Jan/Feb 2013
Pitcher Challenge Also in this issue . . . Smooth Color Blends Handbuilding with Zisha 9 Ways to Smooth Feet PC-2 Saturation Gold Cone 5-6 over PC-30 Temmoku
PC-21 PC-32 PC-41 Arctic Blue Albany Slip Vert Lustre over Brown over PC-30 over PC-30 Layering Temmoku PC-30 Temmoku Temmoku
PC-27 PC-34 PC-48 Tourmaline Light Sepia Art Deco over over Green PC-30 PC-30 over Temmoku Temmoku PC-30 Temmoku
PC-29 PC-39 PC-55 Deep Olive Umber Float Chun Plum Speckle over over over PC-30 PC-30 PC-30 Temmoku Temmoku Temmoku
Josh Heim PC-30 Layering Notes: Apply two over PC-57 Indianapolis, IN layers of base coat. Apply two layers Smokey of top coat. (Let dry between coats.) Merlot over PC-30 PC-30 Temmoku To learn more: www.potterschoice.info PotteryMaking Illustrated | January/February 2013 1 You know you already want it...
...wait until you see what else it can do!
TM The Future of Firing skutt.com/kilnlink
for more information on Skutt Kilns or to find a distributor, visit us at www.skutt.com or call us directly at 503.774.6000 2 PotteryMaking Illustrated | January/February 2013 Inside You know you January/February 2013 Volume 16 Number 1 already want it... 12 Features 12 Out of the Woods by Tom Quest Wooden stamps make an impression. 17 Handbuilding a Zisha Teapot by Maggie Connolly Hand forming with a Chinese clay body. 22 The Pitcher Challenge by Marty Fielding Solving the problems of a new form.
17 29 Smooth Color Blends by Chris Campbell Getting the skinny on Skinner blends. 35 Nerikomi Slabs by Thomas Perry Controlling spontaneity using colored clays. 40 9 Ways to Smooth Your Feet by Jonathan Kaplan Discover the best methods to grind off the rough spots.
29 In the Studio 6 Lichen Layering by Deanna Ranlett 8 Making a Texture Board by Gale Batsimm 10 Shaping Up by Janis Wilson Hughes
Inspiration 35 44 In the Kitchen ...wait until you see what else it Chicken Roaster by Sumi von Dassow 48 Pottery Illustrated can do! Ceramic Baking Dishes by Robin Ouellette
TM The Future of Firing On the Cover Marty Fielding takes up the challenge to skutt.com/kilnlink tackle one of pottery’s trickiest forms. His blunt-nosed pitcher resulted from a bit of trial-and-error experimentation, and he 40 reveals all on p. 22. Photo: Charlie Cummings. for more information on Skutt Kilns or to find a distributor, visit us at www.skutt.com or call us directly at 503.774.6000 PotteryMaking Illustrated | January/February 2013 3 fired up | Commentary
Volume 16 • Number 1
Publisher Charles Spahr Editorial Editor Bill Jones Things change Associate Editor Holly Goring Associate Editor Jessica Knapp Editorial Assistant Erin Pfeifer Know what’s weird? Day by day, nothing seems to change. But [email protected] Telephone: (614) 895-4213 pretty soon, everything’s different. Fax: (614) 891-8960 —Bill Watterson Graphic Design & Production Melissa Bury Production Assistant Kevin Davison Being with Pottery Making Illustrated for 15 years has been Marketing Steve Hecker Ceramics Arts Daily pretty much like looking in a mirror everyday. It doesn’t Managing Editor Jennifer Poellot Harnetty seem to change much from year to year until you look back Webmaster Scott Freshour Advertising through all the issues, and then it’s about as shocking as Advertising Manager Mona Thiel looking at old photos of yourself. We’ve evolved through the Advertising Services Jan Moloney [email protected] years and plan to keep on evolving for another fifteen. The Telephone: (614) 794-5834 Fax: (614) 891-8960 one thing that’s remained constant (besides the fact that clay Subscriptions is still clay) is our mission to provide you with easy-to-follow, step-by-step techniques, www.potterymaking.org Customer Service: (800) 340-6532 and practical information to make your life in the studio interesting. Sure, we experi- [email protected] Editorial & Advertising offices mented along the way and some things worked, some didn’t. (Remember that issue 600 N. Cleveland Ave., Suite 210 about glass?) For those of you who have been with us since the early years, you’ve seen Westerville, OH 43082 USA our gradual changes and witnessed how this magazine has evolved over time. www.potterymaking.org In an effort to keep things fresh, we’ve spruced up the magazine a bit—nothing dras- Pottery Making Illustrated (ISSN 1096-830X) is published tic, just a few tweaks. You’ll notice typeface and layouts have changed a little and the bimonthly by The American Ceramic Society, 600 N. Cleve- departments have been streamlined a bit. Beginning with this issue, we’ve created two land Ave., Suite 210, Westerville, OH 43082. Periodical post- age paid at Westerville, Ohio, and additional mailing offices. broad categories where you’ll find “In the Studio” articles that cover glazes, new prod- Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American ucts, materials, supplies, and equipment and tools; and “Inspiration” pieces providing Ceramic Society. ideas for teachers, students, professionals, and enthusiasts. Although we were reluctant Subscription rates: 6 issues (1 yr) $24.95, 12 issues (2 yr) $39.95, 18 issues (3 yr) $59.95. In Canada: 6 issues (1 to give up Sumi von Dassow’s book and video reviews, we’re pleased that she’s supply- yr) US$30, 12 issues (2 yr) US$55, 18 issues (3 yr) US$80. ing us with fresh articles about cooking with pottery. She has a great line-up of articles International: 6 issues (1 yr) US$40, 12 issues (2 yr) US$70, 18 issues (3 yr) US$100. All payments must be in US$ and drawn planned for the year, as well as a book on the topic coming out in the fall of 2013. on a U.S. bank. Allow 6-8 weeks for delivery. Change of address: Visit www.potterymaking.org to Some things don’t change and our fantastic line-up of feature articles proves this. For change your address, or call our Customer Service toll-free at example, in this anniversary issue, Chris Campbell returns with a technique for creat- (800) 340-6532. Allow six weeks advance notice. Back issues: When available, back issues are $6 each, plus ing smooth blends from colored clays. Chris has been with us for quite awhile, having $3 shipping/handling; $8 for expedited shipping (UPS 2-day contributed more than 20 articles to PMI going back to 1999. Jonathan Kaplan, owner of air); and $6 for shipping outside North America. Allow 4–6 weeks for delivery. Call (800) 340-6532 to order. Plinth Gallery in Denver, provides a great rundown on grinding materials for smoothing Contributors: Writing and photographic guidelines are available on the website. Mail manuscripts and visual materi- the feet on your pots. Jonathan has been a regular contributor for more than 10 years als to the editorial offices. and we look forward to having more insightful articles from him in upcoming issues. Photocopies: Permission to photocopy for personal or internal use beyond the limits of Sections 107 and 108 of Other returning contributors are Robin Ouellette with her wonderful illustrations in the the U.S. Copyright Law is granted by The American Ceramic back, and Deanna Ranlett of Atlanta Clay with more of her great-looking glaze results. Society, ISSN 1096-830X, provided the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood I love making pottery and I love Pottery Making Illustrated, and it seems like only a Dr., Danvers, MA 01923; (978) 750-8400; www.copyright. com. Prior to photocopying items for educational classroom short time has passed since we began publishing. When we started, the Internet was still use, please contact Copyright Clearance Center, Inc. This consent does not extend to copying items for general fairly new, and Facebook and Twitter were not even on the horizon. What’s in store for distribution, for advertising or promotional purposes, or to re- the next 15 years? Will you still be reading PMI in printed form or will you receive it as publishing items in whole or in part in any work and in any for- mat. Please direct republication or special copying permission a hologram with potters demonstrating in front of you on the wheel in your studio? It’s requests to the Ceramic Publications Company, The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, amazing when you think about how ancient pottery making is and how it now resides OH 43082. side-by-side in an ultra-modern world that changes every time you turn around. Postmaster: Send address changes to Pottery Making Illus- trated, PO Box 15699, North Hollywood, CA 91615-5699. Things change, then again, some things don’t. Form 3579 requested. ceramic artsdaily.org
Bill Jones Copyright © 2013 The American Ceramic Society All rights reserved Editor
4 PotteryMaking Illustrated | January/February 2013 $1559 $1679
$925 $985 $1049
PotteryMaking Illustrated | January/February 2013 5 in the studio | Glazes Lichen Layering by Deanna Ranlett
Chances are, like me, you’ve relegated lichen, crackle, and crawl be used in conjunction with other glazes. There are few options glazes to your special effects file, thinking of them as only to be available commercially for cone 6, so that’s where we began our used to create weird, snow-like, not-at-all-food-safe surfaces. pursuit: a lichen glaze recipe that gives a glossy surface but still We’re normally trying so hard to correct for glaze defects like maintains a distinct separation while staying adhered to the pot. crawling and crazing that we think, “why on earth would we We wanted a recipe that didn’t need a special or altered firing want to achieve that?” Also, because of their food safety issues, cycle and could be fired in the kiln alongside other cone 6 work. many of us sideline these types of glazes for sculptural or decora- In the glaze chemistry class here at the shop, we recently tested tive use only. For surfaces that don’t come into contact with food, several reticulated cone 6 glaze recipes and then pushed the ex- these glazes are great for adding visual and physical textures. periment further by layering them with other translucent base There’s a wide range of lichen glaze recipes available with sub- glazes. We got some pretty surprising and fantastic results. We categories such as crawls, crackles, and crazing glazes—some re- layered the lichen glazes both on top of and underneath the base sult in a dry, crackled surface; some give a glossy, pearly effect glazes (two different Chun recipes with different stains added for similar to tooth enamel; and some create snowflake patterns. color). The samples with the lichen glazes underneath the base Commercially, there are many options for lichen glazes at low- glazes were not so exciting, but the samples with the lichen glazes fire temperatures—some can be used on bare clay and some can applied over the base glazes were very striking—much more so
Each tile is brushed left to right with 1, 2, and 3 coats of lichen glaze on top of 2–3 brushed coats of base glaze, excepted where noted.
Lichen Glaze alone Chun 1 + 2% Spectrum 2086 Chun 1 + 3% Spectrum 2086 Chun 2 + 3% Spectrum 2086 Bright Green stain under Lichen Bright Green stain under Lichen Bright Green stain under Lichen
Chun 1 + 3% Spectrum 2032 Chun 2 + 3% Spectrum’s 2032 Chun 1 + 2% Mason 6266 Pea- Chun 1 + 2% Mason 6266 Pea- Bermuda stain under Lichen Bermuda Stain under Lichen cock stain under Lichen cock stain under Lichen
Chun 1 + 3% Mason 6591 Gun Chun 1 + 2% Mason 6591 Gun Chun 1 + 2% Cobalt Carbonate Lichen under Chun 1 + 2% Metal stain under Lichen Metal stain under Lichen under Lichen Cobalt Carbonate
6 PotteryMaking Illustrated | January/February 2013 than I originally predicted. The lichen glaze adds a shimmering to frosting. The glaze is thick but brushes on thin and smooth. Do quality to the glaze underneath when applied in a single coat, two not mix this glaze too thin; when it’s mixed properly, the result is coats give a delicate crackled surface, and three coats give more an almost non-existent crackle pattern when you apply the fi rst separation between crackles and a larger crawl pattern. Up close, coat. When you apply the second and third coats, you can start there is an almost silvery or pearlescent effect that is very lovely. to see the patterning appear. Take care when handling the pieces This layering technique is useful for creating a visual texture because the glaze the has already begun to crackle and can easily on a solid surface and also for creating a crackle-like effect where be chipped off of the surface before you get it into the kiln. you might not normally use a crackle. The results using the li- Different application methods of lichen glazes result in differ- chen glaze on top of the base glaze were equally beautiful over ent surfaces. It helps to brush them because it’s easier to control areas with and without texture. Our favorite samples resulted the effect of the glaze. If applying over another glaze, fi rst dip the from using the more subtle glazes (light greens and blues) and piece into the base glaze, let it dry, then brush the lichen glaze applying them over textured tiles. This combination allowed the on top. The resulting crackle effect and the size of cracks varies lichen glaze to break over the raised parts of the texture and rest based on the direction of the brush stroke. The base glazes be- in the recesses, giving it a lovely, lace-like effect. low work for both brushing and dipping. Add a small amount of CMC or Veegum-T to aid in their brushability. Application Notes Lichen glaze recipes include a large percentage of magnesium car- Deanna Ranlett is the owner of Atlanta Clay and has been a working bonate and the resulting mixed consistency is very fl uffy, similar ceramic artist for 13 years. You may contact her at www.atlantaclay.com.
CHUN 1 BASE GLAZE CHUN 2 BASE GLAZE LICHEN GLAZE Cone 6 Cone 6 Cone 6 Soda Feldspar ...... 50 % Soda Feldspar ...... 38 % Magnesium Carbonate ...... 25 % Wollastonite ...... 20 Whiting ...... 14 Nepheline Syenite ...... 70 Gerstley Borate ...... 10 Zinc Oxide ...... 12 OM4 Ball Clay ...... 5 EPK Kaolin ...... 10 OM4 Ball Clay ...... 6 100 % Silica ...... 10 Silica ...... 30 Add: Zircopax ...... 5 % 100 % 100 %
Olympic FL12E Inside dimensions 24” x 24” x 36”, 12 cu. ft., For less than $6,000, fires to 2350°F – Cone 10, 12 key you could be firing a 12 cubic foot, controller with cone fire & ramp hold cone 10 gas or electric kiln. programming, 240-208 volt, single phase. $5710 More value for your dollar, more bang for your buck!
Olympic DD9 with Vent Hood* – Inside dimensions 30” x 25” x 25”, inside volume 15 cu. ft., setting area 23” x Contact an Olympic Kilns Distributor to 23” x 30”, 9.2 cu. purchase an Olympic Gas or Electric Kiln ft., fires to 2350°F – Cone 10, propane www.greatkilns.com or natural gas Phone 800.241.4400 or 770.967.4009 $5870 Fax 770.967.1196 * Pictured with optional stainless steel vent hood
PotteryMaking Illustrated | January/February 2013 7 in the studio | Texture Making a Texture Board by Gale Batsimm
Since he is known as the “texture guy” at the pottery studios where he teaches, it comes as no surprise that Larry Elardo has developed a variety of techniques for creating textures. One so- lution he’s come up with involves using unique texture boards to create patterns on one side of a clay slab, which he then uses to create vessel forms. Modeling Textures To create a custom texture board, start with a piece of ply- wood or tempered hard board; artist’s quality acrylic model- ing paste, available at most art/craft stores; putty knife, trowel, and textured ribs, notched trowels or homemade texture tools. You can make your own texture tool by cutting step flashing (a light-weight galvanized metal used on roofs) with tin snips (figures 1). Spread the paste evenly on the wood with a putty knife or trowel. Then draw a design into the paste using one of the texture tools (figures 2). Allow the board 24 hours to dry before using. 2 Since the paste remains workable for only 15–20 minutes, After spreading artist’s quality acrylic modeling paste on a board, Larry suggests readying all supplies before beginning. He use a notched trowel or other grooved tool to create a design.
1 3
Use already grooved tools, such as this trowel and textured rib, Different designs may be layered using multiple texture tools or cut shapes from pieces of roof flashing with tin snips. while the paste remains wet.
8 PotteryMaking Illustrated | January/February 2013 5
Rub or spray a release on the textured board, place a slab onto it, and press it into the pattern.
2
Create various design boards with all of your texture ideas.
3 1 spreads a layer of paste ⁄16– ⁄4 inch thick, depending on the depth of the notch in the trowel. A design may be layered into the paste on top of a background texture (figure 3). Clean extra putty from the edg- es to leave neat borders or continue the texture to the edge of the board (figure 4). Imprinting the Design To use the texture board, roll out a slab of clay and smooth it with a rib. Spray WD40 or vegetable oil on the prepared texture board and use a toothbrush to work lubri- cant into grooves. This allows the clay to release cleanly with the most detail from the surface. Lay the clay slab on the board (figure 5) and, using a rib, smooth the clay down into the texture board. “One of the tricks I’ve learned to get good, clean impressions is to work from the outside edges of the slab to the center, pushing the clay down into the grooves,” Larry says. “You want to get the clay at- tached so that the slab doesn’t move around. This way you don’t get a dupli- cated pattern in spots.” Flip the texture board over and allow the weight of the slab to gently release from the board. Sandwich the slab be- tween boards and flip once again, laying it gently, design-side down.
Larry Elardo teaches pottery at Essex Art Center and Two Rivers Ceramics in Mas- sachusetts. To view more of his work, visit www.mstreetpotters.com.
Gale Batsimm is a freelance writer and arts enthusiast living in Massachusetts.
PotteryMaking Illustrated | January/February 2013 9 in the studio | Tools Shaping Up by Janis Wilson Hughes
It’s both empowering and satisfying to know you have the per- fect tool for the job at your fingertips when you need it. Like many potters, my studio is overflowing with tools, including rubber ribs, texture rollers, bevel cutters, and countless other commercial and found tools. But occasionally it’s hard to find just the right tool to fit the current project. A couple years ago, a struggle to bring a particular thrown form to life led me to develop my own custom-shaped throwing and sculpting tools out of clay. Various rib shapes fred and ready to use. A concept sketch I made of a zigzagging olive-oil bottle capti- vated me. When I tried to bring it to life on the wheel, I was able saves time and work when it comes to smoothing the edges of to create the zigzags on the top portion of the form, but no mat- the ribs later. ter what I tried, I couldn’t get the bottom to take shape because Determine what tools you want to make and cut durable tem- my tools were too bulky. I needed something rigid like wood, but plates from craft foam sheets or thicker cardboard. I’m not a woodworker. I am, however, a potter and saw no reason Roll out a slab of clay to ¼ inch thick. Lay your templates on why fired clay couldn’t be used to make a custom throwing tool. the slab and lightly trace them into the clay surface (figure 1). I I made my first ribs from a groggy clay. It had some rough use a bamboo skewer to do this. Lift off the templates and allow spots on the edges, which were smoothed out with a a 3M Dia- the clay to firm up to soft leather hard. Carefully cut out each rib pad. I made a few prototypes and found that bisque-fired ones using a sharp tool (figure 2). Move the ribs to a clean, smooth were great for pressing into leather-hard clay, as their porosity surface, and use a 45°-bevel tool to cut an angle into the edge deters them from sticking to the moist clay surface, but they of the rib around the perimeter (figure 3). If you have points or stuck to the wet clay when throwing. Vitrified ribs are ideal for sharp angles on the rib, begin beveling at the point from one working with wet clay because their hard, non-absorbent surface side, stop in the middle of the curve, then cut from the next point glides across the clay without sticking. to the middle. This prevents the clay from tearing away at the points. Once you’ve beveled all the way around, turn the rib over, Making a Clay Rib and do the same on the other side (figure 4). To make ribs, use an ultra-smooth throwing clay (I use Little When the ribs are leather hard, use a damp sponge to smooth Loafers cone 6 white stoneware by Highwater Clays for strength the edges being careful to maintain the bevel. Stamp or carve and the convenience of firing them along with my pots). This your signature on the ribs at this point or use a hole cutter to
1 2
Trace around templates on an even and smoothed clay slab. Cut out the ribs carefully with a sharp knife.
10 PotteryMaking Illustrated | January/February 2013 make a hole in the middle to help grip the firing the ribs, polish the edges to avoid with these clay tools since they will break rib (figure 5). Lay the ribs out to dry on a causing fine scratches in your pots and to if you drop them on a hard surface. But clean, smooth, flat, absorbent wareboard. improve their handling. Use water, applied don’t fret if one breaks—now you know Place another wareboard on top to keep both on a diamond polishing pad and on how to make another one. the ribs from warping. You may want to the ribs, while buffing to prevent creating add a little weight on top of the board. respirable silica dust. Always wear a dust Janis Wilson Hughes is a full-time studio potter Once they’re bone dry, fire the ribs. mask when sanding clay. and owner of Evolution Stoneware Pottery in To use the ribs for throwing, it’s impor- Alpharetta, Georgia. She teaches adult ceramics classes in the Atlanta area. For more information tant that they’re fully vitrified so they won’t Using a Clay Rib Your customized tools are now ready to visit www.evolutionstoneware.com. Instruc- absorb water and stick to wet clay. After tional videos are available at www.youtube. use (figure 6). Soak them in water for a few com/user/EvolutionStoneware. Contact her seconds before throwing with them and at www.facebook.com/EvolutionStoneware or clean them when you’re done. Be careful [email protected].
Xpress-Q-11A 6” deep, 6” wide, 6 ¼” high interior 3 Xpress-1193 Cut the edges of the rib on an angle using 11” wide x 9” deep Caldera XL a bevel tool. interior 7 ½” square x 9” deep interior Experiment with the look of your glazes in a Paragon 120 volt test kiln Test-firing a small digital Paragon Xpress-1193 and the Caldera XL are can help you to alter certain made with 3” thick insulating fire- glazes—dramatically. Achieve beauti- bricks. ful soft matt glazes without having to The Sentry Xpress digital control- sign up for a community college just 4 ler includes Cone-Fire and 8-segment because they have a gas kiln. Ramp-Hold modes. Experiment end- Bevel the edges on both sides of the rib, Imagine the excitement of discov- lessly with digital accuracy. then smooth with a wet sponge. ering that a muddy-brown iron glaze Visit our website for more details at a fast cool becomes rich, red-brown on these exciting Paragon test kilns at a slow cool. In a digital test kiln, and for a list of authorized resellers. you can control the heating and cool- ing rates to match that of a larger kiln. Constantly finding Your Paragon test kiln will be wait- better ways to ing for you whenever you are ready to make kilns. try another test tile—you won’t have to wait until you fill your larger kiln. Not only experiment with achiev- 2011 South Town East Blvd. Mesquite, Texas 75149-1122 ing the look of reduction, but even test 5 800-876-4328 / 972-288-7557 crystalline glazes. Toll Free Fax 888-222-6450 After fring, polish the edges of the rib. The Xpress-Q-11A shown above is www.paragonweb.com Apply your potter’s mark or cut a hole into one of our fastest 120 volt kilns. The [email protected] it for a better grip.
PotteryMaking Illustrated | January/February 2013 11 Tom Quest’s Moth in Outof the the Woods Bowl
Woodsby Tom Quest
I was invited to join eight other artists for a group show at the clay when stretched; older clay tends to be more plastic and for- Hot Shops Gallery in Omaha. The theme of the show was Out giving. I don’t use clay with grog because the impressions don’t of the Woods so logically most of the other artists were wood- show up as nicely, and dragging grog across a surface can ruin workers. I was selected to join them because I use wood forms the decoration. and wood stamps to create my pottery designs. Made with Creating a Textured Slab Bowl wood, but not out of wood, better describes my position. In 1 5 considering the theme and working up designs for the show, I Roll out a ⁄4— ⁄16-in. thick slab of clay. Smooth both sides with found an old wood moth stamp I’d made years ago. I liked the a soft rib to remove any canvas marks or surface flaws. When idea of a moth coming out of the woods, so I set about design- lifting and turning the slab, be careful to fully support it so you ing a bowl around this theme. don’t create a ‘bad memory’ that causes it to warp in the firing. Lay the larger template on the slab and cut out the shape (figure Tools to Make 2). Next, lay the second template with the cut-out hexagon on After sketching a new idea, I work through test pieces of clay the slab and use a wood tool to push the plastic evenly into the with a stamp before making templates, additional stamps, and clay around the perimeter (figure 3). This defines the border a drape mold. For templates, I use plastic sheets used for quilt and leaves a nice glaze transition line in the clay. Leave the tem- layouts found at fabric stores. This is better than tar paper be- plate on the clay for the next step. cause you can see through it for registration. For this design, I As part of my design I wanted a visual “gathering point” for created two templates—one for the outside shape and a second the moths in the center of the bowl. While shopping in a cos- one for the pattern that creates a border and defines the interior tume shop, I found a nylon stocking with a spiderweb design. I areas (figure 1). stretched the stocking material over a wooden frame (figure 4) While you can use many types of materials for drape molds, I then used a small roller to transfer the design. The template acts normally choose wood. For this project I created a mold by cut- as a resist and only allows the impression in the hexagonal center ting a 2 × 6 board to the shape I wanted then rounded the edges (figure 5). Round over the edges with a damp sponge, then care- with a router (a Surform tool works well also). In designing a fully remove the template. mold, be sure to consider the size of the object you want to make I created the moth stamp with a scroll saw and added details in order to determine the best size of your slab-to-form ratio for with a woodburning tool. The advantage of using wood stamps supporting the rim. is that you can cut, carve, drill, sand, file, and wood burn what The type and age of clay is also important. I use a smooth, you need for your design while the clay is still wet. Spraying plastic clay body, which tears less when you stretch it over a form. wood stamps with cooking oil or dusting them with cornstarch New clay, which is generally less plastic, tears more than aged keeps them from sticking to the clay (figure 6).
12 PotteryMaking Illustrated | January/February 2013 1 2 3
This project required two templates—one for the overall Roll out a 1⁄4–5⁄16-in. slab of clay, Place the smaller template on the form and a smaller one to use for defining sections for dif- and cut out the form using the slab and use a tool to press the ferent surface decorations. large template as a guide. edge of the template into the clay.
4 5 6
The small template also serves as a mask With the border and central areas defined, and the Lightly spray wooden stamps when adding background texture to the background texture in place, the smaller template can with cooking spray so they center of the slab. be gently removed. won’t stick to the clay.
Firmly press the stamp into the clay, repeating the pattern all slowly so the registration of the hexagon block and the clay won’t around the form (figure 7). Note how the “unstamped” portion shift. At this point the clay begins to slump over the mold. of the clay between the moth and the spider web creates an inter- When you look carefully at the clay you’ll notice how the esting design with contrasting positive and negative space. Add stamped image has translated through the clay and is now visable additional details to complete the texturing. on the bottom, in some designs this is helpful as to the location of Center the mold on the textured slab (figure 8). For larger piec- pressure you use when forming. You’ll also notice some wrinkles es, spray the mold with cooking spray or even lay a piece of news- made by the newspaper, but these will be worked out later. paper cut to the same size as the mold to serve as a separator. At this point it’s very important not to rush! Moisten your fin- Carefully lay a second work board on top of the hexagonal gers, then slowly apply gentle pressure on each corner of the piece block and lift the work up using the original large working board (figure 9). Use a banding wheel and rotate the piece to evenly ap- under the slab. Quickly flip the sandwiched block and slab over ply a small amount of pressure to each corner. Move in very small, without altering the registration between the clay and the wood. even steps otherwise the piece will warp when fired. Notice the Carefully remove the original board (which is now on top) and position of the thumbs in relation to the outside shape and the the newspaper. The newspaper sticks to the clay so peel it back hexagonal mold, which is clearly visible even though it is under
PotteryMaking Illustrated | January/February 2013 13 7 8 9
By planning ahead and creating accurate Carefully place a drape mold in the center With moistened hands, slowly work the templates, the stamped pattern fi ts the of the decorated slab. Place a board or bat slab over the form as you rotate the piece overall design. on top and fl ip the slab over. on a banding wheel.
10 11
Feet can be formed using different strap handle techniques. The The strap feet serve a dual role in that they can be used as lugs possibilities are endless. for picture hanging wire to hang the piece on the wall.
the clay. Move your thumbs evenly up and down at each corner and roll it on a raised board that has parallel ridges as shown, and continue to dip them in water to reduce drag. It’s important it forms a decent end ring to visually fi nish the foot. Attach the to know when to stop; you want a slope to the sides of the bowl decorative coiled feet to the bottom of the form using dowels but don’t overwork the clay until it cracks. As you do more proj- to maintain an opening (fi gure 11). Strap feet allow a user to ects with this technique, you’ll discover how much you can feel display a form as a decorative hanging object. Lay a small light through the clay where the impressions have been made. board on top to fl atten the bottom surface that will contact the table then remove the dowels. Cover the piece to allow the Finishing Touches moisture to even out. To create the feet, there are many methods you can use. You can Most of the trimming is done at the leather-hard stage on make a decorative coil foot by starting with a coil then rolling the rim to give it a nice rounded edge, and the entire surface is over it with a square stick at two opposing angles to segment checked for cleanup. I usually allow the piece to dry for 10 to 14 it, then fl atten the ends and press with a stamp (fi gure 10). Tip: days before bisque fi ring. I’ve created a collection of dowels with drilled countersinks in the ends. These are perfect tools for creating decorative touches Tom Quest’s carpentry and tool and die production have led him to areas as well as securely fastening feet or handles to your work. An- of experimentation in extruding and forming clay. He is currently the other type of foot begins with an extruded ribbed coil. When Director of the Physical Plant at Duchesne Academy in Omaha, Nebraska, twisted, it has a “barber pole” pattern. When you take this coil where he is often a guest artist in the art classrooms.
14 PotteryMaking Illustrated | January/February 2013 America’s Most Trusted Glazes™
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Angi Curreri
Heart’s Desire 2010-2012 8' x 8' Angi Curreri Professor of Art Barry University www.velvets.info PotteryMaking Illustrated | January/February 2013 15 WEEKEND, ONE-WEEK AND TWO-WEEK WORKSHOPS
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16 PotteryMaking Illustrated | January/February 2013 aHandbuilding Zisha Teapot by Maggie Connolly
Zisha clay is a type of stoneware that has a purple to reddish Center the round stabilizer piece on a banding wheel. Place brown color, and is one of the clays often categorized as Yixing the rectangular piece around the stabilizer and cut off any extra clay as it is found near the city of Yixing in Jiangsu, China. Mak- length. You want to cut both ends of the clay at a 45° angle to ing a zisha teapot is time intensive and a detail-orientated en- keep the joint an even thickness with the rest of the piece. To deavor requiring a number of years to master. Meng Xu is a sec- keep the line clean, use a quick swipe of water instead of adding ond-year student learning this age-old practice and she still has slip. Join the two ends together, carefully smoothing the outside another year of apprenticing before she will produce something first, then using a flat surface to control the outside while work- worthy to sell. Because of the detailed nature of zisha, there are ing on the inside. Add a little slip to the inside and smooth. Make numerous additional steps of smoothing and polishing between a little indentation where this joint is so you have a marker for the major steps included here. Due to the preciseness of the art where to begin and end paddling the clay. form, it is a good idea to have a fully formed design for a tea- When paddling, the position of the inside fingers is important, pot complete with measurements ready before starting to work. as they are what actually form the shape (figure 3). Start at the cen- There are a few differences in forming a teapot in the zisha style ter of the cylinder and think about clapping your inside hand with than on a wheel. The main differences is that very little is formed the paddle on the outside and the clay in the middle. Every time using the hands in direct contact with the clay, instead tools are you clap, you want to rotate the cylinder slightly. You can think preferred for joining, smoothing, etc. because of their precision. about the inside hand movements as almost the same as if you Forming the Main Body were throwing a pot on the wheel. You only want to paddle the clay Zisha teapots are prized for their lightness and the ideal thickness of the clay is 3 or 4 millimeters (1⁄8 in.). Clay is pounded out into a slab by hand using a wooden ham- mer in a sweeping motion to create the de- sired shape (figure 1). To create the main body of the teapot, you need four slabs of clay. Two circular slabs for the foot and top and a rect- angle to form a cylinder. You’ll also need an additional round slab that is larger and thicker than the other two that is called the stabilizer. It’s used throughout the entire process; first as a false foot to help form the ini- tial teapot body, then as a soft bed for the teapot to rest on to help pre- vent nicking and scratching. To make round pieces, pound the clay on the edge of the table, with the right hand gently sweeping the hammer away from the body while the left hand slowly rotates the clay piece around and around. Use a compass-like knife to cut out a circle of a predetermined diameter (figure 2).
PotteryMaking Illustrated | January/February 2013 17 process | Handbuilding a Zisha Teapot | Maggie Connolly
1 2
Rotate the clay with one hand and use a paddle in the other Meng uses a compass knife to cut out a perfectly circular- hand to flatten the clay. shaped slab.
3 4
Position your inside fingers to be the shapers of the form when Use a piece of wood, called a bamboo scraper, that is pre-cut to you are paddling. the shape of the tea pot to finish forming the piece.
against your fingertips while slowly bringing them upwards and the outside (figures 4 and 5). The Chinese traditionally use a inwards at an ever-decreasing angle, narrowing the opening of the piece of bamboo that has been specifically cut and rounded to fit clay. The clay needs to be fairly wet for this to work, so pay attention the desired shape of the teapot body. and spritz an even coat of water when needed. The goal is to get this opening to be the same diameter as one of the circular slabs. Forming a Lip and the Lid Check to make sure the inside circumference opening matches To make a lip for the top, cut another circular slab, apply slip to the circumference of the circular slab you cut out by laying it the outside of it, and carefully center it on top of the body. Use on top. To avoid warping, use a knife to place the slab on top a texture rib, profiled foot rib, or a handmade profile rib cut and pick it up again. Trim away any excess clay and apply a thin, from a credit card, or cut into a wooden rib to create the desired even layer of slip to the inside edge. To make sure the round slab outside shape of the lip to smooth it out. Use the compass- (which will become the foot) is absolutely flat, gently tap or light- like knife to make a circular mark around the top of the teapot ly drop it against the table surface a few times before connecting body that defines the inside circumference of the lip. There is it to the teapot body. Lay the slab back on top of the cylinder. no need to cut it open until you have created the teapot lid. After smoothing away the excess slip and tapping a few times Tightly cover the completed body to keep it from drying out. with a paddle to ensure a good hold, turn the cylinder over and finish the join on the inside of the pot, using the stabilizer piece Forming the Handle and the Spout as a cushion under the foot of the teapot body. Making sure the table is clean, roll out a coil of the desired thick- Repeat the process again to create the top half of the teapot. ness to create your handle and spout. Use the lower outside of Once the top piece is secured, paddle again to get a more precise your palm to taper the thickness. To get the thickness uniform, shape. Afterward, use a shaping tool to help smooth and shape use the flat edge of your paddle to gently roll the coil and smooth
18 PotteryMaking Illustrated | January/February 2013 5 6
Use the same pre-shaped piece of wood to form the bottom Using the hole created on the lid, lay a straight edge as a guide to shape as well. center your handle and spout positions and mark their positions.
7 8 9
Meng uses a piece of vinyl wrapped Use a curved surface to create the arc Meng uses a smoothing tool that has the around a tool and her natural facial oils to of the lid. Magnets are used to keep the exact arc cut into it to smooth and refine buff the clay. banding wheel attached and centered. the shape of the lid. it. Meng drops the coil on the table to create a flatter side that flange of the teapot lip. She uses a plaster mold to create the becomes the inside of the handle. Curve the coil into the desired arc of the lid with the second slab (figure 8), adds slip to the shape of the handle and it let stiffen. Roll out a smaller coil for bottom, and joins it to the flat piece. She uses a smoothing tool the spout. Poke a chopstick through the middle of this coil and that has the exact arc already cut into it to perfect and smooth carefully roll again to make it hollow. Cut and bend it to create a out the shape of the lid (figure 9). desired spout shape, let it stiffen, and smooth it again. Meng places the lid upside down into a specially made chuck to Using the hole created by the compass-knife on the top of the lid, support the curve (see figure 11). She then takes a strip of clay for lay a ruler or similar straight-edged stick to use as a guide to center the bottom of the lid, positions it on the edge of the table, and then your handle and spout positions and mark the positions (figure carefully taps it with a paddle to create one thickened edge, which 6). Cut out tiny strainer holes inside the area where the spout is will be the inside flange on the lid (figure 10). Using the compass- positioned on the teapot body so that water can flow out but the knife, she measures the inside circumference of the teapot lip and tea leaves can’t. Add slip to attach the handle and spout, then add then incises a matching mark or line onto the inside of the lid. She clay around the edges as needed to create a clean transition, and cuts the flange strip to the appropriate size, adds slip to the thick smooth out the joints. Meng’s tool for smoothing is a piece of vi- end of the flange, and joins it to the lid by matching it up to the nyl that she wraps around another tool to which she adds natural incised line (figure 11). She carefully smooths and joins the flange facial oils to make the clay shiny and luminescent (figure 7). to the lid (figure 12). After allowing the flange to harden a little, she uses the compass-knife to cut out the inside slab and open up Forming the Lid the lid (figure 13). She rolls out a thin coil of clay and taps it into To create the lid, she pounds out two more slabs of clay, with the bottom of the inside of the lid to create a smooth transition the bottom piece measuring exactly the same size as the outer between the inside flange and the lid.
PotteryMaking Illustrated | January/February 2013 19 10 11
For the bottom of the lid, make a strip of clay with one thick- Cut the flange strip to the appropriate size, and join it to the lid ened edge, which becomes the inside flange on the lid. by matching it up to the incised line.
12 13 14
Smooth the attachment and refine the After the flange stiffens, cut out the inside Cut out the lip of the teapot by carefully entire lid. slab and open up the lid. carving out the inner-most portion.
15 16
Wrap sandpaper around a cylinder to create a perfect fit for the Meng gently tamps a stamp of her name on the bottom of the lid flange and to smooth the opening. Add a knob to the lid. teapot when she is finished.
After the lid has hardened, she cuts out the lip of the teapot. For additional instruction, here is a video on the Chinese version of First, by carefully carving out the inner-most portion (figure 14), YouTube. Although it is completely in Chinese, it gives a good visual then using a knife to smooth the inside rim. She wraps sandpa- representation of how to use the tools and how a zisha teapot is formed. http://v.youku.com/v_show/id_XMTk5MDQ1NjIw.html. per around a wood cylinder to make a perfect fit (figure 15). The penultimate step is to add a knob to the top of the lid, Zisha/Yixing clay and tools used in this project can be purchased through which Meng orders pre-made until she is proficient enough in the Chinese Clay Art website at www.chineseclayart.com. the teapot design to be able to make her own. And of course, she Maggie Connolly is studying for a master’s degree in ceramics at Qinghua gently tamps a stamp of her name on the bottom of the teapot University in Beijing, China. In addition to contributing to Pottery Mak- when she is finished (figure 16). ing Illustrated, she has also written for Ceramics Monthly magazine.
20 PotteryMaking Illustrated | January/February 2013 Simple Safe Effective
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PotteryMaking Illustrated | January/February 2013 21 The Pitcher Challenge by Marty Fielding
Pitchers are one of the forms in the pottery canon that compel me the most. The challenge they put forth is quite enticing. Since I work predomi- nantly on the wheel, that challenge starts with throwing a tall and shapely piece that is voluminous and light- weight. The second part of the chal- lenge is making a personal statement with the form amidst the numerous examples of masterful historical and contemporary pitchers. The pitcher demonstrated here came about while investigating a variation on the spout. The exaggeration in this case is in the width of the spout, a de- parture from the beak-like spouts I had made earlier. The final form is a wheel- thrown and slab-built combination I finish off with terra sigillata, under- glaze, and glazes.
Blunt-nosed pitcher, 10 in. (25 cm) in height, thrown and altered earthenware, terra sigil- lata and glaze, eco-fired to cone 03, 2012.
22 PotteryMaking Illustrated | January/February 2013 Throw and Alter a Cylinder down again and, with a flexible rib or brayer, press Starting with about three pounds of clay, throw a bot- the slab downward against the base of the body (fig- tomless cylinder with slightly convex walls. Cut the ure 4). Flip the piece so it’s right side up and trim cylinder off of the wheel head and place it on a dry away the excess slab (figure 5). Smooth and seal the board. Alter the cylinder into a square while the clay remaining seam. is soft and malleable. Start by marking four points When the bottom slab has reached the leather-hard on the rim. Place the finger pads of both hands at the stage, use a rasp to define the shape and add texture. base of the cylinder, directly below one of these marks. For example, pull the rasp up from the bottom follow- Gently lift and press your hands toward each other to ing a diagonal direction, working on both sides of each establish a corner (figure 1). Repeat this motion as you corner to sharpen the edges (figure 6). move your hands toward the top of the wall. Follow the same procedure for each corner until the piece is Constructing a Spout squared. Define the edges by pulling a flexible metal The spout is constructed in three parts. The main rib up either side of each corner (figure 2). section of the spout is made with a paper template. The second part of the alteration involves darting Many different spout shapes can be devised from the bottom so that the back of the pitcher angles in- templates. I adjust the template size to fit the spout to ward. Choose which sides will be the front and back the individual piece. Again, using a ¼-inch slab, place of the piece, i.e., spout side and handle side respec- the template on the clay (figure 7) and cut around it. tively. Flip the piece upside down and make equal Lift the spout and pinch the straight section at the vertical measurements of up to a couple inches in top so it tapers to a point. To add a vertical bend or length down the two back corners. Next, measure channel in the spout, drape the slab over a dowel between a half inch and an inch in length from each from the bottom corner up to the corner of the pour- back corner toward the front of the pitcher and mark ing edge. Next, run a flexible metal rib along one side these points on the bottom edge. With your knife of the dowel to define the edge of the corner and do angled at 45°, make a vertical cut straight down the the same on the other side of the dowel (figure 8). Re- corner to your first measurement. Next create a tri- peat this as if sharpening a knife until the corner is as angular opening by cutting diagonally from the sec- defined as you would like. Apply the same technique ond measurement (on the bottom of each side) to on the opposite side of the spout. the end of your vertical cut. Once the spout is shaped, hold it against the body Remove the two right triangles made by these cuts, of the pitcher to determine the exact placement. Trace score and slip the cut edges, and fold the back side around it with a needle and return the spout to the forward and re-attach to the cut wall (figure 3). There table. Leaving 3⁄8 inch inside the traced line and ¾ inch will be a slight gap at the back of the base after dart- below the rim, cut away the rest of the clay in the area ing, so add a coil to level the bottom. where the spout will be attached. Score and slip the spout and the area around the opening and make the Add a Slab Bottom and Texture attachment (figure 9). Place the bottom of the pitcher on a ¼-inch thick To define the pouring edge, support the outer edges slab. Trace around the bottom of the piece, then cut of the spout with your thumb and forefinger. Wet your a section of the slab that is ¼ inch wider than your finger or a tool and slide it from side to side while si- traced line all the way around. Score, slip, and join multaneously pulling slightly outward (figure 10). The the slab and pitcher together. Flip the piece upside object is to create a gentle curve from the inside of the
PotteryMaking Illustrated | January/February 2013 23 process | The Pitcher Challenge | Marty Fielding
1 2 3
Alter by lifting and pressing corners with Define each of the four corners using a Cut out a triangular dart from two of the finger pads. metal rib. bottom corners and reattach.
4 5 6
Apply pressure with a rib to attach the Turn the cylinder over and cut away excess Apply texture and refine the shape of the bottom slab. clay from bottom slab. pitcher body with a rasp.
7 8 9
Create a template for the spout, lay it on a To create vertical edges, lay the spout over Cut out a section of the pitcher body to ac- slab and cut out the shape. a dowel and smooth with a metal rib. commodate the spout then slip and score.
24 PotteryMaking Illustrated | January/February 2013 10 11 12
After attaching the spout, refine the pour- Tracing around the walls with a needle Roll a coil for the handle, thicken the ends, ing edge with a wooden tool. tool to make parts 2 and 3 of the spout. flatten it, then lengthen it with a brayer.
13 14
Applying terra sigillata to the Wiping away excess oxide patina from bone-dry pitcher. the bisque-fired pitcher.
15 Blunt-nosed pitcher, 10 in. (25 cm) in height, thrown and altered earthenware, Applying underglaze in areas masked off with auto-pinstriping terra sigillata and glaze, eco-fired to cone tape resist. 03, 2012. Photo: Charlie Cummings.
PotteryMaking Illustrated | January/February 2013 25 spout that ends in a roughly ¼-inch wide, sharp-edged horizontal plane at the end of the spout, which keeps liquids from dripping after you finish pouring. Terra Sigillata Base The second section of the spout partly closes the top of the pitcher, channeling (Pinnell/Brickell) liquid into the spout and keeping it from pouring over the top. To build this, rest a Water ...... 2 parts (by weight) one-inch wide section of slab across the rim and trace a line underneath (figure 11). Clay ...... 1 part Return the slab to the table and follow the line with your knife. Bevel the edge as Sodium silicate...... 0 .5 % needed to match the rim of your pitcher. Score, slip, and join. Mix clay and water together and blunge with a drill Using the same procedure, rest another slab across the top of the spout. Trace mixer for 5–10 minutes . Add the sodium silicate along both sides of the spout from underneath, and make definite marks that show and mix for another 5 minutes . Place the container on a table and leave undisturbed for 6–8 hours . the end of the spout. Return the slab to the table and cut following your marks. Slip, Siphon center layer into another container . This is score, and attach the top to the spout. the terra sigillata .
Forming a Handle White Sigillata Base The final component of the pitcher is the handle. Start with a 1½-inch-wide coil Water...... 20 lb that’s longer than needed for one handle. Decide where the handle will be placed XX Saggar Clay ...... 10 lb and measure the distance between the two points. Cut a section of the coil that is the Sodium Silicate...... 22 .7 grams same length. When the coil is shaped and stretched into a handle, it will be the right Settle undisturbed for 6–8 hours . For opaque white, length. Start by tapping the ends of the coil to thicken them. Next, flatten the handle add 1 tablespoon of titanium dioxide to 1 cup of white sigillata . For adobe pink, add 2 tablespoons by dropping it onto the table from a height of about six inches, alternating between of yellow ochre to 1 cup of white sigillata . top and bottom. Stretch it to ¾ of the final length by rolling with a brayer (figure 12). Score and slip the points of attachment and carefully join the top of the handle to the Red Sigillata Base pitcher. Wet your hand and the clay and pull the handle to its final length. During the Water ...... 20 lb last couple of pulls, dry your hand and pull the slip off of the handle. Before joining Red Art Clay ...... 10 lb the bottom, tap the ends to thicken them again. Finally, attach the bottom and refine Sodium Silicate ...... 22 .7 grams the handle while the clay is still pliable. Settle undisturbed for 6–8 hours
Applying the Finishing Touches Kendall Black Stain Once the pitcher reaches the bone dry stage, the terra sigillata can be applied. To decorate similarly to the pitcher shown in this article, start by drawing a vertical Gerstley Borate...... 48 % Ferro Frit 3124...... 12 line in pencil that divides the piece in half. Using a wide, soft bristled brush, apply Black Iron Oxide...... 24 the terra sigillata (see recipe sidebar) so it covers the entire piece with the excep- Black Copper Oxide ...... 16 tion of a narrow band under the pencil line (figure 13). Before putting the pitcher Cobalt Oxide ...... pinch aside, brush on a second layer of terra sigillata. After the first two layers of terra sig 100 % have dried for several hours to overnight, brush on one last layer. After the bisque firing, brush a thin layer of oxide wash over the entire piece. Next, VC 5000 Satin Transparent wipe the majority of the oxide away with a damp sponge, leaving it only in the re- Cone 04 cessed texture to create a patina (figure 14). A little oxide goes a long way. Wring your Whiting...... 7 % sponge out with fresh water often as you work. Note: Wear gloves and a dust mask Ferro Frit 3124...... 77 when applying and removing oxide wash. F-4 Feldspar (Minspar 200)...... 14 Next, apply a perimeter of auto pinstriping tape around the areas where you EPK Kaolin...... 2 would like to add color. Brush on the appropriate thickness of underglaze or glaze 100 % within that perimeter (figure 15). In the case of this pitcher, I use two layers each of red underglaze and Rick Hirsch Matte Robin’s Egg glaze (see recipe sidebar). The Rick Hirsch Satin Matte Base final step of the exterior decoration is to cover the glazed area with wax resist (leave Cone 03–04 the underglaze line unwaxed). Use the point of a needle tool to release and remove Gerstley Borate...... 32 .0 % the tape from your bisqueware. Generally the tape leaves a nice clean edge. Lithium Carbonate...... 8 .9 When the wax is dry, pour your favorite liner glaze inside, carefully cover the in- Whiting...... 16 .7 terior, and pour the glaze out. Allow enough time for the piece to dry again before Nepheline Syenite...... 3 .9 dipping the exterior into a transparent glaze. EPK Kaolin...... 3 .9 The forming techniques demonstrated in this article; bottomless throwing, bend- Silica ...... 34 .6 ing the cylinder out of round, and darting are all commonly used in altering thrown 100 .0 % pottery. They can be combined in countless ways to achieve dynamic and distinctive Add: Bentonite ...... 2 .0 % forms. Enjoy experimenting with the altering, paper templates, terra sigillata, and Robin’s Egg resists while you add your own ideas to the ongoing evolution of the pitcher. Add: Rutile...... 4 .0 % Marty Fielding lives and works in Gainesville, Florida where he is also currently an MFA candi- Copper Carbonate...... 2 .0 % date at the University of Florida. To see more, go to www.martyfielding.com.
26 PotteryMaking Illustrated | January/February 2013 “ It’s the only safe, effective way to ventilate both heat and fumes escaping from ceramic kilns.” “As a contractor specializing in heating and ventilation systems for schools, we always recommend an overhead system to vent kilns. What sealed our decision was the time we were New called in by a school because the Kiln Ventilation Report downdraft venting system did not Facts & Figures • Compares effectiveness of fans, remove the heat escaping from downdraft, and canopy-hood the kiln. The room overheated venting systems • Test results show kiln firing tem- and automated equipment peratures in room lowered up to failed, causing a lot of damage. 60˚ with a canopy-hood system • Energy costs lowered by savings For safety and security, we only in kiln firing and air conditioning install OSHA-compliant overhead Download or Request systems like Vent-A-Kiln.” Your Free Copy Buffalo, NY • Toll-Free: 877-876-8368 • www.VentAKiln.com
PotteryMaking Illustrated | January/February 2013 27 Spectrum Glazes
Stephanie Schorr from the Craftsman House Gallery in St.Petersburg, Florida uses Spectrum's Low Fire Gloss Glazes and LowStone Glazes to create her magical fairy gardens.
-photo by Lara Cerri SPECTRUM GLAZES INC. ● CONCORD, ONT. ● PH: (800) 970-1970 FAX: (416) 747-8320 www.spectrumglazes.com ● [email protected]
28 PotteryMaking Illustrated | January/February 2013 SmoothColorBlends by Chris Campbell
I’ve been working with colored clay since 1990 and teaching I decided to try this technique with pottery clays. The how-to workshops on the topic for more than ten years, so I can vouch directions for Skinner blends use a pasta machine to mix the for the fact that producing beautiful color blends can be a slow colors. These are just small slab rollers, so I used my large one and labor-intensive process. Even after years of experiments, I for the first test run and achieved amazing results. Thus began still wasn’t able to find a way to blend colors without visible an intense period of experimenting with every combination of lines between hues. As I searched for alternate methods of colors in every placement I could think of. They all produced coloring clays, I noted the color blends in polymer clay pieces amazing blends. Keeping the basic principles in mind, I easily flowed smoothly from one to the other. So I narrowed my hunt adapted the process using a rolling pin between two slats, so and quickly found the answer—Skinner blends. you don’t even need a slab roller. What’s a Skinner blend? In 1996 Judith Skinner, a former NASA software programmer and polymer clay artist invented Skinner Blend Basics a technique to quickly create graduated or continuous color The colored clays are all made using the same white clay as a blends. Her process is so simple that she did not give much base, so there’s no incompatibility with shrinkage when drying. thought to its importance at the time, but as others saw her Colors can be wedged into a ball of clay, or added to dry mix or work, they rapidly adopted her process. The polymer clay world dry trimmings and slaked down. has so completely incorporated it that you’ll seldom find a con- The basic, continuous Skinner blend template is shown in fig- temporary piece created without using a Skinner blend. ure 1. It consists of two isosceles triangles of colored clay laid
PotteryMaking Illustrated | January/February 2013 29 down over a matching amount of white clay. There are no limits Creating with Blends to the number of ways you can combine colors and the triangles There are several ways of using blended color slabs. You can slice don’t have to be of equal size. You can add other colors in the them horizontally to make use of the spectrum or vertically, us- middle or diagonally. For intense colors, use less white clay. You ing each color separately (see article by Thomas Perry on p. 35). can also blend a single color with white to get a slow change of You can use the colored sheets to build a whole object without hue from dark to light. To see more examples, do a Google search turning it into any kind of pattern. The gradual fading between for “Skinner blend.” colors creates a very interesting surface choice. You can also slap For a continuous blend, feed the clay through the slab roller so the colors on top of each other and throw the resulting block. that the short ends of the rectangle is parallel to the roller (figure You build images or patterns by using strips of different col- 2). It helps to moisten the canvas or lightly spray the clay as the ored clays arranged so as to get a pattern. You create the pattern repeated rolling dries it out. Set your rollers so they will compress once, and then cut the block or loaf into slices. Depending on the clay to about half of its original thickness. how you design the block, the images cut from it will either be An alternate method is to roll the clay between two slats (fig- identical or slightly different each time. ure 3). Slats control the width of the clay slab since it tends to Colored clay blocks need to be sliced with a sharper wire than spread sideways. Each roll should stretch the clay to be at least the normal cut-off wire. I make my own with the thin con- twice the length. trol line used by hobbyists to fly model airplanes. (Check out After every pass through the slab roller, fold the clay over with www.sigmfg.com. Search for “control line accessories” under the the open ends facing the rollers (figure ).4 If you’re using a rolling aircraft accessories link.) pin, fold the clay with the open ends facing you. Adjust the slats Of course, flowers and leaves are not the only block patterns at any point to control the width you want. Repeat this process you can make. Using these simple steps, any idea can be trans- 18–20 times misting the clay or canvas occasionally to keep the lated into any size block you want. My students have designed slab supple. everything from fire-breathing dragons to quiet pastoral scenes During the process the colored slabs look discouraging (figure by building on these basics. 5), but suddenly a beautiful blend emerges. Keep rolling until you Cut a slice across the spectrum then cut equally sized rectan- like the resulting colors. That’s it! The whole process takes about gles and apply a dark slip to one face (figure 7). Stack the pieces 15 minutes from start to finish with the slab roller and only a bit to create a block of subtle stripes. You could also leave out the longer when you do it manually (figure 6). slip or fold this sheet like an accordion for a softer, flowing look. Before using the sheets, number them and cut off a small sliver This is a basic building block for creating patterns that look like to test fire to cone 06 and verify the color results. If you wet this feathers, fences, walls, buildings, or rooftops, and for checkered fired test sample, it reveals the cone 6 color. If the colors are too and herringbone patterns. After creating the blocks with gradu- dark, you can lighten the hues by layering a sheet of white clay ated and alternating stripes, slice several blocks (figure 8) on an and rolling again until it blends in. angle to create the leaf patterns (figure 9).
Making Colored Clay
You can purchase pre-colored clay but I always add a high percentage of col- I hear comments about how expensive if you want more control over color and ored stain to my clay because mixing is stains are but consider that colors last a hues, I’d recommend mixing your own. such a messy job and it’s very easy to long time, especially if you’re mixing in You can use any clay body, but white add white clay later to lighten the col- plain white clay. I keep colors stored in clays firing at or above cone 6 provide ors. It’s also much easier to store 20 plastic bags for years with no ill effects. vibrant color results. I prefer to mix the pounds of concentrated colored clays Another area of concern is safety. Be stains into wet clay bodies but some than 80 pounds of pastel-colored clays. careful not to inhale the dry powder people mix dry stains into dry clay bod- while mixing, so use a proper breathing My favorite Mason stains are: ies before hydrating. The Mason Stain mask. After mixing, the stains are safe MS 6020 Pink at 15–20% Company has a very informative web to work with and fire. Some people site with colors recommendations spe- MS 6450 Yellow at 15–20% choose to wear protective gloves. cifically for clay bodies. MS 6300 Blue at 6–8% I have experienced fluxing with some www.masoncolor.com/ceramic_stains.asp. MS 6242 Bermuda Green at 12–15% stain colors when they are used in a Though many other commercial MS 6376 Robin’s Egg Blue at 12–15% very concentrated form so you may stains will work well, you can buy small MS 6027 Tangerine at 12–15% have to prevent them from sticking to stain samples and test them first with MS 6304 Violet at 12–15% the kiln shelf. Sprinkle some alumina each clay body before mixing larger, MS 6026 Lobster at 12–15% hydrate under them before firing to pre- costly batches. MS 6600 Black at 6–8% vent sticking.
30 PotteryMaking Illustrated | January/February 2013 process | Smooth Color Blends | Chris Campbell
1 2
The template for creating a continuous Skinner blend, con- The clay is fed through the slab roller with one of the short sists: two colored triangles on top of a white rectangle. sides of the rectangle parallel to the roller.
3 4
When using a rolling pin, set up measured slats along the After each pass through the roller, fold the clay over so the long edges of the rectangle to control the width. narrower ends touch one another and face the roller.
5 6
During the process, the colored slabs look discouraging. The Blended slabs from fi gure 1. Clockwise from top left: yellow and smooth blend appears after 18–20 passes through the roller. green; pink and orange; red, yellow, orange; pink and purple.
PotteryMaking Illustrated | January/February 2013 31 process | Smooth Color Blends | Chris Campbell
7 8 9
Cut a slice across the spectrum, then cut Select blocks with alternating patterns Slice blocks on an angle to create veined this into rectangles. Apply slip and stack and graduated color on angles to create leaf patterns. Add a sliver of a contrasting the rectangles to create a block. leaf patterns. color for the stem.
10 11
Cut vertical, single-colored slices of the slab and extrude them or roll them out to cre- Create the fl ower centers by wrapping coils ate sets of coils with gradually shifting colors. coated in a colored slip in a slip-coated slab.
There are several steps to build fl owers from the center out to create individual petals. Insert a strip of white clay between to the petals. First, cut off the uneven ends of vertically sliced each petal to preserve some distance between them and keep strips cut from the larger slabs and extrude them into coils (fi g - your shapes intact (fi gure 13). ure 10). Cover these coils with a colored slip, arrange them in The resulting patterned blocks can be used to create mul- a circular pile on a long, thin, colored slab that’s also coated in tiple pieces (fi gure 14). To create a piece using these canes, I a contrasting colored slip (fi gure 11), roll the slab around the slice them across the pattern into thin sheets or slabs and re- coils, and join the long ends of the slab so that the coils are assemble the pieces into a larger shape (fi gure 15). I mist them, completely encircled. This becomes the center of the fl owers. then gently roll over the pieces with a pony roller or rolling Roll a thicker, colored-clay slab around the center to create the pin to connect them. The resulting thin, patterned slab is then body of a fl ower (fi gure 12). This slab is a continuous fade from placed in a slump mold, or formed into a cylinder shape and one end to the other, which means that as you roll it around the allowed to dry. center, the color gradually changes. When sliced, this creates Colored blocks can also be used to decorate plain pots that a fl ower that has one color at the center and changes toward are thrown or handbuilt. Best results occur when you use the the edges of the petals. Cut thin slices lengthwise along the roll matching clay body, but if you take care not to stretch them,
32 PotteryMaking Illustrated | January/February 2013 12 13
Roll a thicker slab that fades to different colors on each end around the To create daisy-like petals, slice into the fl ower center. center and fi ll the space with a white slab.
14 15
Patterned blocks ready to be sliced. Arrange thin slices into a pattered slab to create a vessel form.
you can attach thin slices to wet clay with a similar fi ring tem- pattern. Carve into the pattern for extra eye appeal. Don’t crush perature and shrinkage rate. or throw away your trimmings! They can be sprinkled across Once the pieces are dry, any specks, smudges, or streaks can damp clay surfaces for a stunning, colored whirlwind impact. be easily removed with a damp natural sponge. To avoid break- I hope I have shown that only your imagination can limit age, clean one surface then let the piece dry before cleaning the what you create with colored clay blends. I encourage you to reverse surface. If the pieces are delicate, bisque fi re them to push your boundaries, try different ideas and share your results cone 08–010. Then soak them in water before using black wet/ with others and with me. This process has rapidly revolution- dry silicon carbide sandpaper to remove any marks. No matter ized the polymer clay world and with your help, we can shake how smudged they appear, the pattern is still be intact below ours up, too. the surface. Do not dry sand any clay pieces without using a Chris Campbell is a studio potter in Raleigh, North Carolina. She dust mask. has worked with colored porcelain since 1990 and teaches colored clay If you decide to throw a pot with the clay blend, it will initially workshops. She also lectures on the business aspects of building a career look like a mess, but when it is time to trim the base you should in pottery. Her website is http://ccpottery.com. She welcomes feedback at be able to trim off the exterior surface layer to reveal a unique [email protected].
PotteryMaking Illustrated | January/February 2013 33 The Folk School changes you. Shaper
engaging hands and hearts since 1925. come enjoy making crafts and good friends on 300 natural, scenic acres in western north carolina.
John C. Campbell Folk SChool folkschool.org 1-800-Folk-Sch BraSSTown norTh carolina
34 PotteryMaking Illustrated | January/February 2013 The Controlled Spontaneity of NERIKoMI sLaBs by Thomas Perry
What I particularly like about working with colored clays is Construct a Nerikomi Block that surface design evolves from the forming process, not dur- Make a patterned block a day or more ahead to allow the dif- ing glazing and firing. My initial forays were on the wheel, ferent clays to reach a similar moisture content. Select three clay usually cutting facets and flutes into the vessel wall to high- blocks of contrasting, compatible colors. Use approximately two light intriguing patterns that reminded me of rock cores, pounds of each color. In the example shown, I used two Mason wood grain, and exposed earth strata, but I had little control stains, Dark Golden Brown (8% MS 6107) and Sea Green (5% over those patterns. MS 6268), with white B-Mix clay. Once you’ve chosen your col- Soft slab-building with inlaid clays, a nerikomi technique, of- ors, cut several slices of varying thicknesses from each (fi gure 2), fers more control of patterns while still providing spontaneity and build a stack of alternating colors and thicknesses. Lightly and surprise. This technique balances the time spent creating a spritz water onto adjoining surfaces before placing each slice atop pattern with that spent on creating interesting forms and pro- the stack (fi gure ),3 and apply a small amount of pressure with ducing functional pieces. The pitcher is an excellent form for your hand or a pony roller. demonstrating this process, and it can function as a pouring You can use this layered pattern as is, knead the clay to produce vessel, a vase, or a decorative sculptural object. a marbled effect, or modify it by pressing dowels perpendicularly through the stack (fi gure 4). Reshape the altered block so the lay- Prepare a Template ered cross-section is approximately 4×6 inches. Completely close For a simple, functional 1½-quart pitcher, cut a trapezoidal tem- up any air pockets created by the dowels. Spritz and cover well. plate from card stock, Tyvek®, or other material. The template I use is 10 inches along the top, 16 inches along the bottom, and Developing the Inlaid Slab 11 inches tall (fi gure ).1 When curved along its center line, the re- Using 6½ pounds of white clay, prepare a slab that’s ¼–3⁄8-inch sulting form will be vertical at the curve and angled at the seam. thick and approximately 15×18 inches. Place the pitcher tem- You’ll also need a template for the spout, essentially a triangle plate onto the slab (as shown in fi gure 9 with the colored clay) with arced sides and measuring 3½ in. × 3½ in. × 4½ in. and cut out the shape. With the remaining clay, prepare anoth-
PotteryMaking Illustrated | January/February 2013 35 process | The Controlled Spontaneity of Nerikomi Slabs | Thomas Perry
10 in. Wells Rick All photos:
11 in.
16 in. 1 2
Cut card stock or Tyvek® templates for the body and the spout Cut slices of different thicknesses for each color (B-Mix with 5% of the pitcher. dry MS 6268, B-Mix White clay, and B-Mix with 8% dry MS 6107).
3 4 5
Construct a layered stack; spray each sur- Press dowels or sticks into the stack to Cut cross-sections from the block using a face before attaching and press together. create variety in the pattern. wire and two thin slats as a guide.
er slab that is roughly 5×8 inches for the pitcher’s base. Cover overlaid (figure 8). This stretches and thins the now combined both and set aside. white and colored slab. Try for a thickness of ¼–3⁄8 inch. Smooth Slice 4–5 cross-sections at least ¼-inch thick from the pat- with a rib to eliminate join lines, and don’t worry about smudges terned nerikomi block (figure 5). Stretch and thin each slice in and smears. Spray the surface to keep it moist. 1 both directions to ⁄8 inch or less with a rolling pin (figure 6). Set the template onto the slab and recut the trapezoid shape You can leave these slices intact or cut them, then arrange (figure 9). Bevel the two sides in the same direction prior to at- them horizontally, vertically, diagonally, or mixed. Uncover the taching them to increase the surface area of the joint, and to cre- white trapezoidal slab. Spritz water onto the colored slices and ate a flush seam that’s an even thickness with the rest of the wall. the slab, and place the slices onto the slab in your desired design (figure 7). I placed the first slice, then flipped the second slice Form the Parts so the original top edges of each overlapped each other, and Carefully stand the newly cut patterned slab upright and curve similarly for the third slice. Avoid join lines in the center where it along its center line. Score and brush both beveled edges with the surface will be significantly curved. If the slices extend over water, and force these edges together to form a circle at the top or are slightly short of the slab’s edges, that’s fine; you’ll be re- and a teardrop shape at the bottom. Work the seam to produce a shaping and recutting it. secure join (figure 10) and don’t worry about blending one color Compress the patterned surface with a rolling pin to force into another. Insert a thin coil of white clay along the inside of the slices into the slab, so that they become inlaid instead of the seam and carefully smooth it into the surrounding clay us-
36 PotteryMaking Illustrated | January/February 2013 6 7
Stretch and thin the cross-section slices. Overlay the stretched cross-sections onto the cut, white slab.
8 9 10
Compress, stretch, and thin the patterned Place the template onto the patterned slab Force the edges together. Score, add wa- slab while joining it to the white slab. and recut the trapezoid shape. ter, join, and shape a rounded seam. ing long-handled wooden tools and a sponge-on-a-stick. Check Assemble the Pitcher the outside surface for any minute cracks that may appear from When soft leather-hard, score and slip each surface to be attached. stretching the inlay, and smooth over with a rib and dampened For the bottom, use a pony roller angled toward the body to com- sponge. Set the form aside, cover, and let it firm up slowly to press and close the seam (figure 12), then remove the excess clay. soft leather hard. Push slip into the inside seam with a long-handled brush. For the base, thin and stretch a portion of a colored slice, For the spout and handle, add a small coil of clay where each overlay it onto the white base slab, then compress and stretch meets the body to reinforce the join and shape the profiles. Press as you did with the slab used to form the pitcher body. When the clay into the seam to seal the attachment and avoid blending both the pitcher body and base have firmed, place the body over across the seam (figure 13). Wipe off excess slip with a soft brush. the slab, patterned side up so you can view what will eventually Prop the assembled pitcher on an angled pillow with the spout show on the bottom, then cut out the shape (figure 11). hanging over the end of the pillow. This lets gravity help rather I use one solid-colored clay for both the spout and the handle than inhibit the handle’s join and its curvature. Cover and dry to frame the pitcher body’s pattern. Cut the spout shape from slowly to firm leather hard. a small slab of the contrasting clay, bevel the longer edge that attaches to the pitcher, and curve it over a tube. For appearance Finishing Touches and strength, I prefer a pulled handle, although slab, coil, and When the pitcher reaches firm leather hard, go over it with a extruded handles also work. damp sponge to smooth edges, refine attachments, and remove
PotteryMaking Illustrated | January/February 2013 37 11 12 13
Place the upright form over the base slab Use a pony roller to roll clay from the bot- Add a thin clay coil at the join of spout and cut the bottom shape. tom onto the sides to seal the join; remove and body to help shape the profi le and excess clay with a rib. strengthen the seal.
most of the smudges. Once it dries, lightly buff with #0–#0000 What about that leftover clay? Reconstitute it and use it. Ex- steel wool while wearing a dust mask. Smudges will vanish, and periment by combining these hybrid mixed colors and fresh the pattern’s lines and colored areas will be well-defi ned. Avoid colors to create new colored clay pieces. Experiment with your using steel wool while the piece retains moisture, otherwise you’ll usual glazes over “dirty” porcelain and stoneware. These are fi nd your fi red pattern “enhanced” with fl ecks of oxidized iron. among the many opportunities that keep me at work—and After bisque fi ring, rinse and wipe the pitcher to remove all play—with colored clay. dust and steel wool particles. Glaze with your favorite clear glaze and fi re. Alternatively, particularly with porcelain, leave Thomas Perry lives and works in Houston, Texas. He is chair of the outside unglazed, fi re it, then polish the exterior with fi ne Empty Bowls Houston and is a member of the Boards of ClayHouston wet-dry sandpaper to smooth the surface. Always wear a dust and the Houston Center for Contemporary Craft. To see more of his mask when sanding dry clay or fi red ceramic ware. work, visit www.thomasperrypottery.com. POTTERS COUNCIL Mark Your Calendar and Register Today ENGAGING CERAMIC SURFACES San Diego, California February 1–3, 2013
Bryan Hopkins Mark Knott
Justin Rothshank Sponsors: Aardvark Clay & Supplies Amaco/brent Mayco Meredith Host Debra Fritts Sandra Blain Pottery Texture Queen Shimpo Hosts: Jackpots Pottery and Get Centered Clay ceramicartsdaily.org/potters-council/engaging-ceramic-surfaces
38 PotteryMaking Illustrated | January/February 2013 Distributed by: Manufactured by:
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PotteryMaking Illustrated | January/February 2013 39 Cone art kiln ad.indd 1 19/01/12 4:01 PM Ways to Smooth Your Feet 9 by Jonathan Kaplan
Good, functional pottery must meet every criteria for use— Sanding handles should fit the hand, spouts should not drip, cup rims 1. A simple low-tech solution to smooth a fired foot is to sim- should feel welcoming to the lips, etc. What potters often over- ply dress that exposed clay with a few passes of coarse or look is that the foot of a pot must be smooth and level, provid- medium sandpaper. The lower the number of the grit, the ing stable support for the pot and preventing it from scratching coarser it is and the more aggressive the material removal. a table or counter surface. Since fired clay is hard and dense, it Work from lower grit sizes up to finer grits using a finer size naturally has a rough surface, no matter how smoothly it has grit afterwards to further dress the surface. Start with 40, 60, been trimmed. The solution is to smooth the bottoms of your or 80 grit then finish with a 120 or 160 grit for best results. pots with an abrasive material or tool. Users will appreciate One advantage of using sandpaper is that it’s inexpensive. your attention to detail and for considering their furniture. Disadvantages are that paper-backed sandpaper doesn’t last Abrasives 101 long, and that it provides only minimal surface dressing. In many industries, there are basically two groups of methods 2. Another low-tech solution is to sand the exposed clay or glaze and materials for removing and polishing surfaces—those used drips with a silicon carbide mason’s block, also called a carbo- for sanding and those designed for grinding. Both remove high rundum brick. Potters will be most familiar with the kind de- spots and take down or “dress” rough unglazed bottoms or foot signed to manually grind glaze drips off of kiln shelves. This rings as well as smooth and polish surfaces. too is inexpensive, and available at most pottery suppliers, but WARNING: Any grinding or sanding method that involves the it’s bulky, has a certain heft, and can be prone to chipping the use of power tools has a potential to cause injury. When using edges of a foot ring. any of the tools discussed here, always read and make sure you 3. Yet another, is using a piece of silicon carbide kiln shelf or understand any operation/user manuals, wear proper eye protec- abrasive grinding stone. Alternatively, an unwashed silicon tion, use an approved respirator/dust mask, and make sure that carbide kiln shelf can serve as a grinding plate by placing it on any long hair or loose clothing is well out of the way. a level surface then moving the ceramic piece over it, letting
1 2 3
A sanding block is great for quick, light Adhesive aluminum oxide sanding disks Sanding disks can be used to smooth smoothing needs. can be affixed to a bat. large areas relatively quickly.
40 PotteryMaking Illustrated | January/February 2013 4 5
Place the GlazeEraser® on top of the rubber pad, which is se- With the wheel slowly spinning, grip your pot with two hands cured to the wheel with bat pins. and lower it onto the GlazeEraser®.
sanding and grinding supplies
WW Graingers www.grainger.com McMaster Carr Supply www.mcmaster.com MSC www1.mscdirect.com Savari Arts [email protected] Foredom www.foredom.net Dremel www.dremel.com Hi Tech Diamond www.hitechdiamond.com GlazeEraser® www.glazeeraser.com 6
Grinding points, available individually or in kits, can be used with Dremel tools or Foredom flex-shaft tools.
the weight of the piece do the majority of the work. Cordierite cleaned using a wire brush and running water. You’ll just need kiln shelves won’t work because they aren’t abrasive. If you to find the correct speed for optimum material removal and have a clean, flat silicon carbide shelf, this is a great solution hold the piece securely with your hands (figure 3). if you need moderate smoothing capability. 6. Flap wheel accessories or flexible rubber wheels/disks with 4. Silicon carbide sanding materials are also available with a adhesive or hook and loop backing can be used with angle cloth backing, and referred to as wet/dry sanding products. grinders or orbital sanders. Many different abrasives types are Using water helps it to better remove rough areas. Carefully available with different securing methods. These are easy to select grit size since wet sanding can remove a lot of mate- use, and if you already have the tool, they’re relatively low rial. This option offers excellent material removal at moderate cost; however, your piece must be positioned and secured up- cost, and is also available in many configurations. You may side down so you can hold the tool instead. find using a wet system messy, but if you use adhesive-backed Grinding silicon carbide discs with your potter’s wheel, the mess can be significantly reduced by using the splash pan. Silicon carbide products, aluminum oxide materials, systems that 5. The best sanding solution I’ve used are aluminum oxide use diamond products comprise the three most successful types sanding products like cloth-backed sheets, adhesive-backed of abrasives for grinding. Here’s a look at what’s out there. discs, and rolls that can be cut to any dimension. Remem- 7. The GlazeEraser® is a specially formulated silicon carbide ma- ber that low-temperature clay bodies are softer and higher- terial made into a thin, 14-inch diameter disk. Designed for the temperature stoneware and porcelain bodies are more vitre- potter’s wheel, it comes with a rubber pad and can be used wet ous so choose a grit size that’s appropriate. This option offers or dry depending on your preference. The rubber pad is placed excellent material removal, moderate cost, and is available in on the wheelhead and secured using bat pins. The grinding many configurations to fit many needs. Simply tear off what disk is placed on top of the rubber pad (figure 4). It works well you need for a quick pass over a foot ring or bottom or wrap to smooth a large surface area or edges of foot rings (figure 5). it around a sanding block (figure 1). Adhesive-backed alumi- It’s most effective at low-rotation speeds. The GlazeEraser® has num oxide sanding disks can be affixed to a bat (figure 2), and excellent smoothing properties, and works at a safe, low speed, used with your potter’s wheel when sanding a large number but costs more than options like sandpaper. Note: Handle the of pots. These disks are waterproof to an extent and can be GlazeEraser® with care as it will break if dropped.
PotteryMaking Illustrated | January/February 2013 41 process | 9 Ways to Smooth Your Feet | Jonathan Kaplan
9
Diamond abrasive grinding points are designed to be used with water. They fit Dremel and Foredom tools.
8
Grinding points, like the conical point here, are good for smoothing out small problem areas.
7 10 11
A Foredom flex-shaft tool is eas- Abrasive blocks are hand held and Savari Arts’ grinding kit includes a dia- ily manuevered and can reach into easily controlled to smooth larger mond lap plate and bat, a flow valve, and smaller areas. surface areas. a stand to hold a water source.
8. Aluminum oxide abrasives come in a wide variety of shapes should be added to the surface of the pot and to the abrasive and sizes (called “grinding points”) (figure 6) and are very point, plate, or disk as you work. Using diamond abrasives useful for any type of grinding or shaping operation. They fit without water limits their effectiveness and severely short- hand-held Dremel tools or flexible shaft type tools such as a ens their lifespan. They are available as grinding points for Foredom tool (figure ).7 If you need to dress the edge of a foot Dremel or Foredom tools (figure 9), as plates or disks to be ring to eliminate sharpness, use a cylindrical grinding point. used with lap machines as well as other configurations like Conical points are useful for addressing small sharp spots, es- blocks (figure 10). Lap machines are costly, but an inexpen- pecially in hard-to-reach areas or on interior foot ring edges sive system from Savari Arts uses a flat diamond lap disk or (figure 8). Avoid soft-composition points as these wear out plate (available in various diameters) designed to fit a potter’s very quickly. Hand-held grinding tools are not suitable for wheel with an intermediary bat. A complete kit includes an smoothing large surfaces but are better for specific problem adjustable flow valve and stand to hold a water source (figure spots. The Foredom’s flexible shaft allows for unique and dif- 11). This system is very useful if you do crystalline glazing. ficult grinding operations, and a sensitive foot pedal makes Regardless of which abrasive material or tool you choose, users for an all-around, versatile tool. The Dremel tool is best for of your pots will appreciate your attention to detail and that the smaller material removal and dressing situations. The selec- work is less apt to scratch or mar furniture. tion of grinding points for both is impressive and relatively Thank you to Smith-Sharpe Fire Brick Supply for sending a sample inexpensive. A disadvantage is that hand-held tools can easily GlazeEraser® to test for this article, www.ssfbs.com. slip and the rotating grinding point will mar a glazed surface. Jonathan Kaplan, a frequent contributor to PMI, is an artist, curator, 9. Diamond abrasives are the best of all abrasives, but they and owner of Plinth Gallery in Denver, Colorado. To see his work, visit are more costly. These materials are used with water, which http://plinthgallery.com/jonathan-kaplan/.
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PotteryMaking Illustrated | January/February 2013 43 the potters kitchen | Food and Clay Chicken Roaster by Sumi von Dassow
Cooked chicken on a roaster with roasted vegetables in a baking dish. Collaring in a chicken roaster on the wheel.
I’ve heard that everybody has three pillars in their life, three At this point I’m pretty sure you’re not picturing what I call things so important they can’t imagine living without them. If a chicken roaster. My chicken roaster is shaped like a little vase, that’s so, I know what mine are: cooking, gardening, and pot- about four inches tall, with a bulbous bottom. You can’t get a tery. They all go together in a very natural way; I garden to grow chicken inside it. You put beer (or broth) inside it and put it in- things I can cook, and I make pots to cook in—a synergy that side the chicken. I love to use the roaster for an updated version evolved over time. Early on I made and sold pots for other peo- of beer-can chicken, where the chicken is roasted on top of a can ple to cook in while I used Pyrex and Revere ware. Now, as I get of beer. This recipe is flavorful and tasty, but really, it can’t be a better and more creative with the gardening and cooking, I find good idea to eat food cooked on an aluminum can with paint on myself more and more inspired to make pots to suit my own use. it! Beer-can chicken is typically done on the grill—my chicken And it’s loads of fun to make and use your own ware. Try differ- roaster is designed to be used inside an oven, so you have to put ent clays, experimenting with recipes, and cooking in new ways. it in a baking dish. Many potters make a baking dish with a cyl- Chicken and Clay inder in the middle to stand a chicken on—my chicken roaster I’ve made lots of pots for cooking in, but the one I use the most is set inside any suitable baking dish (handmade or not). This is my chicken roaster. Now, I do think there might be more makes it easier to store, and more versatile. ways to cook chicken than anything else. There may not be a So, where does my third pillar, gardening, come in? With the chicken in every pot but we potters seem determined to make chicken standing up on the roaster, there is lots of room around a pot for every chicken. They are cooked in the oven, on the it for vegetables. An eight-inch dish is large enough to hold the stove-top, in a crock pot, or on the grill. They’re cooked in chicken by itself, but if you want to roast vegetables you can use earthenware, stoneware, flameware, micaceous clay—or even a larger one. I cut up lots of root vegetables: onions, potatoes, encased in wet clay. carrots, beets, parsnips, turnips, rutabagas, kohlrabi, and celery
44 PotteryMaking Illustrated | January/February 2013 Glazed chicken roasters root are good candidates. Pour the rest of the beer over them, or some water, and add some herbs and spices. Making Ovenware Process As with any dish intended for baking in an oven, test your A clay chicken roaster is the easiest thing in the world to make, and clay body to see if it can withstand the thermal shock of it cooks a moist flavorful chicken. It’s a great project for potters repeated heating in an oven. Tests for thermal shock resis- of any skill level, it makes a great gift, and it makes a great dinner. tance in baking dishes developed by Dick Lehman, and I make a chicken roaster using about a pound and a quarter (ap- published in the Spring 1999 issue of PMI, offer a good proximately 500 grams) of stoneware clay. Open it up to leave a place to start. Place room-temperature baking dishes in a preheated, 500°F oven, and allow them to remain there for quarter of an inch of clay on the floor—no need to trim a foot. 10 minutes. Take the dish out of the oven, then let it cool Pull the walls up into a cylinder, allowing the wall at the bottom naturally and check for cracks both visually and testing the of the cylinder to bulge out to about 4 inches wide. Collar in the ring or sound of the clay when tapped with a metal rod. Do top half of the cylinder to a diameter of about two inches. Cut it to this same test with a dish that is filled and one that is half about 4½ inches high, trim away a bit of excess around the bottom, filled with water. For the third test, freeze empty baking dish- and it’s done. After bisque-firing, glaze the roaster with food-safe es for 45 minutes, then place them directly into the oven glazes and fire to cone 6. Make sure your chosen clay is vitrified at and repeat the procedure from test 1. Do these tests multi- your firing temperature, and choose glazes that don’t craze and ple times. For more information on making sure your hand- of course won’t leach toxic ingredients into your chicken dinner. made roaster is ready for the oven, read Dick Lehman’s article “Testing Ovenware” from the Spring 1999 issue of Sumi von Dassow is an artist, instructor, and frequent contributor to PMI. Pottery Making Illustrated at: http://bit.ly/JanFeb2013PMI. She lives in Golden, Colorado.
PotteryMaking Illustrated | January/February 2013 45 HANDBUILT
September 20-22, 2013 Demonstration Inspiration Conversation
A Down to Earth Event to Benefit the Craft Emergency Relief Fund Demonstrators Lana Wilson Vince Pitelka Chandra DeBuse Mitch Lyons Sandi Pierantozzi Also Featuring: • Exhibition “Philadelphia Clay” •Techniques, tips & advice •Tools, community, new friendships
Montgomery County Community College in suburban Philadelphia Organized by Sandi Pierantozzi [email protected] Information and Registration: www.sandiandneil.com
ceramic arts with Porcelain Lorna Meaden: Integrating Form & Surface bookstoreIn this installment of the Ceramic Arts Daily Presents Video Series, Lorna In this installment of the Ceramic Arts Daily Pres ceramic arts Meaden presents her techniques for elegant wheel-thrown porcelain pottery presents her methods for making beautiful porcelain daily that is equally utilitarian and decorative. By carefully considering every detail on function. With a goal of making pots that will be i along the way, Lorna demonstrates how to successfully integrate the surface lives of those who own them, Sarah explains howpresents ents Video Series, Sarah Jaeger the design of her forms, from the size of a knob t
decoration with the form to make a cohesive whole. Lorna covers the forming pots with a strong emphasis Altering Throwing, addition to the object’s physical shape, she pays processes for six of her popular forms and gives tips for working with noto- ncorporated into the daily riously tempermental porcelain. In addition, she demonstrates her slip inlaying process can enhance a form. A firm believer th she considers every detail in2-Disc Set! function as the tactile, Sarah demonstrates how sh technique for laying down pattern, and how she uses resists and various glazes o the placement of handles. In trailing and layering with wax resist to crea ceramic arts and slips to enhance the patterning. great attention to how the glaz y hand as well as the eye. Lorna Meadenat the visual is as important to Jennifer Poellot Harnetty dail e layers colors with overglaze - Jennifer Poellot Harnetty te lustrous surfaces that attract the daily Editor, CeramicArtsDaily.org Editor, CeramicArtsDaily.orgIntegrating Creating Curves with C Form&SurFace presents Program Manager,ceramicarts Ceramic Arts Daily Presents Video Series Program Manager, Ceramic Arts Daily Presents Glazing & presents 2-Disc Set! with Porcelain ents Video Series, Martha Gro- Throwing,
urvy forms from wheel thrown Video Series 2-Disc Set!
ng the four basic components of Jaeger Sarah with Altering In this installment of the Ceramic Arts Daily Pres thin slabs, attachments and paper ver demonstrates how she creates her signaturen different c ways to create seven of Glazing and handbuilt parts. She begins by explaini her meticulous glazing process. Creating NEW each of her pieces - wheel thrown cylinders, e nature of porcelain, Martha For Function and lay Clay slip - and then combines those components i be easily adapted to fit any style. with
e to start creating curves in with Martha Grover & her elegant forms. In addition Martha explains with SarahBeauty Jaeger Though she is enamored with the soft, seductiv Curveswith Martha Grover stresses that the techniques demonstrated can Lorna Meaden is a studio potter living in Durango, Colo- Sarah Jaeger holds a BA in English Literature from Harvard and By the end of this DVD, you will have the knowledg rado, whose work has been widely exhibited around the a BFA from the Kansas City Art Institute, and has been a studio your own work. United States. She received her MFA from Ohio University potter in Helena, Montana, since she completed a residency at the Archie Bray Foundation for the Ceramic Arts in 1987. Sarah and her BA from Fort Lewis College. In addition to teach- received an Individual Artist Fellowship from the Montana Arts Jennifer Poellot Harnetty rts Daily Presents Video Series ing workshops around the country, Meaden has taught at daily video library ceramic arts Council in 1996 and a Target Fellowship from United States Art- Editor, CeramicArtsDaily.org Southern Illinois University in Edwardsville, and Fort Lew- ists in 2006. In 2007, she was profiled in the PBS documentary Program Manager, Ceramic A is College in Durango. Meaden also has been a resident Craft in America. She has taught at Pomona College, the New artist at the Anderson Ranch Arts Center and the Archie York State College of Ceramics at Alfred, and the University Bray Foundation for the Ceramic Arts. For more informa- of Nebraska-Lincoln, and has given workshops in the US and tion, please visit www.lornameaden.com. Canada. Her work is in public collections, including the Los Angeles County Museum of Art and the University of Iowa and,
most importantly, in many kitchens throughout the country. For library video daily arts ceramic more information, please visit www.sarahjaeger.com. BOOKS Total Running Time: Approximately 2 hours, 45 minutes Total Running Time: Approximately 3 ceramic artsdaily.org ceramic arts daily video library thrown and Copyright 2012 The American Ceramic Society g Photographs of finished work and Sarah hours
Martha Grover is a functional potter, creating in ceramics ceramic arts Jaeger by Tom Ferris altered porcelain pieces. She attended Bennington College ceramic arts daily video library Copyright 2012 The American Ceramic Society AND in Vermont, where she received her undergraduate degree dail her MFA in ceram- in architecture. After a post baccalaureate year y.org at Syracuse University, she decided to pursue a graduate g degree in clay. In 2007, Martha received ics from the University of Massachusetts, Dartmouth. Martha ary ceramic arts daily video library has completed residencies at Northern Clay Center in Min- about neapolis, Minnesota, the Archie Bray Foundation for the Ce- ceramic arts daily video libr ramic Arts in Helena, Montana, and Red Lodge Clay Center in Red Lodge, Montana. She received the Taunt Fellowship at the Archie Bray Foundation in 2010. Tos learn more Martha and her work, please visit www.marthagrover.com. g VIDEOSTotal Running Time: Approximately 3 houry.org dail ceramicarts
Copyright 2012 The American Ceramic Society
Stay informed and inspired with C Tableware has occupied a special place in our kitchens
and dining rooms for thousands of years, and continues to o Linda BLoomfieLd
enchant us today. Ranging from the purely functional to the ntem fine and delicate, the evolution of domestic pots tells us Cont our up-to-date ceramic arts much about our changing tastes and habits, and the wider art and cultural movements that have influenced their decoration and forms. P P
o em o In Contemporary Tableware, maker Linda Bloomfield looks at
the history of the pots on our tables, from Sung Chinese and r Medieval English ware to the revival of studio pottery and the a books and videos. Choose from influence of Scandinavian, American and Japanese design. r rary She goes on to examine common forms in contemporary
tableware, including teapots, bowls, cups, jugs and plates, y
and to explain the elements of form, function and beauty in t each. Lavishly illustrated with examples from contemporary a table studio pottery and industry, as well as making images from b working potters, this book is the essential guide to modern lew tableware for potters, designers and buyers. ware more than 75 titles of reference
Linda Bloomfield has been involved with pottery since 1973, a although her career path led her to train as a materials re scientist, and she received a BSc in Engineering Science From a Slab of Clay and a PhD in Materials Science from Warwick University. After stints as a visiting scholar at MIT and as a researcher books, artist videos, and in Tsukuba, Japan and London, she set up her current studio in London in 2001. Since 2003, she has been selling Linda B Linda through galleries across the UK and internationally, and her tableware is stocked by Liberty and David Mellor. She is a frequent contributor to Ceramic Review magazine, and is the author of Colour in Glazes, also published by Bloomsbury. L o
L omfie handbooks on popular topics! d www.ceramicartsdaily.org
Eduardo Lazo Amber Aguirre The American Ceramic Society Wally Asselberghs Dana Bilello-Barrow contemporay tableware_PBK_US CVR.indd 1 Stephen Branfman 17/09/2012 12:43 Kate & Will Jacobson Linda & Charlie Riggs Daryl E. Baird ceramicartsdaily.org/bookstore Index to Advertisers Aardvark Clay ...... 16 ACerS Books ...... 46 AccuAngle ...... 38 Alabama Clay Conference ...... 46 Amaco and Brent ...... Cover 2 & 3, 15 Arrowmont School of Arts and Crafts . . . . 16 Atlantic Pottery Supply ...... 47 Bailey Pottery ...... 1 Bennett Pottery ...... 5 Bracker’s ...... 27 Carolina Clay Connection ...... 47 Chinese Clay Art ...... 34 Clay Art Center/Scott Creek ...... 16 Continental Clay ...... 39 Cornell Studio Supply ...... 47 Dolan Tools ...... 47 Evenheat Kiln ...... 34 Georgies ...... 21 Great Lakes Clay ...... 47 Handbuilt Workshop/Pierantozzi ...... 46 Herring Designs/SlabMat ...... 47 Highwater Clays ...... 43 J.C. Campbell Folk School ...... 34 K-12 Natl Ceramic Foundation ...... 28 Kiln Doctor ...... 47 L & L Kiln Mfg ...... Cover 4 Larkin Refractory ...... 28 Master Kiln Builders ...... 47 Mayco ...... 9 MKM Tools ...... 43 Mudtools ...... 21 North Carolina Potters Conference ...... 34 Olympic Kilns ...... 7 Paragon ...... 11 Peter Pugger ...... 27 Potters Council ...... 38, 47 Sheffi eld ...... 43 Skutt ...... 2 Smith-Sharpe ...... 21, 39 Socwell ...... 46 Spectrum Glazes ...... 28 Touchstone Center ...... 43 Tucker’s Pottery ...... 39 Vent-A-Kiln ...... 27 Xiem Gallery ...... 43
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PotteryMaking Illustrated | January/February 2013 47 soufflé
soup tureen tart pan
brie baker
bean pot
lidded baking dish
tagine
open baking dish
pie plate
chicken roaster bread pan Ceramic Baking Dishes
48 PotteryMaking Illustrated | January/February 2013 uldn’t have I co do t, ut yo ne n itho u! T i re w han t b ks r .” a S tev e e n All en , S D M A “ art G al ler y & S tu d io , S a n F r a n ci s c o, C A
T h y e t n on ra ly ar w w he ear el with a 10 y
(800) 374-1600 • www.brentwheels.com eQuad-Pro The eQuad-Pro sets the new standard in Production Kilns 12-Key DynaTrol with Dynamic Zone Control • 3” brick • Quad element system (four rows of super heavy gauge elements per 9” high section) • Extra power with branch fusing for high production work • Type K 8 gauge thermocouples with ceramic protection tubes • Full support 14 gauge aluminized steel stand • Solid peephole plugs with full 1” view (no tapering) • Hard ceramic element holders • Proprietary reflective brick coating that protects brick and keeps dusting down • “Easy-Lift, Easy-Load” stainless steel spring hinge system with full-support when door is up and tilted back (there are no support bars to get in the way of loading) • Mercury-free relays • Direct wired • Three-year Limited Warranty
The Quad element system has been proven to extend element life dramatically in over a year of field work in crystalline glaze firing in our JH Series kilns.
eQUAD-PRO PRODUCTION KILNS WITH DYNAMIC ZONE CONTROL Model Number of Inside Inside Cubic Exterior 240/1 240/3 208/1 208/3 Number Shelves Diam Height Feet Dimensions KW Amp~Fuse Amp~Fuse Amp~Fuse Amp~Fuse eQ2327-3 20” (2 full & 4 half shelves) 22-1/2” 27” 6.8 31W x 42H x 42D 13.4 (240V), 11.6 (208V) 56 ~70 32.4~50 56.0~70 32.4~50 eQ2827-3 25-1/2” (8 half shelves) 28” 27” 10.2 37W x 42H x 48D 14.6 62.3~80 35.0~50 71.9~90 41.5~60 eQ2836-3 25-1/2” (10 half shelves) 28” 36” 13.6 37W x 51H x 48D 19.0* 79.2~100 68.7~70 91.3~125* 79.8~80
*Note: Special model eQ2836-X-208-1P is available with 16.6 K.W., 208 Volt/1 Phase, 80 amps for a 100 amp fuse. Furniture Kit: includes the shelves listed above plus six (6) each of 1/2”, 1”, 2”, 4”, 6” and 8” high square posts, plus insulated gloves for unloading, and 5 lbs of Cone 10 kiln wash. Cone Rating: Cone 10 More: See hotkilns.com/equad-pro-kilns for more information. See hotkilns.com/dynatrol and hotkilns.com/zone- control for information about the control system.
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