mug for example. it is a vessel that contains a vol- achieved in three pulls. when throwing the lid. ume. it has an interior and an exterior, a base, a foot, throw the lid as a low, thick cylinder. Use the caliper a handle, and a rim. the wall is of a certain thick- measurement as a guide for the diameter of the flange ness, and so the mug is a certain weight. it could be that sits down inside the pot. With a wooden rib, press cylindrical, oval, square or triangular in form. is it down on the outer half of the thick rim, defining the symmetrical? does it have a curved or straight-sided flange (figure ).4 ensure the width of the flange is the profile? it is colored, patterned, rough, or smooth? same width as the jar’s gallery, checking with the cali- Only when you start to deconstruct an object do you pers again (figure 5). remove excess clay from the sides realize the multifaceted nature of designing and mak- of the lid, using the outside diameter of the jar’s rim as a ing functional work. guide. the closer the lid is to being finished at this stage, i hope that my pots encourage people to re-exam- the less trimming there is to do later on. refine the lid’s ine our associations with the belongings we choose. flange with a steel kidney (figure ).6 What is its purpose? What is it made of? how is it made? What does that mean to me? these are some key questions that shape my understanding of the material world we live in. the glazed porcelain lidded jars illustrated here embody reoccurring themes within my tableware— a concern for scale, proportion, and repetition. the notion and delivery of scale can be complex, but if you can design and make an object that has as much impact on a small scale as it does upon enlargement you will have achieved a refined object of elegant proportions. i often create and display small groups of pots (jugs, bowls, or lidded jars for example) ascend- ing in scale as a means of demonstrating this. this arrangement also refers, not entirely but in part, to a modular format i have adopted with some of my pieces—mugs stack on top of each other and bowls 6 7 nest inside one another. in doing so, the pieces echo Remove excess clay from Trim the exterior wall of the collective use of a singular form and the repetitive the lid and refine the lid’s the leather-hard jar using a nature of batch production. flange with a steel rib. ribbon trimming tool.

36 PotteryMaking Illustrated | September/October 2012 2 3 4 5 Throwing the gallery Measuring the width of the Throwing the lid’s flange Matching the width of the with a steel rib. jar’s gallery with calipers. with a wooden rib. flange to the jar’s gallery.

Trimming after the jar has dried to a leather-hard state, place it Place the lid onto the jar and assess the fit (figure 11). upside-down on a centered chuck that fits the interior next trim the top of the lid with a steel turning tool diameter. trim the exterior wall of the jar with a ribbon (figure 12 —the tool pictured here was bought for me in turning tool to remove excess clay (figure 7). refine and Japan by Lisa hammond in 2006). Place the lid upside straighten the exterior wall of the jar with a straight- down on a chuck (this one is a flared out cylinder that sided steel rib (figure 8). trim a foot-ring into the base supports and stabilizes the lid securely) and trim the (figure 9). For my work, i also trim a central location flange and refine the interior (figure 13). i am looking for my stamp using a narrow steel kidney. Flip the jar for a relatively tight fit, however, some tolerance is nec- over and trim an angle into the rim of the jar and refine essary to avoid a fusion of the two components during the gallery (figure 10). the glaze firing.

8 9 10 11 Refine and straighten Trim a foot ring into the Trim an angle into the rim Place the lid onto the jar the exterior wall using a base. Add a trimmed circle of the jar and refine the and assess the fit of the straight steel rib. for a stamp. gallery with a rib. rims and of the lid flange.

PotteryMaking Illustrated | September/October 2012 37 12 13 14 15 Trim excess clay from the Using a flared chuck for Align the lid and jar, trim- Stamping my B (a metal let- top of the lid with a steel support, trim the lid flange ming the exterior walls terpress) onto the trimmed turning/trimming tool. and refine the interior. using a steel kidney. circle on the base.

align the lid and jar, this time placing the jar upside down the exterior is dipped into the glaze. the dipping here is onto the lid, supported by the chuck. trim the exterior walls carefully done in a sweeping motion so as not to amass a using a steel rib (figure 14). it is important that the exterior build up of air bubbles on the top surface of the lid. the profile, spanning the jar and the lid, is continuous. the last bubbles can ultimately be rubbed down if necessary but step for me is stamping my B (a metal letterpress) onto the if they can initially be avoided then it saves time further central location (figure 15). a flat-ended rolling pin is used down the line. now that the jar has dried out i can glaze to brace the interior of the base to ensure the clay does not the exterior: i firmly brace my index, middle, and ring crack when i press down into the clay with the stamp. fingers (from both hands) on the interior of the jar. the Lastly, place the lid onto the jar, and clean up the exteri- jar is picked up and dipped (initially at a slight angle be- or surface with a wet sponge. the lidded jar is now com- fore straightening to ensure no air bubbles occur on the plete and ready to dry slowly over the course of a week. base, a process similar to glazing the outside of the lid) into a bucket of glaze in an upright position at a steady Glazing medium pace. Carefully, i stop the descent into the glaze i use a clear glaze (a recipe that was kindly donated to once the jar is submerged up to the rim so as no glaze me by Julian Stair), which enhances the whiteness of the spills into the interior. i hold it in situ for three seconds porcelain while adding to the functionality of the object. before taking the jar out of the glaze and onto a steady Using my wheel as a turntable/ banding wheel, i brush surface to dry. wax resist onto the foot ring, the lid’s flange, and the Finally, i rub down any drip marks or air bubbles with jar’s gallery to minimise any potential glaze adhesion to my finger or a flexible stainless steel kidney rib and wipe them and therefore the kiln shelf. there are two other away any excess glaze that may have found its way onto reasons for this: aesthetically, i appreciate the contrast the foot-ring, the lid’s flange or the jar’s gallery. the lid- between a glazed and unglazed surface and the fact that ded jars are then packed into my electric top-loading kiln the contact points of the jar and lid refer to my chosen and fired to 2300°F (1260ºC) at a rate of 212°F(100ºC)/ material—porcelain. also, it means that i can fire the lid hr to 1112°F (600ºC) then 392°F (200ºC)/hr to 1260ºC in position and therefore minimise any potential warping with a 15-minute soak. Once the contents of the kiln that can often occur with porcelain at high temperatures. have cooled to touch, i sand the unglazed surfaces on the Secondly, i pour glaze from a jug into the jar. as i pour jar and lid with wet and dry emery paper (under water) it out, i turn the jar in my hands to ensure an even dis- to leave a smooth, tactile surface. n tribution. the jar is then left to dry (ideally overnight) Billy Lloyd is a studio potter living in London, England. He com- before i glaze the exterior so the glaze absorption is not pleted a Ceramics BA at Camberwell College of Art and Design affected by excess water from the interior. Meanwhile, i (2003–06) and an assistantship with soda-firing potter Lisa Ham- mond at Maze-Hill Pottery, followed by an apprenticeship with turn my attention to the lid, which is glazed in a similar Julian Stair (2007–11). He currently has studio at Cockpit Arts in manner to the jar: the interior is glazed first (as the lid is Depford, London, where he was awarded the Cockpit Arts Award shallow, i fill it to the brim before pouring out) before in 2011. To see more of his work, visit www.billylloyd.co.uk.

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PotteryMaking Illustrated | September/October 2012 39 instructors file Replacing Kiln Elements by David Gamble

Tools Needle-nosed piers Electrical crimping/stripping tool (see figure 9) Phillips screwdriver Vacuum cleaner Masking tape and marker to label 1 the feeder wires Collapsed elements are just one of the signs that they need to be replaced.

ow do you know when it’s time to replace fect element and thermocouple life. Materials high in elements? When I was only doing low-fire, organic material reduce their life, while firing porce- Haround cone 03 maximum, I rarely had to re- lains and/or cleaner clays, with fewer contaminants place elements. Now that I'm also firing to cone 5–6 in them, means your elements and thermocouples and experimenting with slow cool-downs with 1–3 should last longer. hour holds, this has affected the life of the elements. If you keep a record of your kiln firings, you'll notice As artists we tend to do whatever it takes to create that they take longer and longer to reach the desired the art and surfaces we want, sometimes at the ex- cone. My kiln controller gave me an error message that pense of our tools and equipment. You need to know at about 1950°F it could not raise the temperature fast that the clays and glazes you fire in your kiln also af- enough to meet the controller’s firing program. There's

2 3 4 Open the control panel box, detach Label all wires and take pictures as you On kilns with multiple rings, lift the wires connecting it to the kiln, and go. Label each with letters that corre- sections off and place each onto take the control panel off the kiln. spond to the element it attaches to. sculpture stands for easy access.

40 PotteryMaking Illustrated | September/October 2012 also the possibility that one or more elements can go out, have videos of how to replace elements, thermocouples, causing the kiln to not reach temperature. bricks, etc., on their sites and on YouTube. Seeing some- To check your elements, a visual inspection can reveal one else do it and being able to pause and watch it again some information (figure 1). To see if current is getting can give you great information and the confidence you through, you can turn on the elements when the kiln is need to repair your kiln. empty and peek into it and see if any elements are dark. A kiln repair person uses a volt/amp/ohm meter to test Ordering New Elements each element, and you can purchase one of these online You need the kiln model, voltage, and phase to order or at your local home center for between $20–$30. elements. These specifications are critical to the safe and Today, computer kiln controllers, depending on the efficient performance of your kiln. Elements can vary be- model, can provide anywhere from an error message to tween models and within the same kiln, so be sure to a full-blown diagnostics of your electrical system. Make order the factory-recommended elements for your model sure you read the owner's manual for complete infor- and install them in the correct positions. Even if just one mation or visit the manufacturer website and check out element is bad, it is recommended that you replace all their support materials. As a visual/art person, I hate to elements at the same time since another element could read this type of stuff. Fortunately, some manufacturers fail on the next firing. I have a KM1027 Skutt kiln that's

5 6 7 If your kiln requires pins to hold in the Adjust preformed elements by Insert new element pins into the elements, gently remove them with compressing or stretching as needed corners of the soft-brick grooves at a needle nose pliers. between bends. downward angle.

8 9 10 Pull the element pigtail snug and Use a pair of side cutters to trim the Some kilns require a crimped connec- 5 mark it at ⁄16 inches from the porce- excess wire from the pigtail end of tor while others use a screw connec- lain insulator. the element. tor (shown here).

PotteryMaking Illustrated | September/October 2012 41 12. Soft brick grooves require element pins. Once the elements are in place, insert new pins in the corners of the bricks in a downward angle. New pins come in the replacement element bag (figure 7). 13. Replace the porcelain insulators on the outside of the kiln, sliding them over the ends of the element pigtails. 14. Pull the element pigtail gently through the hole as far 5 as it will go and mark it ⁄16 beyond the insulator (figure 8). Using side cutters to cut it to length (figure 9). 11 15. Strip ¾ of the insulation off the correct feeder wire and bend the exposed wire over so it is doubled. This Vacuuming out the reassembled kiln. allows for a better fit in the barrel crimp connector. 16. Attach the barrel connector by first gripping it with engineered to fire evenly partly by having top and bot- a dimple-crimping tool. Make sure the crimp point tom elements that are hotter than the center elements. is lined up over the place where you wish to make They come packaged with this information on them. If the crimp. Reach inside the kiln chamber and push your elements are different configurations, replace only the element through the hole as far as it will go and one element at a time so you don’t mix them up. slide the connector over the pigtail so the end of the pigtail is in the center of the connector and crimp Step-by-Step Instructions down hard. When you let go, the connector and Remember that the following instructions vary from kiln porcelain insulator should be snug against the heat to kiln, but these basic instructions are valid for the vast shield. Place the feeder wire/wires into the other end majority of them. Make sure you get the proper instruc- of the barrel connector and make a secure crimp. Dif- tions for your particular kiln. ferent manufacturers can have different hardware to 1. Unplug the kiln and/or turn off the breaker. connect elements to the feeder wires such as screw 2. Remove the screws on the control box cover. connectors that hold the elements and feeder wires 3. Remove the wires from the controller panel from the together by tightening a screw down onto a small kiln (figure 2). metal plate inside a small open metal rectangle (fig- 4. Disconnect thermocouple wires and label each wire ure 10). Use what is recommended. with a marker and masking tape (figure 3). 17. Repeat previous steps for each kiln section, then reas- 5. Unload the tension on springs and remove the lid. semble the kiln. Vacuum out the kiln (figure 11). Place it gently on a flat surface. 6. Unlatch the sections and place one kiln section at a Tips for Success time where you can comfortably access it (figure 4). Do only one section of the kiln at a time to keep from 7. Cut off the feeder wire that leads to the elements as getting confused. That way, if your work is interrupted, close to the barrel connector as possible, then cut the it will be easy to pick up where you left off. Run diag- barrel connector off the element pigtail. This will re- nostics if your controller has the capability. If it checks lease the element so it can be removed. out, run a test bisque firing to make sure everything 8. If your kiln requires wire pins to hold in the elements, works properly. Use self-supporting cones to check that use needle nose pliers to carefully remove the element the temperature is correct on all firings. Cones indicated pins in the angled brick joints (figure 5) and then whether a firing was right on or whether the elements, slowly and gently remove the element. thermocouple, or controller might need attention or re- 9. Thoroughly vacuum debris from the element grooves. pair. I’ve had hundreds of successful firings in this kiln 10. Check you have the correct replacement element and and with the new elements I look forward to hundreds cut off the end loop on the pigtail so you can push it more. This was a fairly easy process for me especially through the terminal hole. with seeing the video and talking to technical services. 11. Elements are engineered with slight bends that match This took me a little over a half a day to complete. I do the angled brick corners that allow them to rest nice- realize that everybody’s comfort level is different. You ly in the groove of the brick. Make slight adjustments can also find a qualified Kiln repairman to do all of this by stretching or compressing the element (figure 6). for you in most areas. n

42 PotteryMaking Illustrated | September/October 2012 Finding One’s Way With Clay by Paulus Berensohn, receipient of the “Distinguished Edu- cators Award” from the Renwick Alliance of the Smithsonian. Available at Trinity Ceramic Supply for $26.50 USD plus shipping.

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PotteryMaking Illustrated | September/October 2012 43 finding one's way quarter page.indd 1 3/16/2012 2:32:58 PM off the shelf Majolica Decoration and Ceramic Decals by Sumi von Dassow

y students consistently ask about two decorating techniques that I have never tried: ma- Mjolica and laser decals. Majolica is a centu- ries-old tradition of painting colorful decoration over a tin-based white glaze, while laser decals take advantage Ceramic Decals: Majolica Decoration: New Ideas and Techniques Creating Colorful Surfaces of modern printer technology to transfer imagery to the with Justin Rothshank with Linda Arbuckle ceramic surface. While the two techniques are very dif- The American Ceramic Society The American Ceramic Society ferent in character and in skill-set, they offer a change Westerville, Ohio, 2012 Westerville, Ohio, 2012 from the usual dipped, poured, or sprayed glazes and ceramicartsdaily.org/bookstore ceramicartsdaily.org/bookstore provide a way to add imagery to your work. So I was very excited to discover that two new DVDs in the Ce- form. Her comments about aesthetics and design are in- ramic Arts Daily Presents series cover those two subjects. spirational even if you never try majolica yourself. Majolica Decoration: Creating Colorful Surfaces In Ceramic Decals; Justin Rothshank covers what is with Linda Arbuckle offers you the expertise of one of essentially a very simple method of making your own America’s foremost practitioners of the art of majolica. decals, taking advantage of the fact that laser printer ink Arbuckle is clearly a great teacher and we are lucky to contains large amounts of iron oxide. Rothshank dis- have her wisdom and knowledge captured in this 2-disc cusses which laser printers to choose, how to find out if set. While the basics of majolica are not very complicated, the ink contains enough iron, what kind of decal paper this DVD covers her methods in great detail. It is tradi- to use and where to get it, how to manipulate images tional to do majolica decoration on red earthenware using and print them onto the decal paper, and, of course, how a low-fire white glaze, and this is what is demonstrated to apply these decals to your pottery. The resulting im- here. Traditionally, majolica painters mix their stains with age is only one color, black or rust-colored if applied to appropriate fluxing materials but Arbuckle uses commer- white glazed ware, so your imagery needs to be carefully cial underglazes directly on her base white glaze. This is chosen. This is an ideal way to print a black-and-white a time-saving step that takes away some of the drudgery photograph, text, or a line drawing onto a piece of pot- of the technique, though Arbuckle does include recipes to tery, but you can use any imagery that can be rendered try if you want to mix your own stains. There are also in black and white. One of the things Rothshank touches recipes for the necessary white base glaze, including a cone on in this DVD is how to use Photoshop to manipulate 6 version. But the recipes, and even the basic method of imagery. Rothshank has explored layering decals, firing working, are only the beginning of what this DVD set has them multiple times, applying them on glaze and on bare to offer. For starters, Arbuckle almost never paints on one clay, and using them on work fired in a variety of atmo- color at a time—she mixes the colors right on the paint- spheres including on wood-fired work. Rothshank also brush, or even on her thumb, so that each brushstroke or uses commercial decals in combination with laser decals thumbprint blends two, three, or four colors which fade to add color and discusses how to use them and where from one to the next. She also never colors within the to get them. The end of this DVD includes firing sugges- lines—she puts the colors on, and then adds the lines! The tions and lists of suppliers and materials. one other material she makes liberal use of is wax resist, Both of these DVD sets make their subject matter seem to cover her foreground imagery before painting in the accessible, both leave you wanting to try out what you background. But “how-to” is not the only valuable aspect learned, and both offer enough information to get you of this DVD set. Throughout these DVDs, Arbuckle of- on your way. As Arbuckle says, “just add practice.” n fers her insights into design composition, imagery choice, The publisher advises readers that certain decal applications onto sources of inspiration, and making the imagery fit the ceramic surfaces may be subject to Patent No. US 7,622,237 B2.

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www.ceramicartsdaily.org/bookstore Edited by Anderson Turner

PotteryMaking Illustrated | September/October 2012 45 presents Top Artists and Their Techniques

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

with Amy Sanders with

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

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

DEB SCHWARTZKOPF SANDI PIERANTOZZI MARK PETERS ERIN FURIMSKY uses AMY SANDERS blends demonstrates making explores the infinite demonstrates how he a variety of materials to a background in fabrics functional vessels using possibilities of working creatively alters wheel- demonstrate how you can with the versatility of clay a variety of throwing and with textured slabs and thrown functional pottery, create visual depth to your to develop the techniques handbuilding construction templates by simply then assembles forms surfaces using several to create richly textured techniques. asking “What if?” afterward off the wheel. techniques at a time. handbuilt and thrown pieces. 2 hours - $59.95 3 hours - $69.95 3 hours - $69.95 2 hours 45 min. - $69.95 5 hours - $99 ceramicartsdaily.org/bookstore 866-672-6993

2013 POTTERS COUNCIL Juried Show GREEN

Jurors: Founding Members Cynthia Bringle and Jonathan Kaplan 2013 Deadline: September 4, 2012 CALL You can think of GREEN as an ecological movement, a human emotion, a favorite place, a state of mind, a beautiful color, a celebration FOR of life, or any other idea that inspires you. You can be totally serious or seriously playful. We invite you to let your imagination run free. ENTRIESre Information about the Call for Entries: http://ceramicartsdaily.org/potters-council/2013-potters-council-juried-show/e 46 PotteryMaking Illustrated | September/October 2012g n TRURO CENTER FOR THE ARTS Castle Hill INdEx to advErTISErS Fall & Winter Clay 2012 Aardvark Clay ...... 33 Faculty Include: AccuAngle ...... 39 Hayne Bayless ACerS Books ...... 45, 46 Jim Brunelle Linda Christianson Amaco and Brent . . . .Cover 2, 11, 21 David Moulton Brian Taylor Atlantic Pottery ...... 47 Guy Wolff Fall Clay Intensive: Bailey Pottery ...... 1 Hayne Bayless Barefoot Pottery ...... 47 Bennett Pottery ...... 5

 Bracker’s ...... 12 Jim Brunelle Hayne Bayless Carolina Clay ...... 12 Go to www.castlehill.org or call (508) 349-7511 Chinese Clay Art ...... 33 PO box 756,Truro, MA 02666  [email protected] Classifieds ...... 47  Clay Art Ctr/Scott Creek . . . . . 34 Continental Clay ...... 27  Cornell Studio Supply ...... 47  Coyote Clay ...... 7  Dolan Tools ...... 12 www.barefootpotterytools.com Evenheat Kiln ...... 43 Georgies ...... 43 Great Lakes Clay ...... 47 Atlantic HandbuildingTools .com . . . . . 39 Pottery Supply Inc. Herring Designs/SlabMat . . . . . 47 www.atlanticpotterysupply.com Highwater Clays ...... 34 JCC Folk School ...... 45

GREAT NEW HANDBUILDING TEMPLATES! Kiln Doctor ...... 47 Developed by Sandi Pierantozzi. A set of 24 dura- ble, flexible, laminated templates to create Circular L & L Kiln Mfg ...... Cover 4 & Conical Forms. Perfect for Potters or Teachers! www.CircleMatic.com. Larkin Refractory ...... 34

Custom Ceramic Molds – For nearly 20 years, Petro Master Kiln Builders ...... 47 Mold Company has been designing molds for some of the world’s most renowned ceramic artists and potters. Mayco ...... 9 Our innovative molds will help you improve produc- tivity with your popular designs. We set the highest Mudtools ...... 33 American quality standards with our sculpting, mold manufacturing and design services. Visit us today at Olympic Kilns ...... 16 www.custommolds.net or (800) 404-5521. Paragon ...... 12 PotteryVideos.com – DVD’s with Robin Hopper, Gordon Hutchens and Graham Sheehan. Video Peter Pugger ...... 27 Workshops for Potters at all levels of experience. 21 titles; (800) 668-8040; www.potteryvideos.com; Potters Council ...... 39, 46 [email protected]. Runyan Pottery ...... 39 GLAZECAL- A Cheat Sheet for Makin’ Glazes! 16,000 Calculations in Seconds! GLAZECAL converts glaze Sheffield Pottery ...... 43 recipe percentages into the gram weight you need when Skutt ...... 2 makin’ glazes! FASTER and MORE RELIABLE. Don’t be responsible for bad math ruining a bucket of glaze! Smith-Sharpe ...... 16 See www.GlazeCal.com for distributors. Socwell ...... 27 Woodfire Workshop Oct 18-21. Experience a three day anagama-style firing in our community wood kiln at Spectrum Glazes ...... 15 Clayworks Pottery near Lansing, MI. Glazing, stack- ing, firing within an historical perspective guided by Speedball ...... Cover 3 Brent Heerspink and Julie Porter. 1-day informational workshop available. For fees and information visit Trinity Ceramic ...... 43 www.wabisabigama.org. Truro Ctr for Arts ...... 47 WORKSHOPS at Baltimore Clayworks. JASON BIGE BURNETT, Sat–Sun Nov. 10–11, 2012; JEFF Tucker’s Pottery ...... 33 OESTREICH, Sat–Mon Jan. 19–21, 2013. Please www.potterymaking.org visit www.baltimoreclayworks.org or call (410) 578- Xiem Gallery ...... 27 1919 x10.

PotteryMaking Illustrated | September/October 2012 47 Coral Handled Vase, Jingdezhen Vase, Song Dynasty, 11th–12 C. CE

Wine Jar, 1st Century BCE–1st Century CE

Spice Box and Lid, Kangxi period, c. 1715 CE

Tripod Vessel, Zhou Dynasty Lidded Earthenware Jar, 8th Century, CE

Handled Vase, Qing Dynasty, Lantern Stand, early 17th C. CE, Jingdezhen 19th Century CE Gourd Vase with Floral Scrolls, Qing Dynasty, 17th C. CE, Jingdezhen Chinese Vessel Forms 48 PotteryMaking Illustrated | September/October 2012 NEW! COLORED BATS NEW!

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