PMI Nov Dec 03 Covers 10/24/03 12:34 PM Page 1

November/December 2003 In this Issue... Slip Appliqué Decorative Candlesticks A Musical Pot Terra-cotta Arches ... and more!

www.potterymaking.org US $5 (Can $7.50, £4, g6)

Techniques • Tools • Tips • Projects for the Studio Potter PMI Nov Dec 03 Covers 10/24/03 12:34 PM Page 2

R : Setting The Standard for Excellence

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American Art Clay Co., Inc. R 4717 W. 16th St., Indianapolis, IN 46222 USA www.amaco.com (800) 374-1600 • Fax: (317) 248-9300 www.brentwheels.com PMI Nov Dec 03 p1_24 10/24/03 12:36 PM Page 1

“Performance of our Paragon Viking kiln is flawless.” —Jonathan Kaplan “Paragon kilns have consistently large, well ventilated and accessible proved and demonstrated their de- switch box is totally user friendly. pendability over many years for us,” “Paragon’s new Sentry electronic says Jonathan Kaplan of Ceramic De- controller provides a high degree of so- sign Group in Steamboat Springs, Col- phistication yet is totally easy to pro- orado. gram. The controller is remarkably “Paragon has ‘raised the bar’ with flexible and has many built-in options Photo by “Ken Proper Exposure” their current Viking electronic kilns,” that make firing easy and consistent.” Jonathan says. Describing Call or email for more information his Viking, he adds, “The and a free catalog. Find out more craftsmanship of the brick about Paragon’s entire line of exciting, work is unparalleled. The high fire potter’s redesigned electrical system kilns including using mercury relays and the new front well designed wiring in a loading Iguana. Viking-28 • 12-sided, 28” wide x 29” deep interior • Cone 10 • Sectional for easy moving • Drop-down box opens forward 2011 South Town East Blvd., on a bottom hinge Mesquite, Texas 75149-1122 • Spring counter-balance lid 800-876-4328 / 972-288-7557 • Top row of blank 2” high firebrick, which is easy to Toll Free Fax 888-222-6450 replace if damaged www.paragonweb.com • Orton’s Sentry digital controller [email protected]

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November/December 2003 Pottery Making ILLUSTRATED 1 PMI Nov Dec 03 p1_24 10/24/03 12:36 PM Page 2

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2 Pottery Making ILLUSTRATED November/December 2003 PMI Nov Dec 03 p1_24 10/24/03 12:36 PM Page 3

Editor’s Corner Hello! I would like to take this oppor- tunity to congratulate Bill Jones on his promotion to Book Manager of The American Ceramic Society. I look forward to the art books that Features will be produced under Bill’s direc- A Unique Approach To Slip Trailing Applique (Part I)...... 9 tion. I also want to thank him for the wonderful job that he has done with artist Laura Kukkee in guiding Pottery Making Illustrated by Anderson Turner from the beginning to the present A step-by-step process on making and applying thin slabs made from slip. day.The magazine has grown each year with continued improvements How to Decorate a 17th Century in design and content without English Slipware Candlestick...... 15 straying from the original concept. by Irma Starr Bill has also agreed to be on the A decorative technique that can be used for many occasions. Editorial Advisory Board so I will have his input in the future. The Pot Drum:A Demonstration ...... 19 The mission—to provide easy-to- by Daryl Baird understand pottery making tech- Step-by-step production of a simple musical instrument. niques in a well-illustrated, step-by- step format will not change.We will A Workshop on Architectural Ceramics continue to bring you articles on in Tuscany 2003...... 25 throwing, handbuilding and glazing by Marcia Selsor plus other assorted ideas for work- Construction of a terra-cotta arch surrounded by the essence of Italy. ing in clay.We will also continue to have our great departments on Pebble Pots ...... 29 books, online web sites, projects for by Mary White kids and the business column. We Using nature’s simple forms to make elegant clay vessels. will continue to look for new ideas and projects that will make your Lusters and Metallics:A Touch of Glamour ...... 33 time in the studio more enjoyable by Hanna Lore Hombordy and rewarding. Using luster and metallic overglazes to accent your work. I look forward to guiding the future of Pottery Making Illustrated. Please send any comments or sug- Departments gestions to my attention or e-mail PMI Online: Glaze Software...... 6 me at [email protected] by Helen Bates ceramics community is like none other around the world and I am Kids Corner:The Terra-Cotta Warriors...... 40 grateful to be able to serve and be a by Craig Hinshaw member of this group.Thanks! Mint Condition:A Tinglazed Drug Jar, ca. 1680 ...... 42 by Margaret Zimmerman Down to Business: J. H.T. B. H. (Just Happy To Be Here) ...... 44 by Chris Campbell Off the Shelf: Classics on Clay ...... 46 by Sumi von Dassow

Tim Frederich

Cover: Jon Kulczycki brushes off the residue of charred hairs. See story on page 9.

November/December 2003 Pottery Making ILLUSTRATED 3 PMI Nov Dec 03 p1_24 10/24/03 12:36 PM Page 4

Volume 6, Number 6 Editor: Tim Frederich Associate Editor: Sherman Hall Assistant Editor: Renée Fairchild Assistant Editor: Carol Hovarth Editorial Assistant: Jan Moloney Production Manager: John Wilson Circulation Manager: Cleopatra G. Eddie Graphic Design: Debi Hampton Graphic Production: Dave Houghton Web Developer: Allison Ruuska Advertising Manager: Steve Hecker Advertising Assistant: Debbie Plummer Publisher: Mark Mecklenborg Editorial Advisory Board David Gamble, Steven Hill, Anna Callouri Holcombe, Mel Jacobson, Bill Jones, Jonathan Kaplan, Dannon Rhudy, John Toki & Anderson Turner Editorial, Advertising and Circulation Offices P.O. Box 6136 Westerville, OH 43086-6136 Phone: (614) 794-5890 Fax: (614) 794-5892 E-mail: [email protected] www.potterymaking.org Pottery Making Illustrated (ISSN 1096-830X) is pub- lished bimonthly by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081. Periodical postage paid at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society. Subscription rates: 6 issues (1 year) $22, 12 issues (2 years) $41, 18 issues (3 years) $58. Add $18 per year for subscriptions outside North America. In Canada, add 7% GST (R123994618). All payments must be in US$ and drawn on a U.S. bank. Allow 6- 8 weeks for delivery. Advertising: Ad rates and ad information are available on the web site or by contacting Steve Hecker at the address above or by phone at (614) 794-5809. Change of address: Send your change of address via e-mail, to the Circulation Department, or on our web site. Allow six weeks advance notice. Contributors: Writing and photographic guidelines are available on request and on the web site. Mail man- uscripts and visual materials to the editorial offices. Photocopies: Permission to photocopy for personal or internal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 1096-830X, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc. 222 Rosewood Dr., Danvers, MA 01923 USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general distribution, for advertising or promotional pur- poses, or to republishing items in whole or in part in Introducing the any work and in any format. Please direct republication or special copying permission requests to the Senior Director, Publications, The American Ceramic Society, TM P.O. Box 6136, Westerville, Ohio 43086-6136. TThhrrooww -- NN -- GGOO !! (Patent Pending) Back Issues: When available, back issues are $5 *Weighs under 45 pounds and can center 50+ pounds of clay! each plus $3 shipping and handling for the first issue and $1 for each additional copy thereafter. For *Complete - Includes stool, Versa-BatTM, three bats, splash pan. orders outside North America, add $6 ($2 for addi- *Stackable - Reclaim valuable workshop or classroom space. tional copies). In Canada, add 7% GST. Postmaster: Send address changes to Pottery *Portable - Easily carry it to throwing demos or workshops. Making Illustrated, P.O. Box 6136, Westerville, Ohio *Internal storage - For buckets, bats, tools or clay. 43086-6136. Form 3579 requested. *Reversible - With the flip of a switch. GREAT LAKES CALL US FOR MORE INFORMATION CLAY & SUPPLY COMPANY Copyright © 2003 www.GreatClay.com The American Ceramic Society 120 S Lincoln Avenue Carpentersville, Illinois 60110 All rights reserved 800-258-8796 Fax 847-551-1083 email [email protected] www.ceramics.org

4 Pottery Making ILLUSTRATED November/December 2003 PMI Nov Dec 03 p1_24 10/24/03 12:36 PM Page 5

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November/December 2003 Pottery Making ILLUSTRATED 5 PMI Nov Dec 03 p1_24 10/24/03 12:37 PM Page 6

Glaze Software “Why doesn’t the glaze fire the way the textbook shows it?” If you’ve ever asked this question, here are some programs that can tell you how to fix glaze problems, adjust for temperature and more.They can show you how to substitute materials, create your own glazes, or even use your own materials. Glaze calculation programs have been used in the ceramic industry for some decades now, but in the past few years, with the growing graphic capacity of modern computers, many potters are thinking of getting their own glaze software. Meanwhile, as for most types of knowledge nowadays, there are software developers large and small who have put their work out there by Helen Bates on the Internet for fun or for profit. What I have collected here includes two fully-developed commercial software appli- cations from opposite sides of the world and a few others, some which are for sale, and some where a donation is all that is asked of you by the makers.There are also a couple of simple online applications for analyzing a glaze recipe, and others where the software is meant as a database and tracker, rather than a full analysis tool. If you are contemplat- ing making your own glazes, and there are many arguments in favor of doing this if you can, then have a look at these sites, especially the Digitalfire and the Matrix sites. Digitalfire®’s Insight™ by Tony Hansen (Medicine Hat,Alberta, Canada) http://digitalfire.com/ This is the well-known Insight™ glaze calculation software by Tony Hansen of Alberta, Canada. There is a downloadable trial version on the web site. Although time-limited, it functions normally; however, it lacks some of the features of the pur- chased version. Digitalfire® has built a ceramics education database at its newest web site, which you can access from the main page, or at: http://ceramicmaterials.info. It provides several ways to search for information: “Find a Material” where you can do simple and complex searches or browse a catalogue;“Study an Oxide”, with another catalogue and search engine; “Education”, with a browsable library, a glossary, and a database where you can learn about oxides and materials according to selected prop- erties.The web site also has links to ceramic consultants world-wide, and a “Materials Table Download”, where you can acquire a materials file for your Insight™ software customized for your part of the world or even individualized for you. Matrix™ by Lawrence Ewing, (Otago Polytechnic, Dunedin, New Zealand) http://Matrix2000.co.nz/ Lawrence Ewing’s Matrix Glaze Calculation Software was developed at the Otago Polytechnic School of Art, New Zealand. Besides the normal glaze analysis fea- tures, the program can show and alter line, triaxial and biaxial (quadraxial) blends, and has a special section for using Ian Currie’s “Standard Grid Method”, a systematic recipe method for studying and adjusting glazes. (See: http://ian.currie.to/.) The site’s educational pages will provide you with extensive help and tutorial files on the use of the program, and on glaze theory itself, with plenty of illustrative material from pro- gram screen shots.You can also use the interactive online “Glaze Teach” study units for a basic course in glaze technology. Glaze Exchange© by Fraser Forsythe http://glazeexchange.com/ Fraser Forsythe’s Glaze Exchange is designed for the exchange of information by ceramic artists. Registered members only may make uploads to the site, but visitors may freely view the uploaded recipes.The site is advertisement-free and does not sell or redistribute information. If you do register, retain the “cookie”the site sets on your computer, and whatever you do, don’t allow your browser to permanently refuse cookies, or you will not be able to login again. (This is a good thing to know in any case for your registration on other sites where you want to do business.) Hot Pots© by Dan LaFollette (Oregon, USA) http://greatpots.com/ Dan LaFollette has written a potter’s glaze, clay and firing profile database program for palm devices. It’s free to download. If you like it, send the writer a “tip.” Kent Potters Guild Glaze Calculator by Mike Evans (England, UK) http://www.kentpotters.co.uk/glazecalc/glazecalc.html The KPA Glaze Calculator is a Java Program program written for converting the recipe of a glaze into a formula. From the home page click on KPA Glaze Database, then on “Glaze Calculater.”You can select basic glaze raw materials from a drop-down Helen Bates lives in Ontario, Canada. Check box, type in an amount and press the “Update Recipe” buttons after each addition. out PMI Online at www.potterymaking.org for When done, press the “Recipe to Formula” button for the resultant analysis. complete text, more related sites and past columns.

6 Pottery Making ILLUSTRATED November/December 2003 PMI Nov Dec 03 p1_24 10/24/03 12:37 PM Page 7

You can trust Bailey for the best quality and the best values. You can buy confidently from Bailey and know that you will never pay more, and you will never have a negative experience. We have greatly expanded our selections of wheels, kilns, mixers, pugmills, books, tools, glazes, videos, and other studio equipment. You can depend on Bailey for straightforward technical advice and the best prices. See for yourself. Check out our new selection of Bailey Tools at baileypottery.com 20% off our Huge Selection of Books. And there is no minimum! These are just a sample of the many new titles in stock now. See the complete selection in full color with informative reviews and descriptions. Check out our new additions at our web site at www.BaileyPottery.com.

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VIDEO WORKSHOPS FOR POTTERS Form and Function Ceramic Aesthetics and Design My highest recommendation for anyone interested in learning about form and structure, all the parts and details of good pots as well as how to make specific forms. Bill Hunt, Ceramics Monthly Editor, 1982-94 Making Marks Ceramic Surface Decoration [These videos] are detailed, comprehensive, intelligent, high-quality productions. Richard Aerni, Studio Potter Network Beginning to Throw It’s hard to imagine a more lucid or comprehensive introduction to the subject . . . . Highly recommended. Video Librarian Videos with Robin Hopper Visit us at www. PotteryVideos.com Call for our brochure of 21 videos for potters 800-668-8040 PotteryVideos.com, 4922 NE Going, Portland, OR 97218 Phone: (250) 247-8109 Fax: (250) 247-8145 E-Mail: [email protected] Website: www.potteryvideos.com

Statement of Ownership, Management, and Circulation Publication Title: POTTERY MAKING ILLUSTRATED. Publication MAXFIELD Number: 1096-830X. Filing date: October 1, 2003. Published 6 times a year in January, March, May, July, September, and November. Annual CHICAGO HOBBY CERAMICS SUPPLY, INC. subscription price: $22.00. Office of Publication: 735 Ceramic Pl., CINCINNATI’S LARGEST HOBBY CERAMICS Westerville, Franklin County, OH 43081-8720. Publisher: Mark Mecklenborg, 735 Ceramic Pl., Westerville, OH 43081-8720. Editor: Bill AND POTTERY SUPPLY HOUSE Jones, 735 Ceramic Pl., Westerville, OH 43081-8720. Managing Editor: none. Owner: The American Ceramic Society, 735 Ceramic Pl., Westerville, OH 43081-8720. Stockholders owning or holding 1% or Creative Industries Potters Wheels more of total amount of stock: none. The known bondholders, mort- gagees, and other security holders owning or holding 1% or more of total Scott Creek Pottery Extruders amount of bonds, mortgages or other securities: none. The average num- ber of copies each issue during the preceding 12 months: Distributing for Standard & Columbus Clays a) Total number of copies (Net press run) ...... 17,675 b) Paid and/or Requested Circulation Raw Materials — Giffin Grip 1) Paid/Requested Outside-Country Mail Subscriptions: . . . . .11,326 2) Sales through dealers and carriers, street vendors, Pottery Tools from Kemper and counter sales and other non-USPS paid distribution: ...... 3,193 c) Total Paid/Requested Circulation: ...... 14,519 Ceramic Supply d) Free Distribution by Mail Standard Ceramic 1) Outside Country ...... 739 L&L Kilns Evenheat Kilns — Sculpting Rasps e) Free Distribution Outside the Mail (Carrier or other means) . .1110 f) Total free distribution ...... 1849 Laguna Brushes, Lamp Parts, Porcelain Slip, Clock g) Total distribution: ...... 16,368 Movements & Music Boxes h) Copies not distributed: ...... 1307 Amaco/Brent i) Total: ...... 17,675 Duncan Percent paid /requested circulation ...... 89% Colors from Duncan, Mayco, AMACO, The actual number of copies for single issue nearest filing date: Opulence Kimple, Doc Holliday & Dona a) Total number of copies (Net press run) ...... 16,500 Spectrum b) Paid and/or Requested Circulation 1) Paid/Requested Outside-Country Mail Subscriptions: . . . . .11,241 Dolan Purchase Orders & Credit Cards Welcome 2) Sales through dealers and carriers, street vendors, School Discounts Available counter sales and other non-USPS paid distribution: ...... 3,395 Kemper c) Total Paid/Requested Circulation: ...... 14,636 4761 Creek Road d) Free Distribution by Mail Cincinnati, OH 45242 1) Outside Country ...... 213 942 Pitner Ave. e) Free Distribution Outside the Mail (Carrier or other means) . . . .66 Toll Free Order Line: 1-800-783-5871 f) Total free distribution ...... 279 Evanston, IL 60202 g) Total distribution: ...... 14,915 Customer Service: 513-793-5545 h) Copies not distributed: ...... 1585 847.425 .1900 Fax: 513-793-5109 i) Total: ...... 16,500 Percent paid /requested circulation ...... 98% Fax 847.332.2575 www.maxfieldceramics.com I certify that the statements made by me above are correct and complete: Mark Mecklenborg, Publisher

8 Pottery Making ILLUSTRATED November/December 2003 PMI Nov Dec 03 p1_24 10/24/03 12:37 PM Page 9

PART I A UNIQUE APPROACH TO SLIP TRAILING APPLIQUE´ WITH ARTIST LAURA KUKKEE

by Anderson Turner

This process involves applying thin colored clay slabs made by utilizing colored slip and different techniques to a soft leather hard pot.

It is often taught that the artists must strive to be SLIP TRAILING APPLIQUÉ wholly original.We must envision something great and What you’ll need: ball syringe, newsprint, spray bot- new and then apply it to our art, thus astounding all tle and plaster slab (optional). Laura sets the plaster on who happen by the work we’ve made. This is a tall two pieces of wood to keep slab well ventilated, thus order to say the least. Many a great idea has fallen by discouraging mold.You will also need the colored slips the way side because the artist is unsure of how to exe- of your choice. cute the desired result. Often, it is the subtle change in a technique that can lead to impressive results. One example of that type of change is in the work of artist Laura Kukkee. Laura a native of Toronto, Canada did her under- graduate studies with Bruce Cochrane at The Sheridan School of Crafts and Design in Oakville, Ontario and developed this technique in the craft studios at Harbour Front Centre in Toronto. Utilizing slip or engobe in the decoration of clay has been happening for thousands of years. From the Ancient Greeks and Chinese to the 17th century country English potter, the use of colored slip has been an important part of the decorative arsenal of nearly every clay artist. Laura is currently working with ideas surrounding the notion of a fragment.“This fragment is in the form of an image or a pattern which is divorced from its Finished pieces. original meaning. By pulling fragments outside of their traditional contexts and restructuring the way in which Recipes: they are presented, meanings become more elastic.” Sheridan Studio – colored slip Her results in the research are both exciting and new, Cone 6-10 and they offer a chance for individuality that every Grolleg Kaolin ...... 45.8% artist strives for. Kona F4 Feldspar ...... 24.6 Pyrophyllite ...... 8.2 NOTES ON SLIP Bentonite ...... 5.1 Slip, as defined by Vince Pitelka in his book Clay:A Silica ...... 16.3 Studio Handbook, is clay suspended in water, usually the 100.0% consistency of thick cream. It may be colored and used Plus 15% stain of your choice. to decorate surfaces, or may be cast into plaster molds Clay Body to create ceramic forms. For this technique Laura uses Cone 6 slip the consistency of a thick cream as well as slip that 6 Tile Clay ...... 50 lbs. is substantially thinner. She utilizes water and Darvan EPK Kaolin...... 25 OM4 Ball Clay ...... 25 #7 to get the “flow” of the slip she desires. It’s a good G200 Feldspar ...... 45 idea to test all slips, engobes and glazes before using Frit 3124 ...... 10 them on your own work. Silica ...... 45 Whiting ...... 4 Bentonite* ...... 3 Plus 2 Handfuls of Epsom salts *you should soak Bentonite overnight.

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SLIP TRAILING APPLIQUE´

Step 1 Step 2 Wet a piece of newsprint with spray bottle so that it is damp and Whatever color you use first is going to be the outline of the pat- not soaking. Be sure to smooth the paper out, so you don’t get tern you’re making. For this demo I’m using black slip, though I ridges—smoothing helps the paper absorb water. have often used other colors. It’s a good idea to mix and sieve slip thoroughly beforehand to blend all the materials. Dip the syringe in the slip and fill it.

Step 3 Step 4 To get the bulb flowing, try practicing on an extra sheet of paper Slip trail pattern or image of your choice onto paper. before beginning.

Step 5 Step 6 A completed leaf pattern. Pick paper up by the edges carefully.

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SLIP TRAILING APPLIQUE´

Step 7 Step 8 Hold the paper up to light so you can see your pattern better. Set the paper aside and allow slip to dry until the shine goes away. After shine is gone, start laying color in and around pattern.

Step 9 Step 10 I like to apply bands of color together behind the pattern. *You Once gloss is gone, cover colored slip with white slip made of the need to remember you’re building color and pattern from the same ingredients as your clay body with roughly 3% Darvan #7 back or the opposite direction one normally works. Set aside added to the mixture. Make sure the slip is really flowing. Set aside paper and let dry until gloss disappears. and allow to dry until gloss goes away or you’re ready to use. I often make up to four applications of white slip depending on how thick I want the slab to be. Usually though, one application is enough.

Step 11 Step 12 Take the slip-trailed sheet and cover with paper, then smooth. Flip the slab over, keeping new sheet of paper in place. Spray paper with water until damp. Flatten paper so that water spreads evenly.

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USING SLIP TRAILED SLAB

Step 13 Step 14 Begin peeling the corner of paper, being careful not to rip the clay The revealed slip-trailed pattern. sheet.

Step 15 Step 16 Take another piece of paper and place it over the pattern. Make Flip the slab over and remove paper. sure to smooth it out, as this helps remove moisture.

Step 17 Step 18 Now you’re ready to cut shapes to apply to your pot, based upon Remove excess clay from around the shapes. your design.

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USING SLIP TRAILED SLAB

Step 19 Gently peel up one of your shapes. Brush slip onto the white side of the piece using the same white slip. Because of the Darvan #7, there is no need to score.

Step 20 Gently press the piece onto the pot or sculpture you’ve made. The pot should be “soft” leather hard.

Notes on storing clay slabs: I store clay slabs I’ve already made by wrapping them in plastic. I usually have 20 of these sheets going at one time, so I can work with them like I’m making a collage or quilt.

PART II (NEXT ISSUE) A UNIQUE APPROACH TO INLAYING AND SILK SCREENING APPLIQUE´

Anderson Turner is the gallery director of Gallery 138, an affiliate gallery of For your local distributor: Kent State University, School of Art. For comments, contact Anderson at 800.452.4862 • 626.330.0631 • pacifi[email protected] [email protected].

November/December 2003 Pottery Making ILLUSTRATED 13 PMI Nov Dec 03 p1_24 10/24/03 12:38 PM Page 14

oin this growing community of ceramic artists and potters. The Potters Council of The American Ceramic Society (ACerS) is dedicated to meeting the needs of studio potters and ceramic artists by providing forums for knowledge exchange and professional enhancement. PottersJ Council also offers corporate membership for organizations that desire to promote their products & services. Benefits of Individual Membership: • Quarterly Membership Newsletter • Searchable Online Directory of Members • Online Studio Directory • Individual Membership Certificate • 20% Discount on ACerS Products Including Magazines, Books and Regional Workshops • Online Ceramic Resources – Links & Online Forum • Group Vision Care, Hearing, Prescription Drug MARCIA SELSOR, STUDIO POTTER, Programs and the Opportunity to Join Additional Group Medical Programs BILLINGS, MT • Group Discounts on Business & Personal Services I joined Potters Council because it’s an • Free Online Classified Ads organization of and for Potters. It’s been Visit www.potterscouncil.org or call 614/794-5890 wonderful to get to know the other members. for more information or to join. I’ve recommended Potters Council membership Annual Membership Dues $35 to my co-op partners to help them become Corporate Membership Dues $300 more involved in the pottery community. ($200 for non-profit organizations) The benefits also are great. I’ve used the hearing aid discount, the vision benefit, and discounts on magazines.The $240 I saved on my hearing aid more than paid for the membership plus subscriptions and some books! I plan to use Potters Council services to help with credit card processing and a website. P.O. Box 6136,Westerville, Ohio 43086-6136 www.potterscouncil.org Timeless Techniques Each issue of Pottery Making Illustrated contains useful information about all facets of ceramic techniques and processes. We’ve got a limited supply of back issues still available to help you in the studio.

Order online at www.potterymaking.org

First Name (please print) Last Name ❐ July/Aug 03 ❐ May/June 03 Address ❐ Mar/Apr 03 ❐ Nov/Dec 02 City State ZIP Country ❐ Sept/Oct 02 ❐ May/June 02 Credit Card Daytime Phone ❐ Fall 01 ❐ Spring 01 ❐ MasterCard ❐ Visa ❐ AMEX Credit Card Account Number Exp. Date Back issues are available for $5.00 each plus Pottery Making Illustrated $3.00 for the first copy and $1.00 for each addi- PO Box 6136 tional copy for shipping and handling. Outside Westerville, OH 43086-6136 Signature Date North America S&H is $6.00 for the first copy and Phone: 614-794-5890 $2.00 for each additional copy. Checks must be Fax: 614-794-5892 payable in US dollars drawn on a US bank. E-mail: [email protected] PMIBK

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How to Decorate a 17th-Century English Slipware Candlestick by Irma Starr

17th-century English slipware candlesticks are both Step Two charming and fun to make.This kind of candlestick has The next step is to start making the handles. These 2 or more handles attached to it, making it very unusu- can be pulled or extruded handles. If you are pulling al and typical of the 17th century.I have shown the dec- the handles, you may want to weigh out the clay for orating techniques that I use in doing museum reproduc- each handle (see Figure 2).This may help you pull all of tions, but you can decorate these candlesticks to commem- the handles to be the same size. I pull all of my handles. I use 3/4 pound of clay for each one, rolling the piece orate any occasion or for everyday use. I have also includ- of clay into a tapered shape and then pulling the han- ed the clay and slip formulas that I use as a guide for you dle (see Figure 3). I allow them to set up leather hard to follow. before attaching (see Figure 4). Step One Throw a cylindrical form on the wheel with some curved surfaces and a gradual tapering of the form from the bottom to the top (see Figure 1). The top opening should be sized to the type of candles you would like to use. TIP: Don’t forget to account for the shrinkage of your particular clay body. This form can be any height you prefer, but mine are usually between 6" to 12" tall. Set the form aside to become leather hard and then we can begin to attach the handles and add decoration. Figure 2

Figure 3

Figure 1

Figure 4

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TIP: When using large loop-type handles, you can Step Four form them into the shape and size you need, and allow While the candlestick is still in the leather-hard state, them to become leather hard before attaching to the I apply the black slip over the whole piece. The black form.This makes the placement of each handle easier slip that I use, originating from Michael Cardew,should with less distortion of the surface (see Figure 5). be the consistency of heavy cream. I apply this with a soft brush and apply 2 even coats. I then set the candle- stick aside to dry for about 1 hour, allowing the black slip time to set up and become firm on the surface. Step Five We are now ready to begin decorating with the white slip. Fill a slip trailer with the slip.The consisten- cy should be thicker than that of the black slip.You may have to experiment to get just the right thickness. When you squeeze out dots of slip to decorate, you want them to be able to hold their shape. TIP: You may want to experiment with different types of containers to be used as slip trailers. Many of Figure 5 the narrow tipped bottles that come with hair products Step Three or that can be found in drug stores make excellent slip trailers. Using a needle tool or other pointed instrument, scratch the surface of the cylinder where the handles are to be attached, and apply slip before joining. I use Magic Mender for greenware and bisque as my medi- um for attaching handles (see Figure 6). I attach at least 8 handles in an offset pattern (see Figure 7).The more handles that you apply to the piece, the more exciting and charming the candlestick can be. Make sure all of the joint areas are cleaned up and blended into the candlestick cylinder.

Figure 8 Once you have the slip ready, begin placing your decoration on the black slip surface. I begin by placing white dots on the edges of the handles and on the edges of the curves of the candlestick (see Figure 8). Also, I put 17th-century sayings like “THE BEST IS NONE TOO GOOD FOR YOU” on my candle- sticks, but you could write such things as “HAPPY BIRTHDAY” or “BEST WISHES,” etc. on yours. Figure 6 Step Six Another way to decorate is to make some clay stamps that you can use to make small impressions to attach to the candlestick.The designs that I use are typ- ical of the 17th century, but you can make designs of your own. Once I have made my stamps, I bisque fire them so they may be used over and over. Take some soft white clay and make some tiny balls of clay about 1/4 inch in diameter. Press each ball of clay into the stamp transferring the design to the soft

Figure 7

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white clay. Remove from the stamp, apply water to the back RECIPES and attach to the handle or to the candlestick (see Figure I fire my glazed ware to Cone 06 in 9). By using different stamps, an electric kiln. you can create your own Irma’s Red Clay Body: design on the candlestick (see Red Art Clay ...... 165 lbs. Figure 10). Flint Silica Sand ...... 37 lbs. Barium Carbonate ...... 1 lb. Fire Clay ...... 37 lbs. Talc ...... 18 lbs. Figure 9 Irma’s White Clay Body: Step Seven I use Miller #10 from Laguna Clay Once the candlesticks are Irma’s Black Slip Formula: completely dry, carefully place (based on Michael Cardew’s slip) into the kiln and bisque fire to Red Art Clay Cone 04. I usually start the made into a slip ...... 11 pints bisque firing slowly in case Manganese there is any moisture still pre- Dioxide . . . . .12 oz./(340.5 grams) Spanish Red sent in the candlesticks. Iron Oxide . . .12 oz./(340.5 grams) Irma’s White Slip: I use Miller #10 white clay powder from Laguna Clay

Figure 10 Step Eight It’s now time to glaze the candlesticks with my Amber Glaze.This glaze can be made using any commercial clear glaze. I use Duncan’s GL-612. I add 3 grams of Spanish Red Iron Oxide to 1 cup of clear glaze and strain twice through a 150 mesh screen. It’s now ready to apply. I use 2 thin coats of glaze applied over the whole candlestick except the bottom (see Figure 11).

Figure 11

Irma Starr is a professional potter residing in Kansas City, MO. She specializes in slipware ren- ovation work for museums. She can be reached at Finished candlesticks. [email protected].

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18 Pottery Making ILLUSTRATED November/December 2003 PMI Nov Dec 03 p1_24 10/24/03 12:38 PM Page 19

The Pot Drum A Demonstration

by Daryl Baird

This simple drum can be built in as little as seven days.The total time depends on the size of the drum you make and the amount of time you spend finishing it. For this demonstration, a white stoneware clay with medium grog was used.A manual extruder equipped with a ³⁄₈" diameter coil die was used to make the coils. Extruded coils help you make a pot with walls of consistent thickness—a key element to a good sounding pot drum.

“This simple drum can be built in as little as seven days.”

Step 1 A heavy mold is made on the potter’s wheel. The extra weight of the mold helps to keep its place on the lazy susan turntable with- out attachment. The heaviness of the clay requires substantially more drying time than a bowl this size of normal thickness. Failure to dry the mold thoroughly can cause the mold to shatter during fir- ing. The interior surface of the mold should be shaped into a smooth arc and finished with a rib. Once completely dry, the mold is bisque fired to Cone 04. The lazy susan was found in a second- hand store and attached to a small piece of plywood. The plywood can be clamped to a table, if necessary.

Step 2 For convenience of handling and storage, the ³⁄₈" coils are laid in lunch trays on top of paper sheets. The trays will be wrapped with plastic bags from the dry cleaner to keep them moist. On the back- most tray, two coils have been wound into a disk to form the base of the pot.

Step 3 A coil wound concentrically is the start of the drum’s base. Work with moist clay and use a sheet of paper to make it easier to lift and move the disk.

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Step 4 After adding another coil to the disk, the edges are melded. Work carefully from the outer edge, inward, then back to the outer edge. Use moderate pressure and avoid distorting the shape of the base.

Step 5 Aflexible rib, available from most pottery supply companies, is used to smooth the surface after the coils have been melded. This is repeated on the underside.

“For this demonstration, a white, stoneware clay with medium grog was used.”

Step 6 The disk is laid into the mold and pressed evenly all around. The metal rib is used to smooth the surface.

Step 7 The base and coils are very moist and can be melded without roughing the edges. The coil is laid on the base following the edge of the mold. Note the overlap of the end of the previous coil with the starting end of the new coil.

Step 8 More melding. First on the inside, then around the outside. Take your time and do a thorough job of combining the coils. After each round with the fingers, follow with the rib. Save working the rib on the outside for later.

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Step 9 That’s it for the first day on this drum. Covering it with a bucket keeps the clay moist and workable. A dry cleaning bag will suffice if a bucket isn’t available.

Step 10 If the clay surface on the edge of the pot has “skinned over,” it’s a good idea to use a rib with a serrated edge to scrape up the sur- face before adding the next coil. In some cases, a brush load of plain water painted on after scraping will aid the adhesion of the clay.

“A manual extruder equipped with a ³⁄₈" diameter coil die was used to make the coils.”

Step 11 Add two to three winds to the pot before melding inside and out. Lay each coil slightly to the outside of the previous coil to increase the pot’s diameter. Look at the pot from the side to see that the coils are following the desired outer contour. Meld the coils on the inside first. Follow that with the rib employing a motion that smoothes while scraping and thinning the clay. As you draw the rib toward you, support the pot from the inside with your other hand.

Step 12 Now meld the outside of the coils while supporting them from the inside. The lazy susan makes it easy to turn the pot as you smooth. Start at the bottom and work your way up to the top. Follow with your rib using the same drawing/scraping motion employed previ- ously.

Step 13 The lower part of the pot is firming up by now which allows it to be shifted in the mold. Slide the pot up so you can smooth and shape it from bottom to top. Double check your lower melds and hand smooth as necessary.

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Step 14 Progress! Several coils have been added and the maximum diam- eter of the pot has been achieved. The coils are now laid toward the inside edge to reduce the diameter. Note that the old lazy susan got a little too lazy and had to be replaced with a sturdier, warp-resistant model. Give the pot a light misting before it goes back under the bucket.

Step 15 The paddle should be fashioned from a piece of scrap wood to fit nicely in your hand. Be sure to sand off any splinters. Use the pad- dle to shape the pot with light, rapid taps from the outside. Just as with the rib, support the inside of the pot directly opposite the area being paddled.

“Extruded coils help you make a pot with walls of consistent thickness –

Step 16 These coils have been laid very carefully toward the inside edge of the pot rim. The melding work on the inside gets tougher now. Meld the inside first and give it a good visual inspection before proceeding with the outside. The rib follows the melding work and the paddle follows that to help thin and shape the shoulder area of the pot

Step 17 Drawing a moistened sponge from the bottom of the pot to the top edge in a smooth arc helps remove surface flaws. It also helps keep the clay supple. Do this inside and out. At this point, the pot has enough “shoulder” for it to be turned upside down. Before inverting it has to be allowed to firm up to just slightly below the leather-hard stage.

Step 18 The pot has to be firm enough to support its own weight before you can invert it in this fashion. A couple of hours of exposure should be enough. A rag has been placed over the mold before setting the pot down on it to cushion the shoulder of the pot. As before, light, rhythmic paddling helps set the contour and symmetry of the pot. As you paddle, support the pot on the opposite side with your hand.

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Step 19 Here, the pot has been wrapped with the bottom exposed. This keeps the side workable while allowing the bottom to reach leather hard. This is done before adding the final coils to the neck of the pot.

Step 20 The coiling work has been completed. The neck is approximately 2" in diameter at the inside and just about an inch high. More coils can be added for a taller neck and a different sounding drum. Here, the bottom of a flashlight is used to mark a circle that’s about the same diameter as the neck. A small knife is used to remove the clay from the side hole. The plastic between the mold and the bot- tom of the pot helps prevent over drying.

a key element to a good sounding pot drum.”

Step 21 Step 22 Final Steps The finished neck and side hole. The top This detail shows the lip that has been The wall of the pot is thick enough so that hole has been given a slight bead by shap- added to the side hole with a small coil of some light carving or sgraffito-style designs ing with the hand and smoothed with a clay. This is an optional step. If you do add can be made on it. The demonstration pot sponge for the comfort of the hand when the lip, take extra care to meld it well with was painted while at the leather hard stage the drum is played. the surface of the pot and smooth the edge with five coats of terra sigilatta and bur- for hand comfort. nished with a stone to give it a high polish. Red iron oxide was mixed into the final coat and streaked on with a sponge before the final polish. No matter what decoration method you employ, it is important that this handbuilt pot drum be allowed to dry very slowly and evenly under loosely fitting plastic for at least a week. Once it is bone dry, the drum can be once-fired, upside down, in a kiln to Daryl Baird maintains a home and studio in Sagle, Idaho. He is the author of Cone 06. Optionally, the drum can be fired “The Extruder Book” published by The American Ceramic Society.Daryl can the first time to Cone 09, then fired raku- be reached at: [email protected]. style to Cone 05 and treated with post-fire reduction. A display stand was made from an extra coil of clay shaped into a ring. It was fired, then wrapped with jute.

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A Workshop on Architectural Ceramics in Tuscany 2003

by Marcia Selsor As a world traveler I have been inspired by the many Ruthanne Tudball.The facilities include gas, raku and accomplishments of the past and by present artists. I try soda kilns with a wood kiln under construction. to incorporate these into learning experiences when I During a Saturday evening welcome dinner, we chat- teach. Tuscany provides a perfect combination for ted with Ian Gregory over a divine Tuscan meal. experiencing the Mediterranean culture. My class met Ian Gregory was teaching a weekend paper clay at the Royal Victoria Hotel on the Arno River in Pisa. workshop in the studio when we arrived. Our class This provided a room with a view and proximity to a started on Monday,so Sunday we took a day trip to San beautiful example of terra-cotta decoration on an adja- Gimignano, the preserved medieval “City of Towers” cent building. (Photo 1) We exchanged introductions and to the Tarot Garden created by Niki de Saint Phalle. during a dinner in a lovely little trattoria, La Mescita. (Photo 2) It’s an inspirational color fantasy in clay and My group consisted of a diverse bunch of Westerners: glass mosaic. Each building and/or sculpture is based on Pam DiFazio from Crossroads,TX; Dyane Duffy from a Tarot Card. The artist lived in the Empress while Pasadena, CA; Victoria Gonzales from Rio Rancho, directing the continued construction of the garden. NM; Michael Hillman from Glendove, CA; Christie Monday morning we began with a slide lecture con- Lucero from Springerville, AZ; and Lizanette Velez taining an overview of the history of architectural from Puerto Rico, the only non-Westerner. ceramics, beginning with the Gates of Ishtar, Islamic After recouping from jet lag and a leisurely morning use of tile patterns, samples of Giovanni Della Robbia’s visiting the sights in Pisa, we departed by train for the frieze in Pistoia (Photo 3), terra cotta examples from apartments and studio at La Meridiana near the town New York City and contemporary work. The pace of of Certaldo. This is an International Ceramics School workshops in Italy includes a morning coffee break, which has offered classes by international teachers for during which we planned the first project of an arched over twenty years. Pietro Maddalena, the owner and door surround. These projects from three years of my director, trained as a potter in Britain. He has offered workshops will eventually be installed on the grounds classes by many British potters and ceramic artists such of La Meridiana. A series of door surrounds will grace as Michael Casson, Walter Keeler, Mo Jupp and the dining room currently being expanded.

Photo 1 Photo 2 Photo 3 The terra-cotta building a few doors away Dyane and Pam enjoying the colorful Tarot The frieze on the Ospedale del Ceppo in from the Royal Victoria Hotel on the Arno Garden. Pistoia by Giovanni Della Robbia, 1514. River.

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To begin this door surround, tar-paper templates incorporated eggplants, artichokes, poppies, grapes, were reused to provide a repeated size and shape. Tar pears, olives and lemons into the arch. (Photo 6) We paper speeds up the handbuilding process by adding planned to glaze these images after a bisque firing. support to damp slabs.The arch size was plotted by fig- White slip was painted onto the greenware to assure uring the needed diameter, adding 10% for shrinkage, good color over the terra-cotta clay. (Photo 7) divide in half for the radius, then tie a string to a pen- This clay is the traditional terra cotta from cil with the string pinned to the center of the circle and Montelupo. It has a few peculiar properties.The calci- carefully draw the half the circumference. Seven sec- um in it requires the pieces to be soaked in water tions are measured out using the EZ-vider circular AFTER bisque firing to allow the calcium to rehy- ruler. Pieces are cut for the back of the arch, and four drate. If this is not done, the pieces will crumble with- ribs are cut and attached for the raised surface of the in a few days of the bisque firing. I have had this hap- curve of the arch. pen to me when I was teaching in Spain with a similar The face pieces are gently laid over the top to form clay. It was a shock to see the bisqued pieces turn into the final shape. Columns and capitals are constructed a pile of crumbs! Because of this soaking, we were not using a half-round mold (made in a previous work- able to apply the glaze and finish the piece. It did fire shop). (Photo 4) The mold was designed to create a well, no warping. I will have to glaze it when I return maximum-sized column for the largest gas kiln at La the next time and follow the selection of colors which Meridiana. The slabs are laid into the negative mold, we decided to use as a group. This clay also seems to ribs are attached and the piece is flipped onto a board. soften rather than dry out the hands. (Photo 5) Four sections of columns and two capitals are Saturday we took the early bus to Florence. On the formed with this mold in rapid progression.The entire way to the Uffizi, we visited the Church of Santa arch is laid out to await embellishment. Tr inita where there is a tiled niche beautifully painted The lush agricultural environment, as well as the by Andrea Della Robbia. Pre-booking at the Uffizi is a meals, influenced this group’s choice of imagery. We must when you have one day in Florence.We entered

Photo 4 Photo 5 Half-round ribs are attached to each section of the curved arch of A section of the column for the surround setting up in the plaster the door surround. mold.

Photo 6 Photo 7 Dyane applying poppy stems above the artichoke bush. The white slip applied to the terra cotta will fire out the terra-cotta color. The white slip will make the glaze colors more brilliant.

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without a wait.The lines at the Uffizi can take 3 hours Then we began rolling out slabs. As the arch slabs to get in. Inside are the masterpieces of Botticelli, were setting up, we rolled out slabs for the four sections Donatello, Della Robbia and many more. However, the of columns. La Meridiana has a huge barn from which major sculpture and ceramics collection is over in the Pietro generously lets us scrounge. For the tubes, the Bargello.The third floor is practically all Della Robbias. PVC pipe was wrapped in paper, the slabs were flipped There is also a huge collection of majolica.This is real- onto tar paper and wrapped around the covered pipe. ly the place for ceramics enthusiasts! Also on the list of After an hour or so, the pipe was removed and the tube musts was a stop at a gelateria for delicious ice cream. stood relying on the tar paper for support. (Photo 8) Everyone had made a list of what they wanted to see, Back to the arch—I demonstrated how to put them and for the rest of the day we went our separate ways together. First, attach some right-angle braces to the meeting for lunch which was optional. We returned inside and outside edges minus the thickness of the exhausted on the evening bus. clay. (Photo 9) Because this group worked so well together, our next Add the first flat side straight up. Attach the outside project was a free-standing arch. Pietro, acting as our curved side to the flat upright, the base and the braces. client, requested an arch of 140 cm. for a garden Use an additional coil for a solid joint. (Photo 10) Then entrance. We plotted the seven sections for the arch in attach the inside curved side and the upper braces. the same manner as the door surround except it was (Photo 11) larger. Next, tar-paper templates were cut out for each I added the top face of the arch. Then everyone section: two for the front and back curved pieces; two for made their section of the arch.The holes which would the top and bottom pieces; and two for the end pieces. be used for bolts during the installation were cut using a plastic template.

Photo 8 Photo 9 Two sections of the standing columns supported by tar paper. A lin- Attaching right-angle braces to the first section of the arch ing of plain paper allows the PVC pipe to slip out of the clay tube. segment.

Photo 10 Photo 11 Reinforcing the wall joint with a coil. Top brackets for supporting the last wall slab for this section of the arch.

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Back to the columns. These were designed to be 170 cm, a little under 12 feet after firing. We laid out filled with rebar and concrete for the installation.A coil the arch with the capitals and cleaned up the edges in was attached to the inside of each end.Then, discs were order to visualize the transition and to discuss the set inside the tube onto these coils and attached. (Photo embellishment. (Photo 13) 12) What type of transitional piece could we design to What to do? La Meridiana means sundial in Italian. visually go from the round columns to the squared We had seen numerous examples of sundials in arch? Fortunately,we went to a concert that evening in Florence, San Gimignano and in books from Pietro’s Colle Val d’Elsa. The solution was a round form, the library.The part of the group living in Giuguli house same as the columns with semicircular forms added on spent a good deal of time working up patterns to be the top.The four semicircles made a square top. transferred onto the columns.The designs were drawn After dining in the more modern section of town, onto two taped pieces of paper and traced into the sur- we climbed (really!) the ancient streets into the Alto, face of the columns. Then the lines were carved deep- the original medieval section of the town. Here was the er. The pattern was based on the sun’s movement home of Arnolfo, the architect of the Florence duomo throughout the year and included a vertical infinity on whose walls Brunelleschi built his famous dome sign.The capitals were placed on the drying columns two centuries later. The charming little hall had three so we could see how they looked.The sundial mark- stories of theater boxes and offered a free concert of ings can been seen on the columns. The arch was medieval music. During the intermission, we gathered carved with lines representing the measurements of outside and admired the faç ade. The building’s faç ade the sun throughout the day—simple lines which included some ancient columns with precisely the type accented the shape of the arch.This was done on our of shape we were looking for.The next day the capitals last afternoon. Everyone went to clean and pack.The for the arch were built. Also we built square bases for studio was straightened. And then, PIZZA PARTY at the columns at that time.The overall height was to be the home of Tomek and Ashta.Also cooking the pizza was potter, Terry Davies from the UK who lives in Tuscany and teaches at La Meridiana. As darkness fell, Te rry and Michael Hillman ceremoniously lit a Brazilian New Year’s lantern and sent it flying! I think the satisfied feeling of accomplishment, good food, great company can best be summed up by the look on Christie Lucero’s face during our farewell pizza din- ner. Working in a foreign environment, especially an Italian one, teaches us to adapt to the way things occur. There is room to accept the flow. Observing a beauti- ful sunset is more important than a rigid schedule. Although the pieces are not completely fired and installed, the technical know-how of the construction was accomplished. I will send the finished pictures Photo 12 next year. CIAO! End discs are attached to both ends of the tubes. The holes will allow the passing of the rebar and will be filled with concrete.

Marcia Selsor is a Professor Emerita from Montana State University in Billings, Montana. She has received two Fulbright Scholars’ Awards: Spain 1985 and Uzbekistan 1994 and an NEH award in 1987. She has been a resident artist at the Banff Centre, Canada; Straumur Artists’ Commune in Iceland; Dzintari in Latvia; Tashkent in Uzbekistan; the Archie Bray Foundation in Montana; and in the Fall 2003 at The Clay Studio in Philadelphia. She has taught workshops throughout the U.S., in Spain, Canada and Italy.

Photo 13 The whole arch and capitals.

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Pebble Pots by Mary White

A form that I often use in workshops is a pebble shape, because students can work with this method without dif- ficulty and learn something about ceramic processes at the same time. I actually started making them in the 1960s when we lived in Wales near the sea and I was teaching at Atlantic College. The students collected rounded pebbles from the beach. If you do not live near the sea, you might find pebbles by a river, but most garden centres have a good selection; look for interesting rounded shapes. Choose several, as they look best in a group (and are often sought after for flower arrangements).

Mary White is both a ceramist and calligrapher. This article is an excerpt from her book, Lettering On Ceramics, recently co-published by The American Ceramic Society (Westerville, OH) and A&C Black (London).

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Roll out your clay, thickness and size accord- ing to the size of the pebble, place it over the stone and gently mould it into shape taking care not to mark the surface with your fingers, then them there because the clay shrinks as it dries and the shapes cut around it where the stone is widest making will split. sure the clay is smooth and the cut is even and If you want to impress letters it is best to do this while the clean. After a while, gently remove the clay and halves are on the pebble as pressing the final shape would dis- place it cut side down on a wooden batt keep- tort it, painting or stencilling can be done when the shape is ing the rounded shape, then cover with plastic. finished. To combine the two halves you must score the cut Turn the pebble over and form the other side edges and paint them with slip. Then carefully place them and remove it in the same way.The shapes must together, matching the shapes exactly.You need to work on be left until they are leather hard and if they lose the join with a flexible steel kidney which is an invaluable their shape gently fit them over the pebble again tool.The join must be strong and invisible. At this stage you for a few seconds or minutes, but do not leave can pat the form with wood to slightly alter or refine the shape if you wish. Decide how it is going to stand and slight- ly flatten and hollow the base. At the top you can make one or more holes with a cutting tool. On no account leave the form to dry without a hole of some size or it will split.Any irregularities can be scraped off with a flexible kidney. Cut-out letters must be applied with scoring and slip before the clay dries, but letters can be paint- ed leatherhard or dry.Irregularities can be smoothed with fine sandpaper when dry.When you decide that you only want to paint on your pebble, you can sand it smooth when it is dry enough and then paint with the suitable oxides.

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A TOUCH OF GLAMOUR

by Hanna Lore Hombordy Do you think your work needs a touch of glamour? Lusters and metallics are similar in that they are both A bit more sparkle? A more luxurious look? Perhaps fired to around Cone 018-019. They differ from each a touch of real gold? You should consider using low-fire other in that the lusters are transluscent iridescent hues which form a thin coating over an already fired glaze luster and metallic overglazes. and transform what is underneath. Metallics contain We should begin by explaining that we are not refer- actual precious metals such as gold, platinum and cop- ring to lusters that fall into several other categories. per. They too must be applied over an existing glaze, There are the complex fuming techniques where but the surface becomes dense and opaque. Lusters are metallic salts are introduced into the kiln when it’s in more delicate and cannot withstand hard use.They are its cooling stages. There are also luster resinate glazes harmed by abrasive or acidic substances. Lusters are formulated to be applied over another glaze and refired ideal for use on ceremonial or decorative pieces. with a strong reduction near the end of the firing.The Lusters and metallics can be purchased from most raku process may also produce lusters. We will not be ceramics suppliers. Local hobby shops that deal with discussing any of these techniques in this article. slipcast molds and low-fire glazes often carry lusters We are only covering commercially prepared liquid and metallics. Because they are actual precious metals, compounds of lusters and metallics. Daniel Rhodes, in metallics are expensive.They come in tiny vials as well his book CLAY AND GLAZES FOR THE POTTER, as larger sizes. Lusters are less costly but also come in says these ready-to-use lusters are satisfactory in every various sizes and in kits of assorted colors with thinner, way. As with any ceramic process, problems can brush cleaner and brushes included. These are a good arise, but they can be overcome by careful attention choice for one who has never tried lusters. to details.

Step 1 Step 2 My solution is simple enough but requires a bit of planning ahead. A small post or other ceramic support would do as well. The sup- I add a temporary “handle” or base to the piece by gluing a three- port is also helpful when loading or repositioning the piece in the pointed ceramic stilt to the bottom with liquid white glue. I wait sev- kiln. The firing process burns off the glue and automatically sepa- eral hours for it to dry to be sure it’s firmly attached. The piece can rates the piece from its support. then be handled by grasping the stilt.

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HOW TO BEGIN thick, a drop or two of thinner should be added. Areas One must begin with a piece that has been previ- where luster is too thick may have a pale scummy ously fired with a glaze. It could be porcelain, appearance after firing. Some colored lusters darken stoneware or earthenware.A glossy clear glaze on white when applied heavily.On the other hand, directions for clay, or a glossy white glaze on any clay gives a good some pearlescent lusters call for dabbing on the luster background for lusters and brings out their true color unevenly to achieve a more variable surface. Read and iridescence.That’s not to say one has to work only instructions carefully, different products call for differ- on white. Interesting colors and patterns result when ent methods. lusters are used on colored or multicolored back- HOW TO FIRE grounds as well.The luster takes on the characteristics of what is underneath.A glossy finish will result only if Lusters and metallics are fired in an electric kiln.The a glossy glaze is underneath. Even opaque gold will be one I use is about one cubic ft. I use small Cones 018, less glossy if a dull glaze is underneath. 019 and 020. Both lusters and metallics are held in suspension by TIP: Cleanliness and good ventilation are important oils.The work becomes sticky and cannot be touched here too, in the kiln and out. Works should not be once glazing proceeds—a real problem if the whole placed close together, especially when using different piece is to be covered lusters.Though supposedly not harmful, it’s best to have TIP: The working area must be clean, dust free and adequate exhaust fans and good air circulation. smoke free. Heat and humidity must not be high.There I tend to be slow and cautious in firing. I leave the should be no coughing or sneezing going on. The top open, gradually lowering it for at least two hours. whole area should be well ventilated. Hands should be Then I leave the one peephole open and leave a crack free of oils, lotions or moisture. of about 1/4" between the lid and the top of the kiln to be sure that fumes can disperse. I leave the kiln at HOW TO APPLY LOW for at least an hour, at MEDIUM for at least an According to manufacturers, lusters can be applied hour, and then on HIGH.Toward the end of the firing by brushing, airbrushing, stamping, sponging or pour- the smoke and gases have dissipated and I close the kiln ing. Brushing seems to be most popular. All examples completely after a half hour on HIGH and put a plug in this article were done by brushing. The need for in the peephole. In my particular kiln, leaving the cleanliness extends to brushes as well. It’s recommend- peephole open seems to cause enough difference in ed that the same brush be reserved for use with each temperature to slow the bending of the cones. The luster or metallic. Somewhat circular strokes seem to cones will fall quickly at such low temperatures, so they work better than straight lines.This may require some must be checked at frequent intervals. The interior of practice. One should not attempt to go over areas or the kiln will be pale red and the cones will be barely even to overlap strokes. Being oily, luster will spread visible when the first one falls. I keep a flashlight handy and settle itself a bit after being brushed on. A fairly to be sure I’m not missing anything. By keeping a thin application works best. If the luster seems too record of each firing, one has a good idea at what time the cones will fall.

Step 3A Step 3B The work to be decorated must be cleaned with alcohol to remove dust, film and fingerprints. If you have not glued on a “handle,” touch the piece only with a lint-free paper or cloth. Allow adequate time for the alcohol to dry.

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POST-FIRING OBSERVATION This overview should give ceramists an idea of the TIP: Crazing and cracking are problems that could potential that these overglazes have.There are addition- develop after firing. Cooling should be gradual. Allow al products on the market that produce marbleizing and at least twice the firing time for cooling. other special effects. Ceramic hobby shops may spon- sor or know about seminars dealing with lusters and OTHER CHOICES metallics. Books on electric kiln firing occasionally devote space to overglazes. Best of all, ceramists share Lusters, being translucent, can be fired over metallics and learn from each other. for a startling effect.The opaque metallic is fired first at the higher temperature, Cone 018. A luster is applied and the piece is refired at the lower temperature, Cone 019. Rosy or pinkish glazes, even when glossy, seem to contain ingredients which cause lusters to become a bit dull. In “PINK MOMENT” the glaze crazed and became satiny but the result was satisfactory nevertheless.

Step 4 Step 5 It’s suggested that a small amount of luster be transferred to a dish If luster and metallic overglazes don’t turn out right, some can be or palette before brushing begins. This assures that only the bot- successfully refired to a higher temperature and the luster will burn tom half of the brush will get wet, prevents too great a load on the off. Some lusters can be salvaged by applying another luster over brush, and thickens the luster just a bit to make a more even yet the original one and refiring. Orange or silver grey is a good choice. thin application. If, due to carelessness, an unwanted spot of gold appears after fir- ing, it can be removed with a gold eraser.

Step 6A Step 6B If a glaze crazes it may be an advantage, not a problem. One of my favorite pieces has a sil- ver grey luster on a crazed white background. The many lines are accented to make an inter- esting pattern and the undulating shape adds yet more variety.

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Photo 7 One quickly discovers why Mother of Pearl is the most popular luster. It’s easy to apply and results are consistently satisfactory. It Photo 8A Photo 8B does not drown out what is underneath but I was grateful for my experience with metallics when I made a piece called “END OF THE enhances it. A simple white pot becomes RAINBOW.” I was able to make some accents of real gold bricks plus a real “pot of gold.” elegant with the addition of Mother of Pearl. This luster can be put over other colors, and combinations of patterns and colors.

Photo 9 Photo 10 Photo 11 My most frequent use of lusters and “CHALICE II” combines a gold metallic top Halo Gold, a novelty product, requires a metallics has been in combination with refired with opalescent luster, a small disc dark base glaze. I used dark blue which other glazes and other materials. with black glaze, and a base of rosy satin turned even darker after the gold firing. I “MECHANIC’S DREAM” combines (1) a glaze covered with golden orange luster. wasn’t anxious for halos and was pleased gold top with black glaze inside, (2) VW that there were only a few. gears, (3) a clay cylinder with sea green luster over a pale glossy glaze, (4) an auto- mobile cylinder, and (5) some little gold balls.

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Photo 13 Beads can be hung on nails embedded in a clay tree trunk. My favorite homemade bead holder is made from upside down screws imbedded in a base of clay. I brush kiln wash on all metal parts. This keeps metal from flaking off and provides a neutral area with some “give” between the jewelry and the metal. I fire the clay racks to Cone 03 before using them.

Photo 12 Blue luster over a medium blue satin glaze seemed like a good idea. Due to an error on my part, some of the luster disappeared during firing, producing a not unpleasant antique effect.

Photo 14A Photo 14B Photo 14C Lusters and metallics are described as having a “jewel-like” glaze firing. There are commercially made racks of various sorts on appearance in one of my ceramics catalogs. This led me to the the market but one can easily improvise. Two sections of firebrick obvious conclusion that these overglazes would look great on can hold stainless steel rods or even long nails on which to jewelry. I made beads and organic shapes, keeping in mind that suspend beads or pendants. eventually they would have to be supported or suspended in the

Hanna Lore Hombordy earned a BFA from the School of Art and Design, Pratt Institute, NY.She has experience in creative design and the graphic arts, but has worked with clay since 1973 in Ventura, California. She can be reached at: [email protected].

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Need a special gift for someone who shares your enthusiasm for clay?

Fill their holidays with great reading!

The Mud-Pie Dilemma ohn ance For more than three decades, studio potters Tom and Elaine Coleman have sustained themselves and raised a family through their work in clay. It has involved major changes in geography, and in ways, styles and means of living and working. Despite the difficulties and occasional setbacks, the Colemans have found it to be a personally and creatively gratifying career. Author John Nance, who met the Colemans 25 years ago when he docu- mented their work in the first edition, brings their story up to date in this latest edition. Photos of recent work and glaze recipes included. 2003 • Hardcover • 232 pages ISBN: 1-57498-169-2 • Order code: G077 • Price: $46.00

Clay: A Studio Handbook i nce Pitelka Drawing on more than 30 years of experience in ceramics, Pitelka has created the most practical, all- inclusive studio handbook for all those interested in the art of clay.Ten chapters, addressing the full range of ceramic processes, share a lifetime of ceramic knowledge, and Pitelka pays diligent attention to safety Raku practices. Includes a thorough table of contents, glos- sary, index and numerous step-by-step illustrations. ohn athieson 2001 • Hardcover • 384 pages Co-published by The ISBN: 1-57498-090-4 • Order code: G055 • Price: $41.00 American Ceramic Society,Westerville, Out of the Earth, Into the Fire Ohio, USA, and A&C Black Publishers, Ltd., A Course in Ceramic Materials for the Studio Potter London, UK imi bstler In this handy and inspi- This book studies glazes by examining the connection rational guide, author between the raw materials of the earth and the sur- John Mathieson dis- face of a ceramic form.This second edition includes cusses the clays and glazes that are suitable for this technique. He updated text, revised and expanded appendixes, plus also examines kilns and burners, and firing and post-firing reduction. He 50 color photos. also looks at work that is being done in this field by an international group of 2000 • Hardcover • 319 pages artists. ISBN: 1-57498-078-5 • Order code: G049 • Price: 2002 • Paperback • 128 pages $46.00 ISBN: 1-57498-166-8 • Order code: G075 • Price: $26.00

Lettering on Ceramics ary hite TO ORDER Co-published by The American Ceramic Society, Westerville, Ohio, USA, and A&C Black Publishers, Ltd., London, UK The American Ceramic Society Imposing letters onto ceramics started as an ancient P. O. Box 6136 form of communication and has gradually evolved into an Westerville, OH 43086-6136 art form in its own right. Mary White shows how this Phone: 614/794-5890 • Fax: 614/794-5892 tradition has developed, covering methods of imposing E-mail: [email protected] letters on to clay, including stamping, stencils, slip trailing, www.ceramics.org resist methods, carving and relief work amongst others. She also looks at a number of artists working in this Shipping/Handling area, showing beautiful examples of their work, and North America: $4 for the first book, $2 each additional examining their approach and methods of lettering.As Outside North America: $8 for the first book, $4 each additional well as many beautiful images of ceramics with lettering, there also is a selec- Ohio residents, add 6.75% sales tax tion of calligraphic alphabets to use for inspiration or to copy. Canadian residents, add 7% GST Color images throughout. • 138 illustrations 2003 • Paperback • 96 pages Please include shipping, billing addresses when ordering. ISBN 1-57498-216-8 • Order code: CA25 • Price: $24.95 Prices subject to change.

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The Terra-Cotta Warriors by Craig Hinshaw

One of the best ways to learn about another culture is through its art. China, which has one of the longest continuous cultures of any country has an endless supply of art to study and make.And, it’ s hard to imagine a culture with a rich- er ceramics history. In 1974 a group of peasant farmers were digging a well, near Xian, China when they uncov- ered one of the most remarkable archaeologi- cal finds in history, the Te rra-Cotta Warriors. Qin, the first emperor to unify China, had over 7,000 life-size soldiers shaped in clay.The war- riors, which included Fifth grade students learned about the Tang Dynasty ceramic camels which were also placed in tombs. generals, archers, chariots with life-size teams of horses and foot soldiers, were buried with Qin in his tomb and forgotten for twenty-two centuries. Qin’s army has been labeled the eighth wonder of the world and second only to the Great Wall (also constructed during Qin’s reign), as a Chinese tourist attraction.The most remarkable thing about the warriors, besides the sheer magnitude of the project, is each head is unique and thought to have been modeled from life. Once painted in full color, the warriors are now a monochromatic tan as most of the pigment has worn away. Procedures: Imagination Upgrade. 1. There are two methods of creat- ing a small clay warrior. One is to Have all the facts now. New Edition Paperback 144pp. begin with a lump of clay and $22 USD ($28 Overseas), E-Book: $16. TollFree 24/7 Easy Order mold it into a cylindrical shape. 1-800-247-6553 By squeezing and thinning a neck www.paperclayart.com the head is also formed. Using a pin tool, the legs are separated. The arms are rolled from smaller pieces of clay and attached. The second method, which most students seem to prefer, is to shape the body parts separately then connect them. I prefer the first method, and demonstrate it, as parts are less likely to break off when drying. Students referred to visuals of what the warriors originally looked like painted when applying low fire underglazes.

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2. As the clay figure is being shaped a pose is established. Most of the Te rra-Cotta Warriors are stand- ing erect, as if waiting for orders, although some are kneeling. Weaponry may be added. Originally,the warriors carried all manner of spears, swords, axes and crossbows (which were probably looted by later dynasties). A clay base needs to be added for stability. If the figure tends to sag or tilt, clay supports may be needed to prop up the piece until it’s leather hard. 3. Smaller details are added, includ- Fourth-grade student making a small war- ing facial features, hair and armor. rior. Note: clay reproduction as visual aid. 4. Dry and bisque. 5. Glaze or paint.We used low-fire underglazes with a clear cover coat. I spent the summer of 2002 trav- eling and teaching English in China. It had been a life-long dream of mine fueled by my ceramics classes at Ball State University.As I traveled, I sought out ceramics from my favorite dynasties—Han, Song and Tang. Throughout the school year, I Dragons are abundant throughout China. taught numerous lessons based on Once they represented the emperor, now my enthusiasm for my ‘ China they represent spring and good luck. adventure’. It’s important to have good visu- als available for the students to refer to when working. Peruse “Terra- Cotta Warriors” on the web for his- tory,pictures and even the availabil- ity to purchase reproductions.

First-grade pandas. While in China, I was able to hold a live baby panda!

Craig Hinshaw is an elementary school art special- ist in the Lamphere School district in Madison Heights, Michigan. E-mail comments to Craig at Fourth-grade interpretations which include [email protected] weapons, ‘accurate’ hair styles and armor.

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NEW JANE CULLUM VIDEO! “Making Bowls with a Big Rib” 40:02 A SHOWCASE and “Rims and Handles” 72:52 of MUSEUM PIECES Videos for the Mint experienced beginner or intermediate potter Price: Video 1: $34.95 Condition To order, please Video 2: $39.95 A Tin-glazed Both: $69.90 call 703-330-1040 +$4.95 S&H Drug Jar, ca. 1680 Manassas Clay by Margaret Zimmerman 9122 Center Street, Manassas, VA 20110 Available online at www.howtopot.com Vol. 1 and 2 in the Cullum Series The addition of oxidized tin to of the 16th century, or about 100 alkaline and lead glazes first appears years before this jar was made. around 800 AD in Iraq. This new Unlike lead glaze, tin glaze does not glaze gave potters the coveted white run when fired, allowing crisp defi- ground of Chinese porcelains. nition to the decoration applied on Earlier glazes were transparent, top of the glaze material before fir- allowing the clay to give color to ing. Although a biscuit firing was the ware. Owing to bits of tin sus- necessary to dry the ware so that 1230 E Mermaid Lane pended throughout the glaze, tin the tin glaze would not crawl when Wyndmoor, PA 19038 glaze is opaque, and it is white applied, the glaze and decoration 215-233-0655 because fully oxidized tin is white. were then applied sequentially and fax 215-233-0496 email [email protected] a second firing com- Distributors of Standard & Miller Clays pleted the job. On the white ground of the tin glaze, decora- tion appeared more colorful than on the reds and buffs of local clays, and tin- glazed earthenware became the staple of European tables and taverns for over 200 years, until the third quarter of the 18th century when Josiah Wedgwood perfected creamware, a cheap- er, more practical and more versatile type of pottery. The oviform jar shown here has a short neck and evert- ed lip, allowing a MINNESOTA CLAY CO. USA parchment cover to be firmly tied down COME VISIT OUR NEW EXPANDED A tin-glazed drug jar, ca. 1680. RETAIL LOCATION!!! PHOTO: SEAN BUSHER over the rim. Tight MINNESOTA CLAY CO. USA fitting metal covers NORMANDALE TECH. CENTER over a straight, verti- 6421 CECILIA CIRCLE The expanding Islamic world cal neck were only developed in the BLOOMINGTON MN 55439 1-800-252-9872 carried the new recipe into Spain, third quarter of the 18th century. 952-884-9101 whence it soon spread to Italy and Chemists, druggists, apothecaries, OR VISIT OUR EXPANDED eventually into northern Europe, doctors and surgeons all bought WEBSITE AT: reaching England in the second half drug jars for their shops. This jar www.minnesotaclayusa.com

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was made to hold a specific ingredi- ent, its contents identified by the inscription: Conf Hamec, shortened from Confectio Hamech for space considerations. Confectio Hamech was one of the purging electuaries of the 17th and 18th centuries, after a recipe by the Arabian physician Hamech. Like confections, electuaries consisted of powdered plant parts mixed with sweeteners to form a honey-like consistency. Confectio Hamech was compounded from myrobalans, cubebs, violets, colocynth, oak polypody,wormwood, thyme, anise, fennel and red roses boiled in whey and strained, to which was added juice of fumitory, pulp of prunes, raisins, honey and sugar to make a syrup. Then lozenges of agaric, senna, rhubarb, dodder, diacrydium, cinnamon, ginger, fumitory seed, anise and spikenard were dissolved in the already varied brew. It sounds as if it would purge most anything, and one contempo- rary author is decidedly wary,citing it as a “Purge for Melancholick and salt Phlegm, and Diseases thence arising, as Scabs, Itch, Leprosies, Cancers, Infirmities of the Skin; it purgeth adult humours, and is good against Madness, Melancholly, Forgetfulness, Vertigo. It purgeth very violently, and is not safe given alone. I would advise the unskillful not to meddle with it inwardly.” Another referred to it as “… a wretched medly and hardly possible to take from the nauseous bitter the colocynth gives it… ‘ tis hoped that the next revision of the Dispensatory will expunge it.” Medicine has changed a great deal since the days when this jar and its contents sat on a shelf. We the leader in wholesale can be thankful we live in the ceramic accessories twenty-first century! Check out our entire selection online at www.aftosa.com or call today for a free catalog at 800.231.0397.

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DOWN TO BUSINESS J. H. T. B. H. (Just Happy To Be Here) by Chris Campbell Just Happy To Be Here is the first phase of your pottery career. It’ s when you are finally able to produce some pieces that someone who is not a relative wants to own.You are so happy about this you are ready to hand it over, no questions asked. This innocence carries its own A gallery wants to buy it particular scent, which can attract ‘ wholesale’ galleries on the look out for fresh, In the simplest terms, your new work. Some of these people wholesale price is half of the sug- will be genuinely interested in your gested retail price. It should cover mutual success. Not all of these your costs and give you some profit. people will be competent, though You set the wholesale price. they may appear to be. Some could They determine their retail price. be ‘ sharks’ searching for a newbie. Never ship your work to them It’s your work, your name, your until you have been paid (see reputation, your time and your ‘ Getting Paid’ on the next page). money.Losing any of these things is A craft show sends you an your problem.You have to learn to application protect yourself. Before you consider applying to a A gallery offers to take your large craft show, get your feet wet work on consignment locally with a friendly, low-pressure Ask questions and get everything local show. This way you can find in a written contract which you out if your work sells from booths. both sign. Not all pottery does. You will also You are the one who sets the quickly discover if you like meeting retail price. people and talking about your work. You should get at least 50% of Be aware—there are tons of hid- that price. den costs in large venue craft shows. You are responsible for getting it Entry fees, slides, booth design and to them. construction, lighting, phone and Both should initial and date an electricity, cash register, packaging inventory list with the prices. materials, hotels, restaurants, mileage Both agree on how long they on your vehicle and packing mate- will keep it on display. rial for your work. They should pay you within 30 It’s also an uncertain way to earn to 45 days of the actual sale. a living. Judging can keep you out. They are responsible for loss, Weather can keep your customers theft or damage while it’s in their home. Placement can mean no possession. activity near your booth. They are responsible for shipping At least try to visit the show first it safely to you. to see if your work would fit in. Does it look well run? Are the crowds as large as they promised?

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An interior decorator wants to The Original & ‘ borrow’ your work Proven System for Show homes need to be filled Kiln Venting with Art and who better to supply it than a newbie with great stuff. 3-year The sales pitch entails the immense Warranty benefits to you of this ‘ exposure’. Let me be quick to point out—you can die from exposure! The big question you want • Removes heat, reducing chance of setting off answered concerns their insurance overhead sprinklers coverage. Who pays if it’s stolen, • Removes fumes at their source damaged or broken? • Adjustable, overhead design conforms to OSHA The answer should not be “You”. www.ceramics.org/clayart The online discussion group A customer asks for a special for ceramics artists Phone: 716-876-2023 • Fax: 716-876-4383 E-mail: [email protected] order It’s Free! I am going to tell you to run for Visit us at www.ventakiln.com the hills, but you won’t. We all get sucked into the void of the special order more than once, and seem- ingly never learn to say NO. So, what I will tell you is to get a 50% non refundable deposit upfront. This gets rid of the frivo- lous requests and will comfort you when things go bad. Getting paid Purchase Order—this is an offer to purchase your wares at a set price. If you agree to it, it becomes a valid contract for both parties. Te rms of Sale—This details how you are to be paid. Safest is prepaid by check or credit card. C.O.D.—‘ Cash on Delivery’. Cash is paid at the time the goods are delivered.This is only truly safe when the customer pays with cash or a money order. Some less than honest buyers pay with a post-dated check or a worthless one. Prepaid by check—They send you a check; you deposit it and wait five days for it to clear. Then you send the work. Prepaid by credit card—They give you a credit card number; you process the charge and send the wares.There are several convenient ways to accept cards without huge expense, so inves- tigate this thoroughly. Net 30 Days—This is seldom extended on the first order. If they provide you with credit references that you verify, then you ship first and payment is due 30 days after the invoice date.

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A Potter’s Book Leach, Bernard (Faber and Faber Inc., New York, 1939) In bringing the Japanese aes- O thetic and techniques to the West, Off the Bernard Leach set studio pottery ff on a path which led directly to such American icons as Peter Voulkos and Paul Soldner. He is ShelfShelf blamed for instigating an era of “brown pots”—but without him, pottery might never have come into its own as an art Classics on Clay form.This book is something of a polemic against what by Sumi von Dassow he perceived as the ugliness and sterility of industrial pottery, and a call to potters to counter the trend by making honest, beautiful, functional pottery.The part of this book which is most worthwhile for a modern reader is his opening chapter,“Towards a Standard”, in There are so many beautiful pottery books nowa- which he decries the “bad forms and banal, debased, days, it is easy to overlook old classics. It’s fun to try pretentious decoration” of industrial pottery, and new techniques, equipment and materials, but in doing attempts to enunciate an aesthetic standard by examin- so you can lose your artistic mooring, forgetting the ing the virtues of Chinese, Korean, and Japanese pot- down-to-earth basics of clay and the aesthetic appeal of tery as well as traditional English and European pottery. simple materials and techniques. In the 21st century He lauds spontaneity,simple forms, minimal decoration you can buy clay in plastic bags, get glaze recipes off the and acceptance of variations due to impure materials. internet and fire your pots in a computerized electric Though the how-to information, particularly kiln. Less than a century ago, potters dug their clay and regarding glaze formulation, is outdated, his descrip- kept it moist with smelly wet rags; collected and tions of his workshop and the life of a studio potter are crushed their own glaze materials; and built their own interesting, as is his discussion of decoration. kilns, and fired them with oil, coal or wood. In addi- tion, factory mass production threatened the studio potter with obsolescence and extinction. Modern stu- Pioneer Pottery Cardew, Michael dio pottery is a vibrant, exciting field of endeavor—the (New edition published by The American range of work, and its prices, would amaze a potter Ceramic Society, Westerville, OH, 2002) from that transitional period of the early 20th century. Michael Cardew studied with So how did this transition occur? How did the mak- Bernard Leach and has a similar ing of pots by hand go from being as unnecessary as aesthetic outlook. He was also making nails by hand, a lifestyle of back-breaking labor, very influential in the British stu- poor pay and an early death from lead poisoning, to an dio pottery movement, but where art form drawing from many cultures, inspiring thou- Leach brought in Asian influ- sands with creative passion, and resulting in work col- ences, Cardew absorbed African lected in the world’s finest museums? Though the debt forming and decorating ideas through his work setting is not always apparent in modern pottery, Bernard up potteries there. This book grew out of his experi- Leach was instrumental in setting the craft and art of ences in Africa prospecting for clay and glaze materials, pottery on its new course through his passion for inte- building kilns and presenting workshops. It is much grating Asian and European pottery traditions. His own more of a textbook than the Leach book, and covers in writing, and that of his students and followers, helped great detail the chemistry and geology of clay and glaze found the modern studio pottery movement. The materials. His chapter called “Making Pots” describes books reviewed here have lots of text and few pictures, several traditional African techniques in addition to a and much of the work these authors created and detailed description of throwing. How to throw is cov- admired may seem drab, even unbeautiful—but their ered in many books now,with helpful photographs, but passion and integrity will make you reflect on why you if you are no longer a beginner there are some inter- work with clay and help you orient yourself in the pot- esting ideas here. Likewise, his chapters on building tery-making tradition. kilns and setting up a workshop contain useful infor- mation, though if you’re serious about building a kiln

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you’d want to refer to newer books on the subject. Bennett’s The whole book is imbued with Cardew’s aesthetic POTTERY SUPPLY judgement, which is gentler than Leach’s,but the last 431 Enterprise St. chapter in particular, called “The Product,” offers an Ocoee, FL 34761 interesting perspective on the role of studio potters (800) 432•0074 in an industrial age, and should be required reading FAX: (407) 877 3559 for anybody leaning towards a life of making func- tional pottery. Skutt Kiln Model 1027 (cone 10) 23"x27" deep $999 North Star Stainless Steel Zen and the Art of Extruder Package $345 Pottery Brent Potter’s Wheels Beittel, Kenneth Model B $710 Model C $770 (Weatherhill, Inc. Trumbull, CT, 1989) Model CXC $905 Kenneth Beittel is not the North Star 24" Slab Roller influential figure that Leach or Package $715 Cardew were. He represents Free Shipping on North Star Slab Roller instead the many American and Extruder within Continental USA and British potters who fol- lowed Leach by going to Japan to study pottery.This book is full of philosophical musing, and can be difficult reading at times. However, it is not so much an exhortation to make pots a partic- ular way as it is a description of the Japanese method of teaching and learning pottery.The basic principle is that the student potter must become so familiar with the clay that he can make and finish WE WELCOME SCHOOL PURCHASE ORDERS pots without thinking.Whether or not you appre- ciate the aesthetic of Japanese pots, which to Americans often seem disconcertingly lopsided and distressed-looking, this book may help you under- stand this influence upon Leach and Cardew, and $615 the role of Zen Buddhism and the tea ceremony in P O T T E R S W H E E L shaping Japanese pottery. *FOB Ontario,CA Even if you skip the philosophical parts, the chap- ters describing Japanese techniques of throwing and the tools used are of interest to anybody who works • Powerful on the wheel. Likewise, if you decorate your pottery, • Smooth the chapter on decoration offers food for thought. • Quiet You won’t necessarily learn new techniques; rather, you will be challenged to examine your decorating …...Simple! style to see if it fits your pots. Like Leach, Beittel puts a lot of stock in spontaneity and embraces firing accidents as the most basic level of decoration. Though this book is not for everyone, it may help you if you really want to understand pottery making inside out, and to understand your own relationship to the craft. If you’re contemplating studying pottery in Japan, of course, it is invaluable.

C E R A M I C S E R V I C E S Sumi von Dassow teaches pottery at the Washington Heights Center for the Traditional Arts in Lakewood, CO.You can send comments to her through her web site PH/FAX (909) 986-1566 at www.well.com/~sumi. Check out all her previous rec- W W W . C E R A M I C S E R V I C E S . C O M ommendations at www.potterymaking.org.

November/December 2003 Pottery Making ILLUSTRATED 47 PMI Nov Dec 03 p25_48 10/24/03 12:47 PM Page 48

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