July_August 04 Cover 6/29/04 12:37 PM Page 1
July/August 2004 Making Pinch Pot Fantasy Creatures
Also in this issue: Kiln Safety and Maintenance
Making a Fish Mobile
Pulling Long Clay Handles
Thoughts on a First Craft Show
$5.00 US/$7.50 CAN ecial Sp Potters Guide Issue
Techniques—Tools—Tips—Projects for the Studio Potter July_August 04 Cover 6/29/04 12:37 PM Page 2 July_August 04 1_11 7/6/04 2:33 PM Page 1
Go to the Source...The Bailey Catalog Our new 2004 catalog has been expanded to 224 pages. It’s packed with more products, more information, and more color charts. We have greatly expanded our selection of wheels, kilns, mixers, pugmills, books, tools, glazes, videos and other studio equipment. As always, we cater to potters and schools who look for the most diverse selections of pottery products. You can depend on Bailey for straightforward technical advice and the best prices. Get your free copy today. Or go to www.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 website.
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July/August 2004 Volume 7 Issue 4
Features 9 How to Pull Really Long Handles by Kathy Chamberlin How to pull and attach long handles to basket forms. 14 Making an Ocean of Clay by Glenda Guion A project created by students benefits a community. 19 Safety and Preventive Maintenance for Electric Kilns by Mike Swauger Handy tips to keep your kiln in excellent condition. 25 Fantasy Creatures by Hanna Lore Hombordy Combine metal and clay in an exciting low-fire technique. 30 Observations from My First Craft Show 14 by Steven D. Lee Introduction by Chris Campbell A potter shares his views on his first craft fair. 34 Slab-built Fish, No Worms Needed by Marj Peeler Using clay slabs to create decorative fish. 49 Potters Guide 2004
Editor’s Corner Hello! Along with our regular offering of techniques and how-to, we are pleased to bring you the new updated version of the Potters Guide in this issue. It is the only comprehensive buyers guide 25 available for the potter and ceramics artist. This guide provides information on locating products by type, stores by geographic On the Cover: area and complete contact information for the many companies Hana Lore Hombordy is forming the base for a fantasy creature. See that serve the studio pottery field. story on page 25. The article on kiln maintenance should be a reminder to all of us to check this very important piece of equipment in our stu- dio. It is a must to check not only for dependable operation, but for all safety concerns as well. And of course, we have included some great how-to articles Departments that may help to occupy your time during the summer months. 6PMI Online: Inspirational Online Galleries As always, please send any comments or suggestions to my by Helen Bates attention or e-mail me: [email protected]. 39 Kids Korner: A Rainbow Footprint Mural Happy Potting! by Craig Hinshaw 42 Mint Condition: Bone China by Julia VanHuss 46 Off the Shelf: Glaze Books–An Update Tim Frederich by Sumi von Dassow
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Volume 7, Issue 4 Editor: Tim Frederich Associate Editor: Sherman Hall Assistant Editor: Renée Fairchild Assistant Editor: Jennifer Poellot Production Manager: John Wilson Circulation Manager: Cleopatra G. Eddie Circulation Coordinator: Susan Enderle Graphic Design/Production: Dave Houghton Web Developer: Allison Ramey Advertising Manager: Steve Hecker Advertising Services Rep: Debbie Plummer Publisher: Rich Guerrein Editorial Advisory Board David Gamble, Steven Hill, Anna Calluori Holcombe, Mel Jacobson, Bill Jones, Jonathan Kaplan, Dannon Rhudy, John Toki & Anderson Turner Editorial, Advertising and Circulation Offices PO Box 6136 Westerville, OH 43086-6136 Phone: (614) 794-5890 Fax: (614) 794-5892 E-mail: [email protected] www.potterymaking.org Pottery Making Illustrated (ISSN 1096-830X) is pub- lished 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 website or by contacting Steve Hecker at the address above or by phone: (614) 794-5809. Change of address: Send your change of address via e-mail, to the Circulation Department, or on our website. Allow six weeks advance notice. Contributors: Writing and photographic guidelines are available on request and on the website. Mail manu- scripts 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 any work and in any format. Please direct republication or special copying permission requests to the Senior Director, Publications, The American Ceramic Society, PO Box 6136, Westerville, Ohio 43086-6136. Back Issues: When available, back issues are $5 each, plus $4 shipping and handling for the first issue and $1 for each additional copy thereafter. For orders outside North America, add $6 ($2 for addi- the leader in wholesale tional copies). In Canada, add 7% GST. ceramic accessories Postmaster: Send address changes to Pottery Making Illustrated, PO Box 6136, Westerville, Ohio 43086-6136. Form 3579 requested. Check out our entire selection online at www.aftosa.com
or call today for a free catalog at 800.231.0397. Copyright © 2004 The American Ceramic Society All rights reserved www.ceramics.org
4 July/August 2004 Pottery Making ILLUSTRATED July_August 04 1_11 6/29/04 11:24 AM Page 5
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PMI Online Inspirational Online Galleries By Helen Bates
In this column, I would like to share with you some inspirational websites. I have gathered some information about online exhibitions and galleries whose content deals to a large degree with the ceramic arts. The websites featured pre- sent some marvelous pieces of pottery and ceramic sculpture. Enjoy your visit and look for more inspirational ceram- ics websites and information at PMI Online at www.potterymaking.org.
The 12th Annual Strictly Functional Pottery National, 2004 (Lancaster, Pennsylvania) www.art-craftpa.com/sfpn.html The Strictly Functional Pottery National is a U.S. competition of func- tional pottery presented by the Market House Craft Center in Lancaster, Pennsylvania. This year, over 1450 slides were received from more than 500 entrants. Juror, renowned potter, educator and author Susan Peterson, selected over a hundred pieces for the exhibition. She was instructed to remember the “ strictly functional” aspect of the show, and to choose a vari- ety of styles, techniques, materials and firing ranges.
Ontario Crafts Council (Ontario, Canada) www.craft.on.ca The Ontario Crafts Council’ s online presence was designed by Lynne Heller, a craftsperson featured on the site. Each artist member of the web- site has a section in the “ Portfolio of Makers” to display a selection of pieces, give biographical information and a brief artist’ s statement. The “ Portfolio of Makers” can be searched by medium, region or maker. Click the “ Portfolio of Makers” tab, wait for the animation to load, then search by clicking the tab for choices.
Adobe Gallery (Santa Fe, New Mexico) www.adobegallery.com Alexander E. Anthony, Jr., opened the Adobe Gallery in 1978 to show- case and market Southwest Indian traditional art. The Native American pottery section is extensive. The site featured excellent 20th-century and contemporary pots, a selection of historical vessels, plus the occasional miniature piece, nacimientos (nativity scenes which first appeared in the late 1950s), storytellers and other figurines. The website is well designed and easy to navigate.
Silverhawk Online Exhibitions www.silverhawk.com The Silverhawk site features work from a variety of crafts media, and has an extensive list of functional and nonfunctional ceramics. Although it con- tains mostly U.S. artists, it also contains some information on artists and gal- leries from other parts of the world, particularly from Canada, the U.K. and Europe. The site provides artist’ s portfolios, gallery locations and juried online shows. You also can check listings by state from the “ Galleries” page, or check out the “ Artists Services” and “ Resources” pages.
Helen Bates lives in Ontario, Canada. Please send suggestions for new and interesting clay-related websites to her by e-mail: [email protected].
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HOW TO PULL REALLY LONG HANDLES
By Kathy Chamberlin
I have found that the addition of long, hand-pulled clay handles, along with the decorative knots, to my basket forms has helped me to develop my own personal style. The inspiration is derived from traditional Chinese and Japanese woven baskets. I hope my demonstration of this technique will help you to improve your handles and enhance your personal style.
Currently, I am producing a series of baskets using bowl shapes and tall, cylindrical vessels. This is a method I have developed for pulling long handles and attaching them to my forms. The handle structure that I use closely resembles a catenary arch, a curve theoretically formed by hanging a perfectly fl exible and inextensible cord of uniform density and cross section, freely, from two fixed points. I work with a white stoneware and fire to Cone 10 in reduction, but the following steps could be used for any clay body or firing range. Each clay body will react differently and some experimentation will need to be done. It is very important to use a highly plastic clay so that the han- dles will maintain their integrity through all steps— pulling, shaping, drying and attaching. I use clay reprocessed from scraps, trimmings and throwing slip. This clay seems to have more plasticity, possibly because of the fine particles that have collected, the aging process and adequate water content. When pulling the handle, you need to make sure there are no air pockets, surface cracks, or hard and soft areas in the clay. Any problems will show up in the bisque or glaze firings, and the clay handles will not maintain their shape or integrity.
“Flower Basket,” 18 inches (46 centimeters) in height, white stoneware, sprayed Shino glaze with oxide brushwork, fired to Cone 10 in reduction.
Pottery Making ILLUSTRATED July/August 2004 9 July_August 04 1_11 6/29/04 11:25 AM Page 10 PULLING, FORMING
I throw two basic shapes for my baskets—cylinders from 8 inch- I shape well-wedged clay into carrotlike forms for pulling the es to 12 inches tall, and bowls from 4 inches to 8 inches tall, each handles, making sure I have enough clay for the size of the han- with a span up to 9 inches in diameter. With larger diameters, dle I want to make. Extra clay will be needed in order to hold the these handles have a tendency to distort or fall during firing. clay while pulling the handle.
I hold the clay at the top with one hand while pulling the handle with the other. Using a continuous stroking motion, I wet my hand before each pull. I am com- pressing the clay with even pressure from top to bottom. The structure of your hand and its position during each pull will determine the han- I pull clay handles up to 30 inches long, let them hang straight dle’s shape. Practice will help you find the best position for your down and dry very slowly. Drying time will depend on your local hand and the proper amount of pressure to apply. I use my climate and environment. I do not recommend using direct sun- thumb—stroking down the center of the handle—to define the light, heat guns or fans to dry the handles. This can cause uneven shape of some of my handles. drying and cracking during the shaping of the handle.
10 July/August 2004 Pottery Making ILLUSTRATED July_August 04 1_11 6/29/04 11:25 AM Page 11 AND ATTACHING
After the handles start to stiffen, they can be shaped into the desired curves. You will need to experiment to find the amount of time needed for your clay to dry before being shaped into the curved form. If it is too dry, it will crack, and if it is too wet, it will When attaching clay handles, I build two level stands from bricks not hold its shape. I place mine over a wooden dowel rack (as pic- or blocks allowing me to work on the piece upside down. This will tured), but other curved items also can be used. It is important to let the handle hang and retain its curve while I score, slip and fas- continue drying the handle as evenly as possible. I test the clay by ten the ends to the basket. When adding my double-layer han- touch. It is ready to attach when the clay can hold its shape. The dles, I fasten the bottom layer to the inside of the form and the approximate time from pulling handles, shaping and attaching to top layer to the outside. There is a limited window of working a pot is about five hours. time for this step. FINISHING AND FIRING I bisque fire the pots after they are com- pletely dry. Instead of either dipping or pour- ing, I spray most of the glazes due to the frag- ile nature of the han- dles. I fire the pieces to Cone 10 in a reduction atmosphere.
“Fruit Basket,” 10 inches I finish by adding decorative knots and cleaning the joined areas. (25 centimeters) in height, Then I cover with plastic to dry upside down. After a few days, I white stoneware, copper turn the basket over, inspect and touch up any details, then turn red glaze, fired to Cone upside down and cover again so it will dry slowly and evenly. 10 in reduction.
Kathy Chamberlin is a studio potter living in Aspen, Colorado. She can be reached by e-mail: [email protected].
Pottery Making ILLUSTRATED July/August 2004 11 July_August 04 12_23 6/29/04 11:31 AM Page 12
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Wholesale: Tel: 920-830-6860 Fax: 920-830-9394 Email: [email protected] MKM 217 E. Pacific St., Appleton, WI 54911 Pottery Tools Also available: MKM Decorating Disks™ and Wood Ribs Quality • Innovation July_August 04 12_23 6/29/04 11:32 AM Page 14
MakingMaking anan OceanOcean ofof ClayClay
by Glenda Guion
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“Dr. Schmidt told me that he wanted an aquatic theme throughout the hospital wing. Because this area was designated as a play area for children, my students and I planned for the mobile to be colorful and magical. Our idea was to fill the space with the feeling of being in the ocean, looking up through water to the sunlight.”
In 2003, Dr. William Schmidt had a vision for the new children’ s wing of The Construction the Greenville Memorial Hospital I chose to use a white earthenware System in Greenville, South Carolina. body with a large amount of grog to He proposed that my ceramics stu- reduce shrinkage and cracking. The dents and I build a clay “ fish” mobile color of the clay also matched the to be hung in the activities play area cream color paint sample that would for the new hospital wing. be used in the room. We were able to I had been teaching ceramics at the match the fl oor and wall colors per- fectly by using underglaze. This also Fine Arts Center, a magnet high school To begin, students brought in books about allowed us to have the surface for the visual and performing arts, for fish and chose the most unusually shaped 15 years. Over those years, I had designs on both the sides and the species that could be found—everything worked on seven large clay wall mural edges of the fish. from moray eels, to stingrays, to blowfish. projects with students, but I had never We began constructing the mobile tackled a project of this scale or com- by first building two schools of Angel plexity. I gladly accepted this challenge and Queen Trigger fish. Making the for both myself and for my students. It fish became contagious and, before was a rare opportunity for my high- we knew it dance students, teachers, school students to be commissioned and other students began coming into for an art work of this magnitude. It the ceramics studio and asking if they was also rare that all of the materials could help. Over a period of five would be provided and that a $5,000 weeks we all became excited about donation would be made to the Fine the opportunity to work on a project Arts Center, which would eventually that we hoped would give enjoyment to not only the hospitalized children, We photocopied our selections and be used to buy a new large oval kiln enlarged them to make paper templates. for our clay studio. but to the doctors, nurses and staff. The aquatic forms were allowed to dry completely and then fired once to The Mobile Cone 03 in an electric kiln. All of the The project began with a visit to pieces were sealed with three coats of the construction site. I could not professional grade tile sealant typical- believe that we would have to fill the ly used to seal porous exterior tile. vast, open, round space that towered Any pieces that showed signs of four stories high to a skylight roof. cracking were destroyed. We could The actual mobile would only have to not allow any imperfection that fill two stories. The second level had might allow the clay to break loose. a semicircular glass wall that would Originally, I purchased 500 pounds allow the mobile to be viewed at eye of clay to complete the mobile com- level. The other half of the circular mission. Of that amount, we used room would have a wall painted red. about 350 pounds, and the largest Clay was placed on the slab roller, 1 I was given the architectural plans forms, which measure almost 3 feet flattened into ⁄2-inch-thick slabs, and then and the color samples that would be across, only weighed 13 pounds after turned over onto boards that were cov- used for the fl oor and walls. drying and firing. ered with newspaper.
Opposite: Parts of the mobile hanging against the red wall as seen from above.
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We laid paper templates on the slabs and The pattern design was painted on the The larger pieces—such as the dolphins, traced them with a needle tool. After cut- leather-hard clay with underglaze, using mermaids and stingrays—began with ting out the shapes with a fettling knife, three coats for the lighter colors and one slabs that were 1 inch thick. Using the they were dried to leather hard with a or two for the darker colors. After one same construction methods as the smaller heat gun. The holes used to hang the side was completed and dried with a heat forms, the students had complete free- forms were drilled 1–2 inches from the gun, we turned it over and repeated the dom to design shapes, surface patterns edge of the slabs while the clay was design on the other side and the edges. and color. All the holes used for hanging leather hard. were reinforced with copper tubing.
Installation When the fish were finished, a design team from the hospital sys- tem came to the school and shot digital images of each one. With computer magic they were able to email me an image of how the pieces were going to look fl oating in the space. Jason and Scott Kraining of Optika Scenicworks, Inc. were hired to engineer the hanging of the mobile. They designed a round metal armature with airplane cable stretched into a grid pattern. The fish were hung For the two large stingrays, we added cop- with airplane cable, allowing the per tubing to create the illusion of a tail. height and spacing of each piece The tubing was pressed into the wet clay, to be adjusted. removed, and small holes were drilled along the sides of the resulting groove. The installation lasted nine hours. The Holes also were drilled into the copper team rented machinery in order to reach tubing to match those along the “spine” the third story where the metal armature of the stingray. After firing the clay, we was mounted. attached the tubing with both epoxy and copper wire to ensure that the tail would never come off.
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Final Comments In early May, 2003, my students are books, toys and computers for the and I, and Dr. Roy Fluhrer, our children to use. There is a custom- school director, were invited to attend made semicircular fish tank with the dedication of the children’ s activ- exotic fish swimming about. Hanging ity area and to be interviewed during overhead, fl oats a ceramic ocean that the Children’ s Miracle Network my students and I hope will be Telethon. The new wing is a beauti- enjoyed by children and their parents ful, colorful and light space. There for years to come.
Partial view of the mobile and second-floor walkway.
Glenda Guion teaches at the Fine Arts Center in Greenville, South Carolina. She can be reached by e-mail: [email protected].
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Power • Design • Durability Thomas Stuart
A b solut el t h e most p o er f ul h eel of t od a .
call18 800-848-9565 orJuly/August visit our website2004 at thomasstuart.comPottery Making ILLUSTRATED July_August 04 12_23 6/29/04 11:33 AM Page 19
SAFETY AND PREVENTIVE MAINTENANCE FOR ELECTRIC KILNS by Mike Swauger
Your electric kiln is one of the most important and valuable tools used in the making of your ware. It probably is one of the most expensive pieces of equipment that you have or will have to purchase. With proper care and attention, your kiln will provide many years of reliable service for the production of your claywork.
A CLEAN KILN THE ELEMENTS Important safety precautions Are you keeping your kiln clean by fre- Are your elements sagging or bulging are necessary when servicing quently vacuuming out particles from from channels (photo 3)? your kiln! Always disconnect bricks, clay, glazes and kiln wash? Do not press or push them back the power prior to any work. Thoroughly clean element chan- into place when they are cold. They nels, fl oor, shelves, lid top and the are very brittle after several firings underside fl oor area (photo 1). If a and will break. If you heat the ele- kiln vent system is installed on the ments to at least 1500– 1600° F they kiln, vacuum the motor area as well. can be put back into place. This Scrape and chip off glaze drips and should be done by an experienced cones that have fallen to the fl oor. kiln repair person when it happens. Caution should be used when vacu- Minimize damage to the elements uming, trying not to apply too much by not waiting too long for repairs. pressure to elements and brick edges Also, repairing an element will help with vacuum nozzle or brush. If a prevent a cold area in the kiln. 1 break, chip or large crack occurs in Element pins will help keep them the bricks, a repair can be made by in place. using kiln cement available at suppli- Note: Element life will vary in any ers and dealers. You may have a kiln due to the type and length of choice of a wet premix or a dry mix. firing. As the elements begin to age, The dry will have a greater shelf life firing times will begin to take longer and can be mixed as needed. Do not and longer. Elements may begin to get cement compound on the ele- change shape (photo 4, page 20) ments. (It’ s a good idea to wear a while cool spots are more noticeable good protective mask during the in the kiln. Longer firings can add cleaning and repair process.) cost to your electric bills. You may be 2 Please note heat and air circulating better off planning to replace the inside the kiln will move dust parti- elements and have a complete service cles around that can attach to glazed done. If you decide to replace the ele- wares. Also, glaze drips are very dam- ments, it is wise to replace any aging to the elements and bricks severely damaged bricks at the same (photo 2). Heating, cooling and time. These would be the ones that reheating will melt and spread glaze do not have a lip to support the ele- into the element channels, brick and ment (photo 5, page 20). Clean out kiln fl oor, making it worse. Kiln wash the element groove and vacuum prior is also harmful to elements, so use to putting in the new element. This caution when applying. Always apply will provide a longer life span for the kiln wash to shelves outside of the elements. Test fire the empty kiln to 3 kiln chamber. seat the new elements and seal the
Pottery Making ILLUSTRATED July/August 2004 19 July_August 04 12_23 6/29/04 11:33 AM Page 20
coating of the wire when your service ly turn off the kiln when reaching is complete. You should follow the the desired temperature. If the Kiln manufacturer’s recommended first Sitter is equipped with a back up firing schedule. timer, you should learn to set the correct amount of time on the dial. THE KILN SITTER Too much time may cause an Do you regularly check the adjust- overfiring if the cone does not ments of the Kiln Sitter? deform properly and allow the trig- This should be checked on a regu- ger to release. Too little time on the 4 lar basis (every 20–25 firings) using timer will turn it off prior to reach- a firing gauge. If adjustments are not ing the amount of heatwork needed correct, an overfiring (most com- to bend the cone. Set the timer mon) or underfiring may occur. approximately 15–20 minutes longer Check your operator’s manual for than the firing should take. Several the correct procedure to follow. Also firings may be required to determine note, especially if you are high firing, the correct amount of time for each that the sensing rod will burn away, firing profile. causing a pointed end on the rod (photo 6). This makes the rod CORDS, PLUGS AND RECEPTACLES lighter, thus putting less pressure on Do you periodically check your power the cone, requiring a higher temper- cord(s), plug(s) and receptacle(s)? ature to bend the cone and allow the Check for burns from the cord release of the trigger and shut off the touching the kiln case (metal shell) kiln. If this occurs, the rod or tube and any dry-rot cracks. Check the 5 assembly should be replaced in order cord clamp for tightness and check to produce accurate firings and safe- that the power cord is not pulling
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20 July/August 2004 Pottery Making ILLUSTRATED July_August 04 12_23 7/6/04 12:20 PM Page 21
away from the switch box or the wall lid prop kit to support the lid while receptacle (photo 7). If the plug or venting during warming or cooling receptacle shows signs of burning or periods instead. charring, the receptacle wire connec- tions may be loose. (photo 8, page THE KILN CASE 22) Caution must be considered here Do you periodically check the case- and should be corrected by an electri- tightening screws located on the out- cian. Note that any weak connection side of the kiln? will heat up because of increased elec- These screws look like a hose tric resistance and burn out with con- clamp welded to the kiln case (photo 6 tinual use of kiln (this may cause a 10, page 22). Tighten any that are fire.) This is why switch wires, ele- loose. This keeps the kiln bricks ment connections and switch-block pulled together and minimizes the connections always burn out (photo body fl exing at the lid hinge brackets. 9, page 22). These also should be Check the fl oor and lid bands for checked for clean, tight connections. tightness. If the lid band is loose, Any suspicious looking, burned or you may need to remove all of the corroded wires and terminals should hinge hardware first before tighten- be changed. ing the band. Some of the hardware and screws may need to be replaced THE KILN LID due to corrosion. Be careful not to Do you use posts or kiln stilts for a over tighten the screws as the welds lid prop? may break loose. Periodic cleaning of This causes wear and damage to the outside of the metal jacket and the lid and top row of bricks. Use a hardware can help prevent corrosion 7 softbrick wedge or add a metal kiln from occuring.
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2,186)25$:((.(1'2) )RURXUWZRJUDQGV\PSRVLXP *)81$7$&/$<*$7+(5,1* SUHVHQWDWLRQVZHEULQJWKHYLWDO ,16287+(51&$/,)251,$ DQGVHUHQHPDVWHUFHUDPLVW 7KH&HUDPLF$UWV5RDG6KRZ 6\PSRVLXPEULQJV\RXDVHULHVRI GHPRVOHFWXUHV ZRUNVKRSVIURP Pottery Making ILLUSTRATED July/August 2004 21 July_August 04 12_23 6/29/04 11:33 AM Page 22 CONTROLLERS AND PYROMETERS area clear of all unnecessary clutter Do you check the thermocouple(s) for to avoid tripping or falling against your kilns equipped with an electron- the kilns. ic controller? The thermocouple senses the kiln FINAL SUGGESTIONS 8 temperature to allow the controller to If the aforementioned items are adjust power to the elements. Note: neglected, the life and effectiveness of Some kilns may have a controller as the kiln may be greatly reduced. Take well as a kiln sitter as a back up safe- the time to protect this investment. ty device. Evaluate schedules and plan for a Thermocouples can be damaged maintenance check up. Anyone can by hitting them with the kiln shelves do these simple tasks. If you are a while loading or unloading or they heavy user and fire frequently during can disintegrate from the constant the year, a checkup twice a year exposure to heat (photo 11). Cracks would be recommended. may occur causing false readings and If your kiln is not equipped with a failure. A spare thermocouple should ventilation system, you should seri- be kept on hand for this reason. ously consider doing so. Carbon Clean any carbon from the tip with a monoxide exposure is not healthy for small wire brush. This will minimize anyone. Element life will be pro- 9 any black specks spitting onto the longed, firings improved, better glaze shelves and ware. color can be achieved and the cooling Pyrometers also use a thermocou- down period can be reduced. ple for sensing the temperature in the When selecting a replacement kiln kiln and the same care must be taken. or making your first purchase, you must know what electrical service KILN LOGBOOK you are providing to the kiln. It is Are you keeping a kiln logbook? very important to match it to the A recording of each firing will help kiln. Residential is different than keep track of the number and type of commercial service. A kiln should be firings, how long a firing may take, placed in a climate controlled envi- problems noted, repairs made, clean- ronment because humidity and ing and preventive maintenance, etc. dampness will negatively affect the If your logbook also contains notes electrical connections, circuit boards 10 about the firing schedule, it will be and metal hardware. easier to repeat the process in the future to obtain similiar results. KILN AREA SAFETY No automatic safety device is Are you keeping the area around your fail proof. You should be pre- kiln free of clutter? sent when the kiln is supposed Think about safety here! This will to shut off. It is best to monitor help you when loading and unload- the kiln during the complete ing the kiln. Do not stack kiln shelves firing process. on the lid and avoid leaning them against the sides of the kiln. They retain heat and restrict air circulation around the kiln. Keep all com- Mike Swauger, also known as The Kiln bustibles away from the kiln area to Doctor, is located in Front Royal, Virginia. 11 reduce the chance of fire. Keep the Send questions to: [email protected]. 22 July/August 2004 Pottery Making ILLUSTRATED July_August 04 12_23 6/29/04 11:33 AM Page 23 “The Buyers Market of American Craft has literally changed the way we live our lives. Over half our year’s schedule was filled at the show, and, after the show ended, we placed additional new gallery orders. I feel like I have a ‘real’ business and can have a ‘real’ homelife.” Allan Ditton Ditton Pottery Make your living as a full-time artist by exhibiting at the Buyers Market of American Craft, the only choice for spending more time in the studio and less time on the road. CALL TODAY TO APPLY! FEBRUARY 18-21, 2005 AUGUST 5-7, 2005 PHILADELPHIA Call: 800.432.7238 www.AmericanCraft.com Pottery Making ILLUSTRATED July/August 2004 23 July_August 04 24_48 6/29/04 12:23 PM Page 24 24 July/August 2004 Pottery Making ILLUSTRATED July_August 04 24_48 6/29/04 12:24 PM Page 25 FANTASY CREATURES by Hanna Lore Hombordy Do you need a change of pace, a diversion from your changeeveryday of pace routine? How about a relaxing project where clay, metal and glaze are combined inrelaxing a single firing? All you will need is a kiln that fires to Cone 04, some clay that fires to the same temperature, miscellaneous metal pieces and low-fire glazes. Begin by collect- ing an assortment of nails, screws, hooks, old utensils, machine parts and other odd metal parts. Stick to steel, or better yet, stainless steel. Nichrome wire or other high-fire wire is also okay. Do NOT use silver or silver plate, brass, copper or aluminum because they will melt in the kiln. Try to visualize the creatures you plan to make. Sketches and drawings will aid in the endeavor. Will you use slab-built (top right), handbuilt (middle right) or wheel-thrown (top left) sections? Will you need multiple body parts? Look over your collection of metal parts and decide which might make good legs, arms, noses, buttons and other decorative parts. Some pieces can be altered by using a bolt cutter, heavy duty pliers, a hacksaw or other similar tools. An example of this would be the use of a hacksaw to cut the handles off of old forks to be used as rabbit ears (bottom right). Pottery Making ILLUSTRATED July/August 2004 25 July_August 04 24_48 6/29/04 12:24 PM Page 26 Forming My pieces are made from a Cone 04– 06 buff clay with sand added. Slab sections are formed with a rolling pin and cut out with a knife. Beginners may find an easy way to make a three dimensional handbuilt body is by pinch- ing the clay into a half-shell form, being careful to leave thick edges for inserting the metal parts. A half-shell form also can be combined with a closed form. The first step in 1 2 3 4 26 July/August 2004 Pottery Making ILLUSTRATED July_August 04 24_48 6/29/04 12:24 PM Page 27 making a closed form is to roll or pound out a thick, round slab of clay. Then crumple a paper towel into a ball and tie a string around it if needed (photo 1). Place the ball into the center of the clay and pinch and pull the clay up and over the paper ball (photo 2). Blend all edges together to create a fully enclosed shape of fairly even thickness and pinch off excess clay (photo 3). The paper will remain inside the creature and burn out during firing. Leave the form as is, or for a smoother silhouette, roll the form around between your hands or on a porous surface (photo 4). The clay can be shaped into a round ball or pressed into an irregular shape to fit your sculptural idea. If you prefer to use the wheel to throw closed forms, keep the walls thicker than usual, especially if metal legs will be inserted later. Trim the forms on the wheel or by hand with a metal rib or other tool. The thrown piece can be rolled around and reshaped just like the handbuilt one. The air trapped inside will support the clay shape. 5 After making all your clay body parts, set them aside until they are leather hard. When the clay is leather hard, join the pieces together. There are at least two ways to do this. A concave area can be carved out on one 6 piece, scored and brushed with slip (photo 5). Score and brush the adjoining piece with slip and set it firmly into the cut form. Another method is to secure a metal post to one form, add slip, pierce the other section with the post and press the parts firmly together; allow time for the joined areas to stiffen (photo 6). Note: At this point, pierce all of the enclosed areas with a needle tool to allow the trapped air to escape. If the air remains trapped during the drying and firing, it can cause the forms to crack or explode. These holes are best placed where glaze cannot clog them during the firing. Pottery Making ILLUSTRATED July/August 2004 27 July_August 04 24_48 6/29/04 12:24 PM Page 28 Adding Metal Glazing Don't use fragile metal pieces for supports such as legs. Glaze is brushed on after the creature is bone dry. These supports may weaken during firing and you will Ready-mixed commercial glazes or engobes (slips) are end up with a sagging or collapsed creature. Reserve frag- convenient to use and are available in small jars. Three ile metal pieces for decorative accents. fl owing coats are recommended, each brushed in a differ- When attaching nails, the clay should be firm enough ent direction (photo 10). When glazing, interesting effects to support the nail. Adding a bit of clay to the spot where can result when two or more colors are overlapped. It is the nail is to be inserted will help reinforce the connection. okay to brush over the joint where clay and metal meet. If the clay is too firm to easily push a nail in, don’ t force it, too much pressure may cause cracking. Instead, use a drill bit slightly smaller than the size of the nail and predrill a hole by twisting the bit with your fingers (photo 7). Then gently push in the nail. Some metal parts can be attached by first making a slit in the clay with a knife. Using screws is easy— merely screw them in. You also may want to predrill a hole when using screws. My favorite screws for legs are the round- headed ones, as they level easily (photo 8). Facial features like a smiling mouth can be added by pressing the rim of a film can into the clay. Hole cutters, available in assorted 10 In fact, this helps secure the parts to each other. Glaze will maintain its color where it is brushed on the clay, where- as glaze on metal generally takes on the dull burnt appear- ance of the metal. The work does not have to be glazed. Rolling the clay over a textured surface while still soft can provide a final look you might like without using glazes. Firing 7 As with all glaze firings, use a kiln shelf that has been brushed with kiln wash. Metal feet or other metal parts can be safely set on the kiln shelf since the firing tempera- ture will be nowhere near the melting point of steel. It’ s best to position the metal parts 5– 6 inches away from the kiln elements if you’ re using an electric kiln. Small metal pieces do occasionally fl ake off during firing or cooling and if they land on the elements they can damage them. During the firing the clay will shrink and the metal will not. This makes 8 for a strong connection but can cause stress to the clay. The parts need time sizes, are great for repre- to adjust to each other so senting eyes or other fea- a slower firing is pre- tures. ferred. Also consider that Tip: If getting the nails there has been no separate bisque firing. To compensate far enough into, (or an for this, I do the single firing very slowly, to about Cone equal length into) the 05– 04 and allow plenty of time for cooling. body is a concern, just mark the nails with a black marker before Hanna Lore Hombordy has worked with clay since 1973 in Ventura, CA. She can be reached by e-mail: [email protected]. 9 inserting them (photo 9). 28 July/August 2004 Pottery Making ILLUSTRATED July_August 04 24_48 6/29/04 12:25 PM Page 29 Pottery Making ILLUSTRATED July/August 2004 29 July_August 04 24_48 6/29/04 12:25 PM Page 30 OBSERVATIONS FROM MY FIRST CRAFT SHOW By Steven D. Lee Steven posted details of his first craft show on Clayart, a worldwide Internet pot- tery discussion group. I immediately wrote him to ask additional questions and to see if he would share his experiences with all of you. Not only did he have more words but he I recently exhibited at had great images from the day as well. I am set up six tables and 85 my first professional craft pleased to bring you his account of a begin- pieces. When I tore it down show— meaning I paid ning potter’s first retail experience. at the end of the day, it money for a 10×10-foot —Chris Campbell took 45 minutes. space in front of an elemen- tary school. For four hours I attempted to persuade moth- GIVE CUSTOMERS AN EASY WAY OUT OF ers and fathers to buy my pots. The experience really YOUR BOOTH. brought to focus several things of which I was not aware. I found that placing the tables in a C-shaped configu- ration tended to trap the customers into one area. They IT TAKES A LONG TIME TO SET UP A POT- would have to wait for other customers or me to step out TERY DISPLAY. of the way to get out of my booth. When I switched to I tried to make my display simple and compartmental- the L-shape with extra space in the front, I found that ized so that it could be set up and taken down easily. I more people came in. More than half of the customers used 35-gallon trash cans with 24×20-inch boards and went to the back of the booth and preferred to look at smaller 1×1-foot boards that fit on top of the cans to pieces on the back tables. make a tabletop. I had six of these set up in an L-shaped KEEP AN EYE ON SMALL CHILDREN AND PETS AT ALL TIMES. No matter how stable you think the tables and shelves are, small children and dogs can dislodge and break pieces. I was vigilant whenever small children or people with pets entered my booth. Luckily, the only breakage occurred when a mother, who had just put lotion on her hands, decided to pick up one of my bigger pieces. She dropped it onto four other pieces, breaking or chipping five pieces in total. She offered to pay a small amount, but not enough to cover all of the items. configuration, draped in different shades of purple cloth. PEOPLE NEED TO HAVE PROMOTIONAL I used smaller boxes to create elevated areas on the table- MATERIALS PLACED IN THEIR HANDS. tops to display my “ premier” pieces. Each trash can held I found that people would look at my business cards the pieces that would be placed on that tabletop during and the sign-up sheet for my holiday sale, but would not transport. The pottery was wrapped well in thin foam and pick them up or touch them. I decided to personally hand bubble wrap. Luckily, there was no breakage in the 35- out business cards and promote the sign-up sheet when minute drive there. people were showing signs they were ready to leave the I thought setting up would take 30 minutes at most, booth. Most signed up on the mailing list, and everyone but to my surprise, it took 1 hour and 45 minutes to accepted the business card. 30 July/August 2004 Pottery Making ILLUSTRATED July_August 04 24_48 6/29/04 12:25 PM Page 31 REASSURE PEOPLE THAT THEY CAN PICK UP THE PIECES AND HANDLE THEM. People need to have select pieces handed to them so they can touch and feel them. I had to repeat over and over again that each mug fits each person’ s hands a little differently. I would demonstrate where my fingers and thumbs left visible marks on some pieces. I encouraged them to lift pieces so they could feel the weight and shape of each item. NETWORK WITH OTHER VENDORS. I talked with some of the other vendors, trading ideas or praising their work. I received two business proposals and several invitations to visit their stores and talk about plac- ing some of my pottery in their shops or their presentations. Thrown, carved vase form, stoneware, Cone 6. Most of these offers were above and beyond my pro- duction capabilities, but I will follow up on a few of them. Another customer overheard this conversation and SOMETIMES A GIFT OF POTTERY IS WORTH purchased the three pieces these two students were really MORE THAN ITS WEIGHT IN GOLD. interested in. It was one of the better sales of the day. There were two college students spending a lot of time just looking at the pieces, so I approached them and start- ALWAYS HAVE AN ANSWER READY FOR ed a conversation. I found out they had no money to spend “WHAT CAN I USE THIS FOR?” on pottery at this time. I gave one of them a small 1- ounce Knowing that some of my pieces might not be self-evi- jigger with a handle and that started a dialogue about how dent in their use, I had several uses for all of them in my they were both interested in handcrafted work. They want mind. One piece was so bizarre that the only use I could to come to my next show and purchase some pottery. think of was as a place to keep jewelry when you remove Pottery Making ILLUSTRATED July/August 2004 31 July_August 04 24_48 6/29/04 12:25 PM Page 32 YOU HAVE TO BE WILLING TO TALK TO Sound business practices STRANGERS ABOUT YOUR WORK. I enjoyed talking with people about the process of cre- are within the capabilities ating the pieces, the forming, glazing and firing— but when asked about why they should purchase one piece of any new potter. over another, I felt somewhat uncomfortable. I think sev- eral people looked at me kind of strangely when I told them to pick up the pieces and feel them, hold them, and it each night. When I told this to a woman wearing a lot try to connect with them. of jewelry she said, “ I thought that’ s what it was, but I just I told people that I was a beginning potter and each pot wanted to make sure.” represented a journey from where I started. My best piece was thrown on a day when everything came together for me. I seriously considered not putting a price on it and telling everyone that it was not for sale. I finally gave in and put it out for sale. I WOULD DO IT AGAIN. I think the audience of elementary school children and their parents might not be typical of most craft shows, but I learned a lot from the event. Just for the experience I would do it again. I think I will become more comfortable with selling as time goes on. Steven Lee is a potter living in Thrall, TX. You can find more infor- Thrown Bowl, stoneware, Cone 6 by Steven D. Lee. mation about Steven by visiting www.sdpottery.com. He can be reached by e-mail: [email protected]. VIDEO WORKSHOPS FOR POTTERS Now on DVD! 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 Videos with It’s hard to imagine a more lucid or comprehensive Robin Hopper introduction to the subject . . . . Highly recommended. Video Librarian Visit www. PotteryVideos.com Call for our brochure of 21 videos and DVD’s for potters 800-668-8040 Phone: (250) 247-8109 Fax: (250) 247-8145 E-Mail: [email protected] 32 July/August 2004 Pottery Making ILLUSTRATED July_August 04 24_48 6/29/04 12:25 PM Page 33 Pacifica WorkStation Triple your work space. Put your tools at your fingertips. Save trips to your Ware Cart. Install in 5 minutes (or less!) (800) 4-Laguna www.lagunaclay.com Pottery Making ILLUSTRATED July/August 2004 33 July_August 04 24_48 6/29/04 12:30 PM Page 34 Handbuilding with stoneware clay slabs is interesting, fun and challeng- SLAB-BUILT FISH, ing. Clay slab construction does not always have to become a pot or ves- sel. I really enjoy making fish from NO WORMS NEEDED clay slabs. They can take on a variety of shapes, colors and patterns. I’ ve by Marj Peeler made and sold more clay fish than my fisherman husband ever caught. Try it, you might like it. Technique for a Single-Slab Fish BOBBY PIN TOOL Bobby pins are made of spring steel and can last for years as a tiny wire tool. Items needed: bobby pins 1 ⁄ 2-inch dowel rod wood file Take a round-bottom pot, turn it over and When the clay is able to hold its shape, cut cover it with a paper towel. Gently press out your fish. You also can add details, needle-nose pliers down your clay slab over the pot. such as eyes and mouth. fine wire epoxy On the back, add a small piece of clay with Using different color underglazes, paint a 2 or 3 round cuts, made from a small pipe bold design on the almost leather- or straw to use as a hanger. hard clay. Flatten two sides on the end of the dowel rod by filing it with a wood file. Open a bobby pin, fl atten the ridges as much as possible with the pliers. Slide the ends of the bobby pin over the fl attened area of the dowel rod and wrap tightly with fine wire. It helps to seal the wire wrapping with epoxy. Take a bobby pin tool (see sidebar), or a Bisque your fish, then coat with a clear loop tool, and carve designs into your glaze. This finished fish (10 inches in length) underglazed fish. was fired to Cone 5 in an electric kiln. 34 July/August 2004 Pottery Making ILLUSTRATED July_August 04 24_48 6/29/04 12:30 PM Page 35 Technique for a Three-Slab Fish Make a paper fish pattern. On a large clay Support your slabs on something soft, and slab, cut around the design, to create fish press and stroke a depression into each halves. Cut the third slab (for the bottom) half with a rubber rib. Score the inside using the curves of your fish as a guide. fins, tail and edges. Apply slip to the scored areas and join the Bend, shape and carve your fins and tail to 3 slabs together. Put newspaper inside for the desired shape. Remove the newspaper support. Another set of hands may be when the fish is stiff enough to stand on needed for joining. its base. Add details, such as eyes, mouth and gill lines. Attach fins on either side near the gill line to help steady the fish. Pottery Making ILLUSTRATED July/August 2004 35 July_August 04 24_48 6/29/04 12:30 PM Page 36 Brush underglazes on the almost leather- hard clay. Use the bobby pin tool to incise your designs. Set the fish aside—make sure air can circulate underneath to com- pletely dry the base. Bisque your fish, then coat with a clear glaze. Leave the bottom unglazed. This finished fish (15 inches in length) was fired to Cone 5 in an electric kiln. Marj Peeler and her husband, Richard, worked in clay for 51 years—their entire TIP: married life, and operated a pottery for 30 Make sure to try different styles and shapes of fish. Look through years before he passed away. Still living in rural Indiana, Marj loves clay work of all books about fish at your local library or go to a pet store for ideas. kinds and has contributed several articles to Pottery Making Illustrated. VPM-20 VPM-30 POWERWEDGERVPM-60 Vacuum Deairing, Batch Mixing Pugger-Mixers Mix, Pug and Deair with one machine and recycle the scrap. Made in USA Pugger-Mixers are also available with 60 and 175 lb. batch capacities. Features: “We are pleased with our Pugger and • Complete clay processing recommend it highly • Eliminate wedging to other potters. Sure • Store moist clay for months resolved wrist and back problems.” • Stainless steel auger and –T. Grammas, aluminum body Mudbug Pottery, FL • Automatic safety shut off “The Pugger-Mixer • Built for a lifetime of use is one of the best • Two-year warranty investments I’ve made for the classroom.” Trinity Ceramic Supply, Inc. –S. Huft, Montgomery 9016 Diplomacy Row PETER High School, CA PUGGER 3661 Christy Lane Dallas, Texas 75247 Ukiah, CA 95482 Phone 707-463-1333 214 631-0540 www.trinityceramic.com www.peterpugger.com 36 July/August 2004 Pottery Making ILLUSTRATED July_August 04 24_48 6/29/04 12:30 PM Page 37 Pottery Making ILLUSTRATED July/August 2004 37 July_August 04 24_48 7/6/04 2:55 PM Page 38 “Easiest raku kiln to use” THE “CLAMSHELL” Quick & Easy to Unload Portable Rapid Firing Heavy Duty Industrial- grade Burner System 2636 Pioneer Way E., Tacoma, WA 98404 800-952-8030 Fax: 253-922-5349 NEW “Website” Address www.clayartcenter.net 38 July/August 2004 Pottery Making ILLUSTRATED July_August 04 24_48 6/29/04 12:31 PM Page 39 Kids Korner A Rainbow Footprint Mural By Craig Hinshaw 3 Toward the end of the school year yellow, green, blue, indigo and violet. glued to a ⁄ 4-inch piece of plywood, Simonds Elementary School has a Kindergartners received the first two which was framed with 1-inch wood field day, a fun filled day with activi- colors of the rainbow, red and stripping. Because the tiles were small ties both in the school and on the orange; the first grade used orange and heavily textured, I did not grout school grounds. Classes of students, and yellow; the second grade had yel- the tiles. kindergarten through fifth grade, low and blue, etc. The finished mural hangs on a wall rotate every 20 minutes from one After the tiles dried, I brushed a outside of the school cafeteria. The activity to the next. I directed the fol- clear coat over the top and fired them 288 tiles give students a lot to look at lowing clay activity, which resulted in to Cone 04. The finished tiles were as they stand in line for lunch— but- a colorful, textured tile mural that now hangs in the school. When a class came to my art activ- ity they were told to take off one of their shoes and inspect the sole for interesting textures and patterns, (most students wore tennis shoes). The students were given a golf-ball- size piece of clay and told to fl atten it 1 to about ⁄ 2 inch thick and then press the interesting part of the sole of their shoe into the soft clay. Next, they received a piece of poster board 4 inches square with a 2-inch square cut out of the middle. This frame was laid over the most interesting part of Student using a cardboard frame to cut out a 2 inch square tile. the texture and using a pin tool, a 2- inch-square clay tile was cut out. The excess clay was returned to the clay bag to be used by the next class. Glazing also was completed during the 20 minutes on the still-soft green- ware. Each class of students received only two colors to brush on their 2- inch-square tile. I had selected the underglaze colors to correspond with those of the rainbow; red, orange, Pottery Making ILLUSTRATED July/August 2004 39 July_August 04 24_48 6/29/04 12:31 PM Page 40 Kids Korner Student using a small brush to glaze the wet clay tile. terfl ies, fl owers, bees, cartoon charac- ters and other types of interesting pat- terns. Usually these images were only seen by the custodian when cleaning those impressions from the fl oor after students had come in after a rainy day. Now the images are always pre- sent in the school, year after year, rain or shine. The finished mural, 42 inches by 22 inch- es, fired to Cone 04. Detail sections of the finished mural. Craig Hinshaw is an elementary school art specialist in the Lamphere School District in Madison Heights, MI. He can be reached by e-mail: [email protected]. 40 July/August 2004 Pottery Making ILLUSTRATED July_August 04 24_48 6/29/04 12:31 PM Page 41 “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. 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