Twisted Are You Sure That Was Extruded?

July/Aug 2008

h Ce l e b r a t i n g Te n Ye a r s 1998-2008 h

David Hendley’s Twisted Are You Sure That Was Extruded?

Credit to Die For New Take on the Credit Crunch An Extruded Palette Enhance Your Work Trains and Boats Using Complex Dies

PotteryMaking Illustrated • July/August 2008 1 2 PotteryMaking Illustrated • July/August 2008 Table of COntents Features 15 Credit to Die For by Daryl Baird The credit may be gone but the card still works. 19 An Extruded Palette by Jim Robison Enhance your work with extruded parts. 24 Twisted by David Hendley Alter extrusions beyond recognition. 31 Trains and Boats by Bill Shinn Extrude complex shapes for intricate projects. Departments 7 Tips from the Pros Great Stamps in 30 Minutes by Virginia Cartwright 10 In the Mix What’s the Slurry? by Jonathan Kaplan 12 Tools of the Trade Coping with Metal by David Hendley 37 Supply Room Dies the Easy Way by Bill Jones 41 Instructors File Pardon Me, Your Slip is Showing

by Annie Chrietzberg July/Aug 2008 46 Off the Shelf Extrude It! h Celebrating ten Years 1998-2008 h by Sumi von Dassow

David Hendley’s Twisted Are You Sure That Was Extruded?

David Hendley twists an Credit to Die For New Take on the Credit Crunch extrusion as it exits the ex- An Extruded Palette Enhance Your Work Trains and Boats truder. See story on page 24. Using Complex Dies

PotteryMaking Illustrated • July/August 2008 3 Fired Up

Trying Other Things Volume 11 • Number 4 Editorial [email protected] Telephone: (614) 794-5895 God is really only another artist. He Fax: (614) 891-8960 Editorial invented the giraffe, the elephant and Editor Bill Jones Assistant Editor Brandy Agnew the cat. He has no real style. He just Assistant Editor Jessica Knapp goes on trying other things. Publisher Charles Spahr Graphic Design & Production —Pablo Picasso Production Editor Cynthia Conklin Marketing Marketing Manager Steve Hecker first learned about clay when I was in Ceramics Arts Daily college and, like most anyone pursu- Managing Editor Jennifer Poellot Harnetty I Webmaster Scott Freshour ing this medium, I was hooked from the Advertising [email protected] first day. I particularly loved the wheel Telephone: (614) 794-5834 and studied that in earnest in prepara- Fax: (614) 891-8960 Advertising Manager Mona Thiel tion for making a living after gradua- Advertising Services Jan Moloney Subscriptions tion. We were lucky at our university Customer Service: (800) 340-6532 because we had an extruder—a rarity back in the 60s. But, our www.potterymaking.org Editorial & Advertising offices extruder was actually just a small horizontal model with a motor 600 N. Cleveland Ave., Suite 210 that extruded a 1¼ inch diameter tube, which we used for test tiles. Westerville, Ohio 43082 USA Occasionally, one of the students would explore incorporating whole www.potterymaking.org or altered tubes in a work or even an entire sculpture, however, the Pottery Making Illustrated (ISSN 1096-830X) is published bi- tube-look was so obvious that it was a challenge to make it work. monthly by The American Ceramic Society, 600 N. Cleveland With the 70s came an explosion in the ceramic studio world and Ave., Suite 210, Westerville, Ohio 43082. Periodical postage paid at Westerville, Ohio, and additional mailing offices. with it the demand for practical, useful tools. At first, plans and Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ce- suggestions appeared in Ceramics Monthly about how to make ramic Society. your own tools in the Michael Cardew tradition of Pioneer Pottery. Subscription rates: 6 issues (1 year) $24.95, 12 issues (2 years) $39.95. In Canada: 6 issues (1 year) $30, 12 issues (2 Gradually, entrepreneurs entered the scene producing quality manu- years) $55. International: 6 issues (1 year) $40, 12 issues (2 years) US$70. All payments must be in US$ and drawn on a U.S. factured tools that quickly became quite popular. The extruder was bank. Allow 6-8 weeks for delivery. part of this tool explosion and soon, most every public studio had Change of address: Visit www.ceramicartsdaily.org to change your address, or call our Customer Service toll-free at one and consequently thousands of potters were able to explore its (800) 340-6532. Allow six weeks advance notice. use. Extruders are prevalent in the home studio with more than 45% Back issues: When available, back issues are $6 each, plus $3 shipping/handling; $8 for expedited shipping (UPS 2-day air); of PMI readers now owning one. and $6 for shipping outside North America. Allow 4–6 weeks I purchased my extruder a couple of years ago and I love it, al- for delivery. Call (800) 340-6532 to order. Contributors: Writing and photographic guidelines are avail- though I still have a lot to learn about it. I bought the basic die set, able on the website. Mail manuscripts and visual materials to but I’m really intrigued with the dies Daryl Baird makes from credit the editorial offices. Photocopies: Permission to photocopy for personal or inter- cards. I haven’t tried that yet but it looks interesting and simple to nal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, do. Three other ideas we have in this issue that I’m looking forward ISSN 1096-830X, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., to trying are making dies from clay, altering one of the manufac- Danvers, MA 01923; (978) 750-8400; www.copyright.com. Pri- tured dies and creating a trefoil die for making rope decorations. or to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. So here’s an issue about trying out some new things on an extrud- This consent does not extend to copying items for general distribution, for advertising or promotional purposes, or to re- er. If you don’t have one, you really should look into it. And if you publishing items in whole or in part in any work and in any haven’t used yours in awhile, you’re in for a treat. format. Please direct republication or special copying permission requests to the Ceramic Arts Publisher, The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, Ohio 43082. Happy extruding! Postmaster: Send address changes to Pottery Making Illus- trated, PO Box 663, Mt. Morris, IL 61054-9664. Form 3579 requested. ceramicartsdaily.org

Bill Jones Editor

Copyright © 2008 The American Ceramic Society All rights reserved 4 PotteryMaking Illustrated • July/August 2008 PotteryMaking Illustrated • July/August 2008 5 6 PotteryMaking Illustrated • July/August 2008 Tips from the Pros by Virginia Cartwright Great Stamps in 30 Minutes

stamps clay, you need to let it dry then bisque fire it before you can put it to use, which could take several days to a week. Polymer stamps, by comparison, are ready for use in about 30 minutes. You can then take those stamps, press them into another piece of polymer clay, and quickly get a negative version of your designs. Polymer clay does not crack or crumble as easily as stoneware or earthenware clays, and scraps can be easily recycled. Since it’s not water based, the clay doesn’t dry out. This property also makes polymer clay an ideal material for making impressions from a variety of objects, including antique furni- ture, kitchen tools, buttons, Indian wood blocks and tombstones. Polymer clay can be used to create a variety of clay stamps As I began to explore the possibilities of this in a short period of time. material further, I discovered that I could use my inlaid colored clay techniques to make the stamps tamps enhance your work by adding interesting beautiful as well as functional. By layering and textures to your pieces and depth to your glazes. S blending colors, I can create an endless variety of For years, I carved stamps from small plaster blocks intricate patterns. or from leather-hard clay that was then bisque fired before use. I wanted a way to make stamps more quickly so I could share them with my students and The Process workshop participants and found that polymer clay Condition the polymer clay by rolling it ten times (available at most craft stores) makes a clean, crisp through a pasta maker on the thickest setting (figure impression that can be cured and ready for use in 1). If you do not have a pasta machine, manually almost no time at all. roll the clay into coils in your hands. Your body When making a stoneware stamp using regular heat will soften the clay. If you want to mix your

Supplies

There are several brands of polymer clay available (Sculpey, Fimo or Premo), all of which are good. Sculpey has a product called “Super Sculpey” which I use because it is a strong, shatter-resistant material. Super Sculpey is only available in a tan color, so I combine it with about 25% of another color of polymer clay if I want to change the color. You’ll need a clean, non-porous surface to work on, and a Plexiglas roller made just for polymer. You can substitute this roller with an 8-inch piece of plastic pipe. You should also buy a 6-inch long cutting blade and an inexpensive pasta machine (both available at craft stores or garage sales). The pasta machine is used to soften the clay and to blend the colored clays together. Polymer clay stamps are best when used on slight- If you’re just making a few stamps, you can use ly firm slabs of ceramic clay. If the stamp sticks to the your hands and roll the clay into coils until it softens. clay during use, baby powder or cornstarch can be I find it helpful to attach handles to the stamps. Buy used as a release agent. These embellished slabs can a bottle of liquid polymer clay and use this as glue to be used to make handbuilt vessels and sculptures, or attach the polymer handle to the top of the stamp. left flat for tile work.

PotteryMaking Illustrated • July/August 2008 7 own colors, make coils of two or three colors, roll Bake the polymer in a small toaster oven, follow- them into one coil and twist the coil like a candy ing the directions given on the package. Typically, cane. Cut the twisted coil in half, join the two it will bake at 275°F for fifteen minutes, though you pieces and twist them again, repeating this process may increase the time by five minutes if the stamps until the colors are blended. are very thick. Be careful not to overheat the poly- You can make stamps using several layers of mer clay. You can cover your pieces with aluminum polymer clay by first rolling it out into a slab that foil to prevent scorching and blistering (figure 4). If is about ¼ inch thick. Thin polymer clay slabs take you smell a strong odor while cooking the stamps, a deeper, clearer impression than a thick one. Put a it means that they are getting too hot. Turn off the pinch of baby powder or cornstarch on one side of oven, and ventilate the room. the clay. Next, press the clay (powder side down) on top of a textured object. Place the polymer clay over the texture and press it with your thumbs, Note rather than pressing the texture down onto the These stamps are not as strong as ceramic polymer clay (figure 2). or wooden stamps. If you have trouble Leave the polymer clay on the textured surface with your stamp breaking, try making the and add a second layer of Super Sculpey clay layers of the stamp thicker. (figure 3). Press the layers again with your thumbs. Remove the clay and trim the edges. Finally, add a top decorative layer and a handle. I join everything together with a thin coat of liquid polymer clay and cure the piece again. The heat Tip fuses the layers and handle together. • If you plan to make a lot of pieces, buy a toaster Virginia Cartwright has taught ceramics for 22 years, and oven dedicated just to curing polymer pieces. has shown her work in numerous exhibitions. She cur- rently lives in Fallbrook, California, and can be reached at [email protected].

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8 PotteryMaking Illustrated • July/August 2008 PotteryMaking Illustrated • July/August 2008 9 In the Mix by Jonathan Kaplan What’s the Slurry?

Clay Recycling he work we make If you plan to recycle scraps that have fallen on the Tgenerates discarded floor around your wheel, make sure there’s no non-clay clay—scraps from debris on the floor first, otherwise you should simply trimming and slop from throwing or handbuild- throw these scraps away as the foreign matter could ing. Whether you make your own or buy prepared cause problems. Rather than using a broom, use a met- clay, you need to decide what to do with used clay. al dustpan and your hands to collect the clay. For some, the solution is to throw the scraps in the 3 As the bucket approaches the top, decant the wa- dumpster and dump the slop down the drain, which ter. As long as there is water over the layer of clay in isn’t really a solution. It’s economically and envi- your recycle bucket, the clay scraps will all break down ronmentally wasteful and can wreak havoc on your and become thoroughly saturated. If there are lumps or plumbing, sewer and septic systems. dry material in the slop, the resulting reclaim will have All discarded clay—except that which comes in hard and soft spots. You don’t have to mix the clay in contact with plaster or other contaminants—is recy- the bucket with a mixer. Let the water do its job. clable and reusable. Reclaiming it requires planning a system for your particular studio situation. Although Reclaiming there’s no one way that works for everyone, some The resulting very wet scrap usually needs to be dried basic guidelines can make this job easier. out before reprocessing can continue. Here’s a list of The following solutions, submitted in a recent PMI the more commonly mentioned and used methods. reader’s online survey on clay reprocessing will give 1 Spread a thin layer (2-inches or so thick at most) of you a place to start. scrap onto an absorbent surface (figure 2). Plaster bats, wedging tables and large plaster slabs are good choices Collecting and Storing for this. A material called HardiBacker Board works 1 A trash container of some sort is the key to very well. This is a heavy cement board that is not as ef- any system. Placed on wheels, it can be maneuvered fective as plaster, but is strong and will absorb moisture anywhere in your studio. Remember that when filled from the clay. Caution: do not use sheetrock. This is thin with clay scrap, slop and trimmings, it will be very and porous, absorbs water very quickly, then the paper heavy, so buy a heavy-duty container, and use heavy- delaminates from the surface and the boards weaken. duty casters for the dollie. Pouring the scrap clay Flip the clay slab over periodically (it should pull away through a framed screen that sits on top of the con- from the surface easily when it is ready to flip) and container breaks up the scraps into smaller pieces and tinue to do this until it is right for wedging.

catches tools that got lost (figure 1). 2 Store drying bats on a vertical rack or ware cart

2 When you’re done with a day’s work, dump to save space. Note: the HardiBacker boards need a your throwing slop and any scraps into the bucket. board underneath for support. Some potters prefer to

1 2 A screen over the scrap clay barrel not only keeps out Place recycled clay on a porous surface and allow to dry. tools and sponges, but also the dreaded needle tools. Flip the clay over occasionally then wedge and store.

10 PotteryMaking Illustrated • July/August 2008 dry their reclaim outdoors. Note: cover the reclaim It can then be cut into small pieces or thin slices and with a sheet or other breathable fabric if you live in a re-wedged with your boxed clay or used as is. windy area to prevent foreign materials from getting 3 A common misconception with a pug mill is in your clay. A fan can also help dry wet clay more that you can combine dry mix and wet mix success- quickly. This will accelerate the drying, so turn the fully and get a decent extruded pug. Not true. Al- clay frequently. though the dry mix sets up the wet mix in the ma- 3 Another practical method involves a rudimen- chine, the dry mix itself will not be suitably hydrated tary filter press system made from cotton pillowcas- and, as a result, the clay will be exceedingly short. If es. Simply fill the sacks with clay slop and hang them you prepare your clay this way, do so well in advance up, either over a bucket or outside. Excess water of using it; bag the clay, let it age, and it will fully eventually drips out over time and evaporates from hydrate over time. The same is true if you are wedg- the surface. ing dry clay into very wet wheelthrown clay to make it workable again. Reprocessing 4 All plastic bags have a degree of porosity, and re- 1 When adding reclaim that has already been lease moisture or let in air over time. Mix clay and repro- through one of the above processes to the clay mixer, cess scrap just a bit on the wet side to allow for a small make sure you mix the water and the dry clay first be- degree of air infiltration through the plastic bag. fore adding the reclaim. Alternately, add the slaked- 5 Finally, don’t let the volume of reclaim get out of con- down reclaim straight from the bucket to the mixer trol. If you keep up with it on a daily basis, you’ll always (without drying it out first). This works best if you’re have reclaimed clay ready to go, and not have an over- mixing a large batch of clay (over 100 pounds). Put flowing bucket of scrap. And, if you’re just overwhelmed the reclaim in first and add dry ingredients in small and don’t have the time, space or inclination to delve into batches on top of the reclaim, adding water as need- clay recycling, consider donating your unwanted clay to a ed to maintain the right consistency. A ratio of 2/3 local school or art center. • dry materials to 1/3 reclaim usually works well. Jonathan Kaplan is a frequent contributor to PMI. He has been Once your reclaimed clay has achieved the con- 2 actively involved in the ceramics field for 40 years. He lives in sistency you want, block it, bag it and leave it alone Denver, Colorado, where he curates Plinth Gallery. He can be for a few days to let the moisture content even out. contacted through www.jonathankaplanceramics.com.

PotteryMaking Illustrated • July/August 2008 11 Tools of the Trade by David Hendley Coping with Metal

or years I was to the “throat” of the saw, which is the distance from extruder dies Fhappy making dies the blade to the frame. I recommend a 4-inch saw for and using the resulting die making. A small throat gives more control, but extrusions without alterations. After thirty years, makes it so the blade cannot reach the center of die, though, I began to focus on the ways that a twist, while a large throat does not support the blade as well. turn or distortion could soften the extruded form It takes some practice to learn how to use a jeweler’s and make it more expressive. saw. Because the blades are so fine, it is common to While you can use the square die that comes twist or bind a blade and break it, and most begin- with an extruder package, I’ve found that the ners need an hour or so of practice to get the hang of pre-made dies create an extrusion that is too thick it. Blades break easily and wear out quickly, which is for the vessels I make. Instead, I prefer to make why they are sold by the gross (12 dozen). two-part dies from recycled highway signs that are Saw blades come in grades from fine to coarse. A attached together with U-bolts. Highway signs are medium blade for jewelry making is called a “0” (zero made from Z\zn inch thick aluminum sheet, which is or aught). Ever finer blades are called “00,” “000,” sturdy enough to withstand the downward pressure and so on, while progressively coarser blades are exerted by an extruder, and are regularly replaced, labeled “1,” “2,” “3,” etc. I use number 4 blades for so they are commonly available at metal recycling die making. To a jeweler, this is a very coarse blade, yards. Aluminum is easy to cut and file, yet du- but to a potter it is extremely fine. I install the blade rable. Of course, regular sheet aluminum could be with the teeth facing the handle, so the cutting is done used, but I like the plastic coating on the old signs, when the saw is pulled, not when it is pushed, though which makes for easier clean up after use. For a full the opposite orientation works too. The saw frame is description of how to make a two-part extruder die, built to have some spring to it, so the two ends need go to www.ceramicartsdaily.org/potterymaking and to be pushed together slightly when installing a blade, check out the archived articles. which insures that the blade will be tight and under I bought a jeweler’s saw and learned how to use tension. To start cutting the die shape, first, create drill it when I enrolled in a jewelry making class in the holes at the four corners of the square, insert the saw 1970s. It just happened that I was also starting to blade through one of the holes and tighten the blade. design and make extruder dies at the same time, so Hold the saw in a vertical position, with the handle on it was natural to try using the saw to make dies. An the bottom and clamp or hold the die blank on a work- electric jigsaw or scroll saw is much faster, but I like bench for sawing. A “bench pin,” an arm that can be the control and precision of the jeweler’s saw. installed on a workbench, is a helpful accessory to hold Jeweler’s saws can be purchased from any jewelry a die while sawing. • making supply company. They are sold in different sizes, such as 3-inch, 4-inch, 5-inch, 6-inch, and so David Hendley built his first clay extruder in 1975. Check out www.farmpots.com, for information about his work. on. All the saws are the same length—the size refers

A four-inch jeweler’s saw with a one-gross package of #4 Using a jeweler’s saw is slow going but affords great con- saw blades. trol and enables you to achieve intricate details.

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14 PotteryMaking Illustrated • July/August 2008 Credit to Die For by Daryl Baird

or several years, I had the opportunity to work alongside Jim Robison on the com- mercial exhibit floor at the annual Nation- Fal Council on Education for the Ceramic Arts (NCECA) conference. We worked the booth like a couple of traveling medicine men. First, Jim would draw the “townsfolk” in by demonstrating his considerable skill with a slab roller and an extruder, then I would sell them on the idea of person- ally owning one or both of these wonderful pieces of equipment. I always enjoyed seeing how Jim could easily seize the attention of passers-by while he added beautiful touches to the vases and platters he built in just minutes, using simple tools he found in kitchen shops and 1 paint stores. A pie crust ventilator made subtle scored lines in the clay while a tiny paint roller and a piece A few simple tools are needed to create dies. of lace trim gave it exquisite texture. In addition to demonstrating at NCECA, Jim con- ducts workshops in Europe and North America. TIP Among the most intriguing items he takes with him are the extruder dies he has fashioned from credit Clean the credit card with soap and water cards, membership cards and coffee cards. before starting to draw on it. Recently, a friend asked me to make an address sign for her new home. As a devoted “extrudist,” I wanted to make the sign, at least partly, with my favorite stu- To begin, use a No. 2 pencil with a good eraser to dio tool. None of the stock dies I had on hand seemed lay out the shape of the die opening. Dull the finish of suitable, so I decided to make the shapes I needed us- the card with fine sandpaper if the pencil marks are ing Jim’s credit card die construction techniques. too light. Go over the pencil drawing with a fine-point, indelible marker, like a Sharpie (figure 2). If you make a Making a Die mistake, these lines can be removed by wiping the card You’ll need a few simple tools for making a credit with a rag dipped in rubbing alcohol. card extruder die (figure 1)—A no. 2 pencil, an in- To cut out the shape you’ve drawn, a hand-held ro- delible marker with a fine point, a Dremel tool and tary tool, like the type made by Dremel, works fast (fig- assorted bits, an X-Acto knife and several No. 11 ure 3) and is fairly easy to control. These come with a blades, emory cloth or 150-grit sandpaper, rubbing variety of drill bits, along with grinding and sanding alcohol and a small rag. Safety glasses or goggles are bits that can be used to refine the shape of the open- essential when using the Dremel tool. Optional tools ing. In addition to using a Dremel tool, I tried cutting include a hand drill and bits, a scroll saw, a jeweler’s out the die shapes with a scroll saw. It worked well, saw and a small vise. but setting up the saw for this was tedious and time- PotteryMaking Illustrated • July/August 2008 15 consuming. I also gave a coping saw and a jeweler’s saw a try. Even with a fine-toothed blade installed, the coping saw was next to impossible to use. The jeweler’s saw cut more smoothly but it was slower than using a Dremel tool. Once the opening has been cut out with the Dremel tool, it will be rough, so you’ll need to clean it up. I like using an X-Acto knife with a No. 11 blade to clean up the opening and square-up the corners (figure 4). The blades are very sharp but they dull quickly when cutting plastic. Have several on hand and change blades often. 2 Once you’re satisfied with the die shape, use a small Outline your design first in pencil, then use a marker. piece of sandpaper or emory cloth to clean off any burrs. I used a narrow strip cut from a foam-backed sanding pad because of the way it fits the contours and corners. Using a Die Credit card extruder dies are best suited for use with extruders that have a 3 to 4-inch barrel. Don’t try to use credit card dies in large-barreled extruders because

TIP As you clean up the die opening, hold the credit card 3 die up to a bright light. This makes it easier to gauge where more trimming needs to be done. Cut out the opening, working inside the line.

4 5 Trim burrs with an X-Acto knife. Sand the die smooth.

6 7 Place the die on an extruder die to check the fit. Attach the die with clay wads to a standard extruder die. 16 PotteryMaking Illustrated • July/August 2008 these types of extruders will exert too much pressure Hold the die in place and turn it face up. Use small on the die, and cause it to crack. For the same reason, wads of soft clay to anchor the credit card to the mount- you’ll achieve the best results by using only a two or ing plate (figure 7). Then, attach the die to the extruder three pound charge of very soft, well-wedged clay in barrel and load the charge of clay into the barrel care- the extruder to minimize the stress placed on the die. fully so the credit card does not become misaligned. Place the card on an extruder die with a hole some- Evaluate the first extrusion. If areas need to be re- what larger than the hole you just cut. I’m using a fined, it’s easy to go back and give the shape a little North Star standard extruder and the outer part of a “tune up.” • small hollow die makes an ideal mounting plate for Daryl Baird is the author of The Extruder Book, published by the credit card die. Looking from the underside, make The American Ceramic Society. He resides in Sagle, ID. You can sure the die is centered (figure ).6 send comments to him at [email protected].

Street Address Project To illustrate the use of these dies, I made a street address sign for my home. I rolled a large slab of clay that was just under a half- inch thick and cut out the oval shape using a plastic serving plat- ter as a template. So far, I have three credit card Three credit card dies. The slab should match the thickness of the notch on dies in my collection. I used the A B the bull nose die extrusion. extrusion from my bull nose shaped die to create a decorative rim for the edge of the clay slab. The height of the notch in the extrusion matches the thickness of the clay slab. Make the bull nose extrusion long enough to cover the entire circumference of the slab and attach it as soon as it’s extruded. Spray the slab before A T-shaped extruder die is Address sign, 18 inches long, attaching the rim and use even C used for the numbers, which D Laguna Speckled Buff clay are assembled on drywall. glazed with Laguna’s Fern Mist pressure all the way around the glaze, fired to cone 5 oxidation. piece to bond the trim to the slab. No scoring or slip is necessary. Make extrusions of several joints before attaching the parts. lengths and shape the numbers on Spray the oval slab with a mist Tip ~ ~ a piece of drywall. Draw the out- of water and lightly place the ~ line of the numbers or letters you numbers on the surface. When When working on large, flat want directly onto the drywall, each one is properly positioned, projects, you can minimize the risk and follow these lines as you lay repeatedly apply light, even pres- of the piece warping by using a out the extrusions. If the numbers sure until the numbers are firmly sheet of drywall as a work surface. don’t look quite right after the first in place. It isn’t necessary to dis- attempts, you can go back and tort the shape of the extrusion to I used a T-shaped die to make the bend them more. achieve good attachment. numbers for the sign. The die is 1¼ Keep the extrusions moist as Securely wrap the sign in plastic inch wide by ¾ inch high. The “T” you work. If you’re assembling a and allow it to “rest” on the dry- profile is easy to shape while also shape from several extruded piec- wall sheet for two or three days. offering a large surface area on the es, like the number 4 for example, Afterwards, slide the sign onto a underside, ensuring a strong bond take care to join the pieces thor- fresh piece of drywall and lightly between the extruded shape and oughly. This is where you’ll need cover it with plastic. This will help the slab. to score well and apply slip to the it dry evenly.

PotteryMaking Illustrated • July/August 2008 17 More than just a magazine . . .

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18 PotteryMaking Illustrated • July/August 2008 Extruded detail elements can add precise control and strong defined edges to handbuilt vessels. An Extruded Palette by Jim Robison

xtrusions have proved to be a breath of fresh air in my studio. Not just as an alternative to other building methods, but as an added Ebonus in the studio schedule. Since Iowa college days in the 60s, my emphasis has been on a broad church approach to work, with variety and playfulness seen as an essential part of the making process. Since ceramics was seen as part of an art curriculum, courses taken in painting, drawing and sculpture influenced my ceramic work. Handbuilding offers extensive possibilities; the clay slab may be treated much as a painter’s canvas with the additional qualities of high relief texture and three-dimensional form. Extrusions can provide an element of precise control, with defined edges and form that also strengthen the fragile edge of the piece. When my standard building processes become a bit 1 stale, a new profile for a rim, foot or handle created The form of a slab planter is enhanced by a substantial using the extruder can make a dramatic change. extruded rim.

PotteryMaking Illustrated • July/August 2008 19 2 3 A variety of extruder dies for rims. Extruded rim with formed groove.

4 5 Dish with extruded ribs for added support. Extruded ribs used for reinforcement and as feet.

7 Detail showing temporary support for firing a tripod vase.

6 Extrusions used to create a tripod vase. 20 PotteryMaking Illustrated • July/August 2008 ing the glaze firings. These extruded elements may be Rims profiled to fit the curved form and incorporate feet for Rims are one way any vessel comes to a visual close, the dish at the same time. Applied to the leather-hard as all lines lead upward to the mouth of the piece. The ways to achieve a successful ending are many of course, state while the bowl is inverted over a hump mold, but a generous rim or lip is seen by many potters as a these strips of clay give considerable strength to the key to a successful pot (figure 1). I suppose in throwing slabs, acting both as reinforcement to the stressed slab terms, the presence of a well finished, proportional rim in the green state and support for the bowl during fir- means that you did not have to struggle to raise the cyl- ing. In some cases, I use additional props to support the inder in the first place and had plenty of clay left over edges during firing. The result has been a dramatic cut for this final ending curve. Often the profile of the lip in the overall loss rate during glazing and a significant is formed early in the process to make sure that this is reduction in distortion during firing. Other benefits of possible, and the final shape is refined afterwards. attaching extruded strips to the bottom of the forms Just as with thrown forms, irregular slabs and ex- include the structured and finished appearance for the truded tubular pots seem to cry out for a finishing de- under side of the forms and the creation of a place to tail that makes the endings visually proportional to the attach a wire for a wall-hung work (figure 5). form and an integral part of the overall design. It may be smooth and clean or undulating and active, a small Tubes line or a large architectural detail casting a shadow Recently I began to explore folding textured slabs over the entire piece. One design solution may simply into more rounded and irregular shapes to get away draw a line around the edge while another might be from flat bottomed forms. I throw slabs against my quite imposing and become a focus in its own right. stone and block studio walls, drop them a few times The choice is yours and with extrusions, there is the and wrap them into shape on a foam pad. Clay tubes, opportunity to determine the size and weight of the rim curved as they are extruded, are added as tripod legs as you study individual pieces. for these pieces when they are leather-hard. The result A piece of thin plywood, plastic or metal, a drill (or is a pot that not only escapes from flat sided rigidity but Dremel), fret saw and set of files will create a myriad also has an animated quality (figure ).6 of die shapes (figure 2). I have begun to incorporate Of course, building like this creates its own set of notches into the die shapes I make, creating an indent- problems including support for the work in the mak- ed groove in the final extrusion that helps it to register ing and drying and allowing for movement of the piece securely over the top edge of the slab (figure 3). The caused by shrinkage during firing (which can cause the increase in the surfaces of the pot and the rim that now legs to pull away from the body of the pot). The making come into contact means that the rim is securely at- problems have now been largely overcome by building tached to the piece with no messy joins to smooth out. the work in an inverted position. Legs now project up into the air while being attached, free to wave about Legs and be adjusted for length and angle. A board placed While attempting to make large bowls and hang- on top helps me to see the likely level position of the ing wall plates from irregular slabs, other problems pot when turned the right way up. emerged that I have since solved with the addition of I solved the drying and firing problem by building a extruded elements. One recurring problem stemmed central support for the weight of the pot and attaching from the fragility of unfired clay. Uneven slabs with it to a slab. This support will stay under the piece once holes lack the basic strength of uniform sheets or it is turned right side up to finish drying and when it is thrown bowls (figure 4). My own desire to raw glaze fired (figure 7). After drying, the work is lightly spray and exclude the usual bisque firing compounded this glazed with a matt, raw, clay based glaze. This type of problem; even when spraying thin layers of glaze, the glaze does not cause the piece to stick to its support and combination of moisture and handling often meant a slab. During the firing, the support structure prevents sizeable loss rate. the piece from slumping, and acts as a firing slab or kiln Warping and slumping of stoneware forms during waster, shrinking at the same rate as the pot, absorbing the glaze firing was another problem I encountered. As the friction from sliding across the kiln shelf as the clay the vitrification process fuses and melts the clay and shrinks and preventing the feet from breaking off. gravity takes its toll, a form that started out as a nice, All in all, an extruder offers the ability to add variety, deep, rounded bowl may well look nearly flat by the with precision to any body of work. It may even be the end of the firing. Even when the effects of firing are work itself of course, becoming the starting point as not this extreme, there usually are cracks and sagging well as a finishing off place for the creative juices. which distort the original intent of the work. • Extruded details that began as simple feet for these Jim Robison has been a potter for more than 40 years. He is the author of Large-scale Ceramics, co-published by the dishes have now grown into linear details that cross the American Ceramic Society and A&C Black (London). For entire piece, as I found that these added elements pre- more information about Jim and to view his work, go to vented some of the problems I was experiencing dur- www.boothhousegallery.co.uk. PotteryMaking Illustrated • July/August 2008 21 The NEW Ceramic Arts Handbooks

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29.95 99 Above: Dancing Squares, 7 inches in height with multicolored slip glazes and overglaze decoration. These extruded vases with pulled handles were made to curve as the clay exited the extruder.

Left: Three finished lotion jars, 7 inches in height, handbuilt using extruded parts, with added feet of unglazed dark brown clay and multicolored slip-glazes. Pump dispensers added after glaze firing.

David Hendley has been enthusias- tically extruding since building his first clay extruder in 1975. Check out www.farmpots.com, to contact David, see more pots or for information about his DVD video series “EXTRUDE IT! Getting the Most From Your Clay Extruder.” 24 PotteryMaking Illustrated • July/August 2008 ? by David Hendley

have been using extruders in my clay work since 1974, after I built my first extruder and made my first dies. I immediately saw the potential for making new forms through extruding, and I’ve always had an extruder in my studio that I use on a regular basis. Of all the pieces I make, the extruder is used for about two-thirds of them—to produce either the main form itself or an added element for a wheelthrown vessel. Even my pulled handles start out as extrusions. Producing work with an extruder seems like it would enable you to make dozens of items quickly, but just the opposite is often true. Because of all the measuring, cutting, and joining, an extruded pot can require more time to make than a similar, thrown pot, but for some forms, extruding is the most expe- dient way to go. As for the dies, manufacturers offer many configurations; however, if you have more than a passing interest in using an extruder, I’d suggest making your own (see “Tools of the Trade” page 12). Designing and making the die is part of the creative process and requires thinking from a different perspective since it’s the negative space of the die that produces the form. With practice, you’ll soon be able to shift your spatial thinking to where you can easily picture the three-dimensional piece you’ll get from the shape outline cut into a two-dimensional die, and vice versa. In fact, after spending Wavy Vase, 17 inches in height, extruded vase with a lot of time and thought designing dies, I press molded base, extruded coil window and dark often look at everyday objects and mentally clay handles. Multi color slip-glazes with ivory rutile picture what the die needed to make them base and interior. might look like.

PotteryMaking Illustrated • July/August 2008 25 1 2 3 Twist the extrusion as it exits Use a piece of monofilament fishing Allow extrusions to set up. Turn over the extruder. line to cut the extrusion. after an hour.

4 5 6 When leather hard, cut extrusions Brush on underglazes or vitreous Round corners and smooth to length. engobes if desired. edges of squares.

To make the lotion dispenser, load as a wide reach, I have no trouble do- Making a Lotion the die into the extruder and fill the ing the job by myself. You may want Dispenser extruder barrel with clay. To mini- to have an assistant slowly pull the The form for the lotion dispenser mize air bubbles in the extrusion, handle while you practice the first is made with a two-part die that pro- shape the clay so it slides easily yet few times. It also takes some practice duces a 2½ inch square tube. Hol- snugly down the barrel. Pull down to get a feel for how much pressure is low square tubes are among the most on the lever of the extruder with one required to twist the clay as it comes common shapes that are extruded, but hand while twisting the clay as it exits from the extruder. Not much pressure twisting the extrusion gives a sense of the extruder with the other hand (fig- is required, and most beginners twist movement to the finished pot. ure 1). To keep a hollow form from too much rather than too little. Lotion dispenser pumps, available collapsing in on itself as it is twisted, When you have a long enough ex- from most ceramic supply stores, keep your hand right below the die, trusion, cut it loose with a piece of come in a variety of styles and colors. twisting the clay just as it exits the ex- monofilament fishing line. Wrap the You’ll need to purchase those before truder, and move your hand back up fishing line around the extrusion, and you attempt this project so that you as every inch or so of clay comes out. allow one end of the line to dig into can make appropriate design and Any faint thumb indentations left on the clay, which holds it in place. Use color choices. The collars need to be the clay from the twisting process will one hand to pull the other end of the attached with adhesive after the glaze not be perceptible in the finished piece. line through the clay while the other firing—check with your supplier for While this process feels awkward at hand supports the extrusion as it is the best combination. first, and takes some practice as well cut loose (figure ).2 26 PotteryMaking Illustrated • July/August 2008 7 8 9 Cut arches into the top and bottom of Trim the bottom slab flush with Use a tool to compress and bevel the form. the sides. the seam.

10 11 Roll the top back and forth to com- Cut a 1-inch hole in the top press the join. for the pump.

I always make at least 10 or 12 dis- ing with construction. (After bisque ure 8) and trim the edges flush with penser pots at a time because of the firing, I glaze the top and insides of a cheese slicer or fettling knife. Roll significant set-up and clean up time the dispensers.) the handle of a fettling knife along the when extruding through a two-part Once the slip glaze is dry, roll out edges of the bottom at a 45° angle to hollow die. Twisted extrusions are cut slabs for the tops and bottoms of the reinforce the joint and bevel the bot- off in 18-to-20 inch long sections and dispensers. The slab should be slightly tom slab (figure 9). set aside to firm up on a table (figure thicker than the walls of the extrusion. Add the top slab but don’t trim it, 3). In average weather, I allow the Cut the slab into 2½-inch squares, leave the overhang as a design ele- sections to dry for about an hour and then round and smooth the edges and ment. Roll the top back and forth on then flip and allow to dry for another corners of each square (figure 6). Roll the table to secure the join (figure 10), hour. Measure each extrusion and di- each square again to make it slightly allow to dry for about an hour, then vide it into three 6–7 inch long pieces. thinner and wider (about 2¾ inches cover with plastic and leave overnight Use a fettling knife to cut each extru- square). I roll past the edges to create to equalize the moisture. sion (figure 4). a softer and slightly wavy edge. On the following day, use a piece For my glazing technique, I apply Next, cut raised arches into the top of 1-inch tubing to make a hole in slip glazes to the sections of twisted end of the extruded section (figure 7). the center of the top slab for the lo- square extrusions before adding the On the bottom of the pot, cut the arch tion pump (figure 11). After the tops and bottoms (figure 5). Allow so the four corners become the feet of glaze firing, a glue-on collar and the painted surfaces to dry for several the piece. Score and slip the bottom lotion pump collar will complete hours before handling and continu- edges, attach the bottom slab (fig- the pot. PotteryMaking Illustrated • July/August 2008 27 The same three-lobe die (shown 1 here in four sizes) is used to make the rim and the handle. These dies were all made from small pieces of Plexiglas that are inserted in the extruder the same way the credit card dies are (see page 15). Rope dies are easy to make—simply drill three holes, then use a jeweler’s saw Rope-top bucket, 8 inches in height, to connect the holes and cut with ceramic and brass handle and away the center part of the die. extruded rim, multicolored slip-glaze While the extruded coil does 2 exterior and gold manganese interior. not look very interesting, once twisted, it has the appearance of three coils twisted together. To achieve this look, twist the Rope-top Bucket top end first, flip the coil over, Pots with twisted coil rims and twist the other end, then twist handles have been made since an- the middle. You’ll need a 24 inch cient times. Lots of beginning pot- extrusion to fit a 6-inch pot. Lay tery students try making pots with the twisted extrusion in a circle on the bat around the base of twisted coils, but because of crack- your pot, then attach it once it ing during drying and/or firing, they has set up a bit. have a high failure rate. Extruding 3 the coils puts an end to cracking problems, as well as speeding up the Attach the rim to the pot, inside job considerably. and outside by gently pushing clay The main body of this pottery down and into the bucket body, bucket is a straightforward thrown then smooth and blend the join by cylinder; the extruded rim and han- slowly rotating the wheel and gen- before the handle reaches leather dle that give it a unique look. tly “throwing” the juncture. Pinch hard, make a hole with a metal rod To make the bucket, use around and extend the rim at opposite sides through the length of it. Tip: When 3½ pounds of clay to throw a of the bucket to form two lugs for making the hole in the handle, push 6-inch diameter cylinder that’s the handle. Add decorative pellets the rod in about one inch on one about 7 inches high. When finished, or coils on either side of these lugs, end, then do the same from the do not cut the pot off of the bat then cut the bucket from the bat and other end. Alternate from each end since you’ll need to return it to the cover it to allow the moisture level until you reach the middle. wheel later to attach the rim. Once to even out. When the rim is leather After firing, insert a 14-inch long the form has set up to leather-hard, hard, punch two holes for the han- brass rod and center it. (Brazing lay a twisted rope extrusion on the dle bail using a piece of quarter-inch rod works well.) Bend the rod 90° top edge of the pot (figure 1), start- tubing (figure 2). at each end of the handle with your ing with one end and working to the Make a clay handle from a short hands. Then, at C\, inch from the end other. Use a cheese cutter or fettling piece of the same twisted extrusion of the rod, use pliers to bend the rod knife to cut the extrusion to exact by rolling it over a “handle roller” outward at a 90° angle. Thread each length at an angle along the twisted (figure 3). You can make a handle end of the rod with a 6-32 metal cut- lines in the extrusion. This will pro- roller by gluing short pieces of ting die. Threaded brass balls from vide more surface area to achieve a wood trim (quarter round and cove a lamp parts supply company secure good tight joint. molding) to a board (see inset). Just the handle to the bucket.• 28 PotteryMaking Illustrated • July/August 2008 PotteryMaking Illustrated • July/August 2008 29 Su RFACE, FORM & Su BSTAN CE

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30 PotteryMaking Illustrated • July/August 2008 Trains and Boats by Bill Shinn

A train made from extruder parts requires only a couple of dies.

hile the extruder has representational sculptural forms, trude with the construction of only gradually made head- such as boats, buses, trains, snakes, two dies (figure 1). The rectangular way into the potter’s etc., as well as functional forms like die forms, with the exception of the Wand sculptor’s world, horns, flutes and fountains. ends, almost the entire shape of the it still remains one of the best kept passenger and box cars, a caboose secrets for creating unique forms in Trains and a coal car. The round die forms clay. By creating original dies, you With its consistent shape and cross the tank car and ore carrier. can produce an infinite variety of section, a train is an ideal subject for The various detailed parts such as shapes (see Extruder, Mold & Tiles: an extruded form. For the literal re- the smokestack, domes and valve Forming Techniques) that go far be- creation of specific types of locomo- cylinders can be wheel thrown, yond the making of simple handles, tives and their respective cars, the whereas the cow catcher and small- coils or tubes. The process of easily internet provides valuable informa- er parts are assembled and carved forming elongated shapes also sug- tion. However, the basic shapes for by hand (figure 2). The wheels (fig- gests other possibilities for creating trains are surprisingly easy to ex- ure 3) are made with stamps, fired

1 2 Basic extruded shapes for the engine along with the dies required for Details from the engine are both their construction. Most of the engine is made with an extrusion from the thrown and hand constructed. circular die. The center section has been carved away and expanded to form the boiler. The cab is cut from a short extrusion from the square die. PotteryMaking Illustrated • July/August 2008 31 separately then glued to the cars after firing. If desired, the interiors of passenger cars and the caboose can be made separately on a slab, then inserted into one end before closing up (figure 4). This can be done either before or after firing. Beyond the basic forms, special rail vehicles such as San Francisco and Swiss cable cars are made with unique dies (figure 5). The San Francisco cable car was almost totally made using extrusions from one die, with undesired parts cut away. The seats in the open section were cut away, reversed, then reinstalled. Wooden dowels were 3 used to create hand grips. Stamps are used to form the wheels.

With its consistent shape and cross-section, a train is an ideal subject for an extruded form. 4 All the details of this European passenger car were made from one die, including the seats, the tables and overhead luggage racks. The windows were cut to accommodate their spacing.

While the extruder is gradually making headway into the potter’s and sculptor’s world, it still remains one of the best kept secrets for creating original 5 forms in clay. The San Francisco cable car was almost totally made with one die with undesired parts cut away. The seats in the open section were cut away, reversed then reinstalled. Wooden dowels were used for hand grips.

32 PotteryMaking Illustrated • July/August 2008 A completed Viking ship. The mast is made from dowels and the oars from popsicle sticks glued to dowels.

Boats Extruding boats generally requires a great deal more clay manipulation than trains. While contemporary boat shapes (liners, carriers, subs, etc.) require the extrusion of a constant straight linear shape, historical ships are more sculpturally curved and graceful. The clay has to be altered both during the extrusion and soon afterward while the clay is still plastic. The die pattern is usually drawn from the cross section of the center point (figure 6). The first-time use of some dies reveal some pleasant surprises. In making the Viking ship, the characteristic graceful upward curves as- sociated with the vessel formed automatically when the clay was pinched together to create the

6 The die shape for a ship is created from the cross section of the middle of the hull. This die shape is from the famous Oseberg ship on display in Oslo, Norway.

PotteryMaking Illustrated • July/August 2008 33 bow and stern (figure 7). Portions of the flat deck had to be cut away in the front and back to make this possible. The rounded, upward curvature of the keel is formed by cutting away excess clay (figure 8). Once the hull has set up, the planking on the sides is given definition and a sculpted prow and stern added (figure 9). The lines of the planking of the deck were scored by the heads of brads pushed into the top edge of the flat deck space on the die. Seats were carved from the remaining decking (figure 10). You can make shields using a bisque stamp (figure 11), but potentially fragile additions like oars, masts and rigging should be made from non fired materials. In this case, I’ve used popsicle sticks glued to dowels for oars, dowels for the mast and twine for the rigging.• 7 Bill Shin is a studio potter living in Santa Maria, CA. For After cutting and removing the front portion of the deck, gently comments, you can contact him at [email protected] compress the clay to form the pointed bow.

8 9 Cut away the excess clay to form the rounded Carve the ends of the overlapping planking, then add the sculpt- upward curvature of the keel. ed prow and stern. These are often in the form of a spiral or mythological creature. Rest the hull on a foam padded wooden support as you work.

10 11 Carve seats from the remaining decking. Use a bisque stamp to create shields.

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PotteryMaking Illustrated • July/August 2008 35 36 PotteryMaking Illustrated • July/August 2008 Supply Room by Bill Jones Dies the Easy Way

ing dies is the simplest route Extruders to take and you’ll find scores of options available. Extruder manufacturers offer a wide se- lection of dies already made and you’re sure to find something in their product line that will suit your needs. These manufactured dies fall into two categories—there are those for producing solid shapes such as coils, handles, dishes, tiles, etc., and two-part dies used for making hollow extrusions like square or round tubes of varying dimensions. If the profiles to be extruded are Laurie Rolland, Sechelt, British Columbia, made these dies from clay for use small, several shapes are usually in her Brent extruder. She fired them to cone 6. Note the added reinforcement included on a single die. When between the die openings. purchasing one of these dies, you’ll also need a die mask to aking extruder dies is not everyone’s cup block clay from extruding through the holes you do Mof tea. You’ll usually see the technique for not want to use. A die mask is sometimes included making these (see “Tools of the Trade” p. 6) and with a basic extruder but you’ll have to check. you may immediately think that there’s no way you’re going to spend that much time making Clay something you may not use. Relax, because there Daryl Baird, author of The Extruder Book, states are alternatives. that because it is plentiful and can be shaped and Extruders usually come supplied with a basic smoothed easily without any special tools, clay is an die for making coils and perhaps another simple attractive medium for making dies. It’s important to shape along with one or two blank dies. Purchas- know the amount of shrinkage to expect from your

Sacral Vessel, 14½ inches in length, by Laurie Rolland. This piece was handbuilt inside a bisque mold using textured slabs and extruded straps of clay. Dies were made from clay.

PotteryMaking Illustrated • July/August 2008 37 clay body when it is fired to maturity. The unfired If you have a way to cut blank dies, several ma- die shape should be sized larger than the diameter of terials are suitable: construction-grade plywood, the die holder to allow for this marine-grade Baltic birch shrinkage. Realize, too, that plywood, aluminum, etc. One the size of the openings you material that you’ll find easy cut in a ceramic die will change to cut and file is polyethylene when fired. Select a porcelain plastic—the material used in with mullite or a medium-to white cutting boards. high-fire stoneware that is not likely to warp. The edge of the Customizing die has to sit evenly in the die Another simple way to cre- holder, so it has to be perfectly ate dies without a lot of tools flat. The obvious drawback is to customize an existing to ceramic dies is their brittle- die. As you look through the ness. They’re easily broken if catalogs at different profiles, dropped. Ceramic dies should envision how you can take an always be used with a backing existing die and personalize die cut from wood or plastic. it for your own needs. Often- times all you need at most is a Blanks A basic cylinder die can be made more small hand drill or some files Every manufacturer sells die interesting by filing or cutting notches to add notches or grooves to blanks for their extruder and around the edges. add interest to the shape. these are a great way to get If the die has bevels to it, started in making one of your own simple dies, like the maintain those with any alterations to help com- three-hole rope die on page 28 that David Hendley uses. press the clay as it’s extruded. • You can just take a blank die and drill three holes in it. If the blank is big enough, you can make several simple Images excerpted from The Extruder Book by Daryl Baird, shapes and use a die blank to cover the unused portions. published by The American Ceramic Society.

Why 2 women in remote Montana have fired only Paragon kilns since 1972 Pioneer Pottery near Roscoe, “In 1978 we added a Paragon Montana is so isolated that bears K-6HS square kiln so we could come right up to the studio and glaze fire back to back when neces- smudge the windowpanes with sary.Thisallowedustomovepots nose prints. steadily through the firing cycle Janet Hero Dodge and Julie and fill special orders quickly. In Dickinson began Pioneer Pottery in 1980 we added a square Paragon 1972. They converted a horse sta- K-6A to our kiln collection. All the ble built in 1910 into a pottery stu- kilns are still functional.” dio. Janet and Julie fire their glazes Janet and Julie planned to fire to a flattened cone 9. At this tem- with propane; in the meantime, perature, their matte glazes soften they bought a Paragon square and absorb iron from the clay. K-6H electric kiln. But they were so “Some of the glazes are quite satisfied with the Paragon that they bright for electric firing,” said never converted to propane firing. Janet. “We’ve been real happy with Over the years they just bought our Paragons. They’ve held up well more Paragons and have been fir- and produced good results.” ing them ever since. Call now for a free catalog on the newest exciting models. “The glazes I developed for the electric firings had 2011 South Town East Blvd., the softness and subtlety I Better Mesquite, Texas 75149-1122 had hoped for with pro- Designed Kilns 800-876-4328 / 972-288-7557 pane,” said Janet. “So I Toll Free Fax 888-222-6450 never quite got around to www.paragonweb.com building that gas kiln. [email protected]

38 PotteryMaking Illustrated • July/August 2008 PotteryMaking Illustrated • July/August 2008 39 40 PotteryMaking Illustrated • July/August 2008 Instructors File by Annie Chrietzberg Pardon Me, Your Slip Is Showing

ost of us have Etiquette subtitle Mshared a studio with others at some point in our ceramics lives. Group studio experiences are important for learning, sharing knowledge, getting feedback and providing support for potters at every stage of development. How well this positive group studio experience works is a function of the coop- eration and behavior of the individual members. We were curious about what makes successful group studios tick, so we conducted a short online survey. Here’s what we discovered. Without a Trace Our respondents overwhelmingly stated that cleaning up was the number one issue in their group Studio mates Larry Smith and Donna Wallace sharing studio. They mentioned repeatedly that they hate to space nicely. Our PMI Reader Survey on Studio Etiquette arrive at their creative space and spend the begin- reveals the Golden Rule rules! ning of their valued creative time cleaning up after someone else before they can start working on their own projects. If you think someone might not notice if you leave your splash pan a little bit messy, or that you don’t wipe up after your wedging efforts, think again. In studios where people are using more than one standard clay body, vigilant cleaning of surfaces and equipment becomes even more of an issue. One person wrote, “We have various clays available to us, and since I often use porcelain, I end up cleaning wheels, wedging table, handbuilding table, bats, etc., before I can even start to work.” Brooks Bouwkamp, the kiln technician at the Teacher Heather Jones demonstrating total wheel cleanup. South Bend Regional Museum of Art in South Bend, She tells her students, “Leave the wheel as you would like Indiana, puts it nicely: “It takes everyone working to find it.”

1-5 6-10 11-20 20+ Yes No All of us Someone else Me A few of us The need for etiquette increases with To our surprise, less the size of a studio. Nearly 75% of than half the studios Who is responsible for the our respondents said they worked in post rules about condition of the studio? 65% of studios with more than 10 people. studio etiquette. respondents said “All of us.” PotteryMaking Illustrated • July/August 2008 41 together to keep a large studio clean and organized. I encourage all of my students, and anyone using the studio, to clean up their work area as soon as they’re Survey Results finished. This includes cleaning the wheel that was We asked PMI readers working in a group situa- used and mopping up the floor around the wheel. tion what bothered them the most in their studios. Here’s what topped the list. When handbuilding, the table or work surface that Top 10 Annoyances: was used must be wiped down and all of the tools 1. Equipment left broken should be put away.” Brooks leads by example. He 2. Borrowing stuff without permission says that, “Although there are signs posted through- 3. Others not maintaining studio out the studio, I find that the best way to keep the stu- 4. Disruptive behavior dio in shape is to be a positive example. I do all that I 5 Forcing work into full kiln can to keep my personal studio clean and organized so 6. Space hogs 7. Dirty wheel that everyone who passes through will see an example 8. Tools not put away of what is expected of them while using the commu- 9. Glaze spills/dirty brushes nity space.” 10. Foreign objects in reclaim Did You Ask? While the messy work area topped the list, borrow- On the Lighter Side ing things without permission and not returning tools Many readers made rule suggestions we thought to where they belonged ranked as the second biggest worthy of note. annoyance in the group studio. It was surprising how 1. No long nails! many times the word “theft” popped up in the survey 2. Everyone must contribute a texture stamp for responses, and the anonymity of the survey probably the studio. 3. Encourage the novice. revealed something that an open discussion in a studio 4. Smile and approach your work with a sense of would not. So, you should assume that you should humour. Laugh a lot, especially at yourself. always ask before borrowing something. And once 5. Treat the studio as you would want to be you do borrow something, you’re responsible for its treated: with kindness and respect. condition while you have it, and returning it as soon 6. Pot not have name, not go near flame. as you’re finished using it. 7. Everyone’s art has importance. 8. It’s just clay until it’s fired, then it’s landfill! Ssssshh! Many people weighed in with various examples of disruptive behavior as their pet peeve. Generally, it’s “just this once” seems justifiable. Seeing a mess left is up to the teacher or the owner of the studio to set the painful to the rule-abiding people who make an extra tone. The problem is that some teachers don’t seem to effort to clean up, and if it happens over and over realize it, or know how to do it, and it’s obvious from again, even the tidy people eventually give up. One the survey that there are some behavioral issues out person wrote, “Once the mess reaches a certain level, there that need to be addressed. everyone abdicates responsibility.” “No cell phone conversations. Please put the phone Ideally everyone who takes a ceramics class would on vibrate and take your conversation outside,” wrote be grounded, polite, self-aware and tidy. Well, none one person. Most everyday phone conversations can of us can check off that list everyday, but we can really happen at another time. Even someone getting all strive to be better studio-mates. We can keep the up to take the conversation outside can be disruptive conversation light and pleasant, we can share space to a class that is in session. All cell phones should be and equipment cordially, and cheerfully clean up our turned off, or ideally not even brought into the studio own messes. One person really summed it up well: “If during a class. Treat yourself and others to a short you can’t collect yourself and focus enough to respect period of isolation and the opportunity to really con- your own creative work and if you can’t refrain from centrate on, and be with, your clay. disrupting the quietude and cleanliness of the space, so that others can work in peace, then you don’t The Golden Rule belong here.” And my other favorite comment from Most of the problems occurring in group studios the survey is, “Smile and approach your work with a come from a lack of attention to the Golden Rule: sense of humor. Laugh a lot, especially at yourself.” Treat others as you would like to be treated. Clay-eu- After all, it’s only mud. phoria is distracting to beginners, and as people settle • into a studio, there’s a feeling of belonging, which Annie Chrietzberg is a studio potter working and living in Denver, can be a great thing, except when that mutates into CO. For comments or suggestions on future surveys, you can con- people thinking that the rules don’t apply to them or a tact her through her website at www.earthtoannie.com.

42 PotteryMaking Illustrated • July/August 2008 PotteryMaking Illustrated • July/August 2008 43 Studio Rules for a Creative Space

1 Remember the Golden Rule: Treat others as you would like to be treated.

2 Everyone working in the studio is responsible for the condition of the space.

3 When finished working, clean your area and any studio equipment or tools you used.

4 Return tools (cleaned!) to their proper location after you use them.

5 Label your tools using permanent marker. Before you borrow someone else’s tools, ask permission.

6 Be fair in your use of table surfaces and storage areas. Consolidate and share space with others.

7 Ask permission to use equipment and use it properly. it is expensive to fix and difficult to replace.

8 PLAN AHEAD. Allow ample time for firing deadlines.

9 LIMIt NOise. Keep loud conversations and cell phone use OUTSIDE the studio.

10 Show consideration when an instructor is lecturing or helping another person.

44 PotteryMaking Illustrated • July/August 2008 www.potterymakingillustrated.org Soldner Clay Mixers by Muddy Elbow Manufacturing EASY.Aslowly revolving concrete tub forces clay through a stationary plough bar, turning, blending and spatulating the mixture to a throwing consistency in minutes call or email for a demo video 310 W. 4th • Newton, KS • 67114 Phone/Fax (316) 281-9132 [email protected] soldnerequipment.com

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PotteryMaking Illustrated • July/August 2008 45 Off the Shelf by Sumi von Dassow Extrude It!

e are trying Volume II introduces the use of two-part dies and if DVD review Wsomething new you were going to buy one of the three DVDs in the this month—much as we series, this would be the best choice. Most compa- love books, we know it also makes sense to teach nies offer two-part dies for hollow forms along with pottery techniques using videos too. their extruders, and if you haven’t worked much with Extrude It!, a three-volume DVD set featuring hollow extrusions, this will give you some ideas for potter David Hendley, is about four hours long inventive uses. Hendley’s examples include throwing a and, while not comprehensive, will give any potter tumbler, using a round extrusion and various ways of some new ideas for how to make and incorporate using twisted and altered extrusions. extruded parts into their work. Though some sec- Volume III, aimed at a more advance audience, tions in the series are somewhat slow paced, Hen- includes projects that require customized dies and an dley is personable, competent, folksy and pleasant expansion box (an adapter that enables a smaller diam- to watch and listen to. He is a genuine production eter extruder to produce larger diameter extrusions). If potter who makes many of his own tools and has you’re looking to expand your extruder horizons, it’s streamlined his methods to make the most of his worth checking out. materials and his time. In fact, you’re likely to learn So, do you need this DVD set? If you have experience tips entirely unrelated to the extruder from him. working with clay, and you’re thinking of buying an The DVDs are aimed at a broad audience. Hen- extruder, or are working in a studio with one you’ve dley demonstrates using a custom-made extruder never used much, then you’ll benefit from it. Teachers with dies he designed and made himself, but his will definitely get something out of each video that can projects are also adaptable to commercially made be passed along to their students, and might want to extruders and die sets. Throughout the video, you’ll show his demonstrations in class to introduce a new learn that designing and making your own original project. After all, for a teacher the advantage of using a dies is indeed an important part of being creative DVD is you get to have an expert demonstrate the next with an extruder; however, the series does not project, so you don’t have to master it before introduc- cover how to make dies in a step-by-step process. ing it to your class. The projects, especially in Volume I, are basic, A final note, the bonus CD of music recorded by Hen- yet not necessarily aimed at a beginning potter. For dley and friends is not bad at all and makes a pleasant example, Hendley demonstrates adding extruded sound track when Hendley is working and not talking.• feet and an extruded handle to a wheel-thrown Extrude It! Getting the Most From Your Clay mug and adding an extruded foot ring to a wheel- Extruder, with David Hendley. thrown plate. This last technique is genuinely useful Three-volume set of DVDs plus bonus music CD. Michael Cu- for more advanced potters. lotta Productions, Jacksonville, TX, 2006

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