Mar/Apr 2014
Your Resource for Ceramic Techniques
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PotteryMaking Illustrated | March/April 2014
Photo: Brian Giniewski
Inside
March/April 2014 Volume 17 Number 2
Features
12 Pattern and Meaning by Shana Salaff
Adding pattern to your work is a great way to personalize it and explore subjects that fascinate you.
17 Bryce Brisco: The Art of Serving
by Yoko Sekino-Bove
Making dinnerware requires attention to both the details
that make functional pieces work, and the ones that
make them a pleasure to use.
12
22
22 Push/Pull: The Art of Deborah Sigel
by Mary Cloonan
Working with Egyptian paste is no easy feat, but Deborah Sigel has found an elegant solution.
29 Oil Bottle and Trivet: Altering in Unison
by Marty Fielding
Handbuilding a bottle and tray using wheel-thrown parts
allows for lots of creative possibilities.
17
35 Making Pots (and Food) from Scratch
by Patty Osborne
On a visit to a potters’ cooperative in Nicaragua, members of Potters for Peace learned a new firing technique.
41 Used Once and Once Again by WangLing Chou
Tired of having all those plastic beverage bottles go to
waste? Try turning them into molds for functional vessels.
In the Studio
6 One Man’s Trash by Deanna Ranlett
8 Brick Façades by Robert Balaban
29
10 Building Big, Carving Deep by Barbara Stevens
Inspiration
44 In the Potter’s Kitchen
Egg Separators by Sumi von Dassow
48 Pottery Illustrated
Brushes by Robin Ouellette
41
On the Cover Deb Sigel’s Flowers, 20 in. (51 cm) in diameter,
Egyptian Paste, steel armature. Photo: Brian Giniewski.
PotteryMaking Illustrated | March/April 2014
3
fired up | Commentary
Volume 17 • Number 2
Breaking Out
Publisher Charles Spahr
Editorial
Editor Bill Jones
Managing Editor Holly Goring
Associate Editor Jessica Knapp
Editorial Support Jan Moloney
Editorial Support Linda Stover
Creativity involves breaking out of established patterns in order to look at things in a different way.
—Edward de Bono
When it comes to setting fire to your creativity, nothing
works better than breaking a few rules. Why settle for repeating a tried-and-true technique when you can try something
new that pushes you out of your comfort zone? Since Pottery
Making Illustrated prides itself in uncovering the offbeat and
unusual, you’ll enjoy some of the techniques in store with this issue.
The first thing you’ll notice is that the cover and feature article deal with Egyptian
paste, a self-glazing clay that Deb Sigel uses in a very creative way. Author Mary Cloonan
describes how, after fabricating metal frames, Sigel pushes the paste into place and fires
the pieces, before they dry, to cone 05. The colors, cracking, and black framework all
work together for her sculptures, but think of her process as a starting point—what
would you do with Egyptian paste?
If you’re looking for different decorating ideas, check out Shana Salaff ’s pattern ideas,
Robert Balaban’s brick façades, or Bryce Brisco’s slip technique. For handbuilding, Marty Fielding’s oil bottle process provides the basis for dozens of forms as does WangLing
Chou’s plastic-bottle molded teapot. And for our continuing series, Sumi von Dassow
delights us with an egg separator and a delicious recipe for lemon meringue pie, Deanna
Ranlett shows the possibilities of recycling old shop glazes into beautiful new ones, while
Robin Ouellette illustrates different brush types and their uses in her latest Pottery Illustrated segment.
All of our contributors develop their techniques after many attempts to get to the
place they want to be, but in doing so, what they describe becomes established. Your
challenge is to break out and build upon what they’ve learned, taking the knowledge
they share to create your own path.
On another note, we’re pleased to announce a few changes to the staff here as Holly
Goring transitions to Managing Editor in charge of most all editorial functions of the
magazine. She’s backed up by Jessica Knapp for editing and acquisitions as well as Melissa Bury and Erin Pfeifer providing design and graphic production. Over the past few
years, Holly and Jessica have worked diligently to bring you some of the best techniques,
and I’m confident the magazine will continue to improve through their efforts.
Bill Jones
Editor
editorial@potterymaking.org
Telephone: (614) 895-4213
Fax: (614) 891-8960
Print and Digital Design Melissa Bury
Production Associate Erin Pfeifer
Marketing Steve Hecker
Circulation Manager Sandy Moening
Ceramics Arts Daily
Managing Editor Jennifer Poellot Harnetty
Webmaster Scott Freshour
Advertising
National Sales Director Mona Thiel
Advertising Services Marianna Bracht
advertising@potterymaking.org
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PotteryMaking Illustrated | March/April 2014
PotteryMaking Illustrated | March/April 2014
5
in the studio | Glaze
One Man’s Trash
by Deanna Ranlett
One man’s trash is another man’s treasure. That’s the sentiment
echoed recently in our studio while re-mixing leftover shop glazes together. It’s a fairly common practice in large studios to make
what’s called a “trash glaze” using the remaining bits of various
shop glazes to avoid throwing glaze materials down the drain.
While researching online how to safely dispose of glaze materials, I found a number of suggestions from firing the materials
inside bisque bowls to a low temperature to sinter them to adding recycled clay then shaping the mixture into bricks or tiles and
firing them. Many large studios also utilize hazardous materials
bins that are delivered by their local waste management departments. Personally I believe that the best bet is either the latter
option or to reuse the materials as trash glazes.
Rescuing Trash Glazes
Bucket B with 5 Modifications
Bucket A with 5 Modifications
When making trash glazes, the result is commonly dark gray,
dark brown, or dark blue because of the various coloring oxides combining from all of the glazes. One technique is to mix
together glazes of a similar nature, for example, mixing leftover
6
clear glazes together, light colors with other light colors, and
blues with greens, etc. For our group studio experiment, we
chose glazes at random as if you were just cleaning up or retiring some older unwanted glazes. Often studios are not thrilled
with the resulting colors of their studio trash glazes so we decided to also experiment with small additions of modifiers and
opacifiers to show some remedies for rescuing a trash glaze. I
selected titanium dioxide, rutile, Zircopax, zinc oxide, and iron
oxide as additives.
Testing for Food Safety
It’s important to test for leaching in the resulting glazes although general consensus says that because of the variety of
fluxes present, trash glazes are usually very stable. Performing
a basic lemon or vinegar leaching test is the proper thing to
do when mixing and firing any new glazes. Allow your fired
glazed piece to sit for at least 24 hours with a lemon slice on it
or partially submerge it in vinegar to show if color is leaching
from your glazes.
Figure 1
Bucket A Base
Figure 3
2% Titanium
Figure 5
2% Rutile
Figure 7
2% Zircopax
Figure 9
2% Zinc
Figure 11
2% Iron
Figure 2
Bucket B Base
Figure 4
2% Titanium
Figure 6
2% Rutile
Figure 8
2% Zircopax
Figure 10
2% Zinc
Figure 12
2% Iron
PotteryMaking Illustrated | March/April 2014
Initial Glaze Tests
Conclusions
Bucket A was a mix of five cone-6 glazes:
dark green, white, purple, dark blue, and
celadon. This group of tests were done
on tiles made from Helios porcelain
from Highwater Clays, and fired to cone
6. This glaze fired to a translucent gray.
Overall, bucket A had more variation
among additives (figure 1).
Bucket B was a mix of five cone-6 glazes: dark brown, white, cream, black, and
powder blue. This group of tests were
done on tiles made from Red Rock stoneware, also from Highwater Clays, and fired
to cone 6. The glaze fired to a dark floating
blue. Overall, bucket B had less dramatic
results among additives (figure 2).
For trash glazes, my approach would be to
first add Zircopax to lighten and brighten
the color. Our bucket A made a lovely,
neutral gray on its own that many studio
members wanted to try. Adding titanium
dioxide or rutile also made a lot of sense
because you’re able to produce reductionlike effects with glazes that have variegated, hares-fur type textures on their surfaces. The addition of zinc oxide gave the
most interesting variation (although difficult to see in the photos.) It added more
Adding Glaze Modifiers
• 2% titanium dioxide gave a variegated
surface with bright color. In both glazes,
the titanium dioxide brought out the cobalt. Bucket A, which initially was a dark
gray, came out a soft floating blue that
broke green (figure 3). Bucket B, which
already appeared as a floating blue had
more crystals and a softer color (figure 4).
• 2% rutile yielded a variegated surface and
brightened the color, adding more green
hues. It also opacified the glaze a bit more
than the titanium dioxide did. The glaze
from bucket A resulted in a beautiful
soft powder blue (figure 5). Bucket B had
almost no change from the original tile
with the addition of the rutile (figure 6).
• 2% Zircopax gave the glazes a boost in
brightness. This was expected because
Zircopax is an opacifier used to make
glazes lighter and whiter. The glaze
in bucket A became a brighter, more
opaque, and green gray (figure 7). The
glaze from bucket B became a softer,
more cobalt-hued floating blue and
broke less around the textured areas
(figure 8).
• 2% zinc oxide gave the glazes what we
called a “starry” quality. The glaze from
bucket A became a pale gray with darker blue pools of tiny crystals (figure 9).
The bucket B test had a similar starry
effect and an even brighter blue where
the glaze pooled (figure 10).
• 2% iron oxide gave the glazes a deeper
brown hue as expected. I would view
adding iron as a “black out” effect if you
aren’t happy with the original color of
your trash glaze and just want to create
a rich deep brown (figures 11–12).
flux, which resulted in a nice break on the
texture and a star-like effect.
When working with trash glazes, I
would suggest making changes in small
increments and firing in between to test.
Because of the variety of oxides, opacifiers, and ingredients, small changes and
additions are all that are needed to make
a large impact.
Deanna Ranlett owns Atlanta Clay
(www.atlantaclay.com) and MudFire Clayworks and Gallery (www.mudfire.com). She has
been a working ceramic artist for 13 years.
“My Paragon
kiln practically
fires itself,
giving me more
time to make
pots” —David
Hendley
The Paragon kiln was already
ancient when David and Karen
Hendley bought it in 1995. Since
then David has fired about 20,000
pieces of bisque in his electric
Paragon.
“For the last 20 years I have
been glaze-firing all my work in a
wood-fired kiln,” said David. “I
enjoy the excitement of the firings,
and my friends and customers like
the random fire flashings and ash
deposits.
“What they don’t know is that
every piece is first fired in my Paragon electric kiln. While accidental and chance effects can enhance
a wood firing, consistency is the
key to successful bisque firings.
“For those firings, my Paragon
has delivered reliable and consistent results year after year. It practically fires itself, giving me more
time to make more pots.”
The Paragons of today are
even better than the early ones.
The digital 12-sided TnF-27-3
shown at right is only 22 ¼” deep
for easier loading. Lift the lid effortlessly with the spring counter-balance. Enjoy the accuracy
David and Karen Hendley with their ancient Paragon
A-28B. It has fired about 20,000 pieces of bisque. The
Hendleys run Old Farmhouse Pottery in Maydelle, Texas.
and convenience of the
Orton controller.
To learn more, call us
or visit our website for a
free catalog and the
name of the Paragon
dealer near you. Sign up
for the Kiln Pointers
newsletter.
Join the Clayart pottery forum here:
lists.clayartworld.com
Constantly finding better
ways to make kilns.
2011 South Town East Blvd.
Mesquite, Texas 75149-1122
800-876-4328 / 972-288-7557
Toll Free Fax 888-222-6450
www.paragonweb.com
info@paragonweb.com
PotteryMaking Illustrated | March/April 2014
7
in the studio | Surface Decoration
Brick Façades
by Robert Balaban
I was commissioned to make a mug as a going-away present
for an architect. Since he worked primarily on a series of brick
buildings built during the 1960–1980s. I decided that a classical
red-brick construction or brick façade would be an appropriate
design surface for this project.
I looked for brick molds I could use to make reasonably sized
sheets of brick façades. I found that the best sources for these
molds were from the baking industry. The most useful molds
were ones used for fondant decorating, which provided a crosssection of choices for my project. A couple of sources for these
molds (and many other designs) include www.nycake.com and
www.jubileesweetarts.com—they’re remarkable in variety and
high quality.
The molds for bricks come in two forms, large and small rollers
for impressing texture, or simple plastic sheets for press molding
(figure 1). After experimenting, I found that a sturdy sheet mold
for press molding worked the best, providing a reproducible pattern and a large enough sheet to work as a façade or as an actual
slab for construction. I had difficulty getting consistent pressure
with the rollers, resulting in uneven impressions.
1
Cake decorating rollers and panels. Apply
a release agent then press into a clay slab.
3
Clean the join. Brush on a contrasting
clay slip over the façade. Be sure to fill all
of the grooves.
8
PotteryMaking Illustrated | March/April 2014
Finished piece with added brick façade and white stoneware
clay slip.
2
Cut either uniform or irregular shapes to
use as slab construction or decoration.
4
Allow the ware to dry, then gently scrape
off the white clay slip revealing the brick
and mortar pattern.
3
Score and slip the two pieces, then join
together. Be sure to press out air pockets.
5
Surface detail of a finished and fired
brick and mortar façade.
Pressing the Mold
Start by coating the mold with a releasing agent (silicon spray from Liquid
Wrench works well), then roll out an
even clay slab to about 1⁄3 inch thick for
decorative façades and 2⁄3 inch thick for
slabs for building walls. Generally, red or
terra-cotta clay bodies with a little bit of
grog look good for this project, although
some stoneware clay bodies may work as
well. Working on a flat absorbent surface,
smooth and compress the slab with a rib,
then press the mold firmly onto it. After
releasing the mold, let the slab firm up
a bit on a canvas-covered plaster slab to
prevent deformation during application.
You want the material pliable enough
to bend without cracking but not easy
to deform with modest finger pressure.
I found that cutting irregular structures
from the slab generated a more interesting result for a simple mug (figure 2).
façade back in place without additional
cracks forming.
Allow the ware to dry, then gently
scrape off the white clay slip, revealing
the mortar grooves (figure 5). Caution:
Always wear a mask when scraping dry
clay and use a wet sponge to clean up
the scraps. It’s important to let the ware
almost reach the bone-dry state to prevent smearing of the red brick clay over
the white clay mortar grooves. With
a little practice, you can find what extent of drying works best to make the
scraping easier while avoiding smearing, however bone dry works well even
though it requires a bit more effort.
I like to keep the brick surface unglazed so after the bisque firing, I brush
wax resist over the façade to keep the
exterior and liner glazes off of it. The
result, after the glaze firing, is a very attractive surface that closely simulates a
natural brick structure.
Robert Balaban is a functional potter and
teaches classes in his studio in Maryland.
Decorating with Press Molds
Attach the still moist but firm brick façade to a leather-hard vessel by scoring
and slipping both parts then attaching
(figure 3). You may need to touch up any
areas damaged during the application.
It’s important that the mortar grooves
are retained through this process for
filling in later steps. Note: The vessel
the façade is being attached to and the
clay slip must have similar shrinkage to
prevent the façade from separating from
the vessel. If you use two different clay
bodies, use extra care when attaching
them to avoid cracking or separating
during drying and firing.
Once the façade has firmed to leather
hard on the ware, apply a white stoneware clay slip over the entire façade to
fill the mortar grooves (figure 4). Again,
the white slip must match the other
clay’s shrinkage rate. I let the first coat
firm up, then add a second and sometimes a third coat of white clay to ensure
I have filled all of the mortar groves. If
you can still see the brick pattern after
applying the white clay, you need to add
another coat.
During the drying process, small edges of the façade may pull away from the
vessel. I find that by waiting about ten
minutes for the surfaces to soften after
applying a wet clay slip between the
façade and vessel, I then can press the
PotteryMaking Illustrated | March/April 2014
9
in the studio | Carving
Building Big, Carving Deep
by Barbara Stevens
I came to brick relief carving later in my ceramic career after participating in a large-scale, public art project based on wet brick
carving. I loved being able to use clay and work BIG. It was also
at this time that I learned to carve sculptures that could also be
used as benches. My first carved brick bench was so exciting, and
I enjoyed working with 12×8×4-inch solid bricks that allowed
me to apply heavy texture and have up to five inches of relief.
Planning a Large-Scale Outdoor Brick Bench
Start with sketches of a bench design, use a theme or a pattern to
make up the seat, back, and arms then carve a maquette. Sketch
the outside ring of each brick layer, then number the layers as
well as the individual bricks, which determines the exact dimensions of the bench and how many bricks you need. Order the
unfired, wet brick from a local factory, either have them delivered or pick them up yourself depending on what’s convenient
1
Stack the wet brick to form a bench. Use
the maquette to sketch on the design.
4
Label each brick with a number and the
layer it’s in. Make notes of the labels.
10
PotteryMaking Illustrated | March/April 2014
for you. Clear a large indoor space to work and cover the floor
with plastic. Start by stacking the outside ring of bricks in layers
to match your sketches. The center bricks are only used to form
the stack so that the seat has support during this carving process.
They’re not counted in the numbering process, nor are they fired.
The outside ring must form a box and these bricks need to be alternated to form a sound structure. While stacking, alternate the
direction of the bricks on each layer so that the seams alternate
by one half brick, ensuring a strong and durable structure.
Deep Carving
Using the maquette, draw your design on each side of the stack
(figure 1), then start carving the deepest areas first. An easy way
to remove large hunks of brick is with a wire cutter (figure 2).
This is much faster than using a loop tool, which works better for detailing. Once the deep grooves are in place and the
2
Remove large sections of wet brick with
a wire cutter to quickly define the form.
5
Choose a mortar color to match the fired
brick for a cohesive looking bench.
3
Use loop tools to add texture and details. Cover the brick when not carving it.
6
Barbara Stevens’ finished sunflowerthemed bench.
design starts to take shape, begin the texturing, detailing, finetuning, and burnishing to complete the bench sculpture (figure
3). Remember to mist the bricks with water several times while
carving and before covering with two layers of plastic after each
carving session to keep them wet for the duration of the project.
Label the Brick
After the sculpture is complete, the wet brick must be numbered and stamped as the brick layers are taken down. This is
important because the bricks are handled many times from
start to finish. To ensure that you can recreate the bench without
too much confusion, make several drawings, take plenty of photos, and make notes on the bricks themselves. Label each brick
with its layer number and an individual brick number. I use a
hammer and heavy metal stamps to inlay numbers on the bricks
(figure 4) making them easy read after they’re fired. I also draw
an arrow on each brick showing which direction the brick lies in
that layer.
Drying and Firing the Brick
To aid the drying process, drill holes into the back of the brick,
leaving an inch of space between the holes and the carved edges.
Three holes per full-sized brick is sufficient. Place the bricks
on pallets with space between them for good air flow and even
drying. Keep them away from any draft or lay a piece of plastic
lightly over the top of each palette. The bricks may take several
weeks or longer to dry completely depending on your climate.
Fire the bricks in individual layers with plenty of space between the kiln shelves. Do not overcrowd the kiln and note that
the firing may take longer due to the larger masses requiring
more heatwork.
Reconstructing and Installing the Bench
Lay the fired brick in rows according to their respective layer
and number. Next, arrange the layers as they would be installed
on the bench so they match the drawings and photos.
I hire a mason to install my large benches and recommend doing this unless you have masonry skills. Together we lay out layer
A (the bottom layer) and square it on the cement base, which is
laid ahead of time to support the sculpture. Next, mix the masonry cement with mason dye to match the brick, and start installing the first layer. From there, it’s just a matter of laying the
next three layers before filling the seat cavity with cut cement
block and cement to support the seat. The cavity needs to set up
and dry before the seat can be installed.
To complete the bench installation, stack a few layers of the
arms and the back to make sure they line up with the base (figure 5). Adjustments may need to be made but as long as they’re
minor they can easily be fixed with some creative mortar work.
My finished bench looks great outside my studio and will
hopefully inspire more brick sculptures (figure 6).
Thank you to my ceramic professor Darrell McGinnis, St. Louis ceramic
artist Catharine Magel, and Seattle brick carver Mara Smith for their
training and inspiration in teaching both ceramics and brick carving.
Barbara Stevens works and lives in Concordia, Kansas. To see more of her
brick carving, check out http://ccccartstars.blogspot.com/2011/10/sunflower-bench-fall-2011.html.
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PotteryMaking Illustrated | March/April 2014
11
by Shana Salaff
Patterns have embellished ceramic objects since our Neolithic
past. Early clay vessels often imitated woven baskets. Our fascination with pattern and decoration dates back even further.
We take pleasure from our environment when it’s enhanced
with decoration.
Theorist Ellen Dissanayake states that the evolutionary origin
of art making is connected to our early development as a species.
Then, as now, the intimate connection a baby has with its parents
is crucial to language and behavior development. Sustaining this
depth of feeling later in life is at the root of our drive to elaborate upon our material world. Dissanayake coined the phrase
“making special” to describe the human impulse to change one’s
natural surroundings or built environment through any form of
artmaking. When present-day potters decorate their work, they
are joyful participants in this making special. Pattern is a great
way to achieve this.
The What and Why of Pattern
Pattern divides a visual surface into regular intervals with the repetition of individual elements. While these elements can be anything, the organizing principle of repetition brings unity to the
design. What do we see when we look at pattern? In an abstract
pattern, we see a rhythmic arrangement of lines, shapes, and
movements. When patterns contain representational elements,
this adds another layer of meaning. For example, a floral pattern
evokes natural beauty, while other imagery causes us to call up associations with things we have seen before. When beautiful line
quality, surface variation, and color are brought into the mix, a
pattern becomes much more than just a way to organize space.
Patterns also have historical resonances (derived from our own
culture or that of others), which many ceramic artists use to their
advantage. Using a pattern inspired by historical ceramics on the
surface of a contemporary piece adds a layer to the visual experience. In the finished piece, this layer can then be compared with
the form it sits upon, made either within the same historical refer12
PotteryMaking Illustrated | March/April 2014
ence or in contrast to it. Using patterns from another culture or
time period is acceptable, as long as you treat both the culture and
the pattern with respect in an attempt to find your authentic voice.
Using copyright-free patterns is the safest way to do this.
Pattern Sources
I often decorate my work with components of patterns pulled
from various historical sources. Most of the patterns I use on a
regular basis come from the library’s visual art section. I choose
a specific pattern for the aesthetic pleasure I find in it, as well
as how easily I can transform it into a fresh decorative surface.
I also look for flowing lines, a pattern that moves well across
the surface, and lovely, small floral or leafy elements. I find
Victorian wallpaper patterns easy to use because of the plant
and flower designs (figure 1). I have adapted Chinese patterns
derived from rugs with the same quality (figure 2). For line
work, I prefer patterns that have a movement across space like
a swooping line or draped arrangements of leaves on a stalk. I
will shuffle through my extensive collection of patterns when
considering a new form or new material. However, I am usually
drawn to the same two or three.
I’m working with pattern as a tool, using it as a framework for
beautiful line quality and color variation, and applying a painterly filter. There is a difference between a pattern created to fit
a specific form (such as around the rim of a plate) and pattern
used as a surface decoration on a form more like paint on canvas.
I am not imitating the pattern but using it as a framework and
vehicle for self-expression. The historical reference hovers in the
background waiting to be recognized. This is my own way of using pattern to make special.
Transferring a Pattern
I copy patterns onto acetate and project them onto my work with
an old overhead projector. I first started using one because I mistrusted my ability to draw freehand. Now, using a projector allows
me to concentrate on line quality and spacing because I don’t have
to worry about getting it right. For a pattern from a book, this involves scanning the page onto my computer, sizing it, tiling it (creating a repeating pattern), then printing it onto transparency film
(use the kind appropriate for your printer or have it done for you
at an office supply store). Another option is to trace onto acetate
directly from a visual source such as a printed textile. You might
have to scan this in order to shrink the image for projection. You
can find old overhead projectors in thrift shops or online: look for
ones that contain working bulbs, as these are the most expensive
items to replace. Projectors that connect directly to a computer
also work but are more expensive. If you prefer not to use a projector, take time to practice drawing your pattern with pen and
paper so you can have the same fluency with your hand as you
would tracing a projection. There are also many ways to transfer a
paper pattern onto clay. Search for “image transfer techniques” on
ceramicartsdaily.org for more information.
Developing a Personal Vocabulary
Give yourself the following assignment for developing a personal vocabulary with pattern: Experiment with a few patterns
and a large number of materials. Create a large number of simple
1
Wheel-thrown and altered cup with incised elements of a William Morris wallpaper pattern layered with a diamond pattern.
tumbler shapes—they make a simple canvas to work with—that
need little or no trimming, or that can be easily handbuilt. Alter
into thirds or square off the form if you like (figure 3). Choose
or create two or three patterns to play with. Assemble all your
decorating equipment and materials and get ready to play with
variations. Commit to making each surface different.
Use an X-Acto knife to carve patterns onto about one-third to
one-half of your cups (figure 4). Experiment with different portions of the pattern, proportions of the surface, and any other
variable that you can think of. Use the uncarved cups for underglaze application before or after bisque, as well as glaze application (figure 5). Try every combination of materials you have
access to, as well as every decorating technique you can think
of: sgraffito, underglaze- or glaze-trailing, brushing, waxing
and wiping away, inlaying slip or underglaze into carved surfaces when leather hard or over bisque, adding layers of glaze,
glaze pencil, or overglaze. Invent your own techniques, and play
with color, texture, value, type of line, etc. Layer techniques and,
whenever possible, contrast one pattern with another (figure 6).
Experiment with ways to work with the negative space around
the pattern as much as the pattern itself (figures 7 and 8).
2
Wheel-thrown and altered cup with a carved and glazed lotus
pattern over a glazed diamond pattern.
PotteryMaking Illustrated | March/April 2014
13
process | Pattern and Meaning | Shana Salaff
3
Alter a cylinder to create different planes
or sections (either vertical or horizontal)
to start to organize your design.
6
Brush on glaze to create a second pattern. Use a resist on the first pattern if
you wish to keep the glazes separate.
4
Project a pattern onto the cup, arrange
the composition, and carve or trace
around the edges of the projected shapes.
7
Other ideas for making your own pattern are to go out and draw
trees or flowers, walk around your neighborhood, find decoration
you love, look in your closet for patterned fabric, photograph it,
tile it on your computer, etc. If you’re like me, obsessed with historical patterns and wallpaper, find copyright-free examples. Ask
yourself: how do you want to use pattern? Where do you find, or
how do you create, your pattern? How do you want to make your
work special? Playing with the answers to these questions will help
you create your own voice when using pattern in your work.
Great resources for pattern ideas include Owen Jones’ texts The
Grammar of Ornament, and The Complete “Chinese Ornament.” In
these, Jones illustrates precise and beautifully rendered examples
of ornament and pattern from around the world and across centuries. Jones was one of the mid-19th century thinkers who participated in the intense cataloguing of both the natural and human
world in the search for underlying theories and rules.
I prefer to ignore strict pronouncements about what is “correct”
or even “best” and proceed on the basis of intuition. Use your inPotteryMaking Illustrated | March/April 2014
Apply underglaze or glaze with a slip
trailer or a brush using the projected image as a guide.
8
A Chinese cloud pattern created using
glaze. The negative space becomes an
active part of this composition.
Investigating Further
14
5
The same cloud pattern, carved into the
surface, glazed, then overlaid onto a diamond pattern for a different visual effect.
tuition to guide you toward self-expression. Ultimately, this will
grow out of continued exploration into what moves you as a person as well as an artist.
Shana Salaff lives in Fort Collins, Colorado, where she teaches at Front
Range Community College in Fort Collins, and Aims Community College
in Greeley, Colorado. She earned an MFA in ceramics from California State
University, Fullerton. She has also written for Ceramics Monthly magazine.
To see more of her writing and her artwork, visit www.shanasalaff.com.
Suggested Reading
Dissanayake, Ellen. 2000. Art and Intimacy: How the Arts Began.
Seattle: University of Washington Press.
Dissanayake, Ellen. 2002. What is Art For? Seattle: University of
Washington Press.
Owen Jones; foreword by Jean-Paul Midant, L’Aventurine. ca.
2006. The Grammar of Ornament: Illustrated by Examples from
Various Styles of Ornament.
Owen Jones (1809-1874). 1990. The Complete “Chinese Ornament”: All 100 Color Plates. New York: Dover.
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PotteryMaking Illustrated | March/April 2014
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Bryce Brisco
The Art of
Serving
by Yoko Sekino-Bové
Bryce Brisco is a ceramic artist currently working and teaching as an
artist-in-residence at the Appalachian Center for Craft in Smithville,
Tennessee. His functional wood-fired tableware, like the shallow bowl
he demonstrates decorating here, is adorned with simple (yet elegant)
slip patterns, resist elements, and incised texturing. Just like Bryce
himself, his work is sincere, durable, and inviting.
Bryce uses a light gray, smooth stoneware clay body of his own creation that’s comprised of local clays he digs up in the area around
Smithville. By using local materials, he’s able to establish a relationship with the region’s people and give the pots an identity based on the
area’s culture. He enjoys the unpredictable beauty of these local clays
when wood fired in a salt atmosphere.
PotteryMaking Illustrated | March/April 2014
17
process | Bryce Brisco: The Art of Serving | Yoko Sekino-Bové
Materials
n Circle
templates
liner contact paper
n Long, skinny brush dedicated
for food-color painting
n Circles hand cut from
contact paper
n Food color
n A clear, CD-shaped plastic
disc (when you buy a CD pack,
this plastic disc protects the
actual CDs), with permanentmarker guidelines added to it
to indicate angles.
n Shelf
1
Making, then refining the rim of a shallow bowl with a rubber rib.
2
Drawing a circular guideline with food
coloring on the soft, leather-hard bowl.
Throwing a Shallow Bowl
Bryce throws his pieces using minimal
tools. After using three pounds of clay
to create a 10-inch-diameter bowl with
a smooth inside curve and a rim that’s
about two inches wide, he cleans the surface with a rib before applying any surface decoration (figure 1). He does not
cut the clay from the bat immediately
after throwing, leaving it attached keeps
it centered for the decorating stages.
Depending on his studio schedule, he
either leaves the bowl for a day to naturally dry the surface, or he uses a torch
to remove the moisture quickly. When
the surface has lost its sheen, the bowl is
ready to be decorated.
Applying Stickers
Bryce works with both slip and resist
surface techniques. He cuts several circles out of contact paper with scissors
before starting to work on the clay. The
contact paper is water-proof and resistant to slip. He wants to keep these circles hand-cut. “I know we can buy circle
stickers, but mechanical perfection does
not work on handmade pots. People can
tell the difference.”
18
PotteryMaking Illustrated | March/April 2014
3
Applying marks for three dividing lines
using the homemade measuring tool.
4
Completing the guidelines after removing the dividing tool.
When the bowl dries to soft leather hard, he places the bat back on the wheel and
paints on a series of circular lines as guides using food coloring. Because the food
coloring burns out at a very low temperature without leaving residue, these guidelines
don’t affect the final result (figure 2).
The next step is to mark three, evenly divided lines for three of his circle stickers. To
do this, Bryce uses a guide made by marking a clear compact disc with dividing lines
(the disc shown has marks for dividing a surface into three or five segments). He holds
the disc above the circular lines, positions it as close to the center of the bowl as he can,
and marks where his lines will go using food coloring (figure 3). Using this method, he
can measure the spots for the stickers very evenly.
After removing the blank disc, he paints in the guidelines for the stickers and rechecks the distance between them by eye (figure 4), then, following the guidelines, he
applies three contact paper stickers (figure 5).
Pouring White Slip and Finger Swiping
Bryce keeps a big bucket of white slip on hand to decorate multiple larger forms.
He removes the pot (still attached to the bat) from the wheel, and pours a generous
amount of the slip into his bowl (figure 6). He swishes it around the interior to make
5
Applying water-proof circles, centered over the dividing lines
and between the concentric circular guides.
7
6
Pouring slip into the bowl, over the resist circles, then swishing
it around to coat the interior, then pouring out the excess.
8
Wiping and cleaning the rim using a rubber rib before the added
slip softens the bowl too much.
Drawing a sgraffito finger swipe through the slip that interacts
with the resist circles.
sure it covers the entire inside curved area, then pours it out,
back into the bucket.
Placing the pot back on the wheel, Bryce cleans up the rim with
a rib and removes any splashes created by the slip immediately after pouring the slip out, before the clay gets soggy (figure 7).
Now he uses his finger to swipe at the surface to create a
loose, thick line (figure 8). The secret is to relax, stop thinking
too much, and enjoy the process, stopping when the pattern or
composition of lines looks complete.
While turning the pot slowly on a wheel, Bryce gently presses
the texturing tool against the rim to incise the pattern. At this
point, the clay is still soft enough to be carved, but firm enough
to support itself. He doesn’t need to support the underside of
the rim while creating the pattern (figure 9).
Once the decoration is completed, the contact paper dots are
removed (figure 10), then the pot is trimmed and dried prior to
being prepared for glazing.
Decoration on the Rim
Bryce’s incised texture pattern on the rim was inspired by Tatsuzo Shimaoka, the respected Japanese potter who used a piece
of rope to create incised patterns. But as always, Bryce found
his own way to create a similar effect with a handmade tool
sourced from a hand-cranked/manual pencil sharpener. For
this texturing, he uses the part of the pencil sharpener that actually spins and grinds the pencil.
Prepping for Firing
Bryce does not bisque fire his work. The white, slip-covered
area of the pot is glazed with a clear glaze when the pots are
bone-dry, leaving the areas that were covered by the stickers
unglazed so he can place seashells and clay/alumina wads there.
These wads create a decorative surface effect, while also allowing him to place one more piece on top of the wads, so he
can fit more work into a kiln (figure 11). He fires the pots in a
wood-burning salt kiln up to cone 11 (figure 12).
PotteryMaking Illustrated | March/April 2014
19
process | Bryce Brisco: The Art of Serving | Yoko Sekino-Bové
9
10
Applying a texture to the rim using part of a manual
pencil sharpener.
Using a sharp needle tool or X-Acto knife, lift up and remove the
contact-paper circles.
11
12
Placing alumina and clay-stuffed shells onto the circled spots on
the dry greenware bowl and stacking an additional piece on the
shells before firing.
Bryce’s white slip recipe
Bryce’s wadding seashells
Cone 11
Cone 11
Tile 6 Clay . . . . . . . . . . . . . . . . . . . . 1 00%
Add:Bentonite . . . . . . . . . . . . . . . . 2%
Alumina Hydrate. . . . . . . . . . . . . . . . 50%
EPK Kaolin. . . . . . . . . . . . . . . . . . . . 50%
Bryce adjusts the base recipe by adding varying
amounts (between 2 and 10%) of Zircopax,
Grolleg, feldspar, and/or silica to the bucket to
change the opacity, whiteness, melt, and fit of the
slip, respectively. This is a loose recipe for a big
portion, just like a home cooking recipe.
Mix the alumina and EPK kaolin with water until
workable, then stuff the wadding inside each
seashell prior to placing the shells onto the pot.
Yoko Sekino-Bové is an artist and teacher living in Washington, Pennsylvania.
To see more of her work, visit yokosekinobove.com.
20
Completed plate showing the wad marks from the aluminafilled seashells, and the effects of the salt-firing on the piece,
including the sheen on the rim.
PotteryMaking Illustrated | March/April 2014
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PotteryMaking Illustrated | March/April 2014
21
Push/Pull
The Art of Deborah Sigel
by Mary Cloonan
Detail of Burst, 26 in. (66 cm) in height, Egyptian
paste and steel. Photo: Brian Giniewski.
22
PotteryMaking Illustrated | March/April 2014
process | Push/Pull: The Art of Deborah Sigel | Mary Cloonan
where, in addition to studying ceramics, she spent a lot of time
in the metals studio and interacted with other students in both
areas. Egyptian paste, or faience, is a low-fire mixture of ceramic materials containing clay, sand, colorants, frits, and soluble
salts. These salts effloresce to the surface along with water as the
paste slowly dries, forming crystals, which create a self-glazing
clay-glaze hybrid once fired. As the name implies, it was originally developed in Egypt and was used to mimic semi-precious
stones such as turquoise or lapis lazuli.
Intrigued by the property of the glassy paste and the opportunity to build sculpturally with color she explored its characteristics. Initially, she experimented, creating steel cages to hold
Process photos: Hannah Watson
There is a discordant beauty inherent in Deborah Sigel’s work.
The black steel framing the deep cracks in the Egyptian paste
seem at odds with the bright colors and botanical forms. It’s
this dichotomy; order and chaos, stoic and friendly, that entices and intrigues. Viewing her work poses questions about the
nature of beauty in imperfection, the clash of industrial with
organic elements, as well as how the pieces were made. Sigel
pushes the rules and limits of the materials she uses while pulling the viewer in to investigate the resulting textures and colors.
Currently a professor at Millersville University of Pennsylvania, Sigel began her explorations into Egyptian paste while
at Cranbrook Academy of Art in Bloomfield Hills, Michigan,
1
Welded ¼-inch steel rods form the frameworks for the sculptures. The Egyptian
paste is added to the finished framework.
2
3
Pressing thick Egyptian paste into the
voids within the framework. Wear gloves
when working with this caustic material.
4
Refining the forms further using a soft rib to smooth the
Egyptian paste and refine the shape.
Using a soft rib to compress the Egyptian paste and remove excess to reveal
the steel supports.
5
Using a fettling knife to smooth the surface of the Egyptian paste between the metal supports and clean excess paste from the supports.
PotteryMaking Illustrated | March/April 2014
23
process | Push/Pull: The Art of Deborah Sigel | Mary Cloonan
the paste with the hope it would flow and
drip. Instead, when she fired the pieces,
the Egyptian paste held its shape, cracking within the confines of the frame. As
she continued her investigations and exploration, she became more enamored
with the steel frames as a line drawing
combined with the ceramic material and
set upon her creative course. The work
feels simultaneously ancient and modern.
Sigel finds inspiration in the beauty
of nature and rational mathematics, and
the pattern and order found there. The
objects are distillations of plant forms
pared to a stoic geometry and joyful
palette; playful, candy-hued constructs
whose fissures are constrained by blackened steel drawings.
Sigel creates work meant to be displayed on a wall, not just for convenience, but as a carefully orchestrated
maneuver. The wall allows her to manipulate the space and interaction between the objects, and to let the shadows play a part in the composition. It
also emphasizes the patterns created by
the grouping, allowing one to view the
whole while investigating the individual,
implement-like objects.
In many pieces, flowers bloom in a
tight grid across the wall, an arrangement that implies a matching game, or
other game of skill. The grid also imparts a careful taxonomy of a botanist’s
organization, allowing for infinite possible arrays. Six petals radiate from a
central metal circle that also serves as a
way to display the work. Rods are bolted
to the wall, and the central metal ring is
placed on this rod, allowing the flowers
to cast shadows and spin or pivot gently,
a random settling that makes the pattern
slightly askance, softening the grid.
Both the Wisps and Bursts series have
hanging loops, presenting them as an implement for use, offering easy access for
the viewer to imagine its intended purpose. Shadows imply pendulums or forest canopies. In Bursts, symmetrical crystalline forms grow from a central stalk, an
enigmatic implement from another civilization. The Wisps possess a more delicate presence, sinewy stems with alternating buds sprouting along the curves.
24
PotteryMaking Illustrated | March/April 2014
6
Loading the 42-inch tall hanging Wisp
structure into the kiln, supported by hard
bricks and a black steel pipe.
7
After the firing, the metal has serpentine
curves due to the action of the heat and
weight of the pods.
8
Completed Wisp forms, to 39 in. (99 cm) in height, showing a variety of Egyptian paste
colors and the way the steel curves as a result of the firing. Photo: Brian Giniewski.
Building the Forms
Sigel welds the frameworks for her sculptures from ¼-inch steel rod, which can withstand the heat of a low-temperature firing (figure 1). Fabricating her frames in this
way gives her the ability to sculpt with strong, bold lines. She sees the forms as a threedimensional drawing for the Egyptian paste to inhabit.
Once the frame is fabricated and cleaned up, Sigel dons gloves to protect her hands from
the caustic soluble salts and to minimize her exposure to colorants, then packs the forms
completely with Egyptian paste (figure 2). Her recipe consists of glass frit, soluble salts,
nepheline syenite, clay, and a small quantity of sand to help control shrinkage. She has reduced the amount of soluble salts, substituting in nepheline syenite, to combat the scumming on the surface that’s common with Egyptian paste. Occasionally a small amount of
lithium carbonate is added if a slight sheen is desired, so that after the firing, the surface
still looks like it did when freshly modeled. Colorants are added at 6–8% in the form of
9
Four Bursts, to 26 in. (66 cm) in height, in a completed installation. Photo: Brian Giniewski.
Mason stains, or 2% for metallic oxide colorants. Sigel started her
investigations into Egyptian paste with two recipes (see page 26).
As time went on she began to favor Mark Johnson’s Matte Egyptian Paste recipe and made a few modifications including firing
higher and lowering the amount of soluble salts. The new recipe
(see page 26) may not conform to the standard idea of an Egyptian
paste recipe, but the modifications work well for Sigel’s sculptures.
The dry ingredients are mixed with just enough water to create a thick, moldable paste. Sigel then carefully hones the surface,
using the spine of the rod as a guide, meticulously smoothing the
paste with a soft red Mudtools rib (figures 3 and 4) and a fettling
knife (figure 5).
Once the frames are filled and refined, she loads them wet into
the kiln and fires them slowly to cone 05 with the kiln lid or door
propped open for the moisture to escape. This is a counter-intuitive process for anyone accustomed to the usual firing techniques
for Egyptian paste, where it’s dried slowly to allow for the soluble
salts to come to the surface creating the self-glazing layer, but it
works for producing the surfaces Sigel prefers.
Still, she does find it fascinating that the pieces stay together despite being fired wet, “Why don’t they explode? It baffles me!” Perhaps it’s the openness of the paste body, which contains little clay.
Perhaps the cracks form early on in the drying process and allow
the steam to escape in a less destructive manner. The combination
of firing damp with the incompatible coefficients of expansion
between the steel and ceramic materials promotes the cracking
and fissures she is seeking, a randomness within the set pattern.
Note: You can fire wet. Pots explode in a kiln when the outside
dries and traps water inside. As the water turns to steam and expands, it has no way to dissipate, and the resulting pressure causes
the pot to break. When firing wet work, heat the kiln slowly.
Loading the kiln also influences the final work. Flowers are
fired flat on a bed of sand, this supports all the petals while supplying a release in case of over fluxing. Wisps and Bursts are hung
in the kiln, in the same position they will be displayed after the
firing (figure 6). Sigel builds brick towers in the kiln with a support rod made of black steel pipe, the kind used for gas lines, that
the top loop of the steel armature hangs from. An interesting alteration occurs in the kiln. The Bursts, being a single, centralized
point or weight, remain straight. The Wisps start off straight, but
the offset placement of the pods distribute the weight and heat
differently creating serpentine curves (figure 7).
As individual pieces or as a whole installation, there is a quiet
elegance and rhythm to their geometry (figure 8). They’re stoic,
but there’s also a strong sense of humor; playful colors imply
toys and their display cause one to invent games with the quirky
implements (figure 9).
For Sigel, the materials are more than just a curious aesthetic
result; they become a metaphor for the effects of time. It’s about
embracing chance and revelling in the precarious balance of
chaos and order. The kiln is an important partner in her creative
process, it alters with heat and time, transforms the steel and
Egyptian paste, recording history, and endurance. In her work,
Egyptian paste and steel are integral and integrated elements, a
symbiotic relationship creating controlled serendipity.
Deborah Sigel is a full professor at Millersville University of Pennsylvania
in Millersville, Pennsylvania where she teaches ceramics. To see more of
her work, visit http://deborahsigel.com.
Mary Cloonan is an artist, instructor, independent curator, and the exhibitions director at Baltimore Clayworks in Baltimore, Maryland.
If you’d like to try using Egyptian paste but don’t want to mix your own, check
out prepared versions at www.amaco.com and www.lagunaclay.com.—Eds.
PotteryMaking Illustrated | March/April 2014
25
Deborah Sigel’s
Egyptian Paste
(Modified from Mark Johnson’s
Matte Egyptian Paste)
Cone 05
Newly released DVD
of a master artist.
Ferro Frit 3134. . . . . . . . . . . . . . 20.60%
Bentonite. . . . . . . . . . . . . . . . . . 8.25
Sodium Bicarbonate. . . . . . . . . . 0.50
Nepheline Syenite. . . . . . . . . . . . 2.60
Silica . . . . . . . . . . . . . . . . . . . . . 68.05
100.00%
Mixing: Start with 33% water as each colorant
takes a different amount of water, cobalt carbonate needing a good bit more than the others. Add
more water in smaller increments as the paste can
quickly become over hydrated and sticky. Paste
tends to stiffen up by the next day or two and will
need to be re-wedged to become pliable again.
*Rose Pink Mason Stain is no longer available, and
the green stain that Sigel uses is imported from
Taiwan. Substitutions will require individual testing.
Mark Johnson’s MATTe
EGYPTIAN PASTE
Cone 08
Sodium Bicarbonate. . . . . . . . . . . .
Ferro Frit 3134. . . . . . . . . . . . . . . .
Bentonite. . . . . . . . . . . . . . . . . . . .
Silica . . . . . . . . . . . . . . . . . . . . . . .
6%
20
8
66
100%
JUANITA’S PASTE
Cone 08–06
Nepheline Syenite. . . . . . . . . . . . . .
Soda Ash. . . . . . . . . . . . . . . . . . . .
Sodium Bicarbonate. . . . . . . . . . . .
Ball Clay. . . . . . . . . . . . . . . . . . . . .
Fire Clay. . . . . . . . . . . . . . . . . . . . .
Silica . . . . . . . . . . . . . . . . . . . . . . .
30%
5
5
10
10
40
100%
Add: Bentonite. . . . . . . . . . . . . . . 1-2%
Deborah Sigel started her investigations into Egyptian paste using both Mark Johnson’s Matte Egyptian Paste and Juanita’s Paste recipes before modifying Mark Johnson’s Matte Egyptian Paste recipe to
better fit her needs.
26
PotteryMaking Illustrated | March/April 2014
Internationally renowned ceramic artist, Warren MacKenzie, shares his thoughts on
ceramics and the expression of personal and cultural values in an intimate conversation
full of humility and candor. This DVD is a one of a kind view of his work and the artist.
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PotteryMaking Illustrated | March/April 2014
27
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28
PotteryMaking Illustrated | March/April 2014
Jamaica Field Expedition
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with David Pinto & Doug Casebeer
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For more information, please visit andersonranch.org or call 970.923.3181.
5263 Owl Creek Rd., Snowmass Village, CO 81615 | P.O. Box 5598, Snowmass Village, CO 81615
Oil Bottle and Trivet
Altering in Unison
As potters, we commonly receive a certain wise suggestion in our
early years of making pots that goes something like, “You should
make the pieces that you want to use.” To decipher the advice further, we should make pots that align with our interests, use them
frequently, and in the process learn more about how to finesse
the nuances to improve their design and function.
The oil bottle has been one of these forms in my studio and
kitchen. I love to cook and I love pots and, basically, as soon as
I made my first oil bottles, one found its place on my stove top,
supplying me with olive oil every day. Through getting to know
several oil bottles over the years, the functional details I find crucial in a ewer are a narrow opening in the spout that decants
a slow steady stream of oil and a saucer to catch the inevitable
drips of the viscous liquid. My aesthetic choice of abstracting a
bottle set up an exciting challenge of designing a saucer to fit an
by Marty Fielding
out-of-round shape. The set demonstrated here is an elongated
diamond with a slab-built spout and hollow lid. Think of these
directions as a guide for your own explorations.
Making The Bottle
Start by throwing a bottomless cone that tapers slightly inward
from the bottom to the top. While the cone is still round, plan
where the four corners will be by making small marks on the rim
with a finger or tool. Remove the cone from the wheel head or bat
and place it on a dry, porous board. Now, place the finger pads of
your hands on the adjacent sides of one of the corners. Slightly lift
the cone off of the board for more flexibility and press your hands
toward each other to establish an acute angle. Repeat this action for
the opposite corner. Continue altering the remaining corners to establish a diamond shape. You can sharpen the edges by supporting
Marty Fielding’s oil
bottle and trivet, 4 in.
(10 cm) in width, wheelthrown and altered
earthenware, terra
sigillata, glaze, fired to
cone 03 with renewable
electricity, 2012.
PotteryMaking Illustrated | March/April 2014
29
process | Oil Bottle and Trivet: Altering in Unison | Marty Fielding
1
Alter a wheel-thrown bottomless cone
and define the corners with a metal rib.
2
Cut out a triangular dart from the two
wide angles of the diamond and reattach.
4
30
3
Insert a slab through the bottom of the
body, then score, apply slip, and attach.
5
Use a paper template to create the spout. Place it onto a soft
slab, and cut around the template using a fettling knife.
Make an impression of the top opening of the vessel onto the
slab cut for the base of the lid. Use this as a guide to size the lid.
them with a finger inside and pulling a flexible metal rib up both
sides of the corner several times (figure 1).
Darting the central obtuse angles is the second step in the altering the cone. In this case, I cut an isosceles triangle that’s ¾ inch
wide and 1 inch tall. Make parallel 45°-angled cuts so there will be
an overlap in the joint. Score, slip, and attach (figure 2). You can
treat this new seam with a metal rib to continue the edge below it.
This darting process changes the line of the form, creating more
complexity in the shape and narrowing the top opening.
When the diamond is just firm enough to handle without distorting the shape, it’s time to attach the top and bottom of the
bottle. Roll out a ¼-inch-thick slab that is roughly a square foot
in area. This will be large enough to cut out the shapes for the
top, bottom, spout, and lid. To measure for the top slab, place the
diamond upside down on the slab and use the rim to make an impression. Cut along the outside edge of the impression. I find that
closing the top from the inside adds the visual interest of a planar
change and retains the thrown quality of the rim. Score and slip
the inside of the rim as well as the diamond-shaped slab. From the
underside, carefully set the slab in place and apply pressure around
the edge of the slab with a finger or thumb (figure 3). Watch what is
happening on the outside as you work to keep the top even.
Now, place the bottle back on the slab right side up and trace
around the bottom. Make your cut ¼ inch outside the traced line.
Score and slip both parts and set the bottle in place on the slab.
Press down enough for the slab to stick and flip the piece over to
apply pressure from the bottom with a rib or brayer. Return the
piece to a board and trim any unevenness from the slab before
rolling the edge of the slab up the side with a finger (see figure 5).
Set the piece aside so the top and bottom can reach leather hard
and cover the unused slab for later use.
PotteryMaking Illustrated | March/April 2014
The Slab Spout
The spout is built using a slab and a paper template. The template
is roughly pentagonal and is made by folding a piece of heavy paper in half and cutting a profile. Cut a section of the slab that is big
enough for your template and stretch it slightly to 1⁄8 inch thick.
Lay the template on the slab and cut around it (figure 4). Smooth
the shortest side gently to prepare it to be finished as the pouring
edge later. Bevel the adjacent sides of the pouring edge by cutting
parallel 45° angles. Score, apply slip, and join the edges. Keeping in
6
Define a ridge for the top of the lid. Lay a
slab over a dowel and smooth the sides.
7
8
Cut around the impression on the base
of the lid, then smooth the edges.
9
Make an opening in the top of the bottle
where the lid will sit.
10
Assemble the lid flange, attaching it to the flat slab that forms
the bottom of the lid.
To construct the trivet, start with a bottomless cylinder altered
into a diamond shape. Use insulating foam for support.
mind that the seam will be on the top of the spout, gently flatten
the cone so it becomes more of an oval to fit the narrow end of the
diamond. Place the spout on the body and decide exactly where it
should be attached. Holding it in place, trace a line around base of
the spout. Next, cut a hole in the body leaving ¼ inch of clay inside
your traced line for the attachment. Score, slip, and attach (see figure 5). One last detail for the shaping of the spout is to very softly
hold the end of the spout and pull it downward a bit. This gives a
beak-like curve across the top and a relaxed appearance. Finally,
finish the pouring edge by wetting the end of a narrow wooden
tool. Insert the tool into the spout and move it from side to side to
sharpen the edge for a nice pour. Also take a moment to check the
size of the opening. A quarter inch would be a good width to try.
the body once an opening is made. While this lid-bottom slab is
setting up to leather hard, cut a second triangular slab that’s about
the same size for the top of the hollow lid. Lay it over a round tool
handle or a dowel. Define a ridge by ribbing on both sides of the
dowel (figure 6). This will make a roof line for the lid. When both
parts have reached leather hard, follow the impression on the underside of the base slab with your knife and cut the excess clay away
(figure 7). Bevel the topside of the base slab to prepare for attaching
the roof line. Score and slip the parts and join the two. Carefully
cut any overhanging clay from the top slab and close the open end
of the lid (short side of the triangle) with another small slab.
Going back to the bottle, trace the front end of the lid across
the top of the bottle. Leave ¼ inch of clay behind the traced line as
you begin to cut into the top to create an opening. Cut along the
seam where the wall and top come together and remove the slab
(figure 8). Take this opportunity to clean and smooth the inside
around the opening.
Now that there is an opening in the bottle, the flange can be built
on the lid. Start with three, ¾-inch wide slab strips that roughly
correspond to the lengths of each side of the lid. Attach these to the
The Hollow Lid
Once the spout is finished, you’re ready to make the lid. First, place
a triangular slab on the back half of the bottle and roll the top
firmly enough with a brayer to make an impression of the rim (figure 5). This slab will become the bottom of the lid, and you’ll use
the impression both to cut the slab to shape and to determine the
placement of the flange that will help to register and seat the lid on
PotteryMaking Illustrated | March/April 2014
31
process | Oil Bottle and Trivet: Altering in Unison | Marty Fielding
11
Attach a slab to the top of the cylinder, then press the bottle into
the slab so that it rests on the foam to define the trivet interior.
12
Flip the trivet over and seal the interior seam using a wooden
tool. If necessary, add soft coils of clay to reinforce the join.
13
Shape the top of the trivet with a flexible metal rib to define the
flat base, angled sides, and flat rim, then clean up the seam.
Marty Fielding’s oil bottle and trivet, 7 in. (18 cm) in width,
wheel-thrown and altered earthenware, terra sigillata, glaze, fired
to cone 03 with renewable electricity, 2012.
bottom of the lid one at a time, and insert the flange into the opening after each addition to check the fit. Adjust as needed. Taper the
narrow back end of the flange to fit properly (figure 9).
the foot. Drape the slab across the top. Gently coax the slab inside
by lifting from the outside edge and pushing toward the center.
Once it’s hanging inside, use the bottle to apply more pressure and
define the interior shape (figure 11). Remove the bottle and widen
the bottle’s impression using a wooden knife (it typically shrinks
more than the bottle and becomes too tight). Loosely cut the excess slab away, place another board on top and flip the trivet over.
Remove the wall from the slab so the two can be scored, slipped,
and joined properly (figure 12). Seal the seam and clean the edges.
Flip it over again and leave the foam underneath for support until
the medium leather-hard stage. Define the base, angled sides, and
flat rim using a metal rib, then address the seam (figure 13).
Monitor the fit between the bottle and trivet as they dry and
trim with a rasp or sharp knife if the fit becomes too tight. Use
your favorite surfacing and firing techniques and fill with your favorite cooking oil, soy sauce, or vinegar.
The Trivet
At any point after the bottom slab of the bottle reaches leather
hard, the trivet building can commence. Start with a bottomless
thrown cylinder between 1–1½ inches tall and roughly 10 inches
in diameter. It’s a good idea to have extra length here that can be
cut away. Cut the wall vertically and begin wrapping it around the
bottle while shaping it into a diamond. When the wall is the appropriate shape and size, cut any extra clay away at parallel 45° angles
and join the ends together. Let the wall dry to soft leather hard.
The bottom of the bottle is used to make a seat for itself in the top
of the trivet. In order to keep the seat flat, place a piece of insulating foam board inside for support and counter pressure (figure 10).
Place the cut side of the trivet down on the slab and cut a section that is an inch wider than the wall in all directions. Return the
trivet wall to your work surface with the thrown rim down and the
foam support in place. From this point on the thrown rim will be
32
PotteryMaking Illustrated | March/April 2014
Marty Fielding lives and works in Gainesville, Florida, where he is currently a candidate in the University of Florida MFA ceramics program. To
see more of his work, visit martyfielding.com.
PotteryMaking Illustrated | March/April 2014
33
Cone 6 Oxidation
Glazes
... how did we do that ?
Teapot
Mugs & photo by
Sharon Greenwood
Visit our website for
details.
www.georgies.com
1831 E 1450 Rd • Lawrence, KS 66044
785-841-4750 (local)
888-822-1982 (toll free)
shop.brackers.com
34
PotteryMaking Illustrated | March/April 2014
Making Pots (and Food)
From Scratch
by Patty Osborne
Cooperativa San Expedicto is a pottery cooperative located near Jinotega in the coffeegrowing hills of northern Nicaragua. The potters of San Expedicto, who are all women,
produce both decorative and functional ware known for its shiny black finish.
Sourcing Clay
To dig their clay, the potters hike for about three hours up a mountain to a site where the
earthenware clay is about two feet below the surface (figure 1). They take turns using a pole
with a metal blade on the end of it to dig the dry clay and they fill an assortment of bags
to about 80 pounds each, which they then carry back down the trail on their shoulders
(figure 2).
To process the clay, they soak it in water until it’s soft, then screen out rocks and organics
using a household plastic strainer. The clay is dried out on a slab of concrete or a board
until it can be wedged and it’s used soon after that.
The potters of Cooperativa San Expedicto make wheel-thrown and handbuilt work from
hand-dug local clay that’s then burnished and once fired to produce a beautiful black sheen.
PotteryMaking Illustrated | March/April 2014
35
process | Making Pots (and Food) From Scratch | Patty Osborne
1
Digging local clay using a pole with a metal blade on the end of
it to loosen the dry clay and fill 80-pound bags.
3
Carrying the clay bags down from the mountainside back to
the studio.
4
The dried, burnished pots are put into a cold kiln and are
pushed into place with a well-used tree branch.
Building a fire around and on top of the pots.
Building and Firing Processes
strated the firing method they use to achieve a solid black finish on their work, and then ended the demo with a delicious
surprise cooked right in the cooling kiln.
The dried, burnished pots are put into a cold kiln. They’re
pushed into place with a well-used tree branch (figure 3). Using wood that they have gathered from the surrounding hills,
the potters build a fire around and on top of the pots (figure 4).
The pots stay in the fire for about an hour and during this time
a sawdust bed is prepared on the ledge beside the kiln. Using
sticks and a homemade fork-like lifter, the pots are removed
Up until the last couple of years, the potters of San Expedicto were handbuilders, but they were interested in streamlining their production techniques so they approached Potters
for Peace who supplied them with a few wooden kick wheels
and some training sessions. Now, much of their work is wheel
thrown, and all of their work is highly burnished then fired
once in a wood-fired kiln.
On a recent visit to Cooperativa San Expedito by members
of Potters for Peace, the women of the cooperativa demon-
36
2
PotteryMaking Illustrated | March/April 2014
5
Removing the pots from the kiln with a handmade pitchforklike tool and placing them on the sawdust bed.
7
6
Covering the pots with sawdust, and shifting them so that the
smoke turns the entire surface black.
8
Scratching a design through the reduction on the surface of a
cooled pot with a metal tool, revealing the lighter clay below.
Making a single-use broom from fresh leaves to sweep the
ashes out of the still-hot kiln.
from the kiln and placed in the sawdust bed (figure 5). More
sawdust is thrown on top of them and as the sawdust catches
fire, the clay on the surface of the pot is reduced and turns
black. The pots are rolled around gently in the flames until all
sides are a solid black (figure 6).
When the pots have cooled, they are brushed off and then a
design is usually scratched through the black surface to reveal
the light-colored clay beneath it (figure 7).
On this visit, the potters made an instant broom by tying
green leaves around the end of a tree branch (figure 8). They
used the broom to sweep the ashes out of the still-hot kiln and
onto the wide sill at the front of the kiln opening.
Using a long, narrow, flat board, metal baking tins filled with
freshly-made rosquillas were placed inside the freshly cleaned
kiln (figure 9). Ten minutes later, the rosquillas were ready to
eat, and they were delicious (figure 10)!
The pots we brought back from San Expedito will always
remind us of the warmth and enthusiasm of these potters, not
to mention the melt-in-your-mouth taste of their fresh, kilnbaked rosquillas.
PotteryMaking Illustrated | March/April 2014
37
Wood-fired Rosquillas
Rosquillas can be cooked in a woodfired oven, or traditional oven if
that’s all you have access to.
9
Placing freshly made rosquillas into the newly cleaned kiln and using the residual heat to cook them.
Rosquillas
3 pounds queso seco or Mexican
Cotija cheese
3 pounds masa harina (a dough flour
made from specially treated corn)
4 tablespoons butter
4 tablespoons lard from beef
2 tablespoons lard from pork
2 eggs
brown sugar to sprinkle on top
Preheat oven to 350°F
Grate the cheese finely and then mix
it with the masa harina.
Add eggs, butter, and lard, then mix
until combined.
Shape into small donuts, about 1
to 1¼ inches in diameter. Push the
shape together so there is no hole
and sprinkle brown sugar where the
hole would have been.
Place on cookie sheets.
Bake until they get a little color.
Yield: 100 rosquillas
For more information about the potters
of Nicaragua and/or Potters for Peace, visit
www.pottersforpeace.org.
10
In 10 minutes time, the rosquillas are cooked and ready to eat.
38
PotteryMaking Illustrated | March/April 2014
Patty Osborne is a potter and a pottery teacher who
lives in North Vancouver, British Columbia, Canada.
She is also a board member of Potters for Peace. You
can read her pottery blog at themudroom.ca.
PotteryMaking Illustrated | March/April 2014
39
Used Once
&
Once Again
by WangLing Chou
The inspiration for a recent series of teapots comes from wanting to reuse and recycle materials, a practice rooted in my experiences as an international student. During that time, I traveled
light, carrying all my possessions in just two suitcases. These
circumstances forced me to get extraordinary use out of limited materials. I would use objects multiple times and in some
instances, find new uses for a particular object.
Now, my past manifests itself as I take used plastic
bottles and give them a new life, saving them from an
otherwise quick trip to the landfill. The commercial
design of the bottles serves as a mold to provide the
basic form of each piece, to which I add my own creative touch. Ultimately, I seek to highlight the original
industrial design by retaining its form, yet through my
human touch, give each work its own unique character.
The Brood Tea Set, 12 in. (30 cm),
press-molded and handbuilt stoneware, fired to cone 6 in oxidation.
40
PotteryMaking Illustrated | March/April 2014
Preparing the Plastic Mold
Collect any interesting forms of plastic to be used for potential
molds such as soda bottles and food containers. Clean and rinse
the plastic with soapy water. Next, use a utility knife or saw to
cut out the portion you want to use for the mold.
Coat the inside of the plastic mold with a very thin layer of
WD-40 and spread it evenly then wipe out the form with a cham-
process | Used Once and Once Again | WangLing Chou
1
Cut plastic bottles, apply a mold resist,
then fill the inside of the mold with slabs.
4
Use the top portion of the plastic bottle
as a mold for the top of the vessel. Connect the two halves together.
2
3
Cut away the plastic mold carefully,
avoiding any damage to the clay wall.
5
6
Adjust the size of the hole at the top of
the pot and make a short spout. Shape it
to fit the form, then attach it.
ois. Avoid using excess WD-40, as it will make the surface of the
mold overly slippery and will penetrate the slab.
Drill a small hole in the bottom of the plastic bottle to allow
air to escape when the slab is pressed inside the mold. Roll out a
slab of clay and cut it into shapes to cover the inside of the mold
(figure 1). Several sections of slabs will need to be connected
together when pressing the inside of a curved plastic bottle and
the number of sections will vary according to the size and shape
of the form. Press the slab against the mold evenly and then
smooth the inside as much as possible before removing it from
the mold.
Forming a Zoomorphic Teapot
Wait until the pressed clay is stiff enough to hold its shape, then
use a utility knife to carefully cut the soft part of the plastic bottle
allowing the form to release from the mold (figure 2).
Smooth out the seams and remove any unwanted texture. During the leather-hard stage, you may model the form further by
Use coils or slabs to add height. Score
both parts then blend the seams.
Draw a pattern for the tail on paper and
cut it out. Use the pattern to cut out
both sides of the tail.
pushing out the curves, squeezing the excess clay or cutting and
reconnecting some sections to alter or even exaggerate the profile. You can use coils or thin slabs to extend the vessel or alter the
proportional balance and overall form for the teapot to a desired
shape (figure 3).
Use the top portion of another plastic bottle as a mold for the
top of the teapot (figure 4). This gives the form a more gradual
rounded top as opposed to an abrupt flat one. Make the press
mold for the top just as you did for the bottom.
Before adjusting and refining the size of the top hole (figure 5),
clean the interior while there’s still a big enough hole to access
the inside of the teapot. This ensures the joined pieces are well
attached and the seam is smoothed.
Making the Spout and Handle
To create the basic spout form, use a tapered dowel, either short
or long depending on the size spout you need. Roll a clay slab
around the dowel and use it to shape the spout. To give the spout
PotteryMaking Illustrated | March/April 2014
41
process | Used Once and Once Again | WangLing Chou
7
8
Curl the two sides inward and connect them to create an inflated appearance.
Attach the handle in a position where it will resemble tail feathers. Score and slip both parts before attaching.
COUNTS WHITE MATTE
Cone 6
9
Stain the bisque ware with a thin coat
of black underglaze then use a damp
sponge to remove the excess.
10
Use underglazes for additional decorations then apply a coat of Counts White
Matte glaze to the interior and exterior.
more of an organic feeling of an actual chicken beak, try to pull
it into a slight curve, then cut the spout to size and attach it to
the teapot (figure 5).
The construction of the tail, or handle, involves two mirrored
parts formed together to give the impression of an inflated balloon. Cut out the two abstract forms similar to a chicken tail
using a pattern to ensure the proportions of each side are the
same (figure 6). Next, curl the edges inward in order to achieve
the puffy appearance, then connect them, making sure to leave a
hole for the air to escape (figure 7).
Finally, attach the tail in an appropriate place that gives the
impression of tail feathers (figure 8). This tail not only serves as
part of the chicken but also suggests a teapot’s handle.
Applying Decoration and Glaze
To decorate the vessel’s surface, start by staining the form with
a thin layer of Amaco Velvet Jet Black Underglaze. Next, use a
42
PotteryMaking Illustrated | March/April 2014
Nepheline Syenite. . . . . . . . . . . . .
Whiting . . . . . . . . . . . . . . . . . . . .
Zinc Oxide.. . . . . . . . . . . . . . . . . .
EPK Kaolin. . . . . . . . . . . . . . . . . .
Silica . . . . . . . . . . . . . . . . . . . . . .
51.6%
18.8
8.6
15.4
5.6
100.0%
damp sponge to remove the underglaze from the highest spots
(figure 9).
Use a pencil to sketch the basic outline of a chicken drawing
over the stained base glaze. The design of the figure should flow
well with the shape of the vessel. In order to achieve this, distort
some of the proportions and exaggerate the gesture of the chicken in order to create a composition that compliments that shape.
Paint the chicken using black underglaze. To highlight the tail
and comb, use Amaco Velvet Bright Red Underglaze (figure 10).
Finally, fill the vessel with a food-safe, opaque white glaze, I
use Counts White Matte, to line the interior then pour out the
excess. After the interior dries, use a spray gun to glaze the outside of the teapot with the same opaque glaze.
WangLing Chou is a native of Taiwan. She obtained her MFA from Kent
State University in Kent, Ohio. She is currently an assistant professor of art
at Louisiana College in Pineville, Louisiana.
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PotteryMaking Illustrated | March/April 2014
43
in the potter’s kitchen | Food and Clay
Which Came First, the Egg or the Separator?
by Sumi von Dassow
1
Cut and remove a narrow crescent shape
from the shoulder.
2
3
Push out the edge of the lower cut to
form a lip. Smooth out any sharp edges.
An egg separator is one of those pots you would never think you
need but turns out to be surprisingly useful. After all, you can
always crack your egg on the rim of the mixing bowl and use the
edge of the shell to separate the white albumen from the yellow
yolk. However, with the egg separator you don’t have to look for
a bowl to put the yolk into until you’re ready to use it. This also
helps to avoid the hassle when a shell doesn’t split into neat halves
and you end up breaking the yolk on the jagged edge. If you bake,
you’ve been there. If you have an egg separator, you can crack
your egg and dump the entire egg into the separator, then pour
out the white through a crescent-shaped opening that’s too small
for the yolk to go through. The process can be repeated, keeping
the yolks in the separator until you’re ready to pour them out.
Throwing the Right Shape
The egg separator is also a good project for beginners. Start with
12 to 16 ounces of clay. Throw a small vase form with a wide,
prominent shoulder, a constricted neck, and a flaring lip. Remember, the neck needs to be big enough for an egg yolk to pass
through easily. There is no need for this form to have a trimmed
foot, so when you open up the clay, try to leave only ¼ inch
across the bottom. Note: When you make a pot that you don’t
intend to trim, be careful to make the bottom of the pot flat and
not too narrow inside. Between 1½–2 inches across the bottom
is about right to make sure the pot is stable and won’t easily tip
over. It doesn’t matter how tall the egg separator is, as long as it’s
the right shape and you don’t leave too much clay at the bottom.
Use a wood tool or a triangular-bladed tool to remove excess clay
from above the foot, but don’t wire under the pot yet.
Crack an egg into the separator. Pour
out the white, trapping the yolk inside.
such as an X-Acto knife (figure 1). Leather-hard is too dry—the
pot should be damp and flexible, but not sticky, and the rim
should be stiff enough to hold its shape while you cut into it.
Hold the blade to the top of the shoulder, about halfway between
the widest and the narrowest point, then use the other hand to
turn the wheel so you can mark the clay with the blade. Make the
mark about two inches wide, then go back and cut on this mark.
Now make a second cut, shaped like the bottom lip of a smiling
mouth, from one end of the first cut to the other. Remove the
narrow crescent of clay.
Next, with a finger and a damp sponge, push out the lower cut
edge to widen the opening and create a little pour spout (figure 2).
Don’t make it wide enough for an egg yolk to slip out—this is the
opening you will pour the egg white out of, and it has to hold the
yolk back (figure 3). Make sure the cut edges are smooth inside
and out, as a sharp edge may break a yolk.
Once you’ve cut and formed the opening, you can wire under
the pot and trim a little bit more if you need to. Dry the pot
slowly, glaze it with a food-safe glaze, and fire it to the appropriate temperature for the clay and the glaze.
Putting the Egg Separator to Use
March is when chickens start laying lots of eggs again after the
cold, short days of winter. So March is a good month to make
an egg separator, and to make a dessert like lemon meringue pie.
Lemons are a winter fruit in Florida and California, so they are
still plentiful and not too expensive in the spring.
Sumi von Dassow is an artist, instructor, and regular contributor to Pottery
Making Illustrated. She lives in Golden, Colorado.
Adding Essential Details
After the vase form has stiffened enough to be handled but is still
malleable, cut an opening into the shoulder using a sharp blade
44
PotteryMaking Illustrated | March/April 2014
Opposite page: Sumi von Dassow’s glazed egg separators and
her recipe for lemon meringue pie.
Recipe
Lemon Meringue Pie
1 cup white sugar
2 tablespoons all-purpose flour
2 tablespoons cornstarch
¼ teaspoon salt
1½ cups water
Zest and juice of 2 lemons
2 tablespoons butter
4 eggs, separated
6 tablespoons white sugar
1 9-inch pie crust, baked
(in a hand-made, stoneware
pie dish, of course)
In a saucepan, mix 1 cup of sugar, flour, cornstarch, and salt. Add
water, lemon juice, and lemon zest. Cook over medium-high heat,
stirring frequently, until mixture begins to boil. Separate the yolks
from the whites (see figure 3). Put yolks in a small bowl and gradually stir in ½ cup of hot lemon mixture. Pour egg yolk mixture back
into the lemon mixture. Bring to a boil again and cook, stirring
constantly until thick, about one minute. Remove from heat and stir
in butter. Pour filling into baked pie crust. To make the meringue,
beat egg whites in a large bowl until foamy. Gradually add 6 tablespoons sugar and continue to beat until stiff peaks form. Spread
meringue over filling, sealing the edge at the crust. Bake at 350°F
for 10 minutes, or until meringue is golden.
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Aardvark Clay. . . . . . . . . . . . . . . . . . . . . . . . 43
ACerS Books. . . . . . . . . . . . . . . . . . . . . . 46, 47
Amaco and Brent . . . . . . . . . . . Cover 3, 15, 21
Anderson . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Arrowmont. . . . . . . . . . . . . . . . . . . . . . . . . . 26
Artworks/West Side YMCA. . . . . . . . . . . . . . 43
Bailey Pottery . . . . . . . . . . . . . . . . . . . . . . . . . 1
Bennett Pottery. . . . . . . . . . . . . . . . . . . . . . . . 5
Bracker’s. . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
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Chinese Clay Art. . . . . . . . . . . . . . . . . . . . . . 43
Clay Art/Scott Creek. . . . . . . . . . . . . . . . . . . 16
Continental Clay. . . . . . . . . . . . . . . . . . . . . . 26
Coyote Clay . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Dolan Tools. . . . . . . . . . . . . . . . . . . . . . . . . . 46
Evenheat Kiln . . . . . . . . . . . . . . . . . . . . . . . . 43
Georgies. . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Great Lakes Clay. . . . . . . . . . . . . . . . . . . . . . 46
Herring Designs/SlabMat. . . . . . . . . . . . . . . . 46
Highwater Clays. . . . . . . . . . . . . . . . . . . . . . 39
J. C. Campbell Folk School . . . . . . . . . . . . . . 28
K-12 Natl Ceramic Fdn . . . . . . . . . . . . . . . . . 34
Kiln Doctor. . . . . . . . . . . . . . . . . . . . . . . . . . 46
L & L Kiln . . . . . . . . . . . . . . . . . . . . . . . Cover 4
Larkin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Master Kiln. . . . . . . . . . . . . . . . . . . . . . . . . . 47
Mayco . . . . . . . . . . . . . . . . . . . . . . . . . Cover 2
MKM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Mudtools . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Olympic Kilns . . . . . . . . . . . . . . . . . . . . . . . . 16
Original Hi Roller. . . . . . . . . . . . . . . . . . . . . . 33
Paper Clay . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Paragon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Peter Pugger. . . . . . . . . . . . . . . . . . . . . . . . . 33
Potters Council. . . . . . . . . . . . . . . . . . . . . . . 45
Sheffield Pottery. . . . . . . . . . . . . . . . . . . . . 39
Skutt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Smith-Sharpe . . . . . . . . . . . . . . . . . . . . . . . . 11
Socwell. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Spectrum Glazes. . . . . . . . . . . . . . . . . . . . . . 27
Touchstone. . . . . . . . . . . . . . . . . . . . . . . . . . 33
Truro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Tucker’s Pottery. . . . . . . . . . . . . . . . . . . . . . . 28
Watershed . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Xiem. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Zanesville Prize . . . . . . . . . . . . . . . . . . . . . . . 33
PotteryMaking Illustrated | March/April 2014
47
soft stipple
(texturing, stenciling)
thick watercolor
(majolica)
tapered
watercolor
(majolica)
hard stipple
(texturing, stenciling)
dagger
(line work, pinstriping)
short shader
(wide, flat strokes)
long shader
(narrow, flat strokes)
flat
(banding, broad
coverage)
haboku
(color carrying,
durable)
Sumi
(overglazes, lusters,
line work)
multi-stem hake
(thick coverage to
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filbert
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pointed sable
sable
(general purpose)
48
PotteryMaking Illustrated | March/April 2014
mop
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brushes
fan
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PC-32
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Brown
over
PC-31
Oatmeal
PC-52
Deep Sienna
Speckle
over
PC-31
Oatmeal
PC-48
Art Deco
Green
over
PC-31
Oatmeal
PC-1
Saturation
Metallic
over
PC-31
Oatmeal
PC-20
Blue Rutile
over
PC-31
Oatmeal
PC-33
Iron Lustre
over
PC-31
Oatmeal
Cone 5-6
Layering
PC-23
Indigo Float
over
PC-31
Oatmeal
PC-55
Chun Plum
over
PC-31
Oatmeal
PC-59
Deep
Firebrick
over
PC-31
Oatmeal
PC-41
Vert Lustre
over
PC-31
Oatmeal
over
PC-31
PC-29
Deep Olive
Speckle
over
PC-31
Oatmeal
PC-31 Layering Notes: Apply two
layers of base coat. Apply two layers
of top coat. (Let dry between coats.)
To learn more:
www.layeringpcs.info
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 • Threeyear Limited Warranty
The Quad element system has
been proven to extend element life
dramatically in over two years of field
work in crystalline glaze firing in our
JH Series kilns.
L&L Kiln’s patented
hard ceramic
element holders
protect your kiln.
Toll Free: 888.684.3232
Swedesboro, NJ 08085