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Denise Wilz’s Pennsylvania Redware · PDF file artist in the mail. If a gallery’s website doesn’t cover application specifics, put together a nice package containing printed

Aug 24, 2020




  • h Celebrating ten Years 1998-2008 h

    Breaking the Rules Pushing the Limits with Decals

    Super Size it Take Your Work to New Heights

    Having a Ball Handbuilt Spherical Teapots

    Denise Wilz’s Pennsylvania Redware

    Mar/Apr 2008


  • PotteryMaking Illustrated • March/April 2008 1

  • 2 PotteryMaking Illustrated • March/April 2008

  • PotteryMaking Illustrated • March/April 2008 3

    Features 15 Breaking the Rules

    by Justin Rothshank A Pittsburgh artist pushes decals to the limits.

    19 Super Size it by Joel Betancourt Start taking your work to new heights.

    24 Pennsylvania Redware by Denise Wilz A modern-day approach to a Pennsylvania tradition.

    31 Having a Ball by Ron Korczynski Getting loose and funky with handbuilt teapots.

    Departments 7 Tips from the Pros What Galleries Want

    by Annie Chrietzberg

    10 In the Mix Getting it Right with Plaster by Jonathan Kaplan

    12 Tools of the Trade Buying Firebricks by Jim Wunch

    36 Supply Room Top 10 Studio Problems to Avoid by Carla Flati

    39 Instructors File A Full Plate by Amanda Wilton-Green

    44 Off the Shelf Handbooks by Sumi von Dassow

    TABle OF COnTenTS

    h Celebrating ten Years 1998-2008 h

    Breaking the Rules Pushing the Limits with Decals

    Super Size it Take Your Work to New Heights

    Having a Ball Handbuilt Spherical Teapots

    Denise Wilz’s Pennsylvania Redware

    Mar/Apr 2008

    Denise Wilz trails sip onto a red- ware plate. See story p. 24.

  • 4 PotteryMaking Illustrated • March/April 2008

    If you don’t know where you’re going, any road will get you there.

    —Lewis Carroll

    Like many of you, I find that get-ting into the studio is not a regular event. Between the office, commuting

    and the daily demands of the home,

    there never seems to be any time for

    getting my hands into clay. And with

    such sporadic studio time, getting

    momentum for any particular body of work, seems to be an almost

    unreachable goal.

    As a case in point, I managed to work in the studio this past week-

    end by just putting blinders on and ignoring all the other projects

    and chores that had to be done. But the work that I did was scat-

    tered. You know what I mean—a little throwing, a little handbuild-

    ing, a little functional work, some nonfunctional, not to mention

    working in both stoneware and porcelain.

    Did I know where I was going? Yes and no. First off, I knew that

    I wanted to work in clay and there’s only one road for that—down

    the stairs and straight to the studio. But did I know where I wanted

    to go in clay? Not really. But the many roads are sure interesting

    and enjoyable. By the time the weekend was done, I ended up with a

    prototype for a tile installation, four small sculptures to cover up the

    woodpecker holes in the side of my house (photo to come on that

    one), a couple of porcelain prototypes for a show at NCECA (I hope

    those work out), and some square plates using my new drape molds.

    Each issue of PMI pretty much resembles this same kind of jour-

    ney. While many of us may not know exactly where we’re going, we

    do know we’re moving and the magazine provides a variety of roads

    to take. With this issue, you can select a traditional Pennsylvania

    redware technique, throwing large works, using decals in a new way

    or handbuilding a teapot. The journey is yours and any road will do.



    Fired Up

    Any Road

    Bill Jones Editor

    Volume 11 • Number 2 Editorial

    [email protected] Telephone: (614) 895-4213 Fax: (614) 891-8960 Editor Bill Jones Associate Editor Jennifer Poellot Harnetty Assistant Editor Brandy Agnew Publisher Charles Spahr

    Graphic Design & Production Production Editor Cynthia Conklin

    Marketing Marketing Manager Steve Hecker

    Advertising [email protected] Telephone: (614) 794-5834 Fax: (614) 891-8960 Advertising Manager Mona Thiel Advertising Services Jan Moloney

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  • PotteryMaking Illustrated • March/April 2008 5

    We offer a wide selection of top and front loading kilns. Call 800-876-4328 or visit for a free catalog and the name of the Paragon dealer near you.

    Pioneer Pottery near Roscoe, Montana is so isolated that bears come right up to the studio and smudge the windowpanes with nose prints. The sound of the East Rosebud River flowing past the red two-story building breaks the silence.

    Janet Hero Dodge and Julie Dickinson began Pioneer Pottery in 1972. They converted a horse stable built in 1910 into their busy pottery studio.

    Janet and Julie planned to fire with propane; in the meantime, they bought a Paragon square K-6H electric kiln. But they were so satisfied with the Paragon that they never converted to propane firing. Over the years they just bought more Para- gons and have been firing them ever since.

    “The glazes I developed for the electric firings had the softness and subtlety I had hoped for with propane,” said Janet Hero Dodge. “So I never quite got around to building that gas kiln.

    “In 1978 we added a Paragon K-6HS square kiln so we could glaze fire back to back when nec- essary. This allowed us to move pots steadily through the firing cycle and fill special orders quickly. In 1980 we added a square Paragon K-6A to our kiln collection. All the kilns are still func- tional.”

    Janet and Julie fire their glazes to a flattened cone 9. At this temperature, their matte glazes soften and absorb iron from the clay. “Some of the glazes are quite bright for electric firing,” said Janet. “We’ve been real happy with our Paragons. They’ve held up well and produced good results.”

    Have they been reliable? “Quite.”

    “You can’t deny that gas firing is exciting,” said Janet. “But as a production potter who also does my own specialty pieces, I need the reliability of electric, which is more reliable than gas be- cause you have fewer variables. And I like the fast turnover I can have with the electric kilns. If I get a special order that I have to get out fast, I don’t have to wait to fill up a big gas kiln.

    “I use a copper barium glaze,” Janet said, “and part of the reason I started doing that is I had less control over it. So I get some of that same ‘I won- der what I’m going to get when I open it’ feeling.”

    The Paragon kilns of today are built with the same dependability

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