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John Britt and the cone 10 Paragon Dragon kiln. Interior: 24” wide x 24” deep x 27” high. UL Listed to U.S. and Canadian safety standards. Goldstone vase, electric oxidation, fired with extended cooling. “The Dragon is very dependable,” John said. With popular options, the Dragon is priced at around $5,000. “I fired the first Paragon Dragon ever made, and I loved it” —John Britt Priced around $5,000 when The first Paragon Dragon we made went to bottom. The extra insulation saves energy ordered with typical options. Penland School of Crafts five years ago. At the and cools slowly. time, John Britt ran Penland’s pottery depart- UL Listed to U.S. and Canadian safety ment and used the Dragon to formulate some • standards of his crystalline glazes. He enjoyed the Dragon so much that he is buying one for himself. •Orton’s Sentry 2.0 controller with “I loved the consistency and accuracy of the programmed cool-down and 20 segments Dragon,” said John. “It was real easy to pro- •Long-lasting, quiet mercury relays gram soaking cycles. The kiln is very fast. I could go in about three hours to 2300°F and •Available in 200, 208, 220, 240, 480 v, then do my soaks. I did multiple soaks on the 1 & 3 phase, 50/60 hertz way down. •Proportional power, heavy duty “The Dragon is very dependable. It is an ex- elements for more even heating cellent kiln.” You can find John’s glaze recipes in his book The Complete Guide to High Fire •Case temperature at cone Glazes. 10: approximately 170°F (compared to 400-500°F Dragon Features 2011 South Town East Blvd. for standard firebrick Mesquite, Texas 75149-1122 •3” insulating firebrick and 1” non-organic kilns) 800-876-4328 / 972-288-7557 block insulation in walls, top and door: 4” See your distributor for a demonstra- Toll Free Fax 888-222-6450 total thickness; 4 ½” thick firebrick tion of the exciting Paragon Dragon. www.paragonweb.com [email protected] PMI N_D 05_01_13 10/28/05 12:09 PM Page 1 PMI N_D 05_01_13 10/28/05 12:09 PM Page 2

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TABLE OF CONTENTS Features 15 Dust and Wax by Philippe Faraut Creating an instant patina 19 What a Relief by Paul Andrew Wandless David Gamble makes a lasting impression with sewer covers 24 Making Large Jars by Karen Terpstra Using a flat coil method that defies gravity 31 No Toil Tile by Hanna Lore Hombordy Creating tile projects using commercial tile Departments 7 Tips from the Pros Decoration by the Spoonful by Marj Peeler, with Chuck Wagoner 10 Tools of the Trade Portable Slab Rollers 12 In the Mix The Look of Wood Fire by Richard Busch 36 Supply Room Glazes for the Chemically Challenged 39 Instuctors File Electric Kiln Basics 44 Off the Shelf Making Marks review by Sumi von Dassow 48 Peephole

On the Cover Karen Terpstra uses a paddle and an anvil to shape a large jar employing a flat coil method. Photo by Don Anderson.

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FiredUp

Rediscovery Volume 8 • Number 6 Editorial [email protected] I invent nothing, I rediscover. Telephone: (614) 895-4213 —Auguste Rodin Fax: (614) 891-8960 Editor Bill Jones Assistant Editor Renée Fairchild ottery making is an ancient craft, and the Assistant Editor Jennifer Poellot EDITORIAL Publisher Glenn Harvey Poldest known examples date back 16,000 Advertising years in Japan. This pottery is called Jomon, [email protected] which means “twisted cord,” and it received Telephone: (614) 794-5809 Fax: (614) 891-8960 that name from the twisted cord decoration Advertising Manager Steve Hecker found on unearthed sherds. From these early Advertising Services Debbie Plummer Subscriptions/Circulation beginnings, the craft and art of pottery has Customer Service: (614) 794-5890 spread throughout nearly every culture and [email protected] Marketing Manager Susan Enderle continent on earth, picking up countless Graphic Design/Production enhancements in forming, decorating and fir- Jami Flannelly ing along the way. With 160 centuries of his- Editorial, Advertising and Circulation offices 735 Ceramic Place, Suite 100 tory, it’s no wonder there is so much to redis- Westerville, Ohio 43081 cover in pottery. USA Editorial Advisory Board David Gamble • Steven Hill • Mel Jacobson In this issue, Karen Terpstra demonstrates a time-honored tech- Anna Calluori Holcombe • Jonathan Kaplan nique of using flat coils to construct magnificent jars reminiscent Dannon Rhudy • John Toki • Anderson Turner of the ancient jars used throughout the Far East for centuries. And www.potterymaking.org Pottery Making Illustrated (ISSN 1096-830X) is published Philippe Faraut shows how you can create the look of the aged bimonthly by The American Ceramic Society, 735 Ceramic patina found on antique busts in museums. Paul Wandless reports Place, Suite 100, Westerville, Ohio 43081. Periodical postage paid at Westerville, Ohio and additional mailing offices. on David Gamble’s inspiration from the sewer covers found in the Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American ancient city of Vilnius, while Hanna Lore Hombordy explores Ceramic Society. some of the many possibilities of using commercial tiles to create Subscription rates: 6 issues (1 year) $22, 12 issues (2 years) $41, 18 issues (3 years) $58. Add $18 per year for subscrip- unique projects for the home. tions outside North America. In Canada, add 7% GST (R123994618). All payments must be in US$ and drawn on a These artists have been inspired by the rich history of ceramics U.S. bank. Allow 6-8 weeks for delivery. Change of address: Send your change of address via email and by their surroundings—ancient jars, antique sculptures, glazed to the Circulation Department, or on our website. Allow six tile, even sewer covers—and have rediscovered forms, textures, weeks advance notice. Contributors: Writing and photographic guidelines are avail- materials and compositions. What have you seen in your home, in able on request and on the website. Mail manuscripts and the streets or in museums that might beg a second look? Think of visual materials to the editorial offices. Photocopies: Permission to photocopy for personal or inter- the possibilities! nal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 1096-830X, provided that the appropriate fee is paid We’re still in the process of revamping some of the magazine to directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923 USA; 978-750-8400; www.copy- include lively new departments. In the last issue, we introduced right.com. Prior to photocopying items for educational class- “Tips From the Pros” and “Instructor’s File.” And, with the addi- room use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general dis- tion of “Supply Room” and “Tools of the Trade” in this issue, tribution, for advertising or promotional purposes, or to republishing items in whole or in part in any work and in any we’re seeking to provide you with instructions from professional format. Please direct republication or special copying permission requests to the Publisher, The American Ceramic Society, potters, and information on tools and supplies that we know will 735 Ceramic Place, Suite 100, Westerville, Ohio 430861. help you make the most of your studio time. Back Issues: When available, back issues are $5 each, plus $4 shipping and handling for the first issue and $1 for each additional copy thereafter. For orders outside North America, Now it’s your turn to rediscover something. If you figure some- add $6 ($2 for additional copies). In Canada, add 7% GST. thing out, send it in. If you have a technique that you think other Postmaster: Send address changes to Pottery Making Illustrated, 735 Ceramic Place, Suite 100, Westerville, Ohio reader’s might be interested in, consider contributing an article. 43081. Form 3579 requested. We’d love to hear from you.

4 PotteryMaking Illustrated • November/December 2005 PMI N_D 05_01_13 10/28/05 12:11 PM Page 5

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American Art Clay Co., Inc. PMI N_D 05_01_13 10/28/05 12:11 PM Page 6 PMI N_D 05_01_13 10/28/05 1:03 PM Page 7

Tips from the Pros by Marj Peeler with help from Chuck Wagoner Decoration by the Spoonful

WOODEN SPOONS love to impress designs with a I wooden spoon into the surface of elegant, freshly thrown pots. I have been a potter since 1947, but I’m no longer able to throw. So I asked a fellow potter friend to throw a few pots for me to decorate so we could combine our tal- ents. Chuck Wagoner (who, along with his wife Sue, is a potter at Billie Creek Village in Rockville, Indiana) threw six fine pots for me to decorate with wooden spoons. The Wagoners then glazed and fired these pieces in their kiln at Cone 6, using glazes from Mastering Cone 6 Glazes by John Hesselberth. Wooden spoons are not hard to find—just look through your kitchen drawer. And they can be bought at most grocery, department or even dollar stores. They are slightly porous and release from the damp clay easily.

Far left, finished glazed pot. Enhance impressed decorations by using glazes that break. Top, pale green glaze on open form. Bottom, subtle blue pot.

All pots by Chuck Wagoner and Marj Peeler, and fired to Cone 6.

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Process Chuck threw six fairly thin pots from a smooth-bod- ied, mid-range red clay (figure 1). This technique works best with bulbous forms. Assemble an assortment of wooden spoons, a wood tool, a hollow bamboo brush handle, clay stamps and a paddle with sharp corners (figure 2). Make a paper collar to aid in dividing the pot into six sections (or more if desired). Use a small brush dipped in food coloring to paint a grid (figure 3). When the pot is soft but not sticky wet, press the wooden spoon into the surface by rocking 3 and rolling the edge (figure 4). Do not push straight into the surface. Augment the design with bisque stamps and other wooden tools (figure 5). Metal or plastic spoons tend to stick to the clay surface so avoid those. Six pots were completed showing the variety available with this decorating technique (figure 6). Marj Peeler and her husband Richard owned and operated the Peeler Pottery for over 50 years. Chuck Wagoner, a former employee, now operates the pottery at Billie Creek Village along with his wife Sue in Rockville, Indiana. Send comments to Marj at 11010 S. Co. Rd. 300 W, Reelsville, IN 46171. 4

POTTERY MAKING TECHNIQUES Edited by Anderson Turner

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Tools of the Trade Portable Slab Rollers

SLAB ROLLERS f you’re us- found they get the job done, but, Iing a rolling just as importantly, they conve- pin and canvas to make slabs and niently stow away when not in use. find yourself limited by the stress, This is an important consideration strain and even the length of your for the potter with limited space or Brent SRC Slab Roller arms, then maybe you should con- the teacher cramped by the de- sider a tool every bit as valuable as mands of a multi-use art room. The the wheel. For consistency and fact that these rollers are portable is ease, nothing beats making slabs also a plus for workshop presenters with a slab roller. demonstrating in a venue where no The good news is, there is a slab slab roller is available. roller out there that will suit the Among the manufacturers of slab needs of anyone working in clay. rollers, two companies (American For the potter needing the occa- Art Clay Co. (AMACO/Brent) and sional slab for handbuilding or aug- Bailey Pottery Equipment Inc.) pro- menting thrown work, or the produce portable models. (Note: We’ll fessional tilemaker in a production cover stationary slab rollers in Brent Mini SRC Slab Roller facility, there are machines that future issues.) If you’re interested in (shown with optional legs) range in size from tabletop models portability, the four slab rollers dis- to hulking motorized behemoths cussed here may be the best choice. They are constructed of heavy capable of flattening the studio These slab rollers are distributed gauge steel, include shims and built dog. If you’re an occasional user, nationally and many distributors to provide years of service. To you may want to consider a have models on display so you can make slabs, clay is placed on a can- portable slab roller as a viable get a firsthand look at them. vas-covered Masonite bed in front alternative to a rolling pin and a of the roller. A heavy-duty pipe on more economical option than a sta- AMACO®/Brent® top is connected to a pipe under- tionary model. Originally developed by Robert neath the table by cables. As the Portable slab rollers have been Brent in the late 1960s, Brent slab crank is turned, both rigid pipes around for many years, and both rollers have been made by move the length of the bed flatten- professionals and amateurs have AMACO for over twenty years. ing the clay. The cable drive keeps

PORTABLE SLAB ROLLERS COMPARISON CHART

Manufacturer Model Slab Drive Adjustment Min Max List Comment

AMACO/Brent Brent Mini 14³⁄₄× Cable Masonite shims ³⁄₁₆" ³⁄₄" $400 Short Legs hold the table high enough for crank SRC 14³⁄₄ clearance. Includes ¹⁄₄-inch shim with canvas and two ¹⁄₈-inch plain shims.

AMACO/Brent Brent SRC 21×40 Cable Masonite shims ¹⁄₈"1¹⁄₄" $680 Mounts to the table (which makes it less portable) or you can buy optional screw-in legs ($99). Includes ¹⁄₄-inch shim with canvas, four ¹⁄₄-inch plain shims and one ¹⁄₈-inch plain shim.

Bailey Equipment 16" Mini 16×18 Dual Gear Masonite shims ¹⁄₈" ³⁄₄" $299 Rubber feet standard. Masonite shims and a slab sheet Might Roller included. Longer slabs possible with longer Masonite shims. Table Roller

Bailey Equipment 22" Mini 22×24 Dual Gear Masonite shims ¹⁄₁₆" ³⁄₄" $392 Rubber feet standard. Masonite shims and a slab sheet Might Roller included. Longer slabs possible with longer Masonite shims. Table Roller Optional legs are available.

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firm, even pressure on the rollers tem, clay is placed on a sheet of rollers is fixed and the thickness of throughout the length of the bed. canvas on a Masonite shim and the slab is adjusted by adding or For thicker slabs, Masonite shims another piece of canvas is placed removing the ¹⁄₈- or ¹⁄₄-inch thick are removed to increase the clear- on top. This “slab sandwich” is fed shims. Bailey offers two portable ance between the shim and the through two heavy duty textured slab rollers, as well as an optional roller, and shims are added to de- rollers as the operator turns a set of legs for the 22-inch model. crease the clearance. Shims come in crank, and a fixed gear drive turns Additional shims and canvas also ¹⁄₈- and ¹⁄₄-inch thicknesses. both rollers at a one-to-one ratio. are available, and you can make Note: While the Mini SRC is Side guides keep the Masonite on longer shims to create longer slabs. strictly a tabletop model, the SRC center as it passes through the For more information, visit can be configured as a floor model rollers. The distance between the www.baileypottery.com. with the purchase of an optional leg set. The Brent SRC and SRC Mini are not for production use or schools. Visit www.amaco.com for more information. Bailey Pottery Equipment Bailey Equipment made their first slab roller in 1974 and now offers a comprehensive line of machines.

16-inch Mini-Might Tabletop Roller

22-inch Mini-Might Table Roller (shown with optional legs)

Their portable Mini-Might slab rollers utilize a dual roller drive mechanism that compresses the clay from both sides. With this sys-

November/December 2005 • PotteryMaking Illustrated 11 PMI N_D 05_01_13 10/28/05 12:14 PM Page 12

In the Mix by Richard Busch The Look of Wood Fire

RECIPES White Satin Matt Glaze Cone 6 Gerstley Borate ...... 32% Talc ...... 14 Kona F-4 Feldspar ...... 20 EPK Kaolin ...... 5 Silica (Flint) ...... 29 100% Add: Bentonite ...... 2% Zircopax ...... 5%

Nutmeg Glaze Cone 6 Dolomite ...... 23% Frit 3134 (Ferro) ...... 7 Spodumene ...... 23 Kentucky Ball Clay (OM 4) ...... 24 Silica (Flint) ...... 23 Bowl, 2¹⁄₂ inches in height, glazed with blend of Nutmeg and White Satin 100% Matt glazes, and decorated with Sybil’s Black Stain brushed over swash of White Satin Matt. Add: Bentonite ...... 2% Red Iron Oxide ...... 1% fter attending a wood-firing workshop, I was inspired by Tin Oxide ...... 5% Athe warmest, toastiest, most earthy and handsome pots I’d Yellow Ochre ...... 3% For a light, warm color, mix the two glazes together in a ever seen. Being limited to an electric kiln and longing for the ratio of two-thirds Nutmeg to one-third White Satin look of rich, warm wood-fired glazes presented some frustra- Matt. For a darker, more quintessential wood-fired tion. Out of that sense of frustration came the desire to develop appearance, decrease the proportion of the White Satin Matt to about one-quarter or less. a Cone 6 oxidation glaze that would yield the wood/salt-fired look that had become something of an obsession. Orange/Brown Glaze I started playing with glaze recipes, and after a while, came up (from Bill Schran) with something that filled the bill. Though I now have a salt kiln, Cone 6 my ersatz wood/salt-glazing technique kept me happy for years Dolomite ...... 17.5% of electric-kiln firing, and also fooled a lot of people, including Gerstley Borate ...... 8.0 some pretty experienced potters—at least at first glance. Talc ...... 3.5 The recipe is actually a combination of two glazes, which need Frit 3134 (Ferro) ...... 5.0 to be mixed in different proportions depending on the desired Soda Feldspar ...... 5.0 results. The first glaze, White Satin Matt, is used at my local com- Spodumene ...... 17.5 munity center. I developed the other glaze, which is called EPK Kaolin ...... 1.0 Nutmeg. I use Standard Ceramic’s 112 Brown Clay, which fires to Kentucky Ball Clay (OM 4) ...... 17.5 a toasty brown and also contains granular manganese that pro- Silica (Flint) ...... 25.0 100.0% duces a nice speckled look. [Note: All recipes have been rounded.] Add: Bentonite ...... 1.5% You can alter the surface texture by varying the kiln tempera- Red Iron Oxide ...... 1.0% ture. Pots fired to about Cone 5 tend to produce a drier surface Yellow Ochre ...... 2.5% while those fired to Cone 7 or even a little higher come out with Tin Oxide ...... 3.5% a shinier more salted appearance. Note: Bill Schran combined the two formulas 50/50 to Experiment a bit with kiln temperatures and with layered create this recipe. glazes. With a few tweaks to adjust for your own kiln and firing style, you’ll likely find a combination of color and texture that suits your taste to perfection.

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Editor’s note: After this glaze was glaze in my gas kiln, Cone 6 light (different spodumenes will need first published in the February reduction, with similar results.” We slightly different substitutions), 2003 issue of Ceramics Monthly, did a line blend and came up with a move the OM 4 up to 27.8 and the comments appeared on Clayart single orange brown glaze. silica down to 17.8 . . . ” (www.ceramics.org). Bill Schran of Ron Roy, Ceramics Consultant, Clay artist Richard Busch owns Fredericksburg, Virginia, wrote, Ontario, Canada, voiced concerns Glenfiddich Farm Pottery, located “It’s a very nice orangeish brown over the coefficient of expansion. in a converted 160-year-old former when thin and gets creamy when His solution “ . . . just take out the dairy barn on Catoctin Mountain, thick. I’ve also been using this spodumene and replace with G200 just west of Leesburg, Virginia.

BLACK BRUSHWORK

n many of my pots, I add Osome black brushwork. An oxide stain is applied with a long, thin brush made from deer bristles. The following recipe is from my former teacher, mentor and good friend, Sybil West:

Sybil’s Black Stain Black Copper Oxide ...... 24% Cobalt Oxide ...... 2 Manganese Dioxide*...... 49 Nickel Oxide ...... 5 Red Iron Oxide ...... 20 100% * Warning—there are health risks associated with metal oxides, particularly manganese. Please handle carefully and fire in a well-ventilated kiln. To enhance the look of the black brush marks, apply a fairly thick (heavy cream consistency) swash of White Satin Matt over the main glaze combination using a wide brush. This lightens the area behind the black and makes the brushwork really pop out.

November/December 2005 • PotteryMaking Illustrated 13 PMI N_D 05 014-023 10/28/05 11:52 AM Page 14

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14 PotteryMaking Illustrated • November/December 2005 PMI N_D 05 014-023 10/28/05 11:52 AM Page 15

Dust and Wax Creating an instant patina

by Philippe Faraut

ime has produced the rich, warm patina observed on ancient clay sculptures displayed in museums. TThe combination of years of dust, cleaning and handling has created surfaces that can look like leather, wood or stone depending on the original color of the earthenware. The clay busts produced centuries ago were sometimes glazed, but most were simply waxed. It was, and remains, the best way to preserve the integrity of details, and provide some degree of protection against dust and stains on unglazed ware. Through application of clay dust and wax, this technique creates the subtle look of ancient patinas without the wait. Using different colors of clay dust on different clay bodies provides for On unglazed works, a wax finish is the best way to preserve the integrity of details, a wide variety of tones. For exam- and provide some degree of protection against dust and stains. ple, a red clay sculpture with a light brown dusting of clay looks a little bit like wood, while a brown sculp- and the patina. The bust was fired to Since this type of patina is some- ture with a light white clay dust maturation (Cone 05). Tip: Always what translucent, your sculpture looks like leather. For a sculpture experiment on fired samples before must be built carefully to prevent that would look like limestone (as attempting this type of patina on a cracks during drying and firing. Any shown here), I used white, low-fire valued piece, as it takes a little prac- repairs done after firing might be earthenware clay for both the bust tice to achieve good results. visible through the wax.

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Process Immediately after spraying, slap When the desired look has been Rub four or five damp rags (white one of the clay-loaded rags against achieved, you need to spray a final cotton t-shirts work best) against a the piece repeatedly until the right layer of wax to obtain a satin finish block of wet clay until saturated. amount of dust sticks to the wax (figure 4). • Hang in a warm place until rags and (figure 3). A dust mask is required clay are bone dry (figure 1). for this step. Tip: At first, this step Spray floor wax* over the entire can be unnerving because it some- piece (figure 2). Caution: Work out- times looks blotchy. Add more wax doors or in a spray booth. until you are satisfied with the results.

4 Philippe Faraut is a figurative artist specializing in life-size portrait sculptures and monumental stone sculptures. For more information, visit www.pcfstudios.com or send questions to [email protected]. *Lundmark All-Wax Floor Wax for asphalt tile, vinyl, linoleum, etc. Available from your local hardware store. You also can order online at www.doitbest.com.

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September/OctoberNovember/December 2005 2005 • • PotteryMaking PotteryMaking Illustrated Illustrated 17 PMI N_D 05 014-023 10/28/05 11:53 AM Page 18

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18 PotteryMaking Illustrated • November/December 2005 PMI N_D 05 014-023 10/28/05 11:53 AM Page 19 What a Relief David Gamble makes a lasting impression with sewer covers

by Paul Andrew Wandless

rtists often look for hidden compositions existing in the mundane, ordinary and commonplace objects of everyday life. It’s easy to appreciate and enjoy the vibrant color of flowers, the way light sparkles on ripples in the Aocean or the beauty of a summer sunset. More challenging, though, is enjoying the fascinating designs and images surrounding us in the simple form of textured surfaces. Manhole covers and storm drain grates are everyday items not immediately thought of as aesthetically pleasing surfaces. These so-called ordinary surfaces typically go unnoticed and start to become invisible unless, of course, we are trying to avoid or step around them. Fortunately, the hidden compositions and patterns in these quiet iron circles are noticed and transformed into works of art by David Gamble of Indianapolis, Indiana. Looking down When David looks at manhole covers and grates, he sees pattern, line and low-relief opportunities for terra-cotta wall pieces. He enjoys capturing the interesting shapes, textures, images and text of manhole covers in a clay relief. He’s not just trying to doc- ument or get a record of the manhole; he’s looking for an interesting composition or combination of elements already existing on its surface. Most relief prints are just small specific sections of the manhole cover and the original source of the relief is not obvious. The process of lifting/pulling a relief from a textured surface is an image transfer technique. It’s very similar to making a charcoal rubbing except you substitute clay for paper. Printmaking techniques and ceramics have been combined throughout history, and exciting work has been created pairing these two media. David uses AMACO’s terra-cotta clay no. 77, a heavily grogged clay. The grog opens up the clay body and promotes even drying, which keeps his wall pieces flat during the drying and firing process. He also enjoys the rich, dark-red color of the terra cotta after it is fired to Cone 03, and the contrast it provides for his gold lus- ter glazes. Sewer Cover Wall Relief Tiles. Here’s a process you can have fun with. Explore different textures and images around your home or studio to find hidden compositions. The construction process of the wall relief is the same regardless of what image you have in mind.

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Step 1. David starts by rolling slabs that are about ¹⁄₂ inch thick. This allows him to get a deeper impression and still maintain an adequate TIP thickness in the recessed areas to Roll out a few extra prevent cracking. If the slab is too slabs for test prints and thin, it merely conforms to the for constructing walls surface and doesn’t actually later in the process. receive an impression. If you use canvas while rolling the slab, smooth the surface with a soft rib so it is clean, clear and ready to receive the image (figure 1). Step 2. Place the canvas-backed clay slab on a large 1 wooden board and carry it to a manhole or storm-drain cover. Take a brush in case any debris needs to be removed from the cover or grate. Stand the board on edge and position in front of the area of interest (figure 2), flop the slab down onto the grate, and rub with mild pressure to create a deeper relief (figure 3). Extra pressure works especially well when pulling a complex texture from the asphalt surrounding a grate. Step 3. Gently but quickly pull the slab from the grate (figure 4) and lay it back onto the board (figure 5). Take a look at the image you just pulled to see if it has the detail and depth that you need for your wall piece. As is the case with most new endeavors, your first transfer 2 may not meet your expectations. Make a test print or two to practice how much pressure is needed for the relief, and how best to line up your slab to get the section you desire. Step 4. Since David’s manhole reliefs are part of an ongoing series, he has a board precut to specific dimen- sions so they are consistent. Place the board over the relief and crop the areas of interest to determine the ori- entation (figure 6). Besides pulling the print, this is the most important step of the process. Careful consideration goes into determining the compositional balance of shape, form, line and space. 3 Step 5. It’s important to figure out in advance how you will install or hang the piece to ensure your work can be hung easily and securely. For hanging brackets, David attaches small slabs of clay with holes punched through them. To do this, turn the trimmed TIP relief over and score the perimeter Instead of joining slip, with a wire tool (figure 7). Cut David sprays straight eight square coils from the apple cider vinegar remaining ¹⁄₂-inch slab, then score over the scored areas. and spray them with apple cider vinegar (figure 8). Build the walls two coils high around the perimeter, and firmly press and smooth them during the construction process. 4 20 PotteryMaking Illustrated • November/December 2005 PMI N_D 05 014-023 10/28/05 11:54 AM Page 21

IN SEARCH OF COMPOSITION by David Gamble

raveling to Eastern Europe and the Baltics over the Tpast five years greatly influenced my attitude about how I work in clay. I feel extremely fortunate to have helped create a place to work in clay in another country with other clay artists—exhanging ideas, techniques, frus- trations, lifestyles—and merging it all into an exhibition of work at the end of weeks working together. My challenge for the exhibition was what to make that would represent my brief experience in a foreign land and not look like 5 something that came from my home in Indiana. The architecture of Vilnius, Lithuania, some of which dates back to the 12th century, was intriguing with its

medieval walls, beautiful churches and wonderful town squares. I was looking up to see beautiful sights, and then, I looked down. What amazed me was that I was equally intrigued by the sewer covers throughout the older part of the city near the Arts Academy and our housing. So, instead of taking rubbings of gravestones around the city, I got down on my knees and went for the sewer covers and grates around the Arts Academy. Taking my rolled-out clay slab on a board in search of a worthy sewer cover became quite fun. Many times I found myself in the middle of traffic with onlookers stopping cars and not really understanding what I was up to. The 7 wildest impression gathering was right in front of the Arts Academy and St. Ann’s Church (a place where Napoleon housed some of his troops while traveling and fighting in the region). While on my knees in the street working on pressing the clay down on a sewer cover, I became aware that the language being spoken is no longer Lithuanian, but Japanese. Then, there were flashes of lightning? No, cameras. As I looked up I was blinded by the flashes and realized that I was surrounded by a busload of tourists and I was the attraction. They were heading from their bus to the church and needed a photo of the man with the clay in the middle of the street. I held up the impression for them and they gave me more flashes of light as I hurried back to the studio to crop my next wall tile. 8 November/December 2005 • PotteryMaking Illustrated 21 PMI N_D 05 014-023 10/28/05 11:54 AM Page 22

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Step 6. After determining which end Finishing touches is the top, cut, score and spray two David bisque fires to Cone 03, clay gussets to be used as hanging then brushes on a black copper brackets. The gussets should be oxide wash into the recessed areas placed approximately a third of the of the relief for added visual depth. way down from the top and After the wash has dried, he applies trimmed to match the height of the three coats of AMACO L-518 walls (figure 9). For added strength Lustre Gold, allowing the glaze to and structural integrity, press and dry thoroughly between coats. After smooth a coil into all the interior the glaze firing to Cone 03, a 10- or seams (figure 10). Poke holes with a 12-gauge solid copper wire is strung pointed tool through the center of through the holes in the brackets the hanging brackets (figure 11) for and the piece is ready to hang. • heavy gauge wire to be strung Paul Andrew Wandless is a studio through when ready to hang. artist, workshop presenter, educator David finishes with stamping the and author. He’s currently writing a date and number of the print on the book called Image Transfer and Clay back, and signs his name with a rub- to be published by Lark Books Fall ber shaping tool. The wall piece 2006. He co-authored Alternative needs to stiffen to leather hard Kilns and Firing Techniques: Raku, before it’s turned over to avoid sag- Saggar, Pit & Barrel with James Watkins (Lark Books, 2004). ging. Once flipped, smooth the cor- Wandless teaches at West Chester ners by hand to remove the sharp University and is Director of Com- edges (figure 12). The rounded cor- munity Art at Baltimore Clayworks. ners also help the surfaces dry more Paul can be contacted at evenly and avoid unnecessary crack- [email protected] or ing or separating. www.studio3artcompany.com.

22 PotteryMaking Illustrated • November/December 2005 PMI N_D 05 014-023 10/28/05 11:55 AM Page 23 PMI S_O 05 024_035 10/28/05 1:10 PM Page 24

Making LargeJars

Using a flat coil method that defies gravity by Karen Terpstra

aking large jars with flat coils has been done for centuries in many parts of Asia Mand Southeast Asia. Master potters in Korea made thousands of flat- coiled storage jars—primarily used for kimchi, the national dish of Korea, which is comprised of pick- led vegetables seasoned with garlic, red pepper and ginger. Once the basic method is learned, anyone can make large jars (or any size func- tional or sculptural object) with a flat coil method. I started learning with small jars and teapots, but now I make large jars that defy gravity and would normally collapse if wheel thrown. I also make many sculptural forms—horse heads, large full-body horses, torsos and col- umns—using this method. As you can see from the photographs, one big advantage with this method is that you can change directions rather drastically by letting the flat coils become leather hard. Another advantage is the vari- Wood-fired, handbuilt jars by Karen Terpstra. She states, “I try not to predetermine too much of the ety of sculptural forms you can form when I start but rather let the handbuilding pro- make. This method also saves a lot cess determine the ultimate result. I am primarily con- of time by using 2-inch flat coils cerned with the structure of the form, and how the instead of small round coils. shape, drawings and surface relate.”

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1 2 TIP Step 1. Roll the clay through Step 2. Slightly dampen the ware board or bat with a the slab roller about¹⁄₈ to ¹⁄₄ inch sponge for the first flat coil. Attach the flat coil firmly It’s really time saving to larger than your desired wall in place then secure another flat coil. Since you will be work in a series. Build up three to six rows of “coils” thickness. The walls will be building the lower section of the jar upside down, on several ware boards at thinner by the time you smooth place the flat coil to the inside of the previous flat coil. one time. By the time and paddle the shape. Cut the This makes the diameter become smaller with each you’re finished with the clay into flat coils about 2 inch- row. Also, put plastic on the inside of the jar to hold in last one, you can start es wide for a large jar. the moisture. again on the first one.

3 4 Step 3. Smooth the seams inside and out while building. Step 4. Once the lower portion of the jar is Let the first few rows strengthen to leather hard so that completed and leather hard, you need to strengthen the they will hold the weight of additional coils. Once the walls. I use a paddle and a rounded piece of wood I call lower portion is leather hard, keep it wrapped in plastic, an “anvil,” which I hold on the inside of the pot. This so that it doesn’t dry out as you continue to work. technique also helps to obtain the desired shape.

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Step 5. Cut out a circle from a slab for the bottom of the jar. Slip, score and attach the bottom (figure 5a). Paddle it to reinforce the seam (figure 5b). Cover the piece and let it strengthen overnight. This also allows the moisture content to equalize. Step 6. The next morning, turn the jar over, and score and slip the edge. Since the form will be very leather hard by this time, add a small round coil to the edge. The fresh coil provides an anchor to work off of while adding more flat coils. Step 7. Now that the jar is right side up, you can add the shoulder. Step 8. Cut out a rim from a slab and attach to the top of the jar. Sometimes I smooth the jar a bit more, or 5a alter the rim by rotating it slowly on the wheel and using a wet sponge or rib.

5b 6

7 8

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I have always been interested in horses, probably from owning and raising several of them since early childhood. This interest is directed to finding form in my imagery of them, specifically in sculpture and ceramics.

I came rather late to ceramics and my work focused on handbuilding with painterly images of the horse. As my process involved wood firing, I found the need for larger surface areas that would hold an image and be integrated with the flash and ash from the wood-fire process. Handbuilt jars that defy gravity in their form fulfill that need. Horse images with a spontaneous degree of abstraction have gradually developed from mental impressions of historical myths—others are in response to real horses I have known. • Karen Terpstra is an associate professor of ceramics at the University of Wisconsin-La Crosse in La Crosse, Wisconsin. Karen has presented 30 workshop/slide lectures since 1993 throughout the U.S. and abroad, including Ghana, Japan and Australia. She has exhibited extensively. For questions or comments, you can contact her at [email protected]. Process photographs by Don Anderson.

28 PotteryMaking Illustrated • November/December 2005 PMI S_O 05 024_035 10/28/05 12:26 PM Page 29 Mloqi^ka)LobdlkyJ^o`e5*..)/--3

qebObplk^k`blcMi^`b Bumilo^qflkp8K^sfd^qflkp7 40th Annual Conference of the National Council on Education for the Ceramic Arts

Keynote address by David Suzuki, geneticist, PLUS a very special Distinguished Lecture professor, and environmental and civil rights featuring: Mark Johnson, Knight Professor of activist. Liberal Arts and Sciences, and Professor of Philosophy, University of Oregon. Lectures and panel discussions on topics of Aesthetics/Criticism, Technology/Professionalism, Randall Session: Special performance by Brian and History/Education, plus slide forums, a video Ransom Ceramic Ensemble with special guest screening room, New Work, Emerging Artists Master Ghanaian Drummer Obo Addy. and exhibits by manufacturers/suppliers and non-profit art organizations. Closing address by Patti Warashina.

Demonstrations by Tom Bartel, Frank Boyden, Exhibitions: The NCECA 2006 Invitational and Victoria Christen, Josh DeWeese, Mika Negishi the NCECA Regional Student Juried Exhibition, ttt+k`b`^+kbq Laidlaw, and Jamie Walker. plus over 100 concurrent ceramic art exhibitions citywide.

For additional information and registration materials: 77 Erie Village Square, Suite 280, Erie, CO 80516-6996 | 866-266-2322 (toll free)

0 10 20 30 40

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30 PotteryMaking Illustrated • November/December 2005 PMI S_O 05 024_035 10/28/05 12:26 PM Page 31 NoToilTile Creating tile projects using commercial tile by Hanna Lore Hombordy

Finished tiles make an excel- lent accent in a garden setting. My garden pathway tiles were installed effortlessly by resting them on a bed of sand. If you live in an area where freezing conditions exist, check with your tile supplier to make sure your tiles are frost resistant.

hile making tiles from scratch is a variety of sizes and shapes (figure 1). Just looking at rewarding process, decorating commer what’s available may inspire a project—a simple trivet, cial tiles and refiring them can provide address tiles for the front of your studio, bathroom or an attractive alternative. With the con- kitchen remodeling, stair risers, or even incorporated Wstruction, drying and bisque firing out of the way, you’ll into an existing tile floor. be able to devote your creative energies on the decoration. Can commercial tiles really be safely refired? Visit your local tile store or home center and you’ll Commercial tile vendors rarely know anything about marvel at the fabulous variety of tiles on display. the type of clays and glazes used in the tiles they offer. Hundreds of colors, sizes, textures, shapes and finishes The exception is bisque tiles from a ceramic supply abound. At your local ceramic supply store, you can house, where the sellers can advise you as to the safest find a selection of blank white bisqued tiles, also in a firing temperature. But you can check with a retailer as

1 2

November/December 2005 • PotteryMaking Illustrated 31 PMI S_O 05 024_035 10/28/05 12:26 PM Page 32

to whether a tile maker is from an when tapped. A thud suggests a established manufacturer. This pro- dud, which may not survive an addi- vides some assurance to the consis- tional firing. tency of quality, color and supply. Buy a few samples for testing. With the many tiles I’ve tried, Apply glazes you hope to use, and price is a good indicator of quality, fire to the lowest temperature you and better quality means thicker, generally employ (figure 2). Check stronger tiles and the likelihood of for warping and whether the origi- higher firing temperatures. Really nal glaze has softened or changed inexpensive tiles are usually very appearance. Sometimes the old and thin and tend to warp, even at low new glazed surfaces will interact temperatures. Occasionally cheap and produce unexpected results. tiles have glazes formulated for very Remember to keep experimenting low temperatures and become soft with different temperatures and very quickly, which affects whatever glazes until you’re satisfied with the design is applied over it. Check that results—especially if you are planning the tiles all have the same “ring” to embark on a major project. •

FINISHING TOUCHES ecorated tiles can be installed right along with plain tiles Dwhen remodeling a kitchen or bath. If you’re making a house number or small decorative piece, a wooden frame can add appeal. The frame should be designed so that tiles are set in from the front rather the back, as with framing pictures. No need to hide any of your hard work behind the rim of a frame! Depending on whether they are used indoors or outdoors, larger pan- els of multiple tiles can be displayed unframed by mounting them on a hidden support, and giving them the effect of floating on the wall. First nail strips of wood to the back of a sheet of good quality Masonite or plywood for support. Nail the Masonite into the support, not vice versa. The support can be the exact size of the tile panel or perhaps an inch smaller all around. Glue the tiles on front. Tip: If you want them to be removable, use water-soluble white glue. The whole panel can later be soaked in water, and the tiles removed and used in a different installation. More perma- nent projects should be glued to their backings with epoxy or “liquid nails.” Screws for hanging can be inserted into the supporting wood strips. Check with your home center, since there are many great new products available that may be just what you’re looking for. For details on all types of installation, check for books at a home center or your local library, or go online and search for “tile installation.”

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Project

Thoroughly clean the tile with soap and water, Create a design by drawing and cutting out 1 or isopropyl (rubbing) alcohol. 2 shapes from construction paper.

Arrange the patterns on the surface you plan to decorate, With a pencil or marker, draw around the edges of the patterns 3 making adjustments as needed. Tip: If you’re good at freehand 4 to transfer the design. Your marks will burn out. To keep glaze drawing, eliminate steps 2, 3, & 4 and draw directly on the tile. within the lines, draw with a wax resist pen.

Apply glazes using as large a brush as you can manage. Always For corrections, use a small knife/razor blade. A damp paper 5 allow the tile to dry completely between coats. Darker tiles 6 towel or cotton swab is handy. Fire flat or on a tile setter/rack will require thicker coats. (see “Tile Racks” PMI Spare Parts, July/August 2005). November/December 2005 • PotteryMaking Illustrated 33 PMI S_O 05 024_035 11/3/05 11:07 AM Page 34

Super Sale Special Offers Axner Colored Porcelain: 15% OFF All SPECTRUM GLAZES:10% OFF All LAGUNA GLAZES:10% OFF Kemper Tools:Everyday 25% OFF list Blue Heron Tools: 10%OFF Books:22% OFF 133 titles Kiln Shelves: LOW Kilns Colors do not need to be applied in just With practice, you can blend in more col- Axner 7 cu ft Super Kiln: $1,469 plain solid areas. Try using several shades ors. My butterfly tile, also painted over a L&L Easy Fire e23T (7 cu ft): $1,439 of one color for a more painterly effect. satin glazed tile, gave me an idea of what Olympic 2327 w/ sitter & timer: $999 Begin by blending just two shades of each dissimilar colors would look like when Olympic 1818 w/ sitter & timer: $599 color as I did on this iris tile. I painted brushed over each other. Paragon Front-Load Iguana: $1,699 Cone 06 glazes over a satin-glazed com- Olympic 12 cu ft Frt-Load Gas: $3,699 mercial tile. Wheels Axner Super Pro M-300: $585 Axner Super Pro M-600: $619 Axner Pro Portable Wheel: $369 30” Slab Roller without table: $479 Other Equipment New Wave Pug Mill: $1,888 Glaze Formulating Tables 300 mm Oxyprobe: $679 200 mm Oxyprobe: $589 Acme Digital Pyrometer: $38 Ultimax T-2 Digital Pyrometer: $96 May not combine with other promotions Sale ends 12/31/05 For full listing of ALL products in Axner’s GIGANTIC SUPER SALE go to www.axner.com/html/supersale.html Inspired by a recipe of Yoshiro Ikeda’s (PMI “Sea View” This 12-inch tile was airbrushed Free Gift Coupons May/June2004), I used Crackle White Glaze with three overlapping stencils and two on a 12-inch black glazed floor tile, which shades of blue underglaze on a neutral col- $25 coupon resulted in an interesting effect. I pressed ored floor tile. Removing the stencils one w/ purchase of any wheel from this sale a stencil cut from contact paper on the at a time, then spraying again helps $50 coupon black tile and poured the glaze over it. The achieve the three-dimensional effect. More contact paper peels off easily when the details on airbrushing can be found in the w/ purchase of any kiln from this sale glaze has dried. CMHandbook, Creative Ideas for Clay $10 coupon w/ $100+ purchase on Artists, p. 71. this sale (may not combine) Good on your next purchase from Axner Hanna Lore Hombordy has worked with clay since 1973 in FREE 192-Page Catalog Ventura, California. She can be 800-843-7057 reached by e-mail at [email protected]. PO Box 621484, Oviedo FL 32762 shop on-line: axner.com

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November/December 2005 • PotteryMaking Illustrated 35 PMI N_D 05 036-048 10/28/05 1:13 PM Page 36

Supply Room Glazes for the Chemically Challenged

COMMERCIAL GLAZES hile many stu- Wdio potters consider the challenge of formulating and batching glazes as part of the whole ceramic creative process, not everyone has the aptitude or even the desire to spend the time acquiring the knowledge necessary to achieve successful results. While it was necessary in the early days of the studio pottery movement for potters to understand and create their own glazes, this is no longer the case. Commercial glazes in the past few years have reached a level of sophisti- cation that rivals anything concocted with a scoop and scale. There are many advantages to using commercially prepared glazes, and Many commercial glazes are developed specifically for electric firing as in this example of a cookie plate by Terri Balden glazed with depending on your circumstances, some reasons Shino Glaze from Coyote Clay & Color. The PMI 2006 Buyers Guide may be more compelling than others. lists 59 companies that manufacture and/or distribute hundreds of • Who’s got time? Using prepared glazes saves a glazes in a variety of colors, textures, finishes and firing ranges. lot of time otherwise spent formulating, weigh- Damage control ing, testing and batching your own. Many of us Commercial glazes require careful use and handling would rather spend as much time as possible just like any homemade batch. And success in pottery making pieces. In addition, many glaze compa- is directly related to the number of variables you can nies will custom mix your glazes according to control in forming, finishing and firing. To increase your recipes and some will even color match a your chances of success, here are some helpful tips. particular glaze you may want. • What you test is what you get. You must test any • So many choices . . . There are literally thou- glaze before you use it on your work because of all the sands of glazes available—gloss, matt, textural, variables with application, clay bodies, kilns and firing low fire, mid range, high fire, etc. Dozens of schedules. Create test pieces from your clay body and manufacturers offer scores of choices that you test them in your kiln. Always buy small quantities of can then even overlap, blend, tweak with col- glaze first to see if they will work. Apply and keep a orants, or brush with oxides to provide even written record of all test results. Carla Flati (Standard more possibilities. Ceramic Supply) states, “We strongly recommend that • Playing it safe. Using premixed wet glazes all of our customers develop an ongoing testing rou- eliminates unwanted dust in studios, production tine for new clays and glazes using their own work- areas or classrooms. Prepared dry glazes mean ing processes.” “one powder and water,” though a NIOSH res- • Cream and buttermilk. When using dry prepared pirator is still needed. glazes, adding the correct amount of water is critical. • No room to spare. While batching glazes can Mixing to a “heavy cream” or ‘buttermilk” consisten- be more cost efficient for the potter with ample cy doesn’t guarantee consistent results. According to storage, when using commercial glazes eliminates Martin Butt (Coyote Clay & Color), “We encourage the need to stock a multitude of raw materials. people to get a 500 ml flask and a scale to weigh their mixed glazes; we can provide a target weight (specific • More is better. Commercial manufacturers gravity) for each glaze.” batch glazes in large quantities and either mill or stir the ingredients to a high-quality consis- • Over and under. A common problem with any glaze tency, then test each batch prior to packaging. is under or over application. Before using, create test In addition, most manufacturers submit their tiles and apply at least two or up to four overlapping glazes to independent testing labs and appropri- coats of glaze by dipping or brushing. Also, some com- ately label them for safety. mercial glazes are not suitable for all application meth-

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ods (spraying, dipping, brushing and pouring) due to • Too hot, too cold. The most common problem with additives that enhance some of these methods. glazes is overfiring and underfiring. Understand how According to Christy Runyan (Georgies), “Correct your kiln fires and verify the accuracy of a KilnSitter application is a learned process. The more experience a or controller with shelf cones. Many kilns do not fire person has, and knowledge in how they ‘personally’ evenly, and some glazes are sensitive to hot and cold apply glaze (either by brushing, spraying or dipping), spots. the more successful they will be. This is the true key to • Sweet success. According to Joe Koons (Laguna), repeatable results.” “The good news is that consumers don’t need to be • Variety is the spice. You can easily increase your ceramic engineers to use commercially prepared glazes. glaze palette by overlapping. A tile dipped in one glaze But, to achieve the greatest success with those glazes, then dipped into a second glaze many times provides they do need to be aware of glaze characteristics and interesting results, while slips and oxides brushed idiosyncrasies; understand the manner in which they below and on top of glazes can provide different re- should be used—from mixing to application to firing; sults. Jim Kassebaum (Laguna Clay Company) states, read all available instructions; and always run tests “Many ceramic artists alter and ‘manipulate’ the stock before using the material in ‘production’.” glazes with stains and oxides . . . ” And Christy Thanks to our experts Carla Flati (Standard Ceramics), Runyan (Georgies) adds “It takes at least twice as long Martin Butt (Coyote Clay & Color), Christy Runyan to learn the many aspects of glazing as the basics of (Georgies), Joe Koons and Jim Kassebaum (Laguna throwing . . . you kiss a lot of frogs!” Clay Company), amd Dean Saether (Duncan).

November/December 2005 • PotteryMaking Illustrated 37 PMI N_D 05 036-048 10/28/05 12:30 PM Page 38

VIDEO WORKSHOPS FOR POTTERS Now on DVD! Form and Function Ceramic Aesthetics and Design My highest recommendation for anyone interested in learning about form and structure, all the parts and details of good pots as well as how to make specific forms. Bill Hunt, Ceramics Monthly Editor, 1982-94

Making Marks Ceramic Surface Decoration [These videos] are detailed, comprehensive, intelligent, high-quality productions. Richard Aerni, Studio Potter Network

Beginning to Throw Videos with It’s hard to imagine a more lucid or comprehensive Robin Hopper introduction to the subject . . . . Highly recommended. Video Librarian Visit www. PotteryVideos.com Call for our brochure of 21 videos and DVD’s for potters 800-668-8040 Phone: (250) 247-8109 Fax: (250) 247-8145 E-Mail: [email protected]

Statement of Ownership, Management, and Circulation Publication Title: POTTERY MAKING ILLUSTRATED. Publication Number: 1096-830X. Filing date: October 1, 2005. Published 6 times a year in January, March, May, July, September, and November. Annual subscription price: $22.00. Office of Publication: 735 Ceramic Pl., Suite 100, Westerville, Franklin County, OH 43081-8719. Publisher: Glenn F. Harvey, 735 Ceramic Pl., Suite 100, Westerville, OH 43081-8719. Editor: Bill Jones, 735 Ceramic Pl., Suite 100, Westerville, OH 43081-8719. Managing Editor: none. Owner: The American Ceramic Society, 735 Ceramic Pl., Suite 100, Westerville, OH 43081-8719. Stockholders owning or holding 1% or more of total amount of stock: none. The known bondholders, mortgagees, and other security holders owning or holding 1% or more of total amount of bonds, mortgages or other securities: none. The average number of copies each issue during the preceeding 12 months: a) Total number of copies (Net press run) ...... 22,032 b) Paid and/or Requested Circulation 1) Paid/Requested Outside-County Mail Subscriptions: ...... 13,372 2) Sales through dealers and carriers, street vendors, counter sales and other non-USPS paid distribution: ...... 4,681 c) Total Paid/Requested Circulation: ...... 17,932 d) Free Distribution by Mail 1) Outside County ...... 406 e) Free Distribution Outside the Mail (Carrier or other means) .2,506 f) Total free distribution ...... 2,912 g) Total distribution: ...... 20,964 h) Copies not distributed: ...... 1,068 i) Total: ...... 22,032 Percent paid /requested circulation ...... 89% The actual number of copies for single issue nearest filing date: a) Total number of copies (Net press run) ...... 31,000 b) Paid and/or Requested Circulation 1) Paid/Requested Outside-County Mail Subscriptions: ...... 12,910 2) Sales through dealers and carriers, street vendors, counter sales and other non-USPS paid distribution: ...... 4,619 c) Total Paid/Requested Circulation: ...... 17,529 d) Free Distribution by Mail 1) Outside County ...... 423 e) Free Distribution Outside the Mail (Carrier or other means) 11,221 f) Total free distribution ...... 11,644 g) Total distribution: ...... 29,173 h) Copies not distributed: ...... 1,827 i) Total: ...... 31,000 Percent paid /requested circulation ...... 60% I certify that the statements made by me above are correct and complete: Glenn F. Harvey, Publisher

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Instructors File Ten Basics of Firing

FIRING iring is the most critical Fpart of the ceramics process because it is the one thing that makes clay durable, hence ceramic. This lesson BARS deals with some of the principles of firing and getting the best results with electric kilns. 1. From mud to ceramic. Firing converts ceramic work from weak clay into a strong, durable, crystalline glasslike form. Ceramic work is typically fired twice: it is bisque fired SMALL LARGE SELF-SUPPORTING and glaze fired. 2 CONES CONES CONES The goal of bisque firing is to metric cones are used. Cones are made from various convert green- oxide mixtures and bend at known temperatures (fig- ware to a dura- ure 2). (Refer to the Cone Chart at www.potterymak- ble, semi-vitrified ing.org.) In general, the following cones are used in porous stage the pottery studio: bisque fire (Cone 08–05), low fire where it can be (Cone 06–04), mid-range (Cone 4–7) and high fire safely handled (Cone 8–10). during the glazing 4. Using cones. Cones are used in every firing. Typi- and decorating cally, a three-cone system (either large or self-support- process. It also ing), consisting of burns out car- GUARD a guide cone that CONE bonaceous mate- is one cone below FIRING CONE rials (organic the target temper- GUIDE CONE materials in the 1 ature, the firing clay, paper, etc.). cone and a guard As the temperature in a kiln rises, many cone (figure 3) changes take place in the clay. The PMI provides the best Firing Chart (see www.potterymaking.org) 3 information shows what happens to clay as it heats up. about the firing. 2. More science stuff. Heat in an electric kiln Bar cones and is transferred in three ways (see figure 1): small cones are • conduction–heat transferred through used in a properly physical contact adjusted Kiln- • convection–heat rising through the air Sitter®, an auto- • radiation–heat emanating from all the matic shut-off Note: Number side should always face down. kiln elements. device (figure 4). Electricity passing through coiled heating While the three elements (made especially for high tempera- large cones are tures) generates radiant heat, which rises and not required for UNDERFIRED CORRECT OVERFIRED (incorrectly ADJUSTMENT (incorrectly is absorbed by everything in the kiln. kilns equipped adjusted) adjusted) with a KilnSitter 3. How hot. All clays and glazes are formu- or an automatic 4 lated to mature at certain temperatures. controller, they do provide a second point of reference Firing clay too high can cause it to deform or for how a kiln is operating. even melt, too low and it will not be durable. Firing glazes too high can cause run off on 5. Get ready. Before firing any kiln, vacuum it out if the pot, too low and they will be dry and necessary—bottom, sides, element channels and lid. rough. To fire to the right temperature, pyro- Check the elements for breaks, and chisel off any glaze November/December 2005 • PotteryMaking Illustrated 39 PMI N_D 05 036-048 10/28/05 12:31 PM Page 40

drips on the shelves. Visually check the electrical cords and connec- tions. Make any repairs required (see owners manual or call your local supplier for service). 6. Kiln furniture. An assortment of kiln furniture (figure 5) is needed to hold and support ware during a firing. Furniture consists of shelves, posts, stilts and tile setters made from refractory materials. Kiln furniture is designed to withstand the repeated heating and cooling to high temperatures without deforming.

6 middle shelf. Fire to Cone 08–05, depending on the type of clay and amount of porosity you want for glazing. 8. The bisque fire. During the bisque firing a lot of damage can take place. Thicker pieces with moisture or air bubbles create the biggest problem. Clay needs to dry 5 evenly through its entire thickness. If the outside dries faster, it seals 7. The bisque load. Loading a off the escape route for the interior bisque kiln is a fairly simple task, moisture. The interior moisture but there are some basic rules. Fire turns to steam and forces its way full loads because this takes advan- out (explodes) during the bisque. tage of conduction heating and also Turn on one element to low. If you saves electricity. All work should be do not have a downdraft exhaust bone dry (free of all moisture). If system, prop the lid open, take the the work is cool or cold to the peephole plugs out and keep the touch, it is not bone dry. Handle all temperature below 212°F until all work very carefully because it is the moisture is gone. Close the lid extremely fragile at this stage. Place and check for moisture (hold a the bottom shelf on 1-inch stilts to mirror or piece of glass up to the aid circulation, and keep ware 1 top peephole to see if it fogs up). inch away from elements, walls, Turn on all elements to low for at thermocouple and KilnSitter (figure least an hour then to medium for 6). Unglazed pieces may touch each an hour before turning all elements other. Place a small cone in the on to high. The firing is done KilnSitter and/or a cone pad on the when the firing cone falls.

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9. The glaze fire. Vacuum the kiln, especially if any pieces exploded during the bisque. When firing glazed pieces, make sure there is a thin coating of kiln wash (available from suppliers) on the shelves (figure 7). You do not need a fresh coat for each firing, but any bare spots should be coated. Built-up kiln wash becomes bumpy and should be cleaned off with a chisel. All glazed pieces must be checked to make sure there is no glaze touching the shelf. Coat with wax at least ¹⁄₄ inch from the bottom of

the piece. Sort work by height and place on shelves with a minimum of ¹⁄₄ inch between pieces and 1 inch from the walls, elements and

Kiln Controllers Many electric kilns are now equipped with kiln controllers. Kiln controllers use a signal from a thermocouple (a sensing device that detects temperature) that’s located in the kiln. When the controller senses the temperature, it compares this information with a computer program that tells the relays to turn on or off. The relays control current going to the elements. Controllers take the guesswork out of when and how high to turn up the heat on the kiln. They come with preset programs, or the programs can be written to adjust to special firing requirements.

November/December 2005 • PotteryMaking Illustrated 41 PMI N_D 05 036-048 10/28/05 12:31 PM Page 42

KilnSitter. Turn the kiln on low for about an hour and then medium Safety for about an hour before turning Firing is a potentially hazardous activity on to high. The higher the cone and all students must obey safety rules to you are going to, the longer it will avoid injury. Instructors must read and understand all the safety information that take to fire. came with the kiln, and assure that the kiln 10. What’s that smell? Clay and is properly installed and maintained. If a ceramic materials change their manual is not available, many companies post them online or you can request a chemistry when fired. Carbon- replacement copy from the manufacturer. aceous materials burn out between For operating the kiln, students must: 500°F–1450°F. Firing clay materials in electric and gas kilns pro- • Turn off kiln prior to loading or unload- duces carbon monoxide, formalde- ing. Disconnect the kiln for any servicing hyde, sulfur dioxide gases and or when kiln is not in use. • Do not touch heating elements with anything since they carry high voltage. • Do not place any combustibles within 12 inches of any surface of the kiln. • Do not leave kiln unattended while firing. • Never look into a hot kiln without properly tinted safety glasses (e.g., welder’s glasses). Sunglasses only block ultra- violet light. • Make sure the ventilation system is working properly. • Never add extra insulation around a kiln to conserve energy. Extra insulation can cause the wiring and the steel case to overheat. 8 • Remove all tripping hazards. Keep the more. Some of the byproducts are power cord out of the way. harmful so care must be taken to • Do not fire with cracked shelves. They can break during firing, which could dam- vent kilns to the outside. A down- age the ware inside the kiln. Store kiln draft vent system (figure 8) works shelves in a dry area. best, but an updraft or crossdraft • If you smell burning plastic, turn the kiln system (figure 9) is better than noth- off. Examine the wall outlet and power ing. All kilns must exhaust outdoors. cord for signs of burning. • Never wear loose-fitting clothing around a hot kiln. • Do not open a kiln until it has cooled to room temperature. Pots may break from thermal shock. • Keep the kiln closed when not in use, and never place anything on the kiln lid, even when the kiln is idle—you may forget. • Always keep unsupervised children away from the kiln. • Do not place any objects under or around the kiln stand. Blocking airflow changes the kiln’s heating characteristics. • Remove all flammable materials from the 9 kiln room.

42 PotteryMaking Illustrated • November/December 2005 PMI N_D 05 036-048 10/28/05 12:31 PM Page 43

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November/December 2005 • PotteryMaking Illustrated 43 PMI N_D 05 036-048 11/1/05 3:15 PM Page 44

Off the Shelf review by Sumi von Dassow Making Marks: Discovering the Ceramic Surface

BOOK REVIEW obin Hopper has long Rbeen one of the most popular ceramic book authors, and this latest book is a culmination of his life’s work and what he has discovered about the ceramic surface. Most of the technical information draws upon the work he has done, which includes extensive glaze formulation and working with various colored clays and slips. But the book also contains images of work by other accomplished potters, including text where Hopper lacks their degree of expertise. This book exhaustively investigates A weathered door with bituminous paint (left), inspired the low–temperature reticulated glaze surface on the right. approaches to decorating pottery at every stage from wet clay to post firing. The first part, “Fundamentals,” focuses on drawing be the hardest parts of their learning experience. While and design, pattern and space, color theory, this guidebook doesn’t tell you how to place your feet and sources of color in glaze. If you’re inter- with every step, it does give you a good idea of where ested in decorating your pots, but have no the paths are and idea what approach to take, this section will what tools you’ll help jump-start the creative process. need to set out Part 2, “Plastic and Liquid Clay Processes,” upon each one. ranges from carving, modeling and impress- The scope of ing wet clay to using colored clay, colored this book is so slip, and Egyptian paste. Part 3, “Pigment great that there Processes,” dives deeper into color, and dis- is not only a lot cusses the use of brushes, resists and various of information to forms of underglaze. “Glaze Processes,” part absorb, but also 4, is full of glaze something for every potter to application tech- Never take a brush for granted, as niques, while part learn. While less– there are many ways to use them for 5 covers firing experienced stu- decorating pottery. and post-firing dents will enjoy processes. This browsing through the pages for ideas, teachers will last section is a treasure the book both for its comprehensiveness and reminder that the the obvious experience of this seasoned artist. ceramic surface isn’t necessarily finished just because it’s been Some of the techniques are shown in fired—you can step-by-step format as in feathering slip on a platter. sandblast, acid etch or even engrave with a drill. And as a final step, you Making Marks: can apply lusters, enamels or decals. Discovering the As Hopper says, “every ceramic object . . . Ceramic Surface represents an extensive personal journey for by Robin Hopper the artist who made it.” This book may not KP Books, Iola, WI 2004. help you reproduce another artist’s work, but ISBN: 0-87349-504-7 it will help guide you on your own journey. To order this book Students often find glazing and decorating to telephone 800-258-0929

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November/December 2005 • PotteryMaking Illustrated 47 PMI N_D 05 036-048 11/1/05 3:16 PM Page 48

The Peephole Beginning with the fall television season, six ceramic artworks by Los Angeles artist Beverly Crist will be featured on the NBC tele- DID YOU vision series “Starting Over.” For KNOW? the 2005/2006 season of this day- TIPS & TIDBITS did you know? time reality program, the set house will be decorated with artwork by The word porcelain is derived women artists. Crist’s work con- from the Portugese porcelana sists of three slab-built earthen- meaning “a little pig.” Early ware vessels and three small- Portugese traders thought scale earthenware sculptures. “I that this smooth white clay believe that the feminine themes found in China (and never of my artwork complement the Correction seen before in Europe) re- issues addressed on the show,” minded them of the inside of states Crist. cowrie shells, whose shape resembled a pig’s back.

“Containment IV,” 23 inches in height, handbuilt earthenware and wire. This piece addresses a woman’s desire to overcome the self-imposed boundaries in her life, by Beverly Crist.

In Step 6 of the “Face Jugs” The Ninth Annual K-12 article in the Sept/Oct issue, you Ceramic Exhibition should immediately slide the bot- opens March 2006 at the NCECA Conference tle from the plastic bottle instead in Portland, Oregon. This event is open to of letting it stiffen. The stiffened K-12 students by teacher entry. For details, form will shrink and crack if visit www.nationalk12ceramicexhibition.org. allowed to setup with the bottle inside. The form is strengthened Left, "Waffle," by Gabrielle Raymond, former when placed on the bottom, but is 12th grader at Northwest Cabarrus High still soft enough to manipulate for School in Concord, NC, and a 2005 Merit Award winner. the eyes, nose and mouth.

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