nevvzedldnd potter vol 18/] _ autumn 1976 newzealand potter vol l8/l autumn 1976

Contents

Japanese Shino glaze 2 18th National 5 Design and management of oil fired kilns 10 How not to fire a kiln 13 Firing with natural gas 14 A New Zeaalnd potter’s geology pt. 1 15 Exhibitions at Alicat 19 Yvonne Rust’s summer school 20 Barry Brickell’s potter’s Do 20 Len Castle 21 Glazes etc and exhibitions 29 Alan Caiger-Smith 30 The art of Edgar Mansfield 32 Ceramics in Britain today 34 Domestic pottery in England 37

New Zealand Potter is a non-profit making magazine published twice annually. Circulation is 4250. The annual subscription is $NZB.00, for Australia $A3.50, Canada and the United States, $U.S.4,00, Britain 1:22.00, postage included. New subscribers should send a subscription for one or more years giving name address date and which issue you want to start with. Mark correspondence “Subscriptions”. No receipt will be sent unless requested. A subscription renewal form is included in the second issue each year. This should be returned without delay since it is our only indication that you wish to continue receiving the magazine. Advertising rates Full page 180mm wide x 250mm high $80 Half page 180mm wide x 122mm high $45 Quarter page 88mm wide x122mm high $25 Spot 88mm wide x 58mm high $15 Offset printing. Unless finished art work ready for camera is supplied by advertiser, then 10% will be added to the above rates. Correspondence marked “Advertising", to editor.

editor: Margaret Harris subscriptions: Anne Turnbull layout and design: Nigel Harris, editorial committee: John Stackhouse, Nigel Harris, Auckland correspondent Ruth Court, Christchurch correspondent Nola Barron. cover editorial/subscription/advertising PO. Box 12-162 Wellington North, New Zealand Len Castle at work at Titirangi. Photo Steve Rumsey. printed by Deslandes Ltd, Wellington Page 3 Zealand Potter New Zealand Potter Page 2 New

Japanese Shino glaze LEN CASTLE

You either like Shino glaze or you I saw and examined ancient and They contain a high percentage of don’t. I do. but I am only partially modern Shino pots in Japan during alumina. Most stoneware glazes con— hooked on the pseudo-Shino glaze that 1966. By questioning Takuo Kato. a tain 10-15% of alumina. The high pro- a number of us are using in New Zea- noted potter from Tajimi, by handling portion of alumina stiffens the melted land — a glaze that was developed and as many pots and sherds as possible feldspar. A feldspar requires addi— modified to suit average stoneware fir— and by deduction, l have built up a tional silica and flux, [which are with- ing conditions. series of experimental starting points out alumina) to turn it into a clear The Japanese Shino glaze is essen— that other potters may care to use. So glaze. tially an opaque, milky-white. feld- many factors are involved that to ob- One ancient recipe consists of: spathic glaze thickly applied over a tain good results you must abandon local feldspar 90-95 parts by weight not particularly plastic, coarse. silice— any thoughts of “instant Shino”. rice straw ash 10-5 parts by weight ous white-buff coloured clay body fired between 1200—1280°C. Often Shino glaze Clay body there may be flashes of salmon pink. vermilion, reddish-brown, scarlet, test range Coarse grained siliceous. reasonably greyed—blue in association with the parts by plastic with a ferric oxide content of up white glaze. The colour appears where weight to 2%. Some feldspar generally needs the glaze is thin and is derived from Potash feld— 70-95 80 mesh and to be added to the clay. The white. varying amounts of ferric oxide in the spar finer sandy pipe clays of West Auckland body or in the decoration. A limited Ball clay 30-5 200 mesh seem similar to those used in Japan. range of Shino glaze effects can be seen and finer However the Japanese clay is kaolini— tic and the Auckland clay is halloy- on several pots in the Auckland 3 Sodium sitic. Museum collection. chloride Japanese Shino is one ofthe simplest (common ofhigh-fire glazes but one that requires salt] Firing temperature carefully controlled firing conditions. Between It is impossible to express in words 1200-1280°c, depending on Feldspars contain silica, alumina more than a hint of the stunning the glaze mix and the type of feldspars and fluxes in the following approxi- used. Some potters stop the melting of beauty of this simple white—red glaze. mate ratios: the glaze at a particular temperature. It is a glaze that is rich in character. a delight to the eye and the hand. It may Silica Alumina Fluxes The heat work accomplished over a 70 20 10 period of time is an important be thick or thin, semi—matt or silky, factor. opaque and viscous or translucent and watery, smooth. pinholed or showing Sam. Vii/W to WWW W Kay. heat—healed scars of a cracked glaze surface. To some it may suggest the qualities of partially melted snow / ~ 1'; Meier “ le chambered. kiln. drifts on red volcanic soil. recently das 'hole—stokmgholeofthesmg' Leftabovewiew ofpackifngd Portion of the semi—above ground ploughed. To others it has the tactile an 30rd]: of thpeyfirebox. Right: is a Le t below: the firemout Toyozo’ Arakawa of TaJimi. it qualities of white, water—tumbled Kiln atmosphere kiln Pused for.Shino ware bv Sirigle chamber, inclined is the only one of its type in use quartz pebbles. It is at its finest on sim— maximum firing of Shino glaze. This kiln Reducing from 900"c to damp kiln ideal for the slow once every two years. ple, robust pot forms. when a balance temperature. in Japan today and fired has been reached between the guiding and formative hand of the potter. mat— erials and fire. The early Shino potters Cooling will not certainly understood the euphemism Must be slow or the red colour “finding out what the material wants develop. to say is the best way of saying any— thing through the material.” Kiln stacking White Shino pottery first appeared between 1573—1615 A.D. at Mino. 25 Pots generally need to be protected flames. kilometres north of Seto. The pots from contact with wood or 011 found favour with the early Tea inas- ters many of whom it is believed Glaze application guided the potters in the matter ofform usually by Thick or thick and thin, and decoration of pots used for the Tea Pin holmg oc- Ceremony. Some of the Tea masters dipping and pouring. on the turned section (who occasionally travelled from curs frequently this can be used as a de— Kyoto] made and decorated their own of pots and pets. corative feature. New Zealand Potter Page 4 New Zealand Potter Page 5 Decoration

Usually beneath the glaze on 3 bis- cuited body. Pigment: Red ferric oxide, limonite or a highly ferruginous earth. Varia- 1 8th National tions in particle size can extend the range of effects. Reviewed by Roy Dunningham Slip: A natural ochrous clay can be The question of aim and purpose The range of household ware was admirable slabware. Mirek Smisek’s used on the “green” pot for sgraffito decoration. arose more clearly at this exhibition, thoroughly professional and the work was strong and forthright but the held in Hastings in October, than at speed with which it sold was as much heavy salt glaze on the Large Crock Types any other display of New Zealand pot- tribute to the quality of the work as to seemed too much of a good thing. of Shino effects tery that I have seen. Many potters are the reasonable prices asked. It was Surface decoration was a weakness White no longer content to adhere to a doc- good to see pots being bought for pub- in many exhibitors who appeared to trine of functionalism and are inves- lic permanent collections. Foreign Af- lose confidence in their own judg— Thick coating ofglaze over body oflow tigating the expressive and aesthetic fairs Department was the chief buyer ment. The more successful surface iron content fired and cooled quickly side of their craft for its own sake un— and among their purchases was a embellishment was often relief effects or slowly. Interesting experimental encumbered by functional limitations. sumptuous bowl by Nicholas Bran— where the potter is forced to work more variations could include, varying the However, freedom in art, as in life, is don. directly in harmony with the surface particle size of some of the ingredients not easily won and the removal of ex— John Campbell’s coffee set was calm than when using the painting techni— to obtain partially dissolved inclu— ternal restrains has to be paid for by and controlled in style. Lawrence que. The greater freedom involved in s10ns, using silica-rich New Zealand additional discipline and strength of Ewing also showed that the best solu- painting demands high standards of feldspars, spicules 0f siliceous wood purpose from within. tion to a problem is often the simplest self discipline and clear thinking ash. However the control of the fire is The most successful work came one. His work exemplified strength about intention. Some designs did not of prime importance. Above, from those whose creative ideas ap- through restraint as did Bruce Martin's relate well to the shape, while others peared to have grown from a spon- Grey Shino Base of the tea bowl ”sunrise” taneous fusion of materials and pro— Clay. body plus ochrous slip plus thick cess and the potters own personal ob- coating of glaze, slight underfiring, servations of his surroundings. One is fast or slow cooling. If the glaze coat is reminded of Picasso’s dictum — “I do thinner and the cooling is slow a red— not search ..... I find!” dish colour usually appears. Len Castle’s Hanging Forms showed a finely balanced harmony between White and red Shino ideas, material and function as did Variation in glaze thickness plus iron work by Nola Barron and Sally ox1de decoration. Left, Connolly. David Brokenshire’s sculp- Tea bowl “sunrise” tures Power 1 2 and 3 sat well in the Red Shino Shino ware. Ht 100 mm. strong Hastings sunlight in the open Toyozo’ Arakawa 1970 sculpture court. I found it hard to think Either clay body in which has been of them individually as they seemed to mixed a highly ochrous clay, thin belong as a group. Brian Gartside ap— glaze coating and slow cooling. Below: incence box peared more in control of his relief Or normal clay body, thin coating of also Toyozo’ Arakawa. decorating work which used clay more naturally pigment, medium and thin than his ill-related Cucurbita Forms. coating of glaze, plus slow cooling. Other works of interest in this area included two rather threatening Kilns Winged Forms by Ian Firth. But to me the most genuinely exciting piece in Woodfired. Much of the early ware was fired in a single chambered, this field was Barry Brickell’s Triple roun- Steam Plate [steam series]. One could dish kiln, half above and half below quibble at a slight unsteadiness on its ground level. This type of kiln was base but this was trifling considering most suitable for the slow gradual in- the total boldness of concept and its crease in temperature necessary to ob— execution. The witty ambiguity of re- tain the finest glaze effects. ference to metallic surface without The thermal efficiency ofthese kilns compromising the qualities of clay was low, from 20—40 hours was needed was unique in the show. to reach the maximum temperature. met with mixed Sometimes the temperature Other exhibitors increase success. Muriel Moody’s Couple was was stopped before the feldspathic beautifully made but, considered as glaze had melted completely. sculpture failed, because of the cliched Pictorial references for colour illustra- and over sentimentalised style. Most trons: other sculptural work offered little 2,000 years of Oriental Ceramics, more than novelty shop value. Kayama and Figges, Some challenging work shown was published by Thames and Hudson. a series, Sea Plates by Helen Mason. Japanese Ceramics, The violent attack upon the basic form Roy Miller, and the frozen restlessness of the glaze published by Toto Shuppan Co. were disquieting. Group of pots, Lawrence Ewing New Zealand Potter New Zealand Potter

continued to borrow heavily from Iapan. Anneke Borren and Brian Gartsidey showed a bold attack although the former’s Big Cube Sculpture was partly spoiled for me by the design theme. Bird motifs have become a cliche in craft design in recent years. It’s significant that two of the most successful decorators have a back— ground in painting. Potter Juliet Peter is also a painter and graphic illus- trator. The other at this exhibition of

- course was guest potter Alan Caiger- Smith whose lustre and majolica ware was quite stunning in the richness and conviction of colour application. I recall a film I once saw on Bernard Leach where I was particularly impre- ssed by the quality of his drawing. 1 don't refer to drawing in the narrow sense, but as a means of exploring the possibilities of line and enlarging one‘s basic vocabulary of shapes and forms from the surrounding world. Mention should be made of the dis- play of the exhibits which is so critical to any exhibition. This display was done with intelligence and sensitivity and took full advantage of the sym- pathetically designed Hastings Cul- 1" tural Centre building. The sequence (“14" 1 MD; was never static or repetitive and the ° l.‘ ii ”if? viewer could move comfortably ;. V”? "m »' through the whole showing. .;I I. '

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Opposite: from top left to right, Mirek Smisek, Barry Brickell, Ian Firth, Iuliet Peter.

This page: Beverley Luxton, Rosemarie Brittain, John Campbell, Margaret Milne. photos: Stan Ienkins New Zealand Potter Page 8 New Zealand Potter Page 9 W Dawn Percy New members for 1975 (7 of the 38 don. Brian Gartside’s two large platters It will be interesting to see the long applicants were accepted], proved with their beautifully handled glazes, term effect of guest exhibitor Alan In every way I found the 18th Na- worthy of their admittance to the New Gennie de Lange’s delightful Caiger-Smith. He works in the ma- tional at Hastings a more rewarding Zealand Society. Barry Ball and “Spreydon House” tiles, Barry. jolica tradition way outside the main show than the 17th National at Auck- Stephen Carter’s domestic ware, Be— Brickell's immense terracotta pot, Es— stream of British, let alone New Zea- land. The Hastings Cultural Centre is verley Luxton’s porcelain and Ray telle Martin’s very consistent domestic land pottery with elegant refined gob- spacious, airy and well—lit with no pil- Roger’s large stoneware bowls and ware and almost all of the porcelain. lets, bowls and teapots beautifully lars or posts to hamper the layout. The platters (though a little underfired] glazed and decorated. His brushwork exhibition stands adapted slightly were all of consistenly high standard On balance it was a very worthwhile is free but completely controlled and from last year, worked admirably and and Lynn Spencer‘s work was out- National. Not all of the work was out- his use of glazes and lustres remarka— Bruce Martin and his team may well standing. For her Shino pots to be able standing but the awful horrors that ble. The New Zealand Society is to be feel proud of time and efforts in dis- to share a table with Len Castle’s work marred last year’s show and to an ex- commended for persuading such di— playing the pots to their full advan- and not to be uncomfortably out— tent this year’s concurrent Auckland verse potters as Australian Col Levy tage. classed was an achievement. Her tea- Studio Potters’ Exhibition — the so and Englishman Caiger-Smith to share The grouping of work on various pots and especially her coffee pot were called “sculptures", the plaques and their work, their ideas and their inspi— levels enabled one to see the work of beautifully proportioned and the gimmicky pieces as well as the merely ration with New Zealand potters and individual potters and also to compare Shino was soft and lustrous. incompetent. the trite and the dull — public. it with work of a similar type. More There were many fine pots this year. were either not submitted or were re— people submitted pots as a consistent For me some of the highlights were jected by the selection panel. Hooray Dawn Percy until recently pottery group, not trying to show a little of Len Castle’s superb hanging forms, the for selection panels and full marks to reviewer for the New Zealand Herald everything but to give a rounded pic- vigorous jars and bottles of Lawrence Nola Barron, Stan Ienkins and David is Art Education Head of North Shore ture of a particular interest or de- Ewing, Mirek Smisek and Nick Bran— Millar. Teachers’ College Auckland. velopment. The porcelain, for instance of Graeme Storm, Margaret Milne, Rosemarie Brittain, Irene Spiller, Una Sharpley, Beverley Luxton and Doris Dutch was grouped and organised so that one could see, enjoy and compare the range and variety of development Teapot, and coffeepot with Shino glaze, Lynn Spencer within this relatively new and de- manding field. I was lucky enough to spend some time with guest exhibitor Alan Caiger-Smith looking around the ex- hibition on the morning of the open- ing. He was most impressed with the range of work, its over-all quality, the tremendous differences in styles and the general vitality of the whole show. His expectations had been of rugged, sturdy, earthy cracks and bowls, and the achievements of so many people in so many diverse fields impressed him. He was delighted with the quality of the porcelain, the freedom of decora— tion on so many pots and the com— prehensive range of work shown. The standard over-all was remarka- bly consistent. The selectors did an Gennie de Lange admirable job of whittling down the photos: Stan Ienkins 557 pieces submitted, to the 343 fi- nally displayed. They reported finding few really incompetent pots and they firmly rejected these along with the To the potters of New Zealand trite and the commonplace. They eliminated entirely the work of five or Please will you pass on my profound thanks to the New Zealand Society of Potters for inviting me to be the guest exhibitor six potters, and accepted a single piece at Hastings for the 1975 exhibition. This has been a valued privilege and a heart warming experience, a memory I shall from several others which may prove treasure. very salutary. It was wonderful to meet so manyfellow potters at that tremendous party at Napier, and at the opening ofthe exhibition the For an exhibitions committee the following night, as well as the people I met at the six schools in both the Islands. And I send my thanks to all those many, whole business of selection imposes many people who helped in various ways to make these occasions so smooth-running and enjoyable. many more problems — the greater Whereverlwent lwas amongstfriends who made my leisure times glow with pleasure and interest. Itried to give ofmy best.‘ number of pots to allow for selecting It was not difficult in such favourable Circumstances, and I hope it matches in some degree the reception I was given. the best, the increased storage needed, The openness, the mutual respect, and the regard for work of good quality regardless of differences of approach which the provision of adequate space for the characterise the New Zealand pottery scene, are immensely valuable. We have something ofit in Britain also but it does not selectors having to cope with rejected come about everywhere. It grows out of people’s inner values, their recognition of equivalent motivations in others, their pots and so on. But the quality of this estimation of the craft itself beyond personal success or gain, and it develops out of a multitude of small actions and year’s show seems to justify the extra relationships, most of which will never be known. chores involved. To participate in this creative circle on the other side of the world has been a wonderful experience. Alan Caiger-Smith, The Pottery, Aldermaston, Berkshire, England. Page 11 New Zealand Potter Page 10 New Zealand Potter

going shiny and transparent by slight water gauge for the various horizontal

2 overfiring or flashing can usually be L.-- firing types. remedied by the addition to the glaze Vacuum clearners can be used as ofapproximately 4% alumina hydrate. r- ‘1 blowers but this is not recommended A lot of time in loading a kiln can be as vacuum cleaners are not designed to saved by remembering to make the run for the long periods required to fire Design height of your pots to suit your kiln a kiln. and because a large volume of and 'I props. It is also an advantage to have 1 air at a relatively low pressure is re- asbestos or hardboard bats sized just a _--..a quired. Vacuum cleaners deliver a fraction larger than your kiln shelves small volume of air at a relatively high management of to assist in throwing shelf lots. News— pressure. Consequently a number of paper placed on these boards will cleaners are required to fire larger allow the wet pots to shrink. and they kilns and the expense in initial outlay will be of convenient size for carrying and maintenance is too high. oil fired kilns IAN FIRTH to the drying racks. Water Gauge Shelf support systems and This is a very inexpensive piece of Little has been written about the ac- the kiln difficult to heat initially. be- bricks. A good mix for insulating over loading equipment and all air systems should tual technical details and procedures cause of excessive air cooling. and the arch of a kiln where heat loss is The most suitable shelves for glost include one. There are so many vari- of firing oil burning kilns. I know that cause rapid heat rises at the upper end greatest is the following: firing are silicon carbide. x \ “\ ables in firing kilns that the more you every kiln has an individual ‘per— of the scale. Attempts to slow down '1 part ciment fondue The standard 460 x 305 x 16 mm Plan and elevation of skelj sawed: have under your control the better sonality’ and that even kilns built this rapid heat rise would result in 2 parts ball clay [18” x 12" x 5/s”] being a useful size your chances of obtaining consistent identically brick for brick will perform oxidation. 8 parts vermiculite which resists cracking. results. A simple water gauge can be differently. Having built many kilns It is better to err on the generous side Mix with enough water to make a The closer to square a shelf is the Firing equipment and acces— built with a 150 mm [6"] length of 10 from makeshift heaps of bricks to as one can use the damper. also it is workable mix. Reinforce with chicken prone it is to cracking. (Uneven more sories mm (3/8”) diameter copper pipe bent to sophisticated trolley-loaded jobs. and easier to partially brick-in over gener- netting 25 mm (1 inch) from bottom causes most cracks in shelves heating a right angle. This is fixed in the centre after countless firings, one finds that ous flues than it is to bash out brick- face and 25 mm (1 inch] from top face. and pots]. Pyrometer of the main air pipe with ‘Araldite'. the certain principles and practices hold work to enlarge them. Trowel surface when partly set. This Three supports per shelf is the de- A pyrometer. though initially fairly open end facing towards the air flow. good for all. With this in mind I offer To give an mix resists crumbling and has excel- number [as per diagram]. indication of chamber to sired expensive. will always pay for itselfby A 1 m length of clear plastic tubing this information flue to stack ratios. A kiln designed lent insulating qualities. The most convenient shelf support reducing kiln losses through under is slipped over the outer end and bent around two standard 460 x 300 mm system I have found is one that utilises Combustion and over firing. apart from savings in into an S” shape and fixed on a back-- (18" x 12”] shelves side by side with 75 Heat distribution whole bricks, halfbricks and one third fuel consumption. as one can always ing board. The “U" shaped piece is mm [3”] space between and 75-100 bricks. Each support being capped by a Combustion involves the reaction of Heat distribution within the kiln can tell if one’s efforts are being rewarded then filled with water with a touch of mm (3—4") spacing from end walls. and piece ofsilicon carbide measuring 95 x carbonaceous fuel [in this case oil] be greatly assisted by remembering the with a gain in temperature. dye in it for convenience in reading. 150—180 mm {6—7”] where flames rise. 114 x 16 mm (3%" x 41/2 X 5/a”] turned with oxygen with the attendant release following: The place for the probe is through The gauge is read by measuring the i.e. 3 bricks by 41/2. bricks in internal lengthwise to support a shelf on either of heat Allow adequate spaces for gases to the back wall (opposite the wicket difference in the water levels in this size by thirteen rows high. plus the side. and widthwise to support a shelf Ileat f travel 75 mm [3"] between shelves face] near the top. where it is least “U” shape. vault. will give a chamber of approxi- one side only. This system leaves the c + ()2 = (:02 and end walls. 150 mm from floor to likely to be damaged. If the air pressure pushes the water mately .623 m3 [22 cubic feet] requir— whole shelf for pets. free of obstruc— thus the carbon is converted to the gas first shelf. 150 mm (6") from shelves to This is also the one place where it down 10 mm on one side it will have ing two spaced ports of 150 mm x 125 tions and has the advantage of making carbon dioxide. To fire pottery we wall where flames rise. would be almost impossible to see any raised 10 mm on the other. The differ- mm (6” x 5”] leading to identical sized compulsory the correct spacing of need a box to contain this heat made Pack larger pots in both bottom and cones. ence between the levels and thereby bisque. and/or 225 x 150 mm (9" x 6"] [75 mm [3"] being the thick- from refractory materials. and insu- top of kiln. denser packing in the mid— shelves the gauge reading is 20 mm water flue leading to stack of same dimen- ness of a brick] thus ensuring the free lated to counteract heat loss to some dle. Burners gauge air pressure. sions. passage of flames throughout the set- degree. Obtain a reflective white coating With all blowers, the more air that is A four shelf layout of approximately ting. facilitating even temperatures is fairly wide. From within the chamber by washing the The choice shifted the greater the load on the 1.415 m3 (50 cu. ft] will require three and consistent reduction. louvres. horizontal Kiln design bricks with a very thin watery coating blower-assisted motor. therefore it is better to use a spaced ports of225 mm x 125 mm (0" x The same system can be used in the to highly of 15 parts silica to one part kaolin for and vertical jets through butterfly valve to control air pressure For greatest efficiency 5"] leading to an identical sized bisque bisque chamber substituting sillima- expensive commerical and economy the first half dozen firings or so. If you complex and than to allow air to “blow off”. the kiln and/or a 225 mm x 225 mm flue leading nite for silicon carbide. as in the diag- Whatever type is Chosen the chamber should approximate try to put it on thickly, in one or two burners. Where possible it is best to mount to a stack of the same dimensions. ram. up to a temper- a cube as nearly as possible. Within coats. it will flake off. kiln should be brought the fan directly on to the shaft of the this cube there must be adequate space A kiln ofapproximately 2832 cu. m. With this method of supporting the ature of about 800°C by means of the motor. If the speed is not great enough interlocks burner. as for combustion to take place and the [100 cu ft] requiring a chimney of345 x Preparation of pots for kiln shelves each tier of shelves vapourising type of ‘pot’ for your requirements use a ‘cog type flames develop. The kiln design must 345 mm (13%" x 131/2”) with three bis- with the others. unifying and making this is the only type of burner that can of Vee belt to transmit maximum allow a space between the walls and que chamber flues of 225 mm x 225 The use of a spirit—based cold wax the whole setting extremely stable. heat a kiln from cold without a trace of power. the shelves in the combustion area ofat mm (9" x 9"] chimney heights should makes glazing more pleasant. A less expensive alternative (but not smoke. least 150 mm (6 inches) and vertically be approximately 2.133 m (7 ft] for two A damp sponge for ‘feathering’ the quite as stable] is to use very tapered They also have the added advantage Firing if possible 760 mm (30 inches]. If you shelfkiln. 4.267 m (14 ft] for four shelf glaze at the and arch and side arch firebricks. nar- of being usable with the damper al— foot will save many a The first requirement for good firing are building a kiln with a bisque kiln. 6.100 m [20 ft] for 2.8 cu. m. (100 heartbreak. row face down. the wider upper face most closed. preventing excess draft is to get yourself into the right physio chamber as well. adequate flues from cubic feet] kiln. Any really doubtful glazes or tests providing the support for the shleves. and consequent uneven heating in the pitch to do battle with the beast! glost to bisque. and/or chamber to These proportions are designed in should be packed on a thin Or one could make “T” shaped sup- critical early stages. ‘pancake' Draw on all your resources. plus one stack must be provided. together with all cases for forced air kilns. made from a plastic mix of 50/50 fire- ports ofvarious sizes using a refractory or two tricks you didn’t know you had. a chimney of sufficient dimensions to Natural draught is out from an air clay and silica sand. quickly pinched castable. Blowers Assuming the kiln is loaded and the obtain the desired rate of flow ofgases. pollution point of view anyhow. just prior to placing. the same mix Shelf supports should also be coated supply should come from a wicket bricked up but not clammed, Unde‘rsizing of these critical areas re- Having now decided on the main being ideal as a wad between shelfand with the same reflective white coating The air to the push the damper in till it is only about sults in ‘choking‘ of the kiln. with a proportion of the kiln design we turn shelf support. mentioned earlier. motor-driven fan of a size related kiln and the number of bur- 50 mm [2"] open. Prime the pot bur- consequent reluctance to gain tem- to materials. Adequate for our pur— A pancake should be used under A convenient but more expensive al— size of the an air pressure ofup to ners with methylated spirits. light and perature. especially in the latter part of poses are firebricks with a 30% very large pieces allowing ternative is to use a commercial ners, delivering them to position them in the kiln. Connect to the firing. alumina content for the lining with an shrink without splitting during firing. aluminium paint such as “Silva- 90 mm water gauge for the pot burners up to 200 mm air system (still turned off] adjust oil to Oversizing of these areas will make over layer of perforated common Favourite matt glazes which spoil by sheen”. and jet burners and New Zealand Potter Page 12 New Zealand Potter

fast drip on each pot burner. Turn on kilns is essential. 900°C-800°C [no less] if cristobalite creased gases during this period. fan but keep butterfly valve closed till If oxidising conditions are required formation in the body is a problem. It Keep the damper closed after firing a steady flame is established (2 — 3 air pressure is maintained and fuel is will make little difference to the even- till the kiln is cool enough to unload. mins]. Open air valve fractionally till cut back to shorten flame and the tual time that the pots may be drawn. Have respect for the dangers in- air gauge reads 10 mm. After about 20 damper is opened. minutes, when pots This blowing down is achieved by volved in firing with oil. will be burning Most potters prefer the softer effects steadily air turning off the fuel while keeping up Have leak—proof metal fuel lines may be increased to 20 of the reduced colour ofthe clay mm. show- the air blast and the damper open and away from the heat source. ing through the glaze, and subse- usually takes A solonoid shut-Off valve in the With pot burners always remember about 45 minutes. quently reduction must start before the event of a power failure. Have handy a to increase oil first, then air, this way glaze surface seals. This happens quite bag of clean dry sand and an adequate you will avoid blowing them Some thoughts in passing out. early with some stoneware glazes. l sized C02 fire extinguisher. Black smoke denotes too much \ / \ oil, have several glazes that are completely The wickets should be clammed Use green gas welding goggles for white smoke denotes too much air. sealed over by 1100°C even though the with a softish mix of 50/50 fireclay and viewing cones at high temperatures. Gradually increase oil/air ratio at glaze is not matured until 1300°C. silica sand when temperature has The intense light can permanently is?“ yin‘lhflf roof . ‘émm stat. rod. filed Roi? hourly intervals. Air 10 mm per hour, Temperature distribution and re- reached 600°C. damage eyes. ovx one side to take. disc oil to balance, maintaining a steady duction throughout the chamber is Vertical jet burners operate best at Air feed pipes should have smooth heat rise of 100°C — 130°C per hour. At ‘06» closely fitting interior ofy‘lye best achieved by concentrating on the about 90 mm air pressure or less. interior surfaces. 800°C air pressure should be 80 mm. I fall of the cones in the bottom of the Higher air pressures are of no real be- Abrupt angles should be avoided as have had no problems with cracking Baht-ff“ or J17mm} vnfw Show» yam: cyan, of chamber. By using along flame the top nefit. these cause turbulence and drag, with pots or shelves [even pots up to 1.000 of the chamber will be found to be Pot burners can be tilted slightly in subsequent loss of efficiency. m [3’ — 3") diameter) using pot bur- slightly cooler, but it is just a matter of latter stages to increase oil flow. membering to place the shelf flat on a wear safety glasses during these opera- ners in the manner described, firing shortening the flames till they peak in A ‘mouse hole’ directly above firm surface, such as a bed of sand or a tions. the glost chamber to 800°C each Unloading the kiln in 6 hours. arch to bring the kiln to temperature in burner is useful in determining thick firm rubber mat. The surface may Providing body and glazes have This schedule has the been followed the top. The middle will take care state of the flame. Providing all has gone well before, be smoothed with a soft grinding been formulated correctly, and good without incident of over the past 400 fir« itself. To assist in peaking the Dampers on wheel running at about 800 — 900 firing procedures have been observed, lugs. flames the side flues between the pots may be safely unloaded when in the crown I find it essential to have a glost and bisque help greatly in heat the temperature has dropped to 200°C. revs. Any protruding glaze can be re— no separating agent between galleries Once 800°C has been reached the pot spy in either side of the wicket at the distribution in both chambers. Despite all precautions the odd pot moved from pots with this same grind— and lids will be required. burners are stopped and withdrawn. top where you can observe that the tips Bisque chamber should be identical will have struck to the shelf. This is ing wheel, ideally simultaneously Stubborn lids are best removed by The damper opened and the new bur- of the flame are just reaching the in size to glost, best removed if it is not too badly stuck being wetted with water. The bulk of holding the whole pot under water in a ners, of whatever top. if large pots are ever type, are installed The bottom temperature will not rise considered. by inserting a thin blade, such as an the pots should come cleanly from the tub grasping the lid by the knob and and started. They will ignite and burn during this operation. In spite of what overseas experts old table knife, between pot and shelf shelf. The bottoms can be conve— rapping sharply on strongest part of without smoke in the already evenly Once the fall of the cones has been may say, double chambered kilns to lever off. The remaining glaze niently smoothed by buffing on a wire pot with the padded handle of a ham— hot chamber. Once the burners are set- achieved throughout the kiln a soak— rarely suffer from over—fired bisque. In should be removed from shelf by chip— brush mounted on the spindel oppo- mer. The water better distributes the tled and a temperature of 850°C is ing period of between 1/2 and 1 hour at fact it is sometimes necessary to install ping with a sharp cold chisel, first re- site the grinding wheel. Remember to shock of impact. reached the flame may be lengthened slightly lower than maximum tem- a burner for a short time in this and damper adjusted to give a positive perature should be aimed for. This is chamber to bring it to temperature pressure within the chamber. This can where a pyrometer comes into its own. (900°C). But fuel savings are signific- be judged by observing a slight lick of A reducation in air, oil settings and use ant. The continuing saga of how not to fire a kiln flame from spyholes when bungs are of damper will achieve this soaking Allow space for cone patts when removed. The chimney should be just Having used an electric kiln for 8 more fire outside than inside. End of conditions following were promised period. loading the glost chamber to get accu- short of smoke, the atmosphere will be years with a few attempts to fire oil phase one. from the weather office. The type of flame best suited to fir- rate reading of temperature within the reducing with maximum heat input. kilns, to my neighbour‘s disgust and The kiln drew well right from the ing pots in an open setting is a slow setting. Don’t be tempted to encroach A reply from a letter to Roy Cowan These are the conditions to aim for if without much success anyway. my start but this time I was too careful and wallowing one, travelling at about 3 ft setting into combustion spaces. solved the problems of feeding. How- iron spotting through glaze and re- per second. wife and I visited Barry Brickell at ever a shift to new premises in the it took 8 hours to get flame into the This avoids the A firing cycle of about 12 hours duced colours in clay and glaze are flashing/scorching to Driving Creek during his open month country meant rebuilding. This time kiln. uneven heating of cone 10 plus a 1 hour soak is ‘ideal’. desired. Heavy reduction achieves no- pots which accompanies In 1975. with more bricks I made a 60 cubic foot The wind increased and turned to thing, high air A removable brick at the base of the but pollutes the air with smoke pressure/fast flame Seeing the ease with which his oil kiln incorporating the suggested re- the south bringing rain. “hell fire” methods chimney to allowair to enter and smut, wastes fuel and gives less of firing. (called an and wood fired kilns performed and medies — louvres and two firemouths. My neighbour was nearly blotted rheat. air bleed] is useful when reducing as it With oil prices continually rising The kiln may be having read somewhere that a larger A bisque firing was most satisfactory. out. Turned fuel back to investigate. ‘blown down’ after cuts back draught, while preserving maximum efficiency in heating our the soaking period kiln is easier to fire than a small one I The glaze firing however was a differ— All well with the neighbour so up went to a temperature of maximum volume in the stack for in- decided to build a wood fired kiln of 27 ent story. A hundred and two gallons the fuel again. Time dragged on and by cubic feet. After visiting disused dairy of fuel were consumed over 30 hours 1 am. in a gale with 3 feet of flame %/»-15mm cfia corks, factories and the local gas works I had and a kilnful of soot was the end result. coming from the chimney, cone 8 gauge marks -_. enough bricks to start. I blamed again the surrounding trees came down and 10 was bending. By My first attempt resulted in melting for the failure of downdraught, but I this time cold, wet and fed up, I’m J plastic tube the fire bars — ex factory boiler, in the made some adjustments to the chim- thinking of all the places I'd rather be Waier lzvcf ~\\ firemouth, but getting no heat in the ney and started again. than tending a kiln I know nothing to MM ooyperyiye kiln. The second and third firing were about. butler-{(3 valve the same. I rebuilt with additional This time all went well until the bag At 3 am. all done. Fuel consumed bricks a bigger, 35 cubic foot, oil fired wall collapsed and closed off the fire- was 65 gallons over 20 hours. The fir- dripfeed down draught kiln in a differ- mouths. Seven pots directly behind ing turned out to be most successful so ent location because I blamed the the firemouths were perfectly glazed in retrospect everything was worth- downdraught caused by nearby trees and fuel consumption this time had while after all. Some small adjust- for the previous failure. I have found reduced to 45 gallons over 18 hours ments are still needed and a word or out since that the chimney was too burning. two to the the weatherman might help. small. More modifications were necessary. I am also open to suggestions from The kiln worked well up to 1100’ I shifted the chimney to the side, in- readers. when the flame came back from the troduced two more firemouths where Peter Hoskins, firemouths and burnt the plastic fuel the chimney had been and started C/o Manutahi P.O., lines allowing fuel to flood. Result: again. Strong west winds with better via Patea. New Zealand Potter Page 14 New Zealand Potter Page 15

This photograph shows the position of the burners and the caps which screw on the manifold when burners are removed after each gloss. We used no mortar in our arch Firing with and for insulation have a layer ()fvermicu- natural gas. late over the outside and an insulating blanket of Fibrofax over that. The blanket will stand 1100°c and is available from Winstones ~a highly recommended way of Sharyn Hancock insulating

This article is further to the article on the Capon Kiln published in the last Potter (Vol. 17/2}. For this kiln new burners have been designed to do away with noisy blowers.

My basic kiln design is from Daniel Rhodes’ book “Kilns, Design, Con- struction and Operation", page 215, figure 186. It ha; been operating suc— cessfully since October when the bur- ners were installed.

The local gas authority was very happy to allocate me 350 mm water gauge [.5 lbs/sq inch, 3.45 kPa) pro- Una vided I could come up with a suitable Sharpley at Country Arts. burner After reading Daniel Rhodes‘ viewed the left of Una a candle-owl [for bar- book my husband determined it could In August ’75 Country Arts mounted nearly 200 pieces which were its first Exhibition ofOutdoor Pots —a in the course of one weekend by an becues] drowsily surveys the exhibi— be done in spite of a lot of local scepti- display ofgarden pieces by Una Sharp— 2000 people. tion. cism. I finally contacted Mr Daniel estimated ley. This distinguished Papakura pot— the photograph Una Sharpley Tyrrell who was prepared to meet the In ter ~— who, despite her prodigious discusses the finer points of bird-baths An exhibition of pots by Yvonne challenge. View He emigrated from England ofkiln, 3 x 3 x 3 catenary arch, height output, finds plenty of time for teach— with members of the public. To the Rust at Christmas was just as success— 4 years of chimney 3.5 ago and runs his own firm in m (12 ft) ing and helping [her generos1ty to right towers an extremely tall coiled ful, and three more outdoor shows are New Plymouth, Seaflame Gas Limited, novice potters is legendary] — made sphere on a thrown foot; above and to planned for 1076. installing industrial. commercial and domestic gas appliances. He has had ”a“ 1W” H i l'. . considerable experience with both -:'r.. . “ '_ town and natural gas and worked on the North Sea gas line conversion. The burners are inspirating and can throw from a 100 mm to a 1200 mm flame. They are extremely simple to operate and reduction is achieved at a finger touch by adjusting the primary air. If ever wanted. a complete oxida— tion firing can be accomplished as well. There is only the sound of com- bustion. My neighbours know I’m fir- ing only when they see the heat haze above the chimney. The burners can be unscrewed and removed after each fir- ing allowing the ports to be bricked up. My glost firing takes six to eight hours and the average cost of a bisque and glost firing is $12. The patent is pending on the burner design and Mr Tyrrell, combined with another New Plymouth firm, D.H. Holyoake and Company Limited, Heating and Ventilating Engineers, hopes to produce the burner at a price comparable to that of a pot burner.

Back of kiln showing master valve, meter and regulator New Zealand Potter Page 16 Potter Page 17 ,1 New Zealand .‘

av. A New Zealand Potter’s 2,000,000, comes in “17 lovely col— n31. ours” to show up the distribution pat— tern of the rocks, and opens out to :11“: AnTiclina (33*: or about 27” X 36”; making a fine picture on the wall. It is compiled by the NZ. when, 3, PM: Geological Survey and new up-to-date Geology pt. 1 editions are put out from time to time. Over the next few issues of the POT— There In this article I shall avoid referring are probably some new strata, the general rule being that the X&. .-. TER I shall try to give a useful account to it as much as in later issues, so that branches in the technology about oldest rocks lie at the deeper levels of of the basic and highly pertinent study which 1.: .‘—'— . .N readers will have the opportunity of I know nothing, as the subject is the formation. This simple order is n of geology. It seems that most potters continually obtaining a copy in the meantime. advancing due to vast often upset by cracking and shifting “ *1- "' .\c§ have a scant knowledge of it. Most -+. Figure 2 is a very rough summary of of modern research campaigns. (faulting), by slow and gradual folding \ the material presented here was the geological map. Note how the One of the biggest problems in dis- or bending of the strata. The terms for Bl EM gleaned when I was a student 3‘ _ I $ ”'7‘" “ South Island has rocks of greater age at Uni- cussing a scientific or academic sub- the various “upsets” or phenomena . § +*‘:: . versity many years ago, so I would ask ject with than the North. the layman [includes pot- which later on disrupt the simple that the most scientifically advanced ters!) f'f"£‘r “ Note also the Y-shape ofthe country. is the terminology used. All order of deposited strata are indicated readers kindly forgive me for in— Moan“ This expresses the fact that New Zea- those formidable words we shall need in Fig. I. accuracies, as I am not an academic to get to know, but with good manners land lies at the junction of two major and have had little faults in the earth’s crust. One of these, opportunity to I shall attempt to introduce each as we The three major types of rocks are: meTc Mol‘P’iiC M peruse the contemporary literature. need it. Sedimentary. Rocks formed from i.e. from Tongariro and through Auck- The potter, 2006 earning his living by his Firstly, let’s put the horse before the the gradual hardening or compactn land and Northland, can be traced craft, is more concerned with the cart and define the terms rock and of sediments, formerly deposited A and through the Pacific, traversing the basics of geology B are "pm-J: Philippines, japan, Aleutian Islands, rather than its more mineral. A rock is a naturally occur— under water [or sometimes aerially] in "JimeflT‘J‘ academic aspects. and into Alaska. The other, following For those who be— ring material which consists of one or recognisable layers, or hands. rock series. belonJ come fascinated with the sheer rugged fin: To The Sam! the axis of the South Island and run- more minerals. A mineral is a natur— Igneous. Rocks which have cooled grandeur ofthe subject there is a welter fit-marten ning through Hawke’s Bay, is part of a ally occurring pure or fairly pure and solidified from a melt within the _ Th: ”e safaraT¢4 of books and papers readily accessible chemically I.” system of parallel troughs which ex— simple substance of one earth‘s crust. The basic molten matter in the major university and public Juan‘fom' tend under the sea towards the north- lib- kind, e.g. kaolin, silica. feldspar. lime— is magma. If the solidification [crystal- figb from a pier/ion: raries. stone east. It is significant that our most re- etc. Rocks and minerals usually lisation) occurs on the surface the Geology cently active volcanic activity has is a general term for the have been formed into layers called rocks are volcanic; if crystallisation firmyTtofi, C. study of the earth‘s crust. It is divided been occurring near the junction, e.g. m‘amg AIS (06"94 the vast pumice volcanic outbursts of up into more specific subjects as fol- “f, “”081 ["6 3‘f‘ lows: (n art“. the central North Island plateau, in— To ‘60-". $.I/ls S. And cluding the eruptions of Mts Ruapehu Mineralogy — the study of miner— gas“; rock in ”Mira! Jake; als. occurrences, structure etc. as shown. and Ngaruahoe. Note that the ‘base- Overflow I“: 3&c ment’ ranges of New Zealand form the Petrology ~ the study of rocks. lava Foot; us I‘m-beam 4091e L «$t has major backbone of the country. This is Petrography nut, M09945 «'9 fllfdi‘ft'ed u}. glorin ~ the study of rocks 51/1.“ a rock called greywacke, about which and minerals using a specially de- (“VCH’ of at volcano, we will be dealing in some detail later. signed Mic/flak"? agwcics \l/ Wield! mififnorrzoe microscope which enables a W It forms the crumbly, steep-sided hills beautifully 6.7. (jo‘2 SUMIIQMI W, NWIAMM "a“ clear visual picture of the of; have been “fir-neat and coastline of the Wellington dis- sample 93 fine, hour. to be seen in great detail. Sper- trict, such as the Plimmerton brick cially prepared slides of the sample in a]. The. magma an menumtuij clay. Overlying the basement thin section are mck€,M made up. h :t greywacke we have the vast areas and Palaeontology — the study of fos— Pbgeakdown thicknesses of the Tertiary sandstones, sils with far/Mr? special reference to their time days Onltj occurs underground they are called this old, extinct volcano has flowed mudstones and limestones, left as scales related to surrounding rocks. e plutonic. down over an older clay deposit and blank spaces on the map Fig. 2. It is Geomorphology 5 dub/9 yellowmosfltjWKaela)»: E The study of alkyd/c salfs Metamorphic. Usually sedimen- baked it much as in a hard biscuit fir- from these sand and mudstones that landscape forms, their origin and C 5m, Pm.tram } wimwdays tary rocks which have undergone a ing. What a splendid source of natural most of our plastic stoneware and structure. Best reference, Professor change of chemical or physical struc— grog for the local potters. Sufficient for earthenware clays have been derived, Cotton’s “Geomorphology of New Zea— ture by heat and/or pressure. {See Fig. I. the metamorphic rocks; they are fairly by the process of weathering. land”, —— an excellent book. M). Usually they become more dense uncommon compared with the vast I feel that the time has now come to washing,a%\lead/Hug, areas of sedimentary and volcanics detail this process of Economic Geology — the study e/VDSMIA and hard. (Compare firing of clay in describe in some of commercially viable mineral de— re « «wombat by waiw kilns]. Pottery bodies are a sort of which cover most of New Zealand and weathering. It is rather like the reversal posits, including petroleum. metamorphic rock. upon which I shall be making copious of the potters firing cycle, i.e. the slow potter’s notes at a later stage. to clay. Selsmology — the study of earth— New Zealand contains an abun— and gradual change from rock of In the following diagram, I have at- quakes, types, origin, effects and uses dance of all three rock types. Most the tempted to show the basic story with- in giving information on the deepest our plastic clays have come from The Geological Map weathering of sedimentary and igne- out being too technical. structure. TkC SM Sc COM/dry day Iron ovtdcs Sir/tea. ous rocks. Clays such as the Otago Every diligent potter should have In what seems a futile and grandiose Volcanology — the study of vol— cOSIf-S bounds ore . 63am“ attempt to correlate all the above in- (ct/heoh S schist, a platey, dense, shiny crystal— the geological map pinned up on his canoes, including Seam; dcposzf‘s plutonic as well as line rock which has supposedly been workshop/studio wall. It is obtainable formation into a sort of rounding off to volcanic rocks. 0 ) metamorphosed from an ancient feld- from major booksellers or Government terminate this particular article, let us Stratigraphy — the study of rock spathic sandstone deposit of vast area printing offices, and comes in a folder try to find out where to expect the most strata. with special reference to the and great age. The most striking ex- with a good general description. From suitable clays in New Zealand. Obvi- order and type of deposition and fac- The pOfl—eru o) ample of a metamorphic rock I have time to time I shall be referring to it and ously, weathering is a very long pro- J“ tors upsetting the simplicity of this ever seen is the natural terracotta layer hope to be able to clarify it for potters. cess, taking many millions of years. order subsequently. (See Fig. 1) in the old quarry at Mt Wellington, The base map, covering the whole of The pumice and rhyolite volcanic de~ near Auckland. Here, the lava from New Zealand, is to a scale of 1 in posits of the Rotorua, Taupe, Central Page 19 New Zealand Potter Page 18 New Zealand Potter I King Country, area are very recent, I I I t geologically speaking. Hence no clay, x I I I O n s a I c a I although we find some kaolins which are virtually unplastic. North Auck- land is very complex, consisting of older sandstones, broken through by younger basaltic volcanoes and all overlying but horribly tangled up with faulted basement greywackes. We thus find a very remarkable variety of clays. ranging from pure kaolins [e.g. Matauri Bay), fireclays and ball clays [e.g. Kamo coal measures and related, _‘ : d . terracottas. MCk'gn‘ RDA dewmposed san stones) (from weathering of basalts and iron flor+klgni .. sandstones). bentonites and natural stoneware bodies. In Hawke’s Bay and mtl‘ '3 basalt“ Taranaki. the relatively recent and vast Vol r“ deposits of tertiary sandstones have / “noes only partially weathered into plastic SQHJ-Ifone.‘ clay. in scattered places. The older ' afar Hawkes Bay glauconitic sandstones E‘S'Sf flag“ C QnTrLl have yielded a good grade of terracotta . I T ‘_ (e.g. late l’ullford pottery). .;.-. ' T , r: “'5 In the Wellington—Manawatu (lis- tf‘i- VC" aflC'ch ~ r‘xaxcc‘ trict, some of the primary yellow clay ',:..:.' ' ~ - _' N0 . from the greywackes has been eroded -~'. (PJQCOZD'S) rock: , i and redeposited. This has produced I ’ occasional deposits of fine. whitish / W BasemenT PM!“ plastic stoneware clay. which is highly prized by the local pottors. Some of ,/ of mu}; .Kanjes these potters seem to be equipped with metal!) 1c a special kind of radar for such de- posits. which they tend to guard like dog and bone. lam sure that the other 881’3ncous rocks greywacke areas ofNew Zealand could HAWkC 5 also yield such clays. although the de— posits would tend to be small and ir- Remain-n 8.. . “ regularly located. This is a blessing in an,“ :'&"m¢n‘r" that big~time commerical interests unshotcx would consider such pockets un— Art Tel-1‘."- ue N , S‘NJSTOI'les economical, whereas to the potter they SQJImnaU ‘0 r." ‘0‘ are a Godsend. [Hal]. Above: From the first exhibition exclusively of porcelain, Bronwynne Cornish “Arum 5-0“ "a A’P: - In the South Island, Nelson is (“01181. dered a potter’s haven. Small wonder. Lily” celadan glaze. Right; Ted Kindleysides “Tower with figures” white manfeldspathic rocks , Battencnf yyfl‘ke They have weathered granite, sand- glaze flushed pink in places from migrating copper. BelowzCut clay bowl by Doris Dutch. C T L stones, argillites (slatey. fine-grained Right in a separate exhibition printmaker Ted Dutch who has turned his attention to c ay, K an e:- In ' old sandstones] and countless mineral displayed interesting ceramic sculptures. y‘TcPTIM” deposits. Similarly. parts of Westland PhOtOSI Gay Stewart SQJl'Me AT: are equally rich, and these areas will warrant further study in a special arti— <\ - cle at a later date. 0T‘30 ‘ F70 "lb-n4 ‘ The Canterbury Plains are too recent —- aflCliflT $C’JITS for clays, but the foothill country is most promising. This is not only due to the Southern Alps greywacke, but also Kfigrdl‘nl .( SdPt I: __ to the odd, ancient volcano [e.g. Mt - . Somers) where feldspathic rocks have jflfllre-s (RISO N W nd‘an). had time to weather. Similarly around Dunedin and Invercargill, which areas have a very interesting history of spe- cial types of volcanic outbursts, result- ing in some low silica. high alumina rocks and clays. We have mentioned Otago and the marvellous Hyde ball clay. This summary should give the beginning of an insight into a potter’s geology which we can probe more deeply in the next issue. » ‘ New Zealand Potter Page 20 3"“Mum-agmaw. M ofM‘P’W-‘l‘.W.c.zw-—ow.~rr

1976 began with a cheer: Yvonne could get pushed out”. she argues. Yvonne Rust’s Pottery School. With such a “The New Zealand Society is the dynamic, knowlegeable and hospita— group which must organize this — of ble person as Yvonne the school course it costs money...” We were all Rusts couldn’t help but be a success. If rain convinced; but what is the next move? drove us indoors, then it only made We fired a new salt glaze kiln in ter- summer discussions easier, more frequent and rible weather, but with a wonderful interesting and arguments more vig- View and an equally wonderful length orous and forceful or, led by George, of time to observe it. school the pinchpots more numerous. Day Another first: Sandra’s swim in the and night Yvonne was always a starter, sea. We had a break from pots and all whether it was pots or politics. set out gaily for the Poor Knight Is- lands. These are fascinating to see: the The main theme of the school was shapes ofthe towering cliffs, the caves, “clay” in all its aspects. Different types rock arches and inlets, and beneath the which had been brought along were waves an amazingly colourful life is ob- thrown, fired and compared and much served by those who disappear with knowledge was shared — even ifI did snorkel and scuba gear. The sea shells have to lose a pot before I would be- and plant life are interesting in form, lieve that you can’t fire an Auckland and there are masses of brightly col- clay with a glaze to 1300°C. Yvonne oured fish. On the way there we passed to thinks Auckland clays fire naturally through shoals of Trevalli chased in it is at that tem- 1200C and feels their turn by flocks ofgulls, and Donna fired to. perature that they should be caught our supper. We had trouble with clay bloating, The visit to Portland Cement Works another interesting problem for which to sort and collect bricks going cheap towel brigade will we hope Bill of the was fun: in this vast concern even the now have the answer. wind and dust were massive. Yvonne is worried about securing Good things must come to an end. clay for future years. She urges all pot- With our pots clutched in our hands ters and societies to make provision we waded barefooted through the rain NOW: “Potters must have their own and away to make better, bigger and, mining rights before it is too late. We don’t forget, more creative, pots. can’t afford to leave it all in the hands Thank you, Rusty. of a few large industrialists — we Flora Christeller

The 1976 Potters’ Do at Driving fire under sheets of tin. The kiln duly Barry Creek began with a couple of fine days. stacked, a fire was lit early on the great A moderate number of enthusiasts ar- day with John McCassey and his merry rived. On the third day it began to driz— men as shift-firemen. Already Paul BflckeHs zle. Steadily the rain set in. For the Tobin had prepared a whole sheep for whole of the next week it alternately the occasion, and despite the fungus poured and drizzled with a sticky hot growing weather it hung and matured potter’s Do. sun trying to create a sauna bath. Once without going too green. A sort of you got into the mood it was ex— barbecue-roaster was erected under hilerating. more sheets of tin and lashings of Tents were soaked and we had vic- spuds were laid down. Came evening tims sleeping in the cottage and the with some bangs from the kiln, the pottery workshop, while the railway show began to come alive. By mid- carriage was a castle — cosy, dry, ele— night the kiln had reached near 1300°c vated and above the turmoil. Down in or a good stoneware, despite some the barn it was warm enough but wet wood. The sheep was slowly roast— floods were taking their toll. ing on a manuka spit. At 12.30 it was Suddenly after two or three days the on. Even the vegetarians were smack- keen young men decided to build a ing their lips and relishing the finest small wood fired stoneware kiln. We flavoured mutton there ever was. It gave full sanction to this idea and was a true climax. within two days the old drip feed one Next day a sombre mood prevailed was demolished and a crude but as shattered or distorted pots came serviceable wood burner materialised. forth. Never mind the kiln was fine and It boasts a little Dutch oven, about a 12 will be retained for next occasions. cubic foot chamber and a short brick Next year ofcourse the Do will go on as flue with Presto’s old iron funnel on usual, now that we have become har- top. dened and proved that even the Meanwhile clay was being foot- weather cannot stop it. I consider that wedged, and pots rapidly made for a the theme of rugged. pioneering firing schedule to take place on the last should be the prerogative of the Do. day. The pots were dried beside a bon- B.B.

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Sum yam , 111135150“, Sam/«cam WM gun, LUML 4’65k (luau-ion, Weeding 0f asewamaafiLonaze/ ”134wMW'csmmadwmedw ' ’ pain; Wwdfi Mum WMWJZé mm Maw Imam. k1? Qua. MW. {New «9 Ramada, ,fq/rdam Mme vases, Memdéo W WWMMfiM SW mm WGMWI New Zealand Potter Page 29 On the subject of glazes Alan Caiger—Smith 500 grams Tin Oxide glaze for 1220°c in an electric kiln for gives the following glaze recipes 100 grams Zinc Oxide those frustrated potters'who can’t get 1060° — 1080°C. reduced copper reds in their electric CLEAR GLAZE kilns. 78% Lead Bisilicate Alkaline Copper Blue [oxidised firing, 131/2°/o China Clay High fired copper glazes 1220°C.] 41/2°/o Flint [about the colour of a thrush’s egg]. 4% Whiting On page 36 of Vol 17/2 there was an omission in the barium flux formula 1040n — 1080°C. which should have read: If higher temperature re- N82 0 0.5 Si02 2.5 Formula: quired increase flint by 21/2% Ba 0 0.5 B203 0.5 K20 .2131 A1203 .4069 and China Clay by 21/2%. In the paragraph about aubergine col- C80 .5930 Si02 2.991 TIN GLAZE ours using reduced copper and cobalt, Li20 .1938 3050 grams Lead Bisilicate the additions to the glaze should be not Batch Recipe: 36 Feldspar 250 grams China Clay more than 2% copper (not 23 parts as 36 Petalite 650 grams UK. Feldspar printed] and 1/4 cobalt in a glaze which 18 Whiting 450 grams Borax Frit will give an alkaline response. 9 Zirconium Silicate [P2248) Below Betty Ivin gives a copper blue 1.5 Black Copper Oxide

SW coo ' M W, Ht 2|M~ Coming exhibitions Maw. COW" medial offiw mow The NZ. Academy of Fine lington for selection by August 3rd. It For Australian subscribers Wane} 01w (axe coveted mm. w Arts is separating pottery from is hoped that this will become an an- Payment would be easier for you and graphics and sculpture this year. The nual exhibition of national signifi— easier for us if you send personal che- W Cb “semi midi”, W tale/ Academy Pottery Exhibition will be cance. ques for $A3.50 drawn on an Au- C 3401’ take. held in Wellington from August The NZ. Society of Potters stralian bank. We’d avoid cumbersome 20th—5th Sept. Any potter may submit exhibition will be in Christchurch this conversions, and you extra charges at (scab mtgmmw was what, work not previously shown in Wel- year at Labour weekend. your end.

\ A Scraps of info.

Pottery in Australia published by the Potters abroad Books Potters Society of Australia twice Audrey and Jim Brodie are in Jakarta Geology and materials yearly. Subscription is $A4 from the for a year where Jim has an assignment editor, 39 Mary Street, Longueville, with UNESCO. Audrey says “I am join- A glance through the list of contents Sydney 2066. ing the Indonesian Ceramic Society of geologist/potter Iim Scholfield’s and am working with a volunteer book, to be published later in the year, group at the Iakarta Museum in the promises detailed information to help Ceramic Review published by the New Zealand potters come to grips Craftsmen Potters Association of Bri- ceramics section translating cards from the original Dutch into English with natural materials. tain. Annual subscription £4 from 7 “The book developed from a series Marshall Street, London, WN 1FD. and Indonesian. Am enjoying it tre— mendously because one gets to know of lectures requested by the Auckland such a wide range of classic Chinese Studio Potters Association to assist Studio Potter published biannually by pots. There is considerable interest in them in making use of local materials, a group of professional potters in New what is going on in the pottery field in particularly local clays, how to use Hampshire. Subscriptions to Box 172 New Zealand.” geological maps, how to use chemical Warner, N.H. U.S.A. analyses in developing new glazes and how to understand the properties of the different types of Clay materials. I Tactile a bi—monthly magazine of the was aware that this was a tall order sol Canadian Guild of Potters. Overseas Anne Turnbull is now handling the thought I may as well look at the clays rates $C15 333 King Street, West T0- subscription side of the Potter ad— throughout New Zealand while I was ronto. M5V I15 ministration. Esme Marris who kept about it. The result is called “Materials the wheels so well oiled for seven for the New Zealand potter”. John Parker recently graduated from years, does not now have the time to We hope that we can review this the Royal College of Art, London. give. Potter subscriptions have trebled book in the next issue. “Ceramic Review" has a photo of a during this period. We now print 4,000 bowl and a bottle which were among copies. Anne is experienced in this World Craft Council Conference is to his exhibits at the Oxford Gallery in kind of work so we‘ll keep progressing be held from June 6 — 12 this year at October. as smoothly as every. Oaxtepec, Mexico. New Zealand Potter New Zealand Potter Page 31

w" from twenty years of dedication to this -'~;m':;.;c‘ ~ currently neglected branch of the potter‘s repetoire. Alan Caiger-Smith. Christopher Vine Alan commenced by throwing some Alan Geiger-Smith English potter working in the basic shapes, large and small, goblets maiolicu tradition was guest exhibitor at the NZ. with an indefinable elegance, a hand- Society of Potters annual exhibition and after— glaze recipes on page 29 some teapot, and several pitchers, words took schools throughout the country. (Ihris- seine generously curved, some severe topher Vine of Nelson attended the school in Wel— inform. As he worked, he told us ofhis lington, Beverley liuxton was in the Auckland workshop at home in England, and photos of the pots. class. Stan Ienkins took of the their production methods, his Roger Brittain ofthe demonstration, apprenticeship system (he has 7 or 8 ()ne of my greatest pleasures is workers at various stages of ability) watching skilled work done with deft- and his surprise at the New Zealand ness and economy. one—man workshop system. The bulk of Alan's message was con— The pots were rapidly dried in the cerned with decoration. a word he dis— sun, and after lunch he turned them. likes for its present connotation of And then came the magic. Using basic something superficial even superf— oxides, he proceeded to decorate each luous. Ornamentation'r' limbel» pot with deft brush strokes, totally lishment? These words seem worse suited to the form. He pointed out the and yet through history it has been need to find the precise spot at which fundamental to human beings to to start and finish a design, for in— elaborate surfaces. structures. utensils. stance, a jug’s handle attachment pro— apparel. vides a natural accent and indicates Alan (laiger—smith makes no apol- the area asking for decoration. He used ogy ~— nor need he for his earlv no measurements, relying entirely on espousal of the outsider position. His his practised eye, and the result was majolica. though traditional in techni— decoration such as we had never seen que, is in detail surprisingly contem- before. The three goblets, each of porary. for those seductive brush which he decorated in a different fash- strokes build up patterns that are truly ion, showed us the completely abstracted. deriving not even remotely changed appearance of the pots after from any natural forms like frequently an alternative approach to design had plagarised oriental wind blown reeds been carried out. At the end ofthe day, and exquisite bamboo, nor the robuster Alan suggested that we each bring heraldic animals of the occident. His brushes, no matter what kind, to try designs spring directly from the our hand. shapes dictated by. or hinted at. by the On Sunday morning equipped with brushes themselves. various brushes. we were shortly on Herein, and in his willingness to hands and knees on the verandah in take his decoration further than Inost the sun, attempting to emulate on of us would do. lies his especial qual— newspaper the free-flowing lines ity. “I know you will think its over which Alan had demonstrated the day decorated but I like it this way." Dur— before. Few of us showed much ap- ing many of his demonstrations. as titude, but we had fun trying. sweet swirling lines built on one After lunch he dipped some pre— another to compose the dancing de- viously biscuited pots in a white ma- sign. I was acutely aware of the held jolica glaze. and demonstrated similar breaths of the other spectators. to be decorative techniques over the raw sighingly released when the structure glaze, a much more difficult pro— emerged complete. Many would have position. He just ground his oxides on stopped long before he did, fearing a pallette, in this case a sheet of glass, that another line would wreck the de- with some gum to help the brush flow, sign. And yet the carefully considered and then moistened his brush with final strokes did not diminish the water and absorbed the required whole. They completed it. amount of oxide for each stroke. He insists that the importance ofthe / He also experimented with some of spaces left between the strokes and the the more unusual brushes which pot— propriety of their sum complements ters had brought. being particularly the shape of the pot. He meticulously taken with a home-made brush of ponders ways in which a band or a dogs hair. curve can add to the fullness of the We were regretful when the form and never deny it. weekend school ended. Much had A modest man, his self depreciating been shown to us that we had never phrase or gesture belied his deeper as— had the opportunity to see before, and surance. and l for one drew deep satis— Alan’s charm captivated us all. faction from his confidence arising Beverley Luxton. New Zealand Potter Page 33 New Zealand Potter Page 32 as I began serious potting — though The design structure is almost invar— natural inanimate form suggesting a this is no co-incidence. My serious iably sonata form. [I learnt the violin living form must possess some of the The art of work has never been quite abstract. It from early childhood and retain a par- spirit of that living object. The sculp- has always been evocative. The “sleep- ticular delight in concertos. The tures are numbered and cast in bronze ing giant" on the Havelock hills, the dominance of line and sonata form in in editions of six. After each one is cast driftwood on the Napier beach and my work may be a consequence]. My the model is worked on again, chang- perhaps even Maori sculpture all paintings or coloured drawings while ing as in evolution, and the second of played some formative part from ear— an end in themselves, are also the the six is cast. Each new variation is EdgarMansfield liest childhood. probe experiments leading to direc— called a mutation thus, Animism 60 There are multiple aspects to my tions in bookbinding and sculptural mutation 2 of 6. I am therefore creating hollows are rleated to After training as teacher, painter and 1934 I studied pottery among other shell—like space work — all conscious and deliberate form. The contents of the book suggest an abstract evocation of life and ex— I have always been sculptor, I studied pottery at Dunedin crafts for some years and stopped only pots cut through. even though sometimes triggered in— the design. I then bind the book and pressing the fundamental life force of flexible line and line- and elsewhere and included kick when bookbinding and again creative dominated by tuitively. Everything is primarily an execute the design. mutation. This has never before been and space hollows wheel pottery when teaching art and art took over completely edge — surface abstract adventure in form, area, space. Driftwood which suggests life, but expressed in art. volumes. crafts at Feilding High School and My sculpture could be conceived as rather than solid line and colour disciplined within the never describes. motivates the sculp— I also grow runner beans, tomatoes inter— adult day classes in 1929-33. This was an asymmetrical extension with more From purely naturalistic rectangle [painting or bookcover), or tural forms. They are titled “animism” and Silver beet for my needs and neg— almost suddenly probably the first pottery to be taught creative freedom of my feeling for pot- pretation I changed the silhouette (sculpture). — from the primitive belief that a lect weeds. at the same time in a secondary school. In London from tery form. and my recent emphasis on to abstract in 1929—30 New Zealand Potter New Zealand Potter Page 35

pottery making is to be a means of livelihood. However since 1970 the most Ceramics in Britain today. interesting developments seem to have been within the sphere of the “individual piece”. Often this has been due to the inventive exploration Eileen Lewenstein Q’- NW: ; .‘c of some currently neglected techni- Potters in the United Kingdom are que; potters have been ready to explore subject to as many conflicting influ- the extraordinary wide range of mak- ences as potters everywhere else in the ing methods in order to find the one world, and this tends to make it dif- most suitable for expressing their ficult to discern or trace any major ideas. Some potters, of whom Mary movement or direction in current Rogers is a notable example, have work. So much is happening and so found nature a useful source book of many influences are assimilated and form and pattern and have adapted later abandoned that it is sometimes and developed corresponding techni- impossible “to see the wood for the ques. Mary Rogers has pinched por- trees”. In the last thirty years studio celain with sensitivity and delicacy, pottery has become more and more whilst other potters such as Sheila popular and practitioners now range Fournier and Emmanuel Cooper have from the enthusiastic amateur to the produced equally subtle forms by full time professional. A wide spec- throwing and handbuilding. trum of interests is represented and Eileen Nisbet has used the trans- ranges from those ofthe maker oftradi— lucency of porcelain to enhance her tional domestic wares to the make of slab built pieces, whilst Jacqueline objects and the sculptor. Poncelet, who studied at the Royal New work is being done in all areas. College of Art, has discovered and exp- Each year the art school diploma loited the translucency of bone china shows reveal a wealth of imaginative by slip casting simple forms which sof- talent (there are forty colleges offering ten and gently distort in the firing. degree courses in ceramics) but often Elizabeth Fritsch, also from the RCA, this seems to disappear without a possesses an original talent and her trace: only a few continue their interest unglazed coiled pots are painted with in and practice of the craft. precise and sometimes intricate pat— Broadly speaking there are three terns in coloured slips. Colin Pearson main areas of interest — firstly, useful has continued to combine successfully domestic wares; secondly, individual throwing and slabbing with his now pieces and lastly objects/sculpture. famous ‘winged’ pots and some of the In recent years hand made domestic most recent porcelain examples have wares have become more and more ac- had beautifully reduced glazes. In ceptable t0 the general public. The these last few years, not only have predominant influence in this field making methods been explored and in has been Bernard Leach and the most some cases re-invented, but great in— influential teachers have been Michael terest and ingenuity has been shown in Casson and Victor Margrie, who estab— formulating new bodies and glazes lished the studio pottery course at Har- suitable for a whole range of firing row School of Art. Most potters settl— procedures from raku to porcelain. ing for repetition throwing have opted The area of the ceramic for reduction fired stoneware. One object/sculpture is perhaps the most niques. Glenys Barton, on the other Above: Mary Rogers, pierced form por— could almost say there is a difficult to assess. Much good and in- hand, uses slip cast bone china for her celain “Leach/Harrow" brand of pottery. teresting work has been produced, precise geometrically based objects. There are however signs that some of some of which might be classified as Many of the potters mentioned, in- Opposite page: Elizabeth Fritsch, coiled stoneware, the younger potters, such as Paul “decorative objects” and some as cluding myself. work in‘ more than one Sheila Foumier — thrown por— celain, photos, Eileen Lewenstein. Philp, are looking to the early days of “sculpture”. Houses, boats, bridges, of the areas indicated earlier. Eileen Colin Nisbet porcelain dish {1250°CJ matt trans- the Staffordshire potteries rather than people, animals, countryside and, Pearson and John Maltby, for instance, Japan for inspiration. parent glaze over dark grey slip decoration most recently, furniture have all been produce a wide range of domestic and unglazed rim. On the whole this has been a period the starting point of a whole series of wares. of general improvement and refine— ceramic fantasies. John Maltby finds This necessarily brief survey in- Over the page: John Maltby, salt glazed ment in the handling of materials; a his inspiration in the English land- cludes only a few of the many talented stoneware realization by potters that such mun— scape and chests of drawers, whilst potters now working in the UK. These Eileen Lewenstein, lidded box and Tessa Fuchs, dane considerations as whether the lip Tessa Fuchs finds hers in town houses last few years have seen much explora- cows and tree w earthenware photo: Ronald E. Brown or spout pour well without dripping, and Fresian cows. tion of ideas and techniques, and this whether the articles are light enough Graham Burr, Gordon Baldwin and is leading to a general broadening of to be used by a person of normal Mo Jupp are just three of the potters the terms of reference within which physique without strain and whether whose most recent work suggests a potters are prepared to work. the bottoms of pieces are stable and move towards sculpture away from the smooth enough not to scratch the fur- decorative object; all three use tradi- Eileen Lewenstein is co-editor of niture, are worth bearing in mind if tional hand based pot making tech- “Ceramic Review”. New Zealand Potter Page 36 New Zealand Potter Page 37 Domestic pottery in England Margaret Harris T0 the visitor from New Zealand. strength and vigour in form and deco— We observed both in England and Britain the nation of shopkeepers has ration. And the same can be said of America, that ofthe two approaches to few craft shops. Nor is there a notice- Michael Cardew’s later stoneware as making pots, i.e. the traditional able evidence of potters. The average well. His pots in the British craftsmen’s approach evolving out of person does not know what is meant Craftsmen’s Potters Shop in London at users’ needs as practiced at Win— by the term pottery and assumes it an exhibition last summer stood out in chcombe. and the designer approach means Poole or Denby ware. In Eng- their vitality. of those making individual items for land it’s unusual to meet a housewife Styles have not changed much at purposes of their own creation when who has attended pottery class. In New Winchcombe today. Ray Finch. who even domestic ware may be designed Zealand nearly everyone knows some- bought the pottery from Cardew after to be put on a shelf and admired, this one who has. the war, told us, “Michael developed a latter approach seems to be on the in— The lack of public acceptance of vigorous and distinctive style. Having crease encouraged by critics who ac— handmade pottery through long ex- trained with him I wanted to build on claim new developments. posure to manufactured wares since what he'd started rather than change. One can argue against this, but the the industrial revolution. has resulted Even the pots we make new. so many fact remains that the best potters have in British potters’ wares having a high years later, are of the same family. learnt their craft in the workshops as standard of finish — thin walls, They have developed but are related in apprentices. The few good potters we smooth glazes — to attract buyers used the same tradition. The origin of the came across who had art school/design to machine made articles. Not until there is a public. aware ofthe pleasures of the handmade pot can the more ex— uberant type of pot as we know it be a readily acceptable household item. Rugged. ashamedly hand crafted ar- ticles are probably the natural outcome of our rocky. mountainous back- ground. By comparison then, from the glaciated, smooth and trim English countryside can we expect the fine and smooth English pot? Whether or not the refined pottery is a reflection of background, it is easier for British buyers to accept. What happened to the robust En- glish slipware tradition? The link between 20th century pot- tery and the Old English tradition rests with Michael Cardew whom we vis- ited at Wenford Bridge in Cornwall. The last English handcraft pottery to let its kiln go out was at Winchcombe in Gloucestershire in 1914 _ its death knoll sounded by years of increasing competition from machine made china. The final blow was the wartime shortage of coal for firing. Michael a \\’inr:licombc casserole Cardew was already an admirer of pot— Winchcombe jug can be traced back to training told us they found this a dis- tery made in the countryside in the the Devonshire cream pitcher." The advantage. and after becoming ap- same manner as it had been made since showroom at Winchcombe has this prenticed to a potter they needed their the middle ages. “It was an English lively domestic ware available at very artist attitudes drummed out of them. trade par excellence. An Anglo Saxon moderate prices. The difference is not just one ofseman- way of being practical. Pottery is es- There are other English potters tics. but is fundamental and should be sentially practical.” As a boy he'd whose work is in tune with the English understood by potters. often watched W.B. Fishley turning country tradition. Katherine In New Zealand pottery is still out jugs and dishes for the Devonshire Pleydell—Bouverie at Kilmington in mainly designed for use. The self- dairy farmers. He saw the opportunity Wiltshire and Richard Batterham in conscious artist approach is more rare of reviving the tradition when he took Dorset are among those we visited. because of the sometimes lamented over Winchcombe Pottery in 1926 and Ray Finch employs a number of lack of art school training in ceramics. got it going again. In the village he local men. [In addition to his son and Most great works of art have evolved found and employed one of the men currently Nina Davis.) The locals have through a workmanlike response to who’d worked there 12 years before. no formal artistic training. They just the needs ofthe people oftheir time. so The earthenware jugs and platters learn as they go along. getting experi- perhaps the lack of art school courses of Michael Cardew’s Winchcombe ence through practice and repetition of will prove a blessing to the potters of period display all the traditional the same skills. New Zealand. electric pottery wheel price $265.00

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