h Celebrating ten Years 1998-2008 h

Breaking the RulesPushing the Limits with Decals

Super Size itTake Your Work to New Heights

Having a BallHandbuilt 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 RothshankA Pittsburgh artist pushes decals to the limits.

19 Super Size itby Joel BetancourtStart taking your work to new heights.

24 Pennsylvania Redwareby Denise WilzA modern-day approach to a Pennsylvania tradition.

31 Having a Ballby Ron KorczynskiGetting 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 Plasterby 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 RulesPushing the Limits with Decals

Super Size itTake Your Work to New Heights

Having a BallHandbuilt 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.

Enjoy!

eDITORIAl

Fired Up

Any Road

Bill JonesEditor

Volume 11 • Number 2Editorial

[email protected]: (614) 895-4213Fax: (614) 891-8960Editor Bill JonesAssociate Editor Jennifer Poellot HarnettyAssistant Editor Brandy AgnewPublisher Charles Spahr

Graphic Design & ProductionProduction Editor Cynthia Conklin

MarketingMarketing Manager Steve Hecker

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

SubscriptionsCustomer Service: (800) 340-6532 www.potterymaking.org

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Pottery Making Illustrated (ISSN 1096-830X) is published bi-monthly by The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, Ohio 43082. Periodical postage paid at Westerville, Ohio, and additional mailing offices.

Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ce-ramic Society.

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Photocopies: Permission to photocopy for personal or inter-nal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 1096-830X, provided that the appropriate fee is paid di-rectly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923 USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc.

This consent does not extend to copying items for general distribution, for advertising or promotional purposes, or to re-publishing items in whole or in part in any work and in any format. Please direct republication or special copying permission requests to the Ceramic Arts Publisher, The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, Ohio 43082.

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Copyright © 2008 The American Ceramic SocietyAll rights reserved

ceramicartsdaily.org

PotteryMaking Illustrated • March/April 2008 5

We offer a wide selection of top and frontloading kilns. Call 800-876-4328 or visitwww.paragonweb.com for a free catalog and thename of the Paragon dealer near you.

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

Janet Hero Dodge and Julie Dickinson beganPioneer Pottery in 1972. They converted a horsestable built in 1910 into their busy pottery studio.

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

“The glazes I developed for the electric firingshad the softness and subtlety I had hoped for withpropane,” said Janet Hero Dodge. “So I neverquite got around to building that gas kiln.

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

Janet and Julie fire their glazes to a flattenedcone 9. At this temperature, their matte glazessoften and absorb iron from the clay. “Some ofthe glazes are quite bright for electric firing,” saidJanet. “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 alsodoes my own specialty pieces, I need the reliabilityof electric, which is more reliable than gas be-cause you have fewer variables. And I like the fastturnover I can have with the electric kilns. If I get aspecial order that I have to get out fast, I don’thave to wait to fill up a big gas kiln.

“I use a copper barium glaze,” Janet said, “andpart of the reason I started doing that is I had lesscontrol 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 thesame dependability as the kilns Janet and Julie areusing. Since their Paragon kilns have workedfaithfully for so many decades, imagine what yournext Paragon will do for you.

Why 2 women inremote Montanahave fired onlyParagon kilns

since 1972

2011 South Town East Blvd.Mesquite, Texas 75149-1122800-876-4328 / 972-288-7557Toll Free Fax [email protected]

Julie Dickinson and Janet Hero Dodge. Pioneer Potteryhas been firing Paragon kilns since the studio opened in1972.

The switch box on most

Paragon top-loading kilns

hinges at the bottom for

easy access.

The Paragon Dragonfront-loading kiln is becom-ing a favorite with Potters. Itis easy to load, heavily insu-lated, and designed forcone 10.

6 PotteryMaking Illustrated • March/April 2008

PotteryMaking Illustrated • March/April 2008 7

eTIqUeTTe

Tips from the Pros by Annie Chrietzberg

What Galleries Want

Once your skills are developed, your work is conveying the intended ideas, and you’ve got

a good body of work, how do you find a venue to sell what you’ve made? The place where art and money meet is a strange one indeed, and of the many places and ways to sell pots and sculpture, the gallery rela-tionship can seem the most mysterious. Approaching a gallery can be tricky for both new and established artists, and since gallery owners are people too, their preferences for interaction can be as diverse as their tastes. Not knowing all the answers, I asked some re-spected gallery owners to pass on a little guidance for the uninitiated about the artist/gallery relationship.

Scoping It OutGet out and attend galleries and receptions to see what

is being shown. That doesn’t mean emulate someone else’s work, but what you should notice is how work in a show relates to and presents itself, then imagine your work in a similar setting. Are your pieces ready to ex-pose themselves on pedestals? Can they hold their own?

If you think so, and you’ve identified a gallery you would like to have display your work, do some basic re-search. Some galleries include preferred submission infor-mation on their websites. Follow the instructions, and try to go that extra step to make your submission interesting.

The Best PitchIf the gallery asks for a hard copy submission,

make it nice. Throw in some eye candy, such as col-orful show announcements, and consider the details, such as the paper you use, the print quality, and how your presentation is put together—perhaps even how it emerges from the envelope. All the gallery own-ers I spoke with are happy to get a packet from an

artist in the mail. If a gallery’s website doesn’t cover application specifics, put together a nice package containing printed images with title, dimensions, ma-terials and price, an artist statement, bio and a cover letter to introduce yourself and state your intentions. If you’re having trouble with writing an artist state-ment, bio or resume, look at other artists’ websites for inspiration and to see how they have handled each of these tasks.

You can include a CD or DVD with digital images of your work, but to grab a gallery owner or direc-tor’s attention and encourage them to actually stick the disk into their computer and open the files, include some high-quality printed images of your best pieces.

First ImpressionsNever approach a gallery owner during business

hours looking for representation. Terry McGrath Craig from the Hibberd McGrath gallery in Brecken-ridge, Colorado, said, “We really don’t like it when artists approach us in the gallery. It’s not fair to the artist because we can’t give their work the consider-ation it deserves and it’s not fair to us because it puts us in an awkward spot.”

But the worst way to approach a gallery is to come through the door with a box full of pots. Terry told me, “Some people have even come in after having had another show in town, with the pieces that didn’t sell, wanting us to buy the leftovers sight unseen. Even if someone has phoned ahead and made an appointment, they really need to send some visuals to us ahead of time. We don’t like aggressive presentations.”

Charlie Cummings of Charlie Cummings Gallery calls bringing work into a gallery unannounced “the ambush.” He says, “If someone comes in unannounced with a box of pots, the only thing they really want to hear is ‘yes.’ I don’t want to hurt anyone’s feelings, but they are putting me in a position where I have to say ‘no’.” And he adds, “As artists, we really don’t want people to make split second decisions about our work.”

The Worst TimeThe worst time to approach a gallery owner is during

an opening reception. Gallery owners are extremely busy both before and during events. The reception is for the artist and the work currently installed, so it’s not the right time to address your own agenda. It might be okay to introduce yourself to the gallery owner and leave a card, but you may make a better impression by expressing appreciation of the work at hand.

A surprise visit to a gallery with your work can be a major problem!

8 PotteryMaking Illustrated • March/April 2008

First StepsAnthony Schaller, gallery director of the Red Lodge

Clay Center, says of approaching a gallery director, “It’s all about developing relationships.” He likens it to dating, stating “You don’t just jump into bed, you’ve got to create that bit of mystery that makes the gallery director want to see more.” He thinks a business card or postcard is a great way to introduce yourself. “A beautiful business card is a good teaser, it makes me want to see the rest of the work. A black and white plain old business card does not.” A pocket full of slides or images on an iPod is not the way to go either, according to Schaller. “Showing someone images on an iPod reeks of desperation, and no one wants to work with desperate people.”

The envelope PleaseCummings can tell a lot about what it will be like

to work with an artist from his or her packet. “If the packet is thrown together, then that’s how they work. If they don’t have their act together to do something simple, imagine them trying to send forty or fifty pots on a deadline.” He also emphasized that if you make first contact with a gallery by e-mail, it better be professional. “Consider that e-mail carefully, as you would a cover letter, and use the same professional standards. This is a first contact and the impression you make with that e-mail is going to make or break whether that person will get back to you.” Schaller mentioned that “Including a link to a personal website is fine. Including a link to another gallery’s website is not. To me that seems like taking the easy way out or looking for a short cut,” he said.

Packing As PresentationPacking is also part of your presentation. Recycled

packing materials are acceptable, as long as they are clean (but never use newspaper). Don’t allow your stored packing materials to get dusty in your studio, and don’t use anything that smells bad. Think about pleasing the person who is going to unpack your work, and pack it neatly as well as safely to the in-dustry standard. (See Dee Schaad’s “Packing Pots for Shipping,” PMI March/April 2007.)

While talking about what makes an artist nice to work with, Schaller told me something lovely about Mary Briggs. When she sends a box of work to the Red Lodge Clay Center, she includes a little surprise like a sprig of lavender or a couple of bags of tea. “Those are the types of gestures that create ongoing relationships between gallery owners and artists,” he said. There is something so fun, kind and wonderful about that simple gesture.

Cummings has also received pieces so inadequately wrapped from a ceramist that he stopped working with them altogether. Broken things cause a lot of ex-tra work for the gallery owner. There are phone calls

to make and forms to fill out, and if something isn’t packed correctly and it breaks, the ship-per is not liable.

The RelationshipEveryone I interviewed talked about the interac-

tions between the artist and gallery owner in terms of relationship. McGrath Craig told me, “There’s a partnership between the gallery and the artist. Ev-eryone has to feel comfortable in that relationship. It’s a one-on-one kind of business and what makes it fun and has kept us going for twenty-five years are the relationships we have with our artists.” But once you get accepted into a gallery you are not home-free. Every single time you make contact you are presenting yourself, through e-mails, letters, visits and deliveries or shipments of work.

Keys to SuccessBasically, you have to both make good work and

be a great person to work with. Every contact with the gallery needs to be delightful and formal, from an initial e-mail or hard copy inquiry to the delivery of the work. Check the gallery’s website for preferred submission information, otherwise send a standard packet, printed nicely and put together well, includ-ing nice printed materials. Introduce yourself to the gallery owner, but do not ambush him or her in their gallery. A creative, respectful and pleasing submis-sion will be more likely to get you in the door than a casual and sloppy one. •Annie Chrietzberg lives and works in Denver, CO. For ques-tions or comments, you can contact her on her website at www.earthtoannie.com.

Above: When submitting a CD or DVD of images, an eye-catching postcard encourages the gallery owner to take a look. Right: Your business card speaks volumes about you and your work.

PotteryMaking Illustrated • March/April 2008 9

10 PotteryMaking Illustrated • March/April 2008

We sometimes select what we think is

the correct material for a specific application only to find out that the ex-pected results fall short of our expectations. Plaster materials are often misunderstood and, as a result, what we hoped to achieve does not work: a simple case of not selecting the correct plaster.

Plaster BasicsPlaster is calcium sulphate, and after mining, is

ground and heated. The heating is controlled very carefully so that a chemical reaction is started but not completed. Water is required to complete the re-action and after correct mixing and pouring in your studio, the plaster hardens and becomes warm. This is a simple explanation of how plaster works, but what’s important is that a specific amount of water is necessary for a given quantity of plaster to achieve optimum working conditions.

The type of plaster, as well as the required wa-ter, determines the absorption and density of the finished casting or mold. The more water used to mix the plaster, the greater the absorption and, therefore, the weaker the final product. All plas-ters expand when mixed with water, but this is a controlled expansion and is how mold and model makers design their work so that mold parts release from each other when being made. All plaster mate-rials have superior dimensional accuracy.

Plaster TypesThere are many different types of plaster. United

States Gypsum (USG) Company is the largest supplier to the ceramics industry. Different types of plaster are used in different ways within ceramics.

The most widely used plaster in the pottery studio is USG® No. 1 Pottery Plaster. This plaster is ideal for making slip-casting molds and other plaster cast-ings where a high degree of water absorption is re-quired. Pottery #1 requires 70 pounds of water to set up 100 pounds of dry plaster. This is referred to as a consistency of 70. Pottery #1 can easily be cut, carved and manipulated in many ways in the studio.

Plaster of Paris (USG No. 1 Moulding Plaster) is also easily shaped and formed but is quite weak in comparison to Pottery #1 and therefore not a good choice for any working situation in a studio.

Puritan® Pottery Plaster has similar working properties to Pottery #1 but has an additive to

MATeRIAlS

In the Mix by Jonathan Kaplan

Know Your Plaster

promote a much more durable and harder surface. It’s used primarily for molds that are used with jigger/jolly machines so that they do not wear out as quickly.

Gypsum CementsHydrostone, Hydrocal and Ultracal 30 are also used

in the pottery studio. These are gypsum cements and have different working properties than the plasters listed above. They are very dense, have a low absorp-tion, and a much smaller controlled expansion. These three products are used to create a wide array of tool-ing such as case molds (master molds) for slip casting, template turning, permanent models and solid castings such as lamp bases or figurines. Gypsum cements set more slowly than conventional plasters.

Cerami-Cal is an industry standard for making air permeable dies for hydraulic pressing (RAM press-ing). This formulation has a very low absorption, high strength, and is very resistant to abrasion.

Recommendations• For most simple applications in the studio such as

press molds, casting molds, carving stamps, etc., Pot-tery #1 is the best choice.

• It is important to weigh both the water and the plaster in the correct proportion using clean buck-ets and mixing tools (see 2008 Ceramic Arts Buyers Guide, p. 32).

Each type of plaster has its own consistency and this is what needs to be observed. “Just sift the plaster into the water until it mounds on top” is misinformation and while it may produce workable results, it does not take full advantage of the characteristics of plaster.

• When mixing, sift dry plaster into the water and

Plaster is an essential part of any pottery studio, but care must be taken when using and storing it. Keep any plas-ter areas clean at all times so plaster cannot contaminate your clay, and store plaster for up to 90 days in airtight food service containers.

PotteryMaking Illustrated • March/April 2008 11

let it slake or absorb the water for ninety seconds. I use a Jiffy-type mixer for small batches and mix for an additional ninety seconds and then pour.

Remember that plaster sticks to plaster and for that matter, to any porous material. Proper separating or “parting” of absorbent or porous surfaces is neces-sary. Do not use petroleum jelly for this. There are many suitable commercial compounds such as Poly-urethane Parting Compound, Crystal Mold or Fels Naptha Soap that do not leave a residue.

When pouring plaster, pour it over a sharp edge to break the air, and into a corner of the mold box or coddle. Do not pour directly over the model of what-ever you’re making a mold of.

• You should NEVER EVER let any excess plaster or clean up water go down the drain.

• Plaster absorbs moisture from the air so it must be stored in airtight plastic containers.

• Plaster should not be stored for more than ninety days. When purchasing, check the bag for a packing date.

• An excellent source of information on plasters, gypsum cements, procedures and techniques is USG Company, and their ceramics website at http://gyp-sumsolutions.com/application.asp?app=Ceramics •Jonathan Kaplan, a frequent contributor to PMI, is a master mold and model maker as well a ceramic designer, educator, artist and potter living in Denver CO.

12 PotteryMaking Illustrated • March/April 2008

Refractory materials (materials that can

withstand high temperatures) are used in the con-struction and maintenance of ceramic studio kilns. Firebrick, ceramic fiber and castable refractories are the three forms of refractories used in kilns, but firebrick is the most significant.

A Brick With Many FacesFirebrick is a generic term that encompasses any

brick that can withstand repeated heating and cool-ing at various temperature ranges. Additionally, firebricks must be able to withstand different at-mospheres, provide various structural or insulating qualities, and due to the difficulty in cutting them, must be available in a variety of shapes to add flex-ibility to kiln design and construction.

Hard and SoftThere are two types of firebrick: hardbrick and

softbrick. Hardbricks are very dense and durable and used for their structural qualities. They can be found most often as the main building component of large kilns, chimneys, fireboxes and burner ports—any-where around direct flame. Softbricks are lightweight and made from a refractory clay body containing combustible materials. When fired, the materials burn out leaving a sponge like matrix of air pockets, which serve to provide insulating qualities to the brick. Also known as insulating firebricks (IFBs), these bricks ab-sorb about half the energy as hardbricks during a fir-ing. Softbrick range from 2000°F to 3300°F and are used as the brick of choice for constructing electric kilns or as insulating liners in reduction kilns.

Grades Are ImportantThe main ingredient in firebricks is fireclay, which

contains mostly alumina and silica, elements capable of withstanding high temperatures. Hardbricks are available in several grades, depending on their com-position and properties, which determine the most efficient use of them in construction. High alumina compositions start at 50% alumina and increase in alumina content to 98% for the highest purity and most expensive. It’s extremely rare that a potter would require an alumina content exceeding 70%.

Low-duty: Typically rated to 1750°F maximum service temperature. Primarily used for fireplace chimneys, and contains 24–26% alumina.

Medium duty: Temperature rating to 2700°F

Tools of the Trade by Jim Wunch

Buying Firebricks

maximum service temperature. Uses include backup linings, lower-temperature ceramic kilns and chim-neys, and contains 34–38% alumina.

High Duty (first-quality firebrick): Temperature rating to 2850°F maximum in purely heat service. Certain atmospheres can reduce this temperature rat-ing by several hundred degrees, and contains 36–40% alumina. Uses include boilers, ceramic kilns, chimneys and back-up linings.

Super Duty: Temperature rating to 2900°F in pure heat service. Certain atmospheres can reduce this tem-perature rating by several hundred degrees. Same uses as high duty where higher temperatures are involved. Contains 40–44% alumina.

High-Fired Super Duty: Temperature rating be-tween 3000°F–3150°F. A higher burned version of super duty firebrick designed to lower the porosity, increase physical strength and improve resistance to alkali attack and carbon monoxide disintegration. Contains 40–44% alumina.

ReFRACTORIeS

Straight Arch

Soap Wedge

Split End Skew

Bat Side Skew

A sample of some of the many brick shapes available.

PotteryMaking Illustrated • March/April 2008 13

ShapesMost bricks are pressed or extruded. Common

shapes are straights, arches, wedges, keys, rotary kiln blocks (RKBs) and square-edge tiles. Larger pieces are typically produced by air hammering the brick mix into wooden or steel molds sized for the desired shape dimensions.

The standard refractory brick size is 9×4½×2½ inches, also known as one brick equivalent (beq). This size is the most common used in pottery kiln construc-tion. However, an equally popular standard size used in industrial furnace construction is the 9×4½×3-inch series. The 3-inch series brick reduces the number of joints in the kiln.

Straights—the standard straight is 9×4½×2½ inches or 9×4½×3 inches and available in larger sizes up to 18 inches long, 9 inches wide, and 4½ inches thick.

Square edge tile—This term refers to “big” straights, which comprise 12×12 inches up to 24×12 inches with thickness ranging from 1½ to 3 inches.

Soaps—A term used to describe a half brick in width such as 9×2¼×2½ inches or 9×2¼×3 inches.

Splits—A term used to describe a the thickness of a brick thinner than 2½ inches, i.e., splits come in 1, 1¼, 1½, and 2 inch thicknesses.

Arch—This shape tapers in thickness along the width over its entire length and is used to make sprung or circular barrel arched roofs either 4½ inches or 6 inches in thickness.

Wedge—This shape tapers in thickness along the en-tire length of the brick and is used to make sprung or circular barrel arches 9, 12 or 13 inches in thickness.

Skew—A shape having a certain taper on one side or end to enable a sprung arch to be built. Four major types are available in both side and end skews that relate to the rise of the arch.

RecommendationsHere are some recommendations that will greatly

assist you on your firebrick purchase.• The vast majority of pottery kilns are constructed

of high duty or super duty brick.• Use extreme care when considering used refrac-

tories for building kilns. In most cases, you won’t know the conditions under which they were exposed. If they’ve been removed from a furnace, it’s usually because the lining failed. Properties of refractories deteriorate with exposure to extreme heat, chemical vapors, mechanical stress and thermal cycling.

• While insulating firebricks can be easily cut with any kind of saw, hardbricks require special equip-ment to cut. Design your kiln to take full advantage of available shapes. •Jim Wunch is the owner of Larkin Refractory Solutions located in Lithonia, Georgia. He has more than thirty years of professional experience with refractory manufacturers and installers worldwide. For more information, go to www.larkinrefractory.com.

14 PotteryMaking Illustrated • March/April 2008

PotteryMaking Illustrated • March/April 2008 15

Decals are typically thought of as low-fire, post-glaze decorating tools, but laser decals are actually far more versatile. Laser decals can actually withstand virtually any firing

temperature and can be used in any step of the creation process. I’ve been drawn to creating ceramic decals be-cause of my interest in expressing fine details, vibrant colors and text on ceramics, and the decal process serves as an avenue for me to do this. And, I am not limited to firing in an electric kiln—decals work great for me in my gas kiln and even in atmospheric firings.

I create my own decals using a laser printer and de-cal paper. My images originate from numerous sourc-es: drawing within Photoshop, free-hand drawing and scanning into the computer, photo manipulation, Google image searches, or any other way to digitally enhance an image. Photo transfers can work if you put the photo into a Bitmap setting in Photoshop, but it can be very challenging to get clear resolution of pho-tos on ceramic ware. I’ve been specifically interested in industrial images, line drawings, farm imagery and prayer and hymn texts, as well as old patent drawings, road maps and elevation drawings. (For a detailed step-by-step article on using a laser printer to create custom decals, see “Do-It-Yourself Decals,” by Frank Gaydos, PMI Sept/Oct 2006. This article is also available online at www.ceramicartsdaily.org/magazines).

Layering ImagesI layer decals both in the printing process, as well as

during the application process. Occasionally I’ll print different images onto the same decal sheet multiple times in order to achieve a layered effect on one decal. When layering the decals during the application process, it’s

Breaking the RulesPushing the Limits with Decalsby Justin Rothshank

Pitcher and mugs, to 7 inches in height, stoneware. Reduc-tion fired to cone 10, laser decal fired to cone 04, com-mercial decal fired to cone 015. This set uses commercial decals along with laser decals. Layering the decals enhanc-es the visual impact.

Mugs, 2½ inches in height, porcelain, reduction fired to cone 10, laser decal fired to cone 04, commercial decal fired to cone 015. There are three layers of decals here and it’s important to be sure that no water or air bubbles are caught between the decals and the ware, which can cause the decal to burn off during the firing process causing a loss of detail.

16 PotteryMaking Illustrated • March/April 2008

important to be sure that no water or air bubbles are caught between the decals and the ware. This can cause the decal to burn off during the firing process resulting in a loss of detail.

Because of the stability of laser de-cals, their low cost and their ease in transferring, this process can serve as the baseline guide for further sur-face decoration. I apply laser decals at all points of the ceramic process: greenware, bisque ware and glaze ware.

Unfired ClayWhen applying the laser decal to

unfired clay, there are three things to consider. First, the decal “sticks” to the piece with water so applying decals to wet or damp clay can be easier than applying decals to bone dry clay, even though both sur-faces can accept laser transfer de-cals. Second, a wet decal picks up a “cloudy” clay residue as soon as it touches the clay body. The more you handle the decal the cloudier it can become. Because of this, it’s often easier to transfer smaller im-ages than larger images until you become accustomed to handling decals. Limiting the number of times you need to smooth the de-cal with a rib or a sponge also pre-vents contaminating the decal with the cloudy residue. Third, the decal film may leave a mark on the clay, even if there is no ink on the film. Therefore it’s important to cut out the decal as close to the image as possible. Again, the less water you use in making the transfer, the less chance of leaving a mark behind to influence the surface of the pot.

Bisqueware or Unglazed Fired Ware

Similar to applying a decal to bone dry clay, it can be difficult to get the decal to adhere to bisqueware. I’ve found that moistening the piece be-fore applying the decal often allows the decal to adhere long enough to fire it. Using this technique likely requires a second bisque firing before glaze ap-plication, which can be a nice option for allowing layering of decals.

1 Maximize the decal sheet by filling an 8½x11 sheet with mul-

tiple images.2 Trim decals as close to the image

as possible since the decal film may leave a mark on the clay, even if there is no ink on the film.

3 Soak the decal in water until the film slides on the paper backing.

The decal will curl in the water.4 When applying decals to bone

dry greenware, dampen the surface.

5 Work quickly to properly position the decal. A wet decal

picks up a cloudy clay residue as soon as it touches the clay body and the more you handle it the cloudier it can become.

6 Remove excess water and air bubbles with a damp sponge.

PotteryMaking Illustrated • March/April 2008 17

Glazed WareI frequently apply laser decals to glazed ware.

Since much of my glazed ware is fired in reduc-tion to cone 10, or in a wood kiln beyond cone 10, I apply and fire laser decals to cone 04 to “set” the decal. Again, you must be careful to cut the decal out as close to the image as pos-sible in this transfer process, and to squeegee out any excess water and air bubbles to inhibit a low quality transfer or burning away detail in the firing process. If you notice a cloudy outline after the firing process you may have tap wa-ter with too much calcium or other minerals in it. Switching to distilled water can potentially solve this problem.

For me, the most challenging aspect of us-ing decals on high-fired ware is finding glazes that remain consistent, or even improve, dur-ing the refiring process. I’ve spent considerable time testing a series of glazes that I know will remain consistent throughout several firing steps. Many glazes that use iron as the main colorant (temmoku and celadon specifically) do not remain consistent in color through the cone 04 firing. I have also noted that some of my glazes that use tin as a colorant will occasionally pinhole more than other glazes. I’m not much of a glaze expert, and haven’t had adequate time to continue testing glazes to determine the qualities that make refiring at cone 04 a possibility. I do have a yellow, white and red glaze that work well in the re-firing process. I also use Shinos, which are

“Fossil Fuel Oil Can,” 12 inches in height, stone-ware with dinosaur decal, wood fired, 2006.

Laser decals, commercial decals and china paints can all be used in part-nership with wood-fired wares. All of these processes can be effectively used on pieces after they have come out of the wood kiln. Laser decals can also be applied prior to the wood firing.

Decals are more visible on porce-lain or white stoneware in the wood kiln. Laser decals can turn very nice shades of iron red on wood-fired pieces. When using laser decals dur-ing a wood firing I apply my decals to green ware, and then bisque fire the pieces. In order to improve the chanc-es of having the decal remain visible post-firing, I try to avoid glazing over

the decals at all. If I do decide to ap-ply a glaze or a flashing slip, I spray the glaze and try to do a very light dusting over the decal, just enough to encourage flashing. During the kiln loading process I’m careful to load the decal ware so that the decal is not directly in any flame channels or high ash areas. This not only helps to keep the decal visible, but also often high-lights the decals with flashing and ash build-up surrounding it.

When applying decals to wood-fired pieces after they’ve been fired, I follow the same steps as with any other decal process, but there are a couple of things to keep in mind dur-

Decals with Wood-Fired Wareing this process. First, commercial decals, especially old ones, tend to transfer poorly on wood-fired ware, especially the more crusty wood-fired pieces. This can sometimes lead to a nice effect, but only if you’re not con-cerned with the intricate details of the decal. Secondly, wood-fired piec-es can become somewhat muddled in the refiring process. This is especially apparent on pieces with glossy ash runs or areas of very high ash build up. The refiring will often change the appearance of the piece, and depend-ing on your goal with the decals this can either enhance or destroy the wood-fired effects.

18 PotteryMaking Illustrated • March/April 2008

typically both frustrating and rewarding. Shi-nos with iron can sometimes yield what I con-sider to be the most fascinating and pleasing results, as the image can fire into a very bright red color with beautiful contrast against the bright whites, tans or blacks of the Shino glaze. With all other glazes the traditional la-ser decal takes on a sepia color.

One problem that has occurred is that cer-tain glaze and clay body combinations will dunt or crack after being fired several times. While I’m still trying to figure out what causes this problem, I have found that slowing the firing process down during both heating and cooling it and reformulating glazes helps re-duce this problem. I’ve also been able to mini-mize the issue by holding the kiln for an hour at peak temperature before turning it off. I do this for both laser decals, and for commercial decals, lusters and china paints fired to cone 015–017.

The decal process, while very simple, can also be combined with numerous other sur-face treatment methods, for example I also use commercial decals, china paints, screen-printed underglazes, lusters and commercial luster de-cals. The versatility of the laser decal makes it a fabulous tool in the clay studio.

Tips for Success• In my experience most laser transfer decals

fire permanently onto glazed ware at cone 04 for both low-fire and high-fire glazes.

• Most commercial decals, decals from www.easyceramicdecal.com and most china paints and lusters fire to cone 016.

• The red ribs from www.mudtools.com make great squeegees.

• The Versa Color china paints from www.amaco.com are great for silk screening or painting over glaze.

• Sometimes regular water can leave a sil-houette mark around decals. In this case, buy distilled water from the store to use in applying the decals.

• Any bubbles will burn out leaving holes and gaps in the decal. Remove all bubbles with a squeegee or damp sponge immediately, but do not overwork the decal. •

Justin Rothshank is a Pittsburgh-based ceramic art-ist and the associate director and manager of ceramics at the Union Project. The Union Project is a nonprofit community organization that provides a gathering and working space for artists, community builders and people of faith. For comments, you can reach him at [email protected].

Resources

PrinterHP LaserJet 1022—for printing laser decals. Note: Different printers use different inks with varying amounts of metal oxides so you’ll need to test.Decal PaperMicro-Mark Company—buy the clear decal paper for laser printers. You don’t need the fixative spray.www.ares-server.com/Ares/Ares.asp?MerchantID=RET01229&Action=Catalog&Type=Product&ID=82274Custom Color Decalswww.easyceramicdecals.com $30 per 11x17 sheet of custom designed CMYK color decalsCommercial Decalshttps://secure.harbon.com/cgi-bin/harbon/index.htmlwww.artdecalcorp.com/index.htmwww.ebay.comwww.fthstudio.com/www.instardecals.com/shoponline.asp?point=products&catid=51www.olympiadecals.com/order_catalog.htmwww.timrg.com/indecal/www.wisescreenprint.com/

Mug, 3 inches in height; Plate 4 inches in diameter, stoneware, reduction fired to cone 10, laser decal fired to cone 04.

PotteryMaking Illustrated • March/April 2008 19

y college sculpture professor once told me, “If you can’t make it well, make it large.” Whether that saying stuck with me throughout my academic career or I

just felt that bigger was better, throwing sizable pieces has always intrigued me. My greatest challenge was ac-tually finding a method that worked.

There were two ways I was taught to throw large vessels. The first method was to throw two sections: a bottom piece and an inverted top. Both pieces were attached, and the form was then thrown and shaped as one. The second way was to throw a bottom then attach hand-rolled or extruded coils to the first thrown piece. I found that with both ways, I could make it large, but not necessarily make it well. After some time and ex-perimentation, I found a third way was to throw a coil on the wheel then attach it to a leather-hard piece. This method allows me to add multiple sections with ease and reduces the chances for mistakes.

by Joel BetancourtPhotos by Gina Russo

ProcessThe process begins by throwing a bottom. This is

the foundation so it should be closer to a cylinder than any other shape to prevent sagging or slumping. I also make this first piece thicker than usual to support the upper sections when they’re attached. The foundation should be made using the largest amount of clay you can handle at once (figure 1).

The lip of this section needs to be perfectly centered and without any wobble (figure 2). This is one of the key secrets to using this method. If the lip is off on any section, it hinders the next addition. If there’s anything wrong with the lip, it needs to be trimmed.

Once you’ve thrown the bottom section, round off the lip and measure it with calipers (figure 3). You can allow the section to dry naturally or you can force dry it using a heat gun or hair dryer (figure 4). Throw the next section and open a well that exposes the bat. Open

Super Size It

m

1 2

3 4

20 PotteryMaking Illustrated • March/April 2008

up the section to the wheelhead to create a thrown coil (figure 5). The center of the coil needs to be the exact size of the bottom section’s lip (figure 6).

Create a concave groove (flange) using the round side of a wooden knife (figure 7), and score the section. Score the lip on the bottom section (figure 8) and add slip. Position the top section over the bottom (figure 9). Check its placement by running your fingers around the outer edge of the section (figure 10). Wire off the top piece by securing the bat with your thumbs and pulling the wire through.

Once together, press the inside and outside edges of the overhanging section onto the bottom piece (figure 11). Smooth the join by pulling and throwing that area (figure 12). Essentially, the new section is pulled up and worked over like a normal cylinder. For larger work, you may need to stand and throw, but when attempt-ing this, it’s important to keep your hands still by using

as much of your body as you can. I brace my elbow against my hip and help steady both hands by straight-ening my back and keeping my arms close to my body. This restrains my hands from any unnecessary motion while I pull the walls up.

Smooth the joined section with a rib. A larger rib or the edge of a wooden knife sometimes works better by helping you continue the line created by the first section (figure 13). Allow this section to dry then add another section repeating all the previous steps for adding a sec-tion. If you’re closing off the form, the next coil should be thrown as a bowl-shape to make the process of fin-ishing the work easier (figure 14).

If the form is to have a long or heavy neck, pay extra attention to the shoulder of the piece. Force dry the shoulder before attempting to close the form off or be-fore pulling a more elaborate neck. When narrowing the top (figure 15), be sure to wet your inside hand past

5 6

7 8

PotteryMaking Illustrated • March/April 2008 21

9

11 12

13

10

14

22 PotteryMaking Illustrated • March/April 2008

the wrist to avoid having the clay cling to your wrist and twisting the section.

Use a sponge on a stick to remove any excess water from the inside. A regu-lar sponge wrapped around a wooden dowel and held together by a rubber band is perfect for this (figure 16).

Once you’re satisfied with your piece, allow it to dry a little while longer, then trim the bottom section right side up (figure 17). Wiring the form off the bat can pres-ent a problem because the first thrown section is now leather hard and gripping the bat. I’ve used a flat metal tool or my needle tool to help cut through the outer layer of the form. This makes wir-ing the piece easier.

Final ThoughtsBefore beginning a large sec-

tional vase, remember . . .

• One of the most impor-tant details of this method is to keep each section centered and the lip even. If at any point the lip becomes irregular, remove it with your needle tool.

• The form is being built from the bottom up. Make sure the founda-tion is cylindrical in shape or it can slump on you while adding any new sections.

15 16 17

• Be aware of the line created by this section so that you can continue it throughout the rest of the form. This helps disguise the areas where

two sections meet. Plus it gives you a more visually pleasing piece.

• Try to use as much of your body to help keep your hands

still. Make sure you’re balanced if you have

to stand to continue throwing the vessel. The less shaky you or your hands are, the more likely you are to throw centered and keep each section straight. •

“Ceramic Work, New 220,” 26 inches in height. Thrown and

altered stoneware with an ash glaze, fired to cone 10.

Joel Betancourt is a Florida-based ceramic artist and writer who’s written for several publications and exhibited in the Palm Beach

County area. He’s currently the ceram-ics tech at Palm Beach Community Col-lege. For comments, you can reach him at [email protected].

PotteryMaking Illustrated • March/April 2008 23

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24 PotteryMaking Illustrated • March/April 2008

Pennsylvania German folk art found me when I was searching for a different direction to take my clay work. To me this art embodies the spir-it of a people who loved life with their oft-used

representations of hearts, tulips, birds and the flower urn. And while the Pennsylvania German potters made mostly plain functional ware with local red earthen-ware clay, I fell in love with the slip-decorated pieces with their beautiful rich red-and-yellow coloring.

There are basically two styles of decorated Penn-sylvania Redware: sgraffito ware and slipware. For ideas to use for decoration I find inspiration in the Pennsylvania German decorative arts, such as antique redware, fraktur and painted furniture to name just a few sources.

Sgraffito WareSgraffito ware is simply red earthenware

decorated with a layer of white slip that is then scratched away to reveal the red clay underneath. To begin, roll out a slab of clay large enough for your mold (figure 1). For this plate I rolled

the clay K inch thick using K-inch dowel rods on each side of the clay as a guide.

To create different-size circles, use a disc cutter that has an arm with multiple holes. Place a needle tool in the appropriate hole, then swing the arm in a circle to cut the clay (figure 2). Lightly wipe the clay with a damp sponge to smooth the surface.

Center the mold upside-down on the clay circle (fig-ure 3) and carefully flip everything over, using the inter-facing or a ware board to aid you. Avoid bending the clay in the opposite direction. Press the clay to the mold with your hands (figure 4); and paddle the clay down as well (figure 5). Smooth and press the clay to the mold by wiping the surface with a damp sponge, then allow to dry to leather-hard.

The Pennsylvania German potters used upside down bowl-shaped molds carved from wood with a foot un-

derneath, which resembled a mushroom. My drape molds are made of bisque-fired

earthenware and I use bowls that I buy to serve as slump molds.

Remove from the mold and place the leather-hard form

upright on your work surface or

Pe

nnsylvania Redware

by Denise Wilz Photos by Lisa Short

Tip I roll out slabs on heavy-duty inter-

facing rather than canvas as it avoids hav-ing to remove the canvas marks. Even though

interfacing has a much shorter lifespan, I consider it a good trade-off.

Pennsylvania Redware platter, 12 inches in length. The design was created using a sgraffito technique then bisque fired to cone 04. Selected areas were then glazed with a green copper

oxide glaze then overglazed with a commercial clear glaze and fired to cone 06 in an electric kiln.

PotteryMaking Illustrated • March/April 2008 25

1 2

3 4

5 6

26 PotteryMaking Illustrated • March/April 2008

banding wheel. Ap-ply slip with a 2-inch hake brush (figure 6). Brush on two or three thin even coats of slip, making sure the red clay cannot be seen through the surface. Clean the edge of excess slip and use a coggle wheel to decorate the edge (figure 7).

Allow the slip to dry to leather-hard before you be-gin the sgraffito process. I use a calligraphy pen with a rounded scratch nib and a stylus for my sgraffito work. Deciding when to sgraffito the piece depends on how wet you like the slip. I prefer a leather-hard surface but some potters prefer to sgraffito right after the slip has been applied and others like to sgraffito when the slip is bone dry.

You can use other tools like a wire-loop tool, sharp-ened stick or even a pencil in a pinch. As for getting the design onto the plate, it can be freehanded with your sgraffito tool, drawn directly on the slip with a pencil or transferred using tracing paper. To use tracing paper, first draw the design onto the paper, making sure it will fit the size of the plate you are making. Center the de-

The ToolsTools for making Pennsylvania Redware haven’t

changed much over the centuries. They consisted of a rolling pin, disc cutter and nail, brushes, a sharpened stick for sgraffito, slip cup for slip-trailing, batter, coggle wheel, wooden molds, lead glaze and a wood-fired kiln. Additional glaze colorants included copper oxide for green and manganese for brown/black. And those proficient with throwing used a potter’s wheel to create complementary ware and both thrown and handbuilt pieces could be decorated us-ing the same techniques.

In today’s world, we use lead-free glazes, electric kilns and plaster or bisque molds. And the availability of commercial glazes, clays and stains makes it pos-sible to get consistent results.

7 8

9 10

Tip Use a high-quality brush to avoid

losing bristles in the slip, which can mar the work.

PotteryMaking Illustrated • March/April 2008 27

sign on the plate and lightly draw over the design with a stylus or pencil (figure 8) to leave a slight indentation in the slip as a guide. Then use the sgraffito tool you prefer to scratch the design into the slip revealing the red earthenware beneath (figure 9).

The Pennsylvania German potters applied the glaze directly to the green ware and once-fired the work in a wood-fired kiln. I bisque fire to cone 04, apply a com-mercial clear glaze then glaze fire to cone 06.

Slip Trailing Another form of Pennsylvania redware consists of

red earthenware decorated with lines and dots of slip. Create a form using the same techniques as described above. To make an especially smooth surface to work on, lightly wipe the clay with a damp sponge (figure 10). Use a slip cup (see box at left) to draw the design onto the plate (figure 11).

I find that standing to decorate slipware allows me to move my entire body with the motion of the slip cup across the plate resulting in nice smooth flowing lines. Of course you can use as many straws as you want in your slip cup. For dots and single lines, I use a plastic squeeze bottle (figure 12). The Pennsylvania German

The Slip CupFor multiple lines I use a small plastic container

with a tight fitting lid. I cut three small-diameter drinking straws to about 2 inches in length, and insert them in a straight line approximately 1 inch from the top, with about ¼ inch of the straw inside the container. I apply glue around each hole to seal it and tape the straws together on the outside so they are always the same distance apart, otherwise they’ll move while you’re using it. Trim the outside straw ends so they’re all the same length.

Fill the container with slip that is thin enough to pour from the straws but not too fast. Replace the lid and test the consistency. Make straight and/or wavy lines since both of these designs have been found on antique plates.

11 12

13 14

28 PotteryMaking Illustrated • March/April 2008

Folk Art of Rural Pennsylvania by Frances Lichten

Early Pennsylvania Arts and Crafts by John Joseph Stoudt

Pennsylvania Pottery—Tools and Processes published by the Bucks County Historical Society, Doylestown, Pennsylvania. •

Denise Wilz is a self-taught redware potter living in Green Lane, Pennsylvania, and a member of the Pennsylvania Guild of Craftsmen. For questions or comments or to view her work visit www.wilzpottery.com.

potters made their slip cups from small pots that were thrown or pinched with quills inserted as the straws. I’ve tried making my own clay slip cups but have yet to successfully get the slip to flow out of the quills well evenly enough to look nice, but I’ll keep trying.

Allow the slip to dry to the touch then press the slip into the red earthenware with the batter or rolling pin, wiping the tool after each use in case some slip re-mained on it (figure 13). Clean the edge of the plate to remove any slip that has dripped over the side and then decorate the edge with the coggle wheel (figure 14).

Next, mold the clay by centering the mold upside-down on the clay circle and carefully flip everything over. Press the clay to the mold with your hands; use a batter to tamp the clay down as well. Wipe the surface with a damp sponge to smooth and press the clay to the mold. Remove the plate from the mold when it is leather-hard.

GlazingThe leaded glazes the Pennsylvania German potters

used gave the slip a yellowish tint that ranged from al-most white to a deep yellow/orange. Do not use leaded glazes. Instead, you can safely emulate the yellowish tint by staining the slip, or by tinting a transparent glaze with rutile, iron oxide or stains. And there are potters today who continue the tradition of wood-fir-ing lead-glazed ware. You’ll need to experiment to get the look you like.

Suggested ReadingTulip Ware of the Pennsylvania-German Potters

by Edwin Atlee Barber

An example of slip-trailed redware done in the Pennsylva-nia German Pottery tradition.

An example of a traditional design using the sgraffito tech-nique on redware covered with white slip. Green accents applied after bisque firing and a tinted clear glaze applied to achieve the antique lead glaze look.

PotteryMaking Illustrated • March/April 2008 29

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30 PotteryMaking Illustrated • March/April 2008

PotteryMaking Illustrated • March/April 2008 31

Teapots are one of the greatest challenges for any studio potter. Many elements go into their pro-duction and all the parts—the body, lid, handle and spout—need to fit together into a cohesive

whole. For centuries, teapots have been produced in myriad ways and forms, and like many potters, I ini-tially began making teapots on the wheel. But throwing and putting the parts together was a challenge for me because the forms were too mechanical so I began to experiment with handbuilding. Since I’ve done a lot of handbuilding using hump molds, this seemed the logi-cal path to take. While the process here uses a spheri-cal form, you’ll soon recognize the endless possibilities with other shapes.

Having a Ball

Spherical teapot, 9 inches in height, underglaze decoration with clear overglaze fired to cone 04, by Ron Korcyznski. The teapot form easily lends itself to a wide range of creative expression, and

handbuilding a round teapot frees the clay artist from the symmetrical mechanized look of the wheel.

“I cannot explain my enjoyment of clay. It is

difficult to put into words the feel of the clay in

my hands, the growth of a pot as it changes from

a shapeless mass into a vessel, the look of the dry

glazes as I decorate, the touch and visual experi-

ence of the pots as they come from the kiln.”

Ron Korczynski

Handbuilt Spherical Teapots by Ron Korczynski

32 PotteryMaking Illustrated • March/April 2008

The SphereRoll out a slab that’s about ¼ to 5⁄16 inches thick.

Apply toilet paper to the mold as a release and place the slab over the mold.

Trim the bottom, remove and repeat for the second hemisphere (figure 2). Set the hemispheres aside and allow them to dry to the leather-hard stage.

Roll out a coil and attach it to the edge of one hemi-sphere (figure 3), then attach the other hemisphere us-ing your finger or tool to work the seam (figure 4).

Use a Surform tool to refine the shape (figure 5). Since I do a lot of painting on my surfaces, I use a metal rib to smooth the sphere (figure 6), but you can add different textures at this stage.

Getting StartedEach teapot begins with a slab draped over a plaster

hump mold. I make these round plaster hump molds by taking a Styrofoam ball and cutting it in half. Sty-rofoam spheres are available in a variety of sizes from craft supply stores, and you’ll need a 6-inch ball for a modest-sized teapot. Other forms can also work and I use the blue extruded Styrofoam board found at home centers to build up and carve molds. Once the shape is finalized, I glue it to a piece of wood or tempered hardboard that’s been cut to shape (figure 1). Tip: You can finish the mold by propping it up and pouring plaster over the top. This gives you a thin, durable, absorbent layer that can be smoothed out when dry and makes a great lightweight mold.

1 2 3

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34 PotteryMaking Illustrated • March/April 2008

Many teapots can be made using this technique, and the handbuilt sphere can form the basis for a variety of ves-sels or sculptures. The possibilities are endless.

derside of the lid (figure 13). This will add some weight and balance to the lid to help hold it in place when pouring tea.

Spout and HandleTo form the spout, flatten a cone of clay (figure 14)

and form a spout around a brush handle (figure 15). Trim the spout and attach it along with decorative elements to the teapot. To create the handle, I create two “dog bone” shapes and flatten them, leaving some thickness at each end (figure 17). Assemble the handle and add a decorative element if desired. Add a handle to the lid following the same style (figure 18). •Ron Korczynski is a studio artist and retired art teacher. After jug-gling teaching and studio work for 32 years, he retired in 1995 to dedicate all of his energies to studio work. For comments and to see more of his work, go to www.korczynskiceramics.com.

Base and LidTo create a base, one method I like is to use a trian-

gular trimming tool to cut a strip from a block of clay (figure 7). With the sphere resting on an empty plastic container, attach the base and add decorative elements according to your style (figure 8). Of course, design op-portunities abound here but bear in mind that all parts on a teapot work to form the whole work.

For the lid, cut a round opening in the top of the sphere and set it aside. In order to have the lid fit only one way, make a small notch in the opening (figure 9). Place toilet paper around the edge of the opening as a separator. To construct the lid, first place a small ball of clay in the notch (figure 10), then add a coil of soft clay to fit into the lid opening (figure 11) so it slightly overlaps the opening. Take the clay piece you removed to make the opening and attach it to the coil (figure 12). Flip the lid over and add a ball of clay to the un-

16 17

18

All the parts of a

teapot—body, lid,

handle, foot and

spout—need to

fit together into a

cohesive whole.

PotteryMaking Illustrated • March/April 2008 35

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Working at a pottery supply company gives me the op-

portunity to hear just about every type of customer problem imaginable. The vast majority of the prob-lems are common and, while I enjoy helping cus-tomers solve them, I would much rather help them avoid the problems altogether. Here’s my list of the 10 things you can do to avoid the easily avoidable.

1 Fire to the Right TemperatureYou can’t fire earthenware to cone 10, unless you

WANT to cover your kiln shelves with a lovely bean pot brown glaze. On the other hand, don’t fire a cone 10 clay to cone 4, unless you enjoy third de-gree burns from your microwaved coffee mug. This is an exaggeration, but if moisture builds up in clay that isn’t vitrified, those water molecules start boil-ing in the microwave making the cup extremely hot. If a clay is listed with a firing range of cone 6–10, fire to cone 10 to fully vitrify the clay.

2 Choose the Right ClayThere’s no “one clay fits all.” If you will be throw-

ing or handbuilding, choose a nice plastic clay. When working big, a plastic clay with some fine to medium grog may be better for you. For large slab work or tile, grog is good because it helps to keep tiles from warping. If you plan on making sculpture, choose a medium to heavily grogged body, depending on the size of your work. The larger you go, the more grog you may need to keep it from cracking when drying.

3 Know Your LimitsIf you’re new to clay, wait until you have honed

your skills before trying porcelain. Glazes look wonderful on it, but the very properties that make glazes so dreamy, may cause your worst nightmare. Slumping and warping are very common problems with porcelain. Even seasoned stoneware veterans are sometimes forced to change their forms because they do not translate well into porcelain. Unless you want an early start with your very own “Ugly Pot Graveyard,” hold off.

4 Buy Small QuantitiesYou would be surprised how many potters buy

large quantities of clay or glaze without ever having used it. When buying materials you haven’t tried, buy small quantities the first time out, and don’t fix-ate on the quantity pricing.

PRevenTion

Supply Room by Carla Flati

Top 10 Studio Problems to Avoid5 Be RealisticIf you have an electric kiln and are firing to cone 6,

please don’t try to duplicate a carbon-trap Shino. This will only bring you pain and sorrow.

6 experimentOkay, now that you know carbon-trap Shino is out

of the question, try experimenting with layering your glazes. You won’t believe the beautiful results that can be obtained from layering two rather mediocre glazes.

7 Always Use ConesYou are probably thinking, “I’ve got a controller,

I don’t need cones.” Yes, you do! Controllers are wonderful, but they’re not perfect. If you’re not in the habit of using cones, try placing them in your next fir-ing. You may be surprised to find that your kiln is fir-ing higher than your controller was set to fire, which may explain why your glazes are a bit off.

8 Avoid SubstitutionsHave you ever run out of Frit 3134 and substi-

tuted it with Frit 3124 because after all, it’s only one number off? Well, potters are notorious for doing this and not just with frits. They can’t understand why the 10,000 gram batch of glaze they just mixed up doesn’t look like it’s suppose to. When you do need to use a substitute, refer to tip #10.

9 Don’t ProcrastinateI really feel guilty about this suggestion because

procrastination is my middle name, but potters are famous for this. You waited until a week before a show to fire a new glaze that you didn’t test, and now you have a kiln full of pots that will probably end up in your yard somewhere or in your “Ugly Pot Grave-yard,” depending upon the degree of ugliness.

10 TeST, TeST, TeST!You would have avoided the problems listed in

the previous two tips had you tested first. Materials change and batches of clay and glaze may vary. If you have a new bag of glaze you purchased or a new batch that you have mixed yourself, test it. Even though you may have used it a hundred times before, it may be different. Better safe than sorry! •Carla Flati is a studio potter and the company artist for Standard Ceramic Supply in Carnegie, Pennsylvania. She can be reached at [email protected].

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38 PotteryMaking Illustrated • March/April 2008

PotteryMaking Illustrated • March/April 2008 39

Making a set of ceramic plates can be fun for the beginning student, but is also easily

adapted for the more-experienced student. This project presents a direct and fresh slab-forming ap-proach resulting in plates that become great can-vases for surface decoration. Materials are simple, inexpensive and readily available.

After only a few hours of work, students learn how to roll out a good, even slab, and can experi-ence different stages of plastic clay and what the clay is capable of at each stage. They become famil-iar with simple slump molds and start to consider the form and function of their work. Most impor-tantly, they learn how to handle clay in a direct and intentional way.

These plates become a wonderful surface for les-sons on finishing, embellishing and glazing. I have expanded this lesson to include experiments with paper stencils and slip decoration, but that’s just the beginning. Try underglaze design work and glazing methods with this lesson as well. When the project is completed, students have a set of plates to use in their homes or give as gifts.

Forming Plates1 Roll out a slab to a desired thickness of ¼ to

½ inch. When rolling out a slab, start by throw-ing it across the table in different directions until it is somewhere close to 3 inches thick. Roll the clay

hAnDBUiLDing

instructors File by Amanda Wilton-green

A Full Plate

Making slab plates is a great way to develop basic slab techniques, and using Chinet® plates for forms makes this an affordable class project. They also make perfect surfaces for exploring decorating techniques.

equipment and Tools• Large rolling pin• Cut-off wire• Sponge• 25 lbs of clay with sand or grog to reduce warping • Fettling knife or needle tool• Chinet® paper plates.

Note: Chinet® plates do not have a plastic coating and absorb moisture from the clay. Avoid coated and plastic plates.

40 PotteryMaking Illustrated • March/April 2008

with the rolling pin, taking care not to roll over the edges. Roll two or three times on one side. If you are working on canvas, you’ll notice that the clay stops stretching after the first few times because the clay holds onto the texture of the canvas. Carefully lift the slab creating as much surface area with your hand as possible, and leave the slab to stiffen to a soft leather-hard stage. The clay needs to be able to bend without cracking, but you don’t want fingerprints to show as you manipulate your clay.

2 Choose the size of your plate. Chinet® brand has dinner, salad and dessert-sized plates as well as an oval platter. Place the plate upside down to use as a template for cutting the slab (figure 1). As you cut, keep your needle tool or fettling knife perpendicular to your work surface to create a square rim.

3 Remove excess clay and smooth out the rims. Slide your finger across the edge of the rim with firm and consistent pressure (figure 2). The sharp corner of the rim softens without flattening the edge. A damp sponge, chamois or a small piece of a produce bag also works. Stamp or sign the underside.

4 Flip the clay slab, smooth the top edge then place it into the paper plate, lining up the edges (figure 3). Experiment with pressing the clay into the pa-per plate with your hands or sandwiching your clay between two plates (figure 4). The clay will have a dif-ferent character depending on your chosen method.

5 Allow the plates to dry to a firm leather-hard stage in the bottom paper plate. Remove the clay from the mold to check to see if the plates stack nicely and sit on a flat surface without rocking. Take a moment to look closely at the rim of each plate to do any final shaping they might need.

Decorating PlatesThese plates are adaptable to all sorts of decorative

techniques at the leather-hard, greenware and bisque stages. The flat surface lends itself to painterly and expressive underglaze or glaze work. These slab plates are simple enough for very young students and satisfy-ing for the adult student.

Slip decoration gives dimension to the plates and students draw on their own creative design ideas for the work. Textured dessert plates with slip inlay use found and inexpensive materials (see box on page 42) to create a design and a slip in contrasting color to further highlight the design. Paper stencils used with decorative slip can make bold, graphic borders or motifs for your set of plates (figure 5). With a little experimentation and practice, students come up with wonderful results.

Making SetsWhen we handbuild a set of plates, the student and

experienced artist approaches each plate with a slight-ly different perspective. The experience of making the

1

2

3

4

PotteryMaking Illustrated • March/April 2008 41

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42 PotteryMaking Illustrated • March/April 2008

first plate, bowl, mug or tile influences the next, as do things as simple as body position and energy levels. We’re thoughtful and inconsistent creatures and we can use these characteristics to great benefit when done so with intention. A set of plates can be tied together with a theme, color, position of image, size or concept. Because we’re used to seeing sets coming from a factory, the default definition in our minds can be limited to identical objects. This lesson is a great way to discuss the many possibilities for sets in functional ceramics and can demonstrate the benefits of using handbuilding techniques.

Textured Dessert PlatesRoll out ¼ to ½-inch-thick slabs. Before cutting out

the plate, place textured material along one side of the clay slab and gently roll into the clay. Once the mate-rial is flush with the top of the clay, peel it away. Clay is great for picking up the most delicate details and is quite beautiful at this stage.

With texture along one side of the slab, place the paper plate templates so that the location of the de-sign will be pleasing on a plate. Remove excess clay and smooth the rims of the plates, working on the top edge and then flipping the clay to finish the bottom edge of the rim. Sandwich the clay between two paper plates and press the clay into the bottom corners of the lower plate. Remove the top plate and paint a gener-ous amount of contrasting slip over the textured area. Leave the clay in the bottom paper plate and let dry until it is a very stiff leather hard. The amount of time varies depending on climate inside the studio. At this stage, use a metal rib to scrape away the top layer of colored slip leaving behind only what is inlaid into the textured areas.

Paper Stencils Use paper stencils on leather hard clay after clay is

placed into the paper plate mold. I encourage begin-ning students to make twice as many plates that they

interesting Texture MaterialsTexture Ideas

Gently roll the following into your plate with a rolling pin:

• Corrugated Cardboard• Bubble wrap• Lace remnants• Mesh produce bags

Stamping Ideas

The following items can be pressed like stamps into the clay but don’t do well under a rolling pin:

• Small plastic toys such as animals • Beaded necklaces (I like the bathtub drain chain, but be careful not to go too deep with this or it can act like a perforation and give your plate a long crack.)

5

hope to end up with to keep them from overworking any one plate. Besides, they learn so much from the re-sults of the larger sample.

Each paper stencil can easily be used two times, and with care, up to four times. Keep a copy of the original design. I recommend students prepare by cutting as many stencils as required before beginning the slip work. Trim stencils so that there is about 2 inches of paper around design. Soak paper in water until wet but not soggy and then set onto paper towel to remove excess moisture. Position stencil and press down with a damp sponge. Paint slip over design then remove paper stencil. If the stencil is too dry to adhere to the next plate, repeat soak-ing. Sometimes the stencil can be directly transferred to the next plate and pressed with the sponge. •Amanda Wilton-Green teaches ceramics to children and adults in Seattle, WA. She loves teaching and finds working with her stu-dents contributes greatly to the development of her own clay art. Contact Amanda at [email protected].

PotteryMaking Illustrated • March/April 2008 43

44 PotteryMaking Illustrated • March/April 2008

If you could hire some-one to go through the

back issues of your fa-vorite pottery magazines and pick out all the articles on a topic of particular interest to you, how much would that be worth? And how would you like it if he would organize all those articles, and bind them into a book so you’d never again have to search through ten years’ worth of magazines looking for that great article about that technique you always meant to try? Well, Anderson Turner is doing just that, selecting and re-editing articles to maximize technical content. The result is a new series of hand-books from the American Ceramic Society. The four books (so far) in the new Ceramic Arts Handbook Series include articles from both Pottery Making Illustrated and Ceramics Monthly, so you get the benefit of PMI’s how-to format combined with CM’s philosophy of presenting the best and most innovative ceramic work. And, of course, if you don’t subscribe to both magazines you’ll get plenty of articles you’ve never seen before.

The four books are Raku, Pit and Barrel; Throw-ing and Handbuilding; Extruder, Mold and Tile; and Surface Decoration. None of them is aimed at the absolute beginner, but like the magazines they draw from, they all contain articles that will benefit potters at a variety of skill levels, and all will be of particular interest to teachers. In fact, they would make great gifts for any potter, simply because each book presents such a fascinating variety of approaches that anybody who works with clay is bound to find a technique he hasn’t tried before, a recipe that looks promising, or a solution to a prob-lem that he or she is facing.

For instance, in Raku, Pit and Barrel you won’t find yet another description of the basic raku pro-cess. You’ll learn about using a variety of combus-tibles in raku; about horsehair raku, black-firing in a barrel and an easy way to use peel-away slip for naked raku. You’ll see several approaches to pit and barrel firing, and what various potters use for color in those firings. You’ll find recipes for slips and glaz-es, diagrams of kilns and firing pits, innovative uses of commercial materials and pictures of inspiring art along with inspirational profiles of the artists.

Surface Decoration will be another sure-fire winner. There is a bewildering variety of choices when it comes to glazing, decorating and finishing your work. Here you will find step-by-step instructions for techniques

BooK RevieW

off the Shelf by Sumi von Dassow

Ceramic Arts handbook Series

you wouldn’t have thought of using—some quite simple, like using linoleum blocks as texture stamps or wax resist to create relief imagery. Other articles offer you the benefit of one determined artist’s extended research into a process you might like to exploit, such as combining dichroic glass with clay. And, of course, there are quite a few glaze recipes sprinkled throughout.

The other two books explore forming techniques. Throwing and Handbuilding sounds like a bit of a grab bag, but truly, once you’re beyond the basics of learn-ing to center clay on the wheel, or constructing a slab box, throwing and handbuilding techniques are often used together to create work of great originality. And in Extruder, Mold and Tile you will see many non-obvi-ous ways to use these techniques to create architectural, sculptural or functional work. Any potter or ceramic artist should always be looking for ways to think outside the box, and these books are full of ideas for doing just that, with plenty of successful finished pieces showing just how creative you can be with clay. Raku, Pit & Barrel: Firing Techniques

2007, ISBN: 978-1-57498-288-6Throwing & Handbuilding: Forming Techniques

2007, ISBN: 978-1-57498-289-3Surface Decoration: Finishing Techniques

2008, ISBN: 978-1-57498-290-9Extruder, Mold & Tile: Forming Techniques

2008, ISBN: 978-1-57498-291-6

PotteryMaking Illustrated • March/April 2008 45

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PotteryMaking Illustrated • March/April 2008 47

48 PotteryMaking Illustrated • March/April 2008

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