Jan/Feb 2011

Layers of Color

Also in This Issue . . . Totally Tubular Playing Dress-Up Lattice Work America’s Most Trusted Glazes™

Reduction Looks for Electric Kilns Potter’s Choice 30 Colors Cone 5-6

PC-1 PC-2 PC-4 PC-12

PC-20 PC-23 PC-25 PC-27 PC-28

PC-29 PC-30 PC-32 PC-33 PC-34 PC-35

PC-36 PC-37 PC-39 PC-40 PC-41 PC-42 PC-43

PC-46 PC-49 PC-50 PC-52 PC-53 PC-55 PC-59 PC-60

All glazes available in 25 lb. Dry Dipping Form.

www.amaco.com/learn-about-potters-choice-glazes PotteryMaking Illustrated | January/February 2011 1 POWERFUL SMOOTH TOUGH www.skutt.com INNOVATIVE

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Skutt’s unique REMOVABLE WHEEL HEAD makes clean-up at Chaffey College run like clockwork! 2 PotteryMaking Illustrated | January/February 2011 table of contents

features

12} Playing Dress-Up 22} Layers of Color by Magda Gluszek by Andrew Gilliatt Getting your ideas to There’s a world of pos- come alive from sketch sibilities when you add to maquette to hol- color to your work in lowed form is a chal- stages with slip, glaze, lenge worth exploring. and decals.

29} Totally Tubular 35} Lattice Work Inspired by Peter King by Margaret Bohls Learn how to slab build When it comes to large round forms you working on the grid, can finish on the wheel Margaret Bohls has without the hassle of the skills to put it all centering and throwing together for a dynamic large pieces of clay. finished product. departments

6} In the Mix 8} Tools of the Trade 10} Supply Room 16} Tips from the Pros All-Weather Clay Texture Molds Stamp Pads Sweet Surface by Jessica Knapp by Margaret Bohls by Holly Goring by Magda Gluszek

41} Instructors File 44} Off the Shelf 48} Pottery Illustrated On the Cover It’s a Wrap Techniques Classic Greek Forms Andrew Gilliatt gets by Bill Shinn Using Slips Illustrated by his color thing going on layer by layer using a by Sumi von Dassow Robin Ouellette variety of techniques. See story on page 22.

PotteryMaking Illustrated | January/February 2011 3 fired up

Volume 14 • Number 1

Publisher Charles Spahr Recharging Editorial Editor Bill Jones Associate Editor Jessica Knapp Our idea of relaxing is all too often to plop down in Assistant Editor Holly Goring Editorial Assistant Erin Pfeifer front of the television set and let its pandering idiocy [email protected] Telephone: (614) 895-4213 liquefy our brains. Shutting off the thought process Fax: (614) 891-8960 is not rejuvenating; the mind is like a car battery—it Graphic Design & Production Cyndy Griffith Marketing Steve Hecker recharges by running. Ceramics Arts Daily Managing Editor Jennifer Poellot Harnetty —Bill Watterson Webmaster Scott Freshour Advertising Advertising Manager Mona Thiel Advertising Services Jan Moloney [email protected] Telephone: (614) 794-5834 or the legions of us who spend the day in an office or tending to a Fax: (614) 891-8960 Subscriptions daily routine, a bit of downtime is a welcome reward at the end of the Customer Service: (800) 340-6532 day. The only trap to shutting off the thought process is the danger [email protected] F Editorial & Advertising offices in not being able to turn it back on again—something I’ve experienced, or 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 USA rather perfected. Knowing this has resulted in me not even bothering to sign up for cable TV, hence removing a great temptation. www.potterymaking.org During the holiday season, I managed to get into the studio more in No- Pottery Making Illustrated (ISSN 1096-830X) is published bi- vember and December than during the entire ten months prior. Over these monthly by The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082. Periodical postage paid two months, I managed to use the drive home to plan what I’d be doing in at Westerville, Ohio, and additional mailing offices. Opinions expressed are those of the contributors and do not the studio that evening, and so was able to alter my routine away from ‘re- necessarily represent those of the editors or The American Ce- laxing’ in a traditional sense to relaxing in the studio, which, as it turns out, ramic Society. Subscription rates: 6 issues (1 yr) $24.95, 12 issues (2 became a very stimulating activity. yr) $39.95. In Canada: 6 issues (1 yr) $30, 12 issues (2 yr) $55. International: 6 issues (1 yr) $40, 12 issues (2 yr) US$70. All In our hopes of recharging you, we’ve once again rounded up some great payments must be in US$ and drawn on a U.S. bank. Allow 6-8 techniques. Our cover features Andrew Gilliatt’s bowls, which he casts in weeks for delivery. Change of address: Visit www.ceramicartsdaily.org to two stages to both color and form the pieces. The entire process is there from change your address, or call our Customer Service toll-free at making the model and mold to adding various layers of colored slips and (800) 340-6532. Allow six weeks advance notice. Back issues: When available, back issues are $6 each, plus $3 decals. Magda Gluszek on the other hand takes an unusual approach to her shipping/handling; $8 for expedited shipping (UPS 2-day air); and $6 for shipping outside North America. Allow 4–6 weeks work in that she adds non-fired materials to achieve dramatic life-like effects for delivery. Call (800) 340-6532 to order. for her figures. And while you may not make figurative work, I’m sure you’ll Contributors: Writing and photographic guidelines are avail- able on the website. Mail manuscripts and visual materials to discover a tip or technique in her article you can use in your own work. the editorial offices. Photocopies: Permission to photocopy for personal or inter- Peter King, author of Architectural Ceramics for the Studio Potter, demon- nal use beyond the limits of Sections 107 and 108 of the U.S. strates how to create forms of any diameter for making tall cylinders, which Copyright Law is granted by The American Ceramic Society, ISSN 1096-830X, provided that the appropriate fee is paid di- are then finished on the wheel. This inspired me to stop by Home Depot to rectly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923; (978) 750-8400; www.copyright.com. Pri- pick up a concrete form tube, which I cut in half and got to work pretty suc- or to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. cessfully for making a 20-inch tall textured vase. Margaret Bohls returns to This consent does not extend to copying items for general distri- round out the features with her quilted 2-tier vase and lattice stand. As with bution, for advertising or promotional purposes, or to republish- ing items in whole or in part in any work and in any format. Please all the features in this issue, Margaret covers several techniques and also direct republication or special copying permission requests to the Ceramic Publications Company, The American Ceramic Society, includes really sound advice on making and using plaster texture molds. 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082. Postmaster: Send address changes to Pottery Making Illus- So, for 2011 you’ve got an entire year to look forward to in the studio trated, PO Box 15699, North Hollywood, CA 91615-5699. recharging your batteries. Think of PMI as a set of jumper cables ready to Form 3579 requested. spark your imagination. And as we begin our 14th year of publication, we’re excited about keeping you running. ceramic artsdaily.org

Bill Jones Copyright © 2011 The American Ceramic Society Editor All rights reserved 4 PotteryMaking Illustrated | January/February 2011 PotteryMaking Illustrated | January/February 2011 5 in the mix All-Weather Clay by Jessica Knapp

t’s winter for those of us in the northern hemisphere, clay bodies made using these materials along with an ap- and in places where the temperatures get below propriate grog have a higher ratio of large spaces between Ifreezing, that means bringing in clay flower pots and particles after being fired to vitrification. It may be coun- protecting any outdoor clay sculptures with a waterproof terintuitive, but this means that the fired piece absorbs less cover to prevent frost damage. If you can’t take these water. It also means that whatever water is absorbed will preventative measures, or are making outdoor work for likely only partially fill the larger spaces, leaving room for someone else and can’t guarantee that they’ll take these expansion as the water turns to ice. steps, there are ways to make a clay body that is frost resistant, or to test your own clay body to see how resis- Putting Your Clay to the Test tant it would be to freezing conditions. Whether you develop your own clay body or use a com- mercial clay body, there’s a simple test you can use to de- Starting from Scratch termine if it’s likely to be frost resistant once it’s been fired. Making a clay body that’s frost resistant requires research It’s called the freeze-thaw test, and it’s used in industry for and testing. The goal is to create a clay body that’s highly tile, brick, pipes, and other ceramics that need to withstand vitrified after glaze firing, has low water absorption, and a severe weathering. The test combines measuring the water higher ratio of large spaces to smaller spaces (on the micro- absorption rate of the fired clay body along with some scopic level) between particles after the final firing. Control- physical tests of the fired clay’s response to repeated cycles ling these factors is highly important if you want to create a of freezing and thawing. frost resistant clay body. We can get pretty accurate results with some low-tech As it is typically fired, earthenware is not likely to survive equipment—namely a pot of water and a freezer. The first outdoor conditions during the winter unless you live in an step in the freeze-thaw test is to fully saturate a test tile or area that has no danger of frost (like those of you lucky test pot that’s been fired to vitrification (or your glaze firing enough to live in south Florida or Southern California). temperature). Fully submerge the piece in water, and leave That’s because it’s often bisque and glaze fired to tem- it there for 24 hours (or put it in a pot of boiling water for peratures that don’t fully vitrify the clay. Also, earthen- two hours to speed up the process). Next, towel dry the ware clays are often very fine grained, meaning the spaces piece, place it in the freezer, and leave it there overnight (or between particles are small, which increases the absorption for at least 4 hours). Take it out of the freezer, and place it rate. This doesn’t mean you definitely can’t use an earthen- in water that’s between 50° and 60°F. Repeat this cycle at ware clay body, but you may need to do testing where you least 10 times, or up to 15 times, which is recommended by fire it to higher temperatures to increase vitrification. the American Society for Testing and Materials (ASTM). Porcelain or other clay bodies with high percentages of Examine the tile for damage after every 5th cycle. While kaolin are also unsuitable for overwintering outdoors. This this test is not absolutely accurate, most clay bodies that are is because kaolin is highly refractory, and unless a clay body going to fail when exposed to severe weathering will also consisting mainly of kaolin is fired to high temperatures fail (break, crack, shear, chip, etc.) during this test. (approaching cone 10 or higher), the body is not sufficiently As a general rule, any fired clay that takes on more than vitrified. Fine-grained bodies like porcelain or porcelaneous 3% water is probably not a good candidate for year-round stoneware also have a higher ratio of small pores or spaces outdoor use. There are exceptions, but for the studio pot- between particles after firing. Unless these particles can ter, this is a good guideline to stick by. To test the water be fluxed together or brought into the melt, which reduces absorption rate, do a weight calculation test or comparison the number of pores, the body will have a higher rate of using the following formula: water absorption. When the water filling these small spaces expands as it turns to ice, the pressure causes cracks, and Percent absorption = pieces of the fired object will chip or shear off. saturated weight – dry weight The best clays for outdoor use are stoneware or mid- × 100 dry weight range clays. These clays tend to be coarse, and therefore

6 PotteryMaking Illustrated | January/February 2011 Here’s the procedure: weigh a dry, glaze-fired test tile or test piece using a gram scale and record the weight. Next, fully saturate the piece via one America’s Most Trusted Glazes™ of the methods above. Towel dry the object, then weigh it again. Subtract the original dry weight of the object from the weight of the saturated object. This gives you the absorbed and water weight in grams. Divide this by the dry weight of the object, then LUGs Velvets multiply this number by 100 to get image transfer the percentage absorption rate. For example, a dry, fired test piece made from a buff colored stoneware weighs 80 grams. After saturating it with water, it weighs 82 grams.

Example: 82 g – 80 = 2 g (absorbed weight)

2 g ÷ 80 = 0.025

0.025 × 100 = 2.5% absorption

This example clay body would be a good candidate for testing for frost resistance since it absorbs less than 3% water. What this tells us is that the clay body is highly vitrified. The freeze test would help us to figure out if the spaces between particles were large or small. Remember that there are different standards and criteria for materials depending on the installed loca- tion and exposure to the elements. Paul Andrew Wandless For example there will be different Chicago, IL requirements for tile that might be exposed to standing water as op- Learn more at imagetransfer101.com posed to tile that is protected from water exposure by an overhanging roof. Water, and its expansion on freezing, is the culprit for damagingAMA-1210-Image Trasfer Island ad-CM.indd 1 10/27/10 3:08:07 PM ceramic objects. Knowing the even- tual level of exposure to both water MAKE BEAUTIFUL MUSIC and freeze thaw conditions for your work will be key in figuring out From Mud to Music By Barry Hall what clay is most suitable. For more information on ASTM Hardcover | 260 Pages | 500+ Photos standards for tile, brick, and other ORDER TODAY! Only $59.95 Free shipping ceramic products, you can search when you order online (US only) via keyword and download the various standards for a fee from the www.ceramicartsdaily.org/bookstore ASTM website at www.astm.org/ or call 866-672-6993 Standard/index.shtml.

PotteryMaking Illustrated | January/February 2011 7 tools of the trade Texture Molds by Margaret Bohls

make my vessel forms using textured clay slabs clamp them together to create walls to contain the plas- pressed onto plaster molds. A textured pattern is ter (figure 1) or use waster clay to build a thick, sturdy I carved into the plaster surface using a long, straight wall around your drawn rectangle. The wall should be edge and the same loop tools used for carving clay. I about 2 inches high. For clay walls, reinforce the out- make my molds large enough to be at least as long and side of the wall with a fat coil of clay to be sure it won’t as wide as the largest slab needed for any given project. collapse under the weight of the liquid plaster. Use a My mold is about 1½ inches thick and measures about flat sided rib with a right angle to smooth the interior 15×30 inches. clay wall’s surface. Be sure either the clay walls or the cottle boards are sealed at the joints with coils of clay Pouring a Plaster Slab so the plaster won’t leak out. Determine the volume of To make your own plaster slab you’ll need a large, smooth, impermeable surface to pour on, such as glass, Plexiglas, or Formica. Make sure the work surface is Mixing Plaster level. With a Sharpie marker and a ruler, draw a rect- For a mold measuring 1½×15×30 in., slowly sift 25 angle on the work surface the size you want the mold lbs of plaster into 18 lbs of cold water (9 quarts). to be. Either set up cottle boards on your rectangle and

1 2

Build a form for your plaster mold using Create the texture grid using a loop tool cottles and clamps. and a straight edge.

3 4

Use your hands, a rolling pin, and a rib, to work the clay The trimmed slab showing the raised line formed from the into the slab’s texture. carved plaster mold.

Check out another way to texture soft slabs. Click here to watch a video from Sandi Pierantozzi!

8 PotteryMaking Illustrated | January/February 2011 your mold and mix up an appropri- your day-to-day clay working area. go over it with the plastic rib to ate amount of plaster. Mix, pour, clean, and carve your completely smooth the back of the Use #1 Pottery Plaster for casting plaster in an area where clay will slab and make sure clay has filled in or pressing clay. Once the plaster is not come in contact with even the all the texture carved into the mold mixed, pour it slowly into one spot smallest plaster bits. (figure 3). between your clay walls, making Gently, lift each slab off of the sure not to splash or make bubbles. Texturing Clay Slabs mold, flip it over, and cut it to the appropriate size needed (figure 4). n Jog the table several times to be sure To texture clay, first roll out and the top of the plaster levels out. Al- compress a clay slab. Drop the slab low it to set up thoroughly then re- onto the mold and then slap it down move the clay wall or cottle boards For information and ideas on using textured into the texture using your hand. plaster slabs to create handbuilt forms, see and lift or slide the plaster off the Run a rolling pin over it, and finally the feature “Lattice Work” on page 35. casting surface. Use a Surform tool to shave off any sharp edges and then sand the back of the mold (the side that was up during the casting process) using first a green kitchen scrubbie pad and #400 wet-or-dry sandpaper. Sand the mold under water. Until the plaster cures com- 10-year warranty pletely, it will be fairly fragile so handle it carefully. Sanding the back side of the mold allows you to carve texture into both sides should you want different textures or grids. Carving the Plaster Lay the plaster slab onto a smooth, level surface. I use a ruler, a square, and a pencil to draw a diagonal grid onto the plaster surface, but of course almost any drawing can be made into a carved texture. To carve long, straight lines, use a hardened- steel loop tool with a narrow loop 1 (about /8 inch). Lay a straight edge along the drawn line and pull the loop tool along the edge of the ruler (figure 2). It takes two or three passes to get a sufficiently deep line. Once all of the lines are carved in one direction, turn the mold and carve lines in the other direction to make a grid. Clean the mold by rinsing it under water. You may now carve the reverse side of the mold with a dif- ferent pattern or grid if you choose. “the clear choice” The size of the squares in the grid is up to you. I have several molds with Dale Marhanka, Ceramics Director different sized grids between 1 and Workhouse Arts Center, 2 inches. Lorton Arts Foundation, Lorton, VA Caution: Remember that clay and plaster do not mix. Set up a mold brentwheels.com making area someplace other than PotteryMaking Illustrated | January/February 2011 9 supply room Underglaze Stamp Pads by Holly Goring

f you’re looking for ways to apply color to your surface, being more transparent. The bright red and brilliant orange you have lots of choices with underglazes. Not only are need several coats to achieve full coverage. If applying Ithere scores of liquid commercial underglazes available, multiple coats to the same spot, allow the underglaze to dry but you can also get underglaze pencils, chalk crayons, between each application. choxils (chalk pencils), Potter’s Pens, and underglaze trans- The stamped, underglaze image can either be bisque fired fer paper. Now you can add underglaze stamp pads. first or covered with a transparent glaze then fired to tem- Minnesota Clay Co. has developed a line of underglaze perature. Applying the clear glaze over the unfierd stamped products specifically designed to work with traditional images may cause the images to streak. Spraying your 2-D decorating techniques. Writing, drawing and color- glazes will prevent this, as will firing on the underglazes ing, stamp decoration, and design transfer are fast and first. The underglaze can be left unglazed for a nice matte easy. The resulting underglaze decoration is then fired effect, but the piece with not be food safe. Stamps can also on for permanent and durable decoration on any 2-D be carved from other materials as long as they have some or 3-D ceramic item. Available in ten colors (black, blue, give to them and absorbency in order to hold the under- bright red, brilliant orange, brown, gold, green, red, teal, glaze and press upon the ware. and white) the Potter’s Pads work just like regular ink Stamps are a good way to imprint a favorite texture, a stamp pads with rubber stamps to decorate pots, tiles, or company logo or even a potter’s mark. If you do a lot of sculptures. The process is a fast, easy way to create repeat testing with glazes and tiles, a set of rubber stamps with patterns and logos. numbers and letters would be useful to apply numbers or To use the pads, press any rubber stamp onto the pad codes to organize your tiles. filled with underglaze and apply to greenware, bisqueware, Potter’s Pad underglazes can be fired from cone 06 to or even fired pieces. The result is an image with an inher- cone 8 and have been designed to work at a wide range of ent stamp quality—a definable image with a slightly raised glaze maturing temperatures and atmospheres. and tacky surface texture similar to stamping on paper. The The stamp pads are great for schools where classes are stamps and underglaze also work well on wet to leather- short but the students are familiar with the techniques of hard pieces, allowing you to create texture or repeated applying underglazes and glazing. Potter’s Pads are AP decoration into the clay from the stamp itself. Multiple im- (non-toxic) and have 3 oz. refills available for all colors. n ages layer very well, with some colors like black and green Thanks to Minnesota Clay Co. for providing materials to test. To being more opaque and bright red and brilliant orange find more information go to: www.minnesotaclayusa.com.

Potter’s Pads, available in 10 colors from Minnesota Clay Co. Underglaze stamped onto porcelain greenware.

10 PotteryMaking Illustrated | January/February 2011 David Snyder of All Fired Up said, “Everything Paragon does is normally a grade above what is the standard for the industry.” “Paragon is by far the most solid-built kiln made” —David Snyder David Snyder began repairing kilns at “The switch boxes are made of thick age 15 in his parents’ ceramic shop. He steel. They don't use cheap wire mesh on lives in Charlotte, North Carolina and ser- their switch boxes. The wire mesh is vices kilns in an eight-state area. spot-welded and fails after a few years. Slab Techniques covers techniques “Paragon is by far the most solid-built, Stands are heavy duty. The galvanized steel such as making your slabs and joining virtually repair-free kiln made,” said David. base plate is a great feature especially for “I can honestly say it’s the best kiln made in setting up a new kiln when you have to shift well, simple building methods, using North America. the kiln on the stand. For kilns without a supports, creating textures, decorating “Over the years Paragon has led the in- steel base plate, you have to lift the kiln completely off the stand to adjust the kiln with slips and ways to avoid disasters dustry in innovation,” David said. “I’ve al- ways found that everything Paragon did even a quarter of an inch. Otherwise the during firing. It also looks at many was followed by other kiln companies two stand will dig into the bare brick bottom. innovative and original approaches, as or three years later. “Another factor is element design. One production potter I know does literally day well as building large-scale pieces and “As a professional repair person, I pre- fer selling a top quality kiln and then never in, day out cone 6 firings in his Paragon Vi- the problems associated with it. having to worry about a warranty issue king-28. He had his kiln for right at three rather than selling a kiln of lesser quality years before needing new elements. The el- and having to worry that I will have to make ement replacement in that kiln could not This book explores and explains most a trip for warranty service repair. have been simpler.” of these methods through step-by-step “I like the balance of firing in a Paragon Call or email for a colorful free catalog or to find a dealer near you. images and text, using a varied range kiln, and quality of construction,” he said. “Their control boxes are heavy duty. The of both pots and sculpture. There are fall away easy access switch box is really often several techniques that could be nice. One thing I love about Paragon is the 2011 South Town East Blvd., clear wiring diagrams for every kiln they Mesquite, Texas 75149-1122 used to achieve the same result and make. Elements are pre-stretched with 800-876-4328 / 972-288-7557 this book shows that no one method is pre-bent corners, so there’s no worry about the element fitting or not. New element Toll Free Fax 888-222-6450 correct, but there will be one which is connectors come with every element. www.paragonweb.com appropriate for the potter, the clay and [email protected] the firing process.

ORDER YOUR COPY TODAY! $26.95 China Paint & Overglaze FREE shipping when by Paul Lewing “An absolute feast...The most complete book I’ve ever seen on overglazes you order online for both china painters and potters.” –Marci Blattenberger (US orders only) Only $59.95 Hardcover | 248 pages | 288 photos & illustrations /bookstore Free Shipping When You Order Online 866-672-6993 www.ceramicartsdaily.org/bookstore Or Call 866-672-6993

PotteryMaking Illustrated | January/February 2011 11 Playing Dress-Up by Magda Gluszek

Magda Gluszek’s animated figures tell open ended stories through pose, expression, and brightly colored confectionary surfaces.

y clay sculptures investigate ideas about consumption, self-presentation, and societal behaviors versus animalistic impulses. Using the building solid and hollowing out technique allows flexibility in planning dra- matic, performative poses while a combination of ceramic and mixed media surfaces give me a variety of options for referencing confection- ary textures and colors. I’m constantly absorbing information about multimedia processes from hardware stores, craft books, and other art- ists that add depth and variety to my figures. From Maquette... Building solid forms in clay is a technique often looked at as a means to an end and not an end in and of itself. It’s traditionally used by artists who take a mold from their sculptures and cast them in another material such as bronze or iron. I strive for a gestural style in my sculptures, leav- ing my tool marks as evidence of how I work, a style influenced by artists such as Auguste Rodin as well as my studies of terra-cotta maquettes from the 1700s and 1800s for larger works in clay, marble or bronze. 12 PotteryMaking Illustrated | January/February 2011 I begin by sketching and then building a small maquette to work out the positioning of a figure and details of the pose. The small models have a life to them that’s very different from the polished quality of the finished works. It’s impor- tant to capture that fresh feeling and liveliness in my figures. Translating the sketches to a three-dimensional model is es- sential to the building process because it helps me to adjust the pose and proportions of the figure as well as plan the final scale of the piece. Measuring the maquette and mark- 1 ing out the workspace gives me an idea of the sculpture’s final dimensions, in this case four times greater than the maquette (figure 1). This also allows me to check myself Measure the maquette and mark a scaled-up out- line on the work surface. throughout the building process by measuring various parts of the body and comparing them to the model. ...to Form The mass of the sculpture is built up with solid clay. Wood- en dowels are added wherever support is needed and clay is squeezed around them to hold them in place and ex- tend the form (figure 2). These linear extensions are also planted to determine the direction and angle of limbs. The maquette is referenced constantly throughout this process. Wherever possible, dowels protrude beyond the form for easy removal. As limbs begin to extend further from the 2 figure, external dowels are added for extra support. Be- cause the clay dries and shrinks around the internal sup- Press wooden dowels into the solid clay wherever ports, the strength of each limb is constantly monitored support is needed. and I remove the dowels as soon as the limb can support itself or be supported externally. Initially, clay is added and manipulated by hand, but as the form progresses I use a plastic putty knife to direct the material, imply the underlying bone and muscular structure and create gestural marks. Building solid allows me to work the form as a whole and gives me the flexibility to fluidly correct proportions and change direction of limbs (figure 3). Details Detailing the sculpture begins once the whole body is roughed out. As the form gains definition, I switch to 3 smaller wooden and plastic knives to make more specific markings and delineate skin folds. Detailed areas of the Use a plastic, putty knife to create gestural marks and imply an underlying structure. figure, such as the head and hands, are removed from the body and modeled separately (figures 4 and 5). When com- pleted, they are reattached to the form. Thin and exposed limbs are covered to prevent them from drying too quickly. A commercial sprig mold and home-made stamps add decorative elements which have an aesthetic quality con- trasting my gestural hand and tool markings. I make stamps by attaching decorative mirror findings and upholstery tacks to thick wooden dowels (figure 6). Cornstarch is used as a release agent in the mold and dust- ed on the figure, preventing the plastic stamps from sticking 4

Remove the head and model it separately to en- sure refined details and facial expression. PotteryMaking Illustrated | January/February 2011 13 5 6

The details of the fingers and hand are also modelled Stamp patterns into the surface using upholstery tacks separately, before being reattached. glued to wooden dowels. Use cornstarch as a release.

8 9

Hollow out the limbs using trimming tools so the wall is After the head is hollowed, cut an access opening in the an even thickness, then score the edges and reattach. back for inserting the eyes.

11 12

Cut sections from the torso, hollow out, then reassemble Attach the hollowed out limbs, using supports as neces- using the registration marks as guides. sary until the piece firms up.

14 PotteryMaking Illustrated | January/February 2011 and allowing them to make clear impressions. The corn- starch leaves no trace when fired. Hollowing After the figure is completely modeled, I allow it to dry to a stage that is slightly soft-leather hard. Extending limbs are wrapped loosely with plastic because they dry quickly. When these appendages reach the right stage, I assess where to make the first cut to begin hollowing, usually starting with a hand or a foot, providing it does not compromise the balance of the figure. I cut with a wire tool, aiming for a spot with minimal detail to repair 7 upon reattachment. Notches are made around the cut Cut the appendages with a wire tool when pre-leather so that the pieces can later be matched up to their exact hard. Make registration marks on each half. position (figure 7). Various sizes of loop tools are used to dig out the interior clay until the walls reach a consistent thickness of about ¼ inch. A wooden knife is used to compress the inside walls for added strength. Each time a section is hollowed, it is wrapped in plastic and placed on a piece of foam to prevent distortion. When two sections are hollowed I score the edges with a home- made tool composed of several sewing needles epoxied to the end of a wooden dowel (figure 8). Slip is applied and the forms are rejoined. Fresh clay is worked into both in- terior and exterior seams. I try to recreate the markings of the initial building process while disguising the connection. The arms, legs, and head are removed and re-built piece by piece in this manner. They are then wrapped and laid aside on foam. When hollowing the head, I remove the 10 eyeballs, leaving empty sockets. A section is cut away from the back of the head (figure ),9 allowing access to After removing and hollowing the limbs, the torso is install porcelain eyeballs, post-firing. ready to be hollowed out. Next, hollow out the solid torso (figure 10) and re- assemble it in the same manner as the head, hands, and legs (figure 11). Begin by attaching the limbs first (figure 12). Appendages that require specific positioning, like the hands, are added last (figure 13). The attachments are often fragile and limbs are propped with various supports and clay. Cover the entire piece with plastic for several days, un- wrapping it a little each day and allowing it to dry evenly. n

For information on surface decoration techniques, see Magda’s “Tips from the Pros” on the next page.

Magda Gluszek lives and works in Panama City, Florida. To see more of her work, visit www.missmagdag.com. For more information on building figurative work and using mixed media please see the following sources: 13 The Nude Figure: A Visual Reference for the Artist, by Mark Edward Smith; Human Anatomy for Artists, by Elliot Goldfinger; The Art of Add appendages that need to be positioned specifically Resin Jewelry: Layering, Casting, and Mixed Media Techniques for after all other parts have been joined. Creating Vintage to Contemporary Designs, by Sherri Haab.

PotteryMaking Illustrated | January/February 2011 15 tips from the pros Sweet Surface by Magda Gluszek

y work takes advantage of both ceramic ma- lessen the amount of water necessary to make it flow. terials and mixed media when creating the This causes the glaze to retain a raised quality when Mconfection-referencing surfaces. Along with trailed over the form using an ear syringe fitted with an traditional surface treatments like terra sigillata, glaze, inflating needle (figure 3). Under-firing the glaze to cone and colored stains, I use paste and resin epoxies, oil 08 allows it to retain a raised, semi-matte quality, similar paint, acrylic paint, chalk pastels, microfilament, candy to icing. sprinkles, paste wax, and other materials as they relate to my concepts. Post-firing Finishes When the glaze firing is done, I fit the figure with eye- Fired Finishes balls. I prefabricate several porcelain eye shapes using When the figure is nearly bone dry, I apply a coating of Helios Porcelain from Highwater Clays, Inc., fire them white terra sigillata to the legs and terra sigillata colored separately to cone 7, and attach them postfiring. The with pink Mason stain to the upper body (figure 1). The contrasting clay bodies and separation of the eyes from sculpture is bisque fired to cone 06. the form creates a dramatic and realistic expression. I After the bisque firing, I prepare several commercial paint the eyes with oil paints, thinned with linseed oil. stains with Gerstley borate and paint them in concentrat- The iris color is chosen to match the figure’s red hair, ed areas to accentuate the sprigging and stamps (figure then other highlight colors are added. A needle tool is 2). Excess stain is removed with a damp sponge. Three used to detail the iris by dragging through lighter values brush coats of red glaze are applied to the hair and the of paint and creating highlights. piece is fired to cone 03. While the paint is drying, I add resin to selected parts For the final firing, a satin matte glaze is mixed with of the figure, coloring it to resemble sugary syrup. Wear- several color variations and sieved through a 100 mesh ing gloves and a respirator that protects against volatile screen. A few drops of sodium silicate deflocculate it and organic fumes, I mix equal parts of resin and hardener,

1 2

Apply white terra sigillata to the legs and pink terra sigil- Paint the figure with a mixture of Gerstley borate and lata to the upper body. commercial stains.

16 PotteryMaking Illustrated | January/February 2011 3 4

Trail a satin-matte glaze that’s mixed with a deflocculant Mix epoxy resin with crushed chalk pastels to create the to create raised, icing-like line patterns. illusion of a sugary syrup.

5 6

Add confectionary sprinkles to the resin in the indented Apply epoxy putty around the eyeballs. This will secure stamped area. them to the eye sockets.

7 8

Insert the eyes through the opening in the back of the Epoxy the access point at the back of the head using head and position them appropriately. epoxy putty.

PotteryMaking Illustrated | January/February 2011 17 and stir vigorously. A coating is painted over the eyes to protect the oil paint and add lu- minosity. Fine shavings of chalk pastels can be added to tint the resin a variety of colors. I pour it into the figure’s mouth as well as various indentations formed by the stamps (figure 4). Confectionary sprinkles are em- bedded into the resin for further decoration (figure 5). Small pieces of microfilament are placed between the figure’s fingertips and mouth and coated with resin to give the illu- 9 sion of dripping. After the resin cures overnight, I mix a Disguise the repair using acrylic paint that’s mixed to small amount of two-part East Valley Epoxy match the red glaze. putty which can easily be modeled to mimic clay and apply it to the eyes (figure 6). They are carefully inserted into the sockets and po- sitioned appropriately (figure 7). The figure is turned face-down while the epoxy cures, preventing the eyeballs from shifting. This allows me to attach the fired clay cover over the access point at the back of the head with more East Valley Epoxy putty and disguise the repair with acrylic paint (figures 8 and 9). To complete the sculpture, a coating of paste wax is brushed on to the figure’s flesh. Magda’s surface detail shows her seamless integration of When dry, it can be lightly buffed with a traditional and multimedia decoration techniques. cloth to give the skin a soft sheen. n

Recipes

Red Earthenware Red Icing Glaze Val Cushing Transparent Talc ...... 9 % Cone 03 Satin Glaze Ball Clay (OM4) ...... 9 Cone 03 (fired to Cone 06): Fire Clay (Hawthorn) ...... 14 Whiting ...... 10 % Goldart ...... 9 Ferro Frit 3124 ...... 50 Gerstley Borate ...... 17 % Redart ...... 59 Kona F-4 Feldspar ...... 40 Whiting ...... 3 100 % 100 % Ferro Frit 3124 ...... 52 Kona F-4 Feldspar ...... 15 Pete Pinnell No Ball Mill Add: Mason Stain 6026 Lobster ...... 25 % EPK Kaolin ...... 2 Terra Sigillata Silica ...... 11 Water ...... 3 cups 100 % Dry Ball Clay (OM4) ...... 400 g Colored Stain Mix ingredients in a blender . Add sodium silicate drop 1 part Mason stain Add: by drop until the mix thins . Let sit for 48 hrs . Keep the 3 parts Gerstley Borate Green: MS 6242 Bermuda...... 5% top 1/3 and discard remaining material . Blue: MS 6364 Turquoise Blue...... 5% Green: MS 6242 Bermuda Yellow: MS 6404 Vanadium...... 15% Pink Sigillata Blue: MS 6364 Turquoise Blue 1 cup sigillata Red: MS 6026 Lobster 3 tsp . Mason Stain (MS) 6020 Pink Pink: MS 6020 Pink

18 PotteryMaking Illustrated | January/February 2011 Visit us at ceramic artsdaily.org

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Ceramic Publications Company | 600 N. Cleveland Ave. | Suite 210 | Westerville, OH 43082 | p 866.721.3322 PotteryMaking Illustrated | January/February 2011 19 The Robin Hopper Trilogy

The Robin Hopper Trilogy covers every important aspect of creating ceramic art.The Ceramic Spectrum

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Announcing the Ceramic Arts Daily Presents video series! Learn new techniques or enhance existing skills in your own studio at your own pace.

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Only $44.95 each or you can SAVE 25% Fundamentals of Screen Printing on Clay with Paul Andrew Wandless What If? Explorations with Texture and Soft Slabs with Sandi Pierantozzi when you order all three for just $99! Wheel Throwing with Nan Rothwell More titles coming! www.ceramicartsdaily.org/bookstore 866-672-6993 ceramicartsdaily.org/bookstore 866-672-6993 20 PotteryMaking Illustrated | January/February 2011 presents Nan Rothwell • Sandi Pierantozzi • Paul Andrew Wandless

Announcing the Ceramic Arts Daily Presents video series! Learn new techniques or enhance existing skills in your own studio at your own pace.

Fundamentals of Screen Printing on Clay with Paul Andrew Wandless What If? Explorations with Texture and Soft Slabs with Sandi Pierantozzi Wheel Throwing with Nan Rothwell More titles coming! ceramicartsdaily.org/bookstore 866-672-6993 PotteryMaking Illustrated | January/February 2011 21 Layers of Color by Andrew Gilliatt

Andrew Gilliatt’s work combines colored porcelain slip, brightly colored glazes, resist patterns, and simple decals to cre- ate pots that convey the fun he has working in the studio.

dentifying ways of working that successfully support achieving sharp, transitional lines and edges (figure 1). your ideas can be just as critical and expressive as the Once I’ve settled on a design, I produce two scale draw- ideas themselves. ings—one illustrating the side view or profile, which in- With my functional pots, I’m designing pieces that, cludes the number of stacked pieces of MDF I will need to Iwith the use of color and imagery, are expressive, visually make the model, and one illustrating the top view. Using inviting, and easily accessible for domestic use. the first drawing as a blueprint, disks of MDF are cut, The process I developed includes sketching, using draft- glued together, stacked, and turned on a lathe to make a ing software, making models with MDF, then making solid round form whose shape is close to the side profile plaster molds from those models. The forms can then be of the finished piece (figure 2). Tip: You can use a Surform repeated, and each one individualized through surface tool to shape the MDF if you do not have a lathe. The decoration and glazing. second drawing works as a cutting template that is glued to the top of the form (see figure 2). Making Prototypes Using a band saw, I cut into the shape of the form, Each new piece begins with a prototype, generally made carefully following the outside edges of the glued-on tem- of wood or MDF, from which I create a plaster mold. plate. The sides of the form are then sanded smooth to The prototypes can be made from clay, but I prefer using erase any irregularities from sawing. Finally, the proto- wood for its durability. I’m not the savviest mold maker, type is sealed with one coat of Minwax Sanding Sealer so if at some point I have an accident during the mold- and two coats of polyurethane. making process, the prototype is safe and intact. I’ve also The casting slip I use has a 16% shrinkage rate so the found that making prototypes from wood is great for prototype must be made appropriately larger to accom-

22 PotteryMaking Illustrated | January/February 2011 modate the final size of the pot (see the reverse shrinkage slip allows me to get different color effects on the interior equation for help with the math). Always test the shrink- and exterior of a form using only one glaze. age rate of your casting slip before making the prototype. The colored slip is essentially a decorative coating, much like an engobe applied to a thrown or handbuilt Making the Mold form, but in this case, the coating is laid down first. When making molds, it’s important to remember that To make the colored slip, ball mill 100 grams of stain per casting, like any other building method, is strictly a gallon of white casting slip and let them mix for two hours means to a desired end. It doesn’t have to be an overly (14 lbs. of casting slip is roughly equivalent to one gallon). technical venture and, depending on the form, can be Ball milling gives a more consistent color saturation than quite easy. I’ve learned to make molds simply by reading blunging and the stain mixes in with the wet slip more eas- books on the subject, and by asking for help from others. ily. If you do not have a ball mill, use a kitchen blender and The biggest trick to making molds is figuring out the mix in small batches before combining. number of parts to cast. Most of my molds are made with Test shrinkage rates when using more than one slip in four parts—a bottom, two sides, and a top piece used as the same cast, even if they are made from the same base a pouring gate or slip reservoir. Before I make a mold, I recipes. If the different slips have different rates of shrink- take my prototype and draw seam lines on it with a black age, they will crack. marker so that I know how many parts I will need for the mold (figure 3). Then I add a clay slab to the top of the Casting the Pieces prototype for a pouring gate (see figure 4). By making my Wet the mold with a sponge. Pour the colored casting pouring gate just a little taller than need be, I can control slip into the mold and let it set up for approximately ten the quality of the rim after the piece has been cast. minutes (figure ).5 Then pour the colored slip out of the Next, I embed the form into a block of clay up to the mold and let it drain (figure 6). Once the slip has stopped seam lines marking off the first section of the mold, set up dripping from the mold, immediately pour in the white cottle boards, seal the seams casting slip. Leave the white between the blocking clay slip in the mold for about and the cottles, and pour the 30 minutes before draining. plaster. Parts of the block- Reverse Shrinkage Equation The longer you leave the ing clay are removed as I’m slip in the mold the thicker ready to cast successive sec- 1 – shrinkage rate = X. the piece will be. I prefer to tions. The image shows the Fired dimension of piece divided by X = pro- make my pots just a little on mold halfway through the totype dimension. the thicker side. casting process, with the bot- For example: tom and first side cast, and My bowl needs to be 4 inches high when Finishing the Cast the second side and slip res- fired and my clay shrinks 16% Remove the top piece of ervoir or pouring gate still to 1 – .16 = .84 the mold (here the pouring be cast (figure ).4 Note that 4 ÷ .84 = 4.76 gate section is removed first) My prototype needs to be 4.76 inches tall. the location of the seams has when the slip is no longer been planned so that they glossy or tacky. Using an correspond to edges or plac- X-Acto knife, cut away the es where planes and curves excess clay. Hold the blade shift, rather than flat faces of the form. This makes them flush with the top of the mold as a guide, After piercing easier to clean up, and makes them less noticeable in the the form in one spot, angle the blade in the same direction finished form. of your cut so that you’re always cutting the interior wall first, then moving through to the exterior. By doing so, Mixing the Casting Slip you press the form back into the mold walls as you cut, Most of my pots are cast using two different slips—a and avoid warping the form by pulling the walls away colored casting slip for the exterior of the piece, and a from the mold (figure 7). white casting slip for the interior. Both are made from Smooth the rim with a damp sponge and a soft, flexible the same base recipe. The colored casting slips are tinted rib (figure ).8 Let the piece dry sufficiently before remov- using Mason stains. Using only colored slip would be ing it from the mold (figure 9). Once the piece is bone- more expensive, and, lining the colored slip with a white dry, remove any seam lines with an X-Acto blade, fettling

PotteryMaking Illustrated | January/February 2011 23 1 2

Finished wooden prototypes of various vessels Turn a solid, laminated MDF form on a lathe to sealed with polyurethane. get close to the right profile.

3 4 Finish shaping the prototype on a band Add a clay slab to the sealed prototype to cre- saw and draw seam lines. ate a pouring gate or slip reservoir. The Process

5 6

Pour colored casting slip into the plaster Drain the excess colored casting slip from the mold first. plaster mold.

24 PotteryMaking Illustrated | January/February 2011 Cone 10 Recipes “5,4,3,2,13” Porcelain Casting Slip Grolleg ...... 5 lb Water ...... 4 lb Kona F4 ...... 3 lb 7 8 Silica ...... 2 lb 14 lb Cut away the pouring gate. Keep the Finish the rim with a red rubber rib. Note Add: Sodium Silicate ...... 13 g blade flat on the top of the mold. the striations of contrasting colored slip. Colored slip additions (Mason stains)

Black: MS 6600...... 100 g Pink: MS 6020...... 120 g Yellow: MS 6450...... 120 g Blue: MS 6376...... 50 g MS 6332 Orchid...... 25 g Note: 14 pounds of slip is just under one gallon . To make colored casting slip, add 100–120 grams of commercial stain per one gallon of slip, then ball mill the slip for at least two hours to ensure even dispersal of the colorant . Blue/Violet glaze (translucent blue in reduction, purple in oxidation)

Custer Feldspar ...... 28 .2 % Wollastonite ...... 26 .5 9 10 Grolleg ...... 20 .7 Silica ...... 24 .6 Cast bowl, dried and ready to remove Decorate the bisqued bowl using mask- 100 .0 % from the mold. ing tape and stickers. Add: MS 6332 Orchid ...... 4 0. % Green/Maroon glaze (translucent green in reduction, maroon in oxidation) Strontium Carbonate ...... 10 % Cornwall Stone ...... 40 Whiting ...... 15. Grolleg ...... 15 Silica ...... 20 100 % Add: MS 6006 Deep Crimson...... 6 %

11 12

Remove stickers and tape then clean up Applying the decal onto the fired bowl after the bowl has been dipped in glaze. by sliding away the paper backing.

PotteryMaking Illustrated | January/February 2011 25 knife, or metal rib. Smooth away any inconsistencies us- Laser printer decals work just like traditional water ing drywall sanding mesh and a sponge. Caution: Always slide decals but with a few exceptions. For starters, the wear a respirator when sanding pots. only color they fire to is a sepia or red ochre. Depending on what color clay or glaze you fire them on and de- Glazing and Firing pending on the opacity/transparency you select to print I leave patterned areas on the outside of my vessels un- them, a broad range in tonality can be achieved. Sec- glazed to expose the colored clay underneath. Stickers ondly, these decals have no flux in them so they must and masking tape work great as a glaze resist and give be fired hotter than cone 018 (which is generally suit- a far crisper and better line quality than anything I can able for lusters, china paints, enamels, and overglazes) so achieve using wax and a brush. that they melt to the glaze. I have Clean the bisqued ware with found that cone 04–2 works best a damp sponge. Using a pencil, for high-fired ware. outline the areas you want to For most glazed surfaces, you leave bare. Follow the lines with must fire the decals to at least cone masking tape (I use quarter-inch 04. However, if your glazes are cone masking tape because it is more 04 the decals will dissolve away, so flexible than the wider tapes). testing at a lower temperature is in For curved lines, focus on lay- order. For all of my cone 10 clay ing down just the outer edge of and glazes, I do a second decal fir- the tape rather than trying to ing to cone 2. At cone 2, the decals lay down the whole width of will fuse to both the glazed and un- the tape all at once (figure 10). glazed areas. Any lower, the decals With the resist pattern com- will melt only to the glazed surfaces. plete, dip or spray to apply the glaze. Peel away the tape and Applying the Decals stickers as soon as the glaze is After the glaze firing, sand any ex- dry enough to handle (figure posed areas of bare clay with 400- 11). Make sure to peel away the Op Dot Jar, 7 in. (18 cm) in height, colored grit sandpaper for a smooth finish. stickers entirely. Any remaining porcelain, glaze, fired to cone 10, decals Cut out the decal you wish to use. residue will leave a noticeable added and fired to cone 2. Don’t worry about cutting away blemish even after firing. negative spaces, any excess mate- One upside to using different colored casting slips is rial will burn away and this will make for easier applica- that the glazes you use will have a different color quality tion. Place the decal in room temperature water and wait on glazed and unglazed areas, depending on the color of for it to become fully saturated. Hold the decal onto the the clay underneath, and the translucency of the glaze. piece, ink side down, and slide away the paper (figure 12). The decals will still work if you don’t place them ink Laser Printer Decals side down, but the image may not be as clear. I make my own decals using a laser printer. I generate the With the decal placed on the ware, use a sponge or images on a computer and then simply print onto water slide rubber rib to remove any excess water and to remove decal paper. HP laser printers work well and some types any air bubbles that might be trapped under the decal. of copiers also make these decals. I use decal paper from Trapped air pockets may cause the image to bubble or www.papilio.com. You can also make handmade draw- become distorted. Be careful not to work the decals too ings to scale or use found images and then scan them into a hard; they are thin plastic and can tear easily. Make sure computer or have them photocopied, just as long as they are there is adequate lubrication when smoothing away air printed on water slide decal paper. (For more information, pockets. For large decals, or for decals that need to curve, you can also refer to the article on laser transfer decals by use a hair dryer to lightly heat the decal to make it more Frank Gayados on p. 7 in the Sept/Oct 2006 issue of PMI, or pliable. Always let decals dry overnight before firing. n the July 23, 2008 Ceramic Arts Daily feature “The Details on Decal Paper for Ceramics” by Paul Andrew Wandless.) Andrew Gilliatt earned his BFA in graphic design from Virginia Tech and was later a resident artist at Red Star Studios in Kansas The iron oxide contained in the toner of laser printers is City, Missouri. He is currently working towards his MFA in what makes this method work as a ceramic process. (This ceramics at Louisiana State University. To see more of Andrew’s method will not work with ink jet printers!) work visit his website at www.andrewgilliatt.com.

26 PotteryMaking Illustrated | January/February 2011 PotteryMaking Illustrated | January/February 2011 27 28 PotteryMaking Illustrated | January/February 2011 Totally Tubular by Peter King

hroughout my career, I’ve used a construction system based on wrapping slabs around tubes of varying heights and diameters to create ar- chitectural works of art. This method proved Tto be a much easier way to build a tall, straight-walled piece rather than using the conventional method of coil or slab construction. With this technique, it’s easier to make cylindrical forms rather than throwing them on a wheel.

Decorative and colorful clay columns give an entryway Flashback overhang a unique (and sturdy) lift. My desire was to create lightweight tube forms that I could make in any desired height or diameter. I resolved this using my construction background. I remembered that roof flashing came in various thicknesses and widths and was readily available at home centers. Flashing is has sharp edges and corners, so take extra care when cut- the thin metal commonly used to seal and waterproof ting the banding. Once cut, it will spring open abruptly as junctures in a roof. Made of aluminum or galvanized it releases bound up energy from being so tightly wound. steel, it’s relatively easy to cut and bend. It’s sold in a Measure the outside circumference of the plywood roll, and so it has a spring-like memory, making it dif- doughnuts using a seamstress tape (figure )1 and add two ficult to lay flat. The tube forms I make take advantage inches to create an overlap at the seam when you roll the of this memory. flashing around the forms. Cut the flashing to length using metal shears. Good Form Position the plywood doughnuts with their outside edge To make a custom tube form, begin by determining the flush with the outer edge of the metal flashing. Holding finished outside diameter of the fired ceramic work. Then the plywood forms at right angles to the metal flash- add the shrinkage of the clay (wet-to-fired percentage). ing, begin fastening it to the plywood with short nails or From this diameter, deduct the thickness of the slab. This screws (figure 2). Use 1¼-inch #6 coarse thread screws calculation gives the outside diameter of the form you for this purpose. Tip: When using screws, pre-drill holes need to build. every two inches along the edge of the plywood. Begin building the metal tube form by making two Measure the inside distance between the two disks doughnuts from ¾-inch plywood equal to the outside di- and cut a 1- to 1¼-inch square post to length so that it ameter. The doughnut holes create handholds for manipu- fits snugly between them. Insert this and place it tightly lating the form. against the inside of the metal tube so it spans the outside Once these plywood forms are cut and the edges sand- edge of the metal seam (figure ).3 Fasten this post into ed, unleash the coiled metal flashing. Caution: Flashing each plywood disk. Secure the lapped flashing to the post.

PotteryMaking Illustrated | January/February 2011 29 Forming the Clay Tube Roll out a slab for the base of the form the same thickness as the slab you’ll make for the cylinder. I prefer at least one inch-thick walls for architectural applications. When rolling out the slab, make it four to five inches larger than the outside diameter of the clay cylinder. Lay this base slab on a wheel and cut roughly to the width of the wheelhead or bat. Set the tube form on the slab. Center it and mark a groove right against the tube. Mark another groove on the base slab at the outside diameter of the clay cylinder. Score the area between the lines and coat it with a thin slip (figure ).3 Roll out the slab for your cylinder onto a 1 piece of canvas, making sure that this slab is a Determine the outside circumference of the doughnuts using few inches longer than the outside circumfer- a seamstress tape. Remember to add 2 inches for the overlap. ence. The extra length allows you to lap the slab onto itself when you roll it on the tube. Pass the clay through the slab roller, making it wider than the finished width of the slab you need for the height of your cylinder. Leave the slab affixed to the canvas, as you’ll need it to support and steady the slab as you pull it around the metal tube. Roll up the top side of the can- vas. This will become your handle for pulling the slab around the metal tube. Square off the edge of this slab next to this rolled up canvas and cut the two sides parallel to one another. Coat the metal tube with vegetable shorten- ing: this makes it possible to tilt the rolled and secured slab vertically without it falling off the 2 tube, and also acts as a release agent once the slab is properly positioned. On smaller diameter Keep the flashing horizontal and secure it to the plywood tubes, a paper interface will be sufficient. by rolling it in the direction of its natural spring. This is a two-person job. Once the slab is cut into a rectangle, place the metal tube on the pre-cut edge of the slab. Po- sition the tube so that the wooden post of the tube is at the bottom. This gives an inside han- dle while the rolled up canvas forms the outside handle. Grab the rolled up canvas, lift and pull the attached slab onto the metal tube in a con- tinuous rolling action (figure 4), taking care to keep the two aligned. Once you have wrapped the slab onto itself thoroughly, cut away any excess, leaving a two- inch lap at the seam. Slip and score the surfaces and press the seam together. Roll the tube onto this seam to compress them. Lift and tilt the cylinder and tube onto the 3 base slab. Try to land the cylinder using your center grooves as a guide. If you miss slightly, Mark the circumference of the tube and the outside diameter of the clay onto the slab bottom, then slip and score. immediately slide the cylinder to the center us- ing the slip as lubrication and your previously drawn circumference lines as a guide.

30 PotteryMaking Illustrated | January/February 2011 Joining the Parts Once centered, begin working the base slab against the metal tube using a rubber or metal flexible rib. Go around the cylinder, pushing the clay against the tube in a series of firm upward vertical passes (figure 5). Next, use your fingers or a toothed scraper to work the lap joint seam both horizontally and diagonally, so you’re mov- ing clay from the top slab to the one below and reducing the thickness of the overlapped seam. If the cylinder is to be wheel-thrown later in order to add throwing lines or texture, great care should be taken to compress and smooth this seam to the exact same thickness as the rest of the slab wall. Tip: All of this pressing and compression may 4 cause the slab to stick to the metal tube, mak- Lift and pull the canvas and attach the clay slab onto the ing it difficult to remove. I always separate the tube in a rolling motion. clay from the metal tube after the initial verti- cal compression passes. Using the hand hole in the top doughnut, pull the metal tube up a few inches, turn it slightly, then gently slide it back into the cylinder until it rests back down onto the base slab (figure 6). Once the metal tube is separated from the clay cylinder, it is easy to re- move even after full compression. At this point, I throw the base of the cylinder, joining the base slab to the cylinder. Now that the cylinder slab is in place and smoothed to the metal tube, the base slab can be cut to the right diameter. Wet the wheel head and band of clay, then with a flexible rib or wooden knife, lift the band of clay from the wheel head and fold it up onto the clay cylinder (figure 7). Spin the wheel at a low speed and use a needle tool to 5 cut a 1½- to 2-inch tall band around the cylin- Secure the joint from the base slab to the der. This forms a strong bond between the base top of the rim using a metal rib. slab and the cylinder wall. This folded clay can then be finished to your style or taste. Remove the tube from the inside before fin- ishing the rim, then re-center the top of the cylinder by tilting it accordingly while slowly turning the wheel and checking center. Once the top is centered, cut off the upper edge of the cylinder to level the top in preparation for throwing to finish the rim. Begin by spinning the wheel at the same speed you would use for finishing a large wheel- thrown pot. Use one hand to stabilize and sup- port the cylinder wall, and the thumb and index fingers of your other hand to fatten, compress, 6 and round the upper rim, stabilizing the cylin- Pull the metal tube up a few inches, turn it slightly to sepa- der for further throwing. Depending on my ob- rate it from the clay tube, then push it back down. jective, I can then treat the cylinder in various ways (figure 8).

PotteryMaking Illustrated | January/February 2011 31 Double Cylinder Columns I create structural columns in 4-foot sections. Since this is a difficult size to manage in a sin- gle cylinder, I resort to the old inverted stack- ing technique used to create tall work from conventionally wheel-thrown cylinders. To achieve this using slab and tube construction, I simply forego the aforementioned throwing of the upper rim. In this case, I leave the cylinder wall perfectly straight and vertical; I do cut off the upper edge of the rim while the cylinder is still on the wheel. This leaves a leveled rim, allowing me to join the two cylinders together. 7 When stacking two cylinders together rim to rim, I take a caliper measurement of the outside Finish the base by folding it up over the bottom of the wall, diameter of each cylinder, although this is usu- then throwing it to integrate the two sections. ally redundant since the two cylinders are rolled around the same metal tube. After making the individual cylinders, I let them stiffen for a day or two. In dry weather I cover just the top edge of the cylinder to keep it slightly softer. This facilitates the joining of the two column sections. After these cylinders have stiffened for a day or two, I invert one onto the other to form a closed ceramic column section. Once sewn together, the seam can be erased by smoothing and or texturing the entire surface. Installing Columns As I have mentioned before, stoneware has immense comprehensive strength, so for most construction purposes these cylinders do not 8 require infilling or other reinforcments. Note: Check with your builder or a structural engi- Compress the upper rim of clay down into neer to be sure this is true for your specific situ- the wall, then finish the rim. ation. For most installations one need only to perforate each end of the column with a few 1-inch diameter holes. Upon installation place a pile of premium polymer thinset or medium bed mortar on top of the piece to be set, then stack and level the next column section on top of the lower section. The mortar will ooze into the holes. Once set, this mortar will form ce- ment pegs as strong as or stronger than the sur- rounding stoneware. During Hurricane Ivan we had a house lose its roof but the ceramic columns built and set with this method remained completely intact and undamaged. n

To learn more about Peter King and his archi- 9 tectural ceramics workshops and books visit www.peterkingceramics.com. The new limited 2nd A variety of architectural, sculptural, and functional forms edition of Architectural Ceramics for the Studio Potter can be made using this technique. is now available in hardback.

32 PotteryMaking Illustrated | January/February 2011 Continuing to lead the Way NEW: Confetti Glazes Low Fire Cone 04/06 Confetti Series:

231 232 233 234 235 236 Daisy Marigold Carnation Daffodil Hyacinth Delphinium

237 238 239 240 241 242 Morning Glory Bluegrass Ryegrass Black Bamboo Cork Bark Oak Bark High Fire Cone 4/6 Confetti Series:

1431 1432 1433 1434 1435 1436 Trillium Red Roses Snapdragon Lilac Periwinkle Cornflower

1437 1438 1439 1440 1441 1442 Bermuda Grass Wheatgrass Fescue Mondograss Palm Tree Bark Elm Bark

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PotteryMaking Illustrated | January/February 2011 33 34 PotteryMaking Illustrated | January/February 2011 Lattice Work Inspired by Margaret Bohls

Two very different clays and forms are united by their sources of inspira- tion—lattice work and grid patterns and the associations we have between them and flowers in the garden.

nterior volume is a key element in functional forms one about 14×24 inches and the other slightly smaller. 1 because it defines the potential for containment. My The slabs should be between /8- and ¼-inch thick. current body of work combines a strong sense of interior volume with a grid-like surface of textural Building the First Tier lines. The lines contain and shape that volume, creating This vase consists of two tiers. The first tier forms the ibuoyant, full, yet architectural forms with upholstered- main volume and begins as a cylinder. Using a sharp knife, like surfaces draped with a series of rich, complex glazes. carefully cut the short sides of the larger slab along the These porcelain forms are often placed in or on earthen- raised lines of the grid pattern. This gives you a “zigzag” ware baskets or trays, resulting in a layer of disparate and edge on these two sides. On one side, bevel this zigzag complex yet integrated elements. edge so you remove the raised line. Turn the slab over and bevel the other edge from the back. This leaves the raised Textured Slabs line on the opposite surface. Score and slip these beveled I begin my forms by rolling out clay slabs on carved, plas- edges and join them (figure 2). Once they’re joined, the ter blocks, see page 8 on how to make the textured plas- seam is hidden under the grid lines. Smooth and secure the ter slab (figure 1). First roll out and compress two slabs, seams with a rubber rib and a sponge.

PotteryMaking Illustrated | January/February 2011 35 1 2

The double tiered vase uses two cut slabs pressed Make a cylinder shape by connecting the slipped and from a carved plaster block. scored zigzagged edges.

3 4

Cutting four equal darts from the bottom. Fold them Wrap the body with plastic and keep the bottom in and join them to make a flat bottom. exposed to become leather hard.

Create the bottom of the vase by cutting darts in four Now, re-wrap the pot in plastic leaving only the end places along the raised grid lines (figure 3). Fold down with the attached feet exposed. Once the feet are stiff the flaps to enclose the form. Bevel the edge of these flaps, enough to support the weight of the pot, unwrap the pot score and slip, then join the seams. and turn it over onto a thin piece of foam. Reach into the Wait to clean up the insides of these seams until you’re form and smooth and join the bottom seams. Once the able to turn the pot over. This part of the pot needs to dry interior is cleaned up, dart the top of the pot as you did to leather hard before the feet are attached, however the the bottom, fold in the flaps, then bevel and join the edges rest of the cylinder needs to remain soft, so that the top (figure 6). To make these top seams easier to join, cut a can be darted and folded. Wrap the form in soft plastic, 1-inch diameter hole in the top to get your fingers inside. leaving just the closed part exposed (figure 4). The feet are pulled like handles. To make pulling mul- Adding the Second Tier tiple feet easier and faster, roll a long coil, flatten it with The upper tier of the vase also begins as a cylinder. Cut your palm, cut the coil into short lengths, and then pinch and join the edges as you did on the bottom tier. Cut four each piece to taper one end. Pull a “handle” from each of darts and form the top (figure 7). Cut a hole in the top these lugs and lay them flat on the table until they have of this piece. Create the opening at the top of the vase. dried slightly. Then bevel the large ends of the pulled feet Here, cut just inside the carved grid lines (figure 8). and bend them. Once the feet have stiffened a bit, score The two tiers are now spliced together. Cut along the and slip them onto the vase (figure 5). textured lines at the bottom of the top tier, leaving a zig-

36 PotteryMaking Illustrated | January/February 2011 5 6

Pull handle-like forms and attach the feet to the bot- Dart, fold in, and join the top of the main volume. tom of the main volume. Cut a small circle in the top for stems to fit through.

7 8

Form a thinner, taller cylinder for the top tier and cut Cut a square from the top following the grid lines darts to form the top. and clean and smooth the edges. zag edge. This edge is spread out to meet the bottom tier cross section by rolling each side of the coil at an angle. (figure 9). Gently set the top tier onto the bottom tier This triangular cross section makes the coil stronger and and lightly trace a line along the zigzag edge. The two less likely to warp in the firing. To make the strip smooth 3 edges will overlap about /16 of an inch, so cut inside the and consistent, tack one end of it to the table with a little traced line, leaving a zigzag edge. Open this edge out to water, and run a damp sponge and/or two fingers along meet the bottom edge of the top tier (figure 10). the length of it (figure 11). Bevel the edges of each part, score, and slip, and join This strip acts as a lip around the edge of the top open- the seams together. Use a dampened sponge-on-a-stick to ing of the vase. It also criss-crosses the opening to form clean up the interior seam. a lattice. To attach the lip, bevel the edge of the opening, cutting off the raised grid line, and score both the bev- Lattice and Handles eled edge and the back of the strip. Cut four pieces of the When the entire form is leather hard, cut holes in the strip to lay along each side of the opening, being careful vase for the flowers, and add a small lattice on the top to overlap and join the corners well (this is where cracks of the vase, also to hold flower stems. Cut the holes us- sometimes happen). Then attach two more pieces of the ing a sharp knife. Once they have been cut out, trim the strip in an “X” across the opening (figure 12). interior edge of each hole and smooth the edges. Tip: Add decorative handles if desired. Pull, bevel, To make the lattice for the top, begin with a thin coil shape, and attach them exactly like the feet. Add deco- and flatten it with a pastry roller. Now create a triangular rative sprigs for a final touch. Create sprig molds using

PotteryMaking Illustrated | January/February 2011 37 9 10

Open up the bottom edge and gently fold back the Attach the two tiers by matching the grid lines and flaps to match up with the mail volume. scoring and slipping.

11 12

Roll out and flatten thin coils for the lattice and Attach the lattice to the top edge opening then make handle decorations. a criss-cross pattern. either plaster or bisque ware. To attach the sprig to the Cut the leather-hard slab to a size and shape that seems leather-hard vase, brush the back of the sprig with a very suitable for your vase. To make a lip for this slab, roll one thin slip with a little added vinegar. The surface of the of the thicker coils with a pastry roller to flatten it slight- leather-hard pot is also brushed with slip and the sprig is ly. Now cut down the length of the coil on the diagonal. gently pressed onto the pot. Gently press the sprig with Score and slip this beveled surface and the edge of your a damp sponge to be sure that the edges are completely leather hard slab. Attach the beveled coil to the edge of adhered to the pot. the slab, beveling and overlapping the ends in the middle of one side (figure 13). The Stand This slab is supported by a piece of foam during the My vases are displayed on an openwork stand or trivet. construction of the lattice work. The foam keeps the The stand is made of earthenware rather than porcelain piece from sagging or warping until the coils have dried because the same form made out of porcelain would enough to support the weight. Cut your piece of foam slump and warp when fired up to high temperatures. rubber to the same size and shape as your slab. The Roll out an earthenware slab, about ¼-inch thick and thickness of this foam rubber will determine the height allow it to reach leather hard, make two thicknesses of of your stand. Set the slab, right side up, on the foam earthenware coils. The smaller coils should be about rubber and place them on a bat. Use a pencil held at an ¼-inch thick and the larger coils should be about ½-inch angle to trace around the edge of your slab, creating a thick. These coils should be wrapped and kept wet. shape that is about ¾ inch larger on all sides than your 38 PotteryMaking Illustrated | January/February 2011 The Stand

13 14

Score and slip the beveled coil to the edge of Place the foam inside the middle of the coil the slab. and place the top slab on top of the foam.

15 16

Attach lengths of evenly rolled coils on the Attach feet and decorative handles on both diagonal in both directions. sides. Be sure they are firm before flipping.

slab. Remove the slab and foam and lay another of the is leather hard, lay a second bat on top of the stand, and thick coils along the traced line. You may flatten this coil flip it over. You can remove the foam rubber. The feet are also, or leave it round. Bevel, overlap, and connect the made of the thicker coils. Simply bend short lengths of ends. Now set the slab on the foam back onto the bat, in coil and press the ends onto the table, then score and slip the center of this coil (figure 14). them onto the bottom edge of the stand. Now the stand Using the thinner coils, now make a lattice that joins can be flipped again, sandwiched between the two bats. If the slab to the bottom coil. Start by scoring and slipping desired, decorative handles can now be added to the top small, evenly spaced spots around the outside of the lip of the stand (figure 16). These are made in the same way of the slab. Also score and slip spots on the coil, directly as the feet but using thinner coils. n below those on the lip of the slab. The thinner coils will extend diagonally from the lip to the coil. Measure the Margaret Bohls is a studio potter and educator living and work- ing in Minneapolis, Minnesota. She has been teaching ceramics distance and cut the thinner coils into lengths. Start by at the University of Minnesota since 1998, during which time sticking coils on in one direction, around the entire stand she has also been visiting faculty at Ohio University, Penn State (figure 15). Now brush slip on the ends of the coils that University, and NSCAD University in Halifax. Bohls has also are already attached (no need to score since you are using taught many community classes and workshops at art centers and universities across the country. In her studio, Margaret wet clay) and attach coils in the other direction. makes hand-built porcelain pottery, which she shows and sells Before attaching feet to the bottom of the stand, it needs both locally and nationally. See more of her work on her web- to sit until it is leather hard and can be flipped. Once it site www.margaretbohls.com. PotteryMaking Illustrated | January/February 2011 39 40 PotteryMaking Illustrated | January/February 2011 instructors file It’s a Wrap by Bill Shinn

andbuilding for both functional as well as sculptural forms is often explained and illus- Htrated as the assembling of a number of sepa- rate slabs of clay. The traditional method requires two steps—rolling out a slab of fresh clay, then, after the clay has become leather hard, cutting up and assembling multiple parts. When making certain shapes, wrapping a slab of fresh clay around a desired shape or mold is an alternative approach that eliminates most of the con- struction and speeds up the process. The molds can be found forms as well as shapes made from a variety of materials. A form can be constructed of wood, plastic (hard or soft), bisque-fired clay, or virtually any material. The wrap-around technique requires but one opera- Handbuilding by wrapping a slab around a form is a quick tion, completing the piece while the clay is still wet. and easy way to create basic shapes. The mold, of course, has to be immediately removed to allow for shrinkage. More complex forms, like ones with six tapered sides, Making a Form require careful measuring, angle cutting, and beveling, Making a mold can take time, but it becomes a tool you and are best made out of wood. To plan more complex can use over and over. The box shape is the simplest shapes, make a cardboard template first to work out the to construct. For a small square form, a 4×4 block of proportions. The only constraint you may have to plan wood is readily available at your local home center. An for is to keep one end of the form wider than the other, excellent two-sided mold can be made by cutting apart so that the mold can be removed once the clay has been a section of plastic irrigation pipe. Cutting it into thirds wrapped around it. If you remove the clay wrap before and giving the form a slight taper offers another option. it shrinks too much, an untapered mold is generally not It is visually more appealing or elegant, while at the same a problem. Figure 1 shows a variety of options for wrap time facilitating easy removal of the form. around molds.

1 2 Various forms for wrap-around forms—some found and When you cover your form with newsprint and wrap a some constructed. slab around it, there’s only one seam to finish.

PotteryMaking Illustrated | January/February 2011 41 3 4

After scoring and slipping both sides, paddle the edge Textures are easy to add because the form provides a solid together and smooth them out to create a good seal. surface to press against.

5 6

Slide the mold ½ inch from the bottom and paddle the After scoring the edge and a slab, a bottom is paddled on unsupported clay inward, creating a 90° angle. and trimmed.

Wrapping Clay To use the form, wrap it with newsprint to keep the necessary, press outward from the inside with a metal clay from sticking. Then, wrap your clay slab around rib or paddle inward from the outside. Notice a sheet of the form (figure 2), then slip, score, and join the two foam is being used to protect the surface texture. Once edges (figure 3). Clean up the corners using a rubber the mold form is removed, work a coil of clay into rib. While the clay is wrapped around the form, deco- the interior seam on the bottom of the pot to further rate the surface by carving, stamping or any technique strengthen the join. that requires solid backing (figure ).4 The form keeps To create a finished look for the top of the form, al- the shape as you create the textures. low the slab to rest for an hour or so over the space at To add a bottom to a larger form, working with the the top. After it becomes semi-rigid, turn it over, score, piece on its side, slide the interior form a few inches and attach. The initial sag now produces a nice puffi- away from the bottom edge. Paddle in the edges of the ness to the top. Alternately, a flat slab with an open walls (figure 5) then slip, score, and add a slab to cover square cut into the center can be added to create a nar- the opening. Make the slab slightly larger than the rowed opening. Tip: I usually cover the finished piece form, then paddle the edges up to ensure a good join with plastic for several days so that the water content (figure 6). Trim off any excess around this joint. Create will equalize in the two clays. n a slightly concave bottom for strength. At this stage the Bill Shinn is a studio potter who lives and works in Santa Monica clay is still fully plastic. If any minor corrections are California. For comments, contact him at [email protected].

42 PotteryMaking Illustrated | January/February 2011 PotteryMaking Illustrated | January/February 2011 43 off the shelf Techniques Using Slips by Sumi von Dassow

lip can be defined as any mixture of clay and ing direction may be water, including liquid clay poured into molds, enough to set you off Sfine-textured terra sigillata, which is used to create on your own journey burnished surfaces, and white or colored decorating slips of exploration. This is usually used on greenware to create crisp decoration un- especially true for the der a clear glaze. This book, written by John Mathieson, use of wet decorat- by John Mathieson touches on techniques using all these types of slips, at all ing slips or engobes; A&C Black, London, firing ranges from however, if and University of Penn- low-temperature this book gets sylvania Press, Philadel- raku and earthen- you interested phia, PA, 2010. ware to stoneware in using terra www.upenn.edu/pennpress and porcelain. As sigillata or such, it is a broad casting slip overview of what you might need to turn to other books for more slip can be used for, complete recipes and instructions. rather than a detailed The range of work featured in this book is technical manual. Michael Eden applies slips to his square quite broad, indicating how useful—indeed in- After a few rather dish during the leather-hard stage. dispensable—slip is to the potter. In the low-tem- brief introductory perature range, slip is used in raku firings to create chapters explaining what slip is and how to mix, ap- the naked raku style. Slips are used extensively by potters ply, and add color to it, the body of the book consists of who work in earthenware, and a variety of approaches profiles of artists who use slip to create or decorate their are featured. Slip-trailing is traditionally a British tech- work, using both in-process and finished images of their nique and several superb examples are included. This work. I find this approach has its pros and cons—in some technique can be difficult to master, but is one of the best cases you get the benefit of an artist’s intimate familiarity ways to create work with techniques he or she uses, but some artists appar- with crisp lettering ently didn’t share much information about their working and line drawing. methods. Thus, some of Other techniques the profiles are relatively used extensively at brief, with little or no earthenware and detailed technical infor- stoneware tem- mation. This means that peratures include you’ll have to read the sgraffito, brushed whole book and take slip, poured slip, notes if you are look- and inlay. ing for specific technical I find I often information such as forget to consider slip recipes or detailed Jenny Mendes uses terra sigillata decorating with application methods. without glaze on her Green Horse. slips and just go However, if you’re open straight to my row to inspiration, you’ll of glaze buckets with my bisque ware. This book was a find it on every page. useful reminder that there are lots of ways to use slip to Generally, slip is easy to add either texture or color to a pot and to reduce one’s use and there are many reliance on glazes for effect—with a good palette of slips Paul Young decorates a platter ways to use it, so being and a few simple tools, the sometimes frustrating job of with various slip trailers. pointed in an interest- glazing can be made much simpler and friendlier. n

44 PotteryMaking Illustrated | January/February 2011 INSPIRED CERAMIC SURFACE+ FORM SURFACES Potters Council Regional Conference Traditions and Innovations | January 28-30, 2011 | Cincinnati, Ohio

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PotteryMaking Illustrated | January/February 2011 45 Think on the wall. Explore how to plan, design, make, mount and safely hang ceramic pieces. Illustrated with a wide selection of original and inspiring work by contemporary ceramic artists.

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